Friday, December 31, 2010

Ella Fitzgerald, Billie Holiday and Carmen McRae - At Newport (1957)

The performances are a bit rough but Ella was in her prime and this CD reissue also includes a set by Carmen McRae.

Ella Fitzgerald & Billie Holiday at Newport presents the naturally intriguing results when Verve paired two sets recorded two days apart (over the 4th of July weekend, 1957) by the two best female singers of the 20th century. Unfortunately, circumstances weren't in their favor, as the combined factors of an unsympathetic band (for Fitzgerald) and shaky health (for Holiday) make these sets just a step below the expected level of greatness. It's unclear how much time Fitzgerald had spent with her trio, though she makes her unhappiness known while trying to jump-start them to a quicker tempo on "I'm Gonna Sit Right Down and Write Myself a Letter" and "April in Paris." Finally, she gets the band in line, delivering crowd-pleasing renditions of "Lullaby of Birdland" and the terrific scat piece "Air Mail Special," which must have set the park on fire. Holiday, though she would live for two more years, sounds as though she's on death's doorstep, croaking her standards "Willow Weep for Me," "My Man," "Lady Sings the Blues," and "What a Little Moonlight Can Do." Of course, any Billie Holiday appearance is worth hearing, and she brings her world-weary voice to task on the showpiece "Lady Sings the Blues." Though it's far from a perfect set for both singers, At Newport says more about their respective careers than any great show could. [For a special 2000 reissue of Ella Fitzgerald & Billie Holiday at Newport, Verve added six songs from Carmen McRae's set at Newport. As with Fitzgerald and Holiday, McRae also had problems with her set -- the absence of her usual backing trio forced her to begin her performance with an unfamiliar band. Still, it's an excellent, powerful showcase for McRae's voice on highlights like "I'll Remember April" and "Love Is Here to Stay." - John Bush

Ella Fitzgerald (vocals) Don Abney (piano) Wendell Marshall (bass) Jo Jones (drums)

1. This Can't Be Love
2. I Got It Bad (And That Ain't Good)
3. Body and Soul
4. Too Close for Comfort
5. Lullaby of Birdland
6. I've Got a Crush on You
7. I'm Gonna Sit Right Down and Write Myself a Letter
8. April in Paris
9. Air Mail Special
10. I Can't Give You Anything But Love

Billie Holiday (vocals) Mal Waldron (piano) Joe Benjamin (bass) Jo Jones (drums)

11. Nice Work If You Can Get It
12. Willow Weep for Me
13. My Man
14. Lover Come Back to Me
15. Lady Sings the Blues
16. What a Little Moonlight Can Do

Carmen McRae (vocals) Ray Bryant, Junior Mance (piano) Ike Isaacs (bass) Jimmy Cobb, Specs Wright (drums)

17. I'll Remember April
18. Body and Soul
19. McRae Introduces Skyliner
20. Skyliner
21. McRae Introduces the band and Midnight Sun
22. Midnight Sun
23. Love Is Here to Stay
24. Perdido

Recorded at the Newport Jazz Festival, July 4-6, 1957

Wednesday, December 29, 2010

Video - Duke Ellington - Jazz Icons Series

Duke Ellington Live in Amsterdam

Another great video in the Jazz Icons series - these are European performances usually recorded for TV of the day. The quality can be so-so, but is usually better than was being done for the Ed Sullivan Show of the time for example. This one is Live in Amsterdam, November 2, 1958.

Schoenberg - Berg - Webern - String Quartets

I recently saw a concert on the satellite that featured one of these quartets, and was inspired to buy this set. Quite interesting, and a change of pace for you. Five quartets by Schoenberg, and a few others by Webern and Berg.

Second Viennese School: String quartets
The city of Vienna into which Arnold Schoenberg was born in 1874 was a musical powerhouse, not least of string-playing. True to Viennese form, the young Schoenberg was soon teaching himself to play first the violin, then the viola and, more seriously, the cello. He was to remain self-taught in every musical department, apart from a few semi-official lessons from the composer-conductor Alexander von Zemlinsky.
Vienna's turn-of-the-century musical scene was a conservative one - a situation that explains what now sounds like the very un-Schoenbergian nature of the String Quartet in D major of 1897. This 'pre-First' Quartet shows next to no trace of the driven, hyper-expressionist intensity that Schoenberg was to unleash on the musical world in only a decade's time. The presence of Dvorak's springy, fresh-air manner is unmistakable. And on a technical level, the Andante con moto third movement's set of variations is particularly beautifully worked. Almost for the only time in Schoenberg's life, too, the critical reviews were good, with the influential, Wagner-detesting Eduard Hanslick proclaiming: 'It seems to me that a new Mozart is growing up in Vienna.'
The moment when Schoenberg started sounding like Schoenberg occurred in Verklarte Nacht ('Transfigured Night'). Written in 1899 as a love song to Mathilde Zemlinsky (the conductor's sister), whom Schoenberg was soon to marry, this string sextet brought together the seemingly opposite genres of the programmatic orchestral symphonic poem and abstract chamber music, combining the powerful expressive surge of Wagner's style with the closely worked thematic development of Brahms. By the time he had completed his Quartet No.l Op.7 in 1905, Schoenberg had become one of the strongest and most controversial musical personalities of his time.

Monday, December 27, 2010

Pete Rugolo - 1954 Adventures in Rhythm

Pete Rugolo gained his initial fame as Stan Kenton's main arranger of 1945-48, the "Progressive Jazz" years in Kenton's evolution. During that period he purposely wrote in a style similar to Kenton's (although more modern) and he was to Kenton what Billy Strayhorn was to Duke Ellington. The difference was that Rugolo eventually went out on his own and had a major solo career. He became the music director of Capitol Records in 1949, was greatly in demand to write for singers' albums (most notably those of June Christy and Nat King Cole), and later in the 1950s wrote the scores for several television series and films.
In 1954, Pete Rugolo started a series of his big band recordings that featured his colorful writing in a variety of contexts. Adventures In Rhythm was the first of these and is arguably his finest solo album. He utilizes such West Coast jazz greats as trumpeters Shorty Rogers and Maynard Ferguson, trombonist Milt Bernhart, saxophonists Bob Cooper, Bud Shank, Jimmy Giuffre and Bob Gordon, pianist Claude Williamson, guitarist Laurindo Almeida and drummer Shelly Manne along with extra percussion including tympani. While some of the music sounds like it would very well in the repertoire of the Stan Kenton Orchestra, other numbers (such as "Mixin' The Blues," "Jingle Bells Mambo," "Rugolo Meets Shearing" and his reworking of "King Porter Stomp") are pure Pete Rugolo.
There are plenty of surprises to be heard throughout this stimulating and greatly underrated big band gem.
Scott Yanow

01. Here's Pete (Rugolo) 2:25
02. My Funny Valentine (Hart, Rodgers) 2:48
03. Mixin' the Blues (Rugolo) 3:12
04. Poinclana (Song of the Tree) (Bernier, Simon) 2:16
05. Rugolo Meets Shearing (Lunham, Rugolo, Saunders) 2:48
06. Sambamba (Baxter) 2:26
07. King Porter Stomp (Morton, Morton) 2:49
08. You Are Too Beautiful (Hart, Rodgers) 2:50
09. Jingle Bells Mambo (Pierpont, Rugolo) 2:53
10. There Will Never Be Another You (Gordon, Warren) 2:16
11. Conversation (Ferrer) 3:43
12. Good Evening Friend's Boogie (Rugolo) 3:19

Recorded in Los Angeles between April 28 and June 21, 1954

Pete Candoli, Maynard Ferguson, Conrad Gozzo, Shorty Rogers, Buddy Childers, Trumpets
Harry Betts, Milt Bernhart, Bob Fitzpatrick, Herbie Harper, John Haliburton, Trombones
George Roberts, Bass Trombone
Fred Fox, Bill Hinshaw, Vince DeRosa, Sinclair Lott, John Cave, French Horns
Paul Sarmento, Tuba
Ethmer Roten, Alto Sax
Bud Shank, Harry Klee, Alto Saxes/Flutes
Bob Cooper, Tenor Sax
Jimmy Giuffre, Tenor Sax/Baritone Sax
Bob Gordon, Baritone Sax
Claude Williamson, Piano
Howard Roberts, Guitar
Harry Babasin, Upright Bass
Shelly Mann, Drums
Bernie Mattison, Percussion
Pete Rugolo Orchestra

Friday, December 24, 2010

The Jim Hall Quartet - All Across the City

"All Across the City" contains some of Hall's most inovatively contemporary playing. Certainly, no one thrown into the deep end of "R.E.M. Movement (State)" - a Gil goldsterin composition with free passages from all players - would suspect the provenance. Elsewhere the material is more familiar. "Young One (for Debra)" consciously recalls Bill Evans and "Waltz for Debby". Of the other originals, the gentle "Jane" is dedicated to Mrs. Hall, composer in turn of "Something Tells Me"; "Drop Shot" and "Big Blues" are tougher but also more humorous in conception, the former featuring Goldstein's electronic keyboards to good effect, the latter an unexpected tribute to Stanley Turrentine. The title-track, a gentle and slightly wondering cityscape, also recalls Hall's association with Bill Evans. Hall, though, is much more than an impressionistic impresionistic colourist. Hios reading of Monk's "Bemsha Swing" confirms his stature as one of the most significant harmonic improvisers on his instrument. By penguin Guide to Jazz - 7th edition.


Jim Hall - guitar

Gil Goldstein - keyboards

Steve La spina - bass

Terry Clarke - drums


01 beija-flor

02 Bemsha swing

03 Prelude to a kiss

04 Young one (for Debra)

05 R.E.M. State

06 jane

07 All across the city

08 Drop shot

09 How deep is the ocean

10 something tells me

11 Big blues

Wednesday, December 22, 2010

Bill Evans - The Complete Riverside Recordings

I'd like to re-state my entirely Grinchlike request that you do not post or share this set anywhere else. So I'm a dick; what else is new?

This magnificent 12-CD set contains all of Bill Evans' Riverside recordings as a leader, an extremely important period in the influential pianist's development. The first session predates Evans' period with the Miles Davis Sextet and other significant sessions include his sets with bassist Scott LaFaro and drummer Paul Motian (highlighted by the marathon Village Vanguard session of June 25, 1961), Evans' return nearly a year after LaFaro's death in a car accident with a new trio (consisting of Motian and bassist Chuck Israels), a sideman set with altoist Cannonball Adderley, the Interplay sessions with either trumpeter Freddie Hubbard or tenor saxophonist Zoot Sims, an extensive and rather somber solo set, and a 1963 appearance at Shelly's Manne Hole with bassist Israels and drummer Larry Bunker. Twenty sessions are released in full, 151 selections in all, including 24 performances that had been previously unissued at the time. Fortunately for listeners with a budget, nearly all of this material has since been reissued on single CDs (mostly as part of the Original Jazz Classics series), but true Bill Evans fanatics will have to get this remarkable box. ~ Scott Yanow

The span of this 12-CD box set is generally acknowledged as the best Bill Evans material available. That's saying a lot, considering the high quality of The Complete Fantasy Recordings and The Complete Bill Evans on Verve. What the Riverside recordings display is a young Evans discovering his revolutionary harmonic depth and improvisational genius with bursts of energy that, by his second session, had established a kind of moody intensity that seemed to deepen the music while making it at once more complex and easier to absorb. Evans's Riverside years encompass his early dynamos: Everybody Digs Bill Evans is resplendently here, as is the material from Sunday at the Village Vanguard and Waltz for Debby. So, too, are sessions with Cannonball Adderley, Jim Hall, and Zoot Sims. Through it all, Evans remains firmly planted in a winding style that's creatively unstoppable and visceral in its intensity. One could write hundreds of pages about these 12 CDs. Instead, you should indulge their dozen-plus hours. ~ Andrew Bartlett

The individual albums contained in this box set are:

New Jazz Conceptions
with Teddy Kotick (b); Paul Motian (dr)
Recorded September 1956

Everybody Digs Bill Evans
with Sam Jones (b); Philly Joe Jones (dr)
Recorded December 1958

Portrait In Jazz
with Scott LaFaro (b); Paul Motian (dr)
Recorded December 1959

with Scott LaFaro (b); Paul Motian (dr)
Recorded February 1961

Sunday At the VIllage Vanguard
with Scott LaFaro (b); Paul Motian (dr)
Recorded June 1961

Waltz For Debby
with Scott LaFaro (b); Paul Motian (dr)
Recorded June 1961

Moon Beams
with Chuck Israels (b); Paul Motian (dr)
Recorded May-June 1962

How My Heart Sings!
with Chuck Israels (b); Paul Motian (dr)
Recorded May-June 1962

with Freddie Hubbard (tr); Jim Hall (g); Percy Heath (b); Philly Joe Jones (dr)
Recorded July 1962

At Shelly's Manne Hole
with Chuck Israels (b); Larry Bunker (dr)
Recorded May 1963

The Solo Sessions Volume 1
Recorded January 1963

The Solo Sessions Volume 2
Recorded January 1963

Monday, December 20, 2010

Captain Beefheart - The Dust Blows Forward

Source material is always a coveted treasure for researchers and collectors. Captain Beefheart is frequently cited by the avant guarde musician in both rock and jazz as the inspiration for recordings and even careers. HisTrout Mask Replica,the holy grail of vinyl, is listed as many a critic’s top recordings of all time. Captain Beefheart AKA Don Van Vliet, born 1941, acted as artist then musician, the motivation repeated most recently by David Byrne (Talking Heads) and Beck. The Rhino Records Anthology of 30 songs on two discs spans the recording years of 1966-1982 with plenty of music previously unreleased on CD. The cult-like devotion to Beefheart actually should be treated as a like cult. Van Vliet often held twelve-hour practice sessions, depriving his band members of food and sleep. A contemporary and friend of Frank Zappa, Van Vliet traded with and borrowed from Zappa utilizing him as producer and musician on early recordings. Also heard are guitarists Ry Cooder and Gary Lucas. Captain Beefheart’s music, often a mix of blues and surrealism was the Ying to The Beatles Yang. The sweetness of Paul McCartney’s voice was countered by the gruffness of Van Vliet. He can best be described as a mix between Tom Waits, Dr. John, and Wolfman Jack. So strange (for his time) and unusual, his music attracted the likes of Joe Henderson, Charles Mingus, and Ornette Coleman. Beefheart’s pop music experimentations paralleled the work of jazz’s new and free experimenters. Mingus included protest into his compositions, Albert Ayler psychodelia, and Ornette Coleman developed his prime time concepts. During the sixties when rock was destroying the market for jazz, Beefheart was destroying the barriers between the genres. ~ Mark Corroto

Leaving alone the obvious condition that Captain Beefheart's numerous experimental albums aren't as prime for a best-of treatment as the discographies of most artists are, this is a pretty good overview of career highlights. The two CDs span his 1966 "Diddy Wah Diddy" single to his final album (1982's Ice Cream for Crow), each disc weighing in at about 75 minutes. With so much material to draw from (not even counting that mammoth five-CD box set of unreleased stuff), there will be inevitable disagreements among fans as to which songs were selected; there are seven from Clear Spot, for instance, but only two from Safe as Milk. Every period is sampled, however, and his weakest albums (Unconditionally Guaranteed and Bluejeans & Moonbeams) are judiciously represented by just one cut each. A few rarities do crop up, including a quite good and bluesy previously unreleased Clear Spot outtake ("Little Scratch"), "Hard Workin' Man" (from the soundtrack to Blue Collar), and the 1982 instrumental B-side "Light Reflected off the Oceands [sic] of the Moon." There are also little detours from Beefheart's albums for two tracks from 1966 singles and two collaborations with Frank Zappa from Zappa's Bongo Fury. It's not for the collector, but it's a decent package for someone who wants to get familiar with the Captain or doesn't need more than a few of his regular albums. Comprehensive notes in a 60-page booklet offer a good straightforward cruise through his oft-confusing history and shifting Magic Band personnel. ~ Richie Unterberger

It's tempting to emphasize Captain Beefheart's eccentricities at the expense of his talent. We're talking, after all, of an art prodigy who emerged from the Mojave Desert in the '60s performing an unprecedented strain of Dadaesque blues (fortified with jazz, R&B, and Beat ingredients) and backed by his personally schooled Magic Band. But once you get past the fact that players dubbed Zoot Horn Rollo and the Mascara Snake were backing a headstrong fellow howling with ungodly range songs with names such as "Old Fart at Play," "My Head is My Only House Unless it Rains," and "Nowadays a Woman's Gotta Hit a Man," you're confronted with...well, genius. The man born Don Van Vliet possessed a potent vision and the will to bring it to life on his own terms. This long-overdue two-disc retrospective presents 30 Beefheart tracks cut between 1966 and 1982 (when the Captain stepped away from the music world for the last time), including a smattering of rarities. Consider Dust an apt entree to the extraordinary creations of this outsider. ~ Steven Stolder

CD 1
1. Diddy Wah Diddy
2. Frying Pan
3. Electricity
4. Abba Zaba
5. Beatle Bones 'N Smokin' Stones
6. Safe As Milk
7. Moonlight On Vermont
8. Ella Guru
9. Old Fart At Play
10. Sugar 'N Spikes
11. Orange Claw Hammer
12. My Human Gets Me Blues
13. China Pig
14. Lick My Decals Off, Baby
15. Woe-Is-Uh-Me-Bop
16. I Wanna Find A Woman That'll Hold My Big Toe Till I Have To Go
17. The Smithsonian Institute Blues (Or The Big Dig)
18. I'm Gonna Booglarize You Baby
19. Click Clack
20. Grow Fins
21. When It Blows Its Stacks
22. Little Scratch
23. Big Eyed Beans From Venus
24. Golden Birdies

CD 2
1. Nowadays A Woman's Gotta Hit A Man
2. Low Yo Yo Stuff
3. Too Much Time
4. My Head Is My Only House Unless It Rains
5. Clear Spot
6. Upon The My-O-My
7. Party Of Special Things To Do
8. Sam With The Showing Scalp Flat Top
9. Debra Kadabra
10. Blue Collar: Hard Workin' Man (Main Title)
11. Bat Chain Puller
12. The Floppy Boot Stomp
13. Tropical Hot Dog Night
14. Owed T' Alex
15. Hot Head
16. Ashtray Heart
17. Sue Egypt
18. Making Love To A Vampire With A Monkey On My Knee
19. Ice Cream For Crow
20. The Past Sure Is Tense
21. Light Reflected Off The Oceands Of The Moon
22. Bonus Track 1

Friday, December 17, 2010

Rahsaan Roland Kirk - Rahsaan - Complete Mercury Recordings

This has appeared before, but quite some time ago. This is a new 100% secure EAC rip, and the scans are re-done and are better. CDs 1-4 and the art are in comments; the rest of the 11 CD set will be here in the next couple of days. Check the comments to this post.

Rahsaan Roland Kirk's nearly one-dozen long-players on the Mercury Records family of labels -- including the Smash and Limelight subsidiaries -- are gathered on this massive ten-disc compilation. Actually, it is 11 discs if you count the surprise bonus CD. Additionally, Rahsaan: The Complete Mercury Recordings of Roland Kirk lives up to its name by augmenting those albums with more than two-dozen previously unissued sides. Kirk's thoroughly innovative multi-instrumental reed work caught the attention of legendary producer Quincy Jones, then the vice-president of Mercury Records, who signed Kirk and would later arrange and conduct orchestrations for several of his memorable sessions. Perhaps the most recognizable among them is "Soul Bossa Nova" which is heavily featured in the Austin Powers franchise. Kirk's ability to perform several reed instruments -- including the tenor, flute, clarinet, manzello, and stritch -- simultaneously allowed him a musical autonomy few instrumentalists are afforded. His youthful embrace of the R&B, soul, pop, and eventually rock genres produced swinging interpretations of "And I Love Her" and "Walk on By," among others. Regardless of the genre, however, Kirk's ability to Swing -- with a capitol "S" -- is imprinted upon every piece he performed. Although Kirk continued his prolific output on Atlantic records in the late '60s and '70s, arguably his most profound sides are included here. We Free Kings, Domino, Reeds and Deeds, Gifts and Messages, I Talk with the Spirits and Rip, Rig & Panic are offered in their entirety. Undoubtedly the centerpiece of Kirk's work for the label is the live Kirk in Copenhagen, which features some wicked harp blowing from blues legend "Sonny Boy" Williamson, aka Big Skol. It is only fitting that this album benefits so greatly from inclusion on this set. The original six sides have been supplemented with an additional ten to present the entire October '63 performance, now complete at an hour and 45 minutes. Rahsaan: The Complete Mercury Recordings if Roland Kirk is complimented visually with a 56-page information packed booklet that includes: complete discographical and recording session logs, as well individual essays for each disc. Although not for the light of funds, this is truly the best way to become immersed in these early works of Rahsaan Roland Kirk. ~ Lindsay Planer

There are numerous quartet sessions with top-level pianists: Hank Jones, Richard Wyands, Wynton Kelly, Andrew Hill, Harold Mabern, and Jaki Byard, who, along with bassist Richard Davis and drummer Elvin Jones, helped craft Kirk's masterpiece, Rip Rig and Panic. There are two discs' worth of live material from a Copenhagen club date featuring Tete Montoliu and special guest Sonny Boy Williamson (!), plus a handful of oddities ranging from full orchestras to an obscure organ quartet to a tenor summit with Tubby Hayes and James Moody. With all of the oddities and obscurities here, not all of this box is up to snuff. But most of it is outstanding, filled with crafty improvisations, lasting original compositions, and the various eccentricities that made Rahsaan what he was. This set reminds us that, for all his creativity, all his knowledge, all his experimentation, all his passion, Roland Kirk had fun playing music. ~ Marc Greilsamer

CD 1
1. Blues for Alice [Alternate Take]
2. Blues for Alice
3. My Delight
4. The Haunted Melody
5. A Sack Full of Soul
6. We Free Kings
7. Spring Will Be a Little Late This Year
8. Moon Song
9. Some Kind of Love
10. Three for the Festival
11. You Did It, You Did It

CD 2
1. Get Out of Town
2. Rolando
3. I Believe in You
4. Where Monk and Mingus Live/Let's Call This
5. Domino
6. E.D.
7. I Didn't Know What Time It Was
8. Someone to Watch over Me
9. Termini's Corner
10. When the Sun Comes Out
11. Ad Lib (Hip Chops)
12. Stitt's Tune
13. I See With My Third "I"
14. Medley: If I Had You/Alone Together/For Heaven's Sake
15. Afternoon in Paris
16. Lady "E"

CD 3
1. Meeting on Termini's Corner
2. Domino
3. Time
4. 3-In-1 Without the Oil
5. A Stritch in Time
6. Lament
7. A Breath in the Wind
8. Land of Peace
9. Lonesome August Child
10. Limbo Boat
11. Hay Ro
12. Waltz of the Friends

CD 4
1. This Is Always
2. Reeds and Deeds
3. Song of the Countrymen
4. Ecclusiastics
5. By Myself
6. Roland Speaks
7. A Nightingale Sang in Berkeley Square
8. Variations on a Theme of Hindemith
9. I've Got Your Number
10. Between the Fourth and the Fifth Step
11. April Morning
12. Get in the Basement
13. Abstract Improvisation

CD 5
1. Narrow Bolero
2. Narrow Bolero
3. My Heart Stood Still
4. No Title, No. 1
5. Mood Indigo
6. Cabin in the Sky
7. On the Corner of King and Scott Streets

CD 6
1. The Monkey Thing
2. Will You Still Be Mine?
3. One for My Baby (And One More for the Road)
4. We'll Be Together Again
5. Mingus-Griff Song
6. Mood Indigo
7. Medley: Rock-A-Bye Baby/Nearness of You/No Title No. 3
8. Half a Triple

CD 7
1. Japan
2. Japan
3. Japan
4. Berkshire Blues
5. Dirty Money Blues
6. Dirty Money Blues
7. Ad Lib (Hip Chops)
8. The Things I Love
9. Petite Fleur
10. March on, Swan Lake
11. Tears Sent by You
12. My Heart at Thy Sweet Voice
13. Gifts and Messages
14. Hip Chops
15. Blues for C & T
16. Where Does the Blame Lie
17. Vertigo Ro
18. Jive Elephant

CD 8
1. I Talk With the Spirits
2. Serenade to a Cuckoo
3. Medley: We'll Be Together Again/People from "Funny Girl"
4. Ruined Castles
5. Trees
6. Fugue'n and Alludin'
7. Django
8. My Ship
9. A Quote from Clifford Brown
10. The Business Ain't Nothin' But the Blues

CD 9
1. No Tonic Press
2. From Bechet, Byas and Fats
3. Slippery, Hippery, Flippery
4. Black Diamond
5. Rip, Rig and Panic
6. Once in a While
7. Mystical Dream
8. Walk on By
9. Juarez
10. Shaky Money
11. Ebrauqs
12. Raouf
13. Nothing But the Truth
14. Safari
15. It's All in the Game
16. And I Love Her

CD 10
1. A Taste of Honey
2. Dyna-Soar
3. Soul Bossa Nova
4. Comin' Home Baby
5. Days of Wine and Roses
6. Moon River
7. Dreamsville
8. (I Love You and) Don't You Forget It
9. Charade
10. Peter Gunn Theme
11. I Had a Ball
12. Addie's at It Again

CD 11
1. A Stritch in Time

Thursday, December 16, 2010

J.J. Johnson - 1964 The Dynamic Sound Of J. J. With Big Band (aka J.J.!)

J.J.! is considered to be J.J. Johnson's first big-band album, at least as a leader, although the classic bop trombonist had worked earlier with the orchestras of Count Basie and Dizzy Gillespie. Six of the arrangements are by Johnson with the remainder by Oliver Nelson and Gary McFarland. Although there are brief spots along the way for pianist Hank Jones, flügelhornist Clark Terry, and flutist Jerome Richardson, Johnson's trombone is the dominant voice on every selection. The music is solidly played if not overly memorable, modern forward-looking mainstream jazz that features Johnson in excellent form.
Scott Yanow

01 El Camino Real (J. J. Johnson) 4:13
02 Stolen Moments (Oliver Nelson) 5:53
03 Train Samba (Gary McFarland) 6:47
04 Swing Spring (Miles Davis) 3:47
05 Bemsha Swing (T. Monk, D. Best) 3:14
06 My Little Suede Shoes (Charlie Parker) 4:56
07 So What (Miles Davis) 4:25
08 Stratusphunk (George Russell) 6:48
09 Winter's Waif (Gary McFarland) 5:04

(5-8) Clark Terry, Ernie Royal, trumpets, fluegelhorns; J.J. Johnson, Jimmy Cleveland, trombones; Tony Studd, bass trombone; Jerry Dodgion, alto sax, flute; Oliver Nelson, alto sax, tenor sax; Jerome Richardson, tenor sax, baritone sax, flute; Hank Jones, piano; Bob Cranshaw, bass; Grady Tate, drums.

(2, 4) Thad Jones, Ernie Royal, trumpets, fluegelhorns; J.J. Johnson, Jimmy Cleveland, trombones; Tony Studd, bass trombone; Jerry Dodgion, alto sax, flute, alto flute; Oliver Nelson, alto sax, tenor sax; Ray Beckenstein, baritone sax, bass clarinet, flute; Hank Jones, piano; Bob Cranshaw, bass; Grady Tate, drums.

(1, 3, 9) Jimmy Maxwell, Joe Wilder, trumpets; Thad Jones, Ernie Royal, trumpets, fluegelhorns; J.J. Johnson, Jimmy Cleveland, trombones; Tony Studd, Tom Mitchell, bass trombones; Jimmy Buffington, French horn; Bill Stanley, tuba; Jerry Dodgion, alto sax, flute, alto flute; Harvey Estrin, soprano sax, alto sax, clarinet, flute, alto flute; Oliver Nelson, alto sax, tenor sax, clarinet; Budd Johnson, baritone sax, bass clarinet; Hank Jones, piano; Bob Cranshaw, bass; Grady Tate, drums.

Recorded at Webster Hall, New York City on December 7 (5-8), 8 (2, 4) and 9 (1, 3, 9), 1964
Arranged by Oliver Nelson (2), Gary McFarland (3 & 9) and J.J. Johnson (all others).

Wednesday, December 15, 2010

Mose Allison - My Back Yard

Mose Allison - My Back Yard
BlueNote 93840


It kept raining for three days and for three days these songs just kept rolling out, kind of like the Mississippi. And all along the way, the musicians seemed to know just what Mose was after without a lot of unnecessary talk. Maybe it was a combination of the "quagmire" and the "chicken tenor" and certainly all that great food we were eating played a part, but this music has a flavor that you can savor. And while I believe that the blues lives in people, not in places, in the end, something special definitely did transpire when Mose Allison returned to "his backyard," New Orleans.

Enrique Morente (Granada 1942 - Madrid 2010)

Enrique Morente made his final trip to Granada today. I was there last August, with my gal. It is a city that breaks my heart, it is a city you feel more than you see. Morente was possibly our best living 'cantaor', and he sang our best poets like nobody else. Among them, Lorca, obviously. Rest next to you dear Alhambra, maestro, in the neighbourhood of Calle Elvira and its moorish district...


Granada, calle de Elvira,
donde viven las manolas,
las que se van a la Alhambra,
las tres y las cuatro solas.
Una vestida de verde,
otra de malva, y la otra,
un corselete escocés
con cintas hasta la cola.

Federico García Lorca

Lars Gullin - Vol 1 With Chet Baker 1955-56

Flac and Scans

This whole series of albums comes with thanks to bluebird

Chet Baker - trumpet
Gordon Olsson - trombone
Arne Domnerus - alto, clarinet
Rolf Billberg - tenor
Bjarne Nerem - tenor
Lars Gullin - baritone
Lennart Jansson - baritone
Dick Twardzik - piano
Rune Ofverman - piano
Gunnar Svensson - piano
Rolf Berg - guitar
Georg Riedel - bass
Jimmy Bond - bass
Bengt Carlsson - bass
Georg Riedel - bass
Bosse Stoor - drums
Peter Littman - drums
Bert Dahlander - drums
Egil Johansen - drums
Catherina Valente - vocal

01 Danny's Dream
02 Igloo
03 Lars Meets Jeff
04 Cool Blues
05 Brash
06 Lover Man
07 I'll Remember April
08 All Of Me
09 Like Someone In Love
10 Jeepers Creepers
11 You Go To My Head
12 Fedja
13 Ma
14 Perntz

Stockholm Concert Hall, April 25, 1955
Stuttgart, October 15, 1955
Sundbyberg, Sweden, April 24, 1956
Stockholm, May 31, 1956

Lars Gullin - Vol 2 Modern Sounds 1953

Flac and Scans

This whole series of albums comes with thanks to bluebird

Conte Candoli - trumpet
Frank Rosolino - trombone
Lee Konitz - alto
Lars Gullin - alto, baritone
Zoot Sims - tenor
Kettil Ohlsson - baritone
Wade Legge - piano
Gunnar Svensson - piano
Putte Lindblom - piano
Bob Laine - piano
Mats Olsson - piano
Lou Hackney - bass
Simon Brehm - bass
Yngve Akerberg - bass
George Riedel - bass
Lars Pettersson - bass
Don Bagley - bass
Tauno Suojarvi - bass
Al Jones - drums
Wes Ilken - drums
Jack Noren - drums
Bosse Stoor - drums
Bosse Stoor - drums
Stan Levey - drums
Rita Reys - vocal

01 All The Things You Are
02 The Squirrell
03 Deed I do
04 Over The Rainbow
05 Lullaby In Rhythm
06 He's Funny That Way
07 You Go To My Head
08 The Things We Did Last Summer
09 Abluton
10 Lady Fingers
11 The Front
12 The Boy Next Door
13 North Express
14 Hersey Bar
15 That Old Black Magic
16 They Didn't Believe Me
17 Night And Day
18 Chloe
19 Dedicated To Lee (take 1)
20 Dedicated To Lee (take 2)
21 Late Date
22 Love Me Or Leave Me
23 Yvette
24 You Go To My Head 7968

Stockholm, February 3, 1953
Stockholm, March 2, 1953
Stockholm, March 11, 1953
Stockholm, March 31, 1953
Stockholm, April 16, 1953
Stockholm, July 8, 1953
Stockholm, August 25, 1953
Stockholm, October 21, 1953
Helsinki, Finland December 1, 1953

Taken from CD: Dragon DRCD 234

Lars Gullin - Vol 3 Late Summer 1954-55

Flac and Scans

This whole series of albums comes with thanks to bluebird

01-05, 14-15
Leppe Sundvall - bass trumpet (except track 1)
Kurt Jarnberg - trombone (except track 1)
Lars Gullin - baritone
Bengt Hallberg - piano
George Reidel - bass
William Schiopffe - drums
The Moretone Singers dircetd by Ole Morthenson.
Recorded: Korsager School, Copenhagen, Denmark September 11-13, 1954

Lars Gullin - baritone
Jutta Hipp - piano
Simon Brehm - bass
Bosse Stoor - drums
Recorded: Stockholm, January 31, 1955

Rolf Billberg - tenor
Lars Gullin - baritone
Claes-Goran Fagerstedt - piano
George Reidel - bass
Bosse Stoor - drums
Stockholm, March 28, 1955

Rikard Broden (Johanson) - trombone
Lars Gullin - baritone
Rolf Billberg - tenor
Rolf Berg - guitar
George Reidel - bass
William Schiopffe - drums
Stockholm, June 13, 1955

01 Late Date
02 Lover Man
03 Beautiful Heart
04 Gone With The Wind
05 Merlin
06 Always
07 Man Lover (Lover Man)
08 All The Things You Are
09 Yesterdays
10 Too Marvellous For Words
11 BBC Blues (Double Kick)
12 Late Summer
13 For FJ Fans Only
14 Merlin (take 1)
15 Merlin (take 3)

Taken from CD: Dragon DRCD 244

Lars Gullin - Vol 4 Stockholm Street 1959-60

Flac and Scans

This whole series of albums comes with thanks to bluebird

Bengt-Arne Wallin - flugelhorn
George Veron - trombone
Andreas Skjold - trombone
Eje Thelin - trombone
Eolf Billberg - alto
Harry Backlund - tenor
Lars Gullin - baritone
Putte Wickman - clarinet
Lars Bagge - piano
Sune Larsson - guitar
Lars Pettersson - bass
Claes Lindroth - bass
Sture Kallin - drums
Bosse Skoglund - drums
Robert Edman - drums

01 Fine Together
02 The Black Rose
03 Merlin
04 For F J Fans Only
05 Nightshade
06 Birks' Works
07 Darn That Dream
08 Without a Chance
09 I Love You
10 Darn That Dream
11 Don't Get Scared
12 Blue Mail
13 The Yellow Leaves' Love to the Earth
14 Baritonome
15 Our Knob
16 Stockholm Street
17 Baritonome

Lars Gullin - Vol 5 First Walk 1951-52

Flac and Scans

This whole series of albums comes with thanks to bluebird

Rolf Ericson - trumpet
Weine Renliden - trumpet
Ake Bjorkman - french horn
Leppe Sundevall - tenor horn
Ake Persson - trombone
Jonas Bergstrom - alto
Rolf Blomquist - tenor
Carl-Eric Lindgren - tenor
Lars Gullin - baritone, bass clarinet
Bengt Hallberg - piano
Mats Olsson - piano
Gunnar Svensson - piano
Ingemar Westberg - piano
Gunnar Almstedt - bass
Bengt Wittstrom - bass
Yngve Akerberg - bass
Jack Noren - drums
Nils-Bertil Dahlander - drums
Anders Berman - drums

01 That's It
02 Gull in a Gulch
03 All Yours
04 Deep Purple
05 Danny- O
06 Laura
07 All God's Chillun Got Rhythm
08 Blue Lou
09 Dancing in the Dark
10 Alone
11 The Continental
12 I Got it Bad
13 Dancing in the Dark
14 Alone
15 All the Things You Are
16 Mean to Me
17 Dorica
18 I'll remember April
19 Who Sleeps
20 First Walk
21 Long Ago and Far Away
22 Top Hat
23 Liza
24 Toll Bridge
25 Smart Alec
26 Sov du Lilla Vide Ung

Lars Gullin - Vol 6 The Sideman 1949-52

Flac and Scans

This whole series of albums comes with thanks to bluebird

Thore Ehrling - conductor
Anders Sward - trumpet
Sixten Eriksson - trumpet
Ole Hedberg - trumpet
John Linder - trumpet
Arnold Johansson - trumpet
Leppe Sundevall - trumpet, tenor horn
Rold Ericson - trumpet
George Vernon - trombone
Lars Gullin - alto, tenor, baritone, clarinet, bass clarinet
Ake Blomquist - alto
Per-Arne Croona - alto, baritone
Arne Domnerus - alto, tenor
Stig Gabrielsson - alto
James Moody - alto, tenor
Zoot Sims - tenor
Martin Tidland - tenor
Seymour Osterwall - tenor
Harry Arnold - tenor
Rolf Blomquist - tenor
Carl- Hendrik Norin - tenor
Stan Getz - tenor
Gosta Theselius - tenor, piano
Curt Blomquist - baritone
Putte Wickman - clarinet
Ulf Linde - vibes
Mats Olsson - piano
Dick Hyman - piano
Rolf Larsson - piano
Stig Holm - piano
Bengt Hallberg - piano
Reinhold Svensson - piano
Gunnar Svensson - piano
Ingemar Westburg - piano
Marr Olsson - piano
Sten Carlberg - guitar
Arthur Osterwll - bass
Charlie Short - bass
Hasse Tellemar - bass
Arne soderlund - bass
Gunnar Almstedt - bass
Yngve Akerberg - bass
Simon Brehm - bass
Bengt Wittstrom - bass
Sture Eriksson - drums
Ed Shaughnessy - drums
Gunnar Olsson - drums
Bertil Frylmark - drums
Anders Berman - drums
Jack Noren - drums
Sture Kallin - drums
Robert Edman - drums
Charles Judah - vocal
Brita Borg - vocal
Allan Johnasson - vocal
Gunnar Nilson - vocal
Bengt Elmberg - vocal
Alica Bavs - vocal

01 Swedish Pastry
02 The Man I Love
03 Yellow Duck
04 Id've Baked a Cake
05 Wilhelmina
06 Godchild
07 How Deep is the Ocean
08 Love Walked In
09 Moody's Bounce
10 Two Fathers
11 Flaming
12 Don't Get Scared
13 A Handful of Stars
14 I'm Gonna Lock My Heart
15 Be-Bop-Knopp
16 Summertime
17 Summertime
18 Dancing in the Dark
19 First Walk
20 Lady Estelle's Dream
21 Moon Over Miami
22 Do You Wanna Jump Children
23 The Gril With the Net
24 Any Time
25 Who Sleeps
26 The Girl With the Net

Monday, December 13, 2010

Lars Gullin - Vol 7 Silhouette 1951-53

Flac and Scans

This whole series of albums comes with thanks to bluebird

Weine Renliden - trumpet
Arnold johansson - trumpet
Ake Persson - trombone
Ake Bjorkman - french horn
Arne Domnerus - alto
Rolf Blomquist - tenor
Lars Gullin - baritone
Gunnar Svensson - piano
Rune Ofwerman - piano
Yngve Akerberg - bass
Simon Brehm - bass
Jack Noren - drums
Nils-Bertil Dahlander - drums

01 Alone
02 The Continental
03 Stella by Starlight
04 For Goofers Only
05 For Goofers Only
06 All the Things You Are
07 You Go to My Head
08 You Go to My Head
09 Smooth Breeze
10 Smart Alec
11 Apostrophe
12 Merlin
13 Colon
14 Comma
15 Silhouette
16 Disc-Major
17 Holiday for Piano
18 She's Funny That Way
19 Night and Day
20 Sounds Like That
21 Brazil
22 Four and No More
23 Sad Sally
24 You Blew Out the Flame

Sunday, December 12, 2010

Roberto Cipelli - F. à Léo (2008)


For fans of italian jazz and French chanson and poetry. Something different! Jean Francois

Roberto Cipelli/Paolo Fresu/Philippe Garcia/Gianmaria Testa/Attilio Zanchi: F. à Léo (2007 [2008], Justin Time): Tribute to French chansonnier Léo Ferré (1916-93); not sure how to parse the title, a large abbreviated initial and a small dedication, followed even smaller by "progetto di roberto cipelli." The artists are listed alphabetically. Pianist Cipelli has a couple previous albums dating back to 1988, but most of his credits are on albums led by trumpeter Fresu. Testa sings Ferré's French texts, with Zanchi on bass and Garcia on drums; Garcia also has a couple vocal credits, and Garcia and Testa have one each on guitar (chitarra). The vocals are appropriately smoky, the trumpet poignant, and Cipelli adds connective tissue between the songs. Recording date not given, but AMG lists two previous editions, one in 2007 on Bonsaï, one in 2008 on Radiofandango -- labels I've never heard of otherwise. B+(**). Review by Tom Hull.

Roberto Cipelli F a Leo

F. à Léo, an exquisite recording by Italian jazz musicians performing the songs of Léo Ferré, has already been accorded rave reviews, extensive airplay and strong sales in Europe and Canada. Now Justin Time is confident this gem of a record can find success across the USA, as it holds appeal not only for fans of jazz trumpeter Paolo Fresu, but also people interested in Léo Ferré, fans of contemporary Italian music, and devotees of Gianmaria Testa, an singer/songwriter whose own highly personal and richly melodic songs - that at times recall Paolo Conte - are imbued with intoxicating accents of tango, bossa nova, habañera and jazz, and who sings and plays guitar on eight of the album's 12 selections.

This project was initiated in 2001 and is the result of a simple, beautiful, yet daring idea proposed by pianist Roberto Cipelli. In addition to offering jazz renditions of some of Léo Ferré's most noted works, the repertoire of the French chanson monument is revisited by Italians, with a broader vision, a different approach, if you will, coming from the other side of the Alps. The idea blossomed over time, with concerts given here and there in Italy, in France and in Belgium, to which audiences responded favourably. The musicians also demonstrated an obvious enjoyment on stage. Thus, the end result is the product of a collaborative effort, an endeavour involving the production (Produzioni Fuorivia) and an exceptional band brought together by the architect of the project, pianist Roberto Cipelli.

Cipelli's project features a group of esteemed musicians in their own right: Attilio Zanchi on double bass, Philippe Garcia on drums and Paolo Fresu, a real trumpeter-poet if there ever was one. Lending his voice to the lyrics is singer Gianmaria Testa, who possesses a profound knowledge and love of Ferré's universe and is a connoisseur, so to speak, of France and its language. Since then, the repertoire has been improved, refined, and these men have, in a way, taken ownership of the songs. Label Information.


  1. Avec le Temps
  2. Les Forains
  3. A Saint Germain Des Pres
  4. Lettura Art Poetique
  5. Vingt Ans
  6. Lettura Art Poetique
  7. Les Poetes
  8. F.
  9. Lettura Art Poetique
  10. Free Poetique
  11. Monsieur William
  12. Lettura Art Poetique
  13. l'Adieu
  14. Lontano Lontano
  15. Lettura Art Poetique
  16. Colloque Sentimental
  17. Col Tempo / Avec Le Temps


  • Roberto Cipelli, Arranger, Artistic Producer, Piano
  • Paolo Fresu, Flicorno, Flugelhorn, Trumpet
  • Philippe Garcia, Drums, Percussion
  • Gabriele Rocchi, Assistant, Assistant Engineer
  • L. Tenco, Composer
  • Gianmaria Testa, Guitar, Vocals
  • Attilio Zanchi, Double Bass

Lars Gullin - Vol 8 Danny's Dream 1953-55

Flac and Scans

This whole series of albums comes with thanks to bluebird

Carl-Henrik Norin - tenor
Lars Gullin - baritone
Rolf Berg - guitar
Georg Riedel - bass
Alan Dawson - drums
Robert Edman - drums
Bo Stuur - drums

01 Bugs
02 Jump for Fan
03 Stocks and Bonds
04 I Fall in Love Too Easily
05 Danny's Dream
06 Be Careful
07 Igloo
08 Circus
09 Manchester Fog
10 Manchester Fog
11 Manchester Fog
12 Lars Meets Jeff
13 Lars Meets Jeff
14 A la Carte
15 Soho

Saturday, December 11, 2010

Bertha Hope - In Search Of Hope

SCCD31276 Bertha Hope In Search Of Hope
SteepleChase 1990
Lossless/Flac (no scans)
Posted by Trane

This is the first leader recording by Elmo Hope's widow Bertha Rosemond Hope (b. November 8, 1936 in Los Angeles).
She started playing piano at the age of three. She became interested in jazz through Bud Powell and turned pro in the early 50s.
She has been in the shadow of her legendary husband for a long time but deserves wider recognition on her own.

Billy Higgins (drums)
Bertha Hope (piano)
Walter Booker (bass)

1. In Search Of…
2. Pas de Trois
3. You Know Who
4. A Wise And Wonderful Book
5. Roll On
6. Nieta
7. Mother Of Fortune
8. Release Yourself
9. Lament
10. Mitzi's First Night Out

Nils Landgren - Ballads

1. You Stole My Heart - 06:10 (Harris, Eddie)
2. Don't Go To Strangers - 04:29 (Kent, Arthur / Mason, Dave / Evans, Redd)
3. Lament - 08:20 (Johnsson, J.J.)
4. There Will Never Be Another You - 04:15 (Warren, Harry / Gordon, Mack)
5. Here's That Rainy Day - 04:50 (van Heusen, Jimmy / Burke, J.)
6. Once Upon A Summertime - 05:23 (Legrand, Michel / Barclay, Eddie / Marnay, Eddy)
7. Everything Happens To Me - 04:47 (Mercer, John / Carmichael, Hoagy)
8. Killing Me Softly - 06:07 (Fox, Charles / Gimbel, Norman)
9. They Say It's Wonderful - 04:21 (Berlin, Irving)
10. A Child Is Born - 06:10 (Jones, Thaddeus)
11. I Thought About You - 03:48 (van Heusen, Jimmy / Mercer, John)

Line Up:
Nils Landgren - trombone & vocals
Bobo Stenson - piano
Palle Danielsson - bass
Anders Kjellberg - drums
Joakim Milder - tenorsax
Johan Norberg - guitar
e.s.t. Esbjörn Svensson Trio:
Esbjörn Svensson - piano, Dan Berglund - bass, Magnus Öström - drums

Recorded at Europa Studio 3 in March 1993 except #1 recorded at Atlantis Studio, Stockholm, Sweden
Engineered by Leif Allansson except #6, 8 engineered by Jan Ugand
Mastered by Jan Erik Kongshaug
Produced by Siegfried Loch #1, Johan Norberg and Nils Landgren #2-11

Friday, December 10, 2010

Lars Gullin - Vol 9 Summertime 1954-56

Flac and Scans

This whole series of albums comes with thanks to bluebird

Weine Renliden - trumpet
Jan Allan - trumpet
Bengt-Arne Wallin - trumpet
Nisse Skoog - trumpet
Ake Persson - trombone
George Vernon - trombone
Gordon Ohlsson - trombone
Arne Domnerus- alto, clarinet
Bjarne Nerem - tenor
Carl-Henrik Norin - tenor
Rolf Blomquist - tenor
Lars Gullin - baritone
Rune Falk - baritone
Putte Wickman - clarinet
Bengt Hallberg - piano
Rune Ofwerman - piano
Georg Riedel - bass
Robert Edman - drums
Nils-Bertil Dahlander - drums

01 Primula Veris
02 Laburnum Vulgare
03 Lotus Corniculatus
04 Galium verum
05 Dedja
06 Ma
07 How About You
08 Perntz
09 Summertime
10 Lover Come Back to Me
11 Yesterdays
12 A Foggy Day
13 So What
14 Always

Thursday, December 9, 2010

Slide Hampton - 1959-61 Two Sides Of Slide

The two octets Slide Hampton uses on this recording are quite similar in content but different in the way they execute this music, and much of it has to do with the distinct difference in personnel, and the two years that separate their recording dates. The first half deals with hard to post-bop modifications and the way the group approaches a bridge between the two, while the other end of the program concentrates on interpretations the music written by George Gershwin, plus an extended four-part suite written by Hampton. These dual sides of Slide Hampton combine to form a complete picture of what the emerging arranger and trombonist offered as a individualist aside from peers (Quincy Jones, J.J. Johnson, Lalo Schifrin, et. al.) who concentrated on movie soundtracks. The sessions from 1959 include Bernard McKinney on the baritone horn, three different drummers (Kenny Dennis, Charlie Persip, and Pete LaRoca) on select tracks, and fledgling young trumpeters Booker Little and Freddie Hubbard, even though Burt Collins does all of the lead brass work with Hampton. "Newport" starts the set in a modal walk, the intro initially similar to "You Don't Know What Love Is," then merges into a steady streaming freight train jam. Four other Hampton originals range from the Latin unison call outs and boogaloo/bop "Althea" (assumedly for tennis star Althea Gibson), the regal "Go East, Young Man" based on the changes of "Milestones," the much quieter post-bopper "Jazz Corner," and the simple straight bop of "Patricia." Standards "Autumn Leaves," "Sometimes I Feel Like a Motherless Child," and "Woody 'n' You" feature add-ons from the originals like chatty, choppy horns, more anthemic than normal hues, and a harder, abundant, modified line, respectively. A slightly less potent but still talented lineup from 1961 plays the five Gershwin pieces, with "There's a Boat Dat's Leavin' Soon for New York" again richly enhanced with a little rock & roll beat tossed in; "Summertime" is performed via high drama, and "It Ain't Necessarily So" is dressed in Latin trim. George Coleman is the lone artist besides Hampton and baritone saxophonist Jay Cameron on the entire date, and the always effervescent tenor saxophonist gets a laid-back solo during "I Loves You Porgy." The "dance" suite "The Cloister" is impressionistic within ballad, easy swing, slightly urgent waltz, and frantic bop segments, with some call and response at the end. Other than some drum fills from Lex Humphries, the piece is played to strict tolerances, and over some 14 minutes, is not as memorable as the other tracks, although hinting at future projects of Hampton's. As solid musically as any mainstream jazz fan might need, this is an important prelude to other large ensemble projects Slide Hampton assembled, and deserves repeat listenings to fully reap its rewards.
Michael G. Nastos, All Music Guide

01. Newport (S.Hampton) 9:10
02. Autumn Leaves (Prevert-Kosma) 3:24
03. Althea (S.Hampton) 4:01
04. Jazz Corner (S.Hampton) 4:22
05. Sometimes I Feel A Motherless Child (Traditional) 3:00
06. Go East, Young Man (S.Hampton) 5:54
07. Patricia (S.Hampton) 3:42
08. Woodyn' You (D.Gillespie) 4:10
09. There's A Boat Dat's Leavin' Soon For New York (G.Gershwin) 3:46
10.Bess, You Is My Woman Now (G.Gershwin) 3:47
11.Summertime (G.Gershwin) 4:32
12.I Love You Porgy (G.Gershwin) 2:35
13.It Ain't Necessarily So (G.Gershwin) 4:53
The Cloister (Dance Suite) (S.Hampton)
14.Part I Impression 4:39
15.Part II Obsession 4:12
16.Part III Expression 2:58
17.Part IV Possession 3:03

Tracks 1-8: Freddie Hubbard, Booker Little, Burt Collins (on tracks 1, 4, 5, 6) (tp), Slide Hampton (tb, trombonium, p), Bernard McKinney (bar horn), George Coleman (ts, cl), Jay Cameron (bars, bcl), George Tucker (b), Pete LaRocca, Kenny Dennis (on tracks 3, 8), Charlie Persip (on tracks 2, 7) (d).
Recorded in NYC, 1959

Tracks 9-17: Hobart Dotson, Willie Thomas (tp), Slide Hampton, Ben Jacobs-El (tb), George Coleman (ts), Jay Cameron (bars), Eddie Kahn (b), Lex Humphries (d).
Recorded in NYC, 1961

Wednesday, December 8, 2010

Lars Gullin - Vol 10 More Sideman 1951-54

Flac and Scans

Thanks to bluebird for this one

Weine Renliden - trumpet
Rolf Ericson - trumpet
Ernie England - trumpet
Leppe Sundevall - trumpet
Vinde Nilsson - trumpet
Bo Nygaard - trumpet
Ake Bjorkamn - french horn
Ake Persson - trombone
Folke Rabe - trombone
Kurt Jarnberg - trombone
Sven-Olof Walldoff - valve trombone
Arne Domnerus- alto, clarinet
Kars Gullin - alto, baritone
Kjell Stenborg - alto
Lulle Ellboj - alto
Rolf Blomquist - tenor
Carl-Henrik Norin - tenor
Gosta Theselius - tenor
Allan Lundtrom - tenor
Gunnar Lunden-Welden - tenor
Ulf Linde - vibes
Gunnar Svensson - piano
Bengt Hallberg - piano
Rune Ofwerman - piano
Rolf Hedeen - piano
Rune Gustafsson - guitar
Yngve Akerberg - bass
Gunnar Almstedt - bass
Simon Brehm - bass
Lars Pettersson - bass
Harry Widen - bass
Jack Noren - drums
Wes Ilcken - drums
Sven Bollhem - drums
Egil Johansen - drums
Tage Kallstrom - drums
Rita Reys - vocals

01 Moon Over Miami
02 Twilight Time
03 Do You Wanna Jump Children
04 Lady Estelle's Dream
05 Ablution
06 Lullaby of the Leaves
07 Giro
08 I'll Remember April
09 'S Wonderful
10 Ablution
11 'Deed I Do
12 Over the Rainblow
13 Lullaby in Rhythm
14 He's Funny That Way
15 'Norinism
16 Red Devil Blues
17 Opus What
18 Love Walked In
19 I'll Remember April
20 Hershey Bar
21 Song of the Volga Boatmen
22 Without a Song
23 Not Really the Blues

Hugo Fattoruso - Homework

Hugo Fattoruso, born in Montevideo, Uruguay, began his musical career as a prodigious and somewhat reluctant piano student at the age of four. By the time he was nine his father Antonio formed El Trio Fattoruso by drafting Hugo's younger brother Jorge on drums, with Hugo on accordion and Antonio on "inverted bucket bass" (using a broom as the neck, and a cord as the instrument's single string). This trio performed in street festivals, covering the variety of styles used in Uruguay's carnivals (boleros, murgas, tangos, etc.), giving Hugo an education in the rich harmonic stuff of disparate musical styles.

At the age of 16 Hugo moved to the upright bass and began his tenure as the under-aged member of The Hot Blowers, a swing band that toured throughout Latin America in the late 1950s. This period could be seen as a second important milestone in Hugo's harmonic education, hammering home the concepts of improvisation and musical interplay.
By the early 1960s, rock'n'roll began to shake the world's foundation, and Hugo set out to express himself in that medium by forming Los Shakers, where he and his brother shared song writing, singing and guitar responsibilities. Los Shakers, Hugo Fattoruso (guitar, voice), Osvaldo Fattoruso (guitar, voice), Roberto "Pelin" Capobianco (bass, voice), Carlos "Caio" Vila (drums, voice), were a huge success throughout Latin America, as they were able to mold the complexities of bossa's harmonies, Uruguay's urban song style, candombe rhythms and the backbeat of rock into a new and contagious form.
By the late 1960s the influence of jazz, and of the Afro-Uruguayan rhythm of candombe, took Hugo to New York City, where he formed the group Opa. In Opa Hugo played keyboards and sang, while his brother played drums, and childhood friend Ringo Thielmann played bass. Opa's mixture of jazz, rock, Brazilian harmonies and rhythms, and Uruguay's African-flavored music (candombe) gave this band a distinctive voice, and garnered them recognition among musicians in the then growing "Latin jazz" scene. Opa released two albums on their own, 'Goldenwings' and 'Magic Time'. Opa's music served to influence the next generation of Uruguayan musicians, continuing the Fattoruso's impact on Uruguayan musical culture.
From that point on Hugo travelled the U.S. and worked with a variety of artists, ranging from Hermeto Pascoal to Ron Carter to The Dixie Dregs. After working in the U.S. with Milton Nascimento, Hugo spent several years living in Rio de Janeiro, where he worked with several prominent Brazilian artists including Djavan, Geraldo Azevedo, Chico Buarque de Holanda, Nana Vasconcelos and Toninho Horta. He has recorded extensively with Milton Nascimento, on the records "Milton", "Journey To Dawn", "Planeta Blue Na Estrada Do Sol", "Angelus", and "Nascimento", winner of the 1997 World Music Grammy Award. In addition to his piano and accordion playing, the compositions on the release "Nascimento" were co-arranged by Milton and Hugo.
Throughout our days at school, the term "Homework" is associated with the practicing process which prepares us all for the future. To describe this project, the phrase "home is where the heart is" also comes to mind. Hugo spends much of his time at home, creating, and has done so for most of his life. Here he takes what he has developed at home, and with family and friends offers you this flavorful variety of sounds, melodies, rhythm and love. As knowledge exists for us to acquire, and then to pass on to others, let this musical experience serve both these purposes.

From the warm confines of noted Uruguayan troubadour's Fresh Medows, N.Y. home studio comes an exhilarating, eclectic package of Latin-American rooted pop embroidered with touches of new age, rock, and jazz. *Critic's Choice/Billboard*

Hugo Fattoruso was a mop-topped '60s rock star who fronted Los Shakers in his native Uruguay. Since then he's worked closely over the years with Brazilian legends Milton Nascimento, Djavan and Toninho Horta, which probably explains why Homework is so warm and personable. This largely self-made, self-produced recording has the style and spirit of classic Brazilian tropicalismo of such masters as Caetano Veloso and Nascimento. It's a thrilling record with sparse acoustic guitars, hints of Latin percussion and Fattoruso's gentle, soothing vocals. *College Music Journal*

It's hard to find something sweeter than a world flavored jazz date made for the sheer joy of it, by someone with chops to spare. Sweet set that comes from the heart, and is sure to touch open ears in need of a gentle jolt that will wear well. *Midwest Record Recap*

The Uruguayan Fattoruso, known for his work with the group Opa, sings and accompanies himself on guitar, keyboards, and accordion on these 14 cuts. The solo numbers are rounded out by tunes where Fattoruso's friends and loved ones contribute percussion and additional guitars and vocals. His style reflects various influences: the music of Argentina and Uruguay, rock, jazz, and a pronounced Brazilian thrust, particularly bossa nova and tropicalismo. All of these are distilled into a highly original sound, airy yet rhythmic and dense, that makes for a strongly appealing release. *Marcela Breton/JazzTimes*

01. Brisas
02. Milonga Blues
03. Conmigo
04. Melodía en Candombe
05. Atardecer
06. Agua y Aceite
07. Aero Rings
08. Todo Voce
09. Islands' Queen
10. Mi Canción
11. Can't Reach
12. Septiembre Así
13. El Gramillero
14. Figuras y Reflejos

Hugo Fattoruso (vocals, keyboards, guitar), Gabriela Fattoruso (vocals), Mariana Garcia Vigil (vocals), Alex Fattoruso (acoustic guitar), Christian Fattoruso (electric guitar), Francisco Fattoruso (electric bass). Percussion: Arturo Prendez, Hector Prendez, Ramon Echegaray, Jane Tomkiewicz, Colon Budes, Daniel Kravetz, Fernando "Lobo" Núñez, Washington Martirena, Jorge "Foque" Gomez, Pablo "Piraña" Silva, Fernando Banega, Damian Peluffo, Hugo Fattoruso

Tuesday, December 7, 2010

Lars Gullin - Vol 11 After Eight P M 1954-56

FLAC and scans

Comes to us courtesy of my good friend bluebird

Gosta Theselius - conductor
Weine Renliden - trumpet
Jan Allan - trumpet
Bengt-Arne Wallin - trumpet
Nisse Skoog - trumpet
Ake Persson - trombone
George Vernon - trombone
Gordon Ohlsson - trombone
Arne Domnerus - alto
Bjarne Nerem - tenor
Carl- Henrik Norin - tenor
Rolf Blomquist - tenor
Lars Gullin - baritone
Rune Falk - baritone
Putte Wickman - clarinet
Bengt Hallberg - piano
Rune Ofwerman - piano
Georg Riedel - bass
Bengt Carlsson - bass
Robert Edman - drums
Nils-Bertil Dahlander - drums

01 After 8 P M
02 Mean to Me
03 Medley - Just Friends Someone to Watch Over Me Lover Man
04 Half Nelson
05 Primula Veris
06 Laburnam Vulgare
07 Lotus Corniculatus
08 Gallum Verum
09 Perntz
10 Perntz
11 Jeepers Creepers
12 Mean to Me
13 Lover Come Back to Me

Sunday, December 5, 2010

Lars Gullin - Vol 3 Late Summer 1954-55

FLAC - no scans

Tracks 1-5, 14 & 15
Lars Gullin - baritone sax, Leppe Sundvall (bass-trumpet - NOT track 1) Kurt Jarnberg (trombone - NOT track 1) Bengt Hallberg - piano, George Reidel - bass, William Schiopffe - drums plus The Moretone Singers dircetd by Ole Morthenson.
Recorded: Korsager School, Copenhagen, Denmark September 11-13, 1954

Tracks 6 - 9
Lars Gullin - baritone sax, Jutta Hipp - piano, Simon Brehm - bass, Bosse Stoor - drums
Recorded: Stockholm, January 31, 1955

Tracks 10 & 11
Lars Gullin - baritone sax, Rolf Billberg - tenor sax, Claes-Goran Fagerstedt - piano, George Reidel - bass, Bosse Stoor - drums
Stockholm, March 28, 1955

Tracks 12 & 13
Lars Gullin - baritone sax, Rolf Billberg - tenor sax, Rikard Broden (Johanson) - trombone, Rolf Berg - guitar, George Reidel - bass, William Schiopffe - drums
Stockholm, June 13, 1955

01 - Late Date
02 - Lover Man
03 - Beautiful Heart
04 - Gone With The Wind
05 - Merlin
06 - Always
07 - Man Lover (Lover Man)
08 - All The Things You Are
09 - Yesterdays
10 - Too Marvellous For Words
11 - BBC Blues (Double Kick)
12 - Late Summer
13 - For F.J. Fans Only
14 - Merlin (take 1)
15 - Merlin (take 3)

Taken from CD: Dragon DRCD 244

Thanks to the person who uploaded this in the first place

Update: This post will be replaced with posts covering the whole series of eleven albums. It's going to take a while to prepare and post them all but I hope it will be worth the wait. I will post one by one but not in numerical order - perhaps reverse numerical!.

Saturday, December 4, 2010

Orquesta Aragón - Mambo Inspiración

Orquesta Aragón - Mambo Inspiración
Primeras Grabaciones 1953-1955
TUMBAO Cuban Classics TCD-110

On June 2,1953, la Aragon recorded its first two titles: MAMBO INSPIRACION by Rafael Lay and EL ASUA DE CLAVELITO by Miguel A. Pozo. The latter of the two authors mentioned here, better known as Clavelito, was a singer who starred in a program in which he would entertain the public with his comical and healing decimas (ten-part poems very popular at the time in Cuba). More recordings followed in July and August of the same summer, but it was this first satirical danzon-cha that became the bands first hit during the Carnavales de Oriente in 1954. The people found a new way to listen the chachacha; Aragon's style was more "macho" and cruder than before. The percussions were brought forward in the sound and a real singer (or duo of singers) was introduced instead of a group of singers singing in unison. For these qualities, they were soon know as the "the chachacha trendsetters"...

Wednesday, December 1, 2010

A Great Day In Harlem (video-dvd rip)

A Great Day in Harlem zooms in and out of this astonishing photograph, interweaving archival performance footage, remarkable never-before-seen home-movie footage of the photograph being taken, and rare interviews with jazz masters present that day such as Sonny Rollins, Horace Silver, Art Farmer, Dizzy Gillespie and Art Blakey. Other interviewees include the photographer, Art Kane, who had never before taken a picture as a professional but who would quickly rise to the top of the field, and the Esquire graphics editor, Robert Benton, who speaks of what he learned that day that he would later use as a three-time Academy Award winning filmmaker. Finally, we hear the stories of some of the neighborhood kids who snuck into the frame to be photographed alongside their musical heroes.

Through this photograph, viewers will come to know some of the century's most influential musicians. We meet such luminaries as Count Basie, Coleman Hawkins, Lester Young, Charles Mingus, Marian McPartland, Gerry Mulligan, Mary Lou Williams, Maxine Sullivan, and Thelonious Monk. The result is a richly textured recreation of the event and the presentation of a cross-section of people and musical styles that comprised the evolution of jazz in the 20th century - and beyond.

As important, A Great Day in Harlem captures the spirit of an era when New York City was the center of the jazz world, when music history was constantly being made, and when creativity was fostered by an intense and nurturing community of musicians and fans.

It was indeed a great day when musicians met and joked with friends, family, and community residents - in one instance even blowing a few jazz riffs - on a side street in Harlem in 1958. Like the photograph it documents, A Great Day in Harlem is a vivid portrait of a unique community.