DADDY LINDBERG Shirl - Wade In The Shade (Columbia, 1967)

"Wade in The Shade"

The Fingers foron unha das primeiras banda británicas en definirse a si mesmos como sicodélicos alá polo 66. Tamén, segundo as lendas que acompañan a todo grupo de rock, saían a escena cun mono de nome Freak Out. Na súa curta carreira deixaron tres sinxelos aínda que  o seu terceiro apareceu baixo o seudónimo de Daddy Lindberg. "Shirl", una peza de Geoff Stephens e John Carter non vale moito pero "Wade in the Shade" é realmente impresionante.  Hai uns días púxose en contacto con nós John Bobin,  baixista orixinal de The Fingers,  que nos conta isto:

Hi:
I saw a track called "Wade in the Shade" in your blog which my old band The Fingers recorded in 1967 under the name Daddy Lindberg (The Fingers were under contract to EMI, with a certain amount of recording time allotted to us at Abbey Road. We had run out of time for that period so Peter Eden (our producer) booked us in as Daddy Lindberg!). We were recently persuaded to reform for a one-off gig and the evening was recorded for posterity. Henry Scott-Irvine (the well known author, broadcast media consultant and radio presenter) was present at the reunion gig when The Fingers played together for the first time since 1967. Henry described the gig thus: 

“The Fingers emerged in 1966 and recorded their best songs in the summer of 1967. With former members of Dr Feelgood, The Kursaal Flyers and Wilko Johnson’s Solid Senders, gathered alongside former associates of Procol Harum, The Fingers took to the stage on the night of September 21st 2012 in the shape of their original line-up. During the break several TV screens came to life showing The Fingers in May 1967 from the German TV series Beat Beat Beat, which was televised, live in Frankfurt. The pinnacle of the show was ‘Wade in the Shade’, which was the B-side of ‘Shirl’ undertaken by The Fingers’ alter-ego band Daddy Lindberg. I did say to their bass guitarist, John Bobin, that it was a shame they had not played ‘All Kinds Of People’ and its B-side ‘Circus With A Female Clown’, which are now regarded as psychedelic masterpieces by many, which brings us back to that particular tag ‘psychedelic’. Record Mirror newspaper said in 1966, ‘The Fingers are as about as psychedelic as Ken Dodd!’ Leaving aside the above two songs, the Daddy Lindberg single and the songs seen on Beat Beat Beat, Record Mirror probably had a point. The Fingers were a great 60’s Pop group. They were extremely versatile, then and now. And they had their psychedelic moments, too!” 

Our new CD "Wade in the Shade" is available from www.mickeyjupp.com.. All the best,  John

LIVING JAZZ - Memphis Underground (RCA, 1970)

"Memphis Underground"

Living Jazz eran un invento del trompetista y arreglista Phil Bodner, también conocido por estar al frente de otro combo de similares características, The Brass Ring (Los Anillos de Bonce). La bonita portada y el título inducen a pensar que nos vamos a encontrar toques de lisergia o algo parecido pero la realidad es otra, sólo un agradable disco de easy listening con bonitos detalles del teclista, un poco de fuzz ligerito y una aceptable selección del repertorio. La mejor es sin duda la  adaptación del tema de Herbie Mann que se puede escuchar en el reproductor.

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Since its early formative years in New Orleans, jazz has been imbued with an astounding variety of outside influences, absorbing and utilizing features of other musical styles in order to enrich and broaden its own development. Yet, it has always managed to retain its own unique identity, its essence unsubmerged by appearances. Whatever else jazz may seem to be, it is always jazz, always the music of now. 

Rock and bossa nova are two of the more recent contributors to the growth and development of that protean organism we call jazz. Here is particularly fertile ground for the jazzman: the rhythmic, electric excitement of rock and the gentle, lyrical understatement of bossa nova. In the right hands this combination of ingredients promises some very groovy music indeed. 

Which brings us to the present album. Phil Bodner, along with a superbly gifted group of instrumentalists, has come up with an outstanding example of jazz it la mode. The recipe calls for a brimming bagful of choice, Grade A, now hits liberally seasoned with the sounds of rock, a dash of bossa nova and served with a great heaping of jazz soul. 

Included in this collection of tunes are such tasty morsels as Lennon-McCartney's Eleanor Rigby, Otis Redding's (Sittin' on) The Dock of the Bay, Herbie Mann's Memphis Underground and Nilsson's I Guess the Lord Must Be in New York City. Phil Bodner's arrangements are as upto-the-minute as the material itself, and Living Jazz plays them with its customary sound and spirit. 

All in all, MEMPHIS UNDERGROUND stands as living proof of the fact that although the face of jazz may change the groove goes on and on. (Notas contraportada)