Bernard Peiffer - Bernie's Tune

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 43:10
Size: 99,9 MB
Art: Front

(6:14)  1. Lover Come Back to Me
(3:37)  2. You Took Advantage of Me
(2:33)  3. Rhumblues
(3:38)  4. S Wonderful
(5:18)  5. Black Moon
(4:19)  6. Ah-Leu-Cha
(6:32)  7. Blues on the Wing
(3:15)  8. Bernie's Tune
(3:19)  9. Lullaby of the Leaves
(4:21) 10. Blues for Slobs

A rare American session by French pianist Bernard Peiffer one of the stronger stars of the Paris scene of the 50s, working here with US players that include Ed Thigpen, Joe Puma, and Oscar Pettiford. Tracks are short and playful, in keeping with Peiffer's style and titles include "Bernie's Tune", "Lover Come Back To Me", "Rhumblues", "Black Moon", "Ah Leu Cha", and "S Wonderful".© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/730076?filterfield=veryrecent&sort_order=date_added

Personnel:  Piano – Bernard Peiffer; Bass – Chuck Andrus, Oscar Pettiford; Drums – Edmund Thigpen; Guitar – Joe Puma

Bernie's Tune

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Herbie Mann & Orchestra - Love & The Weather

Bitrate: MP3@320K/s
Time: 40:29
Size: 92.7 MB
Styles: Contemporary jazz
Year: 1956/2014
Art: Front

[3:47] 1. Love And The Weather
[2:54] 2. But Beautiful
[3:28] 3. Spring Can Really Hang You Up The Most
[3:19] 4. I'm Glad There Is You
[3:10] 5. A Sinner Kissed An Angel
[3:32] 6. High On A Windy Hill
[3:42] 7. Ill Wind
[3:16] 8. For Heaven's Sake
[4:17] 9. Autumn Nocturne
[2:40] 10. Moon Love
[3:21] 11. The Morning Side Of The Mountain
[2:57] 12. Like Someone In Love

Herbie Mann - flute; Joe Puma - guitar; Milt Hinton, Whitey Mitchell - bass; Don Lamond, Herb Wasserman - drums.

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~bio by Scott Yanow

Love & The Weather

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Herbie Mann & Bobby Jaspar - Flute Soufflé

Styles: Flute And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 36:21
Size: 83,4 MB
Art: Front

(14:43)  1. Tel Aviv
( 5:58)  2. Somewhere Else
( 7:26)  3. Let's March
( 8:13)  4. Chasing The Bird

At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird." ~ Scott Yanow http://www.allmusic.com/album/flute-souffle-mw0000617313

Personnel:  Herbie Mann, Bobby Jaspar - flute, tenor saxophone;  Tommy Flanagan – piano;  Joe Puma – guitar;  Wendell Marshall – bass;  Bobby Donaldson - drums

Flute Soufflé

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Sue & Ralph Sharon - Mr. & Mrs. Jazz

Styles: Vocal And Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 46:20
Size: 106,8 MB
Art: Front

(4:12)  1. It Don't Mean A Thing (If It Ain't Got That Swing)
(5:36)  2. A Nightingale Can Sing The Blues
(3:05)  3. A Fine Romance
(2:11)  4. Hugette Waltz
(4:23)  5. I Could Have Told You
(3:14)  6. A Trout No Doubt
(5:59)  7. Mynah Lament
(2:58)  8. With The Wind And The Rain In Your Hair
(5:08)  9. Just You, Just Me
(4:46) 10. Nothing At All
(4:44) 11. That Goldblatt Magic

Ralph Sharon made his professional debut with Ted Heath in 1946, then moved on to Frank Weir's orchestra before leading his own sextet. He moved to the U.S. in 1953, where he initially worked as an accompanist to Chris Connor. In 1957, he became musical director and pianist for Tony Bennett. He acquired American citizenship in 1958. 

In 1965, he and Bennett split up, but they got back together in 1979 and played together in the following years. Sharon also led various groups and made many recordings as a leader. He died in March 2015 at his home in Boulder, Colorado at the age of 91. ~ William Ruhlmann  http://www.allmusic.com/artist/ralph-sharon-mn0000863940/biography

Personnel:  Sue Sharon - vocals (tr. 2,4,6,8,10);  J.R. Monterose - tenor saxophone;  Eddie Costa – vibraphone; Ralph Sharon – piano, vocals; Joe Puma – guitar; Milt Hinton – bass; Jo Jones - drums

Mr. & Mrs. Jazz

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Chuck Wayne, Joe Puma - Interactions

Bitrate: MP3@320K/s
Time: 59:22
Size: 135.9 MB
Styles: Post bop, Guitar jazz
Year: 1974/2012
Art: Front

[5:52] 1. My Favourite Things
[4:28] 2. Fly Me To The Moon (In Other Words)
[4:21] 3. Let's Do It Again
[5:18] 4. Little Joe Waltz
[7:00] 5. Body And Soul
[4:43] 6. Lester Leaps In
[5:43] 7. Here's That Rainy Day
[4:36] 8. Baubles, Bangles And Beads
[4:47] 9. Satin Doll
[5:13] 10. There Will Never Be Another You
[7:16] 11. I'll Get Along

Guitarist Chuck Wayne came to prominence in the 1940's & 50's. He was best known for his work with Woody Herman and George Shearing. He was also Tony Bennett's musical director from 1953-57. Joe Puma was a contemporary of Chuck and fellow guitarists Jimmy Raney and Johnny Smith, winning the Metronome New Star award in 1957. The two guitarists teamed up in 1973 for some duet playing in the tradition of Barnes/Kress and Ellis/Pass and this resulting album is one of the best of the genre.

Interactions

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Webster Young - For Lady

Styles: Cornet And Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 42:33
Size: 104,4 MB
Art: Front

(7:03)  1. The Lady
(7:08)  2. God Bless The Child
(7:48)  3. Moanin' Low
(8:58)  4. Good Morning Heartache
(7:15)  5. Don't Explain
(4:18)  6. Strange Fruit

While trumpeter Webster Young pays tribute to Billie Holiday on this, his only studio date as a leader, the set is equally a tribute to Young's musical role model, Miles Davis. Young has Miles' soft-focus tone from the early to mid-'50s and, according to Ira Gitler's liner notes, he is actually playing Miles' cornet on the date. The similarities between the two players make this 1957 session a satisfying companion to Miles' work circa 1951-1953. Young is nicely matched here with tenor saxophonist Paul Quinichette, with the two of them using a pleasantly blowsy approach to weave loose, discursive counterpoint around each other. Guitarist Joe Puma distinguishes the set with thoughtful, understated playing that calls to mind Kenny Burrell's own Prestige dates from this period. Pianist Mal Waldron, drummer Ed Thigpen, and bassist Earl May infuse the performances with a cohesive, relaxed swing. 

They give each other lots of space, and Waldron makes astute choices in his chord selection, phrasing, and comping strategies. The tracks comprise five pieces associated with Holiday and one Young original, written in homage to Lady Day. True to Holiday's approach, the mood is world-weary, bordering on bleak, but with breaches of light like those that would briefly suffuse Holiday's songs. "Strange Fruit" is the one track that misses the mark. Where Holiday allowed the stark irony of the lyrics to carry the song, Young's instrumental version labors the point by including an execution squad drum roll. This could have been effective had it been limited to the intro and ending, but when Thigpen's martial snare also crops up midsong it breaks the subtle, macabre atmosphere of the piece. ~ Jim Todd  

http://www.allmusic.com/album/for-lady-mw0000087852

Personnel: Webster Young (trumpet, cornet); Joe Puma (guitar); Paul Quinichette (tenor saxophone); Mal Waldron (piano); Ed Thigpen (drums).

For Lady

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Joe Puma - The Jazz Guitar Of Joe Puma

Bitrate: MP3@320K/s
Time: 75:02
Size: 171.8 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:10] 1. Loris
[3:08] 2. A Little Rainy
[2:48] 3. What Is There To Say
[3:25] 4. Hallelujah
[3:27] 5. How About You
[4:07] 6. Pumatic
[3:06] 7. Liza
[3:07] 8. Moon Song
[2:45] 9. I'm Old Fashioned
[2:20] 10. Time Was
[2:26] 11. Ain't Misbehavin'
[2:43] 12. Li'l Basses
[4:18] 13. Unison Blues
[5:03] 14. Ubas
[5:53] 15. Blues For Midge
[5:50] 16. Stablemates
[4:36] 17. I Got It Bad And That Ain't Good
[4:33] 18. Mother Of Earl
[7:09] 19. Indian Summer

Joe Puma (g), Barry Galbraith, Dick Garcia (g), Don Elliott (vibes), Bill Evans, Eddie Costa (p), Vinnie Burke, Dante Martucci, Oscar Pettiford (b), Ted Sommer, Al Levitt, Jimmy Campbell, Paul Motian (d)

Joe Puma (1927-2000) was a guitarist of imagination and skill that, despite emerging from New York under the shadow of Tal Farlow and Jimmy Raney, made some excellent recordings as a leader with some great and inventive jazzmen such as Bill Evans, Eddie Costa, Don Elliott, Oscar Pettiford and Paul Motian.

This CD is a swinging, warm set of well-thought out sessions, that manage to retain essential spontaneity meaningfully throughout the solos. Puma’s approach is tasteful, gentle and unpretentious, and his finely-etched, sensitive guitar playing garnered the respect of his fellow musicians and such critical acclaim as the 1957 New Star award for his instrument in the poll conducted by Metronome magazine.

The Jazz Guitar Of Joe Puma

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