Was it released concurrently with the Argo record, a later reissue or what?. I know there are some Hammond B3 fans out there. My copy of the record is on the Cawthron label, a bit of a curious issue. Here, part one has a real ending. They have the same speed, but really different themes. I guess you could say that I'd like more information on this record. Together, they whip up one of the most swinging sides you're bound to hear.
The liner notes of his early sixties Argo releases represent about the only information available. And though Lazar may not be part of the Hammond major league, he deserves his place in organ jazz history. Sam Lazar's organ wails from the opening note and doesn't let up. Any additional insight would be greatly appreciated. I'm not sure how this small label, with distribution out of Hollywood came to issue the record.
I have not yet added the info about the Cawthron label on my Allegro page but will soon do so. A lot of two-part records of this type come to an abrupt halt at the end of part one or simply fade out on side one and back in on the flipside. If you're involved in any way with one the recordings posted here and would like it removed, please send an email requesting such and it will be taken down. If you like what you hear, you're greatly encouraged to track down the original records or suitable reissues for yourself. The drumming is crisp and reportedly blues great Willie Dixon handled the chores on stand-up bass. I can only find a couple of references to it on the internet and then only on set sale lists.
If i do, could i use your picture of the Lazar 45 with the L. Hi, Todd I have a webpage on the Allegro label which as i just found out was owned by the same man as the Cawthron label that your Sam Lazar 45rpm was on. All I can say is that if you like fast Hammond B3 movers , then I can't imagine you won't dig this. The kind of raucous music that grew out of and boosted black neighbourhood life. Louis musician Grant Green, the unsung hero of modern jazz guitar.
Louis and played piano in the groups of Ernie Wilkins and Tab Smith, when a gig he attented of modern organ jazz progenitor Jimmy Smith inspired him to take up the Hammond B3. And the record was done properly. I don't know if part two is an alternate take, an edited piece of a longer recording or what. It too has a real ending though. Propable personnel on the Cawthron: Lazar org , Grant Green eg, he's identifiable , Chauncey Williams dr , recorded St. He's joined by jazz legend Grant Green on guitar, who's playing is particularly inspired. The line-up also includes blues icon and bassist Willie Dixon, which also explains the overriding blues atmosphere of Space Flight.
Biased or perhaps intent on sales, Jones ignores the facts that Wild Bill Davis was generally acknowledged as a pioneer of pre-modern organ jazz and that the start of the sixties brought a batch of top notch, tasteful players such as Shirley Scott and Jimmy McGriff, who were more advanced than Lazar. I managed to get the Lazar 45 on Cawthron, though my copy has a St. Here though, the Cawthron record is a two-parter. . . . .
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