Charles Mingus - Mingus, Mingus, Mingus, Mingus, Mingus

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 40:12
Size: 92,7 MB
Art: Front

(4:45)  1. II B.S.
(7:36)  2. I X Love
(6:10)  3. Celia
(4:44)  4. Mood Indigo
(6:26)  5. Better Get Hit in Yo' Soul
(5:49)  6. Theme for Lester Young
(4:39)  7. Hora Decubitus

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus Mingus Mingus Mingus Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well  "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke." There's also a cover of Duke Ellington's "Mood Indigo," leaving just one new composition, "Celia." Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort?

The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals which is, of course, no small feat. This was Mingus' last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history.
By Steve Huey https://www.allmusic.com/album/mingus-mingus-mingus-mingus-mingus-mw0000653088

Personnel:  Tracks #1 and 4–8, recorded on September 20, 1963: Eddie Preston – Trumpet;  Richard Williams – Trumpet; Britt Woodman – Trombone; Don Butterfield – Tuba;  Jerome Richardson – Soprano, baritone saxes, flute;  Dick Hafer – Tenor sax, clarinet, flute;  Booker Ervin – Tenor sax;  Eric Dolphy – Alto sax, flute, bass clarinet;  Jaki Byard – Piano;  Charles Mingus – Bass, (narration, #8);  Walter Perkins – Drums;  Bob Hammer – Arranger and orchestrator

Tracks #2 and 3, recorded on January 20, 1963: Rolf Ericson – Trumpet;  Richard Williams – Trumpet;  Quentin Jackson – Trombone;  Don Butterfield – Tuba;  Jerome Richardson – Soprano, baritone saxes, flute;  Dick Hafer – Tenor sax, flute, oboe;  Charlie Mariano – Alto sax;  Jaki Byard – Piano;  Jay Berliner – Guitar;  Charles Mingus – Bass, piano;  Dannie Richmond – Drums;  Bob Hammer – Arranger and orchestrator

Mingus, Mingus, Mingus, Mingus, Mingus

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Ran Blake & Jaki Byard - Improvisations

Styles: Piano Jazz

Year: 1981

File: MP3@320K/s

Time: 45:05

Size: 103,6 MB

Art: Front

( 6:09) 1. On Green Dolphin Street

( 4:11) 2. Prelude

( 8:31) 3. Chromatics

( 3:47) 4. Wende

( 7:00) 5. Tea for Two

( 4:45) 6. Victoria

(10:38) 7. Sonata for Two Pianos

This very interesting release matches together Ran Blake and Jaki Byard in a set of piano duets. Because Byard (who can play credibly in virtually every jazz style) is highly flexible, he was able to meet Blake on his own terms and inspire him to play more extrovertedly than usual. Their seven collaborations (a pair of standards, one recent obscurity, Blake's "Wende" and three songs co-written by the pianists) have their playful moments, are quite exploratory, and always hold one's interest. In other words, this matchup works. ~ Scott Yanow https://www.allmusic.com/album/improvisations-mw0000193412

Personnel: Ran Blake, Jaki Byard (piano)

Improvisations

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Jaki Byard - Hi-Fly

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 39:48
Size: 92,3 MB
Art: Front

(3:58) 1. Hi-Fly
(5:13) 2. Tillie Butterball
(4:36) 3. Excerpts from 'Yamecraw'
(5:27) 4. There Are Many Worlds
(7:44) 5. Here to Hear
(3:22) 6. Lullaby of Birdland
(4:56) 7. 'Round Midnight
(4:28) 8. Blues in the Closet

Following the success of Here's Jaki, the eclectic pianist continued his explorations in a trio format, with Pete La Roca replacing Roy Haynes on the drums. The set mixes standards with some forgotten gems, plus three originals. The "Excerpts from Yamecraw" is an updated version of the nearly forgotten James P. Johnson orchestral suite, which is complimented here by the Byard original "There Are Many Worlds," which was also written for an orchestra. "Tillie Butterball" is a fun blues romp based on a puppy and a bowling alley. Byard's distinctive approach is evident on Randy Weston's title track "Hi-Fly" and George Shearing's "Lullaby of Birdland," while his debt to Thelonious Monk, sprinkled throughout this session, is obvious on "'Round Midnight." What makes this session special, however, is his original "Here to Hear." His multi-influenced compositional style matched by his versatile technique is explored at length. There are certain pieces that can never be interpreted by anyone else but the composer, and that is the case here, for it would be virtually impossible, and futile, to try and duplicate the individual genius of Jaki Byard. This stands as one of his best.~Robert Taylorhttps://www.allmusic.com/album/hi-fly-mw0000615755

Personnel: Jaki Byard, piano; Ron Carter, bass; Pete La Roca, drums

Hi-Fly

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Dannie Richmond - 'In' Jazz for the Culture Set

Styles: Soul-Jazz
Year: 1965
File: MP3@320K/s
Time: 30:28
Size: 70,3 MB
Art: Front

(3:10) 1. High Camp
(2:14) 2. Sweet Little Sixteen
(3:05) 3. Freedom Ride
(3:56) 4. The Spider
(2:40) 5. Blowin' In The Wind
(4:24) 6. Pfoonick
(4:52) 7. The Berkeley Underground
(3:55) 8. Mister Nashville
(2:09) 9. John Kennedy Memory Waltz

As anyone who collects jazz records will very likely tell you, the rare ones are typically hard earned and usually accompanied by a story or two. Such is the case with the uncommon and definitely curious solo album that drummer Dannie Richmond cut for Impulse back in 1965. With shades of Any Warhol to be had via the Campbell’s soup cans on the cover, this oddity first caught my attention many years ago when shopping with one of my fellow collecting buddies. Housed in a five-car garage, a retired attorney by the name of Dan Link (that’s Mr. Jazz to those who knew him best, including drummer Kenny Washington) ran a record business that used to be a frequent stopping spot that always guaranteed pleasures and a quick fix. Foolishly I had passed by the album the first time out and even more rashly, described it to my buddy the next time out, who managed to find the proverbial needle in the haystack among thousands of boxes. Even several years later, I could not pry the album from his hands, despite the fact that my buddy claimed to not think much of it, playing it only one or two times.

Let’s now cut to the chase and lay out the details for one of the few albums the drummer ever recorded under his own name. The “in crowd” that Richmond assembles here includes pianist Jaki Byard and bassist Cecil McBee, with the guitars of Toots Thielemans and Jimmy Raney on various other cuts, not to mention some added Latin percussion on a trio of tracks. There’s definitely a quirky sound to these short cuts which owes as much to the tenor of the times as to the contributions of Byard, heard in rollicking stride fashion on of all things, Bob Dylan’s “Blowin’ in the Wind”. Jimmy Raney’s “Freedom Ride” is one of the best cuts, its propulsive groove firmly established by Richmond and also featuring one of the few drum solos to be found on the record. Also worth mentioning are two Gary McFarland gems, namely “High Camp” and “Pfoofnick.” And let’s not forget the country twang that comes with Thieleman’s “Mister Nashville,” the idea being that pretty much anything goes when it come to this “in” jazz for the culture set. In the end, nothing all that dramatic will be found between the covers, but it’s a definite treat to hear some overlooked solo work from Byard, not to mention Thielemans’ guitar picking which has largely been overshadowed by his individualistic ways with the harmonica. But then, there’s a ‘60s vibe to the entire package, Campbell’s soup cans and all, which continues to endear itself to me every once in awhile when I get the turntable spinning. ~ C.Andrew Hovan https://www.allaboutjazz.com/dannie-richmond-in-jazz-for-the-culture-set-by-c-andrew-hovan.php

Personnel: Dannie Richmond – drums; Toots Thielemans – harmonica, guitar; Jaki Byard – piano; Jimmy Raney – guitar; Cecil McBee– bass; Willie Bobo, Victor Pantoja – percussion

'In'Jazz for the Culture Set

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Booker Ervin - Heavy!!!

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 46:20
Size: 106,3 MB
Art: Front

( 8:16)  1. Bachafillen
( 8:43)  2. You Don't Know What Love Is
( 5:00)  3. Aluminum Baby
( 7:54)  4. Not Quite That
(12:28)  5. Bei Mir Bist Du Schon
( 3:57)  6. Ode to Charlie Parker

This 1998 CD reissue differs from the original LP in that the immediately distinctive tenor saxophonist Booker Ervin is featured on a previously unreleased four-minute dirge, "Ode to Charlie Parker." The set matches Ervin with a remarkable rhythm section (pianist Jaki Byard, bassist Richard Davis, and drummer Alan Dawson), plus trumpeter Jimmy Owens and trombonist Garnett Brown (who sometimes takes co-honors). The music is quite moody, soulful, and explorative yet not forbidding. Although the originals are fine (particularly Brown's "Bächafillen"), the main highlights are an inventive reworking of "Bei Mir Bist du Schön" and Ervin's quartet feature on an emotional rendition of "You Don't Know What Love Is."~ Scott Yanow https://www.allmusic.com/album/heavy%21-mw0000599980

Personnel: Booker Ervin - tenor saxophone; Jimmy Owens - trumpet (3,4,5,6), flugelhorn (1); Garnett Brown - trombone (1,3,4,5,6); Jaki Byard - piano; Richard Davis - bass; Alan Dawson - drums

Heavy!!!

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Jaki Byard - Parisian Solos

Styles: Piano Jazz
Year: 1971
File: MP3@320K/s
Time: 61:10
Size: 140,7 MB
Art: Front

( 3:19)  1. Dedicated to Bob Vatel of the Ten Gallons
( 4:36)  2. When Lights Are Low
( 4:17)  3. Besame Mucho
( 6:08)  4. Willow Weep for Me
( 3:42)  5. Tribute to Jimmy Slide
( 5:19)  6. Love Is Here to Stay
( 6:23)  7. Isle to Isle
( 5:40)  8. Shiny Stockings
( 4:28)  9. Bugle Call Rag
(12:06) 10. Medley: Goin' Out Of My Head / Mind And Soul / Besame Mucho / Sunday
( 5:06) 11. Going Home Blues

The late Jaki Byard was, arguably, the most versatile pianist in jazz, though he also played trombone and was an excellent tenor saxophonist. Born in 1922, he grew up during the golden era, and while younger than Duke Ellington, he embraced, as had his predecessor, all of the changes the music went through, from its origins in New Orleans through the free improvisation era. Byard would, in a single solo concert, reveal his truly awesome mastery of the aforementioned styles, as well as R&B, stride, swing, funk, blues, honky tonk, and the extreme arpeggios of Art Tatum. But Byard's style was completely his own, developed from his early days playing with Earl Bostic in the late '40s and early '50s. After leaving Bostic, he played with Herb Pomeroy and Maynard Ferguson until he won a spot in the legendary Charles Mingus band of 1962-1964 along with Eric Dolphy. He also recorded with Dolphy and Booker Ervin, as well as Charlie Mariano and Rahsaan Roland Kirk. 

One of his notable achievements was as the pianist in the Mingus band that tore apart concert halls all over Europe in 1964. Between 1961 and 1972, he issued a string of his own dates for Prestige (Hi-Fly, Here's Jaki, and Out Front! among them) and other labels; they embody his finest work, with a rhythm section that included Richard Davis and Alan Dawson, though he never made a bad record. Byard became an educator in the early '70s (after another collaboration with Mingus in 1970), teaching at Harvard, the Hartt School of Music, and the New England Conservatory, and he recorded and performed intermittently the world over until his death from a gunshot wound in 1999. 

~ Thom Jurek https://www.allmusic.com/artist/jaki-byard-mn0000112535/biography

Personnel: Jaki Byard - piano

Parisian Solos

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Don Sebesky - A Jazz Portrait of Charlie Mariano

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 39:33
Size: 92,0 MB
Art: Front

(2:58)  1. I Feel Pretty
(4:14)  2. The Wind
(7:30)  3. To Taiho
(4:29)  4. Goodbye
(2:52)  5. The Shout
(5:24)  6. Portrait of an Artist
(3:19)  7. Deep in a Dream
(5:37)  8. Pretty Little Nieda
(3:05)  9. The Song Is You

"There is so much taht could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, amd Rolf Ericson's delightful jazz waltz, Pretty Little Nieda, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regiona Records should feel very proud of yhis contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business." ~ Mort Fega, liner-notes from the original LP on Regina Records https://www.freshsoundrecords.com/charlie-mariano-albums/4076-a-jazz-portrait-of-charlie-mariano.html

Personnel: Charlie Mariano (as), Jim Hall (g), Mel Lewis (d), Bob Brookmeyer (v-tb), Marvin Stamm (tp), Roger Kellaway, Jaki Byard (p), Richard Davis, Art Davis (b), Albert 'Tootie' Heath (d)

A Jazz Portrait of Charlie Mariano

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Charles Mingus, Eric Dolphy - Cornell 1964

Styles: Saxophone, Clarinet, Flute Jazz, Post Bop

Year: 1964
File: MP3@320K/s
Time: 134:22
Size: 308,3 MB
Art: Front

( 0:16)  1. Opening
( 4:26)  2. ATFW You
( 4:23)  3. Sophisticated Lady
(29:41)  4. Fables Of Faubus
(15:05) 5. Orange Was The Color Of Her Dress, The Blue Silk
(17:26)  6. Take The A Train
(31:23)  7. Meditations
(15:33)  8. So Long Eric
( 6:06)  9. When Irish Eyes Are Smiling
( 9:58) 10. Jitterbug Waltz

The hype factor was cranked up considerably in 2005 for the unearthed recording of two jazz legends: John Coltrane and Thelonious Monk's At Carnegie Hall (Blue Note). Things have cooled down a tad since that momentous release but just as exciting and equally important is Cornell 1964 featuring the Charles Mingus Sextet with Eric Dolphy.  Mingus, the powerful enigmatic bassist, band-leader and composer, was as controversial as he was dynamic. Dolphy, an absolutely brilliant musician (alto sax, bass clarinet, and flute), whose short lived musical career (he died a few months after this concert in 1964) still leaves a vivid mark in jazz today. The chance to hear them together is a treat for longtime admirers and newcomers alike. But this is more than just a meeting of two giants because we also get a chance to witness Mingus' illustrious quintet which included lesser known yet stunning musicians: Jaki Byard (piano), Johnny Coles (trumpet), Clifford Jordan (tenor saxophone), and Dannie Richmond (drums). Mingus always ran a tight ship, tolerating nothing less than excellence. With this band, the musicians not only meet his criteria but also deliver some stellar performances. The two-CD recording covers everything from Mingus' epic "Fables of Faubus, (written as a direct protest against Civil Rights injustices in 1957) to a jubilant rendition of "When Irish Eyes Are Smiling as the band engages in some light hearted fun. There is an air that the vibe was stress free (in contrast to some of Mingus' engagements) and that they were clearly enjoying themselves and the receptive audience. There are many highlights from everyone: Byard's exhaustive range on "ATFW You included bebop, ragtime, classical and more. Mingus' gregarious fretwork injected with humor and an unflinching presence on "Orange Was the Color of Her Dress, Then Blue Silk as Coles' sweet muted trumpet harmonizes with Jordan's warm tenor and Dolphy's throaty bass clarinet. Each voice glows against the blues/swing melody. They "Take The A Train to new destinations of swing as Mingus and Richmond thrill the audience with boisterous solos. Dolphy played jazz flute like no one else, as heard on "Jitterbug Waltz, brings the recording to a satisfying conclusion. There are many bright moments on this resurrected historical document. The shadows of these players still looms today and this concert is a testament of their greatness that will hopefully endure for years to come. ~ Mark F.Turner https://www.allaboutjazz.com/cornell-1964-charles-mingus-blue-note-records-review-by-mark-f-turner.php

Personnel: Charles Mingus: bass; Eric Dolphy: alto saxophone, flute, bass clarinet; Johnny Coles: trumpet; Clifford Jordan: tenor saxophone; Jaki Byard: piano; Dannie Richmond: drums.

Cornell 1964

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Ken McIntyre - The Complete United Artists Sessions (Disc 1), (Disc 2)

Album: The Complete United Artists Sessions  (Disc 1)

Styles: Flute, Oboe, Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 69:16
Size: 159,7 MB
Art:

( 7:25)  1. Miss Ann
( 7:31)  2. Lois Marie
( 5:04)  3. Chittlin's And Cavyah
( 6:15)  4. Permanentity
( 4:50)  5. Tip Top
( 3:23)  6. Kaijee
( 5:39)  7. Reflections
( 5:07)  8. Say What
( 4:21)  9. 96.5
(10:09) 10. Arisin'
( 3:28) 11. Laura
( 5:59) 12. Speak Low

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Album: The Complete United Artists Sessions  (Disc 2)

Time: 66:01

Size: 152,0 MB

( 5:26)  1. Cosmos

( 6:49)  2. Sendai

( 6:57)  3. Undulation

(10:36)  4. Turbospacey

( 7:08)  5. Bootsie

( 7:46)  6. New Time

( 7:22)  7. Naomi

( 8:49)  8. Someday

( 5:03)  9. Mercedes

Ken McIntyre, a very underrated multi-reedist, developed fairly original styles on alto, flute, bass clarinet, oboe and bassoon. He made two fairly well-known sessions for New Jazz in 1960 and recorded for SteepleChase from 1974-78. However, McIntyre's pair of United Artists records from 1962-63 (his only dates as a leader during 1961-73) have been long overlooked. This double CD from 1997 has all of the music from the original LPs, plus eight previously unreleased cuts. All of the selections except "Laura" and "Speak Low" are McIntyre compositions. The advanced hard bop originals (which show the influence of the avant-garde) tend to be complex, sometimes using tricky time signatures, and lack memorable melodies, but they swing.

The leader mostly plays his dry-toned alto, with a bit of flute and oboe, and with the exception of a few spots by pianist Jaki Byard, the backup musicians are mostly supportive and do not stand out. One set has McIntyre and a pianoless rhythm section joined by a dozen strings. His string writing is inventive and shows some otherwise unrealized potential. The other selections are either with a quartet or a quintet (the latter with trombonist John Mancebo Lewis). This obscure but stimulating set grows in interest with each listen. ~ Scott Yanow https://www.allmusic.com/album/the-complete-united-artists-sessions-mw0000024851

Personnel: MAKANDA KEN MCINTYRE (flute, alto saxophone, oboe); JOHN MANCEBO LEWIS (trombone); JAKI BYARD, ED STOUTE (piano); AHMED ABDUL-MALIK, RON CARTER, BOB CUNNINGHAM (bass); WARREN SMITH, LOUIS HAYES, BEN RILEY, EDGAR BATEMAN (drums); 13-piece string orchestra

The Complete United Artists Sessions (Disc 1),(Disc 2)

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Maynard Ferguson - Newport Suite

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 39:32
Size: 91,2 MB
Art: Front

(4:28)  1. Jazz Bary
(5:11)  2. Foxy
(8:42)  3. Newport
(3:56)  4. Got the Spirit
(2:56)  5. Sometimes I Feel Like a Motherless Child
(7:05)  6. Ol' Man River
(7:12)  7. Three More Foxes

Maynard Ferguson's bands of the early '60s produced many memorable albums, including this studio effort. Sax player and bandmember Willie Maiden contributed two originals. "The Jazz Bary" is a fun feature for baritone saxophonist Frank Hittner and Ferguson (who plays the rarely heard baritone horn), in which they play in unison, in thirds, and trade solos. "Three More Foxes" features trumpeters Dick Hiefer and Don Ellis and the leader, each taking turns soloing. This upbeat blues showcases great comping by pianist Jaki Byard as well. Liner note writer George T. Simon slips in a hilarious pun about Maiden's chart of "Ol' Man River," which "starts flowing with a mad Maiden form." The remaining charts were contributed by Slide Hampton (though he isn't present on the recording itself). "Foxy" is a bluesy feature for young tenor saxophonist Joe Farrell and the leader. "Newport," which was premiered at the 1959 festival there, is an elaborate suite with many flavors: a funeral-like dirge, a powerful uptempo blues that suggests the influence of Duke Ellington's "I'm Gonna Go Fishin'" in spots, and delicious call and response between the brass and reed sections. And he brings out his gospel roots in his scoring of the spiritual "Sometimes I Feel Like a Motherless Child," the album's only relatively low-key number. Long out of print (though it was available as part of Mosaic's limited-edition CD box set of Maynard Ferguson's Roulette recordings), this is one of the trumpeter's very best LPs. ~ Ken Dryden https://www.allmusic.com/album/newport-suite-mw0000883790

Personnel:  Maynard Ferguson - trumpet, valve trombone, baritone horn; Don Ellis, Augustino 'Chet' Ferretti, Rick Kiefer - trumpet; Charles Greenlee, Mike Zagatini - trombone; Jimmy Ford - alto saxophone; Joe Farrell, Willie Maiden - tenor saxophone; Frank Hittner - baritone saxophone; Jaki Byard - piano; Aubrey Tosin - bass; Stu Martin - drums; Slide Hampton, Willie Maiden - arranger

Newport Suite

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Eric Dolphy - The Essential Eric Dolphy

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:01
Size: 145,1 MB
Art: Front

(7:57)  1. G.W.
(5:11)  2. Les - Rudy Van Gelder Remaster
(6:40)  3. The Meetin'
(5:00)  4. Feathers
(2:43)  5. Eclipse
(8:42)  6. Ode To Charlie Parker
(8:01)  7. Mrs. Parker Of K.C. (Bird's Mother)
(9:53)  8. Ralph's New Blues
(8:50)  9. Status Seeking

This is strictly for the budget-conscious. It does have some valuable material, but no anthology can accurately assess Dolphy's importance. 

~ Ron Wynn https://www.allmusic.com/album/the-essential-eric-dolphy-mw0000198039

Personnel:  Alto Saxophone – Eric Dolphy; Bass – George Tucker; Drums – Roy Haynes; Piano – Jaki Byard; Trumpet – Freddie Hubbard

The Essential Eric Dolphy

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Don Ellis - New Ideas

Styles: Trumpet, Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 44:51
Size: 103,7 MB
Art: Front

(4:34)  1. Natural H.
(4:20)  2. Despair To Hope
(8:16)  3. Uh-huh
(5:05)  4. Four And Three
(7:57)  5. Imitation
(2:18)  6. Solo
(7:06)  7. Cock And Bull
(5:12)  8. Tragedy

On this 1961 quintet set for Prestige (with vibraphonist Al Francis, pianist Jaki Byard, bassist Ron Carter, and drummer Charlie Persip), Don Ellis experiments with time, new chord structures, and free improvisation; a highlight is his brief unaccompanied workout on the free-form "Solo." Ellis, who switches to piano during part of "Tragedy," already had a sound of his own, although he would change the direction of his music within a few years. Even over 40 years later, his thoughtful musical experiments of the early '60s are often quite fascinating to hear. ~ Scott Yanow https://www.allmusic.com/album/new-ideas-mw0000203642

Personnel:  Don Ellis - trumpet, piano (8); Al Francis - vibraphone (tracks 1-5, 7 & 8); Jaki Byard - piano (tracks 1-5, 7 & 8); Ron Carter - bass (tracks 1-5, 7 & 8); Charlie Persip - drums (tracks 1-5, 7 & 8)

New Ideas

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Maynard Ferguson - Dancing Sessions

Styles: Trombone And Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 79:00
Size: 187,6 MB
Art: Front

(2:23)  1. Secret Love
(3:11)  2. 'Tis Autumn
(3:29)  3. Soft Winds
(3:15)  4. 'Round Midnight
(2:51)  5. I'm Beginning To See The Light
(2:30)  6. Stompin' At The Savoy
(3:35)  7. It Might As Well Be Spring
(2:27)  8. I'll Be Seeing You
(3:34)  9. If I Should Lose You
(2:40) 10. Where's Teddy?
(3:02) 11. Hey There
(4:06) 12. Mangos
(2:56) 13. Don't Take Your Love From Me
(2:56) 14. My Foolish Heart
(1:59) 15. Let's Face The Music And Dance
(2:53) 16. You Don't Know What Love Is
(2:46) 17. It's Only A Paper Moon
(3:46) 18. The Party Is Over
(3:36) 19. The Masquerade Is Over
(3:10) 20. Let's Do It
(4:02) 21. Spring Is Here
(2:24) 22. It Could Happen To You
(3:29) 23. Teach Me Tonight
(2:22) 24. Do Nothin' Till You Hear From Me
(3:03) 25. Don't Take Your Love From Me
(2:20) 26. Let's Fall In Love

This release contains the complete contents of the original Maynard Ferguson big band LPs Plays Jazz for Dancing (1959) and Lets Face the Music and Dance(1960), plus three rare bonus tracks taken from the same sessions and previously issued as singles or on compilation albums. The two albums presented here, come from the zenith of this orchestra and present Maynard Ferguson's vision of dance music at a time in which dancing and Jazz were undergoing serious decline. By 1950, Swing music seemed a thing of the past. Modern Jazz focused on small formats or big orchestral scores which targeted concert halls as opposed to dancing establishments. Most of the dance scene had been taken over by Rock & Roll and R&B bands. The great Canadian-born trumpeter Maynard Ferguson died in California on August 23, 2006, at the age of 78. His career had spanned over 60 years. He formed his own 14-piece band in 1956, and as it starred at the famous Birdland club in New York, it picked up the moniker the Birdland Dream Band - which remained active for nearly nine years, during an era in which most big bands saw very difficult times due to the change of times and musical styles. https://www.freshsoundrecords.com/maynard-ferguson-albums/5227-dancing-sessions-2-lp-on-1-cd.html

Personnel:  Trumpet – Bill Chase, Chet Ferretti,  Don Ellis, Jerry Tyree, Larry Moser, Maynard Ferguson, Rick Kiefer; Alto Saxophone – Jimmy Ford , Lanny Morgan; Baritone Saxophone – Frank Hittner , John Lanni; Bass – Charlie Saunders, Jimmy Rowser; Drums – Frankie Dunlop, Rufus Jones; Euphonium – Maynard Ferguson; Featuring – Maynard Ferguson And His Orchestra; Mellophone – Maynard Ferguson;  Piano – Bob Dogan, Jaki Byard; Tenor Saxophone – Joe Farrell, Willie Maiden; Trombone – Don Sebesky , Kenny Rupp, Maynard Ferguson, Slide Hampton

Dancing Sessions

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Phil Woods - Musique Du Bois

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 54:30
Size: 125,0 MB
Art: Front

( 7:02)  1. Samba Du Bois
(10:11)  2. Willow Weep For Me
( 8:27)  3. Nefertiti
( 9:12)  4. The Last Page
( 7:20)  5. The Summer Knows
( 6:00)  6. Airegin
( 6:16)  7. Samba Du Bois - Alternative Take

On Musique Du Bois, things start with a chorded bass-alto workout in the intro of "Samba du Bois," actually more a hard bop than Brazilian excursion, with Phil Woods' alto frying on the edges. The most inventive juxtaposition of "All Blues" welded to "Willow Weep for Me" works perfectly over ten-plus minutes, in a steady but quick waltz tempo. This is a tour-de-force reading, Woods wafting over Jaki Byard's blue-green chords. During his solo, the pianist goes light blue in cascading, flowing phrases that tumble out of the 88 keys. "Nefertiti" is vastly different than the Miles Davis-Wayne Shorter original; where that one was haunting, sparse, swelling and free, Woods interprets this as an easy swinger, anchored on terra firma with Byard's scurrying solo and funky R&B coda a listener's delight. The band goes through definite time shifts, from easy bluesy groove to funk and hard bop during "The Last Page"; they swing "Airegin" pretty well; and during "The Summer Knows," the altoist confirms what many have long since known that he is an unsurpassed master when interpreting a standard in ballad form. A lilting alternate take of "Samba du Bois" is the more Latin-oriented one, same tempo but with drums and the trio introing and playing all the way through. This LP is a widely acknowledged modern jazz masterpiece, a classic in the discography of Woods, easily amongst the best five recordings of his long and storied career and a must-buy. 

~ Michael G.Nastos https://www.allmusic.com/album/musique-du-bois-mw0000207406

Personnel: Phil Woods - alto saxophone, composer; Jaki Byard - piano; Richard Davis - bass; Alan Dawson - drums

Musique Du Bois

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Don Ellis - Giants Of Jazz

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 74:07
Size: 180,1 MB
Art: Front

( 3:31)  1. I'll Remember April
( 6:09)  2. Sweet And Lovely
( 3:42)  3. Out Of Nowhere
( 6:06)  4. All The Things You Are
( 3:43)  5. You Stepped Out Of A Dream
( 4:26)  6. My Funny Valentine
( 4:37)  7. I Love You
( 3:39)  8. Just One Of Those Things
( 4:54)  9. Johnny Come Lately
( 4:19) 10. Angel Eyes
( 3:24) 11. Lover
(10:08) 12. Form
( 4:38) 13. Sallie
( 6:28) 14. How Time Passes
( 4:15) 15. A Simplex One

Before his untimely death in 1978 at the young age of 44, Don Ellis was one of the most creative and innovative jazz musicians of all time. In a career span of less than 25 years, Don Ellis distinguished himself as a trumpeter, drummer, composer, arranger, recording artist, author, music critic, and music educator. However, Don Ellis is probably best remembered for his work as a big band leader. His orchestra, which was active from 1966-78, achieved enormous popular appeal at a time when the influence of big band music was noticeably fading. Ellis's significance lies in his use of groundbreaking musical techniques and devices, new to the world of jazz. Ellis's innovations include the use of electronic instruments, electronic sound-altering devices, experiments with quartertones, and the infusion of 20th century classical music devices into the jazz idiom. Ellis's greatest contributions, however, came in the area of rhythm. New rhythmic devices ultimately became the Don Ellis trademark. His compositions frequently displayed time signatures with numerators of 5, 7, 9, 11, 19, 25, 33, etc. His approach within more conventional time signatures could be equally innovative through the use of rhythmic superimpositions. Ellis's rhythmic innovations, despite much criticism, were not gimmicks, but rather a direct result of his studies in non-Western musical cultures, which included graduate work at UCLA's Department of Ethnomusicolog Ellis ultimately applied his experiences and knowledge of the music of non-Western cultures to the rhythmic language of jazz. He was one of the first to have accomplished such a fusion of ideas, and his works as a composer and an author stand as a memorial reflecting a significant stage in the evolution of jazz. https://musicians.allaboutjazz.com/donellis

Personnel:  Don Ellis – Trumpet;  Jaki Byard – Piano, Alto Sax;  Paul Bley – Piano;  Ron Carter – Bass;  Steve Swallow – Bass;  Gary Peacock – Bass;  Charlie Persip – Drums;  Nick Martins – Drums

Giants Of Jazz

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Booker Ervin - The Freedom Book

Bitrate: MP3@320K/s
Time: 42:30
Size: 97.3 MB
Styles: Bop, Saxophone jazz
Year: 1964/2007
Art: Front

[7:42] 1. A Lunar Tune
[4:49] 2. Cry Me Not
[7:55] 3. Grants Stand
[9:26] 4. A Day To Mourn
[9:45] 5. Al's In
[2:50] 6. Stella By Starlight

Bass – Richard Davis; Drums – Alan Dawson; Piano – Jaki Byard; Tenor Saxophone – Booker Ervin. Recorded at Van Gelder Studio, Englewood Cliffs, NJ; December 3, 1963.

In some ways tenor saxophonist Booker Ervin was the archetypal jazz player for the post-bop 1960s, combining the tradition of Texas sax with just the hint of edgy modernism, a sort of the Delta-meets-Morocco sound so accessible that it is easy to miss the chances Ervin took with his music. Although his career was short (cancer claimed him in the summer of 1970 when he was just shy of his 40th birthday), Ervin still managed to record some 20 albums as a frontman, most notably his "book" series, The Song Book, The Blues Book, The Space Book, and this fine session, The Freedom Book, which finds him working with a rhythm section of Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Recorded on December 3, 1963, The Freedom Book is a near perfect set of modern hard bop, ranging just far enough out there to feel fresh but retaining a strong lifeline to bop tradition. Highlights of the session include an impressive Ervin original, "A Lunar Tune," a fine version of Randy Weston's "Cry Me Not," the deliberately strident "Al's In," and another Ervin composition, the moving "A Day to Mourn," an emotionally charged ballad written after the assassination of JFK.ballad written after the assassination of JFK. [A bonus track, an interesting and brief treatment of Victor Young's "Stella by Starlight," a piece strongly associated with Charlie Parker, that was recorded at the Freedom Book session but originally released on the album Groovin' High, is included on the 2007 edition, further capping off a wonderful album.] ~Steve Leggett

The Freedom Book 

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Eric Kloss - Sky Shadows In The Land Of The Giants

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 75:40
Size: 174,3 MB
Art: Front

( 6:25)  1. In A Country Soul Garden
(13:15)  2. Sky Shadows
( 6:45)  3. The Girl With The Fall In Her Hair
( 6:43)  4. I'll Give You Everything
( 7:11)  5. January's Child
( 7:32)  6. Summertime
(11:02)  7. So What
( 5:19)  8. Sock It To Me Socrates
( 5:36)  9. When Two Lovers Touch
( 5:48) 10. Things Ain't What They Used To Be

Although he’s apparently maintaining a low profile these days, saxophonist Eric Kloss recorded quite a few albums for Prestige records by the time he reached the tender ago of 19. Here, Prestige has reissued Kloss’ Sky Shadows and In The Land Of The Giants on 1 Compact Disc. From the liners....” This Music, from 1968 and ’69, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic”. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for these sessions.  Tracks 1-5 were originally released as Sky Shadows and feature: Kloss; Alto & Tenor Saxophones; Pat Martino; Guitar: Jaki Byard; Piano: Bob Cranshaw; Bass and Jack DeJohnette; Drums. Here, Kloss’ “In a Country Soul Garden” is soulful, bouncy and blends R&B and Jazz motifs featuring a vibrant tempo and memorable hook as “Sky Shadows” also serves as a fitting vehicle for Kloss’ often linear phraseology. On “Sky Shadows”, Kloss’ straight-up yet fluent approach along with near flawless intonation, counterbalances the narrative style and clear toned phrasing by the great guitarist, Pat Martino. Here, the late pianist Jaki Byard, performs as if he were truly inspired or motivated for both of these sessions. Byard’s impossibly fast lead soloing and rippling chord clusters are awe-inspiring! 

Sadly, Jaki Byard is no longer with us yet his numerous contributions to jazz and jazz education are meritorious and will stand for many years to come. Tracks 6-11 were originally released on In the Land Of The Giants as the personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss’ sweet alto sax tone and sumptuous phrasing is evident on “When Two Lovers Touch”. On the Ellington classic, “Things Ain’t What They Used To Be” Kloss’ expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. Prestige has performed a dutiful service for jazz enthusiasts by releasing these gems from a man who seems to have toggled his career between fame and relative obscurity. Recommended.. ~ Glenn Astarita https://www.allaboutjazz.com/sky-shadows-in-the-land-of-the-giants-eric-kloss-prestige-records-review-by-glenn-astarita.php

Personnel: Eric Kloss (alto saxophone, tenor saxophone); Pat Martino (guitar); Booker Ervin (tenor saxophone); Jaki Byard (piano); Jack DeJohnette, Alan Dawson (drums).

Sky Shadows / In The Land Of The Giants

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Jaki Byard - Blues For Smoke

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 38:53
Size: 89,5 MB
Art: Front

(5:57)  1. Excerpts from european episode
(4:32)  2. Aluminium baby
(3:41)  3. Pete and Thomas
(4:12)  4. Spanish tinge N . 1
(5:44)  5. Flight for the fly
(4:52)  6. Blues for smoke
(2:07)  7. Jacki's blues next
(5:06)  8. Diane's melody
(2:40)  9. One two five

Pianist Jaki Byard's first recording as a leader was not released domestically until this 1988 CD. That fact seems strange for Byard is absolutely brilliant on the solo piano set. Many of his selections (all nine tunes are his originals) look both backwards to pre-bop styles and ahead to the avant-garde including such numbers as "Pete and Thomas (Tribute to the Ticklers)," "Spanish Tinge No. 1," and "One, Two, Five." The most remarkable selection is "Jaki's Blues Next" which has Byard alternating between James P. Johnson-type stride and free form à la Cecil Taylor; at its conclusion he plays both styles at the same time. A highly recommended outing from a very underrated pianist. 

~ Scott Yanow https://www.allmusic.com/album/blues-for-smoke-mw0000091532 

Jaki Byard plays solo piano.

Blues For Smoke

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Jaki Byard - July In Paris

Bitrate: MP3@320K/s
Time: 63:59
Size: 146.5 MB
Styles: Piano jazz
Year: 1998
Art: Front

[ 7:36] 1. After The Sun Disappears Xalithen Rose
[ 2:48] 2. C'est Si Bon
[ 7:02] 3. Lonely Woman, So What
[ 2:47] 4. Nostradamus
[10:24] 5. The High And The Mighty
[ 6:36] 6. July In Paris
[ 6:51] 7. Mimi
[19:51] 8. Round Midnight, Well You Needn't, Stages, My Mother's Eyes

This live CD from a new French jazz label appeared right around the time of Jaki Byard's sudden death on Feburary 11, 1999, so it may be the final documentation of the late pianist's work. Byard is clearly in great spirits, except for having to shout down a noisy member of the audience during one number.

With bassist Ralph Hamperian and drummer Richard Allen in the first half, Byard's creative medleys blend contrasting works such as Ornette Coleman's "Lonely Woman" with Miles Davis' "So What"; his introspective originals such as "Nostradamus" and the opening medley of "After the Sun Disappears"; and "Xalithen Rose" and his playful rendition of "C'est Si bon" make for a rather diverse first set. Former pupil Ricky Ford joins them on tenor sax with a tasty original blues "Mimi" and sits in for most of a lengthy medley that wraps the CD. This isn't Byard's best CD, but it is a worthy last date by a man who made many memorable recordings. ~Ken Dryden

July In Paris

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Eric Dolphy Quintet feat. Freddie Hubbard - Outward Bound

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 61:27
Size: 144,5 MB
Art: Front

( 7:58)  1. G.W.
( 5:45)  2. On Green Dolphin Street
( 5:14)  3. Les
( 6:51)  4. 245
( 5:28)  5. Glad To Be Unhappy
( 5:41)  6. Miss Toni
( 4:10)  7. April Fool
(12:09)  8. G.W. (alternate take 1)
( 8:07)  9. 245 (alternate take 1)

Unlike Ornette Coleman who wanted to blow orthodox jazz form out of the water John Coltrane and Eric Dolphy initially worked to change the system from within, making music that fit the jazz standards of the time while injecting their own unique spin. This is why Outward Bound, Dolphy's first recording as a leader, is a not-so-distant relative of Coltrane's My Favorite Things (Atlantic, 1960). On balance, both discs have a conventional base. While Coltrane stuck to the Great American Songbook, Dolphy penned over half the tunes on Outward Bound; even so, those originals mesh perfectly with classics like "On Green Dolphin Street and Charles Greenlea's "Miss Toni. It's the respective opening tracks that separate both discs from the norm. As Coltrane used an innocuous song from The Sound of Music to launch us into space, so does Dolphy use "G.W. to prove Coleman's theory that "you could play sharp or flat in tune. 

A fast 4/4 beat drives borderline-dissonant opening salvos from the front line. While the rest of the band lays down beats and fills that would not be out of place on any bop date, Dolphy steps out of the head to blister us with a mind-boggling, lightning-fingered alto solo that threatens to go over a cliff at any moment. Dolphy and his partners maintain this unorthodox balancing act throughout the 1960 session. At the time, the bass clarinet was nearly unheard of as a lead instrument, but Dolphy uses it to great atonal effect on the zippy "Miss Toni. It also applies a noir-like patina to the opening of "Green Dolphin Street. Dolphy's flute on Rodgers and Hart's "Glad To Be Unhappy is flat and mournful one second, jumping and dancing (and sometimes screaming) the next, but rarely following a predictable path. Jaki Byard is Dolphy's faithful wingman, contributing Monk-laced lines that stay within "acceptable guidelines while tipping the reality a little bit further out.George Tucker's foundation on bass is key, rooting the music so the other players can create in space. Roy Haynes displays a range as big as all outdoors, playing drums like a machine gun on the blasting "Les one minute, using brushes like an artist on "Green Dolphin Street the next. Freddie Hubbard's trumpet is as empirical as Dolphy's reedwork is existential; the 21-year old Hubbard's solos (particularly on "Les and the bluesy "245 ) show power and control beyond his years. One wonders what would have happened if he'd stayed with Dolphy and not gone off with Art Blakey. It makes sad sense we lost Coltrane and Dolphy too soon Trane from cancer, Dolphy of complications from diabetes. Stars burn out, meteors crash... but while they live, they burn oh so bright. Outward Bound is Dolphy's first burst of light, a beautiful and frightening glow that must be experienced. ~ J Hunter https://www.allaboutjazz.com/outward-bound-eric-dolphy-prestige-records-review-by-j-hunter.php

Personnel: Eric Dolphy: alto saxophone, bass clarinet, flute;  Freddie Hubbard: trumpet;  Jaki Byard: piano;  George Tucker: bass;  Roy Haynes: drums.

Outward Bound

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