Saturday, July 31, 2010

Onaje Allan Gumbs, "Onaja"

Onaje Allan Gumbs "Onaja"
Steeplechase SCCD 31069
LOSSLESS no scans
Contribute by Trane

Onaje Allan Gumbs (piano)

01 Waiting In Love 4,30
02 Street Life 9,55
03 Timeless 3,20
04 It Sho' Do Feel Good, Did Ya Here Me 4,25
05 Giant Steps 3,07
06 Eye Of A Shadow 6,45
07 Mouse Trap 2,53
08 Con Alma 5,26
09 A Penny For Your Thoughts 3,38

Don Friedman "My Romance"

Don Friedman "My Romance"
Lossless, no scans
Contributed by Trane
Steeplechase SCCD 31403

Don Friedman (piano)

01 How Deep Is The Ocean 7,24
02 These Foolish Things 5,30
03 My Foolish Heart 7,00
04 I Can't Get Started 6,25
05 In Your Own Sweet Way 6,35
06 My Romance 4,45
07 My Funny Valentine 6,20
08 Angel Eyes 6,25
09 Sophisticated Lady 6,05
10 Darn That Dream 6,00

Dan Faulk Quartet: Focusing in

Dan Faulk Quartet: Focusing in
Criss cross 1076
Recorded in New York, New York on December 21, 1992.

Personnel: Dan Faulk (soprano saxophone, tenor saxophone);
Barry Harris (piano); Rufus Reid (bass); Carl Allen (drums).

Liner Note Author: Benny Golson.

Recording information: RPM Studio, New York, NY (12/21/1992).

Dan Faulk, a John Coltrane-inspired tenor and soprano saxophonist, joins with the
great bebop pianist Barry Harris to explore two originals and six jazz standards.
Among the highlights are the opening bop blues "Quintagon," a sensitive rendition of
Horace Silver's "Peace," a straightahead rendition of Thelonious Monk's "Nutty," a
wistful version of the ballad "Stairway to the Stars," and Faulk ripping through the
changes on an up-tempo "Lover." Faulk, who has remained relatively obscure in the
decade since this recording, is an excellent hard bop-oriented improviser who deserves
much greater recognition. ~ Scott Yanow

1. Quintagon
2. Peace
3. I Love Paris
4. Nutty
5. Lover
6. Epistrophy
7. Stairway to the Stars
8. Barry's Tune

Thursday, July 29, 2010

Marilyn Crispell - Santuerio

For this recording, pianist Marilyn Crispell both debuted a new quartet and embarked on a somewhat different path from her previous outings and, certainly, from her long tenure with Anthony Braxton. Pulling in violinist Mark Feldman and cellist Hank Roberts (along with longtime compadre Gerry Hemingway), her music, here essentially an eight-part suite, took on a more elegiac, overtly spiritual tone. The pieces are draped around the loosest of thematic materials, the musicians instead using the wisps of ideas to gently launch into introspective investigations, occasionally coalescing into brief, more frenzied bouts, but generally remaining in a pensive state. The title track begins with a long, intricate percussion solo from Hemingway before falling into a choppy, awkward series of overlapping written lines where Crispell's angular attack (by this point far beyond the early Cecil Taylor comparisons) is set against Feldman's pining cries. Little by little, the piece works up quite a head of steam, the disjunctive rhythms beginning to mesh quite intriguingly toward the end. "Repercussions of Light," a duo between a superbly romantic Feldman and Hemingway’s soft backing, is arguably the highlight of the disc, a fine composition that straddles the boundary between the ethereal and the earthy. Crispell takes off on the next track, "Red Shift," leading the quartet through the disc's most intense playing, creating a swirling cauldron of activity. Santuerio closes in the same ghostly manner as it had begun, with quivering violin over hushed, delicate piano. Overall, it's an impressive achievement, showing a new side of this fascinating musician. ~ Brian Olewnick

Marilyn Crispell – piano

Mark Feldman – violin

Hank Roberts – cello

Gerry Hemingway – drums

1 - Entrances of Light

2 - Air-Fire

3 - Water

4 - Burning Air-Wood

5 - Santuerio

6 - Repercussions of Light

7 - Red Shift

8 - Repercussions of Air I-Repercussions of Air II

Recorded May 5, 1993

Rapidshare: What is to be done?

Will and can and should Rapidshare be the default service here?

Wednesday, July 28, 2010

Buck Clayton - 1966 Buck Clayton & Friends (Jazz In Paris, vol. 103)

A great overseas meeting of two American traditionalists – a mid 60s date that has trumpeter Buck Clayton working in a relaxed studio setting with tenorist Hal Singer! Buck and Hal both come from an earlier period in jazz, but find some great appreciation for their enduring talents in Paris – and the session's the kind of respectful, open-ended date that either of them would hardly have gotten a chance to cut back in the US at the time! Other players on the date include Joe Turner on piano, Mickey Baker on guitar, Wallace Bishop on drums, and Roland Lobliegois on bass. Titles include "Boo Boo", "Groovy Sunday", "I Can't Think", "Juggi Buggi", "Just You Just Me", "One For Bonnie", "Pat's Party", and "Blue Boy". CD also features 2 previously unreleased titles – "Rosetta" and "These Foolish Things".
Dusty Groove

01 Groovy Sunday 5:47
02 I can't think 4:11
03 Juggi buggi 3:15
04 Georgia on my mind 5:35
05 Boo boo 3:39
06 Just you, just me 5:59
07 One for Bonnie 4:14
08 Blue boy 7:32
09 Pat's party 4:30
10 Rosetta* 2:18
11 These foolish things* 5:56

* Bonus tracks

Buck Clayton trumpet
Hal Singer tenor sax
Joe Turner piano
Mickey Baker guitar
Roland Lobliegois bass
Wallace Bishop drums

Recorded in Paris, on March 16 and May 2, 1966

Bill Carrothers - Joy Spring

Trumpeter Clifford Brown was killed in a car wreck (with pianist Richie Powell and his wife) before he reached his 26th birthday in 1956, but he left a phenomenal recorded legacy in his brief life. Yet aside from his compositions "Joy Spring" and "Daahoud," little else that he wrote while he co-led his band with Max Roach has been explored in depth by jazz musicians. Pianist Bill Carrothers corrects that oversight by exploring several of his pieces (along with four by Powell) in this trio session with bassist Drew Gress and drummer Bill Stewart. "Joy Spring" has long been a favorite of jazz musicians for its upbeat bop theme, though Carrothers surprisingly transforms it into a haunting, slow meditative ballad that proves just as effective. His approach to "Daahoud" is more conventional though no less impressive. It is odd that the playful "Tiny Capers" hasn't received more attention; the trio digs full force into this intricate bop vehicle. Richie Powell's compositions have also been overlooked, though like Brown, he would have likely grown in stature had he lived longer. His demanding "Jacqui" and furious "Powell's Prances" provide suitable fuel for the trio. Two pieces recorded by the Clifford Brown/Max Roach Quintet also merit praise. Carrothers' ominous setting of Duke Jordan's "Jordu" proves humorous, while Victor Young's "Delilah" is enchanting. The session wraps with a particularly brooding take of "I Remember Clifford," Benny Golson's memorial tribute to the trumpeter written not long after the crash that took his life. — Ken Dryden

Sunday, July 25, 2010

BN LP 5065 | Kenny Dorham - Afro-Cuban

Sleeve Notes;
"Kenny Dorham's Blue Note debut as a leader marks an important phase in his career. After hearing these sides, the fans who for so long had only vaguely aware of his real capabilities will learn that here is a soloist and a composer whose sound and pen are destined from now on to play a lively and stimulating role on the jazz stage."

For specific tracklistings, have a look at the excellent Jazz Discography Project

Charlie Parker With Strings: The Master Takes

"When producer Norman Granz decided to let Charlie Parker record standards with a full string section (featuring Mitch Miller on oboe!), the purist cried sellout, but nothing could be further from the truth. There's a real sense of involvment from Bird on these sides, which collect all the master takes and also inckudes some live tracks from Carnegie Hall that - judging from the sometimes uneasy murmurings from the crowd - amply illustrate just how weirdly this mixture of bop lines against "legit" arrangements was perceived. The music on this collection is lush, poetic, romantic as hell and the perfect antidote to a surfeit of jazz records featuring undisciplined blowing. There's a lot of jazz, but there's only one Bird." Cub Koda


1- Just Friends

2- Everythings happens to me

3- April in Paris

4- Summertime

5- I didn't know what time it was

6- If I should lose you

7- Dancing in the dark

8- Out of nowhere

9- Laura

10- East of the sun (and west of the moon)

11- They can't take that away from me

12- Easy to love

13- I'm in the mood for love

14- I'll remember April

15- What is this thing called love?

16- April in Paris

17- Repetition

18- Easy to love

19- Rocker

20- Temptation

21- Lover

22- Autumn in New York

23- Stella by starlight

24- Repetition

Thursday, July 22, 2010

Bill Evans And Don Elliott - Tenderly

This CD is early Bill Evans, (around the time he was just starting his own recording career for Riverside Records). Exact dates for this session are not given but by this time, he had already recorded with Jerry Wald's Orchestra, singer Lucy Reed, guitarist Dick Garcia and a few others, but was not yet known as a jazz artist in his own right. This date is in an informally-taped session with musician Don Elliott (vibes and some 'vocal percussion' here) at Elliott's home in Connecticut, circa 1956-57.

If you're a total Evans aficionado or a professional pianist, you'll find a lot here to discover in Bill's emerging harmonic thought processes, as we hear him working out changes and hanging loose and easy with some blues progressions, but its sometimes tough going with the not-quite-up-to-par baby grand played here. Some keys in the lower register sound "choked" and, and the upper octaves are just out of tune. It's not awful throughout , it's just somewhat annoying at times, as "Someone in Love" demonstrates. The worst of it is on "I'll Know" from the musical "Guys and Dolls". "Thoe Swell" is even worse, but sounds like it was perhaps taken from another day's sessions. There is also some slight distortion now and then, as well as traffic sounds from outside etc., but Fantasy did a nice job cleaning much of it up, and mastering all this, despite its flaws. Adding to the informality is a few conversational fragments between the two men included as well. The title tune and others like "Laura", "Stella By Starlight", "Everything Happens To Me" , "Like Someone in Love"and Evans own "Funkallero" are featured, all of which the pianist would professionally record later in several versions with his various trios.

Elliott adds spark to Bill's introspective comping with his often bright and bluesy vibes, and its a fun ride to hear Bill romping on the two off-the-cuff blues structures here. Blues was not a form Evans gravitated to often, but he sounds loose and swinging here, like he's just enjoying this jam session. We even get a rare rendition of Sonny Rollins' tune "Airegin" as an Evans piano solo. Some run-throughs like "I'll Take Romance" are not played to conclusion, but if one keeps in mind from the start that this is truly an "informal session" , there's some fun and even a theory lesson or two to be had here. But it needs to be emphasized that this recording is not for those with just a casual acquaintance with the later work of this jazz piano master, as few of these would be considered 'performances' by any standards, and certainly by those of the relentlessly self-critical Bill Evans of the mid-fifties. As an historical document it has its interesting points to ponder for musicians -- and of course, pianists will be fascinated to hear Bill as he explores on his own time, slowly reaching for sonorities in the Scriabin-esque combining of upper extensions and polychords after the "take" of "Everything Happens To Me", a high point of this CD, and maybe worth the price of admission, at least for keyboardists. The chordal development is just incredible to follow along with as we hear Bill in these private moments of musical experimentation. Evans' genius was quite clear even way back then, as he occasionally offers some clever indications of what was to come during his solo career -- the rhythmic displacement, those close block chords, the inner harmonic voice movement, etc..

Again, if your a devoted Evans fan, you'll be quite taken, albeit in an almost "voyeuristic" way, since this was just a taped-for-fun practice session between two musical friends, and may have been work towards a project never undertaken , but surely this home-recorded session was meant as just that. That being said, its hard for me to recommend this to the general jazz listener, but for collectors and true Evans adherents, you'll be rewarded in some very different ways by this rare portrait of the artist as a young man. ~ Jan Stevens

Bill Evans (piano)
Don Elliott (vibes, percussion)

1. Tenderly
2. I'll Take Romance
3. Laura
4. Blues #1
5. I'll Know
6. Like Someone In Love
7. Love Letters
8. Thou Swell
9. Airegin
10. Everything Happens To Me
11. Blues #2
12. Stella By Starlight
13. Funkallero

Beryl Booker - 1953-1954 (Chronological 1442)

Volume two in the complete recordings of Beryl Booker as presented in the Classics Chronological Series documents the adventures of the Beryl Booker Trio with eight titles recorded for Discovery Records in Los Angeles on October 14, 1953, material from two Vogue sessions that took place in Paris during February 1954, and six selections recorded for Cadence in New York during the summer of 1954. Booker's approach to the piano recalls her contemporary Erroll Garner; like him, she was a brilliant autodidact who didn't read music. Garner and Booker exist in the same swing-to-bop-to-cool constellation with Herman Chittison, Johnny Guarnieri, Mary Lou Williams, Bud Powell, Dodo Marmarosa, Al Haig, and Ahmad Jamal. Teamed with bassist Bonnie Wetzel and drummer Elaine Leighton, Booker handled jazz and pop standards with dazzling dexterity, humor, warmth and soul. When she sang she sounded more than a little like Dinah Washington, for whom she served as accompanist at the beginning and the end of the decade; on "One for My Baby" the similarity is uncanny. Be sure and cop a listen on the two instrumental selections recorded at the second Parisian Vogue date with tenor saxophonist Don Byas. Thanks to the increasingly popular LP format, each Booker/Byas performance is a little under five minutes in duration, allowing for longer solos and a more relaxed mood than was usually possible under 78 rpm three-minute constraints. Users are warned that "Beryl Booker's Byased Blues" and "Makin' Whoopee" will immediately seep into your bones and groove you out before you realize what has happened. Those two tracks are worth double the price of admission all by themselves. ~ arwulf arwulf

Beryl Booker (piano)
Bonnie Wetzel (bass)
Elaine Leighton (drums)
Don Byas (tenor sax)

1. Thou Swell
2. Ebony
3. Polka Dots And Moonbeams
4. That Old Gang Of Mine
5. Symphony
6. Booker T.
7. Old Piano Plays The Blues
8. One For My Baby
9. Paris Medley: April In Paris/Paris In The Spring/The Last Time I Saw Pa
10. Cheek To Cheek
11. Makin' Whoopee
12. I Should Care
13. Beryl Booker's Byased Blues
14. Tenderly
15. Body And Soul
16. Night And Day
17. My Funny Valentine
18. My Ideal
19. I Don't Know Why

Steve Lacy - The Beat Suite

Soprano saxophonist Steve Lacy's The Beat Suite is an ambitious attempt to set beat-era poetry by some of the genre's most iconic progenitors to Lacy's idiosyncratic jazz stylings. Featuring the vocals of Lacy's wife and longtime collaborator, Irene Aebi, the group also includes George Lewis adding counterpuntal touches on trombone, bassist Jean Jacques Avenel, and drummer John Betsch. While fans of such beat writers as William S. Burroughs, Robert Creeley, and Jack Kerouac may find this interesting, the real success of The Beat Suite rests largely in the listeners' interest in hearing Aebi. An acquired taste even by avant-garde standards, Aebi often sounds like a cross between Jessye Norman and Nico. Compositionally, the songs follow Lacy's serpentine, atonal logic often sounding something like Gerry Mulligan's pianoless quartet in bizzaro world. Thankfully, the poems are included in the liner notes, as it is sometimes hard to focus on them with all the jazz going on. Not for everyone, but longtime Lacy fans should dig it. ~ Matt Collar

Steve Lacy (soprano sax)
George Lewis (trombone)
Jean-Jacques Avenel (bass)
John Betsch (drums)
Irene Aebi (vocals)

1. Wave Lover
2. Song
3. Naked Lunch
4. Private Sadness
5. A Ring Of Bone
6. The Mad Yak
7. Jack'S Blues
8. Agenda
9. In The Pocket
10. Mother Goose

Tuesday, July 20, 2010

Sivuca & Rosinha de Valenca - Show Seis e Meia (Ao Vivo) (EAC-Flac-Scans)

Review AMG

There are certain types of music that just wouldn't be the same without the accordion. One is Louisiana zydeco. Another is norteño/Tex-Mex, a Mexican-American form that combines Mexican ranchera with the German polka beat. And in Brazil, the accordion has played a prominent role in baião, a style that comes from the northeastern part of the country. If the seminal Luiz Gonzaga was the King of Baião, Sivuca is certainly among the people who belongs in the royal palace. The singer/accordion virtuoso doesn't play baião exclusively -- he can handle anything from choro to bossa nova -- but baião is certainly one of his strong points. And he shows his versatility on Gravado ao Vivo, which offers a diverse program of baião, choro, and samba. This Brazilian reissue focuses on a 1977 concert at Teatro João Caetano in Rio de Janeiro, where Sivuca shared the stage and the spotlight with guitarist Rosinha de Valença. The performances on this album range from instrumentals (which include Pixinguinha's "Lamento" and the Gonzaga standard "Asa Branca") to vocal offerings such as the melancholy "Reunião de Tristeza" (a Sivuca original) and the well-known "Adeus, Maria Fulô." While "Tema do Boneco de Palha" becomes a showcase for de Valença's acoustic guitar, "Asa Branca" is a perfect example of accordion-powered baião. It should be noted that Sivuca and de Valença don't play together on all of the selections -- they share the spotlight, and only on "Asa Branca" and "Lamento" do they actually play together.

Personal Note:

Though not my favorite instrument anything played by Sivuca deserved to be listened. He was arguably the best accordionist of all times in Brazil, and could virtually any sound with his instrument. To be noticed the 2nd part of the second track (Vassourinhas) which is the most known frevo (a typical music played for dancing on carnival days, mainly in the state of Pernambuco, Northeast of Brazil). He tries on a little show-off to display his virtuosism, it should be said, to show this breathtaking and overwhelming type of music on different "languages" such as tango, arabian and russian rhythms, among others, that shows that music has no frontiers and it may be understood by everyone. On some other tracks Rosinha de Valença, an accoustic guitar player that has just passed away a few months ago, follows the strong Brazilian tradition on her craft. To be noticed the last two tracks (Lamento e Tema do Boneco de Palha) where she looks pretty much like a Baden Powell disciple.


1. Homenagem A Velha Guarda
2. Quando Me Lembro_Vassourinha
3. Reuniao De Tristeza
4. Feira De Mangaio
5. Asa Branca
6. Adeus, Maria Fulo
7. Lamento
8. Tema Do Boneco De Palha

Sunday, July 18, 2010

BN LP 5064 | Julius Watkins Sextet

From wikipedia;

"Watkins was born in Detroit, Michigan. He started playing French horn when he was nine years old, having played the trumpet, the recognized jazz instrument, for the Ernie Fields Orchestra in the mid-1940s.
By the late 1940s, however, he had played some French horn solos on Kenny Clarke and Babs Gonzales' records.
After moving to New York City, Watkins studied for three years at the Manhattan School of Music.
He started appearing in small-group jazz sessions, including two led by Thelonious Monk, featuring on "Friday the 13th" on the album Thelonious Monk & Sonny Rollins (1954).

That session mentioned above was Thelonious Monk And Sonny Rollins (Prestige PRLP 7075) Julius Watkins (frh) Sonny Rollins (ts) Thelonious Monk (p) Percy Heath (b) Willie Jones (d) NYC, November 13, 1953.
This session is from Rudy Van Gelder Studio, Hackensack, NJ, March 20, 1955.

"Watkins recorded with numerous jazz greats, including John Coltrane, Freddie Hubbard, Charles Mingus, Miles Davis and Gil Evans, Phil Woods, Clark Terry, Johnny Griffin, Randy Weston, and the Jazz Composer's Orchestra. He co-led, with Charlie Rouse, the group Les Jazz Modes from 1956 to 1959, and he toured with Quincy Jones and his band from 1959 to 1961"

For specific tracklistings, have a look at the excellent Jazz Discography Project

Saturday, July 17, 2010

ERIC PERSON - Extra pressure (1999)

Eric has performed with some of the best on the music scene, from Dave Holland, McCoy Tyner, Chico Hamilton, and the World Saxophone Quartet to Vernon Reid, and Ben Harper.


01. The Pull

02. Fallout

03. Personal Blues

04. There Will Be Better Days

05. Song of September

06. This Devotion

07. Perfection

08. Plummett

09. Special Someone

10. Constellation-Pictures of Orion

11. Extra Presure

ERIC PERSON saxophones




All songs composed by Eric Person, except “Personal Blues” written by John Esposito

Recorded at Hillside Sound Studio Englewood, NJ, 19 & 20 August 1999

Distintion Records DR 4001

Thursday, July 15, 2010

Chet Baker - Complete Studio Sessions with Dick Twardzik

This exceptional release contains the earliest single issue of the two dates recorded in Paris by the Great Chet Baker Quartet with pianist Richard Twardzik, bassist Jimmy Bond and drummer Peter Littman in October 1955. In addition to the nine original issue in LP our edition includes four bonus tracks from a concert given in Stuttgart the same month and year, with the same group plus local guest musicians: the baritone sax player Lars Gullin and the singer Caterina Valente.
Author Jack Chambers wrote about these recordings in his definitive book The Incomplete Works of Richard Twardzik (2004): “These recordings may represent the apogee of Baker’s talents as a pure musician.”

On this CD the trumpeter is heard in a quartet with the ill-fated pianist Dick Twardzik … and shows that his “cool” style actually had plenty of fire. *Scott Yanow*

Chet Baker (tp), Lars Gullin (bs), Richard Twardzik (p), Jimmy Bond (b), Peter Littman (d), Caterina Valente (vcl)

1. Rondette
2. Mid-Forte
3. Sad Walk
4. Re-Search
5. Just Duo
6. Piece Caprice
7. Pomp
8. The Girl from Greeland
9. Brash
10. Cool Blues
11. Brash
12. Lover Man
13. I'll Remember April

Recorded in Paris and Stuttgart, October 1955.

Wednesday, July 14, 2010

Dizzy Gillespie - 1951-1952 (Chronological 1286)

This intriguing CD features trumpeter Dizzy Gillespie during a transitional period, more than a year after his 1940s bebop orchestra broke up. "We Love to Boogie" has the first commercially recorded solo of tenor saxophonist John Coltrane, four years before he joined Miles Davis. Gillespie is heard with five different small groups playing music that is both boppish and a little R&B-influenced. Three of the combos match him with baritonist Bill Graham, with Milt Jackson playing as much piano as vibes and violinist Stuff Smith guesting on one session. Highlights include "Birk's Works," Joe Carroll's vocal on "Oh, Lady Be Good," the heated two-part "The Champ," "The Bluest Blues," and Carroll and Gillespie's singing on "On the Sunny Side of the Street." The final four numbers, taken from singles cut for the Atlantic label, are particularly rare. ~ Scott Yanow

Dizzy Gillespie (trumpet)
John Coltrane (alto and tenor sax)
Milt Jackson (piano, vibraphone)
Kenny Burrell (guitar)
J.J. Johnson (trombone)
Stuff Smith (violin)
Percy Heath (bass)
Art Blakey (drums)

1. We Love To Boogie
2. Tin Tin Daeo
3. Birks Works
4. Lady Be Good
5. Love Me Pretty Baby
6. The Champ - Part 1
7. The Champ - Part 2
8. I'm In A Mess
9. Schooldays
10. Swing Low Sweet Cadillac
11. Bopsie's Blues
12. I Couldn't Beat The Rap
13. Caravan
14. Nobody Knows
15. The Bluest Blues
16. Sunny Side Of The Street
17. Stardust
18. Time On My Hands
19. Groovin' With The Nursery Rhymes
20. This Is Happiness
21. Diz's Tune (Mrs. Diz)
22. Our Love Is Here To Stay

Muggsy Spanier - 1944 (Chronological 907)

Three high-powered Commodore sessions and a V-Disc blowout make this an exceptionally satisfying packet of Chicago-styled traditional jazz. Without a doubt, this music should be rated alongside Muggsy's all-time greatest recordings. Pee Wee Russell, gloriously soulful and inventive, is present throughout. Rock-solid trombonist Miff Mole made it onto two of the three Commodore dates. No matter how hard the band swung, nothing could shake the Mole. Saxophonists Ernie Caceres and Boomie Richmond were variously brought in to augment or replace the trombone. Muggsy demonstrates his full range of wails, growls, and muted shimmies. Some of these tunes run for more than four minutes, which in 1944 meant big beautiful 12" 78-rpm records. The overall mood is positive, spirited, and even optimistic. Caceres accomplished with his baritone what Adrian Rollini had achieved with a bass sax during the mid- to late '20s. A reed horn with a voice that deep has a way of nudging the whole band along with firm but friendly persuasion. Boomie sounded a lot like Bud Freeman, a good role model for a tenor sax operating within this kind of an ensemble. George Wettling pounds his drums with unusual fervor during "Sweet Sue," inciting a perfect riot of joyous jamming. Pee Wee's first chorus on "Memphis Blues" is so gritty and deep it's frightening! Every tune is rendered with passion. That's where all that satisfaction comes from. Comparing these sides with the highly revered 1939 "Ragtime Band" recordings, these seem just a bit more free and genuine, closer to what these guys must have sounded like in person. The V-Discs are each more than four minutes in duration. "Pee Wee Speaks" has Muggsy introducing the clarinetist as "our new vocalist." Russell grumbles the blues, referencing Muggsy's work ethic and tossing in references to butter and lard. As with every other existing example of Pee Wee Russell the Singer, our man sounds weirdly glib and a little bit sloshed. "Pat's Blues" begins with someone, apparently bassist Bob Haggart, whistling a full chorus of the blues through his teeth. It is a perfectly frowsy finale to this invigorating collection of hot records made by Muggsy Spanier at the height of his powers. ~ arwulf arwulf

Muggsy Spanier (cornet)
Pee Wee Russell (clarinet)
Jess Stacy (piano)
George Wettling (drums)
Miff Mole (trombone)
Eddie Condon (guitar)
Ernie Caceres (baritone sax)

1. Angry
2. Weary Blues
3. Snag It
4. Alice Blue Gown
5. Sweet Lorraine
6. Oh, Lady Be Good
7. Sugar
8. September In The Rain
9. Sweet Sue, Just You
10. Memphis Blues
11. Riverside Blues
12. Rosetta
13. That's A Plenty
14. Squeeze Me
15. Jazz Me Blues
16. Pee Wee Speaks
17. Pat's Blues

Billy Taylor - 1950-1952 (Chronological 1344)

This second volume covering Billy Taylor's pre-Prestige recordings opens with four sides cut for Brunswick Records in 1950, followed by eight tracks done for Atlantic, and concluding with an early LP of Cuban-inspired jazz, all of which will be of interest to collectors. Taylor's bop-inflected piano style remains elegant throughout, always with a veneer of swinging brightness, and two of the best pieces here, the self-penned "Double Duty" and "Good Groove," show an acute awareness of both time and space, areas Taylor would go on to explore with his subsequent trios. ~ Steve Leggett

Billy Taylor (piano)
Mundell Lowe (guitar)
Oscar Pettiford (cello)
Zoot Sims (maracas)
Chuck Wayne (guitar)
George Duvivier (bass)
Earl May (bass)
Shadow Wilson (drums)
Jo Jones (drums)

1. All Ears
2. My Heart Stood Still
3. Darn That Dream
4. Double City
5. Wrap Your Troubles In Dreams
6. Thou Swell
7. Good Groove
8. Somebody Loves Me
9. Willow Weep For Me
10. If I Had You
11. The Very Thought Of You
12. What Is There To Say
13. The Cuban Caper
14. Cu-Blue
15. Squeeze Me
16. Feeling Frisky
17. Cuban Nightingale
18. Titoro (Titora)
19. Makin' Whoopee
20. Moonlight Savings Time
21. Three Little Words
22. Oscar Rides Again

Chet Baker & Duke Jordan - 1982-84 Trio & Quartet. Complete New Morning Performances

This 2-CD set reunites the complete recordings from Chet Baker & Duke Jordan’s 1983 trio and quartet performances at Paris’ New Morning club. This edition and its companion volume (JL755) compile all of Baker & Jordan’s live recordings together. In addition, this edition contains three bonus tracks, including the only existing song from Baker’s Belgium concert recorded with the same trio on the day after the New Morning shows, as well as two recordings of Duke Jordan’s trio performing the most emblematic tunes from Baker’s repertoire (in Copenhagen 1984 and Japan 1982).

01 September Song 8:09
02 My Funny Valentine 6:45
03 I Remember You 4:25
04 But Beautiful 4:37
05 Solar 4:07
06 September Song [Instrumental Version] 7:39
07 Barbados 11:33 (*)
08 Everything Happens To Me 6:19 (*)

Chet Baker, Trumpet & Vocals
Duke Jordan, Piano
Jesper Lundgaard, Bass

Live at New Morning, Paris, France, November 24, 1983.
(*) Track 7: Same personnel. Live at Jazz Club Kawe,
Lauwe, Belgium, November 25, 1983.
(*) Track 8: Duke Jordan (p), Hugo Rasmussen (b),
Ed Thigpen (d). Copenhagen, Denmark, February 12, 1984.

01 Out Of Nowhere 11:28
02 My Funny Valentine 12:58
03 I Remember You 11:07
04 New Morning Blues (Incomplete) 7:31
05 My Funny Valentine 9:15 (*)

Chet Baker, Trumpet & Vocals
Duke Jordan, Piano
Jesper Lundgaard, Bass
Leo Mitchell, Drums

Live at New Morning, Paris, France, November 24, 1983.
(*) Track 5: Duke Jordan (p), Jesper Lundgaard (b),
Aage Tanggaard (d). Live at So Nice, Nagoya, Japan, June 14,1982.

Sunday, July 11, 2010

BN LP 5063 | Gil Mellé Quintet

From the liner notes;
"This is Gil Mellé's fourth LP. In the course of his remarkable series of enterprises for Blue Note he has previously presented a quintet and a sextet, both on BLP 5020, a second quintet with an altered personnel on 5033, and a carefully organized and rehearsed quartet with which, on 5054, he introduced a delightful sample of what (if we were given to slogans) we might describe as New Jersey Jazz.
It seems to us that Gil has progressed steadily in the course of these various excursions, and that with this new release he has found the most vivid and capacious format of all. Actually the group featured here is simply the quartet of 5054 with one man added, but that single addition is of such stature as to change the entire tonal impact of the unit.
The addition in question is the tuba player, Don Butterfield.

'nuff said.

For specific tracklistings, have a look at the excellent Jazz Discography Project

Best 2010!

Friday, July 9, 2010

Betty Carter – I Can’t Help It (1958)

Late 50’s sessions with Carter honing her skills, backed by both a moderate sized group and the Richard Wess Orchestra.
The group includes Kenny Dorham, Melba Liston, Wynton Kelly and Benny Golson.
Carter was still building a reputation and was then more in standard scat/hard bop mode than in the interpretative style she later patented.
Ron Wynn

1. I Can't Help It
2. By the Bend of the River
3. Babe's Blues
4. You're Getting to Be a Habit with Me
5. But Beautiful
6. All I Got
7. You're Driving Me Crazy (What Did I Do?)
8. Foul Play
9. On the Isle of May
10. Make It Last
11. Bluebird of Happiness, The
12. Something Wonderful
13. For You
14. What a Little Moonlight Can Do
15. Remember
16. At Sundown
17. Mean to Me
18. I Don't Want to Set the World on Fire
19. On the Alamo
20. Jazz (Ain't Nothin' But Soul)
21. There's No You
22. Stormy Weather
23. My Reverie
24. Don't Weep for the Lady

Tracks 1 – 6 (recorded in New York, February, 1958)
Betty Carter (vocals); Ray Copeland (trumpet & arrager); Melba Liston (trombone & arranger); Jerome Richardson (tenor sax, flute & bass clarinet), Wynton Kelly (piano); Peck Morrisson, (bass); Specs Wright (drums).

Tracks 7 – 12 (recorded in New York, February, 1958)
Betty Carter (vocals); Gigi Gryce, Jimmy Powell (alto saxophone); Benny Golson (tenor saxophone); Sahib Shihab (baritone saxophone); Ray Copeland, Kenny Dorham (trumpet); Melba Liston (trombone); Wynton Kelly (piano); Sam Jones (bass); Specs Wright (drums). Arrangements by Copeland, Liston , Gryce & Tommy Brice

Tracks 13 – 24 (recorded in New York, August 18 (13 – 16), August 29 (17 – 20) & August 30 (21 – 24)
Betty Cartwer (vocals), orchestra arranged & conducted by Richard Wess

Thursday, July 8, 2010

Bud Freeman - Something Tender

01 The Eel's Nephew
02 Something Tender
03 Golden Retriever Puppy Dog Blues
04 Please
05 Disenchanted Tour
06 Satin Doll
07 It Must Be True
08 Mimi
10 Let's Do It Again
11 Mountain Greenery
12 Sweet Sue

1963.  United Artists Records UAJS-15033

One of two unusual sessions featuring tenor saxophonist Bud Freeman with guitarists George Barnes and Carl Kress, this studio date for United Artists was recorded a year after a live performance in 1962, but it was issued decades sooner. Regardless whether the trio is playing a standard, a classic jazz composition or an original of their own, they swing effortlessly together, with Freeman typically leading the way and a guitar solo to follow. The lively unison line between the tenor sax and the lead guitar combine to sound somewhat like an accordion in the lively opener, "The Eel's Nephew." Other highlight include "Doctor Paycer's Dilemma" (evidently composed at the session) and a perky take of Rodgers & Hart's "Mountain Greenery." Sadly, the liner notes don't indicate which of the two guitarists is soloing on a track by track basis, but in the end, it doesn't really matter. All three musicians have been unjustly overlooked since their respective deaths, but this long unavailable LP is worth pursuing by serious jazz collectors.
Review by Ken Dryden

Wednesday, July 7, 2010

JASON MORAN - Soundtrack To Human Motion (1998)

Jazz has seen its share of excellent young players, but 24-year-old pianist Jason Moran really raises the bar with his superb Soundtrack to Human Motion. Moran explains the title as follows: "I like to think this recording could serve as the soundtrack to all movements a human might make in a given dayï."

Moran has been recording as a sideman for a whopping two years. Many struggle a lifetime to attain his level of mastery. With his piano playing no less than his writing and arranging, Moran has already crafted a distinctive jazz voice, and it shines through on this CD from the first note to the last.

Innovative altoist Greg Osby, who gave Moran his start, served as his mentor, and produced this disc, appears as the sole horn. Joining Osby are Stefon Harris on vibes, Lonnie Plaxico on bass, and Eric Harland on drums. The entire ensemble is featured only on "Gangsterism on Canvas," "Still Moving," and "Aquanaut." Harris sits out for "Snake Stance," Osby for "Retrograde." Moran shifts to piano trio mode for "JAMO Meets SAMO," "Release From Suffering," and "States of Art," which begins with a solo rendition of Ravel's "Le Tombeau de Couperin." The album closes with "Root Progression," a stellar duet between Moran and a soprano-blowing Osby. Moran employs his players very wisely, varying the combinations so that the sound of the record is never static, always in motion.

David Adler

01. Gangsterism Oncavas
02. Snake Stance
03. Le Tombeau de Couperin (State of Art)
04. Still Moving
05. Jamo Meets Samo
06. Kinescis
07. Aquanaut
08. Retrograde
09. Release From Suffering
10. Root Progression

GREG OSBY alto & soprano saxophones
STEFON HARRIS vibraphone

All compositions by Jason Moran except (3) written by Maurice Ravel
Recorded at Systems Two, Brooklyn, NY on August 20 & 30, 1998
BLUE NOTE 7243 4 97431 20


Gary Lefebvre - Another time, Another Place

Very rare musician, we can see him playing with Shorty Rogers in the 1962 TV broadcast : “ Jazz Scene USA video - Shelly Manne and His Men / Shorty Rogers and His Giants (DVD 20th Century Fox, 2001) “. Appears also on the Shorty Rogers Quintet with Jerry Southern, 1962 (CD Studio West).

02-Bossa Briosa
03-Anther Time, Another Place
04-One For Tthe Butler (For Frank)
05-Rebel’s Run
06-Yesterday I Heard The Rain
08-Poor Juan
09-Nightride (*)

Gary Lefebvre (ts, ss on 6, 7)
Jeff Elliott (flh, tp on 4)
Kei Akagi (p, except on 6)
Ruben Estrada (p on 6))
John Patitucci (b)
Tom Brechtlein (dr)
The Estrada Brothers (perc)
(Recorded Feb. 1985)

(*) bonus track :
Gary Lefebvre (ts)
Gilbert Castellanos (tp)
Gerald Clayton (p)
Rob Thorsen (b)
Kevin Kanner (dr)
(Recorded Aug. 2003)

1985 and 2003, limited edition

Coleman Hawkins - 1959-62 Bean And The Boys

There is a Prestige album with the same title, recorded by Coleman Hawkins in several sessions along the 40's. This one includes two sessions. The first one with Eddie Costa All-Stars was recorded in Rodhe Island on 1959. The second is a broadcast from 1962 in an unknown location.

".... He is well supported on both these sessions by two excellent rhythm sections, and it will come across to the listener that what he is listening to is a typical Hawkins club date. "Jellybean" gets the proceedings off to a good start, and the gruff tone that Hawkins sometimes employed is in evidence here, as it is on "Stoned". "Centerpiece" is that rare example of Hawkins playing a slow blues, while on "Perdido" two young turks of the time are invited up on to the stand for a blow, but it is Hawkins who makes the first and last statements on the classic Juan Tizol tune.
Three years later we find Hawkins in splendid form with a four-man rhythm section at an unknown location. His tone on this set had lost its gruffness, being riper, more like his 40's sound. "Disorder at the border", a 'Hawkins composition from the 40's, makes a fine opener and one feels that Bean is flexing his muscles, getting the feel of the room. We are then treated to a ballad performance, which goes into double time, a habit no doubt picked up from the beboppers. Hawkins' full, rounded and powerful sound was always an essential part of his overall style and manner, and, allied to his highly developed harmonic and rhythmic senses, this version of "If I had you" incorporates all of those elements. Hawkins, with what appears to be genuine relish, then plunges headlong into the up-tempo "Bean and the boys", based on the standard "Lover come back to me", where each member of the rhythm section gets a solo spot. Scott is particularly engaging, playing in a bubbling happy-sounding manner. Jerome Kern's "All the things you are" rounds off the set, and this too is taken at a good swinging tempo, with Bean exploring the changes with consummate ease. Scott and Bauer combine well throughout the whole date, with Bauer showing that he could play excellent rhythm-guitar as well as putting in many nice little touches here and there.... "
From the liner notes by Mike Baillie

1. Vignette (Hank Jones) 6:10
2. Centerpiece (H.Edison) 8:08
3. Stoned (C.Hawkins) 6:54
4. Perdido (J.Tizol) 8:51
5. Blues (D.R.) 13:43
6. Disorder At The Border (C.Hawkins) 4:03
7. If I Had You (Shapiro, Campbell, Connelly) 4:56
8. Lover Come Back To Me (Romberg, Hammerstein) 6:59
9. All The Things You Are (Kern, Hammertein II) 5:23

Tracks 1-5
Recorded in Westerley, Rhode Island, on September 1959

Coleman Hawkins Sax (Tenor) except on track 5
Eddie Costa Piano
George Tucker Bass
Eddie Campbell Drums
Jimmy Cleveland Trombone on tracks 4 & 5
Benny Golson Sax (Tenor) on tracks 4 & 5

Tracks 6-9
Broadcast "Freedonland", on September 1, 1962

Coleman Hawkins Sax (Tenor)
Bobby Scott Piano
Billy Bauer Guitar
Major Holley Bass
Eddie Locke Drums

Tuesday, July 6, 2010

Pete Johnson - 1939-1941 (Chronological 665)

Born in Kansas City, Pete Johnson began his musical career as a drummer but soon learned how to massage a piano under the tutelage of his uncle Charles "Smash" Johnson. During the early 1930s, Pete worked overtime performing as a solo act in his hometown. For those who have a healthy appetite for piano blues and boogie-woogie, you're not going to find anyone more authentically rooted in the Kansas City tradition. This portion of the Pete Johnson chronology begins with four sides cut for the Blue Note label in December of 1939. The "Holler Stomp" is an exceptionally fine accelerated romp for unaccompanied piano. Everything you need to know about the real boogie-woogie is contained in this red-hot four-minute performance. It defines the entire genre. Continuing the rapid pace, "Barrelhouse Breakdown" is performed by Johnson's Blues Trio, with Abe Bolar's superb string bass and the guitar of Ulysses Livingston. The trio eases into blue relaxation with "Kansas City Farewell," a very cool stroll during which the musicians make good use of the four full minutes allowed by 12" 78 rpm records. "You Don't Know My Mind" is a fundamental blues for solo piano, every bit as rich and rewarding as its flip side, the "Holler Stomp." Never chained to one label for very long, Johnson switched to Decca Records during the following year, knocking off a pair of solo boogies in August and the "627 Stomp," possibly the greatest ensemble record of his entire career, on November 11, 1940. The front line of Hot Lips Page with reedmen Eddie Barefield, Don Stovall and Don Byas was perfectly supported by Johnson's ace rhythm section, notably driven by legendary percussionist A.G. Godley. The flip side, "Piney Brown Blues," was issued under the heading of Joe Turner and His Fly Cats. Johnson and Turner's partnership dated back to the early 1930s, when Joe was locally famous as a singing bartender. What we have in "Piney Brown" is the keystone of Turner's entire recording career. 1941 found Johnson recording a stack of piano duets for Victor with the amazing Albert Ammons. Additional friction was supplied by percussionist Jimmie Hoskins. If Godley is more your speed, "Death Ray Boogie" opens four additional trio sides for Decca from May of 1941. Nestled between three excellent studies in boogie rhythm, "Just for You" offers a rare glimpse at Pete Johnson's way of handling a simple love song. He sounds in fact more than a little like Fats Waller. It is a small romantic islet floating in the middle of an ocean swarming with blues and boogies. ~ arwulf arwulf

Pete Johnson (piano)
Don Byas (tenor sax)
Hot Lips Page (trumpet)
Ulysses Livingston (guitar)
Eddie Barefield (clarinet, alto sax)

1. Holler Stomp
2. Barrelhouse Breakdown
3. Kansas City Farewell
4. You Don't Know My Mind
5. Blues On The Down Beat
6. Kaycee On My Mind
7. 627 Stomp
8. Piney Brown Blues
9. Boogie Woogie Man
10. Barrelhouse Boogie
11. Cuttin' The Boogie
12. Death Ray Boogie
13. Just For You
14. Pete's Mixture
15. Basement Boogie
16. Foot Pedal Boogie
17. Walkin' The Boogie
18. Sixth Avenue Express
19. Pine Creek
20. Movin' The Boogie

Herman Chittison - 1933-1941 (Chronological 690)

This disc opens with a bang, or, to be more exact, a howl. Banjo Ikey Robinson imitates Cab Calloway's wide-open hollering -- specifically drawing upon Calloway's scream-along hit "Zaz Zuh Zaz" -- but somehow takes it to his own extremes as he wails about being "Unlucky." Robinson's piano-playing partner on July 17, 1933, identified as "Ivory" Chittison, provides a full-bodied background of smooth, low-down pulsating rhythms and sweeping arpeggios. This mingles surprisingly well with Robinson's guitar, but the tastiest part of the mix is that fearless vocal. The flip side is a real gem, one of Robinson's all-time greatest hot numbers. The melody to "My Four Reasons" sounds a little like "Clarinet Marmalade." The lyrics are boisterous, the guitar licks are hot, but again the grooviest parts of the entertainment are Robinson's frequent vocal outbursts. That man did love to cut loose and raise his voice. These two crazy tunes form a perfect appetizer leading into a full course of Herman Chittison's energetic piano solos. Recorded in Paris during the early summer of 1934, "Honeysuckle Rose" is terrifically stimulating. "Harlem Rhythm Dance" is so fast it's almost frightening. "Nagasaki" pairs off with "Honeysuckle" as well-organized stomps with all of the right stuff happening. "Stormy Weather" is brisk and muscular. It's good to hear a couple of examples of Chittison accompanying a vocalist. Arita Day sounds hipper than Ethel Waters on "Heat Wave" and works up a dramatically poignant reading of Cole Porter's epic tale of heartbreak, homicide, and lynching, "Miss Otis Regrets." Five Parisian piano solos from 1938 are refreshing and inventive, as Chittison sorts out his own style and technique from the influence of his number one role model, Art Tatum. "I'm Putting All My Eggs in One Basket" is particularly fine, and "My Own Blues" allows the artist to express himself for a couple of minutes without any discernible ties to Tin Pan Alley. Back in New York making records for Bluebird during September of 1941, the pianist served up a gorgeous pair of solos, simultaneously romantic and progressive. If Tatum's vibe is still very much a part of the Chittison style, there is just a hint of Bud Powell's advanced harmonies and lightning dexterity in "Flamingo" and "The Man I Love." ~ arwulf arwulf

1. Unlucky Blues
2. My Four Reasons
3. Honeysuckle Rose
4. Harlem Rhythm Dance
5. Nagasaki
6. Swingin'
7. Stormy Weather
8. St. Louis Blues
9. You're Be My Lover
10. Red Jill Rag
11. Bugle Call Rag
12. Trees
13. Heat Wave
14. Miss Otis Regrets
15. My Last Affair/No More Tears
16. I'm Putting All My Eggs In One Basket
17. My Own Blues
18. My Melancholy Baby
19. They Can't Take That Away From Me
20. Flamingo
21. The Man I Love

Clare Fischer - Memento

Tracks taken from 3 albums: Waltz, Blues Trilogy, and Plays By And With Himself. I think that Larry Harlow might take exception to the first sentence of the review.

Clare Fischer has inherited the crown from Cal Tjader as Latin music's leading non-Latin bandleader and figure. These 13 selections, pulled from three Fischer albums done in the late '60s and early and mid-'80s, show Fischer's straight jazz and big band work. It does include the title song and "Preludio," but this is mostly straight-ahead swing, bop, and cool fare, with nice reworkings of such anthems as "Giant Steps," "Jeru," and "Old Folks." His band contains many West Coast household names, like Bill Perkins, Gary Foster, and Bud Shank, plus bassist John Patitucci on board part-time. ~ Ron Wynn

Clare Fischer (piano)
Conte Candoli (trumpet)
Bud Shank (clarinet, flute)
Bill Perkins (clarinet)

1. Basic Blues
2. Long Time Ago
3. Blues Bossa
4. Preludio
5. If You Could See Me Now
6. Fugue
7. Blues in G
8. My First Waltz
9. Giant Steps
10. Old Folks
11. Jeru
12. Pat's Blues
13. Memento

Clare Fischer - First Time Out

“I am one of the best kept secrets in jazz history. Many of my early records are hard to find and it is still difficult to release new ones...”

01 - Nigerian Walk
02 - Toddler
03 - Stranger
04 - Afterfact
05 - Free Too Long
06 - Piece for Scotty
07 - Blues for Home
08 - I Love You

Pacific Jazz PJ-52

Clare Fischer - piano,
Gary Peacock - bass,
Gene Stone - drums

Gary Foster - Subconsciously

01 - Ornithardy
02 - All of Me
03 - Pensativa
04 - What Is This Thing Called Love
05 - What Is This Thing Called Love
06 - I'll Close My Eyes
07 - Liz Anne
08 - In Memoriam JFK & RFK
09 - Elegy
10 - Whistful Samba
11 - Peri's Scope

Revelation Records REV-5.1968

Gary Foster - as, ts, fl, ac,
Clare Fischer - p,
Dennis Budimir & Dave Koonse - g,
Frank De LaRosa, Ray Napolitan, Vic Mio - b,
John Terry - dr

Clare Fischer - One to Get Ready, Four to Go

01 - Liz Anne
02 - In Memoriam JFK and RFK
03 - You Stepped Out of a Dream
04 - Lover Man
05 - Lover Man
06 - Free Ways

Revelation Records REV-6.
1963, 1964, 1965

unaccompanied piano + quartet
Clare Fischer - piano,
Gary Foster - tenor,
Bobby West - bass,
Jim Keltner - drums

The Dan Barrett Octet - Strictly Instrumental

01 Old Fashioned Love
02 Somebody Loves Me
03 Quasimodo
04 The Minor Infraction
05 No Regrets
06 Moon Country
07 My Honey's Lovin 'Arms
08 Strictly Instrumental
09 Sleep
10 Some Other Spring
11 There's Honey on the Moon Tonight

Concord Jazz 4331

Trombonist Dan Barrett utilizes some of the top younger players of pre-bop in this delightful octet session. In addition to Barrett, the lineup includes cornetist Warren VacheKen Peplowski on clarinet and tenor; altoist Chuck Wilson; the late, great pianist Dick Wellstood; guitarist Howard Alden; bassist Jack Lesberg; and drummer Jackie Williams. Together, they play a variety of high-quality standards, including relative obscurities such as "No Regrets," Hoagy Carmichael's "Moon Country," and "There's Honey on the Moon Tonight." The concise solos and Barrett's clever arrangements make this a particularly memorable release.
Review by Scott Yanow

Monday, July 5, 2010

Howard Alden - Take Your Pick (1996)

Although best-known for his work in mainstream swing settings, guitarist Howard Alden has long been interested in later periods of jazz. On this superior outing, he doubles on seven-string acoustic and electric guitars (which allow him to add basslines). Lew Tabackin is on four of the ten numbers (three on tenor, one on flute) and pianist Renee Rosnes appears on six songs (including a duet with Alden on "You're My Thrill"), while bassist Michael Moore and drummer Bill Goodwin are on seven. Alden takes "My Funny Valentine" and "After All" as unaccompanied solos but it is his meetings with Tabackin, particularly on exciting versions of two complex Herbie Nichols songs ("House Party Starting" and "The Gig") that are most notable. Recommended. - Scott Yanow

Howard Alden (guitar)
Lew Tabackin (tenor sax)
Renee Rosnes (piano)
Michael Moore (bass)
Bill Goodwin (drums)

  1. I Concentrate on You
  2. U.M.M.G. (Upper Manhattan Medical Group)
  3. House Party Starting
  4. Warm Valley
  5. The Gig
  6. My Funny Valentine
  7. Sweet and Lovely
  8. You're My Thrill
  9. How Deep Is the Ocean
  10. After All
Recorded May 16-18, 1996

Laurie Anderson - Mister Heartbreak (1984)


This may stir memories for some. This is an album I listened to a lot when it came out. Anderson was quite an avant-garde artist at that time. Mr. Heartbreak is still fresh and vibrant today. Jean Francois.

Review by Mark W. B. Allender: Probably the most pop-accessible of Laurie Anderson's recorded work, Mister Heartbreak features a number of stunning luminaries on the cutting edge of popular music at the time. Striking guitar work by King Crimson guitarist Adrian Belew permeates this disc -- notably on "Sharkey's Day" -- punchy and angular. The production and bass work from Bill Laswell is superb. Peter Gabriel -- at the time still coming off the buzz of his departure from Genesis -- is featured in a duet with Anderson on "Excellent Birds." There is a heavy reliance on early-'80s synthesizers which would normally be very off-putting, but here they are executed well. Nowhere does the music slip into irreparable '80s cliché; it is still an entertaining listen. Lyrics are typical of Anderson' work -- complex, literate, provocative, difficult to fully comprehend. Haunting "Gravity's Angel" borrows imagery from Thomas Pynchon's Gravity's Rainbow. Spoken word delivery on "Sharkey's Night" is given by the legendary William S. Burroughs. This is a very satisfying listen and a great intro for those unfamiliar with Anderson's work.


  1. Sharkey's Day
  2. Langue d'Amour
  3. Gravity's Angel
  4. Kokoku
  5. Excellent Birds
  6. Blue Lagoon
  7. Sharkey's Night


  • Laurie Anderson Synthesizer, Percussion, Violin, Vocals, Whistle (Human), Electronic Sounds, Bells, Producer, Synclavier, Vocoder, Artwork
  • Adrian Belew Guitar
  • Bill Blaber Sopranino
  • William S. Burroughs Vocals
  • Michelle Cobbs Vocals (bckgr)
  • Anton Fier Drums, Tom-Tom, Wood Block
  • Peter Gabriel Synthesizer, Drums, Vocals, Vocals (bckgr), Producer, Synclavier
  • Connie Harvey Choir, Chorus
  • Bill Laswell Bass, Producer
  • Bob Ludwig Mastering
  • Dollette McDonald Vocals (bckgr)
  • Brenda Nelson Vocals (bckgr)
  • Sang Won Park Kayagum
  • Daniel Ponce Bells, Iya, Shekere
  • Nile Rodgers Guitar
  • Park Sang-Won Kayagum
  • Phoebe Snow Vocals (bckgr)
  • David Van Tieghem Drums, Drums (Steel), Bamboo Flute, Bowls, Gato
  • Janet Wright Choir, Chorus
  • Atsuko Yuma Vocals (bckgr), Choir, Chorus

Sunday, July 4, 2010

Bud Powell - Live At The Blue Note Cafe, Paris 1961

After bop pianist Bud Powell died in 1966, ESP-Disk Records kept his name alive with a series of archival live recordings curated from the personal collection of his wife, Buttercup Powell. Unlike their higher-profile Billie Holiday and Charlie Parker series, which were of unfortunately varying (and quite often very low) quality, the Bud Powell sessions are uniformly fine, with the excellent Live at the Blue Note Cafe, Paris 1961 a particular standout. Working in a trio format with local bassist Pierre Michelot and former Modern Jazz Quartet drummer Kenny Clarke, Powell stretches out on a set that's half evergreen standards (a rollicking "There Will Never Be Another You" opens the set) and half songs written or co-written by his friend and mentor Thelonious Monk. Although Powell's performances during this period were occasionally erratic owing to his sometimes precarious mental state, the pianist sounds relaxed and even playful on these eight tracks, investing his solos on Monk showcases like "'Round Midnight" with a lightness of touch that matches Clarke's fleet, flashy drumming. It's not one of Powell's most essential recordings, but Live at the Blue Note Cafe, Paris 1961 shows the pianist in a comfortable setting in front of an appreciative crowd. ~ Stewart Mason

"Pianist Bud Powell's music is often buried in his tragic personal history, so much so that his story is best known through the film Round Midnight, where his character is transmogrified into a saxophonist memorably played by Dexter Gordon. Mental illness—at least partially caused by a savage police beating in 1945—and drug and alcohol abuse, plus a bout with tuberculosis, made the last half of his 42-year life a hapless tragedy that took a toll on his, at its best, mercurial playing. But every performance of his later years was by no means a disaster, as these two CDs, capturing performances in Europe (where he lived in the early '60s) between early 1961 and April 1962, make abundantly evident.

The Paris Blue Note was an intermittent home to Powell's trio with fellow expatriate and bebop pioneer Kenny "Klook" Clarke (drums) and the French bassist Pierre Michelot. Live at the Blue Note Cafe, Paris 1961 captures two sets, the first a quartet with tenor saxophonist Zoot Sims. The murky mic'ing of the piano and muddy mix explain why it has not been widely circulated before. The later-in-the-year trio set boasts much better sound and balance. Sims is the undisputed star of the first portion, asserting his bop-oriented swing, especially on "Taking a Chance on Love." "Groovin' High" peaks with exhilarating sax-piano-drum trades and the riff tune "Bud's Blues" proves that less can be more with compelling solos. The trio set leans heavily on Monk, with a very faithful "Thelonious," a maximally dramatic "Round Midnight" and a "Monk's Mood" perfectly sync'ed to its composer's sense of time, complete with deliberate hesitations and rushes." ~ George Kanzler

Bud Powell (piano)
Zoot Sims (tenor sax)
Pierre Michelot (bass)
Kenny Clarke (drums)

1. Groovin' High
2. Taking A Chance On Love
3. Bud's Blues / 52nd Street Theme
4. There Will Never Be Another You
5. Thelonious
6. Round Midnight
7. A Night In Tunisia
8. Monk's Mood
9. Shaw Nuff
10. Lover Man
11. 52nd Street Theme

BN LP 5062 | Horace Silver Quintet, Volume 2

Kenny Dorham (tp) Hank Mobley (ts) Horace Silver (p) Doug Watkins (b) Art Blakey (d)
Rudy Van Gelder Studio, Hackensack, NJ, February 6, 1955

I think you could probably call this an EP, it is short even by 10" standards - 4 tracks, totalling about 20-22 minutes. It is a nice set and you will have heard the tracks in various compilations and re-editions.
You can see that Horace Silver was making money for Blue Note.

For specific tracklistings, have a look at the excellent Jazz Discography Project

George Colligan Trio - Past - Present - Future

After presenting a program of gnarly originals for quartet on Ultimatum, his Criss Cross debut, pianist George Colligan offers a beautifully paced trio recital.

Mixing well-wrought originals with iconic standards like Sophistcated Lady and Body and Soul and such less-traveled repertoire as Holiday for Strings and Three Views of a Secret, Colligan again displays the musicality and personal perspective that have marked his oeuvre over the past decade.

In the rhythm section: bassist Vicente Archer, and master drummer Bill Stewart.

1. Sophisticated Lady

2. Akatumbo

3. East Of The Sun

4. This Nearly Was Mine

5. Past - Present - Future

6. Three Views Of A Secret

7. Cinema Paradiso

8. Holiday For Strings

9. Body And Soul

10. Invitation

George Colligan (P)
Vicente Archer (B)
Bill Stewart (D)

Recorded October 31, 2003 in Brooklyn, NY, USA by Max Bolleman

Swiss Movement Les McCann & Eddie Harris

An old chestnut I know but an excellent one. Somehow seems like an appropriate way to salute all the people south of the border today. Happy Independence Day America & to our friends at RS may all your movements be as painful as possible.

When Les McCann interpolates the melody of "Age of Aquarius" in the introduction to "Compared to What," one sits back and says, "Ah yes, 1969." But he more than pulls it off, leading into a rambunctious and utterly infectious rendition of the classic piece, replete with exhortations of "Sock it to me!" This piece, written by Gene McDaniels, has to be one of the masterpieces of jazz-pop and the album could be recommended for its inclusion alone. Happily, the remainder of this live set, recorded at the Montreux Jazz Festival in Switzerland (originally released on Atlantic), follows a similarly joyful and funky path, even if the group never quite scales the same heights. Saxophonist Eddie Harris' "Cold Duck Time" is as down-home as its title, and McCann's wincingly named "The Generation Gap" is as relaxed and cool as a lakeside breeze. Harris brings a needed tinge of free playing to the band, erupting into the occasional impassioned snarl while never neglecting the soulful roots. Trumpeter Benny Bailey also deserves special mention, his every contribution sharp and to the point. Altogether a fine recording, providing a shining example of what could be achieved in the soul-jazz genre without giving in to slickness in the slightest.

Vinyl rip, flac, lp scans.

Saturday, July 3, 2010

Duke Jordan - Solo Masterpieces vol. 1 & 2

Duke Jordan spent his later years living and working in Europe, where he developed a strong relationship with producer Nils Winther, owner of Steeplechase, who gave him many opportunities to record. This volume, the first of two, is a bit unusual, in that it consists exclusively of solo piano treatments of originals. He does revisit a few of his earlier works, like the lush, hypnotic ballad "Kiss of Spain," while "Mellow Mood" is an obvious variation of Jordan's well-known composition "Jordu." "Night Train from Snekkersten" has the rumbling bass of many earlier train themes; the middle part is more focused on his right hand. It often seems during these sessions that the pianist is playing for himself, trying out ideas as they come to him, rather than having rehearsed a lot of new material before entering the studio. This isn't quite an essential part of Duke Jordan's vast discography, though fans of solo piano will want to investigate it for themselves.(All Music)

Mal Waldron - One More Time



Mal Waldron - piano
Jean-Jacques Avenel - double bass
Steve Lacy - soprano saxophone

Recorded January 29 & 30, 2002. Studio La Buissonne, Pernes les Fontaines.


1. All Alone
2. Rites Of Initiation
3. You
4. Blues For JJ's Bass
5. The Seagulls Of Kristiansund
6. Waltz For Marianne
7. In The Land Of Clusters
8. Soul Eyes

If there were such a category as "Pure Jazz" then this disc would surely be a shining example of it. This is music stripped to the bones with no frills or attempt at commercial appeal and because of this there are some of the most beautiful and intense performances that it has been my privilege to hear for a long time. There is nothing forced or contrived about any of the pieces here and for the most part the mood is relaxed and at the same time cerebral. This is not to say that the music is too "clever", it is highly approachable and enjoyable at the same time as it reflects all of the above mentioned qualities.
Mal Waldron has played on a regular basis and arranged and produced pieces for such notables as Charles Mingus, John Coltrane, Eric Dolphy, Max Roach and Art Farmer. He was the accompanist to Billie Holiday for the last two and a half years of her life, but it is as a composer that he is probably most renowned. His tune "Soul Eyes " has become one of the most popular and recorded of modern Jazz ballads and there is an excellent rendition on this release. From the 1960's onwards Waldron has been resident in Europe where he has established a long term artistic relationship with the soprano saxophonist Steve Lacy who is to be heard on two of the pieces featured here.
Waldron has possibly missed out on universal recognition because of his decision to live and work abroad, but the standards and development of his music have certainly not suffered through lack of direct exposure and proximity to Stateside influences. His playing was originally described as Monk style be-bop piano and he has continued to build on the quirkiness of this genre until he has come up with a highly personal approach. He possesses great lyricism and seems to have an endless fount of melodic invention. His compositions are outstanding - he surely deserves much wider appreciation for this aspect of his work alone.
I am unfamiliar with Jean-Jacques Avenel on string bass but he is more than equal to the task of playing in such stellar company and manages to make telling and original contributions on the pieces he performs on, which is all except for two piano solos. There is great interplay between the bass and the piano and it is pleasant to here Avenel forgoing the traditional roles of tempo-keeper and harmonic framework for much of the time to participate on a more significant level.
It is easy to see why Steve Lacy has been a consistent poll winner on his chosen instrument over many years. He only plays on two numbers, "Soul Eyes" and the delightful waltz "You ", but it is obvious that one is listening to a master by the strength and beauty of his tone alone. He is one of a very few who have chosen to make this awkward instrument the mainstay of their career. He is one of even fewer to have had any degree of real success in terms of artistry and recognition.
This is an absolute must for the discerning listener, especially if attracted to top flight composition, improvisation and performance. It is time Mal Waldron became a household name amongst Jazz fans, to be mentioned in the same breath and on the same level as McCoy Tyner, Herbie Hancock and Bill Evans.~Dick Stafford

George Lewis - Shadowgraph,5 (Sextet)

Penguin Guide 4 Star " ... Lewis' gloriously flatulent sosaphone ..."

There's such a balance of austerity and improvised vitality to the music of George Lewis. This disc is a great sampling of sonic ideas that hold a strong attraction.

"Monads" is scored/performed for piano (Anthony Davis), bass clarinet (Douglas Ewart), violin (Leroy Jenkins), alto and tenor trombones (George Lewis), soprano saxophone (Roscoe Mitchell) and cello (Abdul Wadud). This work explores some sparse textures that allow ample room for improvised focal points. Leroy Jenkins spins some great material that balances well, and is reflected against, the full ensemble of outstanding talent working behind him. Some tasty harmonies poke through sparingly from Anthony Davis on the piano. This is an exquisite texture. This one has the quality of an abstract painting of angular lines and vibrant colors rendered in sound.

"Triple Slow Mix" is a trio for two pianos and sousaphone. Muhal Richard Abrams is panned hard left, Anthony Davis is panned hard right and George Lewis holds down the center on the sousaphone. The generous use of "inside the piano" sounds from Davis and vocalizations from Abrams provides a delicate bed for the phrases and drones of the sousaphone part. This work is surprisingly dynamic - both in loud-to-soft range and sonic texture. And the sense of time feels enormously elastic in this composition. The consistency of the sousaphone material supplies a cohesive element to some wildly varied material from these pianists.

"Cycle" is multi-instrumental duet scored for Douglas Ewart on clarinet, bassoon, sopranino saxophone and percussion and George Lewis on Moog synthesizer, tenor trombone and Wagner tuba. The analog sounds balanced against the clarinet at the start of this track brings an involuntary smile. There's a beautiful, focused tone to this performance as each shifts frequently between instruments. George Lewis' spoken voice ringing through the body of the trombone sounds remarkably similar to the sounds he coaxes from the Moog synthesizer.

"Shadowgraph, 5 (Sextet)" is scored/performed for piano (Muhal Richard Abrams), flute, Ewart bamboo flute, cassette recorder/recitation, percussion (Douglas Ewart), viola (Leroy Jenkins), tenor trombone, Wagner Tuba, sousaphone, sound-tube (George Lewis), alto saxophone, baritone saxophone, cassette recorder, soprano saxophone, flute (Roscoe Mitchell) and cello (Abdul Wadud). The entire Shadowgraph Series is some of my all-time favorite George Lewis material and this is a pretty outstanding ensemble realizing this one. This one opens with short, well-directed bursts of activity marked by enormous reserve from each of these potentially explosive and dominating performers. Things slowly open up as the focal point skips effortlessly from performer-to-performer in some breathtakingly creative ways. ~ Devin Hurd

George Lewis (alto and tenor trombones, sousaphone, Wagner tuba, sound tube, Moog synthesizer)
Roscoe Mitchell (soprano, alto and baritone sax, flute, cassette recorder)
Douglas Ewart (sopranino sax, clarinet & bass clarinet, bassoon, percussion)
Leroy Jenkins (violin)
Abdul Wadud (cello)
Anthony Davis (piano)
Muhal Richard Abrams (piano)

1. Monads
2. Triple Slow Mix
3. Cycle
4. Shadowgraph 5 (Sextet)

Jimmy Raney & Attila Zoller - Jim & I

Here's an interview with Attila Zoller, which you can read in full or :

CAD: You recorded with Jimmy Raney (L&R Records) in the early 1980s.
AZ: We made two records. One was made in '79, and two records were made in 1980 because there were both concerts. One was in a big concert hall - the Jahrhundert Halle, or the Century Hall - with 2000 people in Frankfurt. It was a big festival, and one concert featured three spontaneous improvisations over themes with no pre-arranged playing. It's not so easy. We recorded it, and it came out. It's going to be an album for the next fifty years, you know. It was very good; we played with a symphony. Anyway, we made two records from that with Jimmy Raney called Jim and I because all of the three LP's came out on one double-CD.

Disc 1
01. Hommage a Bach
02. Autumn
03. Jim and I
04. Conjecture
05. The Gallery
06. Two Beat Circa 1980
07. Scherz I
08. Changing Leaves

Disc 2
01. A Common Nightmare
02. The Day Before
03. Autumn in Berlin
04. Scherz II
05. Ku-Damm
06. Out in Quasimodo

Friday, July 2, 2010

Bob Brookmeyer - Stay Out Of The Sun

In valve trombonist Bob Brookmeyer's biography, one can trace the map of jazz's history, both musical and personal. Brookmeyer has spent time in many of jazz's major ensembles, including Basie, Thornhill, Ellington and Lewis, and small groups, playing with Mulligan, Getz, Giuffre and Mingus. Along the way he has taken part in and contributed to the music's orchestral and instrumental innovations. He has also unfortunately experienced one of jazz's major tragedies: substance addiction, a disease that nearly cost him everything.

In the late '70s Brookmeyer met drummer Michael Stephans, and, according to the trombonist, Stephans kept him playing. So, nearly thirty years on, they are both still improvising together, and in 2000 they recorded Stay Out of the Sun , but the sessions stayed unreleased until 2003. This set of nine tunes positively glows with a warm, relaxed spirit, a spirit that Brookmeyer probably helped create by dashing off four originals in a hotel room the day before the recording.

All pieces here convey an easy, velveted texture, a quality that at first covers the high-level dialogue occurring. Early in his musical education, Brookmeyer declared Anton Webern's symphony Op.21, to be "the only perfect piece of music I ever heard." Whether or not he still holds this opinion, the Austrian composer's influence still shows. Op. 21 is a short, spare piece, and its apparent simplicity and delicacy masks a chiseled, vigorous musical language. Such a bold language is spoken by this quartet, heard in their rich solos where every note means something, instant composition of subtle arrangements, and fluid interaction.

Guitarist Larry Koonse contributes a tango, "Longing," and Brookmeyer, on piano, graces its slightly melancholy, slightly romantic theme with dry dissonances. His solo equally wastes no note, including nothing that doesn't enrich or extend the theme.

Even though Brookmeyer's concept drives the band, everyone contributes. On "Wistful Thinking" Koonse takes a solo that rearranges your head harmonically, shuffling and stepping through changes in a blur. Then Brookmeyer and bassist Tom Warrington break into a twisting duet. Whether this stunning detail was improvised or arranged is not clear, but such ambiguity shows how confidently and naturally the group moves together.

On the group improvisation "Bruise" the quartet builds a narrative arc out of nothingness. An unsettled, free opening slides smoothly into a walking groove, Brookmeyer creates a theme and later Konse, Warrington and Stephans explore and stretch the pulse. To conclude, the group returns to the same restless intro-instant composition never sounded so easy.

Every piece, every solo sparkles with ideas, from Brookmeyer and Koonse's gravity-less interpretation of "Blue in Green" to the sly rhythmic breaks peppering the title track. The quartet speaks a fluent, eloquent language of their own. Stay Out of the Sun manages to sound simultaneously timeless, classic and modern.

Track listing: 1.If I Loved You 2.Wistful Thinking 3.Stay Out of the Sun 4.Longing 5.Kathleen 6.Turtle 7.Janet Planet 8.Bruise 9.Blue in Green

Personnel: Bob Brookmeyer: valve trombone, piano (4); Michael Stephens: drums; Larry Koonse: guitar; Tom Warrington: bass

Manfredo Fest - Manfredo Fest Trio

Personal Notes:

Though with the same name as his well known album from 1965, this compilation brings some of that album plus some recordings made on 1966 when Manfredo was still a bossa-nova player, before leaving to the USA. There he became much of a Sergio Mendes type of musicien, playing some king of "fusion bossa-nova-pop", just like Mendes did. They had even played together on some stints. Here he is at his best trio formation, but the CD doesn't give much information about this album without liner notes on a poorly issued artwork, neither I could find any review easily on the Internet. Nevertheless, an album that sounds quite good for those who like a classical bossa-nova trio combo.

Biography by Richard S. Ginell (AMG)

One of the better-kept secrets among Brazil's bossa nova pioneers, Manfredo Fest's popularity and profile rose dramatically in the 1990s. Legally blind since birth, Fest's greatest early influence was George Shearing, but he developed his own approach apart from Shearing and other Brazilian jazz pianists, unleashing relentlessly flowing streams of bop-flavored notes against a Brazilian pulse, occasionally letting his classical roots show.

Fest's father, an émigré from Germany, was a concert pianist who chaired the University of Porto Alegre's music department. Accordingly, Fest studied classical piano as a youth, learning to read music in Braille, but after graduating from the University of Rio Grande do Sul, his tastes had turned toward jazz and samba. Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes. By 1973, Fest had moved to Chicago, playing there and on the Playboy Club circuit and in 1988, he settled in Palm Harbor, FL. After recording for a few independent labels, Fest finally achieved a breakthrough in the American market upon signing with Concord Picante in the early '90s, producing a series of energetic, Brazilian-flavored, bop-grounded, small-group albums. While awaiting a liver transplant, he died October 8, 1999, at the age of 63.


01- Pot-Pourri Marias
02- Contracanto
03- Joga a Tristeza no Mar
04- Amanha
05- Canto de Ossanha
06- Reza
07- Quem e Homem Nao Chora
08- Samba de Verao
09- M.E. Vestido Amarelo
10- Estamos Ai
11- Voce

Thursday, July 1, 2010

Warne Marsh and Kenny Drew - I Got A Good One For You

1 I Got a Good One for You
2 Sophisticated Lady
3 On Green Dolphin Street, No.2
4 Sippin' at Bells
5 Ev'ry Time We Say Goodbye
6 Little Willie Leaps
7 Easy to Love
8 Body and Soul
9 Ornithology
10 Star Eyes
11 Softly, As in a Morning Sunrise No. 2

Warne Marsh (tenor sax),
Kenny Drew (piano)
Bo Stief (bass),
Aage Tanggaard (drums)

Warne Marsh was one of the most pure, imaginative and creative improvisers jazz has ever known. This CD comprises tracks he recorded in Copenhagen on April 21 1980 with the Kenny Drew Trio for a Danish radio broadcast and is the first authorised release of this music. Marsh, the seasoned veteran of a thousand jam sessions, never had the least difficulty in coming to terms with a new challenge and the four musicians functioned together like a regular unit. Pianist Kenny Drew was an established member of the Danish community and had taken up residence in Copenhagen in 1962. Drummer Aage Tanggaard has frequently worked with pianist Duke Jordan and Bo Stief is one of Denmark’s best known bass players whose credits include working with Lockjaw Davis and Ben Webster – he is probably the only musician to have recorded with both Wild Bill Davison and Miles Davis.

Warne Marsh and Joe Albany - Live at Dana Point

1 The Things I Love
2 Dahoud
3 Now's the Time
4 Billie's Bounce
5 Body and Soul
6 Limehouse Blues
7 Love Is Here to Stay
8 I've Got You Under My Skin
9 Once in Awhile
10 Night and Day
11 My Little Suede Shoes
12 Darn That Dream
13 After You've Gone
14 Easy to Love
15 'S Wonderful
16 Tea for Two
17 The Song Is You
18 The Way You Look Tonight

Joe Albany, a talented but troubled bop pianist, made some recordings in the late '40s and then was rarely heard on records again until the 1970s. Until now, the one exception was a rehearsal session with tenor saxophonist Warne Marsh that came out as The Right Combination. The music on Live at Dana Point 1957, a two-CD set, was taped at the gig that occurred after The Right Combination rehearsal and it was sitting unknown and unlisted on some reel-to-reel tapes in the possession of Marsh's widow for decades. The recording quality is listenable -- if just adequate -- but the historic nature of the music overcomes the technical deficiencies. The cool-toned Marsh is in excellent form, jamming on 18 standards. Albany has a lot of short solos and bassist Bob Whitlock and drummer Red Martinson are steady in support. Although not quite essential, fans of the always-searching Marsh, Albany, and West Coast jazz in general will find this music quite stimulating.
Review by Scott Yanow

Karin Krog/Warne Marsh/Red Mitchell - I Remember You

01 I Remember You
02 Trane
03 Lester's Happy
04 Moody's Mood for Love
05 It's You or No One
06 Lover Man
07 Speak Low
08 That Old Feeling
09 It's You Or No-One (alt.take)
10 Speak Low (alt.take)
11 That Old Feeling (alt.take)

Karin Krog (Vocals),
Warne Marsh (ts),
Red Mitchell (Bass),

Recorded in 1980

Spotlite Records/Meantime
flac (CD)

Norway's exceptional jazz singer Karin Krog accepts no limits to the use of her voice as a jazz instrument. With a highly personal style, she is equally at home with classic pop standards as well as exploring the depths of avant-garde and free jazz. This all-encompassing approach to the music has taken her into the studio with a wide gamut of artists representing different segments of the music, including John Surman and Archie Shepp on the free jazz side to bop players Dexter Gordon and Kenny Drew. Here she hooks up with cool tenor sax player Warne Marsh and consummate bass player Red Mitchell for a session that straddles both schools of jazz. The play list includes both jazz and pop standards. More to the point, regardless of the nature of the tunes, these three reconstruct them with a modern jazz feel. Marsh opens "I Remember You" on an improvisational line with virtually no reference to the melody. Krog rounds out the exploration of vocal jazz styles with vocalese on "Moody's Mood for Love." Further evidence that this is no ordinary vocal album is found in the length of several of the cuts. Some tracks run more than seven minutes as Krog, Marsh, and Mitchell delve deeply into the heart and soul of these tunes. The presence of Mitchell as one of the two instrumentalists is consistent with Krog's partiality to top-flight bass players. She would later join Mitchell again on record in a duo session, and has collaborated with such other top bass players as Niels-Henning Ørsted Pedersen, Arild Andersen, and Steve Swallow. I Remember You is another memorable chapter in the artistic life of a consummate jazz performer and is recommended. This LP as been reissued on CD by the Norwegian Meantime label. ~ Dave Nathan, All Music Guide

Warne Marsh - Jazz From The East Village

01 Summer Session
02 223, East 2nd Street
03 August In New York
04 Sunshine
05 Easy Beat
06 Change Around
07 Get Together
08 East Side Swing

Recorded by Peter Ind. This is regarded by some as his finest effort. For instance, Tristanoite Mark Diorio told me he considered this particular recording as his best.