Saturday, June 30, 2007

Scott Hamilton - Radio City (Flac)

When Scott Hamilton appeared in the mid-'70s fully formed with an appealing swing style on tenor (mixing together Zoot Sims and Ben Webster), he caused a minor sensation, for few other young players during the fusion era were exploring pre-bop jazz at his high level. He began playing when he was 16 and developed quickly, moving to New York in 1976. Hamilton played with Benny Goodman in the late '70s, but he has mostly performed as a leader, sometimes sharing the spotlight with Warren Vache, Ruby Braff, Rosemary Clooney, the Concord Jazz All-Stars, or George Wein's Newport Jazz Festival All-Stars. Scott Hamilton, other than a few sessions for Famous Door and Progressive, has recorded a long string of dates for Concord that are notable for their consistency and solid swing. S Yanow

This is another typically excellent Scott Hamilton quartet CD on Concord. In this case, the swing tenor is joined by pianist Gerry Wiggins (who contributes plenty of infectious riffs), bassist Dennis Irwin, and drummer Connie Kay. The group performs a pair of Hamilton originals ("Radio City" and "Wig's Blues") plus eight standards. Hamilton is the most consistent of jazz improvisers so it is of little surprise that he is in top form throughout this set, with the highlights including Woody Herman's romping "Apple Honey," Duke Ellington's beautiful "Tonight I Shall Sleep (With a Smile on My Face)," and "Yesterdays." S Yanow

Scott Hamilton (Tenor Sax)
Dennis Irwin (Bass)
Connie Kay (Drums)
Gerald Wiggins (Piano)

1. Apple Honey Herman 4:40
2. Yesterdays Harbach, Kern 6:52
3. I'll Be Around Wilder 4:23
4. The Touch of Your Lips Noble 7:17
5. Cherokee Noble 6:59
6. Tonight I Shall Sleep (With a Smile on My Face) Ellington, Gordon 4:44
7. Radio City Hamilton 6:30
8 .My Ideal Chase, Robin, Whiting 3:58
9. Wig's Blues Hamilton, Noble 5:02
10. Remember Berlin 6:45

Recorded at Penny Lane Studios, New York City, NY on February 1990

Clarke-Boland Big Band - Paris Jazz Concert (1969) [flac]

Recorded at the T.N.T. in Paris on October 29, 1969, this 2-CD set features the usual suspects in a concert just two months after recording At Her Majesty's Pleasure. The soloists really get a chance to stretch out on a 15-minute "Box 702" and 19 minutes of "Sax No End". ("The James Are Coming" is mis-spelled. It's really "The JAMFs Are Coming".)

One of the great jazz orchestras of the 1960s and '70s and one rarely heard (either live or on record) in the United States was the Kenny Clarke-Francy Boland Big Band. This overseas group (which was equally filled with Americans and Europeans) was a hard-swinging modern mainstream ensemble, analogous in ways to Rob McConnell's Boss Brass of the 1980s and '90s. Its double CD (which was put out in 1992 but not made available in the U.S. until 1995) has a particularly exciting live concert performance by the big band. Overflowing with soloists (including trumpeters Benny Bailey, Art Farmer, and Idrees Sulieman, trombonist Ake Persson, and a sax section comprised of Derek Humble, Johnny Griffin, Sahib Shihab, Tony Coe, and Ronnie Scott), the band is quite powerful throughout the set with Griffin generally taking solo honors. Easily recommended. - Scott Yanow

Benny Bailey, Art Farmer, Derek Watkins, Idrees Sulieman (tp); Ake Persson, Nat Peck, Eric Van Lier (tb); Derek Humble, Johnny Griffin, Sahib Shihab, Tony Coe, Ronnie Scott (sax); Francy Boland (p, arr); Jimmy Woode (b); Kenny Clarke, Kenny Clare (d)

CD One
  1. Pentonville
  2. All Through the Night
  3. Gloria
  4. Now Hear My Meaning
  5. New Box
  6. You Stepped Out of a Dream
  7. Volcano
  8. Box 702
CD Two
  1. The James Are Coming (sic)
  2. I'm Glad There Is You
  3. Doing Time
  4. Evanescence
  5. Sonor
  6. Sax No End
Recorded at the T.N.P., Paris, France: October 29, 1969

Milt Jackson - Ain't But A Few Of Us Left

Despite the pessimistic title, all of the members of this particular quartet (vibraphonist Milt Jackson, pianist Oscar Peterson, bassist Ray Brown and drummer Grady Tate) were still active into the mid-'90s. The music is unsurprising but still quite enjoyable and virtuosic as Bags and Co. perform blues, standards and ballads with their usual swing and bop-based creativity. Highlights include the title cut, "Stuffy," "What Am I Here For" and a vibes-piano duo version of "A Time for Love." Scott Yanow

Milt Jackson (vibraphone)
Oscar Peterson (piano)
Ray Brown (bass)
Grady Tate (drums)

1 - Ain't But A Few Of Us Left
2 - A Time For Love
3 - If I Should Lose You
4 - Stuffy
5 - Body & Soul
6 - What Am I Here For

Recorded in November, 1981

Friday, June 29, 2007

Funky Friday: Harlem River Drive

Thom Jurek says: "The reason this record is "legendary" is because it marks the first recorded performances, in 1970, of Eddie and Charlie Palmieri as bandleaders. The reason it should be a near mythical recording (it has never been available in the U.S. on CD, and was long out of print on LP before CDs made the scene), is for its musical quality and innovation. The Palmieris formed a band of themselves, a couple of Latinos that included Andy Gonzales, jazz-funk great — even then — Bernard "Pretty" Purdie, and some white guys and taught them how to play a music that was equal parts Cuban mambo, American soul via Stax/Volt, blues, Funkadelic-style rock, pop-jazz, and harmonic and instrumental arrangements every bit as sophisticated as Burt Bacharach's or Henry Mancini's or even Stan Kenton's. One can hear in "Harlem River Drive (Theme)" and "Idle Hands" a sound akin to War's on World Is a Ghetto. Guess where War got it? "If (We Had Peace)" was even a model for Lee Oskar's "City, Country, City." And as much as War modeled their later sound on this one record, as great as they were, they never reached this peak artistically. But there's so much here: the amazing vocals (Jimmy Norman was in this band), the multi-dimensional percussion section, the tight, brass-heavy horn section, and the spaced-out guitar and keyboard work (give a listen to "Broken Home") where vocal lines trade with a soprano saxophone and a guitar as snaky keyboards create their own mystical effect. One can bet that Chick Corea heard in Eddie's piano playing a stylistic possibility for Return to Forever's Light As a Feather and Romantic Warrior albums. The band seems endless, as if there are dozens of musicians playing seamlessly together live — dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Noonan. Harlem River Drive is a classic because after 30-plus years, it still sounds as if listeners are the ones catching up to it. It's worth every dime you pay for it, so special order it today."

I say: This is timeless, ultra-super-groove from a pioneer of the latin & funk fusion; it's too bad that this project must have been rather too ambitious, for the band released only this album (plus a live appearance at Palmieri's "Live At Sing Sing"). Ronnie Cuber --whom Jurek misses to mention-- DELIVERS on the bari & the soprano. You listen to "Idle hands" and you don't move, then you must be dead. Dig this.

Links, personnel & tracklist in comments

Funky Friday

Yo! Hot Latin Funk From El Barrio

1. Yroco - Jimmy Sabater
2. I'm Satisfied - Joe Bataan
3. Sing a Simple Song - Mongo Santamaria
4. 110th St. and 5th Ave. - Tito Puente
5. Verdad (The Truth) - Cortijo & His Time Machine
6. Cisco Kid
7. You Need Help - Mongo Santamaria
8. Yo - Bobby Valentín
9. Somebody's Son - Harlem River Drive, Eddie Palmieri
10. Return to Spanish Harlem - Bobby Matos, Tony Middleton, Tony Middleton
11. Besito Con Mozancha
12. Lay an Oz on Me Baby - Luis Aviles,
13. New Breed - Louie Ramirez
14. Ponte Duro - Roberta Y Su Apollo Sound Roena

Cold Blood (1969) [LP > flac]

Although more blues/R&B than funk, Cold Blood's first album fits in nicely with the Funky Friday theme as it is a pre-cursor of funkier things to come from this group and other Bay Area bands of the time. Lydia Pense certainly had me "hummin" back in those days!

Cold Blood was one of the Bay Area's non-psychedelic contributions to pop music in the late '60s and early '70s. Their R&B-influenced combination of rock, blues, and jazz stood out from the guitar-driven acid rock bands most identified with that scene. After establishing themselves at dancehalls such as the Avalon or Bill Graham's Winterland Ballroom, Cold Blood became one of the first acts signed to Graham's Fillmore record label -- which was named after another one of his venerable venues. Their 1969 self-titled debut -- although somewhat contained in comparison to their live shows -- is a good representation of their soulful, horn-driven funk. One of the major reasons for the band's success is the unadulterated and otherwise raw vocal style of Lydia Pense. The album features a mixture of dramatic ballads -- such as the medley of "I'm a Good Woman" and "Let Me Down Easy" -- as well as full-blown R&B rave-ups on the cover of Sam & Dave's "You Got Me Hummin'" or their freewheeling version of "I Just Want to Make Love To You." Keyboardist Raul Matute's contribution, "If You Will," is a perfect vehicle for Pense's vocals as it glides between licks from lead guitarist Larry Fields and the five-piece brass section. Inevitable comparisons have been made between Pense, Janis Joplin, and Lynn Hughes -- of another San Fran rock and soul combo, Stoneground. However, there is a smoky scintillation to Pense's approach -- particularly potent on the gospel-tinged opener, "I Wish I Knew How It Would Feel to Be Free" -- that is downplayed or altogether lacking from her contemporaries. This intangible quality would become increasingly pronounced and evident on Cold Blood's follow-up LP, the classic Sisyphus. - Lindsay Planer

Lydia Pense (vcl) Raul Matute (keys) Larry Field (g) Rod Ellicott (b) Frank J. Davis (d) Larry Jonutz, David Padron, Mic Gillette, Carl Leach (tp) Jerry Jonutz (as, bs) Danny Hull (ts)

Side One
1. I Wish I Knew How It Would Feel to Be Free
2. If You Will
3. You Got Me Hummin'

Side Two
1. I Just Want to Make Love to You
2. I'm a Good Woman
3. Let Me Down Easy
4. Watch Your Step


Hi all
this ones goes out to ‘Hackensack’ as a gesture of thanks, for servicing my request to hear more of French/algerian pianist , MARTIAL SOLAL.
solal is hardly the best known of contemporary pianists.
younger people coming to jazz, via funk, or kitchy 60’s hardbop(see alligator boogaloo, a great example of the depths to which both the bluenote lable and, and the very tired funky hardbop formula had sunk by the late 60’s).

Solal is to my ears ,part- garner, tatum, and monk, with some else unlike anyone.
And I think theres clear evidence that his playing style changed after the fifties, due no doubt to having heard first wave freejazz pianists like cecil taylor and paul bley>

This is a good one, longish “workouts” a chance to hear solal really stretch out, and even abandon the chord changes if only briefly a couple of times.
Im not sure about the rythym section though, ive never liked bill stewart much as a jazz drummer, he ain’t no Andrew cyrille or paul motian ,that’s for sure.

No amg reviews, no yanow

Line up
Martial solal- piano, francois moutin-db, bill stewart- drums POSTSCIPT

West Coast Jazz, Hermosa Beach 1951-1954

When jazz-nekko posted Jazz West Coast some days ago, I inmediately thought on this record. Although only one of the songs is recorded live, the album is a compilation of musicians around the Lighthouse Club on Hermosa Beach, where the Howard Rumsey's Lighthouse All-Stars were the resident band. Looking at the picture, the players one night could be: Bob Cooper, Bud Shank, Frank Rosolino, Claude Williamson, Stan Levey and Howard Rumsey

An excellent document of the West Coast Jazz sound (according to Shelly Manne, what characterised this style was 'the way the composition was taken into account, and interst in experimenting').
The list of players is astonishing: Shelly Manne, Shorty Rogers, Bob Cooper, Bud Shank, Frank Rosolino, Howard Rumsey, Gerry Mulligan, Chet Baker, Barney Kessel, Art Pepper, Lennie Niehaus, Bill Holman, Harry Babasin, Laurindo Almeida, Clifford Brown, Zoot Sims, Herbie Harper, John Graas ......

01 Swing Shift - Howard Rumsey's Lighthouse All-Stars (2:27)
02 You And The Night And The Music - Shelly Manne And His Men (3:09)
03 Sam And The Lady - Shorty Rogers And His Giants (3:08)
04 Walkin' Shoes - The Gerry Mulligan Tentette (3:43)
05 Happy Town - Howard Rumsey's Lighthouse All-Stars (2:58)
06 Jive At Five - Herbie Harper Quintet (4:20)
07 Goodbye - Chet Baker Ensemble (3:50)
08 Vicky's Dream - Barney Kessel (2:56)
09 Whose Blues? - Lennie Niehaus Quintet (3:28)
10 Diablo's Dance - Shorty Rogers And His Giants (3:26)
11 Jasmine - Bud Shank Quintet (4:13)
12 Holiday Flight - Art Pepper Quartet (3:09)
13 Inquietaçao - Laurindo Almeida Quartet (3:05)
14 Tiny Capers - Clifford Brown feat. Zoot Sims (4:17)
15 Solo Flight - Bob Cooper (3:19)
16 Frappé - John Graas Septet (3:06)
17 Song Without Words - Bill Holman (3:18)
18 Dimensions In Thirds - Shelly Manne And His Men (2:56)
19 Babo-Ling - Harry Babasin Quintet (3:16)
20 Yo Yo - Frank Rosolino (3:05)
21 Mambo Los Feliz - Howard Rumsey's Lighthouse All-Stars (3:12)

Thursday, June 28, 2007

John Coltrane - Live At the Village Vanguard Again!

Live at The Village Vanguard Again! from 1966 finds the legendary John Coltrane returning to the famous Jazz club where he made his monumental live album five years earlier. Unlike the 1961 Vanguard release, "..Again!" finds Coltrane not only with a different group of players (bassist Jimmy Garrison being the only holdover) but stretching the music into extremely dissonant and exploratory realms.

The addition of second saxophonist Pharaoh Sanders pushes the avant-garde envelope even further. Despite the album containing only two tracks (and familiar Coltrane classics at that), they are performed in such a way that they become new and different pieces of music altogether.

This album is not for everyone. Most would probably want to stick with the classic 1961 recording instead of this one. However, it cannot be argued that "..Again!" contains some of Coltrane's most exploratory work and is perfectly in line with the other live releases from this period (the double-disc "Live In Seattle" and the epic four-disc set "Live in Japan") as well as his experimental studio work ("Ascension", "Meditations", "Kulu Se Mama" and his final studio sessions that would produce "Expression", "Stellar Regions" and "Interstellar Space"). If you have the ears for it, then this is definitely worth a listen.

John Coltrane (soprano sax, tenor sax, bass clarinet)
Pharoah Sanders (tenor sax, flute)
Alice Coltrane (piano)
Jimmy Garrison (bass)
Rashied Ali (drums)
Emanuel Rahim (percussion)

1. Naima
2. Introduction to My Favorite Things
3. My Favorite Things

Recorded on May 28, 1966 in New York City

Fletcher Henderson - Jazz Age (1925-1928) [ogg]

Robert Parker's Jazz Classics in Digital Stereo

The Recordings
The restoration of old recordings, especially early 78's, has always been a controversial subject. On one end we have direct transfers from labels such as Classics that give us the closest possible experience of actually playing the original records. On the other end is "electronically re-recorded to simulate stereo" albums that flooded the market with the advent of the LP in the 1950's and 1960's. Filters can be used to remove surface noise but can leave the music sounding dead and flat. Reverb can be added to make the music "livelier" but too much will result in an artificial sound. And turning a mono recording into stereo? Surely, you jest.

I don't consider myself to be a "purist", but I generally like the Classics approach, even with all of the noise that accompanies a lot of their transfers. Why? Because most producers and sound engineers tend to overuse noise filters and effects to the point of ruining the music. This CD tends to fall somewhere in the middle.

Robert Parker was an Australian sound engineer and broadcaster with over 20,000 records in his collection who specialized in extracting high quality stereo sound out of old 78s. Parker began with exceptionally clean original 78s or better yet, the metal parts from which he first had new low-noise vinyl 78s pressed. He then transfered directly to digital media in order to process using the advanced CEDAR noise reduction software. He then simultaneously added equalization, dynamic expansion, ambience replacement and stereo spread.

This is far beyond the primitive rechanneled stereo of the 60's. Are they an improvement over the originals or is it just another mutilation of the music we love so much? You be the judge.

The Music
Fletcher Henderson was very important to early jazz as leader of the first great jazz big band, as an arranger and composer in the 1930s, and as a masterful talent scout. Between 1923-1939, quite an all-star cast of top young black jazz musicians passed through his orchestra. And yet, at the height of the swing era, Henderson's band was little-known.

Although not blessed with a bevy of highlights, this Fletcher Henderson title does find the band at its peak, and the sound is top-notch, too. During this 1925-1928 stretch, Henderson witnessed the galvanizing arrival of Louis Armstrong, the first flowering of arranger Don Redman and future tenor giant Coleman Hawkins, and some of the initial fruits from Benny Carter's own chart-making pen -- add to this impressive list the often unsung yet stellar soloing talents of trumpeters Tommy Ladnier and Joe Smith, trombonist Benny Morton, and clarinetist Buster Bailey, not to mention a guest spot by Fats Waller ("The Henderson Stomp"). The marvelous "Whiteman Stomp" might not have made the list, but such classics as Redman's "The Chant" and Carter's "King Porter Stomp" fill the gaps quite nicely -- and anyway, listeners should look at this collection less as a definitive roundup and more as a stepping stone to more thorough offerings, like Classics' fine chronological series of Henderson discs. Start here and you won't be sorry. - Stephen Cook

Personnel includes:
Louis Armstrong, Joe Smith, Tommy Ladnier, Rex Stewart, Bobby Stark (tp) Benny Morton, Charlie Green (tb) Buster Bailey, Coleman Hawkins, Don Redman, Benny Carter (reeds) Fletcher Henderson, Fats Waller (p) with arrangements by Henderson, Don Redman, Benny Carter and Bill Challis
  1. Hop Off
  2. Money Blues
  3. What-Cha-Call-'Em-Blues
  4. The Stampede
  5. Jackass Blues
  6. The Henderson Stomp
  7. The Chant
  8. Have It Ready
  9. Stockholm Stomp
  10. St. Louis Shuffle
  11. Variety Stomp
  12. I'm Coming Virginia
  13. King Porter Stomp
  14. D Natural Blues
  15. Come On, Baby!
  16. Easy Money

Jutta Hipp “Jutta Hipp at the Hickory House, Vol. 1” (1956, Blue Note 1515/TOCJ-6439)

You can count on Joe

Joe Williams & Count Basie All Stars - Fabrik, Hamburg - 5th May, 1981

source: DVB-S@320, 48kHz > raw data > ProjextX > mp3DirectCut > mp2
(lossy recording seeded in its original broadcast codec)

Joe Williams, voc
John Heard, b
Gus Johnson, dr
Nat Pierce, p
Harry Sweets Edison, Joe Newman, tp
Benny Powell, tb
Marshall Royal, as
Buddy Tate, Billy Mitchell, ts


01 All Blues 09:35
02 Teach Me Tonight 04:29
03 Who She Do 04:45
04 I Want A Little Girl 05:05
05 Nobody's Gone 04:3106 Blues In My Heart 04:05
07 All Right, OK, You Win 02:15
08 Just The Way You Are 06:16
09 One O'Clock Jump 01:56

Fatha knows best

Earl "Fatha" Hines, Helen Humes, Buddy Tate, Jimmy Woode and Ed Thigpen Live 1974 Montreux Jazz Festival 1974-07-01

FM broadcast

Earl "Fatha" Hines with backup band:

Earl "Fatha" Hines (P)
Helen Humes (V)
Buddy Tate (TS)
Jimmy Woode (B)
Ed Thigpen (D)

1.Polka Dots And Moonbeams
2.Introduction of Helen Humes
3.I'm Satisfied
4.Blue Because Of You
5.The Sunny Side Of The Street
6.I Got It Bad And That Ain't Good

Phil Woods at the Vanguard (1982) [flac]

Recorded the day after a similar album (Live From New York) was cut for Palo Alto, this fine effort by the Phil Woods Quartet (with pianist Hal Galper, bassist Steve Gilmore and drummer Bill Goodwin) features the great altoist performing his usual mix of superior and generally less-played standards, ballads and obscurities (including Red Mitchell's "It's Time to Emulate the Japanese"), along with his original "Reet's Neet." The music is straight-ahead and boppish, but not overly predictable. A burning version of "All Through the Night" and Woods' clarinet feature on "Nardis" are highlights. - Scott Yanow

I saw this group perform at a club around the time of this recording and it was one of the few jazz combos that insisted on performing everything acoustic. Nothing was miked and sitting next to Bill Goodwin, I got scolded during one of the tunes for talking. After the set, I went over to Woods and Goodwin to apologize and they started apologizing to me! An embarrassing but memorable moment.

This was the Grammy winner in 1984 for Best Instrumental Jazz Album.

Phil Woods (alto sax, clarinet)
Hal Galper (piano)
Steve Gilmore (bass)
Bill Goodwin (drums)
  1. Sound of the Vanguard
  2. Reet's Neet
  3. All Through the Night
  4. Nardis
  5. It's Time to Emulate the Japanese
  6. Airegin/Theme and Fade
Recorded at the Village Vanguard on October 8, 1982

Johnny Coles - The Warm Sound (FLAC)

Johnny Coles - The Warm Sound

Johhny Coles: trumpet
Kenny Drew: piano
Peck Morrison: bass
Charlie Persip: drums

1. Room 3
2. Where
3. Come Rain Or Come Shine
4. Hi-Fly [Take 5]
5. Pretty Strange
6. If I Should Lose You
7. Babe's Blues
8. Hi-Fly [Take 2]

Trumpeter Johnny Coles, best-known for his association with Charles Mingus in 1964, made his recording debut as a leader on this Epic session which was reissued on CD in 1995 by Koch. A bop-based trumpeter with a lyrical sound of his own, Coles is showcased here with an excellent quartet (Kenny Drew or Randy Weston on piano, bassist Peck Morrison and drummer Charlie Persip). He is in top form on a pair of standards (including "If I Should Lose You"), his own blues "Room 3" and four Weston originals; the reissue adds an alternate take of "Hi-Fly" to the original program. A fine outing. Scott Yanow

Joe Harriott Quintet - Swings High (FLAC)

The Joe Harriott Quintet - Swings High

Joe Harriott: alto sax
Stu Hamer: trumpet
Pat Smythe: piano
Coleridge Goode: bass
Phil Seaman: drums

1. Tuesday Morning Swing
2. A Time For Love
3. The Rake
4. Blues In C
5. Shepherd's Serenade
6. Polka Dots And Moonbeams
7. Strollin' South
8. Just Goofin'

The Jamaica-born alto saxophonist Joe Harriott is one the greatest legends of British modern jazz's first wave. There weren't many, but Harriott's searing sound would have stood out anywhere - and did, even on New York's 52nd Street in Charlie Parker's day.

The Parker connection is particularly pertinent to this set, which has the tinny recording qualities of a 1940s Dial or Savoy Bird classic, with the same fierce attack - as if the player were about to burst out of your speakers.

Harriott had already made his pioneering free-form recordings years before this 1967 date, and it represented an odd throwback to the standard- and song-based repertoire the saxophonist's hard-bop group was playing a decade before. An alert and sympathetic band - including pianist Pat Smythe, bassist Coleridge Goode and a scalding Phil Seamen on drums - holds the line, while an obscure trumpet player, Stu Hamer, delivers some taut and telling bop solos.

The compositions are striking, too, in a deviously extended way. But Harriott himself is absolutely enthralling: delicate as teardrops on A Time for Love, almost as wilful and raw-nerved as Parker on Blues in C, razor-sharp and urgent on the uptempo Shepherd's Serenade. A real gem. John Fordham

Joe Harriott - Genius

Joe Harriott - Genius

Joe Harriott Quintet
Joe Harriott (sax)
Les Condon (tr)
Pat Smythe (piano)
Coleridge Goode (bass)
Phil Seamen (drums)

[1] Moanin'
[2] Round About Midnight
[3] Joe Explains Freeform : Coda
[4] Tempo

Joe Harriott
William Haig-Joyce (piano).
ADDED to tracks 6 & 9: Coleridge Goode (bass)

[5] Confirmation
[6] Love For Sale
[7] The Song Is You
[8] How Deep Is The Ocean?
[9] Body And Soul

Michael Garrick Septet
Michael Garrick (piano)
Joe Harriott (alto sax)
Ian Carr (tr)
Tony Coe, Don Rendell (tenor sax)
Dave Green (bass)
Trevor Tomkins (drums)

[10] Shiva

Michael Garrick Quintet
Michael Garrick (piano)
Joe Harriott (alto sax)
Shake Keane (tr)
Johnny Taylor (bass)
Alan (Buzz) Green (drums)

[11] Calypso Sketches

This excellent collection gathers together live and home recordings of Joe Harriott in his prime, performing with many of his key associates. As Michael Garrick, somewhat controversially, writes...

"The big difference between Joe Harriott and most 'free' players was that he could really and truly play. Coltrane is the only other saxophonist we know of in a similar emotional and technical category: stupendous creativity in 'standard' material before breaking the 'form' barrier. In his case, the freeform compositions are immensely tuneful, a marvellous amalgam of West Indian atmosphere, circus music, impressionism and jazz. They are totally unique.
A unique amalgam of West Indian atmosphere, circus music, impressionism and jazz.

"This CD contains his mainstreem roots as well as the progressive element: both are present in the opening live concert extracts. Dig Phil Seaman's drumming! Perhaps the most poignant moments are the intimate fromt-room duos with pianist William Haig-Joyce, to four of which Coleridge Goode, at age 84, has added his loving bass lines and inimitable bowed solos. Confirmation has been left with just the unkown brushes-on-chair player: you can hear Bill inviting him to sit nearer the mike. Joe's solo simply builds and builds.

"Track 10, Shiva, was allocated to Joe as featured soloist in the Michael Garrick Septet of the mid-1960s with Don Rendell, Ian Carr, Tony Coe, Dave Green and Trevor Tomkins. Track 11, Joe's Calypso Sketches by an earlier Michael Garrick Quintet, as the finale to a poetry and jazz concert, illustrates how naturally his freeform concept could be taken up by players other than his own group. The huge bonus here is the presence of Shake Keane, in many ways an even more widely accomplished musician than Joe. But that's another story..."

George Shearing & Hank Jones - The Spirit of 176 (Flac)

Take two of the world’s greatest jazz pianists, give them each a Baldwin nine-foot grand piano, and then just sit back and listen with gratitude and amazement as they spin a spirited and mesmerizing musical masterpiece. With 176 piano keys between them, George Shearing and Hank Jones play all the right ones at the right time, in “a flow of great astonishments” (Nat Hentoff) that make this session a definitive two-piano paring. George Shearing and Hank Jones – a merging of musical geniuses that was (in 1988, when they finally got together to record this “first”) long overdue, but certainly well worth the wait.

George Shearing (piano)
Hank Jones (piano)

1. Oh, Look at Me Now
2. Angel Eyes
3. I Mean You
4. You Don't Know What Love Is
5. To Hank Jones
6. Minor Contention
7. Ask Me Now
8. Triste
9. Take a Good Look
10. Sweet Lorraine
11. Young No More

Recorded at A&R Studios, New York, New York in March 1988

Wednesday, June 27, 2007

- sorry -

Jutta Hipp “Jutta Hipp with Zoot Sims” (1956, Blue Note 1530)

Jutta Hipp (p), Zoot Sims (ts), Ahmed Abdul-Malik (b), Jerry Lloyd (tp), Ed Thigpen (d), Leonard Feather (liner notes)
01. Just Blues
02. Violets for Your Furs
03. Down Home
04. Almost Like Being in Love
05. Wee Dot
06. Too Close for Comfort

Red Norvo Quintet... Naturally! (1957)

Red Norvo - vibes
Bob Drasnin - flute, alto
Jim Wyble - guitar
Buddy Clark - bass
Bill Douglass - drums

Dizzy Gillespie Verve/Philips Small Group Sessions [flac]

These sessions document unequivocally why Dizzy Gillespie is still considered one of the greatest improvisers in the history of jazz, for his mastery of the instrument, his command of time, his control over musical ideas, and his ability to entertain. He was blessed during this period, which spans 1954 to 1963, with stellar sidemen, unparalleled arrangements, and a surge of excitement for making music. All at a time when experience and his ever-smoldering predilection for revolution combined to provoke some extraordinary recordings.

The small group sessions are the focus of this set, and they contain a bounty of his fine soloing, outstanding arrangements, and deft support players. While he was already considered a veteran thanks to the importance of his innovations, The New Yorker's jazz critic assessed him again and declared that he was "playing with far more subtlety and invention than any time in his past."

The seven CDs which comprise this boxed set showcase include much material that has never been available on CD. Eleven tracks have never been available ever.

Thanks to Rab for scanning the artwork. As an added bonus I've included photos of the original LP covers (gonna have to get me one of those big scanners some day....)

Bobby Jaspar Quartet - At Ronnie Scott's 1962

Bobby Jaspar Quartet - At Ronnie Scott's 1962 (FLAC)

Review by Scott Yanow
Recorded just a year before his death, this English album (releasing previously unknown music for the first time in 1986) is about the only one released from Bobby Jaspar's final four years. Doubling on tenor and flute while joined by guitarist Rene Thomas, bassist Benoit Quersin and drummer Daniel Humair, Jaspar is heard stretching out on his "Be Like Bud" and five boppish jazz standards. The numbers clock in between 7-10 minutes at this live concert, giving Bobby Jaspar an opportunity to take some of his longest solos on record. Highlights of the spirited set include "Pent-Up House," "Our Delight" and "Oleo."

01 - Sonnymoon For Two
02 - Like Someone In Love
03 - Stella By Starlight
04 - Be Like Bud
05 - Our Delight
06 - Darn That Dream
07 - Pent-Up House
08 - Oleo

Bobby Jaspar - tenor sax & flute
Rene Thomas - guitar
Benoit Quersin - bass
Daniel Humair - drums

Recorded: January, 1962 Live at Ronnie Scott's Club, London

Lateef (by request)

I do hope that someone will post an upgrade to the two OJC albums, they are just MP3s. It's not very long ago that such bitrates were considered quite acceptable, but we are spoilt for lossless here. At least, Live At Pep's is a FLAC rip, but it's just the second volume; I can't track down No. 1 in the record shops. Well, you can't have everything...

Even as is, these albums make for an essential listening to Lateef. Hope you like them.

Links, tracklists & personnel in comments.

Tuesday, June 26, 2007

Joe Harriott “Southern Horizons” (1960, Jazzland JLP 37)

Jamaican-born alto-saxist Joseph Arthurlin ‘Joe’ Harriott was previously batted about here and needs no detailed introduction. A hard swinging bebopper who is acknowledged as one of the pioneers of British free jazz, Harriott was part of a wave of Caribbean jazz musicians who arrived to Britain during the ‘50s, including Dizzy Reece, Harold McNair, Harry Beckett and Wilton ‘Bogey’ Gaynair.

“Southern Horizons” displays Harriott’s love for free-ish tempo, key and meter. As Harriott’s music evolved to, what he referred to as “abstract” or “free form” music, several long-time band members moved on. This album was recorded just at the critical time, shortly after a lengthy hospitalisation that influenced his thinking – the time when Harriott began to really open up his arrangements. That is one reason why this set is of importance to understand his evolution as an artist. The interaction between members during this set is just absolutely fascinating – piano tempos set up and fade away as sax and trumpet rolls in whilst the drums propel echoes and reverbs that everyone feeds off of.

Credit goes where credit is due – Bacoso enquired whether I had this LP, and upon double-checking, I did find it. However, I ashamedly admit to not having listened to this wonderful album for many, many years – since my re-discovery though, it has not left my player for long periods. I totally understand why Bacoso was interested in this rare gem: wait until you check out Holder’s incredible bongos! Thanks, Bacoso for the heads up. . .

Lastly, advance apologies to those of you who may not like the “lp fashion” of this offering; my colleague ripped the LP to two sides and not to individual tracks. However as I am a vinyl fan, I think it requires you to listen to the music and truly appreciate the creative flow of the album ~ enjoy!

tracks 1-4: Joe Harriott (as), Hank Shaw (tp), Harry South (p), Coleridge Goode (b), Bobby Orr (d); recorded on 5th May, 1959 in London
tracks 5-9: Joe Harriott (as),Shake Keane (tp/flh), Harry South (p), Coleridge Goode (b), Bobby Orr (d), Frank Holder (bgo-1); recorded on 8th April, 1960 in London
London, England, April 8, 1960

Side A:
01. Still Goofin’
02. Count Twelve
03. Señor Blues
04. Southern Horizons
05. Jumpin’ with Joe

Side B:
06. Liggin’
07. Caravan
08. You Go to My Head
09. Tuesday Morning Swing

Egberto Gismonti “Dança Dos Escravos” (1989, ECM 1387)

Count Basie & Orchestra - I Told You So (flac)

This is one of Count Basie's best big-band studio recordings for Norman Granz during his Pablo years. The arrangements by Bill Holman are both challenging and swinging, containing enough surprises to make this session a real standout. S. Yanow

I TOLD YOU SO is a collection of tunes by composer/arranger Bill Holman as performed by Count Basie and his Orchestra. Even though the album was recorded in 1976, toward the end of Basie's career, the energy and level of musicianship is high. Holman's compositions are lively and complex, as the opener, "Tree Frog," with its ever-escalating dialogue between brass and saxophones, aptly demonstrates. Holman's ear for the nuances and deep bluesy feeling of Basie's orchestra rings through in songs like "Flirt," "Blues For Alphy," and "Plain Brown Wrapper," which features a tasty, intertwining piano vs. orchestra lines, with fine solos from saxophonist Jimmy Forrest and trombonist Al Grey. Holman's excellent songwriting and arranging skills combined with the top-drawer elegance and swing of Basie and his boys make this a thoroughly satisfying date.

Count Basie (Piano, Leader)
Sonny Cohn (Trumpet)
Eric Dixon (Flute, Tenor Saxophone)
John Duke (Bass)
Jack Feierman (Trumpet)
Jimmy Forrest (Tenor Saxophone)
Charlie Fowlkes (Baritone Saxophone)
Curtis Fuller (Trombone)
Jack Geierman (Trumpet)
Freddie Green (Guitar)
Al Grey (Trombone)
Bill Holman (Arranger)
Bill Hughes (Trombone)
Butch Miles (Drums)
Pete Minger (Trumpet)
Bobby Mitchell (Trumpet)
Bobby Plater (Clarinet, Alto Saxophone)
John Thomas (Trumpet)
Danny Turner (Clarinet, Alto Saxophone)
Mel Wanzo (Trombone)

1. Tree Frog (Holman) 5:15
2. Flirt (Holman) 5:52
3. Blues for Alfy (Holman) 4:42
4. Something to Live For (Ellington, Strayhorn) 3:41
5. Plain Brown Wrapper (Holman) 4:22
6. Swee' Pea (Holman) 4:36
7. Ticker (Holman) 4:37
8. Too Close for Comfort (Bock, Holofcener, Weiss) 4:10
9. Told You So (Holman) 6:28
10. The Git (Holman) 3:54

Recorded at RCA Studios, New York, NY on Jan 12, 13, & 14, 1976

Zoot & Al – Al Cohn Quintet featuring Zoot Sims (Flac)

This my first contribution to Call It Anything. I am honored to be among you all and I hope my selections will be enjoyed.

Tenors Al Cohn and Zoot Sims led a regular two-tenor quintet for a few years in the late '50s and then had an occasional musical partnership during the next couple of decades. Accompanied by pianist Mose Allison (who was then unknown), bassist Teddy Kotick and drummer Nick Stabulas, the two very complementary tenors play five of Cohn's swinging originals (including "Halley's Comet," named after John Haley "Zoot" Sims!) plus three standards. The mid- to late '50s were a period of intense recording activity and this album is one of the underrated gems that was somewhat overlooked at the time. Scott Yanow

Mose Allison (Piano)
Al Cohn (Clarinet & Tenor Sax)
Teddy Kotick (Bass)
Zoot Sims (Clarinet & Tenor Sax)
Nick Stabulas (Drums)

1. It's a Wonderful World
2. Brandy and Beer
3. Two Funky People
4. Chasing the Blues
5. Halley's Comet
6. You're a Lucky Guy
7. The Wailing Boat
8. Just You, Just Me

Recorded in New York, NY on March 27, 1957

Monday, June 25, 2007

Sun Ra & His Arkestra “Nothing Is” (1966, ESP-Disk 1045-2)

Sun Ra (p/clavioline), James Jackson (fl/log drum), Robert Cummings (baCL), Marshall Allen (as), John Gilmore (ts), Pat Patrick (baSx), Teddy Nance, Ali Hassan (tb), Ronnie Boykins (tub/dbl-B), Carl Nimrod (horns/gong), Clifford Jarvis (d)

01. Dancing Shadows
02. Imagination
03. Exotic Forest
04. Sun Ra and His Band from Outer Space
05. The Shadow World
06. Theme of the Stargazers
07. Outer Spaceways Incorporated
08. Next Stop Mars

Gershwin, Bernstein, William Russo

Rab- This is a crossover betwenn jazz and classical music. It´s a double CD which brings Gershwin´s famous Rhapsody in Blue and An American in Paris along with the lesser known Concert in F for Piano and Orchestra, and also a symphonic trancription from Leonard Bernstein for West Side Story. Finally, there are the Three Pieces for Blues Band and SymphonyOrchestra by William Russo. Galego.

CD 1-
Track 1 - Rhapsody in Blue (Gershwin) - Siegfried Stockgist, piano, with Gewandhausorchester Leipzig and Kurt Masur.
Track 2 - An American in Paris (Gershwin) Sama as 1
Tracks 3-11 - Symphonic Dances from West Side Story (Leonard Bernstein) San Francisco Symphony Orchestra and Seiji Ozawa

CD 2
Tracks 1-3 - Concert in F for Piano and Orchestra (Gershwin) - Roberto Szidon, piano, London Symphony Orchestra and Edward Downes
Tracks 4-6 - Three Pieces for Blues Band and Symphony Orchestra, op. 50 (William Russo) - Siegel-Schwall Band, San Francisco Symphony Orchestra and Seiji Ozawa.

Covers are enclosed.

Harry 'Sweets' Edison & Eddie 'Lockjaw' Davis - Jawbreakers (1962)

Harry 'Sweets' Edison - trumpet
Eddie 'Lockjaw' Davis - tenor
Hugh Lawson - piano
Ike Isaac - bass
Clarence Johnston - drums

Gigi Gryce Orch-tette - Reminiscin' (1960) [LP > flac]

This recording for Mercury has not yet been reissued on CD and was Gigi Gryce's last album before he quit the music business. (see the bio in comments) Along with Gryce's alto sax, the group features some nice piano by Richard Wyands, Eddie Costa's vibes and the unsung trumpet work of Richard Williams. Williams, who later played with Charles Mingus and the Thad Jones/Mel Lewis band, really stands out on this session. Unfortunately, he only recorded one album as a leader - New Horn in Town, also from 1960.

Gig Gryce Orch-tette
Mercury SR 60628

Side One
1. Blue Light
2. Caravan
3. Reminiscing
4. Yesterdays

Side Two
1. Gee Blues Gee
2. A Night in Tunisia
3. Dearly Beloved
4. Take the 'A' Train

Richard Williams (tp) Gigi Gryce (as) Eddie Costa (vib) Richard Wyands (p) Reginald Workman (b) Bob Thomas (d)
NYC, November 7, 1960
20627 A Night In Tunisia

Richard Williams (tp) Gigi Gryce (as) Richard Wyands (p) Julian Euell (b) Walter Perkins (d)
NYC, November 9, 1960
20630 Dearly Beloved
20631 Blue Light
20632 Gee Blues Gee

Richard Williams (tp) Gigi Gryce (as) Eddie Costa (vib) Richard Wyands (p) George Duvivier (b) Bob Thomas (d)
NYC, November 10, 1960
20633 Caravan
20634 Yesterdays
20635 Take The "A" Train
20636 Reminiscing

Eddie Palmieri “Lucumi, Macumba, Voodoo” (1978, CBS Japan/Epic 35523)

This 1978 set by Eddie Palmieri is a blend of blend of Latin, Cuban, African, jazz, and rock. You might feel after listening to it, a 'Tito' or 'Santana' feel or sound. The title refers to various religions of several Latin American countries that blend music traditions with religious rites and ceremonies, for example the batá drums which are traditional in the Cuban Santería religion. Set highlights:
- funky-ass bass line on “Lucumi, Macumba, Voodoo”
- “piano duel” between Eddie and his brother Charlie on “Colombia Te Canto”

The sound on this set is fuller than some of his other work, but he remains true in many ways to his style that uses inventive rhythms and piano work and combines it with that breakout groove of the late Nuyorican generation. This album may be one of best but most difficult to track down. This set will definitely help you smell that time and era's New York flavour ~ enjoy!

Eddie Palmieri (p/tim/vcl), Charlie Palmieri (p/org/per), Cliff Carter (syn/clav), Steve Khan (eG), Hiram Bullock (g), Francisco Centeno (b/g), Neil Stubenhaus (bG), Mensch (dbl-B), Sal Cuevas (eB), Jesse Levy, Kermit Moore, Anthony Sophos (cel), Ronnie Cuber (cla/baSax), Jon Faddis, Alan Rubin, Lew Soloff (tp/flghrn), Toni Price (tub), Lou Orensteen (fl/ts), George Young (as/fl), Francisco Aguabella (d/claves/vcl), Alfredo "Chocolate" Armenteros, Bobby Colomby (d/per/vcl), Charles Cotto (tim), Homer Dom Um Romão (per/sound effects), Rubin Maldinardo (tom-tom), Rubin Maldinardo (claves)

[vinyl rip @ flac & scans]

01. Lucumi, Macumba, Voodoo
02. Spirit of Love
03. Colombia Te Canto
04. Mi Congo Te Llama (medley - Psayer to Czain/Theme to Czain/Letras of Czain)
05. Highest Good

Gilberto Gil "Um Banda Um" (1982, WEA International WH 50006)

Multi-instrumentalist, singer/songwriter Gilberto Gil joined his first group – a bossa nova group, ‘Desafinados’, in the mid-‘50s, then becoming a jingle composer in the ‘60s. Although known mostly as a guitarist, he has tremendous talent on the drums, trumpet, and accordion. In the late ‘60s, Gil established himself (along with Caetano Veloso, he was arrested and exiled from Brasil) as a singer of protest songs (the black consciousness movement) and the Tropicalia movement, which opened up native Brazilian folk music to other kinds of influences. Jumping forward to the ‘90s, Gil continued his involvement in social and political causes, finding widespread support for his political stances, and he was elected to office in his hometown, Salvador, aka the Black Rome. He is also currently the Minister of Culture of Brasil; does this sound familiar? Our good friend, Ruben Blades, is also the Minister of Culture of Panama. This is a testament to the power and respect offered to musicians in Latin America.

I often wonder why this Gil set is not more promoted into the mainstream. I recommend the first side because it has some gently uplifting ‘morning groove’ but the second side will not disappoint you either ~ enjoy

Gilberto Gil (arr/g/viola/palmas/cowbell/coro/agogo), Celso Fonseca (g), Ricardo Silveira (g/viola/soloist), Lincoln Olivetti (p/org/string arr), Liminha (p/fender rhodes/arr), Jorjao Barreto (p/syn/org/palmas/coro), Rique Pantoja (syn/arr), Robson Jorge (p/clav/fender rhodes), Paulo Cesar (b), Ze Bulhoes, Neila Carneiro, Viviane De Carvalho, Narinha Gil, Ana Leuzinger, Paulinho Soledade (coro/palmas), Osmar "Odeon" Furtado (corte), Paulinho Braga (d), Wilson Meirelles (d/claves/agogo), Vitor Farias (pandeiro), Sidinho Moreira (per)

[orig. rip @ flac & scans]
01. Um Banda Um
02. Afoxé É
03. Metáfora
04. Deixar Você
05. Pula, Caminha
06. Andar Com Fé
07. Drão
08. Esotérico
09. Menina do Sonho
10. É Menina
11. Nossa

Dizzy Gillespie - Birks Works: The Verve Big-Band Sessions [flac]

At some point in time the Gillespie Verve/Philips Small Group Mosaic will be up on Pomegranate. Here's something to whet your appetite and complete the Verve recordings.

In the spring of 1956 Dizzy Gillespie was asked by the U.S. State Department to put together a band for a tour of the Near and Middle East. Since he was tied up in Europe with the JATP during that time, 23-year old Quincy Jones was contracted as musical director to hire the musicians and write some arrangements. The tour was so successful that another one was arranged for South America that summer. Dizzy kept the band together until 1958 when he decided to break it up due to the economics of trying to keep a big band working. At one point he said, "I'm tired of going down in history; I want to eat."

"Dizzy Gillespie's globetrotting big band of 1956-1957 was one of his finest groups, a very exciting orchestra that at various times had such players as trumpeters Gillespie, Joe Gordon, and Lee Morgan, trombonists Melba Liston and Al Grey, altoists Phil Woods and Ernie Henry, the tenors of Billy Mitchell, Ernie Wilkins, and Benny Golson, and pianists Walter Davis, Jr. and Wynton Kelly. With arrangements contributed by Quincy Jones (who was in the trumpet section), Wilkins, Liston, and Golson, this was a classic orchestra. Its three studio albums plus a few numbers previously issued only on samplers and nine previously unreleased performances (mostly alternate takes) are on this wonderful two-CD set. The high points are many, including "Dizzy's Business," "Jessica's Day," "The Champ," "Cool Breeze," "Birks Works," "Whisper Not," "Stablemates," and "I Remember Clifford." Essential music." - Scott Yanow

Collective Personnel
Dizzy Gillespie, Quincy Jones, Talib Daawud, Joe Gordon, Lee Morgan, E.V. Perry, Carl Warwick (tp) Melba Liston, Ray Connor, Al Grey, Rod Levitt, Frank Rehak (tb) Ernie Henry, Jimmy Powell, Phil Woods (as) Benny Golson, Ernie Wilkins, Billy Mitchell (ts) Marty Flax, Pee Wee Moore, Billy Root (bs) Walter Davis, Jr., Wynton Kelly (p) Nelson Boyd, Paul West (b) Charli Persip (d) Austin Cromer (vcl) Dizzy Gillespie, Quincy Jones, Ernie Wilkins, Melba Liston, Tadd Dameron, Howie Kravitz, A.K. Salim (arr)

CD One
  1. Dizzy's Business
  2. Hey, Pete
  3. Jessica's Day
  4. Tour de Force
  5. I Can't Get Started
  6. Stella by Starlight
  7. Doodlin'
  8. A Night in Tunisia
  9. The Champ
  10. Yesterdays
  11. Tin Tin Deo
  12. Groovin' for Nat
  13. My Reverie
  14. Dizzy's Blues
  15. Annie's Dance
  16. Cool Breeze
  17. School Days
  18. Jordu
  19. Yo No Quiero Bailar
CD Two
  1. Birks' Works
  2. Autumn Leaves
  3. Tangorine
  4. Over the Rainbow
  5. Umbrella Man
  6. If You Could See Me Now
  7. Left Hand Corner (alt. take)
  8. Left Hand Corner (alt. take)
  9. Left Hand Corner (alt. take)
  10. Left Hand Corner (false start)
  11. Left Hand Corner (master)
  12. Whisper Not (alt. take)
  13. Whisper Not (alt. take)
  14. Whisper Not (master)
  15. Stablemates
  16. That's All
  17. Groovin' High
  18. Mayflower Rock (alt. take)
  19. Mayflower Rock (master)
  20. Joogie Boogie
  21. I Remember Clifford
  22. You'll Be Sorry
  23. Wonder Why
Recorded between June 6, 1956 and July 8, 1957

Martial Solal - The Vogue Recordings (FLAC)

These 1950s recordings of Algerian pianist Martial Solal were originally made for the Swing label in Paris and document some of his earliest work. Even at this stage his vivid imagination and determination to extend the language of the piano is evident – standards are regularly transformed into something original and exciting: they become ‘Solalized’ as Philippe Baudoin says in the sleeve notes. This collection also allows us to hear some of Solal’s own compositions and arrangements; the big band recordings on volume 3 are just as scintillating and original as the small group work and exhibit a rich attention to detail – it’s not surprising that Godard asked Solal to compose the score for Au bout de souffle.

During the period of these recordings Solal was regularly appearing at the Club St. Germain as well as at the Ringside where he met touring musicians like J.J. Johnson, Clifford Brown, Don Byas, and Lucky Thompson. It isn’t difficult to hear why they were all massively impressed with this young pianist. Bobby Jasper wrote in 1955: ‘The lyricism, the reassuring feeling that things were on the right path, the audacious attitude of the musician who plumbed right to the depths of himself and made music from jazz and jazz from music, it was from Martial that I secretly went to draw these things every evening’.

Sunday, June 24, 2007

Dexter Gordon - One Flight Up (RVG)

One Flight Up was recorded in Paris on June 2, 1964, at CBS Studios. At the time, tenor saxophonist Dexter Gordon was living in Copenhagen. Hooking up with fellow expatriates Donald Byrd (trumpet) and Art Taylor (drums), and enlisting the phenomenal Danish bassist Niels-Henning Ørsted Pedersen (then only 17 years old), he recorded four rather lengthy tracks for the project, three of which ("Tanya," "Coppin' the Haven," and "Darn That Dream") appeared on the original Blue Note LP. This reissue adds the fourth piece attempted that day, "Kong Neptune." The end result is what is perhaps the most underrated album in Gordon's canon, and the two modal-inflected pieces here, the 18-minute "Tanya" and the 11-plus minute "Coppin' the Haven," feature wonderful examples of Gordon's unique, slightly wounded-sounding sax style. As a black jazz musician living in Europe, Gordon would later say of this period that he finally felt like he could breathe, both as a horn player and as a human being. All of that freedom and well-deserved personal dignity are reflected in this set, and while a lot of European jazz recordings suffer in comparison with their American counterparts, that is not the case here. ~ Steve Leggett

Dexter Gordon (tenor saxophone)
Kenny Drew (piano)
Niels-Henning Orsted Pedersen (bass instrument)
Art Taylor (drums)

1. Tanya
2. Coppin' The Haven
3. Darn That Dream
4. Kong Neptune

CBS Studios, Paris, France June 2, 1964

Leroy Vinnegar - Leroy Walks Again

The follow-up to Leroy Vinnegar's first Contemporary album, this CD reissue matches the excellent bassist (who is mostly content to back the other soloists) with trumpeter Freddy Hill, tenor saxophonist Teddy Edwards, Victor Feldman on piano and vibes and drummer Ron Jefferson for four of the seven selections; the other numbers also use Hill and Edwards along with pianist Mike Melvoin, vibraphonist Roy Ayers (at the beginning of his career) and drummer Milt Turner. The set (which has three originals by Vinnegar, Edwards' "Wheelin' and Dealin'," Don Nelson, Les McCann and Freddie Hubbard in addition to the one standard "I'll String Along with You") helps define the modern mainstream of the early '60s, when cool jazz was being replaced by hard bop. ~Scott Yanow

Leroy Vinnegar (acoustic bass)
Teddy Edwards (tenor saxophone)
Roy Ayers (vibes)
Freddy Hill (trumpet)
Victor Feldman (piano and vibes)
Ron Jefferson (drums)
Mike Melvoin (drums)
Milt Turner (drums)

1. Hard To Find
2. Down Under
3. I'll String Along With You
4. Subway Grate
5. Restin' In Jail
6. Motherland
7. For Carl
8. Wheelin' And Dealin'

Lee Morgan | Volume 3 (BLP 1557) (flac)

BLP 1557 Volume 3

Lee Morgan | Volume 2 (BLP 1541) (flac)

BLP 1541 Volume 2

Lee Morgan | Volume 1 (BLP 1538 Indeed!) (flac)

BLP 1538 - Volume 1 - Indeed!

Clifford Brown & Max Roach - Alone Together

Clifford Brown & Max Roach -- Alone Together - The Best of The Mercury Years

The Clifford Brown-Max Roach quintet was a landmark unit. It had an uncanny ability to convey the tumbling melodicism of bebop while it introduced a strong blues element - the very chatacteristics that came to define the hard bop style. By the end of the Fifties that style was everywhere - and it has a powerful influence on popular music today.

Disc: 1
1. Cherokee - Clifford Brown
2. Joy Spring - Clifford Brown
3. What's New? - Clifford Brown
4. Mildama - Clifford Brown
5. September Song - Clifford Brown
6. What Am I Here For? - Clifford Brown
7. Sandu - Clifford Brown
8. Daahoud - Clifford Brown
9. Born To Be Blue - Clifford Brown
10. Jordu - Clifford Brown
11. Gertrude's Bounce - Clifford Brown
12. Star Dust - Clifford Brown
13. Parisian Thoroughfare - Clifford Brown
14. Blues Walk - Clifford Brown

Disc: 2
1. Dr. Free-Zee - Max Roach
2. Just One Of Those Things - Max Roach
3. Valse Hot - Max Roach
4. Tune Up - Max Roach
5. Yardbird Suite - Max Roach
6. A Night In Tunisia - Max Roach
7. La Villa - Max Roach
8. Max's Variations - Max Roach
9. Prelude - Max Roach
10. Juliano - Max Roach
11. Lotus Blossom - Max Roach
12. The Left Bank (Fourth Part Of 'Parisian Sketches') - Max Roach
13. Never Leave Me - Max Roach

Kenny Clarke/Francy Boland Big Band - At Her Majesty's Pleasure (1969) [LP > flac]

Co-chaired by legendary bop drummer Kenny Clarke and Belgian-born pianist/composer Francy Boland, the Clarke-Boland Big Band ranked among the top European orchestras of the '60s and early '70s. The group formed in 1960 following Clarke's relocation to Paris; originally, he and Boland -- fresh off a stint as an arranger for Kurt Edelhagen's German-based orchestra -- teamed in a sextet setting, quickly followed by an octet; the roster continued to grow, however, and soon a big band comprised of other American expatriates and top European players was in place. After earning a reputation as a major live force, the Clarke-Boland Big Band finally made their recorded debut with the 1962 LP Jazz Is Universal; over a dozen more albums followed prior to the group's 1973 dissolution.

When the Clarke-Boland Big Band traveled to London in February of 1969 to play at Ronnie Scott's, they were met at the airport by the police to arrest Johnny Griffin for failure to pay some sort of income tax. After a one-night stay at Pentonville, Griffin was released and the band continued its triumphant stand at the Scott Club. Francy Boland turned an untitled piece he'd written into "Pentonville" and it became the first part of the suite heard here, At Her Majesty's Pleasure....

Benny Bailey, Derek Watkins, Kenny Wheeler, Idrees Sulieman (tp) Nat Peck, Ake Persson, Eric Van Lier (tb) Derek Humble (as) Tony Coe, Johnny Griffin, Ronnie Scott (ts) Sahib Shihab (bs, ss, fl) Francy Boland (p) Jimmy Woode (b) Kenny Clare, Kenny Clarke (d)

Side One
1. Pentonville
2. Wormwood Scrubs: Dawn
3. Doing Time

Side Two
1. Broadmoor
2. Holloway
3. Reprieve
4. Going Straight

Black Lion BL-131
Lindstrom Studios, Cologne
September 5, 1969

Tony Williams - Wilderness

Tony Williams for Ark 21 from 1996.
Ripped from the Japanese Toshiba EMI issue @320.

Personnel: Tony Williams (drums); Jack Smalley (conductor); Michael Brecker (tenor saxophone); Walt Fowler (trumpet); Rick Todd, David Duke (French horn); Alan Kaplan (trombone); Susan Greenberg, Gerri Rotella (flute); Charles Boito, Ralph Williams (clarinet); Earle Dumler, Chris Bleth (oboe); Rose Corrigan (bassoon); Ralph Morrison, Kathy Lenski, Karen Jones (violin); Brian dembow, Alexis Carreon (viola); Steve Erdody (cello); Katie Kirkpatrick (harp); Herbie Hancock (piano); John Van Tongeren (keyboards); Pat Metheny, Lyle Workman (guitar); Stanley Clarke, Chuck Berghoffer (bass); David Garibaldi, Bob Zimmitti (percussion). Producers: Tony Williams, John Richards, John Van Tongeren. Recorded at Sound Chamber and O' Henry's Studios, Los Angeles, California in December 1995.

One of drummer Tony Williams' final studio projects, this adventurous effort alternates selections by an all-star quintet (which includes tenor saxophonist Michael Brecker, guitarist Pat Metheny, pianist Herbie Hancock and bassist Stanley Clarke) with string orchestra tracks (usually using the rhythm section). Williams wrote most of the music (there is one song apiece from Metheny and Clarke), and despite the general unpredictability of the music (which ranges from melancholy to fiery), there is a surprising unity throughout the CD. Highlights include the pretty opener for strings "Wilderness Rising," a lyrical quintet number, "The Night You Were Born," the rockish freakout "China Moon" and the heated "Gambia"; only guitarist Lyle Workman's guest spot on his droning "Machu Picchu" is a minus. Otherwise, this is intriguing music that rewards repeated listenings, making one further appreciate the great loss suffered as a result of Tony Williams' premature death.AMG.

Saturday, June 23, 2007

The Red Norvo Trios

Back on track with more Norvo.

Although the most famous of Red Norvo's vibes/guitar/bass trios featured guitarist Tal Farlow and bassist Charles Mingus, he continued the appealing format for a few years after his sidemen departed. This CD features Norvo with guitarist Jimmy Raney and bassist Red Mitchell on 15 enjoyable performances from 1953-54 and is rounded off by four songs from 1955 when Farlow rejoined Norvo and Mitchell. ~Lord Yanow

Peter Herbolzheimer - Jazz Gala Concert, Vol. 1 [flac]

After I posted a 1976 Jazz Gala Concert by Peter Herbolzheimer last month for Bacoso, I found out that there were quite a few other fans as well. So here's another one, this time on CD from two concerts in Germany. Three of the songs are from 1977 and the rest are from 1979 with the usual assortment of European and American all-stars. All of the arrangements are by Herbolzheimer except for "Like Someone in Love" which was arranged by Jerry van Rooyen. Featured soloists include Herb Geller, Art Farmer, Frank Rosolino, Johnny Griffin, Benny Bailey, Tony Coe, Ferdinand Povel, Eef Albers and Niels-Henning Ørsted Pedersen with Leata Galloway doing a couple of vocals on "Stormy Monday" and "Bluesette". There are two other volumes from these concerts but I have never been able to track them down.

Tracks 1, 2, 3, 4 & 8
Hamburg, November 20, 1979

Chuck Findley, Art Farmer, Palle Mikkelborg, Allan Botschinsky, Jan Oosthof (tp) Herb Geller (as) Ferdinand Povel, Don Menza, Tony Coe (ts) Heinz von Hermann (bs) Jiggs Whigham, Bart van Lier, Erich Kleinschuster, Peter Herbolzheimer, Nat Peck (tb) Niels-Henning 0rsted Pedersen (b) Fritz Pauer (p) Eef Albers (g) Grady Tate, Alex Riel (d) Leata Galloway (vcl)

Tracks 5, 6 & 7
Dusseldorf, January 28, 1977

Benny Bailey, Palle Mikkelborg, Ron Simmonds, Lew Soloff, Clark Terry (tp) Ack van Rooyen (flh) Otto Bredl, Peter Herbolzheimer, Erich Kleinschuster, Albert Mangelsdorff, Frank Rosolino, Jiggs Wigham (tb) Howard Johnson (tu, bs) Herb Geller (as) Johnny Griffin, Ferdinand Povel (ts) James Towsey (bs) Gary Burton (vib) Benny Aronov (p) Rob Franken (el-p, syn) Volker Kriegel (g) Bo Stief (b) Alex Riel (d) Nippy Noya (per)
  1. The Age of Prominence
  2. Giant Steps
  3. Sunflower Chant
  4. Stormy Monday
  5. Nica's Dream
  6. Like Someone in Love
  7. Spanish Flavour
  8. Bluesette

Monty Alexander - Yard Movement

Clio had great idea when he posted Ranglin's Below The Bass Line. Together with this Alexander cd, it was one of my fave 1996 releases. And I still play them with the same pleasure today.

Jamaican-born Monty Alexander's Oscar Peterson-styled piano runs would seem an unlikely fit for reggae rhythms, but with albums like Yard Movement (the album that launched the Island Jazz imprint), Alexander (along with guitarist Ernest Ranglin, who is featured here) has played in huge role in defining what has to be called (for lack of a better term) "jazz reggae." Essentially smooth bop laid in over heavy reggae basslines, the tracks on Yard Movement (recorded live at the Montreux Jazz Festival in Switzerland in 1995) work surprisingly well, grooving and shifting directions with a deceptive ease, and Ranglin's bright, bubbly guitar is a continual delight throughout. The opener is the grandstand track here, a 12-minute-plus version of the Exodus movie theme that gradually transforms into a magnificent run-through of Bob Marley's "Exodus." It may have been a mistake to lead the set with this one, though, since everything that follows seems to be a diminishment in comparison to it, which is a shame, because cuts like "Moonlight City," "Strawberry Hill," and "Sneaky Steppers" have their own charm. Fans of hardcore roots reggae may find what Alexander and Ranglin are doing here a little too refined and smooth, but from a jazz perspective, these cuts exhibit an edgy punch that points toward a refreshing synthesis. Both Alexander and Ranglin would go on to make more albums in this vein, but Yard Movement, particularly in the "Exodus" improvisation, created both a template and a benchmark.-Steve Leggett

1 Exodus
2 Regulator
3 Crying
4 Moonlight City
5 Love Notes
6 Momento
7 Strawberry Hill
8 Sneaky Steppers
Monty Alexander Piano, Melodica, Producer, Executive Producer
Robert Angus Guitar
Steve Barrow Liner Notes, Interviewer
Dwight Dawes Keyboards
Carlton Messam Bass
Ernest Ranglin Guitar
Robert Thomas, Jr. Drums, Hand Drums
Rolando Wilson Drums

Shelly Manne - Jazz Gunn (1967) [LP > flac]

Not to be confused with the 1959 album that has music from the TV show, this music comes from Mancini's score for the theatrical film Gunn. Some very creative arrangements and playing highlight this album which has a more "modern" sound and feel than the '59 session. Conte Candoli and Shelly Manne perform up to their usual high level and this session has some of bassist Monty Budwig's finest playing on record, but the pleasant surprise of this album is the playing of Frank Strozier on alto sax, who sounds a lot like Jackie McLean or later Art Pepper. Strozier seems to have disappeared after some gigs in the early '80's on the east coast - a good subject for "what ever happened to?"

Conte Candoli (trumpet, flugelhorn)
Frank Strozier (alto sax, flute)
Mike Wofford (piano)
Monty Budwig (bass)
Shelly Manne (drums)
  1. A Bluish Bag
  2. Silver Tears
  3. Sweet
  4. Theme for Sam
  5. A Quiet Happening
  6. Night Owl
  7. Peter Gunn
Recorded June 19 and 20, 1967

Bobby Hutcherson - For Sentimental Reasons

Brand new for Bobby Hutcherson from 2007 on Kind of Blue.
Al Foster-Drums;Renee Rosnes-Piano;Dwayne Burno-Bass;Bobby Hutcherson-Vibes

Vibraphonist Bobby Hutcherson, who successfully translated John Coltrane’s "sheets of sound" approach to the vibes, became the acknowledged master of that instrument when Milt Jackson died in 1999. A veteran of many historic Blue Note dates, a bit player in the movie Round Midnight, and founding member of the SF Jazz Collective, Hutcherson calls this mostly ballads CD, with pianist Renee Rosnes, bassist Dwayne Burno, and drummer Al Foster, his "love record." All of his powers are evident here: his melodic fluency, vast harmonic imagination, and his incredible ability to make the vibes sing. Like Lester Young, Hutcherson knows how to melodically tell a story, as evidenced by his shimmering takes on the Latin-tinged "Ode to Angela," and "I Wish I Knew," his sumptuous piano duet on the Bernstein/Sondheim classic "Somewhere," and his heartbreaking, solo number "I’ll Be Seeing You," Hopefully we’ll be seeing and hearing from this genius more often. --Eugene Holley, Jr.

Kenny Dorham - Whistle Stop

As usual, I was planning other uploads but I've been listening to this in the morning and felt like sharing it. I know, it's not at all a rarity, so I expect most (if not all) of you to have it. But we all do love K.D,, isn't it? I, also, recall quite a few KD's posts back from C&D till now, but not this one.

I can't think of anything that Dorham has recorded as a leader which I don't like, but this 1961 date, along with "Una Mas", are the two I love more. I find his pairing with Hank Mobley to be extremely fitting for this repertoire. Plus, the rythm section (Drew, Chambers, Joe Jones) is top notch - especially Chambers has some memorable moments here (just listen to Sunrise in Mexico). This is a real beauty and I hope you'll enjoy.

"Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. The CD reissue of Whistle Stop features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the '90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had recorded with previously along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set." (Scott Yanow, AMG)


Kenny Dorham - trumpet
Hank Mobley - tenor sax
Kenny Drew - piano
Paul Chambers - bass
Philly Joe Jones - drums

Recorded January 15, 1961 at Rudy Van Gelder studio, Englewood Cliffs, NJ


1 - 'Philly' Twist
2 - Buffalo
3 - Sunset
4 - Whistle Stop
5 - Sunrise in Mexico
6 - Windmill
7 - Dorham's Epitaph

All tracks composed by Kenny Dorham

Links in comments

Friday, June 22, 2007

Steps Ahead - Live in Tokyo 1986 [flac]

First issued on Laserdisc (now on dvd) this CD was released in 1994 due to popular demand. This version of the group was more electric than previous ones and is high-energy fusion at its best. Michael Brecker's tenor solos are amazing (as usual) and he shows his mastery of the EWI on the awe-inspiring "In a Sentimental Mood". This is the only recording from this particular ensemble and was Brecker's last with the group.

Michael Brecker (tenor sax, EWI)
Mike Mainieri (vibes)
Mike Stern (guitar)
Daryl Jones (bass)
Steve Smith (drums)

  1. Beirut
  2. Oops
  3. Self Portrait
  4. Sumo
  5. Cajun
  6. Safari
  7. In a Sentimental Mood
  8. Trains
Recorded at Kan-i-Hoken Hall, Tokyo on July 30, 1986

King Solomon

Funky Friday on time for once!

Rhino does this one right, with great sound!
He never gets the props of Wilson or Otis but I think he is one of the all time greats...dig it!

The Very Best of Solomon Burke is an excellent 16-track collection that features his biggest hits from 1961-1968, including "Just Out of Reach (Of My Two Open Arms)," "Cry to Me," "Down in the Valley," "I'm Hanging Up My Heart for You," "If You Need Me," "You're Good for Me," "Goodbye Baby (Baby Goodbye)," and "Everybody Needs Somebody to Love." All of his best-known songs in their hit versions are available on this concise, affordable disc, not always in strict release order but still an education in and of themselves — the tracks all come from the first generation original single masters, many of which were remixed or even shunted aside in favor of re-recorded versions for his albums during the 1960s, including his greatest-hits and best-of collections. The producers spent the time to track down those long-unused and forgotten originals for this, their first authentic representation on CD. Additionally, the 16th song is a true diamond among the R&B treasures here — the June 1968 single "Soul Meeting" cut by the Soul Clan, which consisted of Burke, Arthur Conley, Don Covay, Ben E. King, and Joe Tex, the super-session product of a short-lived experiment in raising money for the black community. This is the only appearance of this Don Covay-authored track on CD, and makes this release essential even for those who already own the 1992 double-CD set Home In Your Heart. ---Stephen Thomas Erlewine & Bruce Eder


Thursday, June 21, 2007

Benny Carter Orchestra w/ Miles 1946

Jean Lafite's really cool post of Miles from 1949 reminded me that coincidentally I had been meaning to post this. It's Miles from 1946. Not that it's a competition or anything. Anyone have Miles from 1944?? lol

Seriously, though, the sound quality is a bit rough since it's a 60 year old radio broadcast, but once your ears adjust, it sounds just fine. And it's definitely worth listening to at least once for the sheer historical aspect, as with other Miles from this era.

here's the info:

Benny Carter Orchestra with Miles Davis

March 31, 1946 Streets of Paris, Los Angeles

Radio broadcast

01. Just You, Just Me (R. Klages-J. Greer) 7:59
02. Don't Blame Me (D. Fields-J. McHugh) 8:58
03. Sweet Georgia Brown (B. Bernie-M. Pinkard-K. Casey) 7:30

Miles Davis (tpt)
Benny Carter (as)
James Cannady (g)
Al Grey (tb)
Howard McGhee (tpt)
Thomas Moultrie (b)
Hubert "Bumps" Myers (ts)
Percy Brice (d)
Sonny White (p)
Britt Woodman (tb)

(the way out of sync photo is due to no cover art that I know of...)

Joe Newman with Frank Foster - Good 'N Groovy (1961)

Joe Newman - trumpet
Frank Foster - tenor
Tommy Flanagan - piano
Eddie Jones - bass
Billy English - drums

01 - A.M. Romp
02 - Li'l Darlin'
03 - Mo-Lasses
04 - To Rigmor
05 - Just Squeeze Me
06 - Loop-D-Loop

David Murray - Fo Deuk Revue (Flac)

Saxophonist David Murray signed to Justin Time in '95 and makes his Justin Time debut on Fo Deuk Revue, an impressively ambitious work recorded in Dakar, Senegal in mid-'96. His ensemble on this record includes American artists such as Jamaaladeen Tacuma, Darryl Burgee, Hugh Ragin, and Robert Irving III, as well as a host of Senegalese stars including sabar player Doudou N'Diaye Rose and rappers Positive Black Soul. Fo Deuk Revue brings together elements of jazz, funk, African percussion, rap, Afro-pop, and spoken word poetry—a massive fusion of styles and sounds.

While the combinations often succeed (witness “Village Urbana,” a groovy piece with Senegalese rapping and Murray's trademark intense blowing; or “Evidence,” a showcase for Amiri Baraka's dramatic reading of his intense poem “Africa”), they just as often regress into cheesy smooth jazz or boxed-in formulaic drumming. In parts, the sound creeps closer to the Afro-American tradition than the African one, instead of heading somewhere in between. This deviation originates in large part from the incessantly smooth backing keyboards and Tacuma's usual wanky and out-of-touch bass playing. Just like any work with this incredible range of sounds, Fo Deuk Revue has its hits as well as its misses. Murray deserves credit for even attempting the project, and for Murray fans Fo Deuk Revue presents a totally unique sound hitherto unavailable on record. Nils Jacobson

Doudou N'Diaye Rose: sabar, vocals; Amadou Barry, aka Doug E. Tee (Positive Black Soul): vocals/rap; Didier Awadi (Positive Black Soul): rap; Oumar Mboup: djembe, percussion; Hamet Maal: vocals; Tidiane Gaye (Dieuf Dieul): vocals; El Hadji Gniancou Sembene (Dieuf Dieul): keyboard; Abdou Karim Mane (Dieuf Dieul): bass; Ousseynou Diop (Dieuf Dieul): drums; Assane Diop (Dieuf Dieul): xalam, guitar; Moussa Sene (Dieuf Dieul): percussion, backup vocals; Jamaaladeen Tacuma: bass; Hugh Ragin: trumpet; Robert Irving III: piano; Darryl Burgee: drums; Craig Harris: trombone; Junior Soul: vocals; Amiri Baraka: poetry reading; Amiri Baraka Jr.: vocals; David Murray: saxophone, bass clarinet.

1. Blue Muse
2. Evidence
3. One World Family
4. Too Many Hungry People
5. Chant Africa
6. Abdoul Aziz Sy
7. Village Urbana
8. Thilo

Dizzy Gillespie - The Rollins/Stitt Sessions (1957) [flac]

Recorded just eight days apart, these two albums are among my favorites from all three of these giants. Does it get any better than this?

Dizzy Gillespie (trumpet)
Sonny Rollins (tenor sax)
Sonny Stitt (tenor sax, alto sax on Anythin')
Ray Bryant (piano)
Tommy Bryant (bass)
Charlie Persip (drums)


The product of a day's worth of recording at Nola Studios in 1957, this album is essentially the same as a much older release of the same on Verve, but the master tapes had been found and remastered into stereo along with the addition of a couple of tracks previously left off the album. Presumably, these are the same sessions that spawned the Sonny Side Up album. Here, Dizzy works separately with each of the Sonnys for a couple of tracks. "Wheatleigh Hall" is something of a tour de force for both Rollins and Gillespie, and the "Con Alma" tracks are certainly worthwhile listens for a glimpse of Stitt's prowess. Finally, the album ends with "Haute Mon'," a themeless blues in G minor. Before that, however, is the addition of a newly discovered yet unlabeled track from the same sessions, which was belatedly titled "Anythin', Ha Ha" by Gillespie prior to the release of this album. Overall, the highlights are many, and one would probably be better off with this album than the original release (in mono, no less). On a related note, however, one would probably be better off with the Sonny Side Up album instead of this one (given only one choice), due to the simultaneous collaboration with both sax players (and for no other reason than the sheer beauty of "Eternal Triangle"). - Adam Greenberg

  1. Wheatleigh Hall
  2. Sumphin'
  3. Con Alma (alternate)
  4. Con Alma (master)
  5. Anythin'
  6. Haute Mon'
Recorded December 11, 1957

Sonny Side Up

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. In the midst of the rivalry (certainly some torch was being passed, since Rollins was soon to become the top tenor saxophonist in jazz), an embarrassment of solo riches comes tumbling out of both these men's horns. Gillespie adds his own split commentary on the proceedings with a casual solo on "After Hours" and a competitively blistering statement on "I Know That You Know." With an at ease rendition of "On the Sunny Side of the Street" rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session. - Stephen Cook
  1. On the Sunny Side of the Street
  2. The Eternal Triangle
  3. After Hours
  4. I Know That You Know
Recorded December 19, 1957

Shin-ichi Fukuda “Aquarelle” (1995, JVC VICC-173)

Osaka born and raised acoustic guitarist, Fukuda Shin-ichi graduated from Ecole Normale de Musique de Paris and later studied at the Chigiana Music Conservatory in Italy. He also won the Paris International Guitar Competition. He judged the Havana International Guitar Festival in ’94 and ‘96. He later played with the Cuba National Orchestra in the concert finale, winning accolades of his performance of Toru Takemitsu’s Guitar Concerto (‘Palma, towards the Rainbow’). In the past few years, Fukuda performs 19th century guitar music using period instruments. He also challenges the playing of new jazz and rock works, making progress in his continuing quest to chart unexplored territory for the acoustic guitar. I think you will agree with me that Fukuda-san has a wonderful sense of rhythm and feeling for tonal coloration. Enough of this bio/background material –

I have seen three him three times in concert; I never tire of his athletic abilities and musical talent. Each time was a journey across cultures, music and flying fingers! As I am not a guitarist, I could not begin to tell you in terms why he is good – just that I totally enjoy this type of Latin-infused, colourful tones, warm rhythm and articulately arranged music. This album contains covers of two Ralph Towner numbers, one Wayne Shorter track and one Pat Metheny number. However, the highlight may be the covers of Sergio Assad’s ‘Aquarelle’ – do not miss these. Track # 15 is a song known by all Japanese that strikes a very sentimental or nostalgic feeling; to hear this with acoustic guitar does not reduce the simple beauty of this Japanese hit.

Q: Do you enjoy acoustic guitar, classic guitar or flamenco guitar music?
A: Please take the next exit and go directly to the comment section and get these files!!

01. Caminata (Towner)
02. The Juggler’s Etude (Towner)
03. Aquarelle – Divertimento
04. Aquarelle – Valseana
05. Aquarelle – Preludio e Toccatina
06. Diana (Shorter)
07. Walking on the Water
08. Change of Heart (Metheny)
09. Recuerdos
10. El Parajo de Rio
11. Fantasia
12. Tiempo y Esperanza
13. Samba de Ola
14. Astral Flakes
15. Sukiyaki

miles davis/tadd dameron quintet paris festival 1949

with james moody, barney spieler, and kenny clarke. the sound quality is crispy so it didn't split the tracks and the whole album is one big file. despite that, and the french guys talking, this is pretty cool.

side one- rifftide, good bait, don't blame me, lady bird

side two- wah hoo, allen's alley, embraceable you, ornithology, all the things you are

William Parker – O’Neal’s Porch (FLAC)

William Parker – O’Neal’s Porch
[Centering Records, 2000; Aum Fidelity, 2002]

William Parker: bass
Rob Brown: alto saxophone
Lewis Barnes: trumpet
Hamid Drake: drums

1. Purple
2. Sun
3. O'Neal's Porch
4. Rise
5. Song For Jesus
6. Leaf
7. Song For Jesus 3/4
8. Moon

O'Neal's Porch is a tremendously gorgeous, deeply swinging, and highly inspired recording which brings great joy to all who hear it; destined to be a stone classic of this era. – SJ / Aum Fidelity

Nils Jacobson / All About Jazz:
One of William Parker's best talents is bringing otherworldly jazz down to earth. On this recording, aptly titled after his uncle O'Neal from South Carolina, Parker offers a collection of original tunes that stretch from the abstraction of pure energy to the dirtiness of down-home funk.

The anchor--or the root, to use a more vital analogy--of this group lies in the hands of Parker and drummer Hamid Drake. These two players have a unique cohesion and shared intuition that sets them apart as the most versatile and effective rhythm section in modern jazz. Perhaps it's the way William Parker often uses the bass as a rhythm instrument, interlocked with the groove or offering abstract counterpoint. (On ‘Purple’, the opening track, he plays the talking drum--another tunable rhythm instrument. During the course of his brief conversation with Drake, Parker offers valuable insight into his vision of pitch transformed into pulse. Drake, in his usual inhuman eight-armed fashion, carries on the other half of the conversation equally vividly.)

Alto saxophonist Rob Brown plays with a surprising amount of energy on this disc, sparking an electric current which drives the group forward. His solo work on O'Neal's Porch represents some of his highest wattage work to date. To counterbalance this restless force, trumpeter Lewis Barnes often lays back, providing counterpoint or offering graceful, understated lines. Especially within the context of Parker's in-and-out compositions, these two players serve as ideal foils for each other. When appropriate, they can also integrate surprisingly intuitively.

The tunes on O'Neal's Porch (all by Parker) often use a composed theme and/or groove as a starting point for exploration. In this sense, they follow the usual jazz convention of head-solos-head. But moments of collective improvisation (as on ‘Leaf’) explode the stereotype. And one has the sense that there are no hard-and-fast rules here. Much of the intrigue about O'Neal's Porch derives from the ambiguous structure of the music. You never really know where it's headed: whether in or out, whether back to the theme or out into space. Even when the tunes have a familiar swinging, funky, or melancholic feel, Parker's quartet offers plenty of surprises.

Original sleeve notes [A Listener's Guide To O'Neal's Porch]:

Funky Friday

Gontiti (pronounced 'gon-chi-chi') is a Japanese guitar duo formed in 1978 by two musicians from Osaka, Masahiko "Gonzalez" Mikami and Masahide "Titi" Matsumura. Titi Matsumura's nickname is pronounced Chi-Chi, after the Charlie Parker song of the same name because his father was a huge Bird fan...

Gontiti's music incorporates a number of styles, including jazz, bossa nova, flamenco, and even tad bits of classical music. I cannot put a proper label on their music, but as it is "Funky Friday" -and this is "Call It Anything". How bad could a band with a percussionist named, "Pecker" be? Wait! There is more, the keyboard player's name is "Banana". . . do these guys have a phallic fixation? . . . give it a spin, you won't regret it!

Gontiti -

Gontiti "Sunday Market" (1986, Sony)
Gonzalez Mikami (g), Titi Matsumura (g/stG), Banana, Masaya Matsuura (syn), Kazuto Shimizu (cla/p/Xyl), Yo Fuji, Hitoshi Watanabe (b), Yoshihiko Eida, Takeshi Saito (vio), Yuji Yamada (vio/Viola), Hajime Mizoguchi (cel), Koichi Matsuda (harm/harp), Tomoko T. (vcl), Pecker, Tetsuaki Hoashi (per)
01. Keilaiyoh Waltz
02. Nymph
03. Mr. F. Says
04. Glass No Sakano
05. Yellow Tornado
06. Nanpoh Yubin Sen
07. Mile-Kun to Pup-Dani No Kurima
08. Coconut Basket
09. Nanaki
10. N.D.D. (Night Dizzy Dance)
11. Mona Park
12. Noon Flight

David Murray Latin Big Band - Now Is Another Time

David Murray for Justin Time from 2003.This ones a big favourite of mine - Murray backed with an explosive Latin Big Band exploring the rhythms of Cuba and Puerto Rico.
Here's a review from AMG:
Saxophonist David Murray continues his cross genre initiatives on this undeniably exciting, 2003 release Now Is Another Time. With this effort, the artist enlists his longtime running mates, trumpeter Hugh Ragin and baritone saxophonist Hamiet Bluiett to complement a huge cast of Cuban musicians. This large ensemble Latin jazz extravaganza packs a mighty blow, from beginning to end. Here, the band churns out radiant, multi-layered horn arrangements atop the Cuban masters' sweltering percussion grooves and the soloists' blaring exchanges. They integrate punctual choruses into the grand mix, to coincide with the band's bold, brassy sound and thrusting impetus. Furthermore, Murray is in top form, evidenced by his climactically driven soloing endeavors -- where he peaks within the upper registers -- via an unrelenting pace. It's all about perpetual motion topped off with a festive sentiment, marked by oscillating Afro-Cuban grooves and a few poignant interludes here and there. But the musicians also utilize space to their advantage, where they often allow any given soloist, ample breathing room to reconfigure previously explored themes. Folks, this is the real deal. An awe-inspiring effort, indeed! ~ Glenn Astarita, All Music Guide
Ripped @320 from the cd issue.

Jack Wilson Quartet - Ramblin' (FLAC)

Jack Wilson Quartet - Ramblin'
Freshsound. 2004

Dusty Grooves
A beautiful set of modal jazz tracks -- recorded by the great LA pianist Jack Wilson with a young Roy Ayers! The set is amazing, and features haunting piano and vibes interplay between Ayers and Wilson -- in a style that could best be summed up as LA modern modal, but which is also embellished by lots warm, lyrical twists by both of the soloists. The title cut is a totally groovy workout on Ornette Coleman's "Ramblin", and the rest of the set includes Coltrane's "Impressions", Oliver Nelson's "Stolen Moments", Lee Morgan's "The Sidewinder", and a great 3-part reading of "The Sandpiper". One of our favorite albums from the 60's, and a beautiful document of one of the lesser-known streams of jazz that was coming out of the west coast during the time -- and it's key proof that Ayers was an incredible jazz player in his years before moving to soul music!

There are nine songs, although in the back cover only appear eight.

Track Listing
01 Ramblin' (Ornette Coleman) 7:14
02 Stolen Moments (Oliver Nelson) 6:45
03 Kilo (J.J. Johnson) 3:39
04 Impressions (John Coltrane) 3:22
05 The Sandpiper, Pt.1 (J. Mandel, P. Webster) 3:15
06 The Sandpiper, Pt.2 (J. Mandel, P. Webster) 6:57
07 The Sandpiper, Pt.3 (J. Mandel, P. Webster) 2:18
08 The Sidewinder (Lee Morgan) 3:17
09 Pensativa (Clare Fischer) 7:32

Originally released on Vault Records (LP 9002).

Jack Wilson (piano)
Roy Ayers (vibraphone)
Monk Montgomery (double bass)
Warner Barlow (drums)

Recorded at Los Angeles, California (1966).

Don Pullen And The African Brazilian Connection - Ode To Life

Here’s my first post for Call It Anything – I’ve checked back and don’t think it’s been up here before.

Guilherme Franco - Percussion, Berimbau, Timba
Nilson Matta - Bass
Don Pullen - Piano,
Mor Thiam - Percussion, Chimes, Tabla, Djembe
Carlos Ward - Flute, Sax (Alto)

Ripped @320 from the Blue Note CD.
Pianist Don Pullen's second recording by his African-Brazilian Connection (which includes bassist Nilson Matta, two percussionists and altoist Carlos Ward) is dedicated to the memory of the late tenor-saxophonist George Adams. The music is more subdued than is usual on a Pullen disc, with the harmonies being less dissonant and the mood often melancholy and reflective but occasionally joyous. This is one of Pullen's more accessible and introspective sessions. ~ Scott Yanow, All Music Guide

Wednesday, June 20, 2007

For Eric's birthday...

Rab made the start; I just offer my twopence here. I can't help but wonder how it would have been if Dolphy's career was not so dramatically brief...

This is a live documentation of Dolphy's brief stand with 23-years-old Herbie Hancock, unearthed a couple of years ago by the folks at LoneHillJazz . To my knowledge, the only other existing recording of this collaboration (which lasted for less than a year between 1962-1963) is Blue Note's "Illinois Concert"; I may be wrong. It's kind of strange, because the pompous title ("Complete Recordings") and the quote from a Downbeat review on the back cover, suggest that this is the SOLE existing recording; obviously, this must have been either a blunder or a cheap marketing trick, as the release of the "Illinois Concert" precedes this one by 5 years. Anyway...

Admittedly, the recording quality is not exactly meant for audiophiles (plus, the last track is incomplete), but in some way it puts you right in the atmosphere of a smokey jazz club. Surely, this is not Dolphy's or Hancock's best album, and the supporting group is not to die for, but the historical importance of this collaboration is great and I guess that you'll want this one. There's also an interesting vocal take of "I Got Rhythm". Enjoy.


Eric Dolphy: Alto sax, Flute, Bass Clarinet
Herbie Hancock: Piano
Ed Armour: Trumpet
Richard Davis: Bass
Edgar Bateman: Drums
Joe Carrol: Vocals (track 4)


1-Miss Ann (Dolphy)
2-Left Alone (Holiday/Waldron)
3-G.W. (Dolphy)
4-I Got Rhythm (Gershwin/Gershwin)
5-245 (Dolphy)

Recorded at The Gaslight Inn, NY, October 7, 1962.

Released on CD by Lone Hill Jazz in 2004.

Little Roy - Tafari Earth Uprising

Little Roy - Tafari Earth Uprising
[Tafari, 197x; Pressure Sounds, 1996]

Vocals : Little Roy
Backing Vocals : Mary Gardner / Leroy Sibbles / Ewan Gardner / Anthony Ellis / Lorna Nelson / Judith Martin / Valerie Llewellyn
Drums : Carlton Barrett / Ben Bow / Horsemouth Wallace / Albert Malawi
Bass : Lloyd Parks / Wire Lindo / Aston Barrett / Dennis Brown / Reggie Carter / Bagga Judah
Guitar : Chinna / Sowell / Dougie Bryan / Roy Hamilton
Keyboards : Tyrone Downie / Wire Lindo / Ossie Hibbert / Pablo Black
Piano : Pablo Black / Gladdy Anderson / Wire Lindo / Leroy Sibbles
Percussion : Scully Simms / Little D / Glasses

Studios : Black Ark / Channel One / Randy's / Harry J
Engineers : Sylvan Morris / Errol Thompson / Barnabas / Pluto Shervington / Melvin Munchie Jackson / Lee Perry

1. Prophesy
2. Christopher Columbus
3. Don't Cross The Nation
4. Earth
5. Easy Chair
6. Mr. T
7. Tribal War
8. Forces
9. Working
10. Richman Laugh
11. Blackbird
12. Jah Can Count On
13. Rocking Chair
14. Forces Dub

When the right time comes and the final roll is called, the name of Earl Lowe a.k.a Little Roy will most certainly be inscribed high on the golden scroll - counted, as he must be, amongst the most righteous in the legion of Jamaican roots singers. Steve Barker

Pressure Sounds have released two collections of Little Roy material (I'll be posting the other volume later) and neither one is anything short of essential. Here's what Steve Barrow has to say about it....

Little Roy (born Earl Lowe in Whitfield Town, Kingston, 1953) was one of the first vocalists to sing what would become known as roots music. He began his career with Prince Buster before trying his luck with Lloyd 'Matador' Daley while still at school. He and his friend Carly had a song they had written called "Bongo Nyah", which they recorded with Family Man and Carlton Barrett's band The Hippy Boys. It was a hit all over the Caribbean.

Little Roy went on to cut a dozen songs for Daley, including a hit reggae version of Bread's "I Want To Make It With You", but he really wanted to sing more Rasta-oriented cultural material. In 1972, like many other roots artists of the period, he started his own label, naming it Tafari, and over the next few years he released a series of singles, eventually collected on his first album Tribal War and released through his friends Munchie Jackson and Lloyd 'Bullwackie' Barnes in New York. That set has been used as the basis tor Tafari Earth Uprising, a long-overdue reissue comprising twelve songs and two dubs.

The album features at least two bonafide classics. Tribal War is a deeply moving plea for peace, written as a response to the internecine gang war raging between political factions in Kingston's ghettoes in mid-decade. As a member of the Rasta organization the Twelve Tribes of Israel, Little Roy warned of the dangers in aligning with one side or another during a time of serious unrest. It was recorded at Lee Perry's Black Ark studio in 1974. When John Holt re-recorded the song for Channel One the next year it became a huge hit, spawning cover versions by George Nooks, Ronnie Davis, and Freddie McKay. 1974 also saw the release of Roy's other much-versioned song, Prophesy. This song was voiced on a 'Blacka' Morwell-produced rhythm, squeezed out of a Pete Weston session at Dynamic and featuring Joe White on melodica; a devastatingly simple rhythm, it is just discernible under Roy's heartfelt vocal. "Prophesy" itself became a hit again in 1989 for Freddie McGregor, a recut with Steely & Clevie that resulted in a flood of versions.

Roy's lyrics — steeped in Bible learning and natural imagery — are those of a devoted Rastaman. His songs look at themes such as Columbus's 'discovery' of America (Christopher Columbus), the African origins of humanity (Don't Cross The Nation) and ruling class morality (Richman Laugh). Others are uplifting affirmations of faith - Earth, Jah Can Count On I, and Mt T (this latter with the Heptones backing his vocal). Two other tracks — Forces and Working — are trio performances with singers lan and Rock, recorded at Channel One in 1978.

Perhaps because these songs originally appeared on obscure 45s with limited distribution, their impact was diffused. Roy secured a record deal in the UK - the largest market for reggae in the 1970s — too late for success, and he subsequently spent long periods in New York. In 1990, spurred perhaps by Freddie McGregor's hit with "Prophecy", he released Live On, a fine album recorded in Florida with Jamaican musicians. Better still was Longtime, a modern roots album made in 1996 with UK producer Adrian Sherwood and showing his songwriting and light, throaty tenor intact. Tafari Earth Uprising makes it clear that he was already a significant artist some 25 years ago.
Steve Barrow & Peter Dalton – Reggae: 100 Essential CD’s

Dead Dawg

Nice interpretations of traditional songs...

In the last five years of his life, Jerry Garcia frequently dropped in on his old friend, mandolin player David Grisman, to play and record the kind of folk, bluegrass, and old-timey music they had both begun their careers with in the early '60s. Grisman released two Garcia/Grisman albums on his Acoustic Disc label during Garcia's lifetime, and this is the first to be compiled since his death. In a note, Grisman writes, "I decided to organize this material by genre; this first volume is comprised of traditional folk songs and ballads." Indeed, among the 13 tracks here are versions of children's ballads and other ancient songs that formed the repertoire of some of the folk groups that both players belonged to. Grisman has included a lavish CD booklet containing thorough annotations by New Lost City Ramblers member John Cohen that trace the origins of each of the songs and detail Garcia and Grisman's backgrounds. One gets the sense that Cohen and Grisman are trying to provide a tutorial to Deadheads who may be puzzled. The effect of all the scholarship is to imply that the sessions are more deliberate than a hearing suggests, however. The playing is loose and spontaneous, and Garcia is not always in the best voice. Nevertheless, Grisman is right to begin his documentation of Garcia's last sessions with an album that ties directly into the guitarist's initial musical passions.

ripped @192 from the library several years ago...

Sergio Mendes

Two of my favorites Sergio Mendes LPs. With excellent sound quality.
(thanks to Zeca Louro, Loronix blogspot)

Quiet Nights - (1963 or 1967)

The Great Arrival (1966)

Quiet Nights

01 - Desafinado (Tom Jobim / Newton Mendonça)
02 - One Note Samba (Samba de Uma Nota Só) (Tom Jobim / Newton Mendonça)
03 - Morning Of The Carnival (Manhã de Carnaval) (Luis Bonfá / Antônio Maria)
04 - Meditação (Meditation) (Tom Jobim / Newton Mendonça)
05 - The Tower (Tiao Neto)
06 - O Peixe (B. Traut)
07 - Quiet Nights (Corcovado) (Tom Jobim)
08 - Só Danço Samba (Tom Jobim / Vinicius de Moraes)
09 - Insensatez (How Insensitive) (Tom Jobim / Vinicius de Moraes)
10 - Amor Em Paz (Love In Peace) (Tom Jobim / Vinicius de Moraes)
11 - Infinity (Dave Pike)
12 - Abraço a Sergio (E. Higgins)

The Great Arrival

01 - The Great Arrival (Chegança) (Edu Lobo / Oduvaldo Viana Filho / Vrs. Norman Gimbel)
02 - Monday Monday (J. Philips)
03 - Carnaval (Clare Fischer)
04 - Canção do Amanhecer (Edu Lobo / Vinicius de Moraes)
05 - Here's That Rainy Day (J. Burke / J. V. Heusen)
06 - Boranda (Edu Lobo)
07 - Nanã (Moacir Santos / Mário Telles)
08 - Bonita (Tom Jobim / Vrs. Ray Gilbert)
09 - Morning (Clare Fischer)
10 - Don't Go Breaking My Heart (Burt Bacharach / H. David)
11 - Tristeza de Amar (Luis Roberto / Geraldo Vandré)
12 - Girl Talk (N. Hefti / B. Troup)

David Murray Octet - Ming (Black Saint, 1980) [FLAC]

I was trying to pick up with all the stuff what's been uploaded during a short period of absence and I tracked down a couple of excellent David Murray's posts; also, a comment by Rab that he doesn't seem to be very popular around here. As a matter of fact, I remember having posted his recent "Gwotet" back in the C&D days without much response.

I admire Murray a lot, both for his playing (in several settings) and for his composing. It's true that he has such an extensive catalog that not all of it is top caliber, but what the heck... his catalogue of top-caliber dates alone is long enough to justify some respect. I also find very interesting his explorations of several aspects of Afro-American music : "Fo Deuk Revue", "Yonn De", "Gwotet", his Latin Big Band, all are remarkable records - and I'd happily contribute some if there's interest.

For now, here's a 1980 date with his octet from his Black Saint days- undoubtedly, one of his best. I find it a bit strange that this hasn't yet appeared here or in C&D. It's good that Black Saint has recently rereleased his catalogue in digital format and a buzz is created about it. In his new soon-to-be-released record, Murray reforms Black Saint Quartet (along with Cassandra Wilson); I'm very curious to listen to it when it goes out.

Strangely enough, our beloved Scott Yanow agrees as you'll notice in comments (they even give a 5-star). Don't be fooled by this fact and skip this: if by any chance you don't already have this record, grab it. The personnel alone should be quite convincing. And, yes, it's avant-garde, but it swings, too.

I know "Ming" refers to the name of his wife. I wonder whether she's the one appearing on the cover - it's the same face on the cover of Murray's "Ballads" 8 years later. Beautiful face, I guess it can be a nice inspiration.

David Murray: Tenor sax & bass clarinet
Henry Threadgill: Alto Sax
Olu Dara: Trumpet
Lawrence "Butch" Morris: Cornet
George Lewis: Trombone
Anthony Davis: Piano
Wilbur Morris: Bass
Steve McCall: Drums

Recorded July, 25 & 28, 1980

1-The Fast Life
2-The Hill
5-Dewey's Circle

All compositions by David Murray

Links and a review in comments

Hampton Hawes - Blues For Bud

One of pianist Hampton Hawes' better sets, this CD reissue features Hawes during a European tour in a trio with bassist Jimmy Woode and drummer Art Taylor. Hawes both explores his bebop roots and contributes new material that shows that he was aware of McCoy Tyner and the more advanced players of the era. Among the highlights are "Blues Enough," "Sonora," "Blues For Bud" (which is one of five previously unreleased performances included in the 11 tracks) and "Spanish Steps." Recommended.
Scott Yanow

01 Blues Enough (Hawes) 5:34
02 Sonora (Hawes) 4:56
03 They Say It's Wonderful (#) (Berlin) 3:22
04 Black Forest (Take 3) (Hawes) 6:09
05 Children's Play (#) (Hawes) 9:17
06 Blues for Bud (#) (Hawes) 6:59
07 Spanish Steps (Take 2) (Hawes) 3:18
08 Dangerous (Hawes) 4:29
09 My Romance (Rodgers) 9:03
10 Spanish Steps (Take 1)(#) (Hawes) 2:35
11 Black Forest (Take 1)(#) (Hawes) 5:43

(#) Previously unreleased

Hampton Hawes Piano
Art Taylor Drums
Jimmy Woode Bass

Recorded at Polydor Studios, Paris, March 10, 1968

Lalo Schifrin

Biography (by Steve Huey, from AllMusic)

Best known for his "Mission: Impossible" theme song, Lalo Schifrin is an Argentinean-born composer, arranger, pianist, and conductor, whose jazz and classical training earned him tremendous success as a soundtrack composer. Born Boris Claudio Schifrin in Buenos Aires on June 21, 1932, his father was a symphonic violinist, and he began playing piano at age six. He enrolled in the Paris Conservatoire in 1952, hitting the jazz scene by night. After returning to Buenos Aires, Schifrin formed a 16-piece jazz orchestra, which helped him meet Dizzy Gillespie in 1956. Schifrin offered to write Gillespie an extended suite, completing the five-movement Gillespiana in 1958; the same year, he became an arranger for Xavier Cugat. In 1960, he moved to New York City and joined Gillespie's quintet, which recorded "Gillespiana" to much general acclaim. Schifrin became Gillespie's musical director until 1962, contributing another suite in "The New Continent"; he subsequently departed to concentrate on his writing. He also recorded as a leader, most often in Latin jazz and bossa nova settings, and accepted his first film-scoring assignment in 1963 (for Rhino!). Schifrin moved to Hollywood late that year, scoring major successes with his indelible themes to Mission: Impossible and Mannix. Over the next decade, Schifrin would score films like The Cincinnati Kid, Bullitt, Cool Hand Luke, Dirty Harry, and Enter the Dragon. As a jazzer, he wrote the well-received "Jazz Mass" suite in 1965, and delved into stylish jazz-funk with 1975's CTI album Black Widow. Schifrin continued his film work all the way through the '90s; during that decade, he recorded a series of orchestral jazz albums called Jazz Meets the Symphony, and became the principal arranger for the Three Tenors, which complemented his now-dominant interest in composing classical music.

The Liquidator
(Review by Stephen Cook, from AllMusic)

Preempting the more popular Casino Royale by a year, 1966's The Liquidator spoofs the Bond movies that dominated box offices throughout the decade. And in lieu of Burt Bacharach's at times predictably ribald soundtrack to the former film, arranger and composer Lalo Schifrin keeps things basically straightforward and swinging on The Liquidator. As is the case with John Barry's Bond albums, Schifrin kicks things off with a bravura vocal rendition of the title track, here featuring none other than the brightest of Bond singers, Shirley Bassey (this almost trumps her "Goldfinger" performance). Then, filling out the bulk of the album, he deftly lays down an instrumental mix of crime jazz ("Riviera's Chase"), Getz-issue bossa nova ("Boysie's Bossa Nova"), strings and flute ballads ("Tilt"), and Hammond B-3 boogaloo ("The Bird"). Taking a few cues from Mancini, Ellington, and Bacharach, Schifrin fashions a fetching lounge backdrop here, with enough of the way of original and sophisticated touches to make it worthy of the competition.

(Review by Donald A. Guarisco, from AllMusic)

After establishing himself in the television world with the classic Mission: Impossible theme, Lalo Schifrin soon made himself equally famous in the world of film music with his work on the soundtrack of the Steve MacQueen cop thriller Bullitt. This classic soundtrack found Schifrin combining the skills he honed as an arranger for jazzmen like Count Basie with the gift he developed for writing tight, punchy themes on television soundtracks like The Man From U.N.C.L.E. and Mission: Impossible. The end result is an exciting score that deftly blends traditional orchestral film-scoring techniques with the rhythms and swings of classic jazz. This combination is perfectly presented on "Bullitt (Main Title)," a jazz-pop instrumental that starts with an angular, staccato bassline and quickly layers on jazz guitar and controlled bursts of brass to create a tune that swings and thrills all at once. Other gems in this vein include "Shifting Gears," which adds and subtracts layers of dissonant strings and brass over an insistent, percolating groove from the rhythm section, and "Ice Pick Mike," a chase theme that builds from piano and percussion to a full-blown jazz instrumental complete with a wild horn section. Elsewhere, Schifrin effectively slows down the rhythms to craft lush instrumentals that manage to create a lighter, more pensive mood without losing their jazz edge: "The Aftermath of Love" layers gentle trumpet and flute lines over string-sweetened rhythms and "The First Snowfall" is a bright, horn-driven piece that applies the album's swinging brass section to a poppy melody. Everything on the album is visually evocative the way good soundtrack music should be, yet the individual cuts are tight and melodic enough to hold up to repeated listens. The end result is a soundtrack that succeeds both as a film score and a stand-alone album. This unique combination makes Bullitt one of the finest achievements in the Lalo Schifrin catalog and one of the best action film scores ever written. [Collector's Note: This score was re-recorded with extra cues for Aleph Records, but this review applies only to the original soundtrack album on Warner Bros. Records.]

Bossa Nova Groove
(Review from

This 1999 Spanish compilation reissues the entire contents of two of Lalo Schifrin's most obscure LPs: BOSSA NOVA, an Eddie Harris sextet session from Vee Jay (with Lalo's arrangements, piano and three Schifrin compositions) plus the pianist's 1962 Audio Fidelity LP, BOSSA NOVA - NEW BRAZILIAN JAZZ. Both serve as nice pieces of memorabilia from the bossa nova craze that swept jazz in the early 1960s. Both also feature a heaping helping of Schifrin's ever-effervescent piano work. The Eddie Harris date is too harshly recorded (and unusually unexciting) for bossa nova - but Harris, Schifrin and guitarist Jimmy Raney make it worthwhile. The far better Schifrin samba sampler essentially recreates the Gillespie band without Dizzy in bossa nova mode. Leo Wright's reed work, here as elsewhere, is always a pleasure to hear and Schifrin is dynamic on piano, especially on "Chora Tua Tristeza," "O Apito No Samba," "Chega de Saudade," "Menina Feia" and "Samba de Uma Nota So."

Martial Solal - Improvise Pour France Musique

Martial Solal - Improvise Pour France Musique
[JMS, 1993-4]

sotise wanted to hear some more Martial Solal, and for me Improvise Pour France Musique is not only one of his key albums - it's also one of the great jazz piano recordings. Highly recommended.

These radio recitals were awesome enough when they first went out. Given the chance to study them at close quarters and with the repeat button, one is simply astonished at the range of Solal's talents. In recent years he has begun to explore specific areas of jazz piano history. His debt to Bud Powell has long been recognized (an influence symbiotically received during Bud's sojourn in France) but his take on Garner and Tatum is less expected, and the version on this disc of 'Tea for Two' merits comparison with the great man's. We do not exaggerate, nor is it possible to overestimate the sheer artistry of this astonishing record. Anyone interested in jazz piano should make it a priority
Penguin Guide To Jazz, 4th edition

Tuesday, June 19, 2007

Steve Lacy - Anthem [1989]

Steve Lacy – Anthem
[Novus, 1989]

Steve Lacy: soprano
Bobby Few: piano
Steve Potts: alto
Jean Jacques Avenel: bass
John Betsch: drums
Irène Aebi: vocals
La Velle: vocals
Sam Kelly: percussion
Glen Ferris: trombone

1. Number One
2. Prayer
3. J.J.’s Jam
4. Prelude And Anthem
5. The Mantle
6. The Rent

Both funky and free, Anthem is one of my favourite Steve Lacy albums. Even though the leader keeps a fairly low profile his presence can still be felt throughout the session, and the recording has an infectious energy and beauty which is compelling. I hope you all enjoy it as much as I do!

The Penguin Guide to Jazz:
This group has a slightly unfamiliar aspect, but an utterly distinctive sound. The only significant difference is the introduction of Glen Ferris’s trombone, which re-creates for Lacy the whole battery of slide and mute effects that were so characteristic of the Ellington trombone benches (the Ellingtonian Lawrence Brown). John Betsch similarly draws much of his highly idiomatic approach from the great swing drummers, posing a sharp contrast with the Africanised diction of Sam Kelly. La Velle joins Aebi on the very moving ‘Prayer’, which is dedicated to Monk’s veteran saxophonist Charlie Rouse. Lacy himself can’t be said to be in top form, but he is less prominent than on some of the preceding albums and seems to have devoted more of his energies to a more collective, almost orchestral sound. That’s evident on the title-piece ‘Prelude And Anthem’, written to celebrate the 200th anniversary of the French Revolution. A setting of Osip Mandelstam’s ‘Twilight Of Liberty’, it’s as far away as possible from the troubled funk of the opening ‘Number One’, creating a contrast that makes this one of Lacy’s most satisfying records, even if his own contribution is surprisingly muted.

Clio asked for...

.... La Lupe, and here's a first instalment. Hopefully, I'll be able to top it up tonight with a "Greatest Hits"upload. For now, it's:

Mongo Santamaria - Mongo Introduces la Lupe (1963)

This is La Lupe's first US recording in 1963 under the mentoring of Mongo Santamaria, shortly after she had left Cuba to follow the American Dream. Born Guadalupe Victoria Yoli Raymond in 1936, in Santiago de Cuba, she had already made a name for herself before landing in the States singing in Cuban cabarets and had already recorded in 1961 an album including her trademark version of Peggy Lee's "Fever" as "Fiebre" (one of her greatest hits).

After Mongo Santamaria, she began performing with Tito Puente (she recorded five albums with him for Tico). Dubbed "The Queen of Latin Soul" for her unique voice and her ultra-sensual, flamboyant performances, she was the first Latin female artist to sell out a Carnegie Hall concert and the first Latin female artist to perform at Madison Square Garden (alongside Tito Puente Orchestra). She remained a big name in the Latin scene in US until the 80s, a time when her career came to a drop. She died in NY in 1992.

Here's what the man we love to hate (yes, Scott Yanow) writes in AMG:

La Lupe was a popular singer in New York's Latin music scene of the 1960s. She is featured on five of the nine selections on this CD reissue, showing lots of spirit along with an appealing voice. In addition, there are four strong instrumentals, and even the vocal pieces have spots for the instrumentalists. It is particularly interesting to hear the difference between the two trumpet players (Marty Sheller and Chocolate Armenteros), along with the fine reed solos from Pat Patrick (Sun Ra's baritonist who was on vacation from the Arkestra at the time) and Bobby Capers, who alternate between various saxophones and flutes. An excellent set of stirring Afro-Cuban jazz.

I say: If you dig Latin jazz, grab this 'cause it's a very good album. Plus, "Chocolate" Armenteros is a great trumpeter (though he appears in only two tracks). I don't particularly like La Lupe's vocals, but I admit that she was too passionate to become unnoticed. I once saw a video of a live preformance on video and she was truly captivating.

Tracklist, personnel & links in comments

"Jazz West Coast" (orig. title, "Richie Kamuca Introduces West Coast Jazz") (1953, OJC)

When a good friend gave this to me, I had no idea it would prove to be so frustrating. I tried many times to find some information about this LP by 'googling' - it was not so easy for me. However, I hope that I have found the correct information because even the back cover offer no clues.

That sticky search mess aside - this is a nice compilation of West Coast jazz! Just take a look at who played on it... ~ enjoy!

Richie Kamuca (leader/ts), Bill Holman (arr/cond/baSax), Russ Freeman, Vince Guaraldi, Paul Moer (p), Bob Gordon, Carson Smith, Joe Mondragon (b), Herb Geller, Bud Shank (as), Jack Montrose, Bill Perkins, Zoot Sims (ts), Gerry Mulligan (baSax/ts), Jimmy Giuffre (baSax/cla/ts), Chet Baker, Clifford Brown, Conte Candoli, Stu Williamson (tp), Bob Brookmeyer, Frank Rosolino (tb), Stu Williamson (vTb), Shelly Manne, Bill Richmond, Chuck Thompson (d)

01. Bockhanal (Chet Baker Ensemble)
02. Soft Shoe (Gerry Mulligan Quartet)
03. Tiny Capers (Clifford Brown Ensemble)
04. I’ll Remember April (Zoot Sims Quartet)
05. Wailing Vessel (Bud Shank & 3 Trombones)
06. Happy Little Sunbeam (Chet Baker Quartet)
07. It Had to Be You (Bill Perkins & Bud Shank)
08. Low Life (Bud Shank and Bob Brookmeyer)
09. There Will Never Be Another You (Chet Baker Quintet)
10. Lotus Bud (Bud Shank and Shorty Rogers)
11. Darn that Dream (Gerry Mulligan Quartet)
12. Speak Low (Laurindo Almeida Quartet)
13. Two Can Play (Bob Gordon & Jack Montrose)
14. Oh, Lady Be Good (Lee Konitz Plays Gerry Mulligan Quartet)

* Thanks to Cubano for pointing me in a new direction - I found a later reissue cover set - cool! See comments for link -

Monday, June 18, 2007

Ozone Makoto – ‘Wizard of Ozone’ (2000, Verve/Universal UCCV-2003)

The uplifting and inspiring magic Ozone Makoto (“o-zo-nay” is his family name) creates on the piano is a testament to his remarkable “striking” (remember an earlier comment about ‘brittle’ playing?) technique and passion. I think you will find that he breathes life into music and makes it “fun”.

Born and raised in Kobe (remember a huge earthquake several years ago?), Ozone played the blues organ at 4-years old because of his jazz organist father. Ozone claims an Oscar Peterson concert inspired him to learn the piano at the age of twelve. A graduate of Berklee College of Music, he made his debut in 1984. Since the, he has played with Gary Burton and Chick Corea several times but has developed a mentor-like friendship with Burton. He also has spent considerable time studying piano composition Michel Petrucciani. Aside from his appearances at nearly every major jazz festival, Sarah Vaughan specifically requested that he open for her 1986 Carnegie Hall concert.

Aside from this wonderful piano work, this particular set offers an awesome rhythm section of Peter Erskine, James Genus (formerly with . . . Wynton Marsalis, but don’t hold that against him!) and the lovely horn of Wallace Roney. Ozone composed all but one of these tracks; the other was by Boz Scaggs. Some of you may remember that I posted back at C&D two other of his albums. Although his work is slowly being marketed outside of Japan, this CD was only released here ~ enjoy this bit of Japanese jazz!

Ozone Makoto (p), James Genus, Kiyoshi Kitagawa (b), John Scofield (g), Wallace Roney (tp), Peter Erskine, Clarence Penn (d), composer: #1-10 Makoto Ozone, #11 Boz Scaggs

01. Black Forest
02. Lullaby for Rabbit
03. No Siesta
04. Stinger
05. Before I Was Born
06. Don't Say "Monk"!
07. Wild Goose Chase
08. No Strings Attached
09. Home
10. Dear Oscar
11. We're All Alone

“Miles Davis: Volume 1” (1952-3, Blue Note Japan TOCJ 6417/orig. BLN 1501)

I recommend this Japanese remaster CD as a pretty good place to see where Miles Davis’ head was at during the early formative years of his playing. ‘Volume 1’ is a collection of some of Miles’ early Blue Note recording sessions which show Davis and crew in fine form. The steady bebop and the dexterity of these musicians is something to behold. While there were many bop performers jazz back in that time, this set compilation challenges that only a few could play up to this caliber. I guess I would have to say that this compilation should be considered as an essential part of anyone’s Miles collection because the bands are so strong, the arrangements and track choice are rock-solid and the music is timeless. “Tempus Fugit”, “How Deep Is the Ocean”, “Yesterdays” and “C.T.A.” are the standouts for me – however, every cut shines from the raw young talent ~ enjoy!

* Miles Davis (tp), Gil Coggins (p), Oscar Pettiford (b), J.J. Johnson (tb), Jackie McLean (as), Kenny Clarke (d); recorded in NYC, 09 May, 1952

* Miles Davis (tp), Horace Silver (p), Percy Heath (b), Art Blakey (d); recorded in NYC, 20 April, 1953

01. Tempus Fugit
02. Kelo
03. Enigma
04. Ray's Idea
05. How Deep Is the Ocean?
06. C.T.A. (alt. master)
07. Dear Old Stockholm
08. Chance It
09. Yesterdays
10. Donna (alt. master)
11. C.T.A.
12. Would 'n You (alt. master)

Israel Vibration - The Same Song + Dub

I like this album so much that I’ve collected at least four different editions: the original vocal version, the dub version, the vocal version with extended cuts, and the combined vocal/dub version which I’m posting today. What you’ll find here are breathtaking harmonies, beautiful melodies and life-affirming lyrics (and in the case of this edition some solid dubs as well). It’s quite simply one of the great reggae albums and comes highly recommended to anyone who hasn’t yet heard it.

Israel Vibration - The Same Song + Dub
[Top Ranking, 1978; Culture Press, 2000]

Vocals : Israel Vibration
Backing Vocals : Israel Vibration
Backing Band : The Roots Radics
Drums : Calvin McKenzie & Sly Dunbar & Max Edwards
Bass : Robbie Shakespeare & Fully Fullwood & Mikey Star
Organ : Michael Chung & Ansel Collins & Bubbler
Piano : Augustus Pablo & Robert Lynn & Michael Chung
Saxophone : Dean Fraser
Trombone : Nambo Robinson
Percussions : Sidney Wolf & Sky Juice

Producer : Tommy Cowan
Engineer : Maxie & Paul Davidson
Studios : Channel One (Kingston, JA) & Concert Recording (Kingston, JA)

1. The Same Song
2. Weep And Mourn
3. Walk The Streets Of Glory
4. Ball Of Fire
5. I'll Go Through
6. Why Worry
7. Lift Up Your Conscience
8. Prophet Has Arise
9. Jah Time Has Come
10. Licks And Kicks
11. The Same Song Dub
12. Weep And Mourn Dub
13. Walk The Streets Of Glory Dub
14. Ball Of Fire Dub
15. I'll Go Trough Dub
16. Why Worry Dub
17. Lift Up Your Conscience Dub
18. Prophet Has Arise Dub
19. Jah Time Has Come Dub
20. Licks And Kicks Dub

Israel Vibration - Lascelles 'Wiss' Bulgin, Albert 'Apple' Craig and Cecil 'Skelly' Spencer - came together firstly as friends, when they were patients at the Mona Heights Rehabilitation Centre in Kingston; they had all caught poliomyelitis in the epidemic that reached Jamaica in the 1950s. When they started to grow locks and smoke herb in the early 1970s, they were expelled from the institution. Apple told writer Eric Hiss in 1989: 'They help those who bow, and be the way they want them to be'. They lived rough, in the bush, finding that singing together enabled them to overcome their hunger pangs, albeit temporarily.

Eventually the trio became members of the Rasta organization Twelve Tribes Of Israel, meeting a 'bredrin' named U Boot who financed a session for them at Treasure Isle studio. This resulted in their debut 45 Why Worry, and a deal with Tommy Cowan who recorded a second single, The Same Song, using mem­bers of Inner Circle, at that time backing Jacob Miller. The trio also performed live on Inner Circle shows at this time.

In 1978 Cowan released The Same Song, their debut album, on his Top Ranking label. He licensed the album to Harvest, a UK-based division of EMI previously known as a 'progressive' rock imprint. The set sold well in the crossover market that was being exploited by Island and Virgin with Bob Marley, Burning Spear and the Mighty Diamonds. The set fulfilled the promise shown on the 45s, with the trio's utterly natural harmonies — even if occasionally off-key — proving a perfect expression of the avowedly Rasta sentiments of the lyrics.

Although they sometimes showed traces of their influences — Burning Spear, Yabby You, Culture — Israel Vibration's vocal blend was very individual, and affecting in its unalloyed sincerity. Clearly the years of suffering with polio inculcated a quality of forbearance in the group, given focus by the teachings of the Twelve Tribes. Cowan re-recorded the first two singles for the album. The other songs were beautifully crafted reworkings of themes — life in Babylon (Weep And Mourn), Biblical prophe­cy (Prophet Has Arise), the goal of ultimate redemption (Jah Time Has Come) — by now common in reggae music. Cowans version of The Same Song, a gently positive plea for unity among the various Rasta factions, is typical of the group sound.

After another three albums - dub sets Israel Tafari and The Same Song Dub, and the slightly more polished Unconquered People, the group ended their association with Cowan, going on to record for dancehall producer 'Junjo' Lawes, cutting the "Why You So Craven" set. That partnership, too, ended, and in 1983 the group relocated to the USA, recording again in 1987, when they began issuing albums for the Washington-based label Ras; these gained them a big following, particularly in the USA and France. The group split into two, Wiss and Skelly releasing Pay The Piper early in 1999, Apple going solo and issuing a solo album shortly after.

Looking back in 1989 Apple said: "Why [it] have to be that we have polio from such a tender age - why such hard things? We born innocent, pure to the world. But when we grow elder and start to realise, this was a purpose. There was a cause for us to be this way: music, message, prophecy." Why Worry demon­strates Apple's argument superbly.
Steve Barrow & Peter Dalton – Reggae: 100 Essential CD’s

Sunday, June 17, 2007

Jazz at the Philharmonic in Europe (1960) [LP > flac]

Never reissued on CD, this double LP from Verve probably doesn't need a review - just check out the line-ups.

Dizzy Gillespie (tp) J.J. Johnson (tb) Cannonball Adderley, Benny Carter (as) Lalo Schifrin (p) Art Davis (b) Chuck Lampkin (d)

1. Bernie's Tune (11:50)
2. Swedish Jam (13:35)

Roy Eldridge (tp) Don Byas, Stan Getz, Coleman Hawkins (ts) Lalo Schifrin (p) Art Davis (b) Jo Jones (d)

3. All The Things You Are (13:09)

Dizzy Gillespie (tp) J.J. Johnson (tb) Leo Wright (as, fl) Stan Getz (ts) Lalo Schifrin (p) Art Davis (b) Chuck Lampkin (d) Candido Camero (congas)

4. Kush (18:25)
5. The Mooch (11:05)
6. Wheatleigh Hall (11:00)

"Konserthuset", Stockholm, Sweden, November 21, 1960

Lou Donaldson “Alligator Bogaloo” (1967, Blue Note 4263)

I can’t recall who or where, but I believe someone requested this set a while ago. A bebop saxophonist who played alongside Clifford Brown in Art Blakey’s legendary ‘54 band, Lou Donaldson is perhaps more recognised for ‘60s soul jazz because he was quick to jump to this movement. According to some, from the late ‘60s to early ‘70s Donaldson began moving away from hard bop towards more radio-friendly and 45 rpm length tracks, leaving a soulful, but monotonous, vamping. This combination of hard bop and soul-jazz contains three Donaldson originals. Listen as Donaldson opens each tune with a bluesy touch, and then check out Benson’s Wes Montgomery-inspired rips and do not miss Smith’s fine organ playing. Some reviewers argue that Donaldson already had lost his originality at this point, but I leave the judgment up to you whether this is the case on Alligator Bogaloo or not ~ enjoy!

Lou Donaldson (as), Melvin Lastie (cor), Lonnie Smith (org), George Benson (g), Leo Morris (d), Alfred Lion (prod); recorded on April 17, 1967 at the Van Gelder Studio, Englewood Cliffs, NJ
01. Alligator Bogaloo
02. One Cylinder
03. The Thang
04. Aw Shucks!
05. Rev. Moses
06. I Want a Little Girl

byard lancaster- its not up to us (1966) psyche pop ,freejazz fusion FLAC ,

hi, heres an interesting relic, from the mid 60's which was a time when the major lables were taking considerable risks, most specificaly with fringe psyche rock acts which wouldn't stand a chance of being recorded today.the record exec's were hopeful too, because of the sucess of coltrane and charles lloyd, and the growing cult following for albert ayler and sun ra among the psyche underground, that free jazz or the "newthing"might have a broader marketing potential.this one comes pretty close to being taylor made to fit that purpose.its is a lovely, though pretty lightweight fusion of psyche pop, freejazz, r and b, and never heard this in the vinyl era(it was extremely rare) and so buying it recently i ,expecting a monster E.S.P style blowout ,naturally felt a little deflated.all this to say even if you dont like freejazz, but say have an interest in psyche kitch, or cosmigroove, 60's fusion etc you'll probably love it, sharrock and byard l, at the time did make monster freejazz albums but this aint one.i find this much more appealing than most of what alice coltrane and pharoe sanders were to do in this vein. and it sounds like it hasn't dated as much either.heres a review from a site called"fake"Byard Lancaster - It's Not Up To Us (Reissue)(Lancaster, who recently turned 61, originally recorded this, his debut album, for the Vortex label back in 1966. The extensive liner notes (by Tim Plowman), attractive, 12-page glossy booklet and meticulous re-mastering make this reissue a thing of beauty to hold (and hear). Lancaster's playful, Pied Piper flute work on the title track delivers an infectious, lightweight melody that's perfect for a walk around the block or a jog through the park; while those of us who remember the fear and trepidation of the final days of summer just before Labor Day as you reticently accept the foregone conclusion that sun and fun are over and it's back to the books and studies, will especially appreciate the forlorn melancholia dripping from Lancaster's flute on "Last Summer." And while it's probably not the version Jessica Walter had in mind when she phoned up DJ Clint Eastwood with the request to "Play 'Misty' For Me," Lancaster's take on the old Errol Garner classic demonstrates his improvisational skills as his alto sax envelops the rudiments of the melody line with fills, trills, thrills and spills right up to the shockingly strangulated three-note conclusion.
Guitarist Sonny Sharrock's "John's Children" (a tribute to Coltrane, not Marc Bolan's pre-T.Rex psych band who were making their debut recordings around the same time) presents the lineup (including Jerome Hunter, bass and particularly Eric Gravvat on drums) with the opportunity to really stretch out. By the middle of the piece, Sharrock's guitar has taken on an almost raga-like quality which, complimented by Keno Speller's congas and Lancaster's syncopated punctuation marks on his alto sax results in, perhaps, the album's closest contact with the burgeoning psychedelia developing within the rock idiom. Although unacknowledged, a young Roger McGuinn may have found some inspiration here for his masterful 12-string workout on "Eight Miles High."
Lancaster's flute on his own composition, "Mr. A.A." ventures into Celtic folk territory and on more than one occasion I found myself drifting back to the early Donovan catalogue, particularly "There Is A Mountain" or any of the childlike fairy tales on the Gift From A Flower To A Garden collection. I also had to check the track listing to confirm my suspicions that Lancaster really was covering "Over The Rainbow," although, even more so than on "Misty," he merely uses the familiar melody line as a springboard for a phantasmagorical display of his improvisational talents. As with Hendrix' interpretation of the "Star Spangled Banner" at Woodstock, the song is there, yet it's not REALLY almost becomes a completely new composition.
And while Lancaster's presence is practically non-existent on the nine-minute closer, "Satan," it's what we've encountered beforehand, from his lilting, melodic flute and occasional forays into folk and rock, to his more-than-competent, yet never ostentatious improvs that results in an album of essentially jazz recordings that will also appeal to non-jazz aficionados like myself.

Lucky Thompson - Jazz in Paris. Modern Jazz Group FLAC

Lucky Thompson - Jazz in Paris. Modern Jazz Group FLAC

Continuing the post of soticier, more Thompson (from his french days). Rab, as always the quicker, has also posted an excellent Proper compilation

Recording Date: March 5 and 7, 1956

Review by Ken Dryden
Lucky Thompson was very active in the recording studios during his 1956 visit to France; this CD in Verve's attractive Jazz in Paris reissue series features the big toned tenor saxophonist with both a quartet and a tentet. Thompson's lush sound in sensitive interpretations of "The Man I Love" and the less familiar ballad "There's No You" brings Ben Webster to mind. Thompson's original "Tight Squeeze" is an up-tempo jump blues which showcases his harder blowing, more boppish side; while the venerable standard "Gone With the Wind" is a brisk swinger. Pianist Henri Renaud leads the potent rhythm section. The tentet session is less memorable. All of the songs were written by Renaud, and while they are comparable to much of the output of so-called "cool school" of the period, they tend to be a little too conservative. Still, Thompson's playing is at a high label throughout both dates, so bop fans should invest in this enjoyable CD.

Dusty Groove America
Some of Lucky Thompson's rarest work from the 50s -- and some of his best! The American tenorist is working here in two different French groups -- one a quintet with Henri Renaud on piano, the other a tentet with the core quartet of Renaud, plus some additional local horn players. Unlike some of Thompson's other albums from the time, which can frequently be dominated by standards, this set's got some great original material -- mostly written by Renaud, and infused with a sharp modernist swing. Tiltes include "Souscription", "Marcel Le Fourreur", "G&B", "Tight Squeeze", "Meet Quincy Jones", and "Influence". Lucky's tone is rich and soulful -- and the session's gone to the top of our list of his work!

Saturday, June 16, 2007

The Buddy Collette-Chico Hamilton Sextet - Tanganyika

The 3rd and final Buddy Collette album that I will be posting for the time being, like the others it is recorded in 1956 (AMG incorrectly lists the date as 1954 and Yanow's review doesn't make any sense). I sought after this recording for a long time before finding that VSOP had released it, and it was well worth the wait.

Even Granny Likes Ruby Braff

Most of the albums in my collection were purchased used but this one I bought new.....for 39 cents. I think it has been reissued on CD but this was ripped from the original vinyl on Epic. The first track has a couple of short skips and pops : (

Ruby Braff - Braff!!
Epic LN 3377
[LP > flac]

Side 1
01 Stardust
02 Here's Freddie
03 Indian Summer
04 Blue Turning Grey Over You
05 Just One More Chance
06 When My Dreamboat Comes Home

Side 2
07 You're Lucky to Me
08 Moonglow
09 It's Been So Long
10 Too Marvelous for Words
11 How Long Has This Been Going On
12 'S Wonderful

1, 4, 9, 11
Ruby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d)
June 26, 1956

2, 5, 7, 12
Ruby Braff (tp) Coleman Hawkins (ts) Ernie Caceras (bs) Lawrence Brown (tb) Don Elliott (vb) Nat Pierce (p) Freddie Green (g) Eddie Jones (b) Buzzy Drootin (d)
June 28, 1956

3, 6, 8, 10
Ruby Braff (tp) Don Elliott (vb) Nat Pierce (p) Freddie Green (g) Eddie Jones (b) Buzzy Drootin (d)
July 10, 1956

lucky thompson-"teatime" (1972-73) FLAC,and lame

hi,here are a couple of "lucky's" last sessions, i vaguely remember a milestone twofer containing one or more of these sessions,they may have been different,(it was a library borrowing)but i do remember cedar walton, and billy higgins being in the line up.i love lucky thompson, and since theres so little about ,only 2 here and at pom,id like to encourage lucky fans to please post more.a little trickier to call exactly,what the genesis of lucky's unique style was (in terms of influences)lester young, sure among many.heres what johnny griffin had to say "“Lucky had that same thing that Paul Gonsalves had, that melodic smoothness,” one of his contemporaries, the saxophonist Johnny Griffin, said in an interview. “He wasn't rough like Ben Webster, and he didn't play in the Lester Young style. He was a beautiful balladeer. But he played with all the modernists.” and here are a few exerpts about lucky,his views and especially his last years.i had not realised he'd died as recently as the mid 2005, wow.these exerpts are from an"about jazz article" a newyork times obituary reprinted in about jazz "Fiercely intelligent, Mr. Thompson was outspoken in his feelings about what he considered the unfair control of the jazz business by record companies, music publishers and booking agents. Partly for these reasons, he left the United States to live in Paris from 1957 to 1962, making a number of recordings with groups including the pianist Martial Solal. After returning to New York for a few years, he lived in Lausanne, Switzerland, from late 1968 to 1970. He came back to New York again, taught at Dartmouth in 1973 and 1974, then disappeared from the Northeast, and soon from music entirely.
Friends say he lived for a time on Manitoulin Island in Ontario and in Georgia before eventually moving west. By the early 90's he was in Seattle, mostly living in the woods or in shelter offered by friends. He did not own a saxophone. He walked long distances, and was reported to have been in excellent, muscular shape.
He was hospitalized a number of times in 1994, and finally entered the Washington Center for Comprehensive Rehabilitation.
His skepticism about the jazz buisness may have kept him from a career recording as a bandleader - “Tricotism,” from 1956, and “Lucky Strikes,” from 1964, are among the few albums he made under his own name - but he left behind a pile of imposing performances as a sideman. Among them are recordings with Dinah Washington in 1945, Thelonious Monk in 1952, Miles Davis in 1954 (the “Walkin' “ session, a watershed in Davis's career), and Oscar Pettiford and Stan Kenton in 1956. His final recordings were made in 1973. "Part of Mr. Thompson's legend came from the fact that he was rarely seen in public; at times it was hard for his old friends to find him. But the drummer Kenny Washington remembered Mr. Thompson's showing up when Mr. Washington was performing with Johnny Griffin's group at Jazz Alley in Seattle in 1993. Mr. Thompson listened, conversed with the musicians, and then departed on foot for the place where he was staying - in a wooded spot in the Beacon Hill neighborhood, more than three miles away. "

Friday, June 15, 2007

The Sultans Middle Eastern Band

Dreams (1970) [flac]

This music captures a moment in time. Recorded in New York during the summer of 1970 (just a week before Jimi Hendrix died), it marks the emergence of common ground, a union of two distinctly different musical camps. As Dreams keyboardist Jeff Kent puts it, "There was the rock world and the jazz world, and this was kind of the point where they joined."

Prior to Dreams, other bands had been making forays into this new musical territory. One of the first was Free Spirits, a group playing around Greenwich Village in 1966 led by guitarist Jim Pepper, all schooled jazz musicians who were turning on and tuning in to rock bombast. On their heels came a band called Jeremy & The Satyrs, more young New York jazz renegades following a similar must. Miles Davis took up the campaign in 1969 with Bitches Brew and around the same time Tony Williams' Lifetime contributed to this new vocabulary with a crunching two-record set, Emergency!, featuring John McLaughlin and Larry Young.

But Dreams was a different animal entirely. Rather than being a band of jazzers checking out the visceral power of rock, or a band of rockers making feeble attempts at improvising, Dreams was a balanced act; rock and jazz musicians bringing their influences to bear, creating together, melding their disparate sensibilities into a wholly unique hybrid.

"There was really no term for what we were doing back then," recalls Michael Brecker. "Nobody called it fusion. We were just searching for new ways to break down barriers. It was a very fertile period. People were experimenting, trying different things. It was an exciting time to be in New York." - Bill Milkowski, down beat magazine

Some of the more pop oriented tunes sound a little dated but the real reason to have this album is for the last two cuts - "Dream Suite" and "New York" . Randy Brecker was 22, brother Michael just 19, Barry Rogers was the "elder statesman" of the band at 36, John Abercrombie had just graduated from Berklee and Billy Cobham was virtually unknown at the time.

Need another reason to get this one? - Scott Yanow hates this album!

Michael Brecker (tenor sax, flute)
Randy Brecker (trumpet, flugelhorn)
Barry Rogers (trombone, tuba)
John Abercrombie (lead guitar)
Jeff Kent (keyboards, guitar, vocals)
Doug Lubahn (bass, vocals)
Billy Cobham (drums)
Edward Vernon (lead vocals)
  1. Devil Lady
  2. 15 Miles to Provo
  3. The Maryanne
  4. Holli Be Home
  5. Try Me
  6. Dream Suite: Asset Stop/Jane/Crunchy Granola
  7. New York

bidu sayao

don't know too much about opera, but found this lying around and i enjoyed it, this lady had a beautiful voice. cursory research has led me to understand she was "one of the most beloved sopranos of all time". originally from brazil, did most of her work in the usa and died in the nineties in maine at age 97 or so. details in the comments, the last track is missing but if you have any inclination it seems a great introduction and would go nicely with a morning cup and some fried eggs, or a brioche, or perhaps a toasted slice of pannetone with butter.

for your consideration, with regards from jean lafite.

denny zeitlin trio 1988(windham hill!!) FLAC

heres one by, an uncategorizable pianist, or as duke said beyond category, whom along with such unheralded greats as roger kellaway,don friedman, and stanley cowell have approached their careers in such an idiosyncratic way the industry has'nt been able to pigeonhole them.this is by no means his best album, the rythym section here doesnt do much for me, in the mid sixties he worked with rather more exiting drummers and bassists example cecil mcbee and freddie waits on zeitgeist, and charlie haden and billy higgins on live at the trident.the sound is a little to crisp and pristine for my taste, a little to much reverb too.and yet there are great things here,for those prepared to sift the chaff.heres a review by f...h.. Scott Yanow
Pianist Denny Zeitlin's first of two albums for Windham Hill Jazz shows off his roots in Bill Evans along with his own musical personality. Teamed up with bassist Joel DiBartolo and drummer Peter Donald, Zeitlin is in superior form on five of his originals, Charles Mingus' "Goodbye Porkpie Hat," "All The Things You Are," J.J. Johnson's "Lament" and Ornette Coleman's "Turnaround." An excellent all-around showcase for the part-time pianist who holds a day job as a psychiatrist.

The Paul Smith Quartet - Fine, Sweet & Tasty (1953)

This CD reissue of a set originally cut for Tampa is a pleasant surprise. Pianist Paul Smith, who sometimes overwhelms music with his technique, pays tribute to the Nat "King" Cole Trio on several of the numbers. The presence of guitarist Tony Rizzi (playing in a Charlie Christian vein) is a major asset, while bassist Sam Cheifetz and drummer Irv Cottler are excellent in support. The original program is augmented by five extra alternate takes. Highlights include the delightful "Fine, Sweet & Tasty," "Crazy Rhythm," and "Got a Penny." Overall, this swinging affair is one of the most enjoyable of all of Paul Smith's many recordings. ~Lord Yanow


by Steve Loewy
This was recorded at a time when the saxophonist's playing was at a peak — a year after his historic Coon Bid'ness, and the same year that Hemphill co-founded the World Saxophone Quartet. For this recording, he performs a series of four duos with cellist Abdul Wadud, a familiar and comfortable collaborator. The setting lets Hemphill stretch, his country and blues roots in full bloom. His poignant sound was never more compelling, and Wadud was a bracing partner whose emotional depth and extraordinary technique are unequaled on the instrument. While the music is largely free, Hemphill was so rooted in the vernacular of the common folk that his solos have an earthy feel throughout. The titles of the tunes are indicative of a somewhat abstract, ethereal approach: "In Space," "Pensive," "Echo 1 (Morning)," and "Echo 2 (Evening)." Yet, while luxuriating in the natural pleasures of the moment, Hemphill and Wadud adventurously and intensely navigate dangerous grounds.

hope some of you will give this magnificent concert, (which incidently was recorded at the la mama workshop in n.y.c on may 28 1976) a shot, this maybe free but hemphill cant help being "funky"in spades just like ornette.
this may also well be his least well known record,though its certainly one of my favourites.


Thursday, June 14, 2007

Leonard Feather Presents Bop featuring George Wallington

The sessions on this LP reissue were originally organized by Leonard Feather to pay tribute to the bop era. The 11 selections (all dating from the mid-to late-'40s) feature pianist George Wallington (who is actually the set's leader), altoist Phil Woods, either Idrees Sulieman or Thad Jones on trumpet, bassist Curley Russell, and either Denzil Best or Art Taylor on drums. About the only surprise occurs on "Salt Peanuts," which has an off-key "vocal" from five-year-old Baird Parker, son of the late Charlie Parker. Otherwise, the playing of Woods makes this a worthwhile session for bop fans. ~Scott Yanow

ellis larkins and ruby braff -- duets

jean lafite says: i don't care in the least bit what amg says. this stuff is beautiful, larkins was a friend of my family's and i think he is outstanding. known more for backing vocalists (where he was as good as anyone in my opinion) the guy could just flat play. so could braff for that matter. good stuff.


amg gives it three stars, but i am kind of sick of those bitches to tell the truth. check it.

two you probably know well

been having some turntable problems, but i found some cd's.

Beethoven: Symphony No. 9 Chicago Symphony Orchestra (1972, Sir Georg Solti)

“and now for something completely different. . .”

I clearly remember that my mother almost literally had to drag my brothers and I to this concert. At the time, I was fully into my young head-strong ignorance and could only imagine jazz, whilst my brothers would not have known the difference between a scherzo and a schizoid! It was only later during university that a roommate played this lp when I suddenly recalled attending this performance – yes, the guy fell on the floor in disbelief when I mentioned, “yeah – I saw this live. . . .”

I still do not have THAT much passion for classic music but nonetheless this level of music, from blues, soul, rock and jazz to classic, was rather typical of Chicago during the time we lived there.

According to the Penguin Guide, this is “the” reading of Beethoven’s Ninth Symphony. This symphony is one the stronger statements of 19th century art music. Beethoven seems to summarise the ideals of the “balanced” and “pleasing” tone in Western art music and a movement towards the more expressive Romantic artists, example – Wagner, where the tone and composition rules were abandoned. Beethoven created a moment where the external does not exist.

The Chicago Symphony, led by Sir Georg Solti, plays convincingly. Climaxes are strong, softer passages are very delicate, a good balance is evident – everything seemed to be in place. Compared to other recordings of Beethoven’s Ninth, Solti r-o-c-k-s! The soloists are all strong, but do not miss when the incredible Martti Talvela (bass) declares [#4 @ 6':45"]- “O Freunde, nicht diese Tone!” – aahhhh, Bill Evans’ comment about rain comes to mind . . .

This 1972 outing is longer than the 1986 recording. The first movement is quite powerful and mysterious; the scherzo is highly dramatic with great timpani and the adagio has a lot more inner life and tension. Solti takes an extra repeat in the second movement and the tempo in this version is slightly faster than in the 1986 record - crank up your stereo louder and enjoy this kicking second movement! The finale has some of the finest soloists and choral work you may ever hear in a performance of this masterpiece. Lastly, in my opinion, the orchestral sound is better in this earlier version than the digital remaster version from ’86 because it sounds more natural and transparent.

If your neck hairs don’t stand after listening to these choral parts, you have no soul - this piece could be played in church just to show doubters that there is a god . . . ~ enjoy

Chicago Symphony Orchestra (1972, Sir Georg Solti)
Chicago Symphony Orchestra Chorus (conducted by Margaret Hillis)

01. Symphony No.9 in D Minor, Op.125: I Allegro ma non troppo, un poco maestoso
02. Symphony No.9 in D Minor, Op.125: II Molto vivace
03. Symphony No.9 in D Minor, Op.125: III Adagio molto e cantabile
04. Symphony No.9 in D Minor, Op.125: IV Presto

Wednesday, June 13, 2007

Conte Candoli & Frank Rosolino - Conversation (1973) [LP > flac]

Considering that this session was cut for RCA and features trumpeter Conte Candoli and trombonist Frank Rosolino, one would think that the music would have gotten more recognition and a follow-up date would have been made. As it is, the 1976 LP went quickly out-of-print and Candoli would not lead another session until 1985. - Scott Yanow

Recorded while in Italy for a TV special and accompanied by a top-notch Italian rhythm section, the duo performs two blues, two ballads, an up-tempo "rhythm" changes tune, and the standard "Star Eyes". Great playing all-around including some scatting by both Candoli and Rosolino on "Conversation", but the highlight for me is Rosolino's ballad, "I Just Don't Want to Run Around Anymore".

Conte Candoli (trumpet)
Frank Rosolino (trombone)
Franco D'Andrea (piano)
Giovanni Tommaso (bass)
Gegé Munari (drums)
  1. Star Eyes
  2. Conversation
  3. I Just Don't Want to Run Around Anymore
  4. Attention
  5. Marla
  6. Let's Burn
Recorded in Milan, Italy on May 25, 1973


heres a great album, by polish trumpeter
tomasz stanko, cant find a review for this, but anyway...stanko first came to prominence as a member of krzysztof komeda's quintet in the early sixties, komeda scored the soundtracks to roman polansky's films including knife in the water and rosmary's baby(for me still one of the most frightening films evermade).
stanko was also a pivotal part of komeda's classic quintet recording astigmatic from 1965.
this album "TWET" was recorded in 1974, at the time stanko was working a lot with the great
norweigian percussionist edward vesala, who plays an influential role on this record.
this is much different to the more recent acclaimed records stanko ,was to make for the ecm lable.
i"d describe this as mostly very"free" modal jazz, all instruments are fairly democratically distributed over the expansive dark hued very open-ended pieces.
the melody's are very distinctly folk influenced and retain an almost carnivalesque cast despite the severe level(at times)of abstraction.
a palpable level of joy, in shared music making comes through very strongly on this.
and for me stanko's one of the most individual trumpet players alive.
recognizable whether playing moody pastoral jazz,ala ecm, or in an enlarged cecil taylor unit.
hope you enjoy this wonderful record.
if you like this check out, stanko's other great records, bossanossa, bluish, and leosia among them.

The Piano Post (mp3 @ 320 kbps & Scans)

I haven’t had time to give Pomegranate the time and love it deserves lately. Right now I’m playing catch-up with all the wonderful stuff that has been posted recently. The Gottschalk-albums Rab posted a while back gave the inspiration to this post with piano music. I hadn’t heard anything by Gottschalk before, so it was a real eye-opener to hear it. You could easily see how it would have influenced Jelly-Roll Morton.

I just started downloading cd:s 9 to 12 in the Mingus Debut-box and in the post Rab mentions he is planning to treat us to the ”Jelly Roll Morton LoC-recordings” and/or ”Art Tatum Complete Solo”. That sounds very exciting, so you will have to look upon the Tatum-album I post as a teaser for the Rab-post which will have better sound and, of course, a lot more material. The Morton-sides I am posting, however, are earlier than the LoC-recordings. They are even among the very earliest of his recordings. The sound is terrible, but on the solo tracks, it is almost acceptable.

There is really no thought behind the combination Morton-Tatum-Fischer, apart from them all being brilliant pianists that were recorded in the beginning of the last century. The sound on the Fischer-discs is as good as it gets when restored from 78:s from the 1930:s. There is a lot of noise, but the music comes through beautifully. I love these interpretations.

All the cd:s are ripped to mp3; Flac didn’t seem necessary.

Tuesday, June 12, 2007

Birdland Stars 1956 [flac]

These recordings of some of the brightest stars of the jazz world of the mid-1950's, although originally issued on two LPs as The Birdland Stars on Tour, were not taped during a ten-week trek of that name through the eastern and midwestern states. They were, however, a direct outgrowth of that package, put together by record producer Jack Lewis at the request of Morris Levy, owner and operator of Birdland.

The tour featured Count Basie, at the helm of an exciting new big band after several years with small groups, and temporarily reunited for the occasion with the great tenor saxophonist Lester Young. Also on hand were pianist Bud Powell, guitarist Johnny Smith, singers Sarah Vaughan, Al Hibbler, and Joe Williams - and the Birdland Stars.

The Stars were trumpeters Kenny Dorham and Conte Candoli, saxophonists Al Cohn and Phil Woods, plus Sarah Vaughan's rhythm section of pianist John Malachi, bassist Joe Benjamin, and drummer Roy Haynes. Lewis had recorded the group at concerts in Detroit and Chicago, but at tour's end discovered that the technical quality of the tapes was below standard. Undaunted, he engaged Webster Hall, a New York auditorium prized for its acoustics and regularly utilized at the time by RCA Victor, and on February 27, 1956, sought to reassemble the seven men to record the music that had been so well received on the road. He didn't quite succeed; the original rhythm section was out of town with Vaughan. But dipping into the vast New York talent pool of that period, Lewis didn't do at all badly, coming up with Hank Jones, John Simmons, and Kenny Clarke as replacements. The session's dozen arrangements were evenly split between Manny Albam and Ernie Wilkins, writers firmly established as musician's favorites. A non-stop day of recording resulted in the two albums' worth of music reissued here.

These performances capture four major horn players in top form, plus a world-class rhythm section. This is a document of some of their best playing of the period, which is to say some of the best playing of any period. - Doug Ramsey

Conte Candoli, Kenny Dorham (trumpet)
Phil Woods (alto sax)
Al Cohn (tenor sax)
Hank Jones (piano)
John Simmons (bass)
Kenny Clarke (drums)
  1. A Bit of the Blues
  2. Two Pairs of Aces
  3. Introductions by Candoli
  4. Minorin' the Blues
  5. Phil 'er Up
  6. Roulette
  7. Last Lap
  8. Pee Wee Speaks
  9. Hip Boots
  10. For Kicks Only
  11. Ah, Funky New Baby
  12. Birdland Fantasy
  13. Playboy
  14. Conte's Condolences

Chick Corea & Bela Fleck "The Enchantment" (2007, Concord) [orig. rip @ flac & scans]

This is a quite recent release and there are many reviews both pro and con of this pairing of Chick Corea with Bela Fleck and their “artistic expression” of jazz, fusion and blue grass.

The dialogues between piano and banjo will strike some of you as odd, as it did me on the first listen, but somehow it works. However, the simplicity of this music, its rhythms and articulate arrangements will set a challenge before the listener. I think this album will surprise many of you and grow on you with each listening – it has taken me a couple of weeks now to settle in with this because I thought Corea would be too overpowering. On the contrary, the balance and interplay that these two show is intuitive and graceful ~ enjoy!

Serge Chaloff - 1956 Blue Serge

Capitol Records

One favourite from my record collection. I think was posted in OAB. This is the Flac version with all the scans.

By Reid Thompson, All About Jazz
One of only four available CD's by the unjustly overlooked Serge Chaloff, Blue Serge is a gorgeous, shimmering masterpiece that leaves one wondering why the baritone sax wasn't used much more often. Chaloff's complete mastery of the instrument combines a wide range with precisely executed bop lines and tender and effusive renderings of ballads. His effective use of dynamics and vibrato pierce the hearts of tunes like “I've Got the World on a String” and “Stairway to the Stars.” Although the sidemen present had little to no experience playing with Chaloff, a strong rapport among the four is immediately established. Sonny Clark, who sounds completely at home in this relaxed setting, shines as usual, and Philly Joe Jones makes it clear why Miles Davis gave him a steady employment. Chaloff's decision to have the lights turned low while recording this session can be sensed throughout, as many of the tracks exude a distinctly after-hours glow. Ron McMaster has done an excellent job with the remastering, and my advice would be to spring before Blue Serge becomes discontinued like much of the Blue Note catalogue. This is essential music.


1 A Handful of Stars (Lawrence, Shapiro) 5:33

2 The Goof and I (Cohn) 4:45

3 Thanks for the Memory (Rainger, Robin) 3:46

4 All the Things You Are (Hammerstein, Kern) 5:24

5 I've Got the World on a String (Arlen, Koehler) 6:44

6 Susie's Blues (Chaloff) 5:08

7 Stairway to the Stars (Malneck, Parish, Signorelli) 4:50

8 How About You? [*] (Freed, Lane) 5:23


SERGE CHALOFF, baritone saxophone



Recorded at Capital Studios, Los Angeles on March 14 and 16, 1956

Monday, June 11, 2007

Baritone Madness! [LP > flac]

Another unsung hero of the baritone sax, Nick Brignola recorded this session with fellow baritonist Pepper Adams in 1977 for now defunct Beehive Records. It has never been reissued on CD.

A strong baritone soloist in the tradition of Pepper Adams, Nick Brignola was long overshadowed by Adams and Gerry Mulligan, but actually ranked near the top. He occasionally doubled on other instruments (soprano, alto, and flute). After studying at Ithaca College and Berklee, he played and recorded with Reese Markewich in the late '50s, Herb Pomeroy, Cal Tjader, and the Mastersounds. Brignola worked with Woody Herman's orchestra (1963), Sal Salvador, and Ted Curson (1967), but was generally a leader of his own small groups. For a time he played fusion in the early '70s, but afterwards played mostly performed hard bop. He produced some of his best work in the '90s, even as his health began to decline. Among the many labels Nick Brignola recorded for are Priam (his own company), Beehive, Interplay, SeaBreeze, Discovery, and Reservoir. He died on February 8, 2002.

This album lives up to its title. Nick Brignola is matched up with fellow baritone great Pepper Adams in a sextet also including trumpeter Ted Curson, pianist Derek Smith, bassist Dave Holland and drummer Roy Haynes. The personnel differs throughout the program, with the full group being heard on "Billie's Bounce" and "Marmaduke," Curson sitting out on "Donna Lee," "Body and Soul" being a feature for Brignola, and "Alone Together" showcasing the rhythm section. It is obvious from the song titles that this is very much a bebop jam session date, and quite a few sparks do fly. - Scott Yanow

The Nick Brignola Sextet

Pepper Adams

Ted Curson

Derek Smith
Dave Holland
Roy Haynes

Side 1
  1. Donna Lee (9:33)
  2. Billie's Bounce (11:15)
Side 2
  1. Marmeduke (11:30)
  2. Body and Soul (7:01)
  3. Alone Together (6:57)
Recorded December 22, 1977

Count Basie - 1973 Basie Jam

Review by Scott Yanow
The official start of Count Basie's decade-long association with Norman Granz's Pablo label was a bit disappointing, an all-star cast (with trumpeter Harry "Sweets" Edison, trombonist J.J. Johnson and tenors Eddie Davis and Zoot Sims) playing one blues after another. Reasonably pleasing but uninspired, there would be many better Basie dates coming up.

Review from Amazon By Bomojaz (South Central PA, USA)
Five tunes, five blues - all slightly different, and all done with distinction. Count Basie has assembled some monster players for this jam session recording (Sweets Edison, Lockjaw Davis, Zoot Sims, JJ Johnson), and although guys of this talent could go through a session like this half asleep, the results indicate they were all primed to play to the best of their astonishing abilities. The CD opens with an up-tempo cooker (DOUBLING BLUES) with Basie switching from piano to organ and back again, and Lockjaw taking a searing solo. Things slow way down for HANGING OUT, which features a gorgeous Zoot Sims solo on tenor. ONE-NIGHTER is medium-slow and is as mellow as they come with Basie on organ all the way. The biggest kicker for me is the excellent playing of guitarist Irving Ashby: whether soloing as he does so well on DOUBLING and ONE-NIGHTER or simply playing accompaniment, he's a dynamic member of the group here. Terrific stuff, this - and Basie fans (or any jazz fans, for that matter) will dig this CD a lot.

Two very different versions of the same thing. Listen to and decide which one is more close to your own feelings.

Julie London | Latin in a Satin Mood (1963) (ogg)

Julie London | Home (1960) (ogg)

Julie London | About the Blues (1957) (ogg)

Julie London | Calendar Girl (1956) (ogg)

from wiki
"Best known for her smoky, sensual voice, as a singer she was at her peak in the 1950s.
She recorded 32 albums in a career that began in 1955 with a live performance at the 881 Club in Los Angeles.
She was named by Billboard the most popular female vocalist for 1955, 1956, and 1957. In 1957, she was the subject of a Life cover article in which she was quoted as saying, "It's only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of oversmoked voice, and it automatically sounds intimate."

Julie London | Around Midnight (1960) (ogg)


This CD reissue has composer Duane Tatro's only album as a leader, and it is easy to hear why his services were not more in demand. Tatro's 11 originals have overarranged ensembles, plenty of humorless dissonance, and not much solo space for the members of his octet. In other words, the music is rather dry and dull. Despite the presence of trumpeter Stu Williamson, altoist Lennie Niehaus, Bill Holman on tenor and baritonist Jimmy Giuffre, very little of interest occurs, making this a badly dated effort.

THERES THE LOUSY REVIEW, which I think’s a load of horse shit, since when has dry been a crime, a lot of people have little sense of humour, making them dry, yanow among them. so basically- according to yanow,1) totally arranged sections= overcooked, dry (dry being undesirable of course)he doesnt even mention manne, one of the greatest jazz drummers ever dissonance=humourless what else eh, maybe he thinks these dudes dont swing cause they're the wrong colouranyone here aware of yanow's adulation of stanley crouch and wynton marsallis?

For me this is charles ives crossed with count basie, very tight and crisp arrangements, manne chugglin’ that joe jones magic back o’ the engine room.
At times bill Holman ‘s commin’ on like lester.

This is a stunningly adventurous album,for its day ,we are talking 1954-5 here.
Tatro was a maverick pioneer ,an engineer by trade, who as a youngster got the call from stan Kenton.(he was 16),
He later studied composition at usc through gi bill sponsorship
Charles ives was himself an insurance salesman,who chose to remain one so that his musical output would’nt be compromised.
Anyway while with Kenton, tatro probably developed a taste for advanced chamber and orchestral music.
This does not attempt to create a third stream synthesis, rather tatro introduces rhythmic and especially harmonic structures hitherto unknown to jazz.

You guys will probably know more than me about this but the first tune backlash has a melody in phrigian mode . making this surely one of the earliest modal pieces in ‘recorded jazz’ predating, miles, max and trane and g.russell by a few years.
The 4th track turbulence is built on a twelve tone row ,but there are no tonal centres’’making this the first completely atonal piece in jazz history.
Even lennie tristano’s intuition sessions, though free improvised were harmonicaly pretty familiar.
I love this disc,which comprises tatro’s entire recorded oeuvrethis is also very ‘industrial’ check out those monster repetitive rhythmic ostinati.

“Ray Bryant Plays” (1959, remaster Toshiba TOJC 6810; orig. Signature/Lonehill 6008 [Spain])

[orig. rip @ flac & scans]
Ray Bryant (p), Tommy Bryant (b), Specs Wright (d); recorded on 25th October & 11-12th November, 1959 in New York, NY
01. Delauney’s Dilemma
02. Blue Monk
03. Misty
04. Sneaking Around
05. Now's the Time
06. Wheatleigh Hall
07. Doodlin’
08. Hundred Dreams from Now
09. Bags’ Groove
10. Walkin’
11. Take the “A” Train
12. Whisper Not

Sunday, June 10, 2007

Have A Nice Day

I'm very happy to share with you folk a very special album from Buddy Collette. Special to me because I can actually pinpoint the moment my music tastes exploded and I went on a rampant search for all the worlds recorded music. It was when I first recieved a copy of this album in 64bit mp3. I spent all night in pure joy that music like this could exist and I was only just discovering it.

Yes, I am a new listener.. an outsider to generations of music before my time, a young man with no real interest in contemporary music styles. I dig music that most would find utterly bland simply because I see it as a some kind of forgotten relic from more creative times. My tastes have somewhat separated me from my own generation, even young jazz musicians seem to gravitate for a particular style such as fusion and are not even interested in adventurous jazz, let alone something completely different!

I don't want to ramble on too much, writing ain't exactly my forte. Without further adue I present an album I listen to far too much.

ECM / HATart Monday

Steve Lacy “Points” (1978, HATart/Chant du Monde) [3rd party vinyl rip @ flac & scans]
Steve Lacy (ss), Steve Potts (ss), Kent Carter (b), Olivier Johnson (d)

01. The Mooche
02. Pot Pourri (solo)
03. Stalks
04. Free Point
05. Still Point
06. Moot Point

Mingus Big Band - Live in Time (1996) [flac]

Links have been corrected!

A major expansion on Mingus Dynasty, beginning in 1991 the Mingus Big Band (which often uses more than 20 musicians) has explored the great bassist's music at least once a week. They played regularly at the Time Spot Café in New York and their series of recordings for Dreyfus are often remarkable. The huge group performs some of Mingus' most complex works with spirit, virtuosity, and plenty of color.

Having exhausted most of the late bassist's best-known songs, the Mingus Big Band emphasizes obscurities (such as "Sue's Changes," "Children's Hour of Dream" and "Chair in the Sky"), along with later-period work, on their third release, Live in Time, a double CD. The orchestra really digs into the complex material, and they perform Mingus' almost impossible-to-play originals with joy, swing and constant excitement. Among the many all-stars on this fascinating and highly enjoyable set (all of whom are featured) are trumpeters Randy Brecker, Philip Harper and Ryan Kisor, trombonists Frank Lacy, Robin Eubanks and Britt Woodman, altoists Gary Bartz and Steve Slagle, Seamus Blake, Mark Shim and John Stubblefield on tenors, Ronnie Cuber or Gary Smulyan on baritone and Kenny Drew Jr. or John Hicks on piano. The gloriously overcrowded ensembles, the explosive solos and the spirit of Mingus are three of the many reasons to acquire this memorable effort. - Scott Yanow

Randy Brecker, Philip Harper, Ryan Kisor, Alex Sipiagin, Earl Gardner (tp)
Ku-Umba Frank Lacy, Robin Eubanks, Britt Woodman, Conrad Herwig, Dave Taylor (tb)
Steve Slagle, Gary Bartz, Seamus Blake, John Stubblefield, Mark Shim, Ronnie Cuber, Gary Smulyan (reeds)
Kenny Drew, Jr., John Hicks (piano)
Andy McKee (bass)
Adam Cruz, Tommy Campbell (drums)

Disc 1
  1. Number 29
  2. Diane/Alice's Wonderland
  3. Boogie Stop Shuffle
  4. Sue's Changes
  5. This Subdues My Passion
  6. Children's Hour of Dream
  7. Baby Take a Chance With Me
  8. So Long Eric
Disc 2
  1. Moanin' Mambo
  2. Chair in the Sky
  3. E's Flat, Ah's Flat Too
  4. The Shoes of the Fisherman's Wife Are Some Jive-Ass Slippers
  5. Us Is Two
  6. The Man Who Never Sleeps/East Coasting
  7. Wednesday Night Prayer Meeting

Ray Bryant “Ray Bryant Trio” (1957, Prestige PRLP 7098)

Finding Leemo

This has probably been posted by rab before...not sure if flac?
This could be my favorite Lee set...look at the lineup people!

LEEWAY presents Morgan in an all-star ensemble featuring the tart, swinging altoist Jackie McLean--a charter member of Blakey's earlier edition of the Jazz Messengers--and everyone's favorite bassist, Paul Chambers. Together with Jazz Messengers Blakey and Timmons, Chambers helps to rhythmically supercharge the soulful shuffles and blues which distinguish this upbeat blowing session. "These Are Soulful Days" is a funky hard bop anthem by Cal Massey, with a supple shift to 3/4 in the bridge. Morgan follows laid-back solos by Chambers, Timmons and McLean with an electrifying concoction of the rhythmic double time, vocal slurs and cascading melodic devices--each and every note sweetly articulated. On "The Lion And The Wolff," Morgan answers McLean's bluesy recreated figures with riffing phrases of his own, building enormous tension by alternating stunning half-valve effects, taut vamping patterns and swinging syncopations, until drummer Blakey is like to bust. The rhythmic stops and starts of "Midtown Blues" inspire Morgan to a fiercely riffing solo full of long rolling passages and cunning repeated riffs, culminating in a magnificent display of brassy, blustery lyricism--followed by an equally swinging McLean--as Blakey and Timmons allow the hot grease to spill all over this rocking shuffle-beat. And the extended form "Nakatini Suite," with its exotic Afro-Cuban intro, swinging release and elliptical bridge, illuminates Morgan's mastery of complex harmonic materials, as he surfs effortlessly through the changes, punctuating his melodic elisions with soulful cries. ---cduniverse

Lee Morgan (trumpet)
Jackie McClean (alto saxophone)
Bobby Timmons (piano)
Paul Chambers (bass)
Art Blakey (drums)


Saturday, June 9, 2007

slim harpo

amg says: Review by Cub Koda
All the hits, including the original "I'm a King Bee," "Baby, Scratch My Back, " "I Got Love If You Want It, " "Shake Your Hips, " "Rainin' in My Heart, " "Tip on In, " and "Strange Love." A best-of that really is, with top-flight sound as a bonus.

jean lafite says: slim harpo is the man, get a look at him.better yet get a listen, i think you'se will like it..


amg says: Review by Ed Rivadavia
Cello-playing Finnish quartet Apocalyptica's sequel to their well-received first album departs from the safe haven of Metallica covers (only four tracks) and introduces material by other heavy metal bands, and even a few originals. Of the latter, "Harmageddon" is probably the standout track, and while most Metalli-fans will be eager to hear the group's rendition of the smash hit "One," the song takes a backseat to inspired renditions of earlier classics such as "For Whom the Bell Tolls" and "Fade to Black." As for the other bands covered, the arrangements of Pantera's "Domination" and Sepultura's "Refuse/Resist" are rather dull, but Faith No More's "From Out of Nowhere" works surprisingly well, and the group's performance of the album's incredibly complex title track (another Sepultura original) is simply stunning.

jean lafite says: dude..

Jazz Wave, Ltd. - On Tour (1969) [LP > flac}

The 1969 Jazz Wave Ltd. European Concert Tour spanned 10 days and covered Italy, England, France, Denmark and West Germany where this album was taped. Typical of Sonny Lester's live productions, it is not without its flaws but there are a few highlights that make this album worth listening to. Released by Blue Note on the Solid State series, this 2-LP set was labeled as Volume 1 but there was never a subsequent release.

Side 1 starts with a Roland Hanna intro (the opening bars didn't make it on to the record) to Thad Jones' "Don't Get Sassy" which also features a fluid but unimaginative trumpet solo by Marvin Stamm and some classic Joe Henderson in a rare appearance with the band. After an overly-long "Reza" by flutist Jeremy Steig we hear Kenny Burrell begin side 2 ably backed by Richard Davis and Mel Lewis on "Greensleeves". Then comes my favorite track on the album, a ten minute take of "Body and Soul" featuring Freddie Hubbard. He has some problems staying on mike but is in top form on this reading with Roland Hanna, Ron Carter and Louis Hayes. (The Hub of Hubbard was recorded during this tour.)

Side 3 is an amazingly short 8:31 with Jimmy McGriff joining the Jones-Lewis Orchestra for a nice version of Neal Hefti's "Lil' Darlin" (mislabeled as "Slow But Sure") and a short solo guitar version of "People" by Kenny Burrell. Side 4 is dedicated to a 16:00 jam on Jones' "Once Around" that has Steig, McGriff and Burrell along for the ride that gets fairly raucus at times. Freddie Hubbard is listed on the album as being on this tune and you can hear his name in the announcement, but apparently he didn't make it to the bandstand or chose not to solo.

A rather uneven concert and the sound quality is only so-so but the tenor solo by Joe Henderson on "Don't Get Sassy" and the Hubbard feature on "Body and Soul" are the main reasons I still put this one on the turntable once in a while.

Jazz Wave, Ltd. - On Tour, Vol. 1
Blue Note BST 89905

West Germany, December, 1969

Thad Jones - Mel Lewis Orchestra
Danny Moore, Al Porcino, Marvin Stamm, Snooky Young (tp) Thad Jones (flh) Bob Burgess, Jimmy Knepper, Benny Powell, Julian Priester (tb) Jerry Dodgion, Jerome Richardson (as) Eddie Daniels, Joe Henderson (ts) Pepper Adams (bars) Roland Hanna (p) Richard Davis (b) Mel Lewis (d)

1. Don't Get Sassy

Jeremy Steig Trio
Jeremy Steig (fl) Ron Carter (b) Louis Hayes (d)

2. Reza

Kenny Burrell Trio
Kenny Burrell (g) Richard Davis (b) Mel Lewis (d)

3. Greensleeves

Freddie Hubbard Quartet
Freddie Hubbard (flugelhorn) Roland Hanna (p) Ron Carter (b) Louis Hayes (d)

4. Body and Soul

Jimmy McGriff with Thad Jones - Mel Lewis Orchestra
5. Lil' Darlin'

Kenny Burrell Solo
Kenny Burrell (g)

6. People

Thad Jones - Mel Lewis Orchestra with Jeremy Steig (fl) Jimmy McGriff (org) Kenny Burrell (g)

7. Finale - Once Around

Clora Bryant - Gal With A Horn

Clora Bryant remains a sadly under-recognized musical pioneer. The lone female trumpeter to collaborate with Charlie Parker and Dizzy Gillespie, she played a critical role in carving a place for women instrumentalists in the male-dominated world of jazz, over the course of her decades-long career proving herself not merely a novelty but a truly gifted player regardless of gender. ~Jason Ankeny

don cherry and ed blackwell--tamma

thom thom jurek says: let one man step forward and say that i am not thom jurek.

he also says:

Review by Thom Jurek
Tamma (which means talking drum in Gambian) is a percussion and horn jazz group founded by Gambian master drummer Miki N'Doye and brought to Norway where he enlisted the aid of that country's musicians in forming an open-ended music that would engage European cultures in the music of the African Diaspora. A quintet, they feature a proper trap kit drummer, saxophonist, trumpet, an electric bassist, and N'Doye. All members play some percussion and sing (more like chant). They make an ethereal, moody, high-lonesome kind of rhythm-based Afro-jazz. Performing live at the Mode International Jazz Festival, they were joined for two days by the late trumpeter and douzongouni player (African guitar), and the late drummer Ed Blackwell both men at that time were members of Old and New Dreams and former bandmates in the Ornette Coleman Quartet. From the shimmering chant-like beginning of "Samodado/Don's Tune," the listener is aware of the easy complicity between these musicians. The dual trumpets move in from the ghost chant into full on carnival strut, they soar in unison against the polyrhythmic intensity of the drums as saxophonist Erik Balke soars above the entire ensemble. For his part, Blackwell, dance all around these rhythms, creating a metalingual polyrhythmic counterpoint. On the traditional numbers, such as "Tara," "Senegal," and "Tamma Song" — which is tailgated with "Afro Disco" — care is taken to create a proper call-and-response cadence before introducing improvisational effects. And one they are introduced it is a procedure to keep sight of that melodic structure at all times, no matter where the rest of the harmonic balances shift. In this way it is easy to hear how traditional Ornette's own "Dancing In Your Head" was structured. Cherry and Blackwell don't so much energize an already completely energized ensemble, but add a kind of hip factor, a marching through the music attitude that allows the band itself to take things to another level.

jean lafite says: who am i to argue with thom jurek?

roscoe holcomb--the high lonesome

amg says:

Biography by Richie Unterberger
One of the most noted Appalachian old-time musicians, banjo player and singer Roscoe Holcomb spent most of his life in the small town of Daisy, KY, and was one of the most authentic exponents of American mountain folk music. Indeed, he never had any professional ambitions but become a recording artist and participant in the folk revival circuit after being recorded for the first time in the late '50s. Holcomb's style is stark, epitomizing the keening, at times pained vocals associated with Appalachian music, with a repertoire stuffed with traditional songs that had passed among generations, as well as some songs that he likely learned from early country records. Folk musician and archivist John Cohen coined the term "high lonesome sound" to describe Holcomb's music, and the phrase has since passed into common usage to describe bluegrass and Appalachian music as a whole. He cut several albums for Folkways and made some concert appearances on the college/festival scene throughout the 1960s and 1970s, giving his last show in 1978.

jean lafite says: this guy is from another planet.

brazil roots samba

amg says: Review by John Storm Roberts
Real Rio samba sounds like this fine small-group, bunch-of-friends-in-a-corner-bar samba, mostly with the little cavaquinho guitar well to the fore, as well (of course) as the usual jubilant percussion. Some of these groups sound professional, some semi-professional, but they're all pretty close to the street. Personally, I'd trade an hour of the trendies for ten minutes of this stuff any time.

jean lafite says: brasiiiiiiiiiiiiiiiiiiiiiiiiiillll

james p johnson

amg says: Review by Scott Yanow
The great stride pianist James P. Johnson is heard on 14 of the 16 selections included on this LP, taking memorable piano solos; two of the selections ("Memphis Blues" and the first take of "Sweet Lorraine") are actually by an uncredited Cliff Jackson. Despite that error, the music is recommended because Johnson is in top form throughout, particularly on such numbers as "Daintiness Rag," "Snowy Morning Blues," "Liza" and "The Dream."

jean lafite says: this cat can play. the duke himself said he used to "warm up the piano for him".

Joe Gordon - Lookin' Good!

Joe Gordon did not live long, only making it to 35. His second of two recordings as a leader (originally released by Contemporary) finds him on the verge of leading his own group. Gordon wrote all eight of the selections and is joined by adventurous but obscure altoist Jimmy Woods, pianist Dick Whittington, bassist Jimmy Bond, and drummer Milt Turner. Although the solos are generally more memorable than the tunes, this is an excellent effort that hints at what might have been had Joe Gordon lived.

Buddy Rich - Swingin' New Big Band (1966) [flac]

By request from Jazz-Nekko who gives us so much with his wide variety of posts and interesting stories.

1966 was a most illogical time for anyone to try forming a new big band but Buddy Rich beat the odds. This CD reissues the first album by the Buddy Rich Orchestra, augmenting the original Lp program with nine previously unissued performances from the same sessions. The arrangements (eight by Oliver Nelson along with charts by Bill Holman, Phil Wilson, Jay Corre, Don Rader and others) swing, put the emphasis on the ensembles and primarily feature Corre's tenor although trumpeter Bobby Shew, altoist Pete Yellin, pianist John Bunch and guitarist Barry Zweig are also heard from. Most of the songs did not stay in the drummer's repertoire long (other than Bill Reddie's adaptation of "West Side Story" and "Sister Sadie") and in fact only three members of the 17-piece orchestra would still be working for Rich a year later. An enjoyable and somewhat historic set. - Scott Yanow

Bobby Shew, John Sottile, Yoshito Murakami, Walter Battagello (tp)
Jim Trimble, John Boice, Dennis Good, Mike Waverley (tb)
Gene Quill, Pete Yellin (as) Jay Corre, Marty Flax (ts) Steve Perlow (bs)
John Bunch (p) Barry Zweig (g) Carson Smith (b) Buddy Rich (d)

  1. Readymix
  2. Basically Blues
  3. Critic's Choice
  4. My Man's Gone Now
  5. Up Tight (Everything's Alright)
  6. Sister Sadie
  7. More Soul
  8. West Side Story Medley
Unissued Bonus Tracks:
  1. What'd I Say
  2. Hoe Down
  3. Step Right Up
  4. Apples (aka Gino)
  5. Chicago
  6. In a Mellotone
  7. Never Will I Marry
  8. Lament for Lester
  9. Naptown Blues
Recorded September/October, 1966

Friday, June 8, 2007

TOP - Monster on a Leash (1991) [flac]

It's a little late on Friday but what the funk.

In the wake of tasteless garbage that disco left in the late '70's, many pop and R&B bands, including Tower of Power, buckled under the pressure to sell records. After two dismal records for Columbia in 1978 and '79 and another misfire in 1988, TOP hit rock bottom and just about everybody had written them off. But as we entered the '90's the band decided to go back to its early '70's roots and released Monster on a Leash in 1991 with Castillo, Kupka, Adams and company once again crankin' out the heavy funk and lush ballads. After listening to the title track, "Funk the Dumb Stuff", or the hard-driving instrumental "Mr. Toad's Wild Ride", one realizes that the band was back where they belong and having a great time!

Tom Bowes (lead vocals) Emilio Castillo (tenor sax, vocals) Greg Adams (trumpet, flugelhorn) Lee Thornburg (trumpet, flugelhorn, trombone, vocals) Steve Grove (alto, tenor sax) "Doc" Kupka (baritone sax) Nick Milo (keyboards) Carmen Grillo (guitar) Rocco Prestia (bass) Russ McKinnon (drums)

  1. A Little Knowledge (Is a Dangerous Thing)
  2. How Could This Happen to Me
  3. Who Do You Think You Are
  4. Attitude Dance
  5. You Can't Fall Up (You Just Fall Down)
  6. Funk the Dumb Stuff
  7. Believe It
  8. Personal Possessions
  9. Miss Trouble (Got a Lot of Nerve)
  10. Keep Your Monster on a Leash
  11. Someone New
  12. Mr. Toad's Wild Ride

Claude Bolling's California Suite

Claude Bolling has found his greatest fame in the U.S. for his jazzy classical collaborations with Jean-Pierre Rampal, Maurice Andre, Elena Duran, and Yo Yo Ma, while in Europe he is best known as the leader of various swing big bands. Bolling formed his first group when he was 14 in 1944. In 1948, he recorded with Rex Stewart and accompanied blues singer Chippie Hill at a jazz festival. Bolling also recorded with Roy Eldridge (1951) and Lionel Hampton (1953 and 1956), led big bands since the 1950s, and recorded ragtime, tributes to Duke Ellington, and his own original music. Although not an innovator, Claude Bolling has been an important fixture in the French jazz scene since the 1950s. Scott Yanow

Max Roach - M'Boom 1979 (192 kbps)

My favourite Max Roach ablum, and sadly, unbelievably out of print as far as I know. This is only 192 kbps, but it's the only copy I have...

M'Boom  (Columbia IC 36247)

Roy Brooks, Joe Chambers, Omar Clay, Fred King, Max Roach, Warren Smith, Freddie Waits (d, per, vib, mar, xyl, timp) Ray Mantilla (cga, bgo, tim, Latin per) Kenyatte Abdur-Rahman (per, bells -3,8)
NYC, July 25, 26 & 27, 1979

4.January V
5.The Glorious Monster
6.Rumble In The Jungle

In 1979 Max Roach founded M'Boom, a group consisting of eight percussionists. Their debut recording (which has been reissued on this Columbia CD) is far from being a monotonous drum battle. In fact, through the utilization of a wide range of instruments that include chimes, timbales, marimba, vibes, xylophone, tympani, various bells and steel drums, there are quite a lot of melodies to be heard during these nine performances (which are all group originals other than Thelonious Monk's "Epistrophy"). This is a particularly colorful set that is easily recommended not only to jazz and percussion fans but to followers of World music.
by Scott Yanow

Funky Friday

Ice T - The Iceberg/Freedom of Speech...Just Watch What You Say

May be my favourite hip hop cd. And one of the toughest and funkiest I ever heard. It never got the PMRC type-of censorship sticker most innocuous metal bands got back then (do they still use this black & white sticker that did a hell of a job to promote irrelevant bands ?), but the lyrics sure are EXPLICIT.

Ice-T threw listeners quite a curve ball with his riveting third album, The Iceberg/Freedom of Speech...Just Watch What You Say — arguably the closest hip-hop has come to George Orwell's 1984. Instead of focusing heavily on gangsta rap, Ice-T made First Amendment issues the CD's dominant theme. Setting the album's tone is the opener, "Shut Up, Be Happy," which finds guest Jello Biafra (former leader of punk band Dead Kennedys) envisioning an Orwellian America in which the government controls and dominates every aspect of its citizens' lives. Though there are a few examples of first-rate gangsta rap here — including "The Hunted Child" and the chilling "Peel Their Caps Back" — Ice's main concern this time is censorship and what he views as a widespread attack on free speech in the U.S. As angry and lyrically intense as most of The Iceberg is, Ice enjoys fun for its own sake on "My Word Is Bond" and "The Girl Tried to Kill Me" — an insanely funny rap-rock account of an encounter with a dominatrix. ~Alex Henderson

1 Shut up, Be Happy
2 The Iceberg
3 Lethal Weapon
4 You Played Yourself
5 Peel Their Caps Back
6 The Girl Tried to Kill Me
7 Black 'N' Decker
8 Hit the Deck
9 This One's for Me
10 The Hunted Child
11 What Ya Wanna Do?
12 Freedom of Speech
13 My Word Is Bond

Thursday, June 7, 2007

Funky Friday

The Pharaohs - In The Basement

The Pharaohs only managed one release during their short lifetime, 1971's masterful Awakening. But when the San Francisco-based jazz-funk reissue label Luv N Haight reissued Awakening in 1996, they also came out with a brand-new CD of mostly previously unreleased material called In the Basement. Most of this album was recorded live in 1972, after the already enormous 11-piece band had grown to include four more players, including a sixth drummer. The live tracks are fascinating, because where Awakening sounds like an earthier and more Afrocentric version of Earth, Wind & Fire (which several members of the Pharaohs would go on to found in 1973), the much loopier and more jazz-oriented tracks here sound more like Sun Ra jamming with the P-Funk All Stars. The 11-minute take on the Stylistics' "People Make the World Go Round" is absolutely indescribable, a mix of otherworldly horns and psychedelic guitars over a non-stop African-style groove. Other highlights include the all-rhythm "Drum Suite," a hypnotic blend of organic polyrhythms and chanting, and a stunning cover of Al Green's "Love and Happiness" that's the only studio track here. Not quite as wonderful as Awakening, In the Basement nonetheless makes one wish that the Pharaohs had lasted longer, just to see what would have happened next.

1 - In The Basement
2 - People Make The World Go 'Round
3 - African Roots
4 - The Pharaohs Love Y'all
5 - Drum Suite
6 - Love and Happiness

Material - Memory Serves

Material was a prolific band in the early '80s, and if you had to pick just one of the many EPs and LPs that came out around this time, this is the one to take. The sound is consistently challenging yet just as consistently rewarding; Laswell's bass is front-and-center most of the time, churning out funky and angular lines that provide a solid foundation for more outre sounds like Frith's prepared guitar and George Lewis's splayed trombone on "Memory Serves" and the scratchy violin and edgy seven-beat melody of "Metal Test." "Conform to the Rhythm" indulges Beinhorn's singing at its tuneless, Orwellian worst, but there's far more to recommend than to criticize on this album. Strongly recommended.

Bill Laswell : 4, 6 and 8 String bass;
Sonny Sharrock: guitar
Fred Frith: guitar, violin, xylophone
Henry Threadgill: alto saxophone
George Lewis: trombone
Olu Dara: cornet
Billy Bang: violin
Charles K. Noyes: drums, percussion, bells;
Fred Maher: drums, guitar, percussion;
Michael Beinhorn : synthesizers, tapes, radio, guitar, drums, voice.

1. Memory Serves
2. Disappearing
3. Upriver
4. Metal Test
5. Conform To the Rhythm
6. Unauthorized
7. Square Dance
8. Silent Land

Please note: CD is original Celluloid release, no bonus track


Funky Friday!

Christian McBride “Live at Tonic” (2006, Ropeadope)

When McBride first made a name for himself on the David Letterman Show house band, he was often introduced as the successor of his early inspiration, Ray Brown. Christian McBride can, however, swing as hard as any bebop bassist but he is more known for funk, fusion and improvisation. This 3-cd live set has the highlights from a two-night stand in mid-December 2005 at Tonic in New York. You will be introduced to the signature funk and improvisation of McBride.

However, ‘Dorothy, all is not well in Kansas’ - the songs (particularly cds 2 & 3) are not of the best quality because the funk seems to go on forever; check out the 29-minute “See Jam, Hear Jam, Feel Jam”. As well, each set has lengthy (read that as “t-o-o l-o-n-g”) introductions of the musicians.

Scott Yanow: “. . . cut out the excess of fat and the long ‘vamp till ready’ sections” and “. . . there are some good moments along the way and the musicians are great, but some editing and common sense should have gone into this production.”

Jazz-Nekko: I am afraid that I can partially understand that verbose jerk Yanow this time – BUT – I hasten to add - the high-energy bass playing, DJ Logic’s tricks and the body-shaking drum work make this set worthwhile to listen to. I would venture that this music is more on the lines of techno-funk/techno-jazz but at the core of it is a very talented bass player. I recommend you give it a try ~ enjoy!

Christian McBride (acG/eG/acB/eB/prod), Terreon Gully (d); guests: DJ Logic (turntables), Jason Moran (p), Charlie Hunter, Eric Krasno (g)

[orig. rip @ ogg & scans]
01. Technicolor Nightmare
02. Say Something
03. Clerow’s Flipped
04. Lejos de Usted
05. Sonic Tonic
06. Hibiscus
07. Sitting on a Cloud
08. Boogie Woogie Waltz
09. See Jam, Hear Jam, Feel Jam
10. Out Jam/Give It Up or Turn It Loose
11. Lower East Side/Rock Jam
12. Hemisphere Jam
13. Bitches Brew
14. Out Jam/Via Mwandishi
15. Mwandishi Outcome Jam
16. Comedown (LSD Jam)
17. E Jam
18. AB Minor Jam
19. D Shuffle Jam
20. D Shuffle Jam, Pt. 2

Jimmy Smith - Bashin': The Unpredictable Jimmy Smith

Smith's debut session for Verve kicks off with an explosive big band sound. The first four tracks of BASHIN' feature a sizeable backing orchestra (whose personnel list that may ring some unexpected bells, like future Tonight Show bandleader Doc Severinsen) and dramatic arrangements by Oliver Nelson (who also assumes conducting duties). While fans of Smith's lower-key trio work for Blue Note may cringe at the blare of horns and the grandiose dynamic shifts, Smith is still in uber-cool form, and his Hammond plays the groovy foil to Nelson's occasionally square arrangements. Die-hard enthusiasts of the trio won't be disappointed, however, since the last three tracks are strictly old school. Quentin Warren and Donald Bailey help mix it up in deep blues fashion on "Beggar For the Blues" and the title track, while Smith, even after the large-scale blasts of Bernstein's "Walk On The Wild Side" and Nelson's "Step Right Up," seems right at home. This disc, released in 1962, captures the artist at a transition period, and proves that no matter the band, year or label, Smith was a consistently compelling artist.

Jimmy Smith (organ)
Oliver Nelson (conductor)
Babe Clark, Bob Ashton, Gerry Dodgion, Phil Woods, George Barrow (reeds)
Joe Newman, Doc Severinsen, Joe Wilder, Ernie Royal (trumpet)
Tommy Mitchell, Jimmy Cleveland, Urbie Green, Britt Woodman (trombone)
Quentin Warren, Barry Galbraith (guitar)
George Duvier (bass)
Donald Bailey, Ed Shaughnessy (drums)

1. Walk On The Wild Side
2. Ol' Man River
3. In A Mellow Tone
4. Step Right Up
5. Beggar For The Blues
6. Bashin'
7. I'm An Old Cow Hand (from the Rio Grande)
8. Bashin' (45 rpm version)
9. Ol' Man River (45 rpm version)

Recorded in New York, New York on March 26 & 28, 1962

Wednesday, June 6, 2007

The Soul of Toots Thielemans (1959) [flac]

This somewhat obscure date by the great jazz harmonica player Toots Thielemans also features the leader playing some fine guitar (most notably on "Lonesome Road") and taking one of his first whistling solos on "Brother John." With pianist Ray Bryant, bassist Tom Bryant and drummer Oliver Jackson completing the quartet, Thielemans is in excellent form introducing two of his originals and jamming such tunes as "You Are My Sunshine," "Nuages" and "Confirmation." The music on this enjoyable 1986 Doctor Jazz reissue LP of a Signature session is currently out of print. - Scott Yanow

There is one used copy for sale at Amazon for $80 US. But you can download this for the cost of a mere comment! I'm not necessarily asking for thank-you's but one of the reasons for taking an active role on this blog is to share one's thoughts. Your impressions, an anecdote, suggestions, a request for...

Toots Thielemans (harmonica, guitar)
Ray Bryant (piano)
Tom Bryant (bass)
Oliver Jackson, Jr. (drums)

  1. You Are My Sunshine
  2. Nuages
  3. Five O'Clock Whistle
  4. Soul
  5. Lonesome Road
  6. Misty
  7. Confirmation
  8. Les Enfants S'Ennuient Le Dimanche
  9. Brother John
Recorded October/November, 1959

Tokyo Disney Sea "Big Band Beat" (2006, Walt Disney Records/Avex)

Before your eyes continue past this post, as you snobs dismiss this as trash, allow me to share one personal note:

I took my family to Tokyo Disneyland and Tokyo Disney Sea Resort last Halloween because my son likes "Jack Skellington" from Tim Burton's 'Nightmare before Christmas' (we had to ride the 'Haunted Mansion' attraction three times b/c he couldn' get enough; he still sings, "in our town, we call home, everyone hail to the Pumpkin King"!). We entered the Broadway musical event. My son, 28-months old at the time, was T-O-T-A-L-L-Y into the music. He was clapping to the beat, slapping his hands on his legs and swaying in time. My wife originally thought it was a bad idea to attend because he was so small and figured that he would cause a problem or be noisy. On the contrary, he thoroughly enjoyed the music and since that time his interest grows and he has become quite good at distiguishing musical intruments.

Yes, the target audience here is probably not for some of you professional jazzers. Yes, it is quality big band music. Yes, the majority of these numbers are standards. No, it is not the most true-to-form versions of those standards. Yes, a DVD would probably more entertaining but one does not exist - that Mickey Mouse character could bang the skins pretty damn good, although a Buddy Rich he was not, a real swingin' rodent! So why am I potentially wasting your time and bandwidth, you wonder?

The concert in my post today continues to inspire my little one to be interested in jazz music. While driving in the car and listening to all of y-o-u-r downloads, this little man now can recognise Ella from Helen, tell my wife the difference of sounds between a baritone sax and a baritone clarient and all the while he gleefully grooves, taps and 'baby-scats' his way along a musical learning adventure that, I hope, will last a lifetime. Last Christmas, we bought him a "toy" tenor saxophone; "toy" is not fair because although it's made of plastic, it plays eight full keys and is remarkably good sounding. Can you imagine what a joy it is to watch him pick up his sax and try to accompany someone on the TV playing music?

Thank you all for helping me encourage a new generation of jazz music lovers! This is exactly the reason why I begged and harassed Rab to let me join this community. This is exactly the point for me in interacting with others and sharing music - to ensure new generations of jazz lovers and share the love of music!

Tokyo Disney Big Band, recorded live at Broadway Revue, Tokyo Disney Sea Resort

[orig. rip @ flac & scans]
01. It Don't Mean a Thing
02. Blues in the Night
03. Medley
04. Jazz babies
05. In the mood
06. All of Me
07. Sing, Sing, Sing
08. It Don't Mean a Thing (medley)

Tuesday, June 5, 2007

Cannoball Addeley - Cannonball's Bossa Nova - @160

Florida born alto saxophonist Julian Cannonball Adderley distinguished himself as a member of Miles Davis's groups (he's the sultry alto on Kind of Blue) and with the hard-bop ensembles he co-led with his cornet-playing brother Nat. This recording, produced by Orrin Keepnews in 1963 for the Riverside label, features Adderley performing bossa nova-based compositions. Anchored by Brazilian composer and pianist Sergio Mendes's band (with alto saxophonist Paulo Moura), Adderley's singing sax lines float over the sunny Rio rhythms, owing more to Benny Carter than Charlie Parker. The renditions of Antonio Carlos Jobim's standards "Corcovado" and "Once I Loved" and Joao Donato's "Minha Saudades" are comparable to Stan Getz's Legendary records from the same period, showing anew that jazz and South American music have learned much from each other. --Eugene Holley Jr.

They ended up in the studio with him, with results documented on this reissue. Adderley's alto-sax musings on a sunny selection of Brazilian material float above the swaying rhythms of the sextet, whose leader, pianist Sergio Mendes, sounds like a disciple of Horace Silver here. Drummer Dom Um Romao provides understated underpinning, while guitarist Durval Ferreira (who contributes five compositions) injects a subtle samba flair. Highlights include Ferreira's "Clouds," Mendes' "Groovy Sambas" and Antonio Carlos Jobim's "Corcovado" and "O Amor Em Paz." The bossa explorations of Stan Getz may be better known, but Adderley's swinging fusion of bebop, blues and gospel-one of the most soulful, spirited and distinctive sounds in modern jazz-lends an eternal freshness to the Brazilian sound.

Adderley's distinctly rich and bluesy alto sound, coupled with an ability to create fluid, highly melodic solos, earned him respect and admiration from the mid-'50s onward. Usually best known for his work with his own group and with the Miles Davis Quintet, Adderley also spearheaded a 1962 collaboration with the Bossa Rio Sextet of Brazil. Marrying jazz and bossa, the musicians created CANNONBALL'S BOSSA NOVA, an album of unforgettable, sun-drenched tunes. It's clear from the start that Adderley's sound complements the sextet's original repertoire. His alto is always at the fore, whether playing the bewitching melody of Ferreira and Einhorn's "Clouds," or soloing lyrically over "Corcovado," a tune later popularized by Stan Getz and Astrud Gilberto. Pedro Paulo's trumpet works with Paulo Moura's alto sax to produce sharp, well-executed riffs that add to the upbeat feel of "Minha Saudades" and "Batida Diferentes." Durval Ferreira's rhythmic strumming is ever present, and all players are at their best on "Sambops."

Cannonball Adderley and Paulo Moura (alto saxophone)
Pedro Paulo (trumpet)
Sergio Mendes (piano)
Durval Ferreira (guitar)
Octavio Bailey, Jr. (bass)
Dom Um Romao (drums)
Producer: Orrin Keepnews. Reissue producer: Orrin Keepnews, Michael Cuscuna.

Recorded at Plaza Sound, New York, New York on December 7, 10 & 11, 1962.

Art Blakey & The Jazz Messengers - Second Edition 1957 [flac]

The Jazz Messengers non-Blue Note sessions tend to get overlooked but this version with Bill Hardman and Johnny Griffin is an important chapter in the evolution of the band. Most of the material was originally released as The Jazz Messengers Play Lerner and Loewe and the alternate takes come from the sessions that produced Theory of Art and A Night in Tunisia.

This is an interesting CD reissue of formerly rare material from the second version of Art Blakey's Jazz Messengers. The first six selections are the full contents of a long-out-of-print Vik LP which find the Messengers (with tenor-saxophonist Johnny Griffin, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest and the drummer/leader) playing six songs by Lerner and Loewe including "Almost Like Being in Love," "On the Street Where You Live" and "I Could Have Danced All Night." In addition, the same group is heard on two previously unreleased alternate takes with altoist Jackie McLean (who was actually Griffin's predecessor) making the band a sextet, and there are three numbers (including two "new" takes) from an expanded unit (called "The Jazz Messengers Plus Four") which features such players as a very young Lee Morgan (making his debut with Blakey a year before he joined the group), Hardman, trombonist Melba Liston, Griffin and pianist Wynton Kelly. But rarity aside, the performances should please straightahead jazz fans. - Scott Yanow

Bill Hardman (trumpet) Johnny Griffin (tenor sax) Sam Dockery (piano)
Spanky DeBrest (bass) Art Blakey (drums)

Almost Like Being in Love
There But for You Go I
They Call the Wind Maria
On the Street Where You Live
I Talk to the Trees
I Could Have Danced All Night

Recorded March 13, 1957

Bill Hardman, Lee Morgan (trumpet) Melba Liston (trombone) Sahib Shihab (alto sax) Johnny Griffin (tenor sax) Cecil Payne (baritone sax) Wynton Kelly (piano) Spanky DeBrest (bass) Art Blakey (drums)

A Night at Tony's - take 3
A Night at Tony's - take 4
Social Call - take 4

Recorded April 2, 1957

Same personnel as March 13 session plus Jackie McLean (alto sax)

Off the Wall - take 5
Couldn't It Be You? - take 3

Recorded April 8, 1957

Leo Gandelman Made in Rio (MP3 @320)

Leo Gandelman has been singled out for his successful instrumental pop performances on top of brass arrangements and Brazilian percussion, both within Brazil and abroad (he presently lives in the U.S.). Along with his own work as an instrumentalist, he has produced albums such as Gal Costa's Plural and Marina's Virgem. As a composer he also has written soundtracks for major TV soap operas and series and films. He has performed in such festivals as the ~Free Jazz Festival and ~the Hollywood Rock (both in Brazil), and the ~Montreux Festival (Switzerland). Gandelman also was the winner of the newspaper ~Jornal do Brasil (Rio de Janeiro) poll as the most popular instrumental artist for 15 years in a row. Born in Rio de Janeiro, Gandelman, initiated by his mother, the concert pianist Salomea Gandelman, and by his father, the conductor Henrique Gandelman, was influenced by European classical music. At 15, he performed as a flute soloist ahead of the Orquestra Sinf?a Brasileira. He also studied viola da gamba, having being a member of the Pr??te Antiqua group. At 16, he abandoned music, tired of the tyrannical routine of classical studies, and decided to become a photographer. He only returned to music three years later, already as a saxophonist. Attending Boston's Berklee College, Gandelman furthered studies on saxophone, composition, and arrangements. Returning to Brazil upon graduation, in 1979, he quickly became a busy session man (having participated in the recording of 600 albums during ten years), and formed his first group, Avenida Brasil, with Serginho Trombone, Bidinho, and Z?trumpets). In 1984, he wrote the soundtrack to the film Rio Pirata (Lael Rodrigues). His first solo album, Leo Gandelman (1987), had a smash hit with "A Ilha" (with William Magalhâes). Solar (1990), the third one, sold 70,000 copies -- not bad for an instrumental title in Brazil. Western World (American reissue of his second album, Ocidente [1988]) was considered the best progressive music album in the U.S.
- Alvaro Neder, All Music Guide

01 Calçadão (Uma Tarde De Domingo No Rio).Mp3
02 Coisas Pessoais.Mp3
03 Na Baixa Do Sapateiro.Mp3
04 Novo Dia.Mp3
05 Sob Medida.Mp3
06 Um Dia, Uma Música....Mp3
07 O Cara.Mp3
08 The Long And Winding Road.Mp3
09 Raízes.Mp3
10 Cidade Maravilhosa.Mp3
11 Dá Um Tempo.Mp3
12 Cais.Mp3

Dance of The Octopus (1933 - 1936)

I wanted to post some modern works of Red Norvo but its interesting first to see where he is coming from, since the guy was playing some pretty adventurous stuff for his time.

The disc contains the unique small group Red Norvo tunes and the 'champagne of swing music' the Red Norvo Swing Sextet, the Red Norvo Orchestra and the bangin' Ken Kenny and his Orchestra (My fave track right now being Let Yourself Go)

On with the Norvo.

Monday, June 4, 2007

David Murray Octet - New Life (1985) [flac]

The David Murray Octet (which at the time consisted of the leader on tenor and bass clarinet, trumpeters Baikida Carroll and Hugh Ragin, trombonist Craig Harris, altoist John Purcell, pianist Steve Colson, bassist Wilbur Morris and drummer Ralph Peterson) stretches out on four of its leader's originals. The tunes ("Train Whistle," "Morning Song," "New Life" and "Blues in the Pocket") are each fairly memorable -- the themes are stronger than usual -- and as usual, the Octet features the right combination of adventurous solos and colorful writing. Recommended. - Scott Yanow

David Murray (tenor sax, bass clarinet)
Baikida Carroll, Hugh Ragin (trumpet)
Craig Harris (trombone)
John Purcell (alto sax)
Adegoke Steve Colson (piano)
Wilbur Morris (bass)
Ralph Peterson, Jr. (drums)

  1. Train Whistle
  2. Morning Song
  3. New Life
  4. Blues in the Pocket
Recorded October 8, 1985

"In the beginning. . ."

Any 'Pommies' for Lunch?

Buddy Rich “Rich in London” (1971, Mosaic 1009)

This is the last installment for my Buddy Rich albums - you all can now rest easy if you hated Rich, the torture is over. . .

Buddy Rich is “faster than a speeding bullet” and “able to leap tall buildings in a single bound” when he recorded live with a big band. This December 6-8, 1971 three night session at Ronnie Scott’s in London is no exception to my ‘Superman’ comparison. Some of Rich’s ‘super’ band members included Lynn Biviano (tp), Jimmy Mosher, Pat LaBarbara (ss/ts/fl) and Bob Dogan (p) support my claim that this session is no exception. John LaBarbara was responsible for the arrangements, believe me, they are excellent. Additional arrangements are by Don Piestrup, Herbie Phillips, Oliver Nelson (don’t miss his touch on # 7- Duke’s “In a Mellow Tone”), Mike Gibbs and Bill Holman.

This reissue contains four additional tracks to the original LP and contains classic numbers like “Two Bass Hit”, “Dancing Men” and “Little Train”. However, the set highlight for me is Holman’s classic, “Time Being” - a super-duper stretched-out explosive finale.

This reissue was originally issued as an RCA double LP in the UK, and seems to attract mixed reviews for track order changes and missing tracks. I leave the judgment up to you, but to me, this is classic Rich big band action ~ enjoy!

[orig. rip @ flac & scans]
01. Dancing Men
02. The Word
03. St. Mark’s Square (A Special Day)
04. That’s Enough
05. Little Train
06. Moment’s Notice
07. In a Mellow Tone
08. Milestones
09. Watson’s Walk
10. Two Bass Hit
11. Theme from “Love Story”
12. Time Being
13. Buddy Rich Speaks

Sunday, June 3, 2007

ECM/Hat Monday

Again, a bit of that ol' E-S-P-thingy goin' on around here because Rab beat me to posting, ah well - nothing like good taste, eh? ~ enjoy the deeply talented sax player, Joe McPhee!

Joe McPhee “Old Eyes & Mysteries” (1979, ) [vinyl rip @ 320 & scans]

Old Eyes (cuts 1-9) was recorded on May 30, 1979
Joe McPhee (as/ts), Andrew Jaume (baCla/ts), Jean-Charles Capon (cel), Raymond Boni (g), Steve Gnitka (g), Pierre-Yves Sorin (b), Milo Fine (p/d)
Mysteries (cuts 10-13) was recorded on January 9, 1990 in Switzerland
Joe McPhee (flghrn/pocket trumpet/ss), Urs Leimgruber (ss/ts), Fritz Hauser (p/d)

Colorado Jazz Party (1971) [LP > flac}

From the time of the first gathering, inaugurated in 1963 by former investment banker Dick Gibson and his wife Maddie, the legend of the Colorado Jazz Party grew. For 32 years Gibson would hire about 40 musicians to play for 300 to 500 invited guests over Labor Day weekend in a festival-like atmosphere. The party was initially held in Aspen and, later, Vail and Colorado Springs.

Much like Norman Granz would do with the JATP concerts, Gibson reserved for himself the privilege of programming the music and putting together the bands. Five separate sessions would comprise the three days of playing and the musicians were well compensated but treated not as hired entertainers, but as paid guests. From the moment they arrived in Denver and for the duration of the long weekend, they did not pay for a drink or a meal or even a taxi from and to the airport.

For the musicians it was a time of reunion and a chance to play with people they hadn't jammed with before or in a long while. Before and after the party there would be informal blowing sessions at Gibson's Denver home between and during the pool and ping-pong contests.

"It is surprising that the music on this double LP has not been reissued yet on CD for there are many exciting performances. Taken from Dick Gibson's 1971 Colorado Jazz Party, there are mini-sets from four separate groups. Trumpeters Clark Terry and Harry "Sweets" Edison lead a six-horn nonet (which includes Zoot Sims' tenor) for spirited versions of "On the Trail" and "The Hymn." Terry gets a chance to stretch out with tenor-saxophonist Flip Phillips in a quintet while a similar-sized group showcases the underrated trombonist Carl Fontana and James Moody on tenor. Finally there is a four-trombone septet (with Fontana, Kai Winding, Urbie Green and an effective Trummy Young) performing long versions of "Undecided" and "Lover, Come Back to Me." Fans of straightahead jazz who run across this two-fer will not need to be told twice to get it." - Scott Yanow

In his brief review, Yanow neglects to mention what I feel is the highlight of the entire LP: Carl Fontana's feature on "Emily". Composed by Johnny Mandel in 1964, this song had become a popular ballad with jazz musicians and both Bill Evans and Oscar Peterson recorded it in 1967. But Fontana's performance in 1971 was so strong that the song became synonymous with him much in the way Coleman Hawkins and "Body and Soul" were forever linked after his 1939 recording. I can never listen to anyone play "Emily" without thinking of Carl Fontana.

The Hymn - Volume 1

Clark Terry, Harry "Sweets" Edison (trumpet) Kai Winding, Urbie Green (trombone)
Zoot Sims (tenor sax) Budd Johnson (baritone and soprano sax)
Victor Feldman (piano) Lyn Christie (bass) Alan Dawson (drums)
  1. On the Trail
  2. The Hymn
Clark Terry (trumpet, flugelhorn) Flip Phillips (tenor sax)
Victor Feldman (piano) Lyn Christie (bass) Cliff Leeman (drums)
  1. Just Squeeze Me
  2. I'm Getting Sentimental Over You
  3. Georgia on My Mind
  4. Billie's Bounce
Oleo - Volume 2

Carl Fontana, Kai Winding, Urbie Green, Trummy Young (trombone)
Dick Hyman (piano) Lyn Christie (bass) Bobby Rosengarden (drums)
  1. Undecided
  2. Lover, Come Back to Me
Carl Fontana (trombone) James Moody (tenor sax on Oleo)
Ross Tompkins (piano) Larry Ridley (bass) Mousie Alexander (drums)
  1. Emily
  2. Oleo
Recorded at the Broadmoor Hotel, Colorado Springs on September 5 & 6, 1971

Dexter Gordon - Doin' Allright (1961) [flac]

The title of this Blue Note set, Doin' Allright, fit perfectly at the time, for tenor saxophonist Dexter Gordon was making the first of three successful comebacks. Largely neglected during the 1950s, Gordon's Blue Note recordings (of which this was the first) led to his rediscovery. The tenor is teamed with the young trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood for a strong set of music that is highlighted by "You've Changed" (which would become a permanent part of Gordon's repertoire), "Society Red" (a blues later used in the film Round Midnight), and "It's You or No One." - Scott Yanow

Dexter Gordon (tenor sax)
Freddie Hubbard (trumpet)
Horace Parlan (piano)
George Tucker (bass)
Al Harewood (drums)

  1. I Was Doing All Right
  2. You've Changed
  3. For Regulars Only
  4. For Regulars Only (alt. take)
  5. Society Red
  6. It's You or No One
  7. I Want More
Recorded May 6, 1961

Saturday, June 2, 2007

Les Double Six [flac]

This CD compiles the first two albums by vocalese pioneers Les Double Six: Meet Quincy Jones and Swingin' Singin'. What is vocalese you ask? Vocalese is a style of jazz singing wherein lyrics are written for melodies that were originally part of an all-instrumental composition or improvisation. Where scat singing uses improvised nonsense syllables in solos, vocalese uses lyrics, either improvised or set to pre-existing instrumental solos.

"Les Double Six of Paris was a French Lambert, Hendricks and Ross-times-two, and the striking-looking singer/lyricist Mimi Perrin was their Jon Hendricks. They had a thicker, more intricately arranged texture, impeccable diction, a fine sense of swing and great taste - and this generously loaded CD gives you a good idea of their range with three different lineups of singers. Included here are several transcriptions from the Quincy Jones and Count Basie big bands, the combos of Miles Davis, Gerry Mulligan, Shelly Manne, and others from both genres. There is one unreleased track, a literal, at-length transcription of "Walkin'" a la Quincy Jones. Perrin's interpretation of John Coltrane's "Naima" is a spine-tingler; it must have been tough to nail the intervals of that melody and capture its soul as well. Though he does not take any featured solos, Ward Swingle would soon become the best-known expatriate of the group, going on to form the popular Swingle Singers." - Richard S. Ginell

The 27-page booklet contains all of the lyrics to the songs and solos - in French. But one does not need to understand the language to enjoy these performances. Most of the words go by so quickly it sounds like they're scatting anyway (using French syllables of course!)

Mimi Perrin, Ward Swingle, Jean-Claude Briodin, Jacques Denjean, Christiane Legrand, Monique Aldebert, Louis Aldebert, Jean-Louis Conrozier, Roger Guerin, Claudine Barge, Eddy Louiss - vocals; Art Simons, Georges Arvanitas, Rene Urtreger - piano; Michel Gaudry, Pierre Michelot - bass; Daniel Humair, Christian Garros, Kenny Clarke - drums; Elek Bacsik, Paul Piguilhem - guitar; Jean-Pierre Drouet - bongos, Eddy Louiss - vibes

  1. For Lena and Lennie
  2. Rat Race
  3. Stockholm Sweetnin'
  4. Boo's Bloos
  5. Doodlin'
  6. Meet Benny Bailey
  7. Evening in Paris
  8. Count 'Em
  9. Tickle Toe
  10. Early Autumn
  11. Sweets
  12. Naima
  13. Westwood Walk
  14. A Night in Tunisia
  15. A Ballad
  16. Scrapple from the Apple
  17. Boplicity
  18. Moanin'
  19. Fascinating Rhythm
  20. Walkin'
Recorded in Paris between 1959 and 1962

Elvis Costello & the Attractions - Imperial Bedroom [Rhino Bonus Disc]

There has been a lot of talk this weekend about The Beatles' Sgt. Pepper album. Although I appreciate the work that went into it, it doesn't compare to a record like Revolver, which I like much better. Why am I talking about the Beatles? Good question. I've always felt like this was Elvis's "Sgt. Pepper", were he reached a creative studio peak and the finished record works on every single level. I often think that Armed Forces was his "Revolver". What do you think? Hardcore fans will covet the "bonus" disc that gives a glimpse of the creative process of an artist (non-jazz) at the top of his game!

Having gotten country out of his system with Almost Blue, Elvis Costello returned to pop music with Imperial Bedroom — and it was pop in the classic, Tin Pan Alley sense. Costello chose to hire Geoff Emerick, who engineered all of the Beatles' most ambitious records, to produce Imperial Bedroom, which indicates what it sounds like — it's traditional pop with a post-Sgt. Pepper production. Essentially, the songs on Imperial Bedroom are an extension of Costello's jazz and pop infatuations on Trust. Costello's music is complex and intricate, yet it flows so smoothly, it's easy to miss the bitter, brutal lyrics. The interweaving layers of "Beyond Belief" and the whirlwind intro are the most overtly dark sounds on the record, with most of the album given over to the orchestrated, melancholy torch songs and pop singles. Never once do Costello & the Attractions deliver a rock & roll song — the album is all about sonic detail, from the accordion on "The Long Honeymoon" to the lilting strings on "Town Cryer." Of course, the detail and the ornate arrangements immediately peg Imperial Bedroom as Costello's most ambitious album, but that doesn't mean it's his absolute masterpiece. Imperial Bedroom remains one of Costello's essential records because it is the culmination of his ambitions and desires — it's where he proves that he can play with the big boys, both as a songwriter and a record-maker. It may not have been a commercial blockbuster, but it certainly earned the respect of legions of musicians and critics who would have previously disdained such a punk rocker. And, perhaps, that's also the reason that he abandoned this immaculately crafted style of work on his next album, Punch the Clock. [An expanded edition of Imperial Bedroom adds 23 tracks of demos, alternate versions, and other rarities.]

Disc 1:
Disc 2:

Dizzy Gillespie 1945-1946 [ogg]

The music on this CD belongs to the period prior to the formation of Dizzy Gillespie's own big band. In 1945 and early 1946, he was still recording with various bands and other leaders, often in bizarre circumstances. Many of the resulting musical documents contain solos of the very highest quality by early be-boppers and swing stars with ears wide open to the new trends in jazz. - Anotol Schenker

Dizzy's own sessions for Guild, Dial and RCA Victor include an amazing array of up-and-coming stars of the day including Charlie Parker, Al Haig, Lucky Thompson, Ray Brown, Milt Jackson, Don Byas and Sarah Vaughan. Also included is a Black & White session with Wilbert Baranco and His Rhythm Bombadiers and four rare selections for Paramount with the Johnny Richards Orchestra that were withdrawn from the market before many people had a chance to hear them.

The Classics label was made for collectors like me. What you get are complete sessions in chronological order with clean transfers directly from the 78's, a complete discography including matrix numbers, and short but informative liner notes. The focus is on the music, not the production.

If you're interested in purchasing this CD, Amazon has one available at the "bargain" price of $80 US. And that's for a used copy. (I don't think I could ever pay that much for any CD)

Tracks and personnel in comments

Friday, June 1, 2007

Clark Terry - Having Fun (1990) [flac]

Sometimes after listening to some dark, brooding jazz or music complex and cerebral enough to make one's brain hurt, I need to put on something that is joyful and exuberant....warm and lyrical....something by Clark Terry.

Clark Terry is a true innovator with a sound and concept that is instantly recognized. Here's what some of his contemporaries have said about him:

“I had never heard a trumpet player in my life like Clark. I still haven’t.” – Quincy Jones

“… none of the prime authorities on the subject say, ‘Clark Terry did this sixteen years ago.’”
- Duke Ellington

“He’s (Clark Terry)…one of the best in the world at playing it, if not the best.” – Miles Davis

“My favorite trumpet player (Clark Terry).” – Louis Armstrong

The title of this CD definitely fits not only its music but Clark Terry's career. The colorful flugelhornist is teamed with Red Holloway doubling on tenor and alto, bassist Major Holley (who sings along with his bass in his solos), pianist John Campbell and drummer Lewis Nash. Since C.T., Holloway and Holley were all humorists, the music is not only swinging, but quite enthusiastic. With titles like "Mumbles," "Meet the Flintstones," "The Snapper" and "Mule's Soft Claw," the humor isn't unexpected. An excellent and consistently swinging date. - Scott Yanow

Amazingly, Clark Terry was 69 years young when this recording was made and shows no sign of slowing down at the age of 86.

Clark Terry (trumpet, flugelhorn, vocals)
Red Holloway (tenor and alto sax)
John Campbell (piano)
Major Holley (bass)
Lewis Nash (drums)
Bunky Green (alto sax on "Don't Blame Me")

  1. Mumbles
  2. Ask Me Now
  3. Meet the Flintstones
  4. The Nearness of You
  5. It Isn't Easy Being Green
  6. The Snapper
  7. Never
  8. Don't Blame Me
  9. Imagination
  10. Laura
  11. Mule's Soft Claw
  12. Tee Pee Time
Recorded April 11 & 12, 1990

Azteca - Pyramid of the Moon [LP > flac]

Azteca's second and final album for Columbia was released in 1973 and has never been issued on CD. Why only two albums from this 16-piece band formed by Coke Escovedo and featuring such stellar musicians as brother Pete, Lenny White, Tom Harrell, Mel Martin, Neal Schon, Paul Jackson and conguero Victor Pantoja?

Were they a latin-rock band ala Santana? A pop/r&b band ala Tower of Power? A latin/fusion band ala Airto Moreira & Flora Purim? Or maybe a latin jazz band ala Mongo Santamaria?

They were all of these and maybe that was the problem - not enough people could identify with such an eclectic group and the critics and dj's couldn't pigeonhole them into any one genre. Of course there might have been other reasons such as how to deal with the economics of taking a 16-piece band on the road. Or maybe a band with so many stars was just not destined to last long with everybody deciding to go their separate ways.

At any rate, we do have the two albums and I hope you enjoy them as much as I have.

Pete Escovedo, Errol Knowles, Wendy Haas, Rico Reyes(vocals)
Tom Harrell (trumpet)
Pat O'Hara (trombone)
Bob Ferreira (tenor sax, flute)
Mel Martin (tenor, baritone and soprano saxes, flute)
Bill Courtial, Neal Schon (guitar)
George Muribus, George DiQuattro, Mike Nock (keyboards)
Flip Nunez (organ)
Paul Jackson, Tom Rutley, Tony Juncale (bass)
Lenny White, John Brinck (drums)
Coke Escovedo (timbales)
Victor Pantoja (conga)

  1. Someday We'll Get By
  2. Mazatlan
  3. Find Love Today
  4. Whatcha Gonna Do
  5. New Day Is on the Rise
  6. Mexicana, Mexicana
  7. Red Onions
  8. Love Is a Stranger
  9. A Night in Nazca