Monthly Archives: October 2015

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#1 #2 #3 #4 #5

Randy Rogers & Wade Bowen

Bart Crow

Curtis Grimes

Casey Donahew Band

Mike Ryan

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Music Charts Magazine Book Review by Benjamin Franklin V - Rhythm Is My Beat - Jazz Guitar Great Freddie Green and the Count Basie Sound - Studies in JazzDate = 7 October 2015

Author’s name = Alfred Green

Genre = Jazz

Title = Rhythm Is My Beat: Jazz Guitar Great Freddie Green and the Count Basie Sound

Publisher = Rowman & Littlefield

 

Review =

            Published in the series Studies in Jazz overseen by the Institute of Jazz Studies at Rutgers University, Rhythm Is My Beat documents the career of Freddie Green, seemingly universally acknowledged as the greatest rhythm guitarist ever, in any genre. His genre was jazz. Because the author is the musician’s son, readers might expect mawkishness, but the text is neither sentimental nor particularly emotional. It provides biographical details in a straightforward manner, never milking them for effect. Once Alfred Green begins discussing the guitarist’s career, however, details about his father’s private life decrease significantly.

In focusing on music, not biography, Alfred Green presents a good overview of his father’s career, almost all of which—half a century–was spent with the band of Count Basie (thus, the book’s subtitle). He begins strongly by using photographic evidence to prove that in early 1937 his father played at the Black Cat Club in New York City with a group led by saxophonist Lonnie Simmons, a friend from South Carolina. (Green was from Charleston.) Because Green left relative anonymity with Simmons for the big time with Basie, details about the Black Cat engagement are important; they are also sometimes misunderstood. In the autobiography John Hammond on Record (1977), impresario Hammond states that Green worked at the Black Cat with the group of Skeets Tolbert, not Simmons, a claim repeated by some jazz writers because Hammond was in a position to know: he discovered Green at the club, thought him a good fit for Basie’s rhythm section, and introduced him to Basie. In other words, he was instrumental to the careers of both Green and Basie. Yet in identifying the group with which Green played at the Black Cat, Hammond is demonstrably wrong, as Alfred Green proves. He sets the record straight.

Anyone familiar with Basie’s band from 1937 until the leader’s death in 1984 and beyond it to Green’s death in 1987 will necessarily know the contour of Green’s career because of Green’s long, almost unbroken tenure with the leader, beginning in 1937. “Almost,” because of occasional illness, but also because Basie bowed to economic and musical realities (accommodating the new music known as bebop) by reducing his band to a small group in 1950, one that initially excluded Green. About two months later, though, the guitarist joined it, apparently by insisting that Basie employ him. At the urging of Billy Eckstine and Basie’s manager Willard Alexander, Basie discontinued the small group and by 1951 reconstituted a big band, which included Green. This organization relied more heavily on written arrangements (by the likes of Neal Hefti and Ernie Wilkins) than had previous versions of the band, which often played head arrangements (those that are spontaneous, or played from memory). Yet whether Basie led a relatively unrestrained band or one controlled by formal arrangements—or fronted no more than ten musicians—Green was, with a few brief exceptions, a constant, providing a dependable 4/4 beat that, with the remainder of the rhythm section, made the band swing. Not only did he create the beat, but when a musician violated it or was less than decorous on stage, he expressed dissatisfaction by glaring at the offending party with a gaze known as “the ray.” In so doing, he served as an enforcer, as the person who insisted that the band’s musicianship and integrity be maintained.

Despite being known primarily for his association with Basie, Green had a musical career apart from him, as the author documents in a discography of thirty-four unnumbered pages. Green was attractive to other musicians for the same reason Basie valued him: his ability to provide a steady beat. As a result, he performed on hundreds of recordings as sideman, beginning with Teddy Wilson and Billie Holiday in 1937 and concluding with Diane Schuur three days before his death at age seventy-five. He played at numerous sessions led by Basie’s instrumentalists, such as Buck Clayton, Paul Quinichette, and Lester Young, but also at ones led by musicians who had not been regulars with Basie, including Mildred Bailey, Ruby Braff, Bob Brookmeyer, Ray Brown, Benny Carter, Al Cohn, Nat Cole, Roy Eldridge, Coleman Hawkins, Woody Herman, Illinois Jacquet, Gerry Mulligan, Buddy Rich, Tony Scott, Sonny Stitt, Sir Charles Thompson, and Sarah Vaughan. With some of these and other leaders he participated in recordings that have proved enduring, including “This Year’s Kisses,” with Wilson and Holiday (1937); “A Sailboat in the Moonlight,” with Holiday (1937); “Ad-Lib Blues,” credited to Benny Goodman, though the clarinetist does not play on it (1940); Charlie Parker’s album Night and Day (1952); Sing a Song of Basie, by Lambert, Hendricks, and Ross (1957); and Ray Charles’s Genius + Soul = Jazz (1960).

Most important for his playing, Green also composed tunes, two of which are popular in jazz circles: “Down for Double” and “Corner Pocket”; the latter has been recorded over a hundred times, sometimes as a vocal titled “Until I Met You.” Alfred Green relates an engaging anecdote about what inspired Manhattan Transfer to record this piece, its version of which won a Grammy (130-31). The book includes an apparent contradiction about the number of tunes Green wrote. The author states that his father composed “in excess of thirty tunes” (132), but Mark Allen, who compiled the list of Green’s compositions that appears in appendix K, records only twenty (239-41). One wonders why, if Green wrote at least thirty, Allen fails to account for the other ten or more. Alternatively, Allen could be accurate and the author is mistaken. Alfred Green should have resolved this issue.

Green’s narrative constitutes a little over half of this 325-page book. Fourteen appendices compose most of the other pages. The appendices consist mainly of essays—mostly (all?) by authors other than Green—about the guitarist’s technique and style that will likely interest musicians, not ordinary readers. Photographs enhance the book. Candid shots, which are especially appealing, show Green in a street scene looking dapper, seated at a club with Billie Holiday and Lester Young, pretending to fight the boxer Sugar Ray Robinson, golfing separately with Billy Eckstine and Joe Williams, and, in a beautiful picture, shaking hands with President Reagan at the White House. There are many others.

Though Green adequately chronicles the career of an important musician, his text has problems. When using the word “always,” for example, he does not allow for exceptions when exceptions clearly exist, as when stating that “John Hammond was always on the prowl” (47) and that Lester Young played “to a meter that was always a fraction-of-a-beat ahead of him” (58). Hammond never slept? Young never played on the beat, even in ensemble passages? Green offers opinions as facts, as when claiming that Jimmy Rushing was “the best blues singer around” (74) and that saxophonist Frank Wess was “incomparable” (77). Though the author documents many of his statements, he sometimes fails to do so when proof is needed, as when stating that “Lester Young struggled to keep his emotions intact” following the death of saxophonist Herschel Evans and that, as a result, saxophonist Jack Washington “often had to help the distraught [Young] to the stage and his seat” (59). Green is sometimes credulous. Does he really believe that bandsmen “peed from the moving bus with the door partially open” (78)? (Try imagining it.) Or that, despite the claims of Frank Wess and Benny Powell, an opened can of sardines fell from an overhead bus rack and landed on singer Joe Williams’s head, where it remained for the remainder of the trip (81)? On the topic of music, one wonders why Green characterizes Dizzy Gillespie, Fats Navarro, and Charlie Parker as hard-bop players (98) and why, other than listing it in what is termed a “selected discography,” he ignores The Atomic Basie (1957), arguably the most impressive post-war Basie big band album. Identifying Ruby Braff as a “neo-Dixieland trumpeter” disserves the musician (246). Most disconcerting, though, are constructions such as these that, first, use the wrong case and, second, feature a dangling modifier: a “tiff between he and Hammond” (68) and “In interviewing John Williams . . . , the twenty-five-year Basieite once asked me . . .” (91). Because Green was unaware of these problems, his editor should have corrected them.

            In sum, Alfred Green adequately summarizes his father’s career without getting bogged down in details or becoming technical when discussing music. That is, general readers can enjoy the book, though they will be distracted by writing lapses such as those mentioned here.

 

Author = Benjamin Franklin V

HOTDISC TOP 40
 
  18 October 2015

 

This is a list of the Top 40 Most Popular Songs released on the Rush Released promotional CD. Each week DJs and media people who receive Rush Released send back their reaction sheets where they are given the chance to rate every song. This chart is exclusively for clients of the Rush Released CD.  The chart is published weekly here, and also in Country Music People, Country Music & Dance, Up Country and Southern Country magazines.

To watch the video for each song (where available) click on the titles.

01

02

The Frog Song  
DAVE GIBSON

02

01

It’s All In My Head
RICHARD LYNCH

03

04

No Place To Land
SAMMY SADLER

04 08

Me And My Guitar
FRANK JENNINGS

05 03

Loving You Is Breaking Me
JOEY CLARKSON

06

06

I Am The Train
GEORGE INGLIS

07

05

Banks Of The Vilaine
THE DIABLOS  

08

20

How Far You Wanna Go
DENNY STRICKLAND

09

07

Trouble In Paradise
JAMES CAROTHERS

10 11

Don’t Close Your Eyes
LORRAINE JORDAN & CAROLINA ROAD

 

 

 

 

11

12

Blagards And Cowboys  
BLAGARDS AND COWBOYS

12

18

Serendipity
EMILY VANCE

13

16

What A Heart Must Do
TIA McGRAFF

14

14

Playing With Fire
J MICHAEL HARTER

15

17

For You And Me
ROB ALLEN

16 13

In My Baby’s Arms Again
ANITA STAPLETON

17 19

With Love  
REAGAN J

18

10

I’d Love To Lay You Down
DENNY STRICKLAND

19

09

Checkout Boy
M CALLAHAN

20

15

Crazy Too
LUCY ANGEL

 

 

 

 

21

24

Little Bit Of Somethin’
EMMA LANE 

22

28

Ten Tiny Fingers
THE PROCLAIMERS

23

22

What I Want
KEVIN FISHER

24 30

Hell Hath No Fury
LESLIE COURS MATHER

25

32

One Life
CHRIS JANZ & RHONDA VINCENT

26

23

I Belong To You
HICKS

27

29

Hug Um Up Country Girl
DICK BARNES

28

21

King Of Fools
LARRY WOODS

29

25

Big Maybe
STEPHANIE CHEEKS TEAGUE

30

40

Guitars, Guns & God
SHAWN O’SHIELDS

 

 

 

 

31

26

Sugar And Spice
TONJA WEST BRYANT

32

36

Tonight
REBECCA HOSKING 

33 31

Humpty Dumpty Heart
DAVID WOOD

34 37

Midnight Cowboys
ALY COOK

35

NE

Fireball
BIANCA MOON

36

RE

Every Bad Song Known To Man
MARCUM STEWART

37 NE

Baby What Ya Doing
MACY MARTIN

38

27

MORAL COMPASS 
THE PROCLAIMERS 

39 34

Hey Hey Hello
RUSTY RIERSON

40

33

Red Robin
CROOKS & STRAIGHTS

THE HOTDISC BRITISH & IRISH TOP 10

01

03

Me And My Guitar
FRANK JENNINGS

02

02

I Am The Train
GEORGE INGLIS

03

01

Banks Of The Vilaine
THE DIABLOS

04

04

Blagards And Cowboys
BLAGARDS AND COWBOYS

05

05

For You And Me
ROB ALLEN

06

08

Ten Tiny Fingers
THE PROCLAIMERS

07

06

Big Maybe
STEPHANIE CHEEKS TEAGUE

08

07

Moral Compass
THE PROCLAIMERS

09

09

Undecided
DAVE SHERIFF

10

10

There’s No Getting Over Me
AUBREY LOVEJOY

The Hotdisc chart is compiled from DJs and industry professionals’ ratings of songs currently being promoted on the Rush Released CD. They are not airplay charts, as airplay charts cannot work in Europe because there are no terrestrial country stations. The hundreds of country programmes on air which we service are likely to play a particular song only twice at most in a three month period, therefore rendering airplay charts insignificant in Europe. It works well in America where there are plenty of non-stop country stations but it does not work here. Any Airplay Chart you may see claiming to provide this service is bogus and Hotdisc does not condone these charts at all. They are misleading at best for the reasons stated.

The Hotdisc charts are put together weekly using ratings supplied by DJs who give scores to every song on the last three months’ editions of Rush Released. The scores are averaged out per week to give an accurate guide to the songs which are being championed by the industry. The aim is to showcase the songs which the industry professionals are flagging up as quality songs. This is a very useful exercise as it is free of politics, hype and rigging and done solely on merit!

Copyright © 2015, Hotdisc, The Old Manse, Hallidays Park, Selkirk, TD7 4LA, Scotland. Used with permission from HotDisk.

HotDisc Top 40 at Music Charts Magazine

About Fred’s Country program:

Le program Fred’s Country: La musique Country de Tradition avec Frederic (Fred) Moreau. Le program Fred’s Country est diffusé sur 65 fréquences FM, 53 radios ou webradios.

The Fred’s Country program, is hosted by Frederic (Fred) Moreau and broadcasted weekly on 47 frequencies, 53 Affiliated FM and Web Radio Stations in France, Canada, Belgium, Spain, and more. Listen, download The Fred’s Country program here…

Autre particularité du program Fred’s Country, c’est la seule émission en Europe à programmer un minimum de 75% d’artistes Canadiens particularity of the Fred’s Country program, each week, a minimum of 75% of Canadian Country artists on the air

Radio Show Host: Fred Moreau

Program Fred’s Country w42-2015 – October 16th, 2015

 

 

Music Charts Magazine® is proud to be friends with Mr. Moreau and glad to now be one of the many to host Program Fred’s Country. ( French/English)

Radio Program “Fred’s Country” – Now at Music Charts Magazine!

 

 

 

 

 

 

 


 

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#1 #2 #3 #4 #5
Kevin Fowler & Deryl Dodd

Bart Crow

Randy Rogers & Wade Bowen

Curtis Grimes

Casey Donahew Band

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New! Profiles of Texas Radio Reporters here

Copyright © 2015, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX

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HOTDISC TOP 40
 
  11 October 2015

 

This is a list of the Top 40 Most Popular Songs released on the Rush Released promotional CD. Each week DJs and media people who receive Rush Released send back their reaction sheets where they are given the chance to rate every song. This chart is exclusively for clients of the Rush Released CD.  The chart is published weekly here, and also in Country Music People, Country Music & Dance, Up Country and Southern Country magazines.

To watch the video for each song (where available) click on the titles.

01

01

It’s All In My Head
RICHARD LYNCH

02

NE

The Frog Song  
DAVE GIBSON

03 02

Loving You Is Breaking Me
JOEY CLARKSON

04

NE

No Place To Land
SAMMY SADLER

05

05

Banks Of The Vilaine
THE DIABLOS  

06

03

I Am The Train
GEORGE INGLIS

07

07

Trouble In Paradise
JAMES CAROTHERS

08 NE

Me And My Guitar
FRANK JENNINGS

09

06

Checkout Boy
M CALLAHAN

10

04

I’d Love To Lay You Down
DENNY STRICKLAND

 

 

 

 

11 NE

Don’t Close Your Eyes
LORRAINE JORDAN & CAROLINA ROAD

12

10

Blagards And Cowboys  
BLAGARDS AND COWBOYS

13 12

In My Baby’s Arms Again
ANITA STAPLETON

14

15

Playing With Fire
J MICHAEL HARTER

15

08

Crazy Too
LUCY ANGEL

16

NE

What A Heart Must Do
TIA McGRAFF

17

NE

For You And Me
ROB ALLEN

18

NE

Serendipity
EMILY VANCE

19 19

With Love  
REAGAN J

20

NE

How Far You Wanna Go
DENNY STRICKLAND

 

 

 

 

21

14

King Of Fools
LARRY WOODS

22

09

What I Want
KEVIN FISHER

23

11

I Belong To You
HICKS

24

20

Little Bit Of Somethin’
EMMA LANE 

25

13

Big Maybe
STEPHANIE CHEEKS TEAGUE

26

16

Sugar And Spice
TONJA WEST BRYANT

27

18

MORAL COMPASS 
THE PROCLAIMERS 

28

NE

Ten Tiny Fingers
THE PROCLAIMERS

29

22

Hug Um Up Country Girl
DICK BARNES

30 NE

Hell Hath No Fury
LESLIE COURS MATHER

 

 

 

 

31 17

Humpty Dumpty Heart
DAVID WOOD

32

NE

One Life
CHRIS JANZ & RHONDA VINCENT

33

21

Red Robin
CROOKS & STRAIGHTS

34 25

Hey Hey Hello
RUSTY RIERSON

35

24

Undecided
DAVE SHERIFF

36

NE

Tonight
REBECCA HOSKING 

37 NE

Midnight Cowboys
ALY COOK

38 27

You Rock My Rodeo
SARABETH

39

30

Proper Fit
CURTIS WEBB PROJECT

40

NE

Guitars, Guns & God
SHAWN O’SHIELDS

THE HOTDISC BRITISH & IRISH TOP 10

01

02

Banks Of The Vilaine
THE DIABLOS

02

01

I Am The Train
GEORGE INGLIS

03

NE

Me And My Guitar
FRANK JENNINGS

04

03

Blagards And Cowboys
BLAGARDS AND COWBOYS

05

NE

For You And Me
ROB ALLEN

06

04

Big Maybe
STEPHANIE CHEEKS TEAGUE

07

05

Moral Compass
THE PROCLAIMERS

08

NE

Ten Tiny Fingers
THE PROCLAIMERS

09

06

Undecided
DAVE SHERIFF

10

07

There’s No Getting Over Me
AUBREY LOVEJOY

The Hotdisc chart is compiled from DJs and industry professionals’ ratings of songs currently being promoted on the Rush Released CD. They are not airplay charts, as airplay charts cannot work in Europe because there are no terrestrial country stations. The hundreds of country programmes on air which we service are likely to play a particular song only twice at most in a three month period, therefore rendering airplay charts insignificant in Europe. It works well in America where there are plenty of non-stop country stations but it does not work here. Any Airplay Chart you may see claiming to provide this service is bogus and Hotdisc does not condone these charts at all. They are misleading at best for the reasons stated.

The Hotdisc charts are put together weekly using ratings supplied by DJs who give scores to every song on the last three months’ editions of Rush Released. The scores are averaged out per week to give an accurate guide to the songs which are being championed by the industry. The aim is to showcase the songs which the industry professionals are flagging up as quality songs. This is a very useful exercise as it is free of politics, hype and rigging and done solely on merit!

Copyright © 2015, Hotdisc, The Old Manse, Hallidays Park, Selkirk, TD7 4LA, Scotland. Used with permission from HotDisk.

HotDisc Top 40 at Music Charts Magazine

         
#1 #2 #3 #4 #5
Reckless Kelly

Bart Crow

Turnpike Troubadours Curtis Grimes

Kevin Fowler & Deryl Dodd

 [embeddoc url=”http://www.musicchartsmagazine.com/wp-content/uploads/TMCOctober52015.docx” viewer=”microsoft”]

 

 

New! Profiles of Texas Radio Reporters here

Copyright © 2015, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX

.</p

HOTDISC TOP 40
 
  4 October 2015

 

This is a list of the Top 40 Most Popular Songs released on the Rush Released promotional CD. Each week DJs and media people who receive Rush Released send back their reaction sheets where they are given the chance to rate every song. This chart is exclusively for clients of the Rush Released CD.  The chart is published weekly here, and also in Country Music People, Country Music & Dance, Up Country and Southern Country magazines.

To watch the video for each song (where available) click on the titles.

01

02

It’s All In My Head
RICHARD LYNCH

02 03

Loving You Is Breaking Me
JOEY CLARKSON

03

04

I Am The Train
GEORGE INGLIS

04

01

I’d Love To Lay You Down
DENNY STRICKLAND

05

05

Banks Of The Vilaine
THE DIABLOS  

06

09

Checkout Boy
M CALLAHAN

07

10

Trouble In Paradise
JAMES CAROTHERS

08

06

Crazy Too
LUCY ANGEL

09

07

What I Want
KEVIN FISHER

10

15

Blagards And Cowboys  
BLAGARDS AND COWBOYS

 

 

 

 

11

08

I Belong To You
HICKS

12 12

In My Baby’s Arms Again
ANITA STAPLETON

13

11

Big Maybe
STEPHANIE CHEEKS TEAGUE

14

14

King Of Fools
LARRY WOODS

15

18

Playing With Fire
J MICHAEL HARTER

16

17

Sugar And Spice
TONJA WEST BRYANT

17 13

Humpty Dumpty Heart
DAVID WOOD

18

16

MORAL COMPASS 
THE PROCLAIMERS 

19 24

With Love  
REAGAN J

20

28

Little Bit Of Somethin’
EMMA LANE 

 

 

 

 

21

22

Red Robin
CROOKS & STRAIGHTS

22

25

Hug Um Up Country Girl
DICK BARNES

23

19

Remember Me  
FRIZZELL, FORTUNE & CORNELIUS

24

20

Undecided
DAVE SHERIFF

25 21

Hey Hey Hello
RUSTY RIERSON

26

27

New Day
TAYLER LYNCH

27 29

You Rock My Rodeo
SARABETH

28 26

Share The Love
PATRICIA ROMANIA

29 23

When The Honeymoon Is Over
JOANNE STACEY

30

30

Proper Fit
CURTIS WEBB PROJECT

 

 

 

 

31

35

Every Bad Song Known To Man
MARCUM STEWART

32

37

Ride
BLAIR MATHEWS

33

36

Countrified
THE STICKERS

34

32

There’s No Gettin’ Over Me
AUBREY LOVEJOY

35 31

Tarantino
ROB ALLEN

36

33

Cane’s Creek
MITCHELL TENPENNY

37

34

Crazy Country Girl
PETE KENNEDY 

38 40

I Won’t Be Coming Home
KEITH SHAW

39

39

Little Cabin By The Sea
ACE DIAMOND 

40

38

Laugh A Little
MICHELLE WRIGHT

THE HOTDISC BRITISH & IRISH TOP 10

01

01

I Am The Train
GEORGE INGLIS

02

02

Banks Of The Vilaine
THE DIABLOS

03

04

Blagards And Cowboys
BLAGARDS AND COWBOYS

04

03

Big Maybe
STEPHANIE CHEEKS TEAGUE

05

05

Moral Compass
THE PROCLAIMERS

06

06

Undecided
DAVE SHERIFF

07

08

There’s No Getting Over Me
AUBREY LOVEJOY

08

07

Tarantino
ROB ALLEN

09

09

Crazy Country Girl
PETE KENNEDY

10

10

I Won’t Be Coming Home
KEITH SHAW

The Hotdisc chart is compiled from DJs and industry professionals’ ratings of songs currently being promoted on the Rush Released CD. They are not airplay charts, as airplay charts cannot work in Europe because there are no terrestrial country stations. The hundreds of country programmes on air which we service are likely to play a particular song only twice at most in a three month period, therefore rendering airplay charts insignificant in Europe. It works well in America where there are plenty of non-stop country stations but it does not work here. Any Airplay Chart you may see claiming to provide this service is bogus and Hotdisc does not condone these charts at all. They are misleading at best for the reasons stated.

The Hotdisc charts are put together weekly using ratings supplied by DJs who give scores to every song on the last three months’ editions of Rush Released. The scores are averaged out per week to give an accurate guide to the songs which are being championed by the industry. The aim is to showcase the songs which the industry professionals are flagging up as quality songs. This is a very useful exercise as it is free of politics, hype and rigging and done solely on merit!

Copyright © 2015, Hotdisc, The Old Manse, Hallidays Park, Selkirk, TD7 4LA, Scotland. Used with permission from HotDisk.

HotDisc Top 40 at Music Charts Magazine