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Starts on the Stops

Kurt Crandall

Kurt Crandall organized two great bands to join him and record live in the studio over two days. The first day he was backed by great regional jazz players including Bill Heid – a hard bop B3 master and storied blues/jazz pianist. Bill played on the blues classic - Somebody Loan Me a Dime by Fenton Robinson. The next day he took in his local blues

Kurt Crandall organized two great bands to join him and record live in the studio over two days. The first day he was backed by great regional jazz players including Bill Heid – a hard bop B3 master and storied blues/jazz pianist. Bill played on the blues classic - Somebody Loan Me a Dime by Fenton Robinson. The next day he took in his local blues band - John Sheppard (Iguanas, Johnny Sansone) on bass, along with local drum legend Johnny Hott (Cracker, Gutterball, House of Freaks) in addition to the great Midwestern guitarist– Karl Angerer (Lee McBee, RJ Mischo). Also added to the mix were the piano stylings of North Carolina based Clark Stern (Nappy Brown, Bob Margolin) and Sean Costello protégé and former Atlanta resident, Reid Doughten on guitar. The resulting music is organized into two sets – much like the way one would arrange a night of live music.

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Take It Off

Kurt Crandall

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After more than seven years since his last album, Kurt Crandall has a new release – thankfully it is worth the wait. He follows up his sophomore release, Get Wrong with Me (recorded during his tenure in Chicago) with his most ambitious and focused effort to date. Once again this album finds Kurt navigating the worlds of jazz, swing, jump, as well

After more than seven years since his last album, Kurt Crandall has a new release – thankfully it is worth the wait. He follows up his sophomore release, Get Wrong with Me (recorded during his tenure in Chicago) with his most ambitious and focused effort to date. Once again this album finds Kurt navigating the worlds of jazz, swing, jump, as well as blues from Chicago and New Orleans. Consistent throughout, however, are Crandall’s clever songwriting and infectious grooves.

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Get Wrong with Me

Kurt Crandall

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LIke TRUE STORY, GET WRONG WITH ME was recorded “old school,” live to analog tape. Covers of songs by Lucky Millinder, Snooky Pryor, Sonny Boy Williamson II and Lucky Millinder were chosen primarily for their Chicago lineage. The strain of humorous lyrics abounds via originals about misguided pet owners, alcohol-impaired vision and the Next Day

LIke TRUE STORY, GET WRONG WITH ME was recorded “old school,” live to analog tape. Covers of songs by Lucky Millinder, Snooky Pryor, Sonny Boy Williamson II and Lucky Millinder were chosen primarily for their Chicago lineage. The strain of humorous lyrics abounds via originals about misguided pet owners, alcohol-impaired vision and the Next Day Reality Check, low talkers and lifeless lovers (with a special nod to CPR courses everywhere.) His first two chromatic instrumental compositions “Gourmet Ice” and “Hypomatic” are dedicated to Clarke’s memory, but in tribute to Crandall as well they convey Clarke’s spirit less by reviving his licks than by reflecting a similar fluency and sensibilities, including an ear for organ combos as well as big band jump. - DICK SHURMAN

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True Story

Kurt Crandall

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Kurt has done his homework very thoroughly, every landmark harp player gets a look, not by slavish mimicking but simply with a lick or a phrase here & there. Chicago grind, westcoast swing, late-club cool & Kansas City Jump styles are all represented & with a bunch of Kansas City's finest sidemen onboard, how can Kurt Crandall's "True

Kurt has done his homework very thoroughly, every landmark harp player gets a look, not by slavish mimicking but simply with a lick or a phrase here & there. Chicago grind, westcoast swing, late-club cool & Kansas City Jump styles are all represented & with a bunch of Kansas City's finest sidemen onboard, how can Kurt Crandall's "True Story" ever fail? - Blues FreePress (UK)

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