Tuesday, November 30, 2010

Dusko Goykovich & Tete Montoliu - 1971 It's About Blues Time

One of the legendary albums cut by hip European trumpeter Dusko Goykovich! The album was recorded in 1971 in Barcelona, and it's a very soulful quintet session that features fantastic performances from two of our favorite European players – trumpet player Dusko Goykovich and tenor player Ferdinand Povel, along with Spanish pianist Tete Montouliu, and his regular rhythm backing of Joe Nay and Robert Langereis. Goykovich and Povel groove hard in the frontline, bringing a hard edge to the session that you don't always hear on some of Montouliu's sessions from the time. The set grooves like a classic Blue Note, or some of the best straight ahead jazz on MPS – with lines that have their roots in soul jazz, but also show a real preference for modal grooving and lyrical soloing. Goykovich's tone is wonderful, and is a real mix of jazz and non-jazz European influences. Tracks include "Bosnia Calling", "Nameless Tune", and "The End Of Love".
Dusty Groove

01 It's About Blues Time (Goykovich) 13:55
02 Old Folks (Hill, Robison) 5:57
03 The End of Love (Hampton) 5:27
04 Bosna Calling (Goykovich) 6:03
05 You Know I Care (Pearson) 5:23
06 Nameless Tune (Povel) 5:16

Recorded in Barcelona, on November 8, 1971

Dusko Goykovich Trumpet
Tete Montoliu Piano
Ferdinand Povel Sax (Tenor)
Rob Langereis Bass
Joe Nay Drums

Sunday, November 28, 2010

Hugo Fattoruso & Rey Tambor - Palo y Mano

The Afro-Uruguayan rhythm Candombe has played a significant role in Uruguayan culture for over 200 years. The rhythm is created by the use of three drums (tambores); tambor piano, tambor chico and tambor repique. The piano is the largest in size and the lowest in pitch of the three tambores. The rhythmic base of Candombe, its function similar to that of the upright or electric bass. The chico (small) is the smallest in size and highest in pitch of the three tambores, serving as the rhythmic pendulum. The tambor repique (ricochet) embellishes Candombe's rhythm with improvised phrases. Each of the three tambores is played with an open hand (mano) and a stick (palo) in the other. At a minimum, one of each of the three tambores must be present.

The purest form of Candombe takes place each Sunday night on the streets of Montevideo, where many drummers assemble, playing their drums under the moon lit sky. Isla de Flores is the main street that joins Cuareim and Ansina, Candombe's two main social groups. For over a century spontaneous cuerdas have paraded on this street, and continue to do so today (Isle de Flores is also known by its second name, Carlos Gardel). As the cuerda slowly makes its way through the narrow streets of Montevideo, this contagious rhythm takes with it all in its path, surrounded on all sides by the neighborhood people moving their bodies to the rhythm of Candombe. At intervals the cuerda will pause, and by setting a fire, will heat their drums' skins for tuning purposes.
These Candombe rituals preserve this strong Uruguayan tradition, and serves as the breeding ground for the next generation of young Candombe drummers, as it has for their fathers, and their fathers before them. Informal, yet formidable in nature. Candombe has evolved, and continues to do so. Throughout the years there have been many composers that have written wonderful melodies and lyrics over the rhythm. One individual who stands at the forefront of such a movement is Hugo Fattoruso.
Hugo Fattoruso, a composer and arranger, a multi-instrumentalist and vocalist, has had a profound effect on music that has touched upon shores far and wide. Endeavors such as Los Shakers, Opa, Grupo Del Cuareim, Los Pusilanimes, Trio Fattoruso, and his solo works, are endeared by those fortunate to know of his talent. Born and raised in Montevideo, Uruguay, the son of a musically rich father, Antonio, Hugo began learning the language of music at the same time he was learning to walk and talk. Growing in Uruguay, and neighbored by Argentina and Brazil, exposed him to a diverse array of musical colors and rhythms. The Afro-Uruguayan Candombe rhythm is somethng that is always burning in Hugo's heart and mind, naturally, and exemplified by this, his latest endeavor, Rey Tambor. Here Hugo, on electric keyboard and vocals, joins forces with his three young Candombe compadres, the energetic Nicolás, Fernando and Diego, together navigating Candombe to new and exciting frontiers.

1 - Repicado
2 - Calidez
3 - Melodía Candombe / Ferna
4 - Ya Ya
5 - Yacumensa
6 - Chicalanga
7 - Pinceladas De Candombe
8 - La Luna Vino Al Candombe
9 - Mírala Que Linda Viene
10 - Cuando Robaron La Luna
11 - Lady Madonna
12 - Palo Y Mano
13 - Bien De Bien ("El Convento")
14 - Viernes 3 a.m.
15 - Let's Stay Together

Hugo Fattoruso (keyboards & vocals), Nicolás Peluffo (tambor Repique), Fernando Núñez (tambor Chico), Diego Paredes (tambor Piano)

Géraldine Laurent - Around Gigi

Young French alto saxophonist Geraldine Laurent’s debut, ”Time Out Trio”, in 2007, was highly praised by the jazz press for its fearless, high octane risk-taking - and she received a prestigious French Victoires de Jazz Award in recognition of her achievement.
This new project,”Around Gigi”, is a tribute to the innovative, but often over-loooked saxophonist-composer, Gigi Gryce - who was at his peak in the 1950s and early ’60s. She includes three Gryce compositions and an arrangement by him; plus five new pieces of her own; as well as Ellington’s ’Black & Tan Fantasy’, Art Farmer’s ’Mau Mau’ and Monk’s ’Gallop’s Gallop’ (the latter two Gryce had recorded with the composers).
But even with this more mainstream focus, her paying is full of edge, urgency, virtuosity and assurance. She is ably supported by Pierre De Bethmann (Prysm) on piano, bassist Yoni Zelnik (also on her debut) and Franck Agulhon, drums. Highly talented, Geraldine Laurent is certainly a jazz artist to keep an eye on - and, indeed, two ears.

1 - Black And Tan Fantasy
2 - Kerry's Dance
3 - Cordova Is Dancing
4 - Minority
5 - Did You Remember You
6 - Mau Mau
7 - Nica's Tempo
8 - Her Bets
9 - Gallop's Gallop
10 - Smash
11 - Smoke Signal
12 - Chain Smokers

Géraldine Laurent (as), Pierre de Bethmann (p), Yoni Zelnik (b), Franck Agulhon (dr)

Saturday, November 27, 2010

Toshiko Akiyoshi - Desert Lady (1994)


A search throughout the blog brought up a few nice albums from this fine pianist and arranger. Here is another beautiful offering from the Toshiko Akiyoshi Jazz Orchestra. Jean Francois.

Toshiko Akiyoshi - Desert Lady-Fantasy

Recordings by the Toshiko Akiyoshi Jazz Orchestra are surprisingly few, particularly from the 1990s. The pianist/arranger Akiyoshi is near the top of her field, and her 1993 orchestra is heard in excellent form on this CD interpreting four of her originals, Lew Tabackin's "Broken Dreams" (a ballad feature for his tenor), and Dizzy Gillespie's "Bebop." Other key soloists include trombonist Conrad Herwig; trumpeters Joe Magnarelli, John Eckert, and Greg Gisbert; and altoists Jerry Dodgion and Jim Snidero. The music mostly swings hard, and there are many exciting moments along the way, making one wonder why this important orchestra has recorded so little since this time. Worth searching for. Review by Scott Yanow.

Track listing

1 - Harlequin Tears ........... (Akiyoshi) 08:15

2 - Desert Lady-Fantasy ....... (Akiyoshi, Tabackin) 15:39

3 - Hangin' Loose ............. (Akiyoshi) 09:38

4 - Hiroko's Delight .......... (Akiyoshi) 08:48

5 - Broken Dreams ............. (Tabackin) 08:25

6 - Bebop ..................... (Gillespie) 06:37


  • Toshiko Akiyoshi Arranger, Piano, Producer
  • Herb Besson Trombone
  • Luis Bonilla Trombone
  • Terry Clarke Drums
  • John Eckert Trumpet
  • Greg Gisbert Trumpet
  • Conrad Herwig Trombone
  • Joe Magnarelli Trumpet
  • Tim Newman Trombone (Bass)
  • Mike Panella Trumpet
  • Daniel Ponce Conga
  • Mike Ponella Trumpet
  • Scott Robinson Clarinet (Bass), Sax (Baritone)
  • Jim Snidero Flute, Sax (Alto), Sax (Soprano)
  • Lew Tabackin Flute, Piccolo, Producer, Sax (Tenor)
  • Walt Weiskopf Flute, Sax (Soprano), Sax (Tenor)
  • Doug Weiss Bass

Billie Poole - Confessin' The Blues!

I don't know what happened to Billie Poole, but when this set was issued in 1962 it seemed to promise a bright future, especially since Orrin Keepnews had backed her with a fine quartet composed of Kenny Burrell, Junior Mance, Bob Cranshaw and Mickey Roker. Plenty of experience can be heard in their accompaniment. Ms. Poole's singing is rough-edged and rather more appropriate to real blues than to blues-flavored pop songs and items like "God Bless the Child." Authenticity of accent and vocal quality combine to make her versions of Bessie Smith's "Jailhouse Blues" and Big Bill Broonzy's "Keep Your Hand on Your Heart" the most convincing tracks, although she conveys a strong gospel feeling on Ray Charles' "Ain't That Love". *Stanley Dance*

This CD brings back the second of two Riverside albums cut by singer Billie Poole. Other than a single from a few years earlier, the two sets were Poole's entire recording legacy. Poole was an expressive singer who felt most comfortable on blues-oriented material. For this date, she was assisted by an unbeatable rhythm section (guitarist Kenny Burrell, pianist Junior Mance, bassist Bob Cranshaw, and drummer Mickey Roker) and performed mostly vintage material, with a few more recent songs added for variety. Poole sounds fine on such tunes as "Confessin' the Blues", "Stormy Weather", "Alone Together" and even "God Bless the Child". *Scott Yanow*

1 - Confessin' the Blues
2 - Them Blues
3 - God Bless the Child
4 - I Worry 'Bout You
5 - Jailhouse Blues
6 - Stormy Weather
7 - The Man That Got Away
8 - Keep Your Hand on Your Heart
9 - Ain't That Love
10 - Alone Together
11 - When Your Well Runs Dry
12 - Stormy Monday

Thursday, November 25, 2010


The discussion section has always been interesting here.

What are you thinking about? What are you wondering?

What moves you, baby?

Try not to talk about people's mamas; everything else is up for discussion.

Wednesday, November 24, 2010

Claude Williamson - Complete 1956 Studio Sessions

Two sessions as a trio (one with Don Prell and Chuck Flores, the second with Red Mitchell and Mel Lewis) to account for one of the most inventive and brilliant pianists in West Coast jazz. After accompanying Red Norvo and June Christy, Williamson made his appearance in the Bud Shank Quartet. These sessions date from a time when Williamson was hyper active, multiplying the recordings with Art Pepper, Bob Cooper or Barney Kessel. Here, we retain the high sensitivity of Williamson, who demonstrates expertise almost impressionistic at the head of his trio.

01. June Bug (Williamson) 3:34
02. Jersey Bounce (Plater, Bradshaw, Johnson, Wright) 6:12
03. Moonlight in Vermont (Blackburn, Suessdorf) 3:44
04. I’ll Remember April ( Raye, Johnston, DePaul) 5:01
05. The Last Time I Saw Paris (Hammerstein, Kern) 4:33
06. Blue Notoriety (Williamson) 6:08
07. Embraceable You (Gershwin, Gershwin) 2:32
08. Have You Met Miss Jones? (Hart, Rodgers) 3:37
09. Hallelujah! (Robins, Grey, Youmans) 2:50
10. Stella by Starlight (Washington, Young) 4:02
11. Somebody Loves Me (MacDonald, DeSylva, Gershwin) 3:06
12. I’ll Know (Loesser) 3:21
13. The Surrey with the Fringe on Top (Hammerstein, Rodgers) 2:54
14. Polka Dots and Moonbeams (Burke, Van Heusen) 3:06
15. Hippy (Silver) 3:05
16. Tea for Two (Caesar, Youmans) 3:20
17. Stompin’ at the Savoy (Razaf, Goodman, Webb, Sampson) 3:30
18. ‘Round Midnight (Monk) 3:54
19. Just One of Those Things (Porter) 3:00
20. Love Is Here to Stay (Gershwin, Gershwin) 3:00
21. The Song Is You (Hammerstein, Kern) 2:09

'Claude Williamson', tracks 1-9:

Claude Williamson (piano)
Don Prell (bass)
Chuck Flores (drums)

Recorded at Radio Recorders, Hollywood on January 19, 1956

This 1956 date for Bethlehem boasted the most impassioned and intense performances of Claude Williamson's career to date -- backed by bassist Don Prell and drummer Chuck Flores, Williamson channels the energy of collaboration to create a record of uncommon energy. Flores' driving, melodic drums set the pace here, maintaining a strong balance between form and function, while Williamson's piano exhibits a similarly rhythmic edge as well as a restraint that informs the music with tension and depth.
Jason Ankeny

'Round Midnight', tracks 10-21:

Claude Williamson (piano)
Red Mitchell (bass)
Mel Lewis (drums)

Recorded at Radio Recorders, Hollywood on December 3-5, 1956

Claude Williamson was one of the better bebop-oriented pianists to be active during the 1950s. This trio set with bassist Red Mitchell and drummer Mel Lewis has been reissued on CD. With the exception of four-minute renditions of "Stella by Starlight" and Horace Silver's "Hippy," all of the numbers clock in around the three-minute mark. The repertoire (which includes such tunes as "Somebody Loves Me," "The Surrey with the Fringe on Top," "Just One of Those Things" and "The Song Is You") is typical for the time period and Williamson brings to the music his own approach to playing bop. The set is quite enjoyable and, even if the program (which is around 39 minute) is a bit brief, it should appeal to straightahead jazz fans.
Scott Yanow

Monday, November 22, 2010

Federico Britos - Voyage

Although he has been performing for over six decades, violinist Federico Britos, a native of Uruguay, is not as widely known as other jazz violinists, simply because he has recorded infrequently under his own name for the U.S. market, though he has played or recorded with a host of jazz greats, including Duke Ellington, Nat King Cole, and Benny Goodman, among others. Britos plays in a variety of settings with different accompanists, contributing most of the arrangements as well. His style is comparable to that of Stéphane Grappelli, though without the uptempo high-register technique often favored by the late violinist. Britos makes a major impression in a pulsating take of the oldie "After You've Gone," where he is joined by pianist Kenny Barron, bassist Phil Flanigan, and drummer Francisco Mela. The violinist's subtle take of "Moonglow" and playful swinging setting of "Avalon" feature the distinctive (and immediately recognizable) seven-string guitar of Bucky Pizzarelli. Britos penned several strong originals, including "Tomatito & Federico," a tantalizing duet with flamenco guitarist Tomatito; the loping ballad "Vivian Flavia de las Mercedes" with pianist Michel Camilo; and the playful "Micro Suite Cubana," featuring Latin percussionist Giovanni Hidalgo. Britos has hardly been a musical hermit during his long career, but he merits greater exposure to the world of jazz. This rewarding CD is likely to provoke newcomers to his music to investigate his earlier recordings. *Ken Dryden*

1 - Vivian
2 - After You've Gone
3 - Vivian Flavia de las Mercedes
4 - Moonglow
5 - Tomatito & Federico
6 - Capullito de Alelí
7 - Las Vegas Station
8 - Lluvia de Colores
9 - Avalon
10 - A las Cuatro de la Mañana
11 - Okey Paganini
12 - Oriente
13 - Micro Suite Cubana

With the ebullient string arrangements by Sunnyside labelmate Carlos Franzetti, Britos is backed by an international, stellar cast including Cuban drummers Francisco Mela and Ignacio Berroa; Spanish and American guitarists Tomatito and Bucky Pizzarelli, Brazilian, Dominican and American pianists Antonio Adolfo, Michel Camilo and Kenny Barron, and Puerto Rican bassist Eddie Gomez and conguero Giovanni Hidalgo.

Sunday, November 21, 2010

June Christy - Something Cool

June Christy's classic Something Cool has been expanded from 11 songs to 24 on this essential CD with two unreleased cuts and six songs only previously out as singles. Christy's attractive "cool" tone was a trademark of jazz in the 1950s, her version of "Something Cool" remains a classic, and many of the other numbers are nearly as memorable. Accompanied by Pete Rugolo's Orchestra, Christy is heard at her best on such numbers as "Whee Baby," "You're Making Me Crazy," "Midnight Sun," "A Stranger Called the Blues," "Softly, As in a Morning Sunrise," "This Time the Dream's on Me," and "The Night We Called It a Day." *Scott Yanow*

June Christy's Something Cool, originally released as a 10-inch LP in 1954. single-handedly inaugurated the cool-jazz vocals movement. Christy had been a star vocalist with the Stan Kenton Orchestra in the late '40s, enjoying such major hits as "Tampico" and "Shoo Fly Pie & Apple Pan Dowdy." Soon after she left the band, she began working with key Kenton arranger Pete Rugolo and a slew of top West Coast studio musicians (including her husband, tenor saxophonist Bob Cooper) on her first solo album for Capitol Records. The result was Something Cool , which is both a winning showcase for Christy's wistful style and a landmark of cool-jazz modernism. From the start, Christy established herself as an artist who strove for the very best in song selection, arrangements, and notably intelligent interpretation. There were perhaps other vocalists with greater vocal equipment but few could match June Christy's artistic integrity. The celebrated title track is the soliloquy of a female barfly of a certain age, reminiscing (and fantasizing) about better days to a fellow male patron who just might buy her another drink. It remains Christy's signature performance to this day. Other highlights include a swinging "It Could Happen To You," "Midnight Sun," and an ambitious arrangement of Kurt Weill's "Lonely House."

1 - Not I
2 - Whee Baby
3 - Why Do You Have to Go Home
4 - You're Making Me Crazy
5 - Something Cool
6 - Magazines
7 - Midnight Sun
8 - Lonely House
9 - I Should Care
10 - It Could Happen to You
11 - The First Thing You Know, You're in Love
12 - A Stranger Called the Blues
13 - I'll Take Romance
14 - Look Out Up There
15 - Softly, As in a Morning Sunrise
16 - Out of Somewhere
17 - Love Doesn't Live Here Anymore
18 - I'm Thrilled
19 - This Time the Dream's on Me
20 - The Night We Called It a Day
21 - Kicks
22 - Pete Kelly's Blues
23 - Until the Real Thing Comes Along
24 - I Never Want to Look into Those Eyes Again

June Christy (vocals); Jack Marshall, Tony Rizzi, Barney Kessel (guitar); Harry Klee, Bud Shank (flute, alto flute, alto saxophone); Gus Bivona (flute, alto saxophone); Ted Nash, Bob Cooper (flute, tenor saxophone); Paul Horn, Buddy Collette (reeds); Willie Schwartz, Skeets Herfurt (alto saxophone); Fred Falensby, Jimmy Giuffre (tenor saxophone); John Rotella, Bob Gordon (baritone saxophone); Uan Rasey, Conrad Gozzo, Conte Candoli, Frank Beach, Jimmy Zito, Maynard Ferguson, Ray Linn, Ray Triscari, Shorty Rogers, Ollie Mitchell (trumpet); John Graas, Vincent DeRosa (French horn); Dick Reynolds, Frank Rosolino, Harry Betts, Herbie Harper, Nick Dimaio, Tommy Pederson (trombone); Dick Noel, George Roberts (bass trombone); Phil Stephens (tuba); Claude Williamson, Geoff Clarkson, Joe Castro , Paul Smith , Russ Freeman (piano); Frank Carlson, Larry Bunker, Alvin Stoller, Shelly Manne (drums).

Saturday, November 20, 2010

Matthew Shipp - One (2006)


There have been quite a few fine offerings of works from this remarkable pianist here. A quick search of the blog did not return this particular album. Here is a really beautiful solo album from Shipp. Jean Francois .

Matthew Shipp One

The 12 tracks that make up One, Matthew Shipp's first solo piano outing since 2002's Songs on the Splasc(h) label, amount to a new kind of recital for the pianist. Two of his major influences on the instrument, Cecil Taylor and Mal Waldron, make their traces heard in terms of Shipp's architecture, but never do they become dominant. There is a kind of economy of scale that goes into these pieces that's refreshing for any solo piano outing. For starters, there are the elegant middle- and lower-middle-register chord voicings that make up the lion's share of "Arc," the opener. Shipp puts down a series of chords following in scale, and then extrapolates on them, shading their colors more sharp or more flat, a little bit at a time, never trying to arrive at a destination until one speaks out loudly enough for more detail. On "Patmos," one can hear the unhurried projection of scale in the single-note flourishes that stack up, allowing one set of tones to bleed into another, asserting not so much projection as a platform from which to hear what comes next and to allow that songlike voice to rise to the surface. "Gamma Ray" invokes both Thelonious Monk and Taylor in its jagged, rhythmic dexterity. The play of melody works against the grain here in the beginning, but it does make itself known before the pianist's own sense of space between chromatic statements becomes dominant. But Shipp is very keen on balance in these pieces, too; there is the constant rise of tension and its gradual release once a path of inquiry is found and decided upon. The drift in "Zero" is charted so that one of Shipp's most beautiful and realized melodies comes to the fore -- along with graceful melodic and harmonic articulations -- and stays there for the entire piece. One is a fully realized and poetic work by a mature pianist who should finally begin getting his due, not only as an improviser and a visionary but as a technician as well. Review by Thom Jurek.


  1. Arc
  2. Patmos
  3. Gamma Ray
  4. Milky Way
  5. Blue in Orion
  6. Electro Magnetism
  7. The Encounter
  8. The Rose Is a Rose
  9. IEOU
  10. Abyss Code
  11. Zero
  12. Module

Art Pepper - Unreleased Art, Vol. 5

Thanks to the generosity of obsessive jazz collectors worldwide--and their sub rosa recordings--Laurie Pepper is able to bring Art Pepper's luminous and funky improvisations of one night in Stuttgart to the rest of the world nearly 30 years later.

Volume V in the Unreleased Art series of Laurie's Widow's Taste label was recorded in Stuttgart, Germany in May 1981 with Art's “comeback" quartet--pianist Milcho Leviev, bassist Bob Magnusson, and drummer Carl Burnett. The CD will be released on May 18. By the time they got to Stuttgart, this band had been touring and playing together nearly nonstop for more than two years. Their communication with each other within the evolution of this music was magical and always surprising. Each hearing reveals new, entertaining, and inspiring subtleties in their musical responses to each other: They listened. That, Art always said, was the key to great jazz.

There are no “new" songs here, but everything, of course, is brand-new and unique to this night. Each of these songs offered Art new worlds, nightly, to explore and conquer. He was determined to fill these final years with the music he hadn't made during the years he'd lost to addiction, imprisonment, and depression.

“True Blues" was an Art original, a usual opener, which starts off breezy but gets hotter and hotter. “Yours Is My Heart Alone" is a medium-tempo waltz Art discovered through Clare Fischer when he went to Japan with Cal Tjader in the '70s. “Landscape" is all Art, pure thrills, named for the view from a bullet train. “Patricia" is Art's tenderest ballad, written for his daughter. “For Freddie" (i.e., Hubbard) is pure, solid, swinging bebop. “Straight Life" is one of Art's earliest tunes and his fastest, and on this night it's played at warp speed. On sweet “Avalon," Art plays his clarinet. “Make a List, Make a Wish" is soulful and erotic. Ever since Art played “Somewhere Over the Rainbow" with Shorty Rogers back in 1951, it's been his song, a hymn to longing. And finally, the concert ends with “Cherokee," a battle cry, the tune, Art said, to test your chops... - (Terri Hinte, All About Jazz)

Disc 1:
True Blues
Yours is My Heart Alone
For Freddie

Disc 2:
Straight Life
Make a List (Make a Wish)
Over the Rainbow

Art Pepper, alto sax & clarinet
Milcho Leviev, piano
Bob Magnussen, bass
Carl Burnett, drums

Recorded live, Stuttgart May 25, 1981

Monday, November 15, 2010

Kai Winding - 1949-51 Bop City

The recordings compiled on this CD are all in their way bebop gems, for Kai surrounded himself with the best of the rising modern young musicians of the time, and the tracks with Mulligan, Moore and Wallington are outstanding. The front line has a delightful deep sound to it, and the intuitive interplay between the musicians is impressive. Moore's warm sound nicely offsets Kai's bite, while Mulligan brings a whole new concept to the baritone saxophone. (Gerry's arrengements of 'Sleepy Bop' and 'Crossing the Channel' serve notice on the sounds of his own quartet and those of the Miles Davis groups that were still to come). And it would be nice to think that Modest Mussorgsky himself would have dug Kai's 'Night on Bop Mountain', for it really is a model of its kind. Warne Marsh was never less than unique and he makes meaningful statements on the tracks where he is featured. Singer Melvin Moore certainly has a very pleasant voice, and one wonders what became of him. The rhythm sections on display cannot be faulted, but it is the leader himself, Kai Winding, whose pungent trombone stays longest in the memory after listening again to these classic bebop recordings.
Mike Baillie

01. Bop City 2:59
02. Wallington's Godchild 2:53
03. Crossing the Channel 2:51
04. Sleepy Bop 3:07
05. Knockout 2:40
06. Igloo 2:34
07. Lestorian Mode 2:33
08. Kai's Kid 2:54
09. Gold Rush 3:09
10. Mudbug 2:44
11. Sid's Bounce 3:19
12. Broadway 3:22
13. Waterworks 3:42
14. Night on Bop Mountain 3:36
15. Deep Purple 2:45
16. I'm Shooting 2:58
17. You're Blase 2:46
18. Moonshower 2:44
19. Honey 2:52
20. Someone to Watch Over Me 2:40
21. Cheek to Cheek 2:49
22. Harem Buffet 2:56

Tracks 1-4:
Kai Winding Sextet
Kai Winding (tb), Brew Moore (ts), Gerry Mulligan (bar), George Wallington (p), Curley Russell (sb), Max Roach (dm)
Roost, New York City, April, 1949

Tracks 5-6:
George Wallington Septet
Jerry Lloyd (tp), Kai Winding (tb), Brew Moore (ts), Gerry Mulligan (bar), George Wallington (p), Curley Russell (sb), Roy Haynes or Charlie Perry (dm), Buddy Stewart (vo)
Regal, New York City, May 9, 1949

Tracks 7-10:
Brew Moore All Stars
Jerry Lloyd (tp), Kai Winding (tb), Brew Moore (ts), Gerry Mulligan (bar), George Wallington (p), Curley Russell (sb), Roy Haynes (dm)
Savoy, New York City, May 20, 1949

Tracks 11-14:
Kai Winding Sextet
Kai Winding (tb), Brew Moore (ts), Gerry Mulligan (bar), George Wallington (p), Curley Russell (sb), Roy Haynes (dm)
New Jazz, New York City, August 23, 1949

Tracks 15-18:
Kai Winding's Band
Kai Winding (tb), Warne Marsh (ts), Billy Taylor (p), Jack Lesberg (sb), Charlie Perry (dm), Melvin Moore (vo)
Cosmopolitan, New York City, April 27, 1951

Tracks 19-22:
Kai Winding Quintet
Kai Winding (tb), Brew Moore (ts), Lou Stein (p), Jack Lesberg (sb), Don Lamond (dm)
Roost, New York City, May 31, 1951

Saturday, November 13, 2010

John McLaughlin - 5 Original Album Classics

Review by Thom Jurek (AMG)

This second box in Sony's German Original Album Classics series focuses on five titles from John McLaughlin's solo years immediately following the breakup of the Mahavishnu Orchestra (there is an OAC volume for that great band as well). Essentially, this box packages together import pressings of five individual titles (minus bonus tracks, but each with its original artwork). In this case they are Shakti, A Handful of Beauty , Natural Elements (both of the latter also with Shakti), Electric Guitarist, and Electric Dreams. Fans who already possess the U.S. versions of some or all of these albums need not bother with this -- though they do have marginally better sound. It can also be argued that Electric Dreams is a superfluous dog of an album. The three acoustic Shakti albums are indispensable, and Electric Guitarist is also a highly satisfying recording.

Biography by Steve Huey (AMG)

One of fusion's most virtuosic guitar soloists, John McLaughlin placed his blazing speed in the service of a searching spiritual passion that has kept his music evolving and open to new influences. Whether shredding on electric or simmering quietly on acoustic, McLaughlin's intensity and underappreciated versatility have nearly always kept his playing vital, and his best moments -- whether as a solo artist or bandmember -- represent some of fusion's greatest recordings.
McLaughlin was born January 4, 1942, in Yorkshire, England, and began playing guitar at age 11. Initially attracted to blues and swing, he worked with British artists like Georgie Fame, Graham Bond, Brian Auger, and Ginger Baker. McLaughlin formed his own band in 1968, and recorded the excellent debut Extrapolation in early 1969. Later that year he moved to New York to join Tony Williams' groundbreaking fusion band Lifetime, and appeared on the classic Emergency! Through Williams, McLaughlin was invited to join Miles Davis' band, and became an important part of fusion landmarks like In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson. In 1970, wanting to explore acoustic and Eastern music, McLaughlin recorded the classic My Goal's Beyond; he soon left Davis, and after one further solo album, Devotion, McLaughlin spent some time woodshedding.
He re-emerged in 1971 as leader of the Mahavishnu Orchestra, a seminal band that did much to define and popularize early jazz-rock fusion, as evidenced by the albums The Inner Mounting Flame, Birds of Fire, and Visions of the Emerald Beyond. Pausing to record Love Devotion Surrender with Carlos Santana in 1972, McLaughlin led Mahavishnu until 1975. Returning to spiritual preoccupations on My Goal's Beyond, he then formed Shakti, which fused acoustic jazz with Indian music over the course of three albums. McLaughlin returned to his solo career in the late '70s, forming a backing outfit called the One Truth Band, and also recording the guitar trio albums Friday Night in San Francisco and Passion, Grace & Fire with fellow fusion burner Al di Meola and flamenco guitarist Paco de Lucia. As the '80s went along, McLaughlin experimented with classical-jazz hybrid composing; there was also a short-lived Mahavishnu reunion in the mid-'80s.
In the 1990s McLaughlin continued to record steadily in both electric and acoustic groups. He signed to Verve, where he would remain for 13 years. Some the more notable albums from that period include the acoustic Time Remembered: John McLaughlin Plays Bill Evans in 1993; After the Rain with Elvin Jones and Joey DeFrancesco in 1995; and 1996's The Promise, which featured the guitarist in a number of settings, including a reunion with his acoustic trio partners di Meola and de Lucia and a trio with DeFrancesco and drummer Dennis Chambers. The drummer was also a part of McLaughlin's final album of the decade, Heart of Things, a furious bout of electric jazz.
The 21st century found McLaughlin in another nostalgic mood, releasing Remember Shakti: The Believer, a live set featuring the guitarist (playing electric guitar) with electric mandolinist U. Shrinivas, kanjira and ghatam player V. Selvaganesh, and legendary tabla player Zakir Hussain. While it wasn't a Shakti album proper, it nonetheless echoed that group's intricate and amazing rhythmic and harmonic breakthroughs. The group toured and released Saturday Night in Bombay a year later. McLaughlin's Euro-classical-leaning Thieves and Poets appeared in 2003. In 2004, WEA in Germany issued the massive 17-CD box set of McLaughlin's Montreux Concerts, which featured performances recorded between 1974 and 1996. Industrial Zen, released in 2006, was a mixed-bag recording where the guitarist's ambitions ran wild. It was his final album for Verve.
In 2008 McLaughlin issued Floating Point, an extension of many of the concepts on Industrial Zen, on the Abstract Logix imprint. The final track on that album was entitled "Five Peace Band"; it served as the name for a supergroup assembled by McLaughlin and Chick Corea for a one-off world tour. The other members were saxophonist Kenny Garrett, drummer Vinnie Colaiuta, and bassist Christian McBride; an album of the same name was released in 2009 on Concord. To the One, a studio album, was released on Abstract Logix in the spring of 2010.


Electric Guitarist

01 - New York on My Mind
02 - Friendship
03 - Every Tear From Every Eye
04 - Do You Hear the Voices You Left Behind
05 - Are You the One_Are You the One
06 - Phenomenon- Compulsion
07 - My Foolish Heart

A Handful Of Beauty

01 - La Danse Du Bonheur
02 - Lady L
03 - India
04 - Kriti
05 - Isis
06 - Two Sisters

Natural Elements

01 - Mind Ecology
02 - Face To Face
03 - Come On Baby Dance With Me
04 - The Daffodil And The Eagle
05 - Happiness Is Being Together
06 - Bridge Of Sighs
07 - Get Down And Sruti
08 - Peace Of Mind

Shakti With John McLaughlin

01 - Joy
02 - Lotus Feet
03 - What Need Have I For This_What Need Have I For That_I Am Dancing At The Feet Of My Lord_All Is Bliss - All Is Bliss

Electric Dreams

01 - Guardian Angels
02 - Miles Davis
03 - Electric Dreams, Electric Sighs
04 - Desire And The Comforter
05 - Love And Understanding
06 - Singing Earth
07 - The Dark Prince
08 - The Unknown Dissident

This Release:

John McLaughlin - 5 Original Album Classics
Label: Sony- BMG
Catalog # 888697145452
Original Release: 2007
This Release: 2007

Wednesday, November 10, 2010

Cecil Taylor - Indent (1973)

After nearly 20 years of critical neglect and hostility, pianist Cecil Taylor finally began to gain some approval in 1973. This solo concert, originally put out by Taylor on his own short-lived Unit Core label, gained wider recognition when Arista Freedom released it in 1977. On three lengthy improvisations, Taylor is quite stunning in his control of the piano, his wide range of percussive sound and his endurance. As is often true of Cecil Taylor's music, this recital is not for the faint-of-heart, but those with open ears will find it rewarding and certainly stimulating.

Scott Yanow

1. Indent. First Layer (Taylor)
2. Indent. Second Layer, Part One (Taylor)
3. Indent. Second Layer, Part Two (Taylor)
4. Indent. Third Layer (Taylor)


Recorded live at the Antioch Theatre, Antioch College, Yellow Springs, Ohio, on March 11, 1973
BLACK LION CD 877675 - 2

Claude Williamson - The Complete 1954-1955 Kenton Presents Sessions

Includes two albums recorded by Williamson in the middle of the fifties in the Kenton Presents Series:

Kenton Jazz Presents Claude Williamson (Capitol H6502)
Keys West (Capitol T-6511)

The second one was offered by cvllos some time ago.

"Claude Williamson has the kind of finely-drawn sensitivity which gives him a sure and incisive awareness of the emotions of those around him. His stability, in the face of this awareness, is a characteristic which deserves applause. Williamson's soft spoken, unassuming manner, too, is deserving of applause, for it makes friends of musicians and non-musicians alike. The young pianist's life is a serious devotion to jazz -a vigorous, hard-working devotion- which can only result in flawness achievements."
- Stan Kenton, 1955

01 Bouncing With Bud 3:02
02 Salute To Bud 2:32
03 Penny 2:47
04 Thou Swell 3:07
05 Woody'N You 2:48
06 Obsession 3:00
07 Indiana 2:33
08 Over The Rainbow 3:20
09 Bean And The Boys 3:09
10 I Remember You 2:36
11 All God's Chillun Got Rhythm 2:35
12 Get Happy 2:33
13 On The Atchison,Topeka,And The Santa Fe 3:30
14 Spring Is Here 3:26
15 Like Someone In Love 4:48
16 My Heart Stood Still 2:52
17 Of Thee I Sing 2:27
18 Don't Get Around Much Anymore 3:04
19 Yesterdays 5:26
20 The Kerry Dance 2:01
21 Between the Devil and the Deep Blue Sea 3:21

Claude Williamson (p)
Curtis Counce (b except on 3,8)
Stan Levey (ds except on 3,8)
Recorded in Hollywood, on June 26 (#6,11), June 29 (#3,5,7-9), and July 29 (#1,2,4,10), 1954

Tracks 14,16,17:
Claude Williamson (p)
Max Bennett (b)
Stan Levey (ds)
Recorded in Hollywood, on May 2,1955

Claude Williamson (p,cel on 15,20)
Buddy Clark (b except on 15,19)
Larry Bunker (ds except on 15,19)
Recorded in Hollywood, on May 19,1955

On tracks #3,8,15 and 19 omit bass and drums. On tracks #15 and 20 Claude Williamson plays also celesta.

Bud Powell in Paris (Warner Archives)

According to Leonard Feathers' notes:

He (Bud) played like a man rejuvenated, charged with much of the early conviction and coordination. Paris was an escape for him on many levels. It is not surprising that many of his best performances of the past decade, according to most observers, have been given since his move to a new and, for him, more sympathetic milieu."


1 How high the moon

2 Dear Stockholm

3 Body & soul

4 Jor-du

5 Reets and I

6 Satin doll

7 Parisian Throughfare

8 I Cant get started

8 Little Benny

9 Indiana

10 B-flat blues

Performers: Bud Powell (p), Gilbert Rovere (b) & Carl Fields (d)

Possible recording date: 1963 (as informed on record)
Flac mode & scans inside

Sunday, November 7, 2010

Uri Caine - Dark Flame


Just for the sake of being surprised by the imaginative ideas of Uri Caine, this record is worth a listen. It is very stylish, very inventive, sometimes excessive, but never boring. Review by Jean Francois.

Uri Caine Dark Flame

It's all well and good to talk of postmodern maneuvers and profusions of genres and even relentless experimentation when discussing Uri Caine 's takes on the songs of Gustav Mahler, 1997's Urlicht/Primal Light and the new Dark Flame. But those vague catchphrases don't really describe what Caine is doing with (or to, or near) Mahler's music. When Caine responds to the melodies, rhythms and texts of Mahler's originals, he doesn't merely change his own rhythms and melodies, as jazzmen have since time immemorial, but changes styles completely-and since Mahler embraced an eclectic style himself, Caine can really pull out anything he can think of.

Caine will disrupt the texture of a song for an individual word: When a stray lyric in the children's rhyme "In Praise of Lofty Judgement" suggests frustration, a breakbeat and a general uproar completely dissolve the previous carnival-barking atmosphere. He makes his music respond to the context of texts: Since the German words of Mahler's "The Lonely One in Autumn" was drawn from a poem by Tchang-Tsi, Caine takes it back to its Chinese roots using the original text and adding a yanquin and dizi hovering in the background. He uses changing styles to unearth subtexts: The lyrics of "Song of the Prisoner in the Tower" suggest desires that may be caged as well, so Caine gets German actor Sepp Bierbichler to bark out the male part in stolid German and spikes it with brusque electric guitar, while performance poet Julie Patton coos some adapted, seductive lyrics in English.

And, of course, Caine changes styles to suit melodies; while "St. Anthony of Padua Preaches to the Fishes" gets a (mostly) straight swinging workout, "Only Love Beauty" sounds to Caine both like a plea to the creator and to the muse, so he visits it twice, laying Barbara Walker's gospel exhortations over the restrained Kettwiger Bach Choir the first time and joining other musicians to play a wordless, heartfelt rendition to close the album.

All this may sound chaotic in summary, but Caine isn't simply smashing disparate styles up against one another and relying on the cognitive disjunct to stir the listener. Even when "Two Blue Eyes" shifts from lumbering accompaniment to synagogue cantor Aaron Bensoussan to a hot jazz workout and then to original poetry by Shulamith Wechter Caine, the pain and loss in Mahler's song and Caine's interpretation unifies it all. Every choice Caine makes serves a clear-eyed imaginative vision of the possibilities of Mahler's music, no matter how complicated the execution of that vision becomes.

It helps that Caine has some partners who can play what he thinks. Twenty musicians and the aforementioned choir make contributions on Dark Flame, but trumpeter Ralph Alessi, drummer Jim Black, clarinetist Don Byron, violinist Mark Feldman and bassist Michael Formanek are the ones who play on most of the tracks. These men meet the demands Caine places on them and then some, playing eloquently in whatever style currently dominates the texture. All the vocalists make characterful contributions, particularly Sadiq Bey, whose poem on "Labor Lost" is wry and lovely at once. Caine, meanwhile, makes his pianistic presence felt everywhere as well, with typically imaginative and vital takes on whatever musical material his arrangements provide. And that's appropriate, for ultimately Caine's fearless mix of diverse skills and styles is what makes this Dark Flame so lustrous and intoxicating. Review by Andrew Lindemann Malone.


  1. Dark Flame
  2. Only Love Beauty
  3. In Praise Of Lofty Judgement
  4. Two Blue Eyes
  5. Shining Trumpets
  6. The Lonely One In Autumn
  7. Song Of The Prisoner In The Tower
  8. When My Sweetheart...
  9. Labor Lost
  10. On Youth
  11. Rhinelegend
  12. When Your Mother Comes In The Door
  13. St. Anthony Of Padua Preaches To The Fishes
  14. Only Love Beauty


Ralph Alessi Trumpet

Aaron Bensoussan Vocals

Sadiq Bey Vocals

Sepp Bierbichler Vocals

Jim Black Drums

Jim Black Drums

Don Byron Clarinet

Shulamith Wechter Caine Translation, Vocals

Uri Caine Adaptation, Arranger, Piano

Sisi Chen Yang Chin, Yangqin

Tao Chen Dizi

Tong Qiang Chen Vocals

DJ Olive Electronics, Turntables

Mark Feldman Violin

Michael Formanek Bass

Richard Furch Engineer

David Gilmore Guitar

Kettwiger Bach Choir Choir, Chorus

Kettwiger Bach Chor Vocals

Wolfgang Kläsener Conductor

Carsten Kümmel Engineer

D.J. Olive Electronics, Turntables

Julie Paton Vocals

Julie Patton Vocals

Adrian von Ripka Engineer, Mastering, Mastering Engineer, Mixing, Mixing Engineer

Barbara Walker Vocals

Stefan Winter Executive Producer, Producer

Stefan F. Winter Executive Producer, Producer

Bao Li Zhang Erhu

Baoli Zhang Erhu

Yi Zhou Pipa

Tony Scott - Sung Heroes

Tony Scott(cl, p, g, bs) Bill Evans(p), Scott LaFaro(b), Paul Motian(d) (1-8), Juan Sastre(g) (9)

1. Misery (T.Scott)
2. Portrait of Anne Frank (T.Scott)
3. Remembrance of Art Tatum (T.Scott)
4. Requiem for Hot Lips Page (T.Scott)
5. Blues for An African Friend (T.Scott)
6. For Stefan Wolpe (T.Scott)
7. Israel (T.Scott)
8. Memory of My Father (T.Scott)
9. Lament to Manolete (T.Scott)

Here are the original liner notes:

Tony Scott: Sung Heroes - Record Liner Notes
by Burt Korall
All the recordings are, in essence, tributes to people and situations he cares about. The music is quiet and expressive, as Tony and his asociates play for Billie Holiday (Misery was written by Tony Scott for Lady Day), Anne Frank ( a borderline abstraction featuring Tony on clarinet and baritone sax), Art Tatum (a simply defined and rendered tribute to the highly technical stylist; Tony's at the piano), Hot Lips Page, Manolete - the famed bullfighter, Israel, Tony's father, Stefan Wolpe - his composition teacher are also paid homage*. All these Scott works have in common compositional quality and a deep-set sense of melody.

The musicians tread lightly and lyrically. Only on the 12-bar Blues for an Agfrican Friend does the heart start coming up through the instruments. Meditation and memory are key in this album, which is comment on what was and what lasts.

Tony and Bill are quite compatible and supportive of one another. The feather-loke touch of evans is very much in evidence. la Faro is sensitive; they rhythmical coloring by Motian rounds out the performances in which he partecipates. Tony is more tender than I recall, revealing a side of this man I knew was there.

Sung heroes is a memento, something to keep. it might well be something enterely new to someone who recently has become involved with the music. For me, it's a remembrance of things past, a revival of a good time.

"We were at the beginning of something" drummer Paul Motian says.

"The dates with Tony brought Bill and Scott and me together for the first time. Not long after the session we were performing as a trio. Tony really was responsible for that edition of the Bill Evans trio....

* The only reason his famed dedicatory piece to Bird, Blues For Charlie Parker, does not appear here is that it was released by another label.

Saturday, November 6, 2010

Peter Beets - Chopin Meets the Blues

Fryderyk Franciszek Chopin (1810-1849) died before reaching forty, with little idea of the impact his keyboard compositions would ultimately have on the world. He died, too, without ever having the chance to experience what Scott Joplin, Jelly Roll Morton, James P. Johnson, Bud Powell, Thelonious Monk, Bill Evans and Keith Jarrett have since achieved, in terms of both composition and performance, when working with those same eighty-eight keys. And he'd surely be intrigued by the work of Dutch-born piano master Peter Beets.
Thirty-nine himself at the time of this recording, Beets grew up in a home where mom, a classical music maven, taught piano; and dad, a physician, was mad for 50s and 60s jazz groups. Early on, Peter gigged with a family band that also included his two older brothers, Marius playing bass and Alexander on tenor saxophone. Along the way, his considerable instrumental chops and his keenly honed musical taste have won him increasingly wider acclaim, both in his homeland and well beyond.

Monday, November 1, 2010

Greg Osby - Banned In New York

Those who view Wynton Marsalis and the young lions as mainstream jazzmen rather than the reactionaries they are will probably consider Osby some kind of avant gardist. Actually he's a creative but pretty traditional alto sax player whose style is rooted in the playing of boppers and post-boppers. He doesn't sound quite like anyone else, however, on this CD recorded live at what the press blurb describes as "an undisclosed New York City entertainment establishment." The music was captured "in stylized low-fi" by a mini disc recorder in front of the bandstand "in order to capture the club and the band as it was." Sort of like Jerry Newman cutting discs at Minton's in the early,40s.

The CD contains pieces by Sonny Rollins, Duke Ellington, Thelonious Monk and Charlie Parker as well as Osby's unusually contoured original "13th Floor." He's heard in a quartet setting with pianist Jason Moran, bassist Atsushi Osada and drummer Rodney Green. A skilled player, Osby's always thinking; even at the fastest tempos he seems in control, and resists the temptation to go on automatic pilot. Like Rollins, he fragments his lines unpredictably, often demonstrating a compositional approach to improvising, although he can also eat up the changes with long lines a la` Sonny Stitt. He's got a small but penetrating and attractive tone. Moran blends ideas from various sources from the Bud Powell school through Red Garland, McCoy Tyner and several late 19th and early 20th century composers. He's a fluent, imaginative soloist with a nice sense of textural and dynamic variation.

Harvey Pekar

1. 13th Floor (Greg Osby)
2. Pent Up House (Sonny Rollins)
3. I Didn't Know About You (Duke Ellington & Bob Russell)
4. Big Foot (Charlie Parker)
5. Big Foot [except]
6. 52 nd Street Theme (Thelonious Monk)

GREG OSBY alto saxophone

Edited & mixed at Systems' II Studio, Brooklyn, NY
BLUE NOTE 7243 4 96860 2