Wednesday, March 31, 2010

Arve Henriksen & Ståle Storløkken 2004-12-03

Arve Henriksen & Ståle Storløkken
(dec 3rd, 2004)
"Norwegian Embassy Christmas Concert"
St.Martin-in-the-Fields church
London, UK

broadcasted by BBC

Programme and production for the Royal Norwegian Embassy.
Musical performance for the lighting of the tree in Trafalgar Square,
and Christmas concert at St.Martin-in-the–Fields.

1. (fm moderator intro) 0:23
2. In a silent way 38:04
3. (fm moderator outro) 0:15

Arve Henriksen - trumpet, voice, electronics
Ståle Storløkken  - organ, keyboards, electronics

cover artwork inside

more Henriksen at
scroll down to "Arve Henriksen"

come and contribute to

Tuesday, March 30, 2010

Diana Krall - Live In Paris

I guess she's not unfamiliar for all of you. But I have not seen anything of her (beautiful lady and talented pianist) here yet. I hope you enjoy this nice performance.

Recorded "live" at the Paris Olympia, Live in Paris offers listeners Diana Krall's understanding of the musical techniques of composition, piano, and vocal improvisation on 12 songs from the Great American Songbooks of Cole Porter,Harold Arlen, George and Ira Gershwin, and contemporary artists Joni Mitchell and Billy Joel. Accompanied by the award-winning Anthony Wilson on guitar, John Pisano on acoustic guitar, John Clayton on bass, Jeff Hamilton on drums, and
Paulinho Da Costa on percussion as well as the Orchestra Symphonies European on "Let's Fall in Love" and "I've Got You Under My Skin," the lovely vocalist heightens your listening pleasures with distinctive phrasings and tangible pathways to inside the creative imagination by getting inside harmony, the changes, and melodic structures. On Joel's "Just the Way You Are," Krall is accompanied by Christian McBride on bass, Michael Brecker on tenor saxophone, Lewis Nash on drums, and Wilson on guitar, among others. This song also resides on the soundtrack to the film The Guru and is probably one of the best ballads on the set due to the great solo from Brecker. His powerful but sensitive playing adds the ultimate expression and approach to the melody -- one with attitudinal preparation, which is always necessary for a song that has such familiarity and association with another musician. For those who may not have heard Krall perform "live", this recording will give you a firsthand account of the ambience and excitement of a musical evening with her. *Paula Edelstein*

01 - I Love Being Here With You
02 - Let's Fall in Love
03 - 'Deed I Do
04 - The Look of Love
05 - East of the Sun (And West of the Moon)
06 - I've Got You Under My Skin
07 - Devil May Care
08 - Maybe You'll Be There
09 - 'S Wonderful
10 - Fly Me to the Moon
11 - A Case of You
12 - Just the Way You Are

Diana Krall Piano, Vocals, Fender Rhodes
Rob Mounsey Keyboards
John Pisano Acoustic Guitar
Anthony Wilson Guitar
Michael Brecker Tenor Sax
John Clayton Bass
Christian McBride Bass
Paulinho Da Costa Percussion
Luis Quintero Percussion
Jeff Hamilton Drums
Lewis Nash Drums
Alan Broadbent Conductor, Music Direction

1 to 11: Recorded live at the Paris Olympia, November 29 and 30 and December 1 and 2, 2001
12: Recorded at Avatar Studio,New York

Monday, March 29, 2010

The Arbors All Stars - PIZZArelli Party (2009)

The cover photo shows Bucky Pizzarelli at the age of 11 with uncles Pete and Bobby Domenick, who taught Bucky and were big influences. "Hey Bucky, wanna swig?"

Sometimes, jazz just needs to be fun.

One of several projects for father and son guitarists Bucky Pizzarelli and John Pizzarelli, this effort lives up to its "party" title. It includes various sung and played show tunes, jams, and quite a few originals from the younger Pizzarelli in this famous jazz family. Martin Pizzarelli is added on bass, while vocalists John P., Rebecca Kilgore, and Jessica Molaskey convene for a three-generation front line that appears on select tracks. The potent front line is a dandy, with violinist Aaron Weinstein and tenor saxophonist Harry Allen providing the sweet harmonies and melodies, while pianist Larry Fuller adds more than ample support in the rhythm section with the guitarists. The clever songs that dominate this collection are, for the most, part endearing without being campy, while the high-level musicianship keeps things rollin' along from start to finish. Kilgore and Molaskey sing on two tunes, the cute "We Take on the Town" and the reflective standard "I Knew Him When," spanning the cunning to sad and lonely spectrum. When Weinstein and Allen play together, the result is pure attraction, whether during the easy blues "Strollin' Over to Nola," the hot and sweaty "Joe & Zoot," or the stomp down "Somebody Call Hanly," replete with hilarious "call for help" scat from John Pizzarelli. Both guitarists solo during the intro of "Sweet & Lovely" before Fuller takes over, evoking the title perfectly, while an upbeat jam on "I'll See You in My Dreams" has the band at full-bore open throttle, wittily quoting "After You've Gone." The lone feature for the elder Pizzarelli comes up on his original "Check Out This" in a daunting, easy as pie swing, while John Pizzarelli sings in his usual heartfelt, cool manner during "Under a Blanket of Blue." The recording succeeds on several levels because the program mixes up styles and soloists, with nobody really dominating, though the horns and especially the tasteful and complementary piano playing of Fuller deserve a closer listen. It's good to hear John Pizzarelli contributing new material aside from singing pop-jazz standards, and his dad is in good company with like-minded musicians from younger generations. The Pizzarelli Party is one with an extended invitation to all, and comes easily recommended. - Michael G. Nastos

Bucky Pizzarelli, John Pizzarelli (guitar)
Harry Allen (tenor sax)
Aaron Weinstein (violin)
Larry Fuller (piano)
Martin Pizzarelli (bass)
Tony Tedesco (drums)
John Pizzarelli, Rebecca Kilgore, Jessica Molaskey (vocals)
  1. We Take on the Town
  2. Strollin' Over to Nola (Gonna Play Some Blues)
  3. Oh, Lady Be Good!
  4. Wrap Your Troubles in Dreams
  5. Sweet and Lovely
  6. Joe and Zoot!
  7. I'm Making Believe
  8. You Be the Judge
  9. Somebody Call Hanly!
  10. Under a Blanket of Blue
  11. Check Out This Out
  12. I Knew Him When
  13. I'll See You in My Dreams
Recorded January 28-29, 2009 at Nola Studios, NYC

Sunday, March 28, 2010

BN LP 5048 | Gigi Gryce/Clifford Brown Sextet

This is again a Vogue session - recorded during the same Lionel Hampton Big Band European Tour of 1953. Licensed by Blue Note for release in the US. In fact from jazzdisco, it would seem licensed by many!

* Gigi Gryce/Clifford Brown/Art Farmer - The Many Faces Of Jazz, Vol. 8 (Mode (F) CMDINT 9560)
* Clifford Brown - The Complete Paris Collection, Vol. 3: Jazz Legacy 52 (Jazz Legacy (F) 500102)
* The Clifford Brown Big Band In Paris (Prestige PR 7840; Fantasy OJC 359, OJCCD 359-2)
* Clifford Brown In Paris (Prestige PR 24020)
* Gigi Gryce And His Orchestra Featuring Clifford Brown - Jazz Time Paris, Vol. 10 (Vogue (F) LD 173)
= Gigi Gryce/Clifford Brown - Gigi Gryce And His Big Band, Vol. 1 (Blue Note BLP 5049)

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

Bill Carrothers / After Hours (1999)

"[On After Hours]...The tempos are sometimes painfully slow. On sad songs of lost love, like "In the Wee Small Hours", "It's So Easy To Remember", and "Young and Foolish", the dirge-like tempos and wistful meanderings of the melody seem intensely melancholic, even suicidal. Indeed, the overwhelming despair of "Chelsea Bridge" is enough to precipitate a leap into the nearest river. Perhaps that's what makes Carrothers' playing so enthralling - his interpretations reveal the immense sadness at life's core."

Tom Ineck, Berman Music Foundation

Bill Carrothers (p)
Billy Peterson (b)
Kenny Horst (d)


1. In the Wee Small Hours of the Morning
2. On Green Dolphin St.
3. On Green Dolphin St.
4. For Heaven's Sake
5. Chelsea Bridge
6. It's Easy to Remember
7. My Heart Belongs to Daddy
8. Lost in the Stars
9. A Flower Is a Lovesome Thing
10. P.S. I Love You
11. Young and Foolish
12. For All We Know

L. Shankar - Raga Aberi

Ok. I'll concede that it may be a stretch to call this 'jazz' but it certainly is a great album of improvisational awesomeness...

Some may be familiar with L Shankar only through his work in the band Shakti which he founded in 1975 with John McLaughlin. After Shakti disbanded, Shankar embarked on a prolific solo career and continued to create albums of genre blending music. His catalog also includes albums of his own compositions inspired by traditional carnation music and recordings with dozens of rock/jazz/pop musicians including Frank Zappa, Bill Laswell, Peter Gabriel, the ECM crew, and many (many) others.

Raga Aberi is a fantastic showcase for Shankar's playing and my favorite of his solo albums. The custom-made 10 string electric violin provides him an orchestra-wide range of notes and a great liberty of improvisational expression and his interplay with the two percussionists is consistently exciting and fascinating.

AllMusic bio

Wikipedia bio
Wikipedia discography

Raga Aberi
This Recording of South Indian classical music features three of India's most exciting performers, each of whom was a member of the group Shakti. Raga Aberi is Shankar's original composition and is played as one continuous piece in a tala of 4 3/4 beats (4 kala pallavi). It features 10 string electric violin, tabla drums, ghatam (clay pot) and tamoura.

Shankar, 10 string double violin
Zakir Hussain, tabla
Vikku Vinayakram, ghatam
Caroline, tamboura

Horace Parlan & Doug Raney - Hi-Fly (1978)

I find there's something special to a drummer-less setting, it makes for a different jazz experience.
The original LP only included the first six tracks here:

1. Hi-Fly
2. 'Round About Midnight
3. Once I Loved
4. Darn That Dream
5. Who Cares?
6. West Coast Blues
7. Hi-Fly - (previously unreleased, alternate take)
8. 'Round About Midnight - (previously unreleased, alternate take)
9. Once I Loved - (previously unreleased, alternate take)
10. Darn That Dream - (previously unreleased, alternate take)
11. Who Cares? - (previously unreleased, alternate take)
12. West Coast Blues - (previously unreleased, alternate take)

This Horace Parlan session is a bit different from most of his albums for Steeplechase. First, he utilizes a drummerless trio with guitarist Doug Raney and bassist Wilbur Little. Second, it was recorded initially via direct-to-disc, which meant no editing was possible and an entire album side had to be recorded in one take without stopping. The short-lived revival of this process produced albums of exquisite sound, but they had to be limited edition due to the limited wear the few disc masters could endure in the manufacturing process. Fortunately, the masters were either in great condition or the session was also taped on reels as well, because the identical six songs (played in the same order) are heard in alternate versions on this expanded CD reissue. The ease with which Parlan and Raney handle "Hi-Fly" over Little's walking bass is the mark of masters, while the bittersweet air of the bossa nova "Once I Loved" is carried by the guitarist. The alternate takes are just as viable as the masters, so it must have been difficult for producer Nils Winther to choose between them when the original LP was being prepared. ~ Ken Dryden, All Music Guide

Saturday, March 27, 2010

Max Roach and Stan Levey - Drummin' The Blues (TOCJ)

Two drummers who mutually admired each other, and who came up through the ranks together: " ... Max was with Diz at the Onyx and Stan was across the street at the Spotlight with Bird when the modern period of jazz was officially born."

This edition ... features eight tracks from drum masters Max Roach and Stan Levey recast in pristine 24-bit digitally remastered sound from Ron McMaster. The disc comes packaged in a limited edition miniature LP-style slipcase.

Max Roach (drums)
Stan Levey (drums)
Conte Candoli (trumpet)
Bob Cooper (tenor sax)
Bill Perkins (tenor sax)
Frank Rosolino (trombone)
Dick Shreve (piano)
Howard Rumsey (bass)

1. Facts About Max
2. Milano Blues
3. Swingin' The Blues
4. Breadline Blues
5. Bye Bye Blues
6. Blues In The Night
7. Royal Garden Blues
8. Count's Blues

Willie 'The Lion' Smith - 1925-1937 (Chronological 662)

Willie "The Lion" Smith, one of stride piano's Big Three of the 1920s (along with James P. Johnson and Fats Waller), recorded a lot less than his two friends. In fact, with the exception of two selections apiece with the Gulf Coast Seven in 1925 (which features trombonist Jimmy Harrison and clarinetist Buster Bailey) and 1927's Georgia Strutters (starring singer Perry Bradford, Harrison, and cornetist Jabbo Smith), along with the rare and originally unreleased 1934 solo piano showcase "Finger Buster," this CD does not get started until 1935. Smith's Decca recordings of 1935 and 1937 were formerly quite obscure, showcasing his piano with three different versions of "His Cubs." The Lion is heard with a Clarence Williams-type quartet which includes cornetist Ed Allen and clarinetist Cecil Scott, matched up with trumpeter Dave Nelson and clarinetist Buster Bailey in a septet; and temporarily heading an early version of the John Kirby Sextet on a session dominated by drummer O'Neil Spencer's vocals. Highlights of this historic and enjoyable CD include "Santa Claus Blues," "Keep Your Temper," "Blues, Why Don't You Let Me Alone," and the earliest recording of the Lion's most famous composition, "Echo of Spring." ~ Scott Yanow

Willie "The Lion" Smith (piano)
Jabbo Smith (cornet)
Buster Bailey (clarinet)
Frankie Newton (trumpet)
Edgar Sampson (violin, alto sax)
John Kirby (bass)

1. Santa Claus Blues
2. Keep Your Temper
3. Rock, Jenny, Rock
4. It's Right Here For You
5. Finger Buster
6. There's Gonna Be The Devil To Pay
7. Streamline Gal
8. What Can I Do With A Foolish Little Girl Like You?
9. Harlem Joys
10. Echo Of Spring
11. Breeze (Blow My Baby Back To Me)
12. Swing, Brother, Swing
13. Sittin' At The Table
14. The Swampland Is Calling Me
15. More Than That
16. I'm All Out Of Breath
17. I Can See You All Over The Place
18. Get Acquainted With Yourself
19. Knock Wood
20. Peace, Brother, Peace
21. The Old Stomping-Ground
22. Blues, Why Don't You Let Me Alone
23. I've Got To Think It Over


Palatino Chapter 3 [2001 Emarcy]

All four members of the collective calling itself Palatino have often carved out niches that place them just outside popular currents, and this one is no exception. There is a gentle though propulsive quality to the pianoless quartet that relies on the unusual instrumentation of trombone, trumpet, bass, and drums. All the tunes are originals by each of these seasoned bandmembers, except Tadd Dameron's "On a Misty Night." This is the sort of fare that grows on you, the kind that requires close attention to appreciate its nuances. The short lengths of the tunes prevent any meandering, though there is a sameness to some of the pieces as a result of the limited instrumentation. The two horns, trombonist Glenn Ferris and trumpeter Paolo Fresu, are stylistically similar, each offering understated and clearly articulated improvisations — clean, sparse, and economical. A good example of how good they can sound together comes on Ferris' "Sud-Ouest Jump," taken at a brisk clip with the horns soloing together intimately and intricately, the harmonies tight and crisp. Another winner is Romano's "Sapore di Si Minore" with its nostalgic laid-back ambience, 1950s-like solo from Fresu, and a beautiful muted contribution from the trombonist. Throughout, Romano carefully navigates, never letting the core explode and keeping the focus on an easy delicacy. Bassist Michel Benita plays an important part harmonically, and his short "Juke" gives Romano some breathing space, which complements his solo feature on his own "Drum Strum." The Dameron piece, which closes the album, features some particularly inspired work from Ferris.

1.Tempjte `Florence
2.Sud-Ouest Jump
3.Sapore di Si Minore
4.La Sevigliana
5.Soleil ` Gjnes
6.Into Somewhere
7.City Boy
8.Drum Strum
11.Arte Povera
13.In My Dream
15.In a Misty Night

First Album [1996 Label Bleu]

1 Dawn 5:32
2 Aleas 3:49
3 Calabrian Nights 7:15
4 Variazione Tre 5:45
5 Animal Love 7:07
6 Interlude 3:37
7 Trunca E Peltunta 4:41
8 Glenn's Walk 5:00
9 20 Small Cigars 4:16
10 Lulu Is Back in Town 5:17

Paolo Fresu trumpet
Glenn Ferris trombone
Michel Benita bass
Aldo Romano drums

Mingus At UCLA 1-2. 1965

Jimmy Owens: flugelhorn/trumpet; 
Lonnie Hillyer: trumpet; 
Hobart Dotson: trumpet; 
Charles McPherson: alto saxophone; 
Julius Watkins: French horn; 
Howard Johnson: tuba; 
Charles Mingus: bass/piano; 
Dannie Richmond: drums.

Sunnyside Records 2006

Opening Speech; 
Meditation On Inner Peace;
Meditation On Inner Peace; 
Once Upon A Time There Was A Holding Corporation Called America;
 Lecture To Band; 
Once Upon A Time There Was A Holding Corporation Called America; 
Ode To Bird And Dizzy; 
They Trespass The Land Of The Sacred Sioux; 
The Arts Of Tatum And Freddy Webster; 
Once Upon A Time There Was A Holding Corporation Called America;
Muskrat Ramble; 
 Don't Be Afraid, The Clown's Afraid Too; 
Don't Let It Happen Here.

The appropriately unwieldy full title of this fascinating but rough and far from ready document, Music Written for Monterey, 1965 Not Heard... Played in its Entirety, at UCLA, refers back to Charles Mingus being given only 30 minutes at the Monterey festival to showcase his brassy new octet and new compositions. Not to be denied, the legendary bassist and composer recorded a subsequent performance at UCLA by the same band (including tuba and French horn players, three trumpeters including the remarkable, infrequently heard Sun Ra veteran Hobart Dotson and alto saxophonist Charles McPherson) and put it out as a double album himself--or sort of put it out. Only about 200 copies saw the light of mail-order-only release. In 1984, it received a more respectable but still limited vinyl release. Now, issued as a two-disc set on the imprint of his widow, Sue Mingus, it's back in all its ragged glory for all to hear, complete with false starts and utterances and asides by the leader. The music ranges from epic spiritual meditations to angular bebop treatments, touched by politics and the spirit of free jazz (at times, McPherson's sound reflects "new thing" master Ornette Coleman's). With Mingus struggling to keep everyone on the same page, if not the same stage--at one point, he orders the brass players off to rehearse--the music struggles for momentum. But when it sticks, grounded by his magnetic, reverberent bass, its blend of earthiness, tunefulness, and elliptical power is the stuff of genius. --Lloyd Sachs

Thursday, March 25, 2010

Joe Albany - 1977 The Legendary Joe Albany. Live In Paris

This live recording from Paris ("the grooviest city in the world" according to Dad) is really beautiful - I think even he would have liked it. The tunes here are some of his favourites: 'Round Midnight; Lush Life, which he sings; and his own composition, Birdtown Blues, absolutely shine.
I leave you with some of "The Legendary" Joe Albany's own wisdom: "Live, love and roll with the punches".
Amy-Jo Albany (Joe Albany's daughter)

The first six songs are solos (with vocals by Albany on 'Lush Life' and 'Christmas Song') and the other five, trio sides with Alby Cullaz on bass and Aldo Romano on drums. Recorded live in Paris.

01 Jerome Kern Medley (Yesterdays, Smoke Gets In Your Eyes, All The Things You Are) 7:51
02 Lush Life 4:14
03 Lotus Blossom 2:41
04 'Round Midnight 4:29
05 Christmas Song 1:35
06 Isn't It Romantic/Time on My Hands 4:33
07 A.B. Blues 6:01
08 Birdtown Blues 5:41
09 A Night in Tunisia 4:33
10 The Is No Greater Love 5:54
11 Barbados 5:48

Joe Albany (piano, vocals on tracks 2 & 5)
Alby Cullaz (bass)
Aldo Romano (drums)

Recorded live at the Riverbop Club in Paris in 1977

Joe Albany was considered something of a legend in modern jazz and one of the first important bebop pianists. As with many others, critics never acknowledged his talents in the beginning of his career. Rumored to have been Charlie Parker's favorite pianist, Joe Albany was renowned in his time. After a lengthy seclusion from the scene, he resurfaced in the 70s just in time to leave some lasting recordings.
Albany worked in the '40s with Benny Carter, and Stan Getz. His first recording session was with Georgie Auld's big band in '45 on the sessions for “Honey,” and “Stompin' At The Savoy.” His records with Lester Young in '46 in Los Angeles revealed both in comping and solos that he was well ahead of the field.
In a rare live broadcast from the Finale Club in 1946, Albany is an aggressive participant, his choruses fully a match for Charlie Parker's, raising memories of the creative dueling of Louis Armstrong and Earl Hines. This period established his reputation, but Albany was potentially a giant who got lost, perhaps because of drugs; in the late '40s.
There is not much information on him until his first recording as a co-leader doing a quartet set “The Right Combination,” recorded in 1957 with Warne Marsh; this is his most popular release. He wrote songs recorded by Anita O'Day, and worked with Charles Mingus in New York in '63.
Albany again slipped into a period of seclusion, not heard from until 1971when he did “Joe Albany At Home,” followed by “Proto-Bopper” in ’72. He led a trio set in 1973’s “Birdtown Birds,” and Birdtown Blues,” following with “Two's Company,” with bassist Niels-Henning Orsted Pederson, for Steeplechase, in Copenhagen '74.
Albany’s solo sets included a date from Milan, Italy; “This Is For My Friends,” (’74) “Plays George Gershwin” and “Bruce Lane,” made in Paris.(’76) “The Albany Touch,” ('77) on Seabreeze, was recorded in California. There was a duo “Joe + Joe,” ('74) done in Rome with Joe Venuti.
He went back to leading a trio that also included bassist Art Davis and drummer Roy Haynes, on “Bird Lives!” from a New York date in '79. “Portrait Of An Artist,” from '81 on Elektra finds Joe teamed with George Duvivier, Charlie Persip, and Al Gofa on guitar. This would be his last recording.
Joe Albany led a shadowy existence in the annals of jazz piano, and to this day seems to be largely forgotten, if acknowledged at all. His lifelong battles with personal demons and decades of struggle were described in the excellent 1980 documentary ‘Joe Albany...a Jazz Life,’ and his daughter Amy wrote a revealing autobiography in which she describes her fathers downward spirals and tribulations. But in the context of his contribution to jazz music Joe Albany was around during the formative days of bebop and left us a recorded legacy, maybe scattered, yet relevant to the man as a whole
All About Jazz

Wednesday, March 24, 2010

Don Ellis - Autumn (1968)

Don Ellis' Orchestra is heard at the peak of its powers on this Columbia LP. "Pussy Wiggle Stomp," a variation on "My dad's better than your dad" but performed in 7/4 time, became the band's theme song, and it has its riotous moments. The 19-and-a-half minute, six-part "Variations for Trumpet" is a major showcase for Ellis, "Scratt and Fluggs" is a brief bit of silliness, and the relatively straightforward "K.C. Blues" features altoist Frank Strozier, John Klemmer on tenor, and keyboardist Pete Robinson. However it is the 17-and-a-half minute "Indian Lady" (a live remake) that really finds the band going crazy. Ellis, trombonist Glen Ferris, and keyboardist Robinson play humorous solos before tenors John Klemmer and Sam Falzone engage in a long and nutty tradeoff that is often quite hilarious. The many false endings at the end of this performance add to the general atmosphere. This is a classic release. - Scott Yanow

Don Ellis, Glenn Stuart, Stu Blumberg, John Rosenberg, Bob Harmon (trumpet)
Glenn Ferris, Ernie Carlson, Don Switzer, Terry Woodson (trombone)
Roger Bobo, Doug Bixby (tuba)
Frank Strozier, Ira Schulman, Ron Starr, John Klemmer, Sam Falzone, John Magruder (reeds)
Pete Robinson, Mike Lang (keyboards)
Ray Neapolitan, Dave Parlato (bass)
Ralph Humphrey (drums)
Lee Pastora, Gene Strimling, Mark Stevens (percussion)
  1. Variations for Trumpet
  2. Scratt and Fluggs
  3. Pussy Wiggle Stomp
  4. K.C. Blues
  5. Child of Ecstasy
  6. Indian Lady

The Christian Jacob Trio / Contradictions (2006)

A Look at the Music of Michel Petrucciani

The Christian Jacob Trio plays a well-conceived and brilliantly executed -- and long overdue by the jazz community -- to the tunes of the late composer and pianist Michel Petrucciani. Jacob is accompanied by bassist Trey Henry and drummer Ray Brinker on this very spirited and swinging program that compiles 11 Petrucciani tunes including the challenging "Brazilian Suite," and its sequel "Brazilian Suite, No. 2," "Memories of Paris," the playful "Even Mice Dance," and the furiously tempoed "My Bebop Tune." Highly recommended.

Thom Jurek

Christian Jacob (p)
Trey Henry (b)
Ray Brinker (d)


1. Looking Up
2. Even Mice Dance
3. Dumb Breaks
4. Colors
5. Brazilian Suite
6. Contradictions
7. Rachid
8. 13th Petrucciani
9. Memories of Paris
10. Brazilian Suite, No. 2
11. My Bebop Tune

Classic Jazz Piano Styles - 1929-41

01 - Freakish (Jelly Roll Morton)
02 - Fat Frances (Jelly Roll Morton)
03 - Pep (Jelly Roll Morton)
04 - Handful of Keys (Fats Waller)
05 - E-Flat Blues (Fats Waller)
06 - Tea for Two (Fats Waller)
07 - Russian Fantasy (Fats Waller)
08 - Rosetta (Earl Hines)
09 - Body and Soul (Earl Hines)
10 - On the Sunny Side of the Street (Earl Hines)
11 - My Melancholy Baby (Earl Hines)
12 - Yancey Stomp (Jimmy Yancey)
13 - State Street Special (Jimmy Yancey)
14 - Boogie Woogie Man (Pete Johnson & Albert Ammons)
15 - Cuttin' the Boogie (Pete Johnson & Albert Ammons)

 RCA Victor LPV-543 1967

Sampling of six of the all-time great jazz pianists (recorded between 1929 and 1941). This showcase of style is a must for any jazz lover. Selections include 16 solos with Albert Ammons, Earl Hines ("Rosetta"), Pete Johnson, Jelly Roll Morton, Fats Waller ("Freakish E-Flat Blues"), Jimmy Yancey ("Yancey Stomp") ...

Tuesday, March 23, 2010

Mosaic Selects #19 The Pacific Jazz Piano Trios

Text from announcing this set:
"I think you will find it advantageous to give these performances repeated listening. His facile imagination demands close attention. Dick Twardzik said of his own playing: 'Development is not my primary consideration. The ability to project ever-changing emotions or moods, plus rhythmic freedom, is far more important to me.'” Russ Freeman, 1956, original liner notes
This set reinstates a number of important piano recordings made for Pacific Jazz (and in the case of Jimmy Rowles Liberty). Russ Freeman and Rowles were seminal to so much of the important music that emanated from Los Angeles in the '50s and '60s that their achievements would be far too many to list here. Freeman's hard swinging style is featured on 14 tracks made between 1952 and '57. Rowles, an encyclopedic piano maestro, is represented by his rare Liberty album Rare - But Well Done and two Pacific Jazz tracks, made the end of sessions by others.
Richard Twardzik was a startlingly original pianist/composer on the Boston scene in the early '50s. Russ Freeman heard him there and convinced Pacific Jazz to record him. Ironically when he died of an overdose in Paris on October 21, 1955, he was Russ's replacement in the Chet Baker quartet. These seven trio selections represent the only music he recorded professionally as a leader.
Clare Fischer, the only living pianist represented on this set, is best known for his brilliant writing. His abilities as a commanding, inventive jazz pianist have taken a back seat to other achievements. His first two albums, included here, are marvelous trio sessions that feature three of the greatest bassists on the LA scene at the time: Gary Peacock, Ralph Pena and Albert Stinson. Clare consented to the release of three unreleased tunes from these sessions.

Darius Milhaud - La Création Du Monde

Are two French provocative artistic conceptions of the birth of the world.
One is to watch: L’Origine du Monde, an oil on canvas painted by Gustave Courbet in 1866 but had to wait until 1988 to be exhibited due to the censorship. The painting was also included in the exhibition Gustave Courbet at the Metropolitan Museum of Art in 2008.

The other is to ear:

Darius Milhaud - La Création Du Monde

Although Darius Milhaud’s listed compositions number 443, his reputation rests largely on a series of imaginative works written at the end of World War I and during the early 1920s. Le Boeuf sur le toit, a work of unusual melodic and rhythmic appeal and Latin-American overtones, was originally composed as background music for a silent film. The ballet L’Homme et son désir, for four wordless singers, solo wind, strings, and a vast percussion section, was seen for a time as the composer’s most radical and influential work. Scored for alto saxophone and 17 players, the jazzy ballet La Création du monde, was inspired by an American big-band and has long been the composer’s most played work.

*La Creation du monde, Op. 81
*Le Boeuf sur le toit, Op. 58
*Suite Provençale, Op. 152b
*L’Homme et son desir, Op. 48

Lille National Orchestra
Casadesus, Jean-Claude, Conductor

Charlie Shavers & Ray Bryant Quartet - Complete Recordings (3 CDs) (Flac-Complete Covers except CD Label)

Now the third and last album from this set. Notice that the blurred image on the cover is not from any scanning. It's from the original albums.

Review by Scott Yanow

Charlie Shavers was one of the greatest jazz trumpeters of all time. He had brilliant technique, a very wide range, his own sound, a witty and swinging style, and gave the impression that he could play anything. Over five CDs, the Lone Hill label has reissued most of Shavers' recordings as a leader from 1954-1964, just skipping an album for Capitol, live sets put out by Hep and Spotlight, a Storyville date and two albums released by Vogue. Complete Recordings, Vol. 1
is a perfect place to start, because this CD reissues a set of French-associated songs (from the album Charlie Digs Paree), an exciting and successful program of Dixieland tunes (from Charlie Digs Dixie) and four numbers from the trumpeter's At Le Crazy Horse Saloon, an album whose contents are split between three CDs in this series. Shavers is heard throughout as the only horn in a quartet, with pianist Ray Bryant on all but the Crazy Horse selections. Sometimes the rhythm section provides a shuffle rhythm (à la Jonah Jones) while at other times they swing conventionally. It is particularly fun to hear the trumpeter tear into the Dixieland repertoire. Shavers is the star throughout and was at the peak of his remarkable powers
during this period. It is a pity that he is largely forgotten today, for he was a truly remarkable player.
Most of Charlie Shavers' recordings from the 1954-1964 period have been reissued on five single CDs by the Lone Hill Jazz label.
The virtuoso trumpeter was at the peak of his powers during this period but his recordings were made for small labels and he was greatly overshadowed by quite a few other brassmen. Complete Recordings, Vol. 2 has the complete contents of the LPs Memorial and
Here Comes Charlie, plus three numbers from his Charlie Shavers at Le Crazy Horse Saloon album. The focus is almost entirely on Shavers' horn, for he is in the spotlight throughout while backed by pianist Ray Bryant (who is very much in a supportive role), bassist Aaron Bell, and drummer Roy Burns. Shavers takes quite a few spectacular solos and, although the performances are mostly very concise (nearly all of the selections are under three-minutes long), the trumpeter makes every note count during the consistently exciting program.


Disc 1

1-C'est Si Bon (It's So Good) (Betti, Hornez, Sellen 2:04)
2- Domino (Ferrad, Plante, Raye 2:29)
3-Mam'selle (Ferrad, Plante, Raye 2:190
4-The Last Time I Saw Paris (Hammerstein, Kern 2:36)
5-Pigalle (Hammerstein ll, Kern 1:54)
6-Song From"Moulin Rouge" (Where Is Your Heart) (Auric, Engvick 2:29)
7-Darling, Je Vous Aime Beaucoup (Sosenko 2:06)
8- Petite Fleur (Bechet 2:54)
9-My Man (Mon Homme) (Charles, Pollack, Willemetz ... 2:21)
10-I Kiss Your Hand, Madame (Irwin, Lewis, Rotter, Young 3:24)
11-Comme Çi, Comme Ça (Coquatrix, Dudan, Kramer ... 2:27)
12-I Love Paris (Porter 3:21)
13-Alexander's Ragtime Band (Berlin 1:57)
14- Basin Street Blues (Williams, Williams 3:20)
15-Jazz Me Blues (Delaney 3:31)
16-Beale Street Blues (Handy 3:06)
17-If I Could Be With You (One Hour Tonight) (Creamer, Johnson 2:41)
18-Royal Garden Blues (Williams, Williams 3:03)
19-At the Jazz Band Ball (LaRocca, Mercer, Shields 2:26)
20-Muskrat Ramble (Gilbert, Ory 2:42)
21-Margie (Conrad, Davis, Robinson 2:27)
22- St. Louis Blues (Handy 2:38)
23-Daddy's Got the Gleeks (Shavers 3:16)
24-When the Saints Go Marching In (Traditional 2:59)
25-One O'Clock Jump (Basie 2:35)
26-Man With a Horn (DeLange, Jenney, Lake 2:39)
27-You Came a Long Way From St. Louis (Brooks, Russell 2:27)
28-Back Home Again in Indiana (Hanley, McDonald 1:52)

Disc 2

1-Girl of My Dreams (Clapp 2:31)
2-September in the Rain (Dubin, Warren 2:32)
3-What Can I Say After I Say I'm Sorry (Donaldson, Lyman 2:40)
4-Lover (Hart, Rodgers 2:27)
5-I'll Get By (Ahlert, Turk 2:15)
6-Out of Nowhere (Green, Heyman 2:45)
7-Dream (Mercer 2:38)
8-Bye Bye Blackbird (Dixon, Henderson 2:34)
9-Pennies From Heaven (Burke, Johnson 2:48)
10-Frenesi (Dominguez 2:18)
11- Green Eyes (Menendez, Rivera, Utera, Woods 2:34)
12-Let's Fall in Love (Arlen, Koehler 3:00)
13-All of Me (Marks, Simmons 2:21)
14-Makin' Whoopee (Donaldson, Kahn 2:57)
15-Russian Lullaby (Berlin 3:18)
16- Taboo (Lecuona, Margarita 2:57)
17-You've Changed (Carey, Fisher 4:09)
18-It's All Right With Me (Porter 3:21)
19-Loch Lomond (Traditional 2:34)
20-I Want a Little Girl (Mencher, Moll 2:33)
21-What Is This Thing Called Love? (Porter 2:39)
22-On the Alamo (Jones, Kahn 3:10)
23-Undecided (Shavers 3:15)
24-All of You (Porter 3:08)
25-Please Don't Talk About Me When I'm Gone (Clare, Step 3:00)
26-I've Got the World on a String (Arlen, Koehler 2:26)
27-Is You Is or Is You Ain't My Baby (Austin, Jordan 2:29)

Disc 3

1- The Best Things in Life Are Free (Brown, DeSylva, Henderson 2:39)
2-Taking a Chance on Love (Duke, LaTouche 3:00)
3-In a Little Spanish Town (Lewis, Young 2:25)
4-You're My Everything (Dixon, Warren, Young 3:01)
5-My Old Kentucky Home (Traditional 2:45)
6-Carioca (Eliscu, Kahn, Youmans 2:30)
7-In the Still of the Night (Porter 2:20)
8-Soon (Hart, Rodgers 2:35)
9-I'm a Fool to Love You (Herron, Sinatra, Wolf 3:26)
10-Blues for Choo Loos (Shavers 2:50)
11-I'm Forever Blowing Bubbles (Kellette, Kenbrovin 2:48)
12-Don't Be Late (Shavers 2:43)
13-It Might as Well Be Spring (Hammerstein, Rodgers 3:24)
14-Jada (Carleton 2:37)
15-But Beautiful (Burke, VanHeusen 2:57)
16-Fly Me to the Moon (Howard 2:35)
17-It Don't Mean a Thing (If It Ain't Got That Swing) (Ellington, Mills 1:59)
18- Period of Adjustment (Shavers 2:35)
19-Bossa Nova Petite (Shavers 2:10)
20-I Kid You Not (Shavers 1:38)
21-Porgy (Fields, McHugh 3:15)
22- Undecided (Shavers 2:50)
23-Opus 5 (Traditional 2:17)
24-A Night in Tunisia (Gillespie, Hendricks 2:55)
25-Shiny Stockings (Foster 2:29)
26-Minor Blues (Shavers 2:42)
27-Tenderly (Gross, Lawrence 2:31)
28-School Days (Cobb, Edwards 1:53)
29-Big Time Blues (Shavers 1:55)

Don Ellis Orchestra - Live In 3 and 2/3/4 Time

The Don Ellis Orchestra really came into its own during the period covered by this CD (1966-1967), playing perfectly coherent solos in ridiculous time signatures. At the time, the band consisted of five trumpets, three trombones, five reeds, piano, three basses, two drummers, and three percussionists. "Barnum's Revenge" has the ensemble playing a satirical brand of Dixieland in 5/4, "Orientation" goes back and forth between 7/8 and 9/8, and "Upstart" is in 11/8 (three and two-thirds beats to the measure!). Somehow everything swings with Ellis, Ira Schulman (on tenor and clarinet), Dave Mackay (on piano), and Tom Scott (on saxello) being the main soloists. In addition to the original six selections (recorded at the Pacific Jazz Festival in 1966 and at Shelly's Manne-Hole in 1967), there are five additional cuts, including an alternate version of "Freedom Jazz Dance." Fun music. ~Scott Yanow

1. Orientation

2. Angel Eyes

3. Freedom Jazz Dance

4. Barnum’s Revenge

5. Upstart

6. Thetis

7. Bossa Nueva Nova

8. Opus Five

9. Seven Up

10. Johnny One Note

11. Freedom Jazz Dance (alternate take)

Recorded on October 10, 1966, and March 27, 1967

VIDEO: Brad Mehldau

Brad Mehldau
Solos - The Jazz Sessions
A film from the series by Daniel K. Berman

Nice music, thoughtful commentary, an outstanding show. A high quality DivX captured from satellite TV.

Clifford Jordan - Royal Ballads

I think this is one of the best records by saxophone giant Clifford Jordan. I hope it will be new to some of you.

Clifford Jordan was still an important tenor saxophonist during the years prior to his death in 1993, though his final recording for Criss Cross is one of his lesser known dates. With pianist Kevin O'Connell, bassist Ed Howard and Ahmad Jamal's former drummer Vernell Fournier, Jordan's performances are all top-shelf quality throughout this 1986 session. In addition to a swinging waltz treatment of Billy Strayhorn's "Lush Life" and a gorgeous rendition of the standard "Little Girl Blue," he explores the music of Duke Ellington and Thelonious Monk with equally strong results. The leader's sole original is "Royal Blue," which has a tense, somewhat menacing introduction, then lightens up into a more familiar closing-hour blues setting as Jordan finally makes his entrance. The drummer contributed the easygoing Latin tune "Armando." Any fan of Clifford Jordan will want to seek out this release. ~ Ken Dryden, All Music Guide

The Swinging Mr Rogers 1955

01 Isn't It Romantic
02 Trickley Didlier
03 Oh Play That Thing
04 Not Really the Blues
05 Martians Go Home
07 Michele's Meditation
08 That's What I'm Talkin' 'Bout

Atlantic Jazzlore 8. (1212)

This Lp has one of trumpeter Shorty Rogers' finest small group sessions of the 1950's; fortunately the music has been reissued by Mosaic on CD in a box set. Rogers, Jimmy Giuffre (on clarinet, tenor and baritone), pianist Pete Jolly, bassist Curtis Counce and drummer Shelly Manne are the epitome of cool on a well-rounded and consistently interesting set. Highlights including "Isn't It Romantic," "Trickleydidlier," "Not Really The Blues" and Rogers' "hit" "Martians Go Home."
Review by Scott Yanow

Shorty Rogers - Martians Stay Home 1955

01 Loaded
02 Martians Stay Home
03 The Lady in Red
04 Amber Leaves
05 Bill
06 Barbaro
07 Peals
08 Twelfth Street Rag
09 Easy

Atlantic K 50714
ape+cover (LP)

The quintet for this trumpeter, from the West Coast via Massachusetts and New York, includes Jimmy Giuffre (cl), Pete Jolly & Lou Levy (p), Curtis Counce & Ralph Pena, (b) Shelly Manne, (d) . There are six Shorty originals and three standards. These are nice groups with Rogers's sensitive trumpet leading in a non-threatening, mainstream groove.
Review by Michael G. Nastos

Attila Zoller Ronnie Ross Wolfgang Dauner - Night Bounce

Dick Spencer - alto
Hans Koller - tenor
Rudi Flierl - tenor
Ronnie Ross - baritone
Wolfgang Dauner - piano
Attila Zoller - guitar
Ira Kris - guitar
Helmuth Csucouits - bass
Hans Rettenbacher - bass
Eberhard Weber - bass
Rune Carlsson - drums
Meinrad Geppert - drums
Fred Braceful - drums

01 Road Song
02 Hedwig's Song
03 Chickless
04 Cellar Stairs
05 Knochta
06 Night Bounce
07 Ullas Memory
08 Wash Dry
09 Minky
10 Good Morning Judge
11 Cleopatra's Needle
12 How Long Has What Been Going On
13 Ten Notices
14 A Long Night
15 Twilight
16 Free Fall

Monday, March 22, 2010

Wynton Marsalis - The Magic Hour (2004)

I know... Wynton is a controversial musician. But for me, this is like an "Wynton unplugged".

As his first album of all-original material (performed with a quintet or less) since his 1988 release Thick in the South: Soul Gestures in Southern Blue, Vol. 1, and his first album for Blue Note Records, trumpeter Wynton Marsalis' The Magic Hour is a disappointing return to progressive, small-group jazz. This is not to say that there aren't some excellent things here, but taken as an album, The Magic Hour seems logy and inconsequential. Featuring the talented chops of pianist Eric Lewis, bassist Carlos Henríquez, and drummer Ali Jackson, Marsalis offers up a low-key grab bag of everything he's done thus far in his career. It's not a good sign when a predominantly instrumental jazz album begins with a vocal jazz number, albeit a stellar one featuring the epic Dianne Reeves. It would be a great start to a Reeves album, but as an opener, "Feeling of Jazz" only seems to be postponing the jazz. Similarly irritating is Bobby McFerrin's sickeningly cutesy guest vocal on the trite "Baby, I Love You," an original tune co-written by the singer and Marsalis that sounds thrown together in the studio. It's a failed and disappointing pairing that probably sounded better in theory than in practice. Most of the other original compositions, while not bad, are not really that impressive either, lacking the invention, humor, and general sense of purpose that hallmarked Marsalis' early quartet albums, Black Codes (From the Underground) and J Mood. On the upside, "Big Fat Hen" is a loose and soulful second-line mix of barnyard soul and Miles Davis modalism. It's easily the best moment on the disc, contemporizing Marsalis' take on the New Orleans jazz tradition while threatening to get everybody out of their seats and dancing -- no small achievement in the modern world of staid, concert-hall jazz. Even more impressive though is the extensive 13-minute title track, which closes the disc and finds Marsalis fearlessly exploring "Flight of the Bumblebee"-style arpeggiations, bug-like squeals, Count Basie-esque swing, Latin rhythms, and elegiac balladry all in one composition. That The Magic Hour ends with a resigned and gorgeous rendition of Marsalis' trademark ballad -Hoagy Carmichael's "Stardust"- is both a poignant and brilliant summation of how Marsalis continually returns to his roots in his quest to both further and protect jazz. However, the surprising experimentation and clarity of vision of these two tracks only underlines the disappointing lack of such qualities in the rest of the album. *Matt Collar*

01 - Feeling of Jazz
02 - You and Me
03 - Free To Be
04 - Baby, I Love You
05 - Big Fat Hen
06 - Skipping
07 - Sophie Rose-Rosalee
08 - The Magic Hour

Wynton Marsalis (tp), Eric Lewis (piano), Carlos Henriquez (bass), Ali Jackson (drums).

Barnacled - Charles

Barnacled | ESP Disk (2008)

By Raul d'Gama Rose

The best part of the event that is Charles—the rather full-length record from Barnacled—is that it simply cannot be categorized. It therefore appears a mistake to label the group "prog" throughout the otherwise insanely fine liners that accompany the package. Thus it's an infinitely rewarding experience to approach the music first and then go to the notes that accompany the record.

Clearly Barnacled is inspired. This is no ordinary 2008 avant-garde ensemble, but a band that knows and has assimilated those parts of its historic antecedents: the final music of Coltrane, Dolphy and Ayler, a heady mix of The Sex Pistols, Henry Cow, Can, and even Zorn and Vyatslav Ganelin thrown in. But lest this nomenclature suggest that Barnacled is derived from those musicians who shattered the fences that comfortably ensconced music, it bears mention that this is further from the truth. Barnacled is, quite simply, a modern ensemble with a singularly refreshing voice of its own and it is this: a kettle that is in a state of continuous boiling over; a band, which is so out there that it takes vigorous dancing to catch the wave despite the fact that many others who have pursued this path sound tedious and repetitive.

The ensemble worships at the altar of originality, serving the demands of breathless compositions, or, rather, improvised suites and not genre. The odd time signatures are organic to the pieces. "Language Barrier" and "Polyurethane" are fine examples. "Simulacrum" is a spectacular vehicle for the baritone saxophone to run riot with the bassoon. The hilarity of Barnacled's music is also not lost on the ear as it breaks up the melodics and harmony of "Simulacrum" and, of course, the maddeningly funny "Losing Weight Through Prayer."

But nowhere is the group's gloriously risque music more enjoyable than in the wild mingling of Erica Schattle's bassoon, Michael Jeffries' baritone saxophone, Ann Schattle's horn in F and Alec Redfearn's accordion. If anything, tedium sometimes threatens pleasure with Matt McLaren's drums—if anything. Otherwise this is an inspired attack on the deadly boring of the acceptable norm. It is music that laughs and spits on pop culture and anything that rattles within the body of normality. Barnacled rages against the comfortably numb and thumbs its nose at the normal.

It is Barnacled and music like it that is going to build not only on the repertoire of modern music, but that centers ESP Disk on the vanguard of modern music. And now, all that is called for is a whole host of encores.

Track listing: Title; Rattles; Losing Weight Through Prayer; Jennifer Plastics; Three Rapid Fire Shell Divisions; Language Barrier; Polyurethane; Simulacrum.

Personnel: Frank Difficult: electronics, keyboard; Michael Jeffries: bass, baritone saxophone, modified speak & spell; Jason McGill: alto saxophone, percussion, shortwave radio; Matt McLaren: drums, percussion; Alec K. Redfearn: accordion; Ann Schattle: horn in F; Erica Schattle: bassoon.

Joe Cohn - Two Funky People

01. Solar
02. But Not For Me
03. Quite Sip
04. Two Funky People
05. Mr George
06. Serenata
07. Ask Me Now
08. High On You
09. Days Of Wine & Roses
10. Motion
11. You & Me

Guitarist Joe Cohn is the prodigiously talented son of famed tenor saxophonist Al Cohn. Some may find it odd that on his debut recording fellow guitarist Doug Raney appears alongside him on many of the tracks. The two-guitar format is somewhat reminiscent of Joe Pass's recordings with rhythm guitarist John Pisano, although here Raney is quite prominent throughout as a solo voice. Telling the two guitarists apart will in fact require a good deal of concentration on the part of most listeners. In general, Cohn is the faster and more rhythmically adventurous of the two; his tone is brighter and more dry than Raney's. One would have hoped for more of a Joe Cohn showcase rather than a date on which another guitarist, a second "funky person," practically shares top billing. That said, both Cohn and Raney are fantastic straight-ahead players and they make beautiful music together, aided by Dennis Irwin on bass and Barry Ries on drums. Four of the tracks are seldom-played gems by Al Cohn, including the title track. Another, "Motion," is by Doug Raney's famous father, Jimmy Raney. (Perhaps it is the famous dads connection that brought these two together.) Other tracks include the classics "But Not for Me," "Solar," "Days of Wine and Roses," "Ask Me Now," and "Serenata." Thad Jones's mid-tempo burner "Quite Sip" is Cohn's one trio feature, and a great one. ~ David R. Adler

Recorded at Steve Davis Studio, New York, New York on November 24, 1996. Includes liner notes by Jim Hilmar.
Personnel: Joe Cohn (guitar); Doug Raney (guitar); Barry Ries (drums).
Recording information: Steve Davis Studio (11/24/1996).
Photographer: Gildas Boclé.
Personnel: Joe Cohn, Doug Raney (guitar); Dennis Irwin (bass); Barry Ries (drums).

Shorty Rogers - Jazz Waltz 1962

01 - I'm Gonna Go Fishin'       
02 - Greensleeves
03 - Walk on the Wild Side
04 - Witchcraft
05 - Be as Children
06 - Jazz Waltz
07 - Echoes of Harlem
08 - A Taste of Honey
09 - Terrence's Farewell
10 - The Streets of Laredo

Trend Records / Discovery Records DS-843
ape+cover (LP)

Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number ("I'm Gonna Go Fishin'") written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader's rich flügelhorn. The lyrical take of the centuries-old folk melody "Greensleeves" alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful "Be as Children" almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's "Echoes of Harlem," featuring Paul Horn on flute, is refreshing. Only Bobby Scott's "A Taste of Honey" is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades, this album was finally reissued by Collectables in a compilation with another LP by Rogers, Bossa Nova.
Review    by Ken Dryden

Jan Garbarek, I Took Up The Runes (1990)

Musique!!! Hopefully my posts will be varied, all the way from french chanson to jazz, hence the header. This album is a nice ECM release of Jan Garbarek. Enjoy mes amis! Jean Francois.

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise — he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup . A sign of good things to come. Review by Mark W.B. Allender .


  • Rainer Bruninghaus Piano
  • Jan Garbarek Sax (Soprano), Sax (Tenor)
  • Ingor Antte Ailu Gaup Vocals, Voices
  • Manu Katche Drums
  • Naná Vasconcelos Percussion
  • Eberhard Weber Bass
  • Bugge Wesseltoft Synthesizer


  1. Gula Gula
  2. Molde Canticle (Part 1¬5)
  3. His Eyes Were Suns
  4. I Took Up The Runes
  5. Buena Hora, Buenos Vientos
  6. Rahkki Sruvvis

Gloria Coleman - Soul Sisters

Looks like the weather is finally turning. So here's some sweet soul jazz featuring Grant Green

Gerry Mulligan Quartet - PJLP-1

I think I read not too recently where Rab gave high praise to Gleckit Loon for his ongoing series of Blue Note posts. I would like to echo Rab's praise and say how much I have thoroughly enjoyed them. As a long-time record collector, I have a profound appreciation for the album as a whole. The music, of course, is the main part of the album, but the cover and liner notes have great value as well and augment the listening experience. That is one of th attractions of CIA is that posters, when they can, post the cover art and liner notes.

In my opinion, no other genre of music understood the importance of packaging more than jazz. Just look at all of the glorious Blue Note covers or David Stone Martin artwork. The packaging of West Coast jazz was no less special.

So I thought it would be nice to post some 10" records with original cover art and the music in the order in which the producer originally intended for it to be listened to. I am not sure if there will be much interest in these but I have found them to be very enjoyable and thought others might agree. I have posted some of these elsewhere but I am not sure who visits where so I thought I would share here as well. To be clear, the music is taken from CD sources, but I have scanned the album cover so that you can listen and enjoy the front and back of the album as if you were playing the 10" album itself. (Although I couldn't figure out how to make you turn the record over after each side.) If I knew how to use Adobe Audition I would have ripped from the LP, but I do not yet and so I thought this would be the best way to present this.

VIDEO: Ron Carter Quartet at the Le Mans Jazz Festival in 2008

Ron Carter Quartet
Le Mans Jazz Festival 2008

Stephen Scott at the piano, Payton Crossley and Rolando Morales-Matos on percussion. Great to see Ron Carter in top form here. A DivX file 1400K video 48/320k mp3 audio 2-pass compression. Since the source material was of excellent quality from a satellite broadcast, the video looks great even on a large screen. I presented this in September 2008 but neglected to archive it so here it is again for those who missed it.

Sunday, March 21, 2010

Benny Goodman And His Orchestra - One Night Stands (2009) [FLAC]

This disc contains two AFRS "One Night Stand" broadcasts, both recorded during Goodman's "Flirtation With Bop". Wardell Gray remained with Benny throughout this period. The first transcription presented here (tracks 1-9) seems to me to be largely issued here for the first time. Exceptions are "Blue Lou" (issued on "Benny Goodman - In Hollywood [VINYL] {Swing Treasury 100}") and "I've Got My Love To Keep Me Warm" & "Dont Worry 'Bout Me" (both on "Benny Goodman - In Hollywood vol. 2 featuring Wardell Gray [VINYL] {Swing Treasury 111}").

The second transcription (tracks 10-17) has been issued, notably on "Benny Goodman Septet & Orchestra - Benny's Bop Vol. 2 [VINYL] {Dan Records VC-5023}", although without "Confess" & "Body And Soul". I believe this is the first issue of those items as well.

The transfers aren't the greatest, but at least this material is available in some form. Truthfully, the best of the material from the "Click" engagement can be found on the OOP CD "Stan Hasselgard & Benny Goodman at Click 1948 with Wardell Gray, Teddy Wilson {Dragon DRCD-183}". The previously available Palladium broadcast is much less common.

As usual with these cheapo releases not much info is given, and it's of course unreliable. I've used "BG On The Record: A Bio-Discography Of Benny Goodman" by D. Russell Connor and Warren W. Hicks (1969) {Arlington House}, Connor's "Benny Goodman: Wrappin' It Up" (1996) {Scarecrow Press} and the Bruyninckx Discography to assemble the info below.

Benny Goodman & His Orchestra - One Night Stands
Produced by Submarine Records
Sounds Of Yesteryear DSOY791
Made In England


Benny Goodman (cl, dir); Howard Reich, Doug Mettome, Al Stewart, Nick Travis (tp); Milt Bernhart, Eddie Bert, George Monte (tb); Mitch Goldberg, Angelo Cicalese (as); Wardell Gray, Eddie Wasserman (ts); Larry Molinelli (bar); Buddy Greco (p, voc); Francis Beecher (g); Clyde Lombardi (b); Sonny Igoe (d); Terry Swope, The Clarinaders (voc); Chico O'Farrill (arr).

Benny Goodman (cl); Doug Mettome (tp); Wardell Gray (ts); Buddy Greco (p); Francis Beecher (g); Clyde Lombardi (b); Sonny Igoe (d).
Broadcast, "Hollywood Palladium", Hollywood, March 22, 1949
ET: AFRS One Night Stand No. 1946, Part I
01. Let's Dance (theme) (original CO record version, complete)
02. I've Got My Love To Keep Me Warm
03. It Isn't Fair -vBG, Clarinaders
04. Undercurrent Blues

AFRS One Night Stand No. 1946, Part II
05. So In Love -vTS
06. Blue Lou (Septet) (Goodman, Mettome, Gray, Greco, Beecher, Lombardi, Igoe)
07. Don't Worry 'Bout Me -vBGr
08. El Greco (arr C O'F)
09. Let's Dance (partial repeat from Part I)

Benny Goodman, Stan Hasselgard (cl); Wardell Gray (ts); Teddy Wilson (p); Billy Bauer (g); Arnold Fishkind (b); Mel Zelnick (d); Patti Page (voc).
D-28487 ET: AFRS One Night Stand No. 1722, Part I
Frank Palumbo's Click Restaurant, Philadelphia, Pennsylvania, June 3, 1948
10. Limehouse Blues
11. The Man I Love -vPP
12. (Back Home In) Indiana
13. Confess -vPP

D-28488 AFRS One Night Stand No. 1722, Part II
14. Bye Bye Blues
15. Little White Lies -vPP
16. Mel's Idea
17. Body And Soul -Trio (Goodman, Wilson, Zelnick)
Limehouse Blues (partial repeat from Part I)

Note: CD says 1946. This is incorrect.

BN LP 5047 | Clifford Brown Quartet

Again this was originally a Vogue session licensed by Blue Note for US release.

Quoted from Don Waterhouse,
"On the strength of what he was putting down, Blue Note gave him the first session under his own name on 28 August 1953. By this time Brownie had signed up with Lionel Hampton, who was about to set off for europe with a heavy-weight big band comprising such talents as Art Farmer, Quincy Jones, Jimmy Cleveland and Gigi Gryce. Hamp had forbidden his men to undertake any recording work during the tour, although he himself did not hesitate."
"But such trivial constraints failed to dull the enthusiasm of Hamp's young crew, and, following a memorable jam session in Paris' Tabou Club, pianist Renaud was immediately entrusted with assembling the rhythm section for a series of recording sessions featuring this exciting new trumpet phenomenon."

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

Surrender to the Air - Trey Anastasio

 *  Marshall Allen - saxophone
    * Trey Anastasio - guitar
    * Kofi Burbridge - flute
    * Oteil Burbridge - bass
    * Damon R. Choice - xylophone
    * Jon Fishman - drums
    * Bob Gullotti - percussion
    * James Harvey - trombone
    * John Medeski - keyboards
    * Michael Ray - trumpet
    * Marc Ribot – guitar

Trey’s first official side project from Phish found him exploring free jazz. Surrender to the Air was a colorful exploration of sound, texture and space, featuring long sections of free group improvisation connected by short segments conducted by Trey. The group produced one studio album released in March of 1996 followed by two live performances at the Academy in New York City on April 1st and 2nd, 1996.

Saturday, March 20, 2010

Don Sebesky - Three Works for Jazz Soloists & Symphony Orchestra

The fusion of Jazz and contemporary concert music has appealed to a great number of Jazz musicians and so-called "classical" music composers. This work by Don Sebesky may be counted among the genre's more successful experiments.
The music often sounds like a film soundtrack. It incorporates traces of Bartók, Stravinsky, Copland, and the Jazz music draws from Monk, Ellington, Coleman. The result is quintessential American music, also quintessential seventies music. It earned two Grammy nominations in 1979.
Bird and Bela in B Flat, a concert really, is hybrid music, sure, but daring, often good, and some passages are quite fascinating. The arrangement and reconstruction of Rite of Spring could have gone awfully wrong -Stravinsky had already done it to perfection-; Sebesky scales it down and adds Jazz aspects to it without disgracing it. The final Sebastian's Theme, the shortest piece, its title hinting at the famous German baroque composer, is the most conventional composition of the three, however, it rounds off the album nicely.
If anything, this album proves Don Sebesky's rank as one of the most professional and indeed, one of the finest arrangers in Jazz.

Don Sebesky on piano with The Royal Philharmonic Orchestra conducted by Harry Rabinowitz

Don Sebesky, Jon Faddis, Bob Brookmeyer, Alex Foster, Joe Beck, Gordon Beck, Richard Davis and Jimmy Madison

Fred Anderson & Steve McCall - Vintage Duets Chicago, January 11, 1980

A man breathlessly swings open the Velvet Lounge's flop-back doors, dragging behind him an upright bass and crying out: "Sorry I'm late, Fred! My other gig went long." The bartender-saxophonist takes off his apron, folds it, and glances at a woman who will, for the afternoon, relieve him of his drink-serving job. He walks to an open room that the bar empties into, past a still-blaring TV. Reaching into an open case, he pulls out and puts together his immaculately shiny black tenor sax. On the temporary stage that is assembled every other week for this jam session, the rhythm section begins to chug. Climbing on board at an appropriate moment, Fred Anderson bends down as if digging a trench with his dangling horn. He puts the reed between his teeth and starts to blow lines as thick and solid as a porterhouse steak. Sit back on your squeaky barstool, you've come on the right Sunday...

Fred Anderson - tenor saxophone
Steve McCall - percussion

01 - Within (21:17)
02 - Wandering (23:11)

OkkaDISK OD12001 | Soto Studios, Chicago, IL, January 11, 1980 [FLAC, covers, liner notes, info, no scans!]

Miriodor - Avanti!

Miriodor - Avanti! - Cuneiform Rune 288, 60:39 ****:

1. Envoûtement (Bewitchment)
2. Bolide Débile (Dare Devil)
3. La Roche (Meeting Point)
4. Écart-Type (Standard Deviation)
5. À Déterminer (To Be Determined)
6. Avanti! (Onward!)
7. Réveille-Matin (Shadow of the Alarm Clock)

(Bernard Falaise - guitar, fretless bass, mandolin, banjo, clavier, turntable; Pascal Globensky - clavier, synthesizer, piano; Rémi Leclerc - drums, samples, percussion; Nicolas Masino - bass, clavier, piano; Pierre Labbé - tenor and baritone saxophones; Marie-Chantal Leclair - soprano saxophone; Maxime St-Pierré - trumpet)


This 1960 album from trumpeter Booker Little represents some of his best work. Like Clifford Brown before him, Booker's short life makes every one of his recordings seem essential listening. Highly recommended.

1. Opening Statement
2. Minor Sweet
3. Bee Tee's Minor Plea
4. Life's A Little Blue
5. The Grand Valse
6. Who Can I Turn To

Booker Little - trumpet
Tommy Flanagan - piano
Scott LaFaro - bass
Roy Haynes - drums

Time Records
April 13, 15, 1960

Harold Mabern Trio - Mabern's Grooveyard

This is the DIW-621 CD by the great Harold Mabern.

No review found on this one, but you can trust.

Harold Mabern (piano)

Christian McBride (bass)

Tony Reedus (drums)

1. Grooveyard
2. Lady Bird
3. Jeanine (Duke Pearson)
4. A Hundred Years from Today
5. Minority
6. After Hours
7. East of the Sun
8. AON
9. Bubbles, Bangles, & Beads

Recorded at Avatar, New York on August 20 & 21, 1996

Frank Lacy - Settegast Strut - Live At Moods

For the Cats at CIA - my very FIRST post to the blog

Frank Lacy - Settegast Strut - Live At Moods (In Zurich) - 1995 - With Full Scans

Recorded live at a Zurich nightclub, this is trombonist Frank Lacy's third recording as a leader. He is joined by pianist Katy Roberts, bassist Richard "Radu" Williams, and drummer Doug Hammond, plus drummer Sebastian Whittaker replacing Hammond on one selection, on a program of seven Lacy originals and John Coltrane's "Welcome." Having displayed his big tone and "go for broke" imagination with a diverse group of musicians such as Henry Threadgill, David Murray, Art Blakey, and Illinois Jacquet, it's no surprise that this recording emphasizes Lacy's musical versatility. Lacy's compositions range from up-tempo burners such as "What's the Resolution" and "A.D. 2016, the Comet"; medium-tempo finger poppers such as the title track; solo trombone excursions such as "Tonal Weights and Blue Fire #2," where he displays his gospel influences by including several gospel songs in the medley; and even include Lacy's jazz-meets-rap, "Hip-Hop Swing: A Love Supreme, where Lacy raps over a funky, danceable groove set up by Lacy's piano, Williams' acoustic bass, and Whittaker's drumming. In addition to trombone, piano, and vocals, Lacy even plays decent trumpet on the medium fast "Jordan's Mood." A hard-to-find but well-worth it recording. - Greg Turner, All Music Guide

Doug Hammond (Drums), Frank Lacy (Piano), Frank Lacy (Trombone), Frank Lacy (Trumpet), Frank Lacy (Vocals), Peter Pfister (Engineer), Sebastian Whittaker (Drums), Richard Williams (Bass), Kathryn Roberts (Piano), Aparajita Koch (Translation), Inge Ofenstein (Photography), Peter Wiessmueller (Producer), Peter Wiessmueller (Liner Notes), Peter Wiessmueller (Photography), H. Brandenberger (Photography), Klaus Kassel (Photography)

Polwechsel & John Tilbury - Field

burkhard beins - drums, percussion
martin brandlmayr - drums, percussion
john butcher - tenor and soprano saxophone
werner dafeldecker - double bass
michael moser - cello
john tilbury - piano

1. Place/Replace/Represent 22:12
2. Field 20:00

recorded in august 2007 at studio rp3 ORF, vienna, by martin leitner and wolfgang musil

Thanks for the Boogie Ride Compilation (1940-2003) [FLAC + MP3]

Boogie Ride

"The Mothership has took off again", to quote Selim! So my first post at CIA will be a compilation of 6 songs ranging from 1940 to 2003, vocal to instrumental. I will not reveal the identity of the artists or the songs here, to keep this more fun! The songs are tagged, so the only prize you can win is the chance to admire one of the flying stars shining from the great bus in the sky tonight! And we all know who's the conductor… So get yourself a drink, or two, of your favorite poison, and have fun with this!

NEW ORLEANS PARADE - All-Star Brass Band

This is one of the best brass band recordings I have found. Not only are the performances authentic and inspiring, the fidelity is outstanding! If there is one record that brings me home, this is it. The recording date is not given but judging from the personnel, it is probably the late 1980s or early 1990s. Enjoy!

01. Didn't He Ramble
02. Joe Avery's Blues
03. Sweet Bye & Bye
04. Bourbon Street Parade
05. High Society
06. Just A Closer Walk With Thee
07. Second Line
08. Hindustan
09. Down By The Riverside
10. The Saints

Clarence Ford - clarinet
David Griller - tenor sax
Wendell Brunious, Jack Willis, Teddy Riley, John Fernandez - trumpet
Freddie Lonzo, Walden "Frog" Joseph - trombone
Jerry Green - tuba
Placide Adams - snare drum
Charles Barbarin - bass drum, cymbal

Stan Getz - Vintage Getz (Video)

1992 VINTAGE GETZ VOLUMES 1&2 (1983)
Home Video/Television, Color, 77minutes

A concert filmed by Stan Getz's brother Robert at The Mondavi Winery in Napa Valley, California in 1983, this video clearly captures this famously uncompromising saxophonist in one of his most inspired performances that will repay with many viewings and listenings.

The first set, Volume 1, brings some exquisite originals from pianist Jim McNeely and goes on to feature (in Volume 2) some of his famous Bossa Nova favorites. Stan's quartet also includes a scintillating Marc Johnson on bass and drummer Victor Lewis.
"Getz's tone has never sounded better than it does here." --Richard Cooper, London

FAB Trio «Live in Amsterdam»

FAB Trio
«Live in Amsterdam»

1. Fabmusic Opening 14:26
2. Go East / Da Bang 30:49
3. Fabmusic Continuation / Spirits Entering 27:18

Joe Fonda - bass
Barry Altschul - drums
Billy Bang - violin

Recorded live in April, 2008 at the Bimhuis, Amsterdam, Netherlands
Released 2009 by Porter Records PRCD - 4014

Jammin' at Condon's 1954

01 - There'll Be Some Changes Made
02 - How Come You Do Me Like You Do
03 - Blues (My Naughty Sweetie Gave to Me)
04 - Tin Roof Blues
05 - Medley of When My Sugar Walks Down the Street, I Can't Believe That You're In Love with Me

Columbia CL 616
ape+cover (LP)

Eddie Condon's second LP for Columbia (and his first not to be shared with another band) is a side of Columbia's jazz output that's appreciated too little today -- the label may not always have recorded enough, or enough of its artists the right way doing the right repertory, but with Condon they got it right. The goal here was to capture Condon and his band jamming as they might at his club, with various friends joining in, working in the optimized setting of Columbia's 30th Street Studio in Manhattan. Peanuts Hucko (clarinet), Lou McGarity (trombone), Bud Freeman (tenor sax), Dick Cary (alto horn), and Billy Butterfield (trumpet) were the guests on the two sets of sessions held one week apart. Of the five resulting numbers, the 13-minute "How Come You Do Me Like You Do" is the highlight, with a killer horn solo by Cary and beautiful solos by Cutty Cutshall, McGarity, and Freeman as well. The emphasis here is more on blues and rhythm than on balladry, with the highlight being a fast-tempo medley ("When My Sugar Walks Down the Street"/"I Can't Believe That You're in Love with Me"), and the revival of the New Orleans Rhythm Kings standard "Tin Roof Blues." The moments captured on these two days of sessions are priceless, and it's sad that Sony-Legacy has never seen fit to reissue this or the earlier Jam Session: Coast to Coast on CD, but it's gratifying that Mosaic licensed them for the Eddie Condon box. Review by Bruce Eder

Another Town Hall compilation from 1944-45

01 - The Lady's in Love with You
02 - China Boy
03 - Clarinet Chase
04 - Pennies From Heaven
05 - D.A. Blues
06 - Pee Wee's Town Hall Stomp
07 - Impromptu Ensemble No.2.
08 - Rosetta
09 - Memphis Blues
10 - Pee Wee's Blues
11 - I Ain't Gonna Give Nobody None of My Jelly Roll
12 - Black and Blue
13 - I'd Climb the Highest Mountain
14 - Impromptu Ensemble No.2.

Bobby Hackett, Max Kaminsky, Muggsy Spanier - tp,
Lou McGarity, Miff Mole, Benny Morton - tb,
Ernie Caceres - bs,
Joe Marsala, Pee Wee Russell - cl,
Gene Schroeder, Jess Stacey - p,
Eddie Condon - g,
Bob Casey, Bob Haggart, Jack Lesberg, Sid Weiss - b,
Gene Krupa, Joe Grauso -dr

Chiaroscuro Records 108
ape+cover (LP)

Washington Phillips And Others - Streetcorner And Storefront Gospel

Assembling the complete recorded works of A.C. & Blind Mamie Forehand, Washington Phillips and Luther Magby, Storefront and Streetcorner Gospel (1927-1929) offers a fascinating glimpse into the kind of spiritual music commonly heard throughout the urban areas of the south during the last years of the pre-Depression era. The common thread among these performers is their choice of unusual accompaniment -- the Dallas-based Phillips is backed by the dolceola, an ethereal variant of the dulcimer, while the Forehands employ antique cymbals and Magby uses a harmonium; little or nothing is known about the various artists, yet their music still packs a punch all these decades later. ~ Jason Ankeny

Washington Phillips (1927-1929)
1. Mothers Last Word To Her Son
2. Take Your Burden To The Lord And Leave It There
3. Paul And Silas In Jail
4. Lift Him Up That's All
5. Denomination Blues - Part 1
6. Denomination Blues - Part 2
7. I Am Born To Preach The Gospel
8. Train Your Child
9. Jesus Is My Friend
10. What Are They Doing In Heaven Today?
11. A Mother's Last Word To Her Daughter
12. I'Ve Got The Key To The Kingdom
13. You Can't Stop A Tattler - Part 1
14. You Can't Stop A Tattler - Part 2
15. I Had A Good Father And Mother
16. The Church Needs Good Deacons
17. Mother's Prayer (Take 1)

A.C. Forehand and Blind Mamie Forehand (1927)
18. Mother's Prayer (Take 2)
19. I'm So Glad Today, Today (Take 1)
20. I'm So Glad Today, Today (Take 2)
21. Honey In The Rock
22. Wouldn't Mind Dying If Dying Was All (Take 1)
23. Wouldn't Mind Dying If Dying Was All (Take 2)

Luther Magby (1927)
24. Blessed Are The Poor In Spirit
25. Jesus Is Getting Ready For The Great Day

Claude Hopkins - 1937-1940 (Chronological 733)

The third and final Claude Hopkins Classics CD has some really obscure and diverse music. The 1937 Hopkins big band included trumpeter Jabbo Smith and trombonist Vic Dickenson in its lineup, but of the six titles it cut, five are showcases for singer Beverly White; in all, the legendary Smith gets a single chorus. Better are eight titles by trumpeter Ovie Alston's orchestra, which includes Hopkins on piano in 1938 along with some of his sidemen. This CD concludes with six numbers by the pianist's struggling 1940 big band, decent swing performances that preceded the orchestra's complete breakup. A bit of a collector's item. ~ Scott Yanow

Claude Hopkins (piano)
Jabbo Smith (trumpet)
Herman Autrey (trumpet)
Shirley Clay (trumpet)
Vic Dickenson (trombone)
Chauncey Haughton (alto sax)

1. Sunday
2. Swingin' Down The Lane
3. Honey
4. June Night
5. Church Street Sobbin' Blues
6. My Kinda Love (One Way to Paradise)
7. Junk-Man's Serenade
8. Twinkle Dinkle
9. Ja-da (Ja-da, Ja-da, Jing-Jing- Jing!)
10. Walkin' The Dog
11. I Let a Tear Fall in the River
12. Spareribs And Spaghetti
13. Home Cookin' Mamma
14. How Much Do You Mean To Me?
15. Yacht Club Swing
16. The Singing Hills
17. Out To Lunch
18. A Little Rain Must Fall
19. I'd Believe In You
20. What's The Matter With Me?

Dakota Staton - Dakota at Storyville (1961)

On a brief description of it, by Scott Yanow, All Music Guide, he says:

"This album features singer Dakota Staton at her best.
Recorded live at Boston's Storyville, Staton sounds quite inspired on such numbers as "Is You Is or Is You Ain't My Baby," "Saturday Night Is the Loneliest Night of the Week," "When I Grow Too Old to Dream" (which spontaneously becomes a crowd singalong), "Mean and Evil Blues," and "Don't Get Around Much Anymore."
Other than pianist Norman Simmons, the accompanying quartet is unidentified, but the man on tenor, flute, and (on "Music, Maestro, Please") oboe is obviously Yusef Lateef.
An underrated gem."

A brief biography of Dakota can be seen on:

Recording Date: Apr 29, 1961

Larry Schneider & Andy LaVerne - Bill Evans Person We Knew ( 1994 )

This duo date by tenor saxophonist Larry Schneider and pianist Andy LaVerne is a tribute to the late Bill Evans, covering both Evans' compositions as well as works by others that he recorded. Evans' problems with drug addiction throughout his adult life are all too well-known, so it almost seems like "Re: Person I Knew" is actually played as a tribute to its composer's struggle with life. Unlike Evans' often rapid fire and melodic interpretations, LaVerne plays an almost dirge-like line to accompany Schneider's almost anguished sounding tenor sax. The duo reverts to a joyous roller coaster ride through Evans' tricky "34 Skidoo" and adds a Latin rhythm to his infrequently played "Orbit." "Time Remembered" is one of Evans' most gorgeous ballads, and Schneider's soulful playing is underscored by LaVerne's shimmering impressionistic piano line. They catch the playful spirit of "Funkallero" and even add Evans' brief signature stag, which he used at the end of each live set. The non-Evans tracks also show plenty of imagination. The choice of "Dream Gypsy" is an inspired one, since it appeared only once in Evans' considerable discography (on Undercurrent, with Jim Hall). The duo improvisation that opens John Carisi's "Israel" is breathtaking, while Earl Zindars' "Elsa" is a beautiful jazz waltz that is also well-interpreted. The thought that went into the arrangements and song selections (as well as the consistently high level of playing) make this tribute to Evans an essential acquisition for anyone who is a fan of his many contributions to jazz.

Ken Dryden

Larry Schneider (ts)
Andy LaVerne (p)


01. Re: Person I Knew
02. 34 Skidoo
03. Dream Gypsy
04. Orbit (Unless It's You)
05. Time Remembered
06. Show-Type Tune
07. Detour Ahead
08. Israel
09. Elsa
10. Funkallero
11. Bill's Signature

Recording Date: Mar 29, 1992

Label: SteepleChase

Jimmy Rowles - Music's the Only Thing 1976

01 - Music's the Only Thing That's On My Mind
02 - Miyako
03 - The Lady In the Corner
04 - Tom Thumb
05 - Pretty Eyes
06 - Medley-You Started Something, I Never Loved Anyone
07 - Remember When
08 - Running Brook

Progressive Records 7009 (1981)
ape+cover (LP)

Originally released on Progressive and reissued in 1997 as an Audiophile CD (with one additional selection) pianist Jimmy Rowles is heard in a set of duets with bassist George Mraz. As usual, Rowles' playing is harmonically sophisticated. He performs a few standards, two of his compositions, and four by Wayne Shorter. Rowles takes three unique vocals, including one on the memorable and whimsical title track. The pianist recorded a lot during the late 1970s, making one definitive statement after another in relaxed fashion.
 Review    by Scott Yanow

Friday, March 19, 2010

Monty Alexander In Tokyo

A straightforward outing with his trio (which also includes bassist Andy Simpkins and drummer Frank Gant), this excellent studio set features pianist Monty Alexander displaying his bop chops and creativity in a straightahead setting. Highlights include "Broadway," Oscar Pettiford's "Tricotism" and "Never Let Me Go."

Track listing
1. Broadway
2. Just in Time
3. Sweet Lady
4. Tricotism
5. Never Let Me Go
6. Montevideo
7. Pawnbroker
8. See See Rider

OPA - Complete Recordings

Uruguay's Fattoruso Brothers (Hugo & "Jorge" Osvaldo) were co-founders of the World-fusion group Opa, and during the early-to-mid-1970's spent a significant amount of time living and performing in the U.S.A., mostly in Florida and New York City. Opa was an underground sensation. The group recorded two albums, “Golden Wings" and “Magic Time"(Milestone), as well as serving as the core band on the Airto Moreira album “Fingers" (for which Hugo Fattoruso composed 3 of the 7 tunes) .
Although Opa made some exciting contributions to Brazilian jazz in the 1970s and had a strong supporter in percussionist Airto Moreira, the South American trio never took off commercially. Opa was founded in 1969 by Uruguayan keyboardist/pianist/singer Hugo Fattoruso (b. Jun. 26, 1943, Montevideo, Uruguay), who recruited drummer Osvaldo "George" Fattoruso (his brother) and bassist Ringo Thielmann. Opa moved from South America to New York in 1970, and their Manhattan gigs soon caught Moreira's attention. Opa became Moreira's rhythm section and was employed on his second CTI album, Fingers, in 1973, and Hugo Fattoruso later appeared as a sidemen on other 1970s albums by Moreira and his wife, singer Flora Purim. Unfortunately, Moreira's popularity didn't rub off when he produced Opa's two LPs Golden Wings (1976) and Magic Time (1977). Neither sold, and Opa broke up in the early 1980s without ever recording a third album. Hugo Fattoruso soon moved to Brazil, where he worked with Brazilian stars Djavan and Chico Buarque before returning to Uruguay in 1989. His brother also returned to Uruguay (where he co-led a group with his wife, singer Mariana Ingold), while Thielemann remained in the U.S. and seemed to move away from music. Out of print for many years, Opa's two albums made an unexpected return to record stores when Milestone/Fantasy reissued them on a single CD in 1997.

"Back Home" contains the first full band demo recorded by Opa and contains the earliest versions of "Goldenwings", "Corre Niña" and "African Bird" along with others unpublished.
The never released album by Fatorusso Brothers (Los Shakers !), Ruben Rada (Totem) and Airto Moreira (Tropicalia Maestro). Conceived as a demo for Milestone (Fantasy), sadly, it was never released at the time. A big musical Frankenstein with bits and parts of Bossa Nova, Free Jazz, Candombe, NYC Funk and Beatles White Album'. 8 Originals (most of them primal versions of the tracks included in their following Milestone/Fantasy albums) and a sensational cover of Edu Lobo's 'Casa Forte'.

Today, The Fattoruso Brothers have formed a new trio, Trio Fattoruso: Hugo, "Jorge" Osvaldo, and Hugo's son Francisco on electric bass.

Miami Saxophone Quartet - Fourtified (2008)

It's not another Supersax, it's not the World Saxophone Quartet II. You'll just have to check it out for yourself.

Before even blowing a note, the Miami Saxophone Quartet has earned bonus points by doing something other such groups would be wise to emulate: it has added a rhythm section (at least on three of Fourtified's nine tracks). There's even a second quartet—viola, cello, two violins—on the aptly named three-movement "Jazz Suite for Double Quartet," Latin percussion (courtesy of Richard Bravo) on "Spunky" and "Seventh Sign," and a guitarist (Dan Warren) on "Spunky." To add more spice to the bill of fare, alto Gary Lindsay doubles on synthesizer on his arrangement of Ron Miller's "Sign." Despite being partial to woodwinds, it's pleasing to hear the saxophones in the company of assorted other instruments.
Even so, it is the saxophones (Lindsay; Gary Keller, soprano; Ed Calle, tenor; Mike Brignola, baritone) who are the drawing card here, and they never fail to please, individually or collectively. The interplay is often breathtaking (dig the awesome precision, for example, on Dave Brubeck's "Blue Rondo a la Turk"), the solos enterprising and perceptive. "Blue Rondo" (enhanced by Chuck Bergeron's resonant bass) is followed by another endearing Brubeck melody, "It's a Raggy Waltz," on which everyone (including pianist Jim Gasior) has a chance to spread his wings. Calle wrote the diaphanous "Dancing on a Cloud" and down-home closer, "Spunky." Gasior, Bravo, Warner, Bergeron and drummer Lee Levin comprise the rhythm section on "Spunky." The quartet (sans backup) rounds out the program with Paquito D'Rivera's serpentine dance, "Wapango."
Lindsay's twenty-seven minute-plus "Jazz Suite" blends the two groups in a splendid association, rife with exhilarating musical moments. Keller and violinist Glen Basham solo on the first movement; Keller, Lindsay and Brignola on the second; Calle on the third. The suite forms an opulent centerpiece for an album that is as persuasive as it is stylish and engaging. - Jack Bowers

Gary Keller (soprano sax)
Gary Lindsay (alto sax)
Ed Calle (tenor sax)
Mike Brignola (baritone sax)
Chuck Bergeron (bass on 2,3,4,9) James Gasior (piano on 3,4,9)
Mike Harvey (drums on 3,4) Lee Levin (drums on 9)
Dan Warner (guitar on 9) Richard Bravo (percussion on 1,9,)
The Bergonzi String Quartet (5-7)
  1. Seventh Sign
  2. Blue Rondo A La Turk
  3. It's a Raggy Waltz
  4. Dancing on a Cloud
  5. Jazz Suite for Double Quartet I
  6. Jazz Suite for Double Quartet II
  7. Jazz Suite for Double Quartet III
  8. Wapango
  9. Spunky

Thursday, March 18, 2010

Alex Chilton

Alex Chilton has moved on. Many of us will miss him.

I once saw him perform at the old Knitting Factory in a room smaller than my living room: intimate and intense, it remains one of the concerts I remember best.

Please feel free to say something about our friend Mr. Chilton.

Fabio Miano - 2008 New York Quintet

Born in Italy, educated in Canada and Belgium, and living in Spain, pianist Fabio Miano is a complete unknown for most of you. This is the third record published under his name, although he has colaborated in several recordings in Spain and he usually accompanies american jazz musicians touring in Spain.
Fabio Miano New York Quintet is the final result of a succesful tour of different Spanish cities the band made in April of 2008. Was recorded in Spain and the other four members of the group (Jim Rotondi, Grant Stewart, John Webber & Joe Farnsworth) are usually living in New York.
Miano, Stewart and Rotondi have been friends and collaborators for many years. The pianist has been the preferred accompanist of both on their numerous visits to Spain and with Stewart he recorded "Buen rollo" in 1999 for the Fresh Sound label. Webber and Farnsworth show a great musical affinity and an excellent artistry.

01. Blues for Rojo (Fabio Miano) 5:02
02. Head & Shoulders (Cedar Walton) 4:52
03. Shades of Jackie Mac (Grant Stewart) 5:41
04. Farewell Pulcinella (Fabio Miano) 6:27
05. Reverence (Jim Rotondi) 6:06
06. Sweet and Lovely (Arnheim,Tobias, Lemare) 6:43
07. The End of a Love Affair (E. C. Redding) 7:10
08. The Touch of Your Lips (Kemp, Noble) 8:47
09. Skippy (Thelonious Monk) 0:50

Fabio Miano piano
Jim Rotondi trompet & flugelhorn
Grant Stewart tenor saxophone
John Webber bass
Joe Farnsworth drums

Recorded at Millenia Estudios, Valencia (Spain), on April 2008

Wednesday, March 17, 2010

Jimmy & Doug Raney - Nardis

01. There'll never be another you
02. I can't get started
03. All god's children got rhtythm
04. What's new
05. Nardis
06. Easy to love
07. Canon

I couldn't find a review for this one, so I'll say just a few words intead. There's no info on the cd either, as there are no liner notes.
This album, and the other duet album, called Duets, are gems. Warmly recommended to all Raney fans. Nardis is a moving album dedicated to the then recently departed Bill Evans.

Tuesday, March 16, 2010

Clifford Brown - The Last Concert

I'd like to salute the great job RLR (that's Rare Live Records) have been doing. They have issued a number of very rare and legendary performances by Clifford Brown, in particular. Here I'd like to draw your attention to The Last Concert:
Disc 1 contains the last concert by the legendary Clifford Brown-Max Roach Quintet with Sonny Rollins, Richie Powell & George Morrow, recorded at Continental Restaurant, Norfolk, Virginia, June 18, 1956, just one week before Brownie’s tragic death.
On the second cd, the quintet’s performance at the Newport Jazz Festival, July 16, 1955 (with Harold Land replacing Sonny Rollins). Plus: Jam Session at the same Newport festival in which Clifford Brown plays with Chet Baker, Paul Desmond, Gerry Mulligan and the Dave Brubeck Trio!
Never before released recordings. Issued here for the first time ever.
1. Just One Of Those Things
2. You Go To My Head
3. Good Bait
4. One For My Baby (And One More For The Road)
5. Someone To Watch Over Me
6. What's New
7. These Foolish Things
1. Get A Kick Out Of You
2. Daahoud
3. A Ghost Of A Chance
4. Jaqui
5. I Get A Kick Out Of You
6. Tea For Two

Monday, March 15, 2010

Helen Merrill - Clear Out of this World

Although Helen Merrill is often thought of as a singer from the 1950s (when she made her initial reputation), she has stayed aware of more recent developments in jazz. On this superior CD, Merrill is accompanied by pianist Roger Kellaway, bassist Red Mitchell and drummer Terry Clarke; three songs add trumpeter Tom Harrell, while two others have Wayne Shorter on tenor or soprano. Whether performing veteran standards (such as "When I Grow Too Old to Dream" and "Some of These Days") or more modern pieces, Merrill's haunting voice and her all-star sidemen uplift and revitalize the material. A consistently memorable set full of subtle surprises. — Scott Yanow

Sunday, March 14, 2010

BN LP 5046 | Lionel Hampton - Jazztime Paris

This session was originally a Vogue release - which was later licensed for the US by Blue Note.

I found this quote on,
"Hampton's popularity allowed him to continue leading big bands... and the 1953 edition that visited Paris (with Clifford Brown, Art Farmer, Quincy Jones, Jimmy Cleveland, Gigi Gryce, George Wallington, and Annie Ross) would be difficult to top, although fights over money and the right of the sideman to record led to its breakup."

I'll add the additional information that these were recorded at the école Normale de Musique, Salle Pleyel and that the next one BN LP 5047 with Clifford Brown, is an other Vogue session - and part of the reason for the above quote about disagreements.

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

Willie Colón - La Gran Fuga (The Big Break)

Review by John Bush (AMG)

Already one of the most feared young talents on the salsa scene, Willie Colón and his partner in crime Héctor Lavoe showcased not only confidence but a surprising flexibility and independence on 1970s La Gran Fuga (The Big Break). Case in point was the first song, "Ghana'e," based on an African children's song and given a vocal reading (by both Lavoe and the band chorus) that invoked a sense of joy and wonder quite at odds with the cutthroat world of New York salsa. Throughout the album, Colón's septet was tight as usual (they had freed themselves completely from their Latin soul and novelty past) but they performed songs at many different paces and left plenty of space in their sound -- yet still never sacrificed the power of Colón and Willie Campbell's dual-trombone lineup. The son montuno "Pa' Colombia" or the powerful "Barrunto" were the clearest hits to those who were already Colón fans, but the rest of the material stretched Colón's résumé, including the melancholy "No Cambiaré," an affectionate look at the power of grandmothers (and mothers) in "Abuelita," and salutes to Puerto Rico, Colombia, Brazil, and Mexico as well as the Estados Unidos.

Saturday, March 13, 2010

Eddie Condon - The Town Hall Concerts, Vol. 8

The eighth double CD in this essential series has four more half-hour shows that were billed as The Eddie Condon Town Hall Concerts. Condon, who was always more important as an instigator than as a guitarist, was a perfect host for the program, not only offering witty and sometimes sarcastic commentary but designing the shows so all of the all-stars were properly featured, both individually and collectively. The eighth volume has the usual incredible roster: trumpeters Billy Butterfield, Bobby Hackett, Max Kaminsky and Wingy Manone, trombonists Tommy Dorsey, Benny Morton and Jack Teagarden, Sidney Bechet on soprano, baritonist Ernie Caceres, clarinetist Pee Wee Russell, pianists Dick Cary, Gene Schroeder and Jess Stacy, bassists Bob Casey, Jack Lesberg and Sid Weiss, drummers Johnny Blowers and George Wettling and vocalist Lee Wiley. As usual there are dozens of highlights from these spontaneous yet logical jam sessions, easily recommended to Dixieland and Chicago jazz fans. ~ Scott Yanow

Eddie Condon (banjo)
Sidney Bechet (soprano sax)
Wingy Manone (trumpet)
Bobby Hackett (cornet)
Tommy Dorsey (trombone)
Jack Teagarden (trombone)
Max Kaminsky (trumpet)
Jess Stacy (piano)
Pee Wee Russell (clarinet)
Lee Wiley (vocals)

Disc: 1
1. Ballin' the Jack
2. Sheik of Araby
3. China Boy
4. There's a Small Hotel
5. Royal Garden Blues
6. Wherever There's Love (There's You and Me)
7. Impromptu Ensemble
8. Jingle Bells
9. On the Sunny Side of the Street
10. D.A. Blues (District Attorney)
11. Blue Skies
12. Rosetta
13. Exactly Like You
14. Ja-Da
15. You're Lucky to Me
16. Impromptu Ensemble

Disc: 2
1. Walkin' the Dog
2. I Ain't Got Nobody
3. Strut, Miss Lizzie
4. I Know That You Know
5. Sweet Georgia Brown
6. When Your Lover Has Gone
7. Impromptu Ensemble
8. Sunday
9. How Come You Do Me Like You Do?
10. Every Night
11. Keep Smiling at Trouble
12. That's A-Plenty
13. Sugar
14. Impromptu Ensemble [Why Is Leonard So Modest?]

Friday, March 12, 2010

Sunnyland Slim - House Rent Party

The place Lester Davenport and so many others commonly found him was at a "house" Sunnyland Slim ran from 1947 through '54 at 26th St. and S.Prairie. "It wasn't no mansion or nothin' like that but it was comfortable," Davenport recalled of the basement hangout. "We used to go there, sit around and rehearse, drink, gamble, whatever." The "we" Davenport refers to included most of the principals and many of the minor players in Chicago blues: bow-legged Othum Brown, Johnny Jones, Floyd Jones, Otis Spann, Louis and Dave Myers, Little Walter, Big Bill Broonzy, Eddie Boyd, Junior Wells, Earl Hooker. Also included were Jimmy Rogers, Wille Mabon and St. Louis Jimmy, the featured sidemen on these Apollo sides.

Recorded on August 26, 1949.

1. I'm Just A Lonesome Man
2. Sad Old Sunday (Mother's Day)
3. Boogie Man
4. Hard Time (When Mother's Gone)
5. Chicago Woman
6. I'm In Love
7. Bad Times (Cost Of Living)
8. Nervous Breakdown
9. It Keeps Rainin'
10. Brown Skin Woman
11. Old Age Has Got Me
12. That's All Right
13. Sad Old Sunday (Alternate)
14. I'm Just A Lonesome Man (Alternate)
15. Bad Times (Alternate)

Sunnyland Slim: vocals (1,4,7,10,14,15) piano (except 3,9)
St. Louis Jimmy: vocals (2,5,8,11,13)
Willie Mabon: vocals, piano & harmonica (3,9)
Jimmy Rogers: vocals, guitar (6,12)
with Sam Casimir: guitar (except 6,12)
& probably Andrew Harris: bass

Tete Montoliu - 1996 T'estimo tant ....

This record is the result of a very special occasion. It's a party, but at the same time it's a solo piano concert. It's a live performance, but it's recorded in a studio. It's in front of an audience, but there was only 24 carefully chosen guests. Monserrat, Tete's wife, invited 24 very close friends of Tete to KS studio in Barcelona to celebrate on March 28, 1996, the 63rd birthday anniversary of Tete. To thank his friends the attendance, and after explaining why each one of them had been invited, Tete started to play. Only with the piano, a dozen of old and new songs were played. All of them written by Tete, except two by the songwriter Joan Manuel Serrat. After one hour of emotions, creativity and freedom, Tete said: "Thank you for listening to me and now it comes the best: canapes and champagne".
The title of the disc "T'estimo tant..." (I love you so ...) is dedicated to his wife.

01. Blues for Woody (Montoliu) 6:58
02. Thanks for Being Here (Montoliu) 5:25
03. 63 Years Young (Montoliu) 4:10
04. Paraules D'amor (Serrat) 2:26
05. Apartament 512 (Montoliu) 8:52
06. Jo Vull Que M'acariciis (Montoliu) 1:58
07. El Meu Carrer (Serrat) 4:36
08. Montserrat (Montoliu) 4:50
09. T'estimo Tant... (Montoliu) 2:44
10. Acuarela (Montoliu) 2:51
11. Playing An Old Dream (Montoliu) 5:04
12. Divertimento (Montoliu) 5:12

Tete Montoliu piano

Recorded at Studios KS, Barcelona on March 28, 1996

Wednesday, March 10, 2010

Edgar Hayes - 1937-1938 (Chronological 730)

Whatever happened to Orlando Roberson? He recorded with Fats Waller & His Buddies in December of 1929 and with Claude Hopkins in 1933 and 1934, then resurfaced in March 1937 crooning away in practically the same voice in front of a band led by Edgar Hayes -- but billed this one time as Orlando Roberson & His Orchestra. Many jazz fans would cringe at these two sentimental pop songs, but aside from serving as a fascinating circumstantial footnote to the Fats Waller story they form the first steps in the chronological recordings of Waller's exact contemporary, Edgar Hayes (1904-1979). The real springboard for this story is "Manhattan Jam," recorded at the same session as Roberson's sleepy confections. This lively stomp has a melody similar to Cab Calloway's notorious 1932 hit, "Reefer Man." Trombonist Robert Horton sounds a bit like Joe "Tricky Sam" Nanton -- next to him stands the great Clyde Bernhardt -- and that's young Kenny "Klook" Clarke knocking the stuffing out of his drums. This in fact was where Clarke's recording career began. The arrangements are wonderful, particularly Hayes' version of Ellington and Tizol's "Caravan." Each instrumental is a delight to behold. "Edgar Steps Out" has an irresistible rhythm that may very well result in toe-tapping or improvised dancing. During "Laughing at Life," the band sings back at Ralph Sawyer in a stylized routine known to have been developed by Steve Washington and stolen by Tommy Dorsey. "Stompin' at the Renny" was composed by tenor saxophonist Joe Garland, who during his solo uses a riff that would later surface as the theme of Lionel Hampton's smash hit "Flyin' Home." A second version of "Laughing at Life" has a considerably cooler vocal by trumpeter Bernie Flood. "Satan Takes a Holiday" contains a couple of lively vibraphone solos by Kenny Clarke. He sticks with the vibes on the following session, a quintet date with vocals by Bill Darnell. Present in this little band was clarinetist Rudy Powell, famous for his earlier recordings with Thomas "Fats" Waller. Fortunately, Darnell sings tolerably well, allowing the listener to stick with this band long enough to marvel at Clarke's vibraphone work and the sympathetic intonations of Powell's clarinet. Hayes himself was a capable pianist, with a surefooted swing style comparable to that of Count Basie. "Queen Isabella" is a solid instrumental, a valuable commodity nestled among no less than nine vocals by the ubiquitous Darnell. Somebody, presumably the dexterous Robert Horton, manages to emit "ya-ya" syllables from his trombone during "Old King Cole," making the Joe Nanton comparison even more accurate. Clarke trundles out the vibraphone from time to time, and Darnell won't stop singing. On January 14, 1938, the Edgar Hayes band made history by recording without any vocals by Bill Darnell. The band swings marvelously on the instrumental Joe Garland composition appropriately entitled "Meet the Band." What makes these 1938 sides work so well is the arranging -- and baritone sax work -- of Garland. "Fugitive from a Harem" and "Swingin' in the Promised Land" are big-band swing records suitable for jitterbugging and cutting the rug. ~ arwulf arwulf

Edgar Hayes (piano)
Joe Garland (tenor sax)
Kenny Clarke (drums, vibraphone)

1. Sweet Is The Word For You
2. Just a Quiet Evening
3. Manhattan Jam
4. Caravan
5. Edgar Steps Out
6. Laughing At Life
7. Stomping At the Renny
8. Laughing At Life
9. High, Wide and Handsome
10. Satan Takes A Holiday
11. Love Me Or Leave Me
12. Blue Skies
13. So Rare
14. Queen Isabella
15. Old King Cole
16. Shindig
17. Let's Love
18. I Know Now
19. Sweetheart
20. When You And I Were Young, Maggie
21. Meet The Band
22. Fugitive From A Harem
23. Swingin' In The Promised Land
24. Barbary Coast Blues

Ray Brown - Some of My Best Friends Are... The Trumpet Players (2000)

My favorite bass player is...

Ray Brown did it again with the fourth installment in his Some of My Best Friends Are... series, spotlighting some of the hottest trumpet players around and producing one of the finest trumpet-fronted small group recordings to come down the jazz pike in a while. Featuring a six-pack of hornmen ranging from octogenarian Clark Terry to youngsters Roy Hargrove and Nicholas Payton, this CD alternately cooks and simmers, with the ballads especially standing out in their spaciousness and beauty. The blend of Brown's bass and Jon Faddis' trumpet on a slowed-down "Bag's Groove" is particularly appealing in its sparseness. The intro and outro duets between Brown's bass and James Morrison's dry trumpet tone on "I Thought About You" are also entrancing in their openness. Terrence Blanchard lays out a smoky lead line over Geoff Keezer's bluesy late-night piano on Benny Goodman's old sign-off theme, "Goodbye," bringing a new poignancy to the tune. On the most noteworthy upbeat number, Payton really smokes on Joe Henderson's composition, "The Kicker," though the track mysteriously fades out too early. Brown himself is fantastic throughout this disc, and he and his trio mates Keezer and drummer Karriem Riggins anchor the proceedings masterfully. - Jim Newsom

Terence Blanchard, Jon Faddis, Roy Hargrove, James Morrison, Nicholas Payton, Clark Terry (trumpet)
Geoff Keezer (piano)
Ray Brown (bass)
Karriem Riggins (drums)

  1. Our Delight - Roy Hargrove
  2. Bags' Groove - Jon Faddis
  3. I Thought About You - James Morrison
  4. I'm Getting Sentimental Over You - Terence Blanchard
  5. Violets for Your Furs - Nicholas Payton
  6. Itty Bitty Blues - Clark Terry
  7. Stairway to the Stars - Roy Hargrove
  8. Original Jones - Jon Faddis
  9. When You Go - James Morrison
  10. The Kicker - Nicholas Payton
  11. Clark's Tune (Legacy) - Clark Terry
  12. Goodbye - Terence Blanchard
Recorded January 10-14, February 21, 2000

Sunday, March 7, 2010

BN LP 5045 | George Wallington And His Band

Dave Burnes (tp) Jimmy Cleveland (tb) Frank Foster (ts) Danny Bank (bars, fl) George Wallington (p) Oscar Pettiford (b) Kenny Clarke (d) Quincy Jones (arr)
Audio-Video Studios, NYC, May 12, 1954

allmusic have some interesting background on him
"George Wallington was one of the first and best bop pianists, ranking up there with Al Haig, just below Bud Powell. He was also the composer of two bop standards that caught on for a time: "Lemon Drop" and "Godchild."
... He arrived in New York in the early '40s and was a member of the first bop group to play on 52nd Street, Dizzy Gillespie's combo of 1943-1944.
After spending a year with Joe Marsala's band, Wallington played with the who's who of bop during 1946-1952, including Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, and Red Rodney.
He toured Europe with Lionel Hampton's ill-fated big band of 1953, and during 1954-1960 he led groups in New York that included among its up-and-coming sidemen Donald Byrd and Jackie McLean"

The Lionel Hampton connection will bring us neatly to the next release, which is Hampton's Jazztime in Paris.

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

Saturday, March 6, 2010

Ain't No Grave and Need More Cash

Released for the occasion of Johnny Cash's 78th birthday, American VI: Ain't No Grave is the final installment in the collaboration between Cash and Rick Rubin that began with 1994’s American Recordings. These ten songs were cut during the same sessions for American V: A Hundred Highways. Guitarists Mike Campbell, Matt Sweeney, Smokey Hormel, and Benmont Tench on keyboards were present, as were other musicians. June Carter Cash died during routine surgery during these sessions. Cash, though grief stricken and with full knowledge that he too was dying due to complications from Parkinson’s disease, worked as often as his health would allow. He died three months after these songs were recorded. Ain't No Grave is an elegiac and deeply spiritual album, a formal goodbye without regret from a man and an artist of almost mythic stature. The song selection is rooted in the Americana, folk, country, and gospel traditions. There is an excellent reading of Tom Paxton's “Wonder Where I’m Bound” that doesn’t feel as lost as the original, but more a statement after reflecting on a life fully lived. Likewise his version of Sheryl Crow's “Redemption Day” sums up Cash’s own long commitment to social justice, and the need for individual accountability; its statement of hope is underscored here not as a dream, but as a conviction. Kris Kristofferson's “For the Good Times” begins with the words: “Don’t look so sad, I know it’s over/But life goes on/And this ole world will keep on turning.” It offers a portrait of the dignity and grace Cash performed with all his life. “I Corinthian’s 15:55” is his last self-penned song, a sweet, country-gospel melody that echoes far beyond the margins of contemporary music to an earlier time, and looks at the future with unshakable faith. The title track is a country-gospel-blues by Brother Claude Ely -- it’s a fierce showdown with the Reaper, with the singer winning it hands down. There are excellent covers of Bob Nolan's “Cool Water,” a song Cash often sang live that expresses empathy for the downtrodden, and “Satisfied Mind,” written by Jack Rhodes and Red Hayes, played on a lone acoustic guitar, which dispenses the truth of earthly life into two-minutes-and-forty-eight seconds. Ed McCurdy's “Last Night I Had the Strangest Dream” is a true anti-war song that serves as a testimonial. The album’s final cut is Queen Liliuokalani's traditional Hawaiian ballad “Aloha Oe,” one of the sweetest, most affectionate leaving songs ever written. And Cash’s version? It’s devastatingly beautiful; to the point of tears. If there were any justice, Ain't No Grave would be the last album released under Cash’s name. It is not only a compelling contribution to his legacy, but an offering that closes the historic American Recordings series with the same stamp of quality that began it.

1 Ain't No Grave Traditional 2:53
2 Redemption Day Crow 4:22
3 For the Good Times Kristofferson 3:22
4 I Corinthians 15:55 Cash 3:38
5 Can't Help But Wonder Where I'm Bound Paxton 3:26
6 Satisfied Mind Hayes, Hayes, Rhodes 2:48
7 I Don't Hurt Anymore Robertson, Rollins 2:45
8 Cool Water Nolan 2:53
9 Last Night I Had the Strangest Dream McCurdy 3:14
10 Aloha Oe Lili'uokalani 3:00

Friday, March 5, 2010

Bertha Hope - Elmo's Fire

Bertha Hope was married to pianist Elmo Hope for just seven years prior to his death in 1967, but she only recorded a few piano duets with him until getting back into the studio in the early 1990s. On this session, she proves herself to a more than capable pianist, composer and arranger as she leads a strong quintet featuring trumpeter Eddie Henderson, tenor saxophonist Junior Cook (with Dave Riekenberg taking over on "Bellarosa"), bassist Walter Booker and drummer Leroy Williams. Her snappy "Bai Tai Blues" stands up against anything her late husband recorded during his career, while there is plenty of blowing space for Cook and Henderson. The lovely ballad tribute "For Duke and Cannon," composed by Sonny Fortune, is a subtle feature for Hope with Booker's tasty bass and Williams' crisp brushwork. She offers effective interpretations of her late husband's works, especially the sauntering "Bellarosa" and the breezy "Elmo's Fire," which showcases the leader extensively. Sadly there are no liner notes to give more background about the leader and the making of this session. Bertha Hope, a superb talent worthy of wider recognition in her own right, should be a regular visitor to the recording studio. ~ Ken Dryden

Bertha Hope (piano)
Junior Cook (tenor sax)
Eddie Henderson (trumpet)
Dave Riekenberg (tenor sax)
Walter Booker (bass)
Leroy Williams (drums)

1. Low Tide
2. Mirror-Mind Rose
3. Bai Tai Blues
4. For Duke And Cannon
5. Bellarosa
6. Luna Negra
7. Elmo's Fire

Wednesday, March 3, 2010

Louie Bellson - East Side Suite (1987)

Don Menza emerges as the main star of East Side Suite, taking four tenor solos, as well as "My One And Only Love" as a ballad feature, and contributing arrangements for three pieces plus "Tenor Time," this sax battle with Ken Hitchcock. Drummer Louie Bellson also has a strong role on his big band CD and has three full-fledged solos, including breaks on "Blues For Uncommon Kids," that serve as transitions for the shifts between three different tempos. Flugelhornist Clark Terry is in his usual spirited form during his two guest appearances. The title suite's three parts were based on sketches of Bellson's that Tommy Newsom developed for the 17-piece orchestra, paying tribute to three aspects of New York City. The suite and the six shorter pieces hold one's interest throughout, and although somewhat conventional, this is one of Louie Bellson's most satisfying big-band releases. - Scott Yanow

Louie Bellson (drums)
Clark Terry (flugelhorn on 3, 6)
Bob Millikan, Brian O'Flaherty, Larry Lunetta, Danny Cahn, Glenn Drewes (trumpet)
Don Mikkelsen, Hale Rood, Clinton Sharman, Keith O'Quinn (trombone)
George Young, Joe Roccisano, Don Menza, Kenny Hitchcock, Jack Stuckey (reeds)
John Bunch (piano)
Jay Leonhart (bass)
  1. Blues for Uncommon Kids
  2. My One and Only Love
  3. Paddlin' Madeline
  4. East Side Suite: Park Ave Strut
  5. East Side Suite: Tiffany's Corner
  6. East Side Suite: Village Hangout
  7. What Makes Moses Run
  8. The Two Js
  9. Tenor Time
Recorded December 7 and 9, 1987

Hank Jones - 1956 The New York Rhythm Section

Ironically, there’s an unevenness in sound quality on the studio-recorded The New York Rhythm Section, but there is never a hint of unevenness when it comes to Jones’ playing. He is a paragon of consistency: always elegant, refined and one helluva swinger. The 21 tracks cover everything from straightahead swing to polite bop. Jones’ standout moments come on “Polka Dots and Moonbeams,” with his trademark gentle touch, and “Do Nothin’ Till You Hear From Me,” where Jones shows off his penchant for reharmonizing and his agility with block chords. Bassist Milt Hinton provides another highlight on his own lovely ballad, “Mona’s Feeling Lonely,” accompanied only by Barry Galbraith’s guitar. Another original worth mentioning is the deliciously slow blues by guest trombonist Jimmy Cleveland—not only for his exceptional playing but also for Jones’ memorable comping.
Harvey Siders

During the second half of the 1950s, pianist Hank Jones, guitarist Barry Galbraith, bassist Milt Hinton and drummer Osie Johnson were constantly in demand for studio dates, recording in a countless number of settings. The music on this CD, which is an entire LP plus a few related selections by the same quartet, features the rhythm section as its own entity. Trombonist Jimmy Cleveland guests on three numbers and there are individual features for Hinton and Galbraith although Jones is generally the lead soloist. The music falls between swing and bop (just like Jones' style), ranging from a variety of melodic and catchy originals to Thelonious Monk's "Ruby, My Dear." The music features each of the musicians in prime form and is particularly valuable for the Galbraith solos since the guitarist did not record often enough in small-group jazz settings. Recommended.
Scott Yanow

01. Blues for Sal (Jones) 3:36
02. Polka Dots and Moonbeams (Burke-Van Heusen) 3:35
03. Jimmy's Tune Cleveland) 3:13
04. Minor's Club (Hinton) 3:51
05. They Look Alike (Albam) 3:19
06. He Was Too Good To Me (Rodgers-Hart) 3:40
07. Ain't We Got Fun (Kahn-Egan-Whiting) 2:36
08. Wolf Talk (G.Gryce) 3:24
09. Milt's on Stilts (Hinton) 3:10
10. Mambosies (Johnson) 3:20
11. Out of Braith (Galbraith) 2:48
12. The Legal Nod (Johnson) 3:18
13. Do Nothin' Till You Hear from Me (Russell-Ellington) 3:06
14. Hallelujah! (Robin-Grey-Youmans) 2:12
15. Sahara (Goodman) 2:47
16. Mona's Feeling Lonely (Hinton) 3:40
17. Kookin' in the Kitchen (Johnson) 3:15
18. Walk Chicken, Walk With Your Head Picked Bald to the Bone (Hinton) 3:34
19. Ruby, My Dear (Monk) 2:50
20. Koolin' on the Settee (Johnson) 3:36
21. Blues (Cleveland) 4:46

Hank Jones (Piano)
Jimmy Cleveland (Trombone on # 3,8,15,21)
Barry Galbraith (Guitar)
Milt Hinton (Bass)
Osie Johnson (Drums)

Recorded in New York, 1956

Tuesday, March 2, 2010

Richter Plays Prokofiev Piano Sonatas

Definitely some of The Harder Stuff. A quite difficult to find album of the 'War Sonatas' 6&7.

Robert Cummings (AMG) on the Sonata No6:
There are many who assert this is the jewel of the so-called "War Sonata" trilogy. While the Seventh has been more popular over the years, the Sixth is more epic and dramatic, bigger and deeper in expressive range, and more dynamic and colorful. With the possible exception of the Eighth, it is arguably Prokofiev's greatest piano sonata.

Sunday, February 28, 2010

Contest Winners

Everybody who entered!!! Yay!!!

Seriously, the six people who entered all win.

The winners are in comments, and some of the prizes are:

Sahib Shihab - And the Danish Radio Orch

Lee Morgan - Leeway - Sealed Connoisseur edition

Kenny Dorham - Whistle Stop - Sealed Connoisseur edition

3 OJC titles - my choice, but will try to match your interests

Signed copy of Chip Defaa's Voices of the Jazz Age

Signed copy of Leonard Feather's The Jazz Years

Jackie McLean - A Fickle Sonance TOCJ

Alan Shorter - Tes Esat

Randi Hultin's Born Under The Sign Of Jazz

Earl Hines autograph (with Quinn Wilson and two others)
and a Symphony Sid autograph (both)

A list of books on request if there's one you've been looking for

Get in touch with some particular artist/instrument/label preferences and we'll work something out

Congratulations, and I'll send your prizes anywhere you want them.