Kenny Drew Jr. - The Rainbow Connection

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 57:58
Size: 134,5 MB
Art: Front

( 5:42)  1. Confrontation
( 5:54)  2. There Is No Greater Love
( 7:07)  3. Serenity
( 4:18)  4. Boo Boo's Birthday
( 6:26)  5. Nelson Avenue Morning
( 6:20)  6. Coral Sea
( 5:18)  7. Rhythm - A - Ning
( 5:16)  8. The Rainbow Connection
(11:34)  9. Invitation

Kenny Drew, Sr. was so legendary a pianist that Kenny Drew, Jr. was bound to be compared to his father, however hard he fought to establish his own identity. And the fact that they played the same instrument didn't exactly discourage comparisons. But the son is very much his own man, and his individuality asserts itself on The Rainbow Connection, which was recorded when he was a month away from his 30th birthday. Drew has competent support in bassist Charnett Moffett, drummer Cody Moffett and trumpeter Terence Blanchard, and he proves that he's no clone of his father on material ranging from "Invitation" to the Thelonious Monk classics "Rhythm-A-Ning" and "Boo Boo's Birthday" (a difficult tune that, unlike "Rhythm-A-Ning," is far from well-known). Especially revealing is his interpretation of his father's haunting "Serenity." If anything would have encouraged Drew, Jr. to emulate Drew, Sr., it would be "Serenity," but he manages to do his own thing with it. Initially released by the Japanese Jazz City label, this decent post-bop/hard bop date was reissued on CD by Evidence in 1998. ~ Alex Henderson https://www.allmusic.com/album/the-rainbow-connection-mw0000035007

Personnel: Piano – Kenny Drew Jr.; Bass – Charnett Moffett; Drums – Codaryl "Cody" Moffett; Trumpet – Terence Blanchard

The Rainbow Connection

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Ronnie Cuber - Live at JazzFest Berlin

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 63:15
Size: 145,0 MB
Art: Front

(12:31)  1. Tokyo Blues
( 6:11)  2. Coco B
( 9:28)  3. Things Never Were What They Used to Be
( 8:27)  4. Passion Frui
( 8:45)  5. Tell Me a Bedtime Story
( 8:18)  6. Perpetuating the Myth
( 9:31)  7. Arroz con Pollo

Baritone saxophonist Ronnie Cuber’s third release for SteepleChase predates his association with the label, and might be thought of as a happy accident. At the titular fest, in 2008, Cuber’s quartet-with pianist Kenny Drew Jr., electric bassist Ruben Rodriguez and drummer Ben Perowsky-played a two-set show that the four remembered as a highlight of their European tour. Unbeknownst to them, the concert was recorded for a radio broadcast, and Cuber subsequently opted to give the music an official release. He had good instincts: The seven tunes culled from the evening have Cuber and co. in fine form, with the saxophonist, underappreciated pianist Drew and the in-sync rhythm section excelling on blues, swing and Latin-oriented tunes, including four originals.

The band romps from the get-go with Horace Silver’s “Tokyo Blues,” its call-and-response head opening up into an extended solo for Cuber, who incorporates artful repetition, syncopation, overblowing effects and a Gershwin reference before turning it over to Drew. He proceeds to build a dizzying, masterful solo, and Rodriguez and Perowsky also shine on the 12 1/2-minute tune. The samba rhythms of Clare Fischer’s bright, catchy “Coco B” fuel sterling improvisations by Drew and Cuber. So, too, do the fertile Afro-Caribbean grooves of Cuber’s “Passion Fruit,” the title track from the saxophonist’s 1985 album, which opens up for a high-energy montuno section, and his “Arroz con Pollo,” bolstered by Rodriguez’s fleet-fingered workout. 

The quartet also takes on Herbie Hancock’s melancholy, slowly shifting “Tell Me a Bedtime Story” and two originals from Drew: the funk-edged “Things Never Were What They Used to Be,” a nod to the Mercer Ellington tune, and “Perpetuating the Myth,” a strolling, twisting, bluesy piece with a bari-and-piano unison melody that nods to Monk. Fat, gritty tone? Check. Agile, clever improvisations? Check. Cuber still has it. ~ Philip Booth https://jazztimes.com/reviews/albums/ronnie-cuber-live-at-jazzfest-berlin/

Personnel: Ronnie Cuber: baritone saxophone; Kenny Drew Jr.: piano; Rubén Rodríguez: bass; Ben Perowsky: drums.

Live at JazzFest Berlin

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Nathan Davis - London by Night

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 60:12
Size: 139,2 MB
Art: Front

(6:56)  1. Noite Em Leblon
(5:18)  2. I Thought About You
(6:20)  3. Rio De Janeiro
(4:23)  4. London by Night
(2:48)  5. Dr. Bu
(9:06)  6. But Beautiful
(6:33)  7. You've Changed
(5:37)  8. Shades
(5:53)  9. Lament
(7:14) 10. If I Fell

Nathan Davis split his career between being a fine tenor saxophonist and a jazz educator. He played briefly with Jay McShann in 1955, attended the University of Kansas, spent time in the Army in Berlin (1960-1963), and stayed in Paris where he worked with Kenny Clarke (1963-1969), Eric Dolphy (1964), and Art Taylor. He also toured Europe with Art Blakey (1965) and Ray Charles. Starting in 1969, Davis was a professor of jazz at the University of Pittsburgh and Moorhead State University. His two most important musical associations involved leadership of the Paris Reunion Band (1985-1989) and Roots (which he formed in 1991). After 44 years, Davis retired from the University of Pittsburgh in June 2013. He died of congestive heart failure in Florida in April 2018 at the age of 81. ~ Scott Yanow https://www.allmusic.com/artist/nathan-davis-mn0000377691/biography

Personnel: Tenor Saxophone – Nathan Davis; Trumpet – Dusko Goykovich;  Bass – Jimmy Woode; Drums – Al Levitt; Flugelhorn – Dusko Goykovich; Flute – Nathan Davis; Piano – Kenny Drew

London by Night

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Howard Mcghee - Introducing The Kenny Drew Trio

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 55:38
Size: 129,3 MB
Art: Front

(2:36) 1. Meciendo
(2:50) 2. Lo-flame
(2:52) 3. Fluid Drive
(2:53) 4. I'll Remember April
(3:10) 5. Fuguetta
(2:51) 6. Donnellon
(2:54) 7. Lo-flame (Alt. Take)
(5:21) 8. Yesterdays
(2:29) 9. Stella By Starlight
(3:24) 10. Gloria
(2:45) 11. Be My Love
(3:33) 12. Lover Come Back To Me
(4:43) 13. Everything Happens To Me
(2:50) 14. It Might As Well Be Spring
(2:27) 15. Drew's Blues
(4:23) 16. Yesterdays (Alt. Take)
(3:29) 17. Everything Happens To Me (Alt. Take)

This 1998 CD has all of the music from two formerly scarce 10" LPs. Trumpeter Howard McGhee heads an all-star group that includes trombonist J.J. Johnson, tenor saxophonist Brew Moore, pianist Kenny Drew, bassist Curly Russell, and drummer Max Roach on "I'll Remember April," an original by the leader and four songs (plus an alternate take) by Drew, who was making his recording debut.

Because it was the tail-end of the 78 era, all of the performances are between 2:34 and 3:07 in length but the concise solos are generally quite strong. Although McGhee gets the top billing on this CD, the second half of this disc is actually by the Kenny Drew Trio (with Russell and drummer Art Blakey) from three years later, Drew's debut as a leader. Other than his "Gloria" and the basic "Drew's Blues," all of the music (which is augmented by two alternate takes) is standards including "Be My Love," "Yesterdays," and a surprisingly heated rendition of "It Might As Well Be Spring." Easily recommended to bebop collectors. By Scott Yanow https://www.allmusic.com/album/introducing-the-kenny-drew-trio-mw0000601264

Personnel: Howard McGhee - Trumpet; J.J. Johnson - Trombone; Brew Moore - Saxophone; Kenny Drew - Piano; Curly Russell - Bass; Max Roach - Drums

Howard Mcghee Introducing The Kenny Drew Trio

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Kenny Dorham - The Best Of Kenny Dorham - The Blue Note Years

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 58:46
Size: 135,3 MB
Art: Front

( 4:26)  1. Minors Holiday
( 4:16)  2. Lotus Flower
( 6:00)  3. Mexico City
( 5:38)  4. Philly Twist
( 7:57)  5. Blue Bossa
( 7:11)  6. Short Story
(15:16)  7. Una Mas (One More Time)
( 7:58)  8. The Fox

Often lost in the shadows of A-team players like Dizzy Gillespie and Clifford Brown, trumpeter Kenny Dorham quietly made a name for himself throughout both the bebop and hard bop years from the mid-'40s to the mid-'60s. His tart tone and mercurial phrasing ideally framed here, The Best of Kenny Dorham offers newcomers a perfect way to get familiar with one of modern jazz's top composers and players. Starting with 1955's classic Afro-Cuban LP, the eight cuts include such essential Dorham originals as "Minor's Holiday," "Blue Bossa," and "Una Mas." And helping out along the way are tenor saxophonists Joe Henderson and Hank Mobley, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones. A fine snapshot of Dorham in his eclectic prime. ~ Stephen Cook https://www.allmusic.com/album/the-best-of-kenny-dorham-blue-note-years-mw0000082543

Personnel: Trumpet – Kenny Dorham; Kenny Burrell - Guitar; Paul Chambers - Bass; Richard Davis - Bass; Kenny Drew - Piano; Cecil Payne - Saxophone; Philly Joe Jones - Drums.

The Best Of Kenny Dorham - The Blue Note Years

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Arkadia Jazz All-Stars - It's About Love

Styles: Jazz Contemporary
File: MP3@320K/s
Time: 69:43
Size: 160,8 MB
Art: Front

(6:44) 1. Mood Indigo
(5:48) 2. A Summer Affair
(4:38) 3. My Cherie Amour
(8:37) 4. My Funny Valentine
(5:06) 5. Round Midnight
(4:27) 6. It's Really All About Love
(5:18) 7. The More I See You
(6:02) 8. Interlude
(5:53) 9. Passionata
(6:28) 10. Ask Me Now
(4:51) 11. I Want to Talk About You
(5:46) 12. A Perfect Couple

It could be said that jazz is really the musical language of Love. Like any quest, you have to seek jazz out, it never comes to you, and it may take a long time to truly understand its message but as soon as you hear it, you know you’ve found love. Jazz, like all personal relationships, has so many moods that it may confound you at first, but once you get to know it, there’s no turning back. Much of the repertoire of jazz has been dedicated to love and Arkadia Jazz All-Stars have recorded an album that celebrates the romantic, intimate side of jazz, and musically explores the unanswerable question: What is Love?

Starting off with Benny Golson’s sublime reading of Duke Ellington’s Mood Indigo, the stage is set for romance. The nylon strings of Nigel Clark are featured next in the breezy A Summer Affair, capturing the smoldering flame of passion. Joanne Brackeen performs Stevie Wonder’s pop standard My Cherie Amour in her own dynamic and totally individual way, and Randy Brecker’s Grammy Nominated performance on My Funny Valentine is a moment of real beauty. Both artists bring new depth to several of the all time great love songs. Paul Tobey’s sensitive and insightful rendition of Monk’s Round Midnight is rhapsodic, using subtle dissonances to create tension, released by his flowing lines.

T.K. Blue’s original composition, It’s Really All About Love features the flute, an instrument often tied with romanticism. The More I See You by Mary Pearson expresses the sentiment of undying love that we all long to have, as does the masterful ballad Interlude by the Billy Taylor Trio. Passionata was an unfinished composition by Kenny Drew Sr. that was completed and recorded by his son, Kenny Drew Jr., and is a testament to familial love. Eric Reed’s rendition of Monk’s Ask Me Now is a sparse, yet tender and eloquent doctrine on the state of love. David Liebman and Vic Juris show their gentle sides on the sparkling I Want To Talk About You, while pianist Uli Lenz’s mesmerizing A Perfect Couple brings this recording to a romantic close and is the perfect denouement for this CD, “It’s About Love.”

What happens to us when we fall in love, and when we hear or see something that kindles our passions? Our outlook on life becomes filled with possibilities. Jazz mirrors our life experiences, and we should try to remember that in our collective consciousness. As in our personal relationships, jazz is about the joy and creation of beauty and human emotion in real time. Share this music with someone; it has something to do with discovery and hope. It has something to do with love.

Whether looking surround yourself with beautiful ballads, or to set the mood for a romantic evening, or simply looking for a special Valentines Day gift all year round, “It’s About Love” is a wonderful collection that provides both the romantic atmosphere and world class music from some of the most influential sounds in Jazz.
https://arkadiajazzallstars.com/product/arkadia-jazz-all-stars-its-about-love/

Personnel: Carl Allen: Drums; James Weidman: Piano; Santi Debriano: Bass; Kenny Drew Jr.: Piano; Eric Reed: Piano; Peter Washington: Bass; Lewis Nash: Drums; Rodney Whitaker: Bass; Dave Liebman: Soprano sax; Vic Juris: Guitar; Dean Johnson: Bass; Ron Vincent: Drums;

It's About Love

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Kenny Drew Trio - Lullaby of Birdland

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 49:21
Size: 114,1 MB
Art: Front

( 6:21) 1. Lullaby of Birdland
(10:04) 2. It Might as Well Be Spring
( 3:38) 3. The Summer Knows
( 5:50) 4. Django
( 4:32) 5. The Gentle Rain
( 3:28) 6. My Ship
( 3:19) 7. On Green Dolphin Street
( 7:31) 8. God Bless the Child
( 4:33) 9. On a Slow Boat to China

American pianist Kenny Drew (1928-1993) moved to Copenhagen, Denmark, in 1964. Although he may have somewhat faded from the radar of American jazz fans, he had a fantastic career in Denmark and was beloved by European and Japanese jazz fans. In the late 1970s and 1980s, Drew's popularity in Japan grew to incredible heights when he began recording for Japanese labels such as Baystate and Alpha under a partnership with Japanese producer Makoto Kimata.

To commemmorate the 20th anniversary of Drew's passing, a very special series was launched in Japan in 2013, with a release of previously unpublished materials recorded for the two labels between 1972 and 1992. They are alternate takes and takes that did not make onto the original albums released in this period. Danish super-bassist Niels-Henning Orsted Pedersen held the bass chair throughout, and the drummer is either Ed Thigpen, a fellow American expat who had settled in Copenhagen, or Alvin Queen.

It is quite amazing to hear the consistently high quality of these "outtakes" and to realize that there is enough material to fill 15 CDs in this series. Actually, many these "outtakes" tend to be more exciting than those takes that made the original albums. They may have been "cut" because they were slightly rough around the edges, but perhaps they were played with more freedom, abandon, and adventurous spirit. Very highly recommended to fans of Kenny Drew and piano trio jazz! Release produced by Makoto Kimata. Recorded 1978-1992.http://www.eastwindimport.com/product-info.asp?CategoryName=Pony+Canyon&ProductID=3200

Personnel: Kenny Drew (piano); Niels-Henning Ørsted Pedersen (bass); Ed Thigpen (drums); Alvin Queen (drums)

Lullaby of Birdland

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Brew Moore - Zonky

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 48:42
Size: 112,2 MB
Art: Front

(15:56) 1. Gene's Blues
( 0:17) 2. Introduction
(10:34) 3. I Should Care
( 0:10) 4. Introduction
(13:41) 5. Donna Lee
( 0:15) 6. Introduction
( 7:48) 7. Zonky

Brew Moore once said that "Anyone who doesn't play like Lester Young is wrong," a philosophy he followed throughout his career. In the early '50s, he recorded on a session with fellow tenors Stan Getz, Al Cohn, Zoot Sims, and Allan Eager; at the time, they all sounded identical. Moore was the only one of the five who did not change his sound through the years. During 1942-1948, he worked with local bands in New Orleans and Memphis, moving to New York in 1948 and playing with Claude Thornhill's Orchestra (1948-1949). During the next few years, he freelanced, working with Machito, Kai Winding, and Gerry Mulligan, among others. In 1954, he moved to San Francisco, where he led his own groups and played with Cal Tjader. Moore, whose cool sound became out of fashion, moved to Copenhagen in 1961 and, other than three years in New York (1967-1970), stayed overseas until his death. He recorded as a leader for Savoy (1948-1949), Fantasy (1955-1957), Jazz Mark, Debut, SteepleChase, Sonet, and Storyville.~Scott Yanow https://www.allmusic.com/artist/brew-moore-mn0000624818/biography

Personnel: Brew Moore, tenor sax; Kenny Drew, piano; Niels-Henning Orsted Pedersen, bass; Makaya Ntshoko, drums.

Zonky

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Kenny Drew - Fantasia

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 49:25
Size: 114,0 MB
Art: Front

(7:34) 1. Flight Of Fancy
(5:37) 2. Someday My Prince Will Come
(6:24) 3. Wishing Hoping
(4:59) 4. When You Wish Upon A Star
(8:54) 5. Fantasia
(5:06) 6. Dream
(6:33) 7. Polka Dots And Moonbeams
(4:15) 8. Children's Dance

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation.

Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town.

In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.”

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note.

In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964.

Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://www.allaboutjazz.com/musicians/kenny-drew

Personnel: Kenny Drew (p); Niels-Henning Orsted Pedersen (b); Ed Thigpen (d)

Fantasia

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Kenny Drew - Misty

Styles: Piano Jazz
Year: 1978-1992
File: MP3@320K/s
Time: 50:03
Size: 115,1 MB
Art: Front

(7:14) 1. Stella By Starlight
(4:39) 2. Misty
(4:22) 3. Autumn In Rome
(4:37) 4. But Not For Me
(3:41) 5. As Time Goes By
(7:05) 6. Last Tango In Paris
(4:55) 7. Sunset
(3:16) 8. Blues In Green
(5:39) 9. The Way We Were
(4:31) 10. I'm Old Fashioned

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town.

In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.” Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.”

In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://www.allaboutjazz.com/musicians/kenny-drew

Personnel: Bass – Niels-Henning Ørsted Pedersen; Drums – Alvin Queen, Ed Thigpen; Piano – Kenny Drew

Misty

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Steve Slagle, Kenny Drew Jr - Reincarnation

Styles: Saxophone And Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 70:49
Size: 163,3 MB
Art: Front

(10:48)  1. Reincarnation of a Lovebird
( 7:50)  2. Yesternite
(10:01)  3. Soultrane
( 6:55)  4. Sweet Pepper
( 7:21)  5. Afro Cubano
( 7:09)  6. Bess You Is My Woman Now
( 5:37)  7. Spirit of Miles
( 8:34)  8. Isfahan
( 6:30)  9. News Blues

B. 18 September 1951, Los Angeles, California, USA. Starting out playing saxophones while still very young, Slagle moved to the opposite side of the country where he studied at the Berklee College Of Music. Subsequently, and through the 70s, he worked with artists as diverse as Stevie Wonder, John Scofield and Machito. In the early years of the next decade he was with Woody Herman’s band, playing tenor saxophone, and also worked with Lionel Hampton, playing alto, and Charlie Haden, Carla Bley, Steve Kuhn, and Mingus Dynasty. At the end of the 80s he was musical director for the Ray Barretto Band. His first album as a leader was released in 1983, and during the 80s he often worked with a quartet featuring Jaco Pastorius (bass), Mike Stern (guitar) and Adam Nussbaum (drums). In the following decade Slagle recorded several sessions for SteepleChase Records, with musicians including Tim Hagans and Ryan Kisor (trumpets), Kenny Drew Jnr. (piano), Cameron Brown (bass), and Gene Jackson (drums). Slagle also co-leads a group with Dave Stryker (guitar), and works as lead altoist and chief arranger with the Mingus Big Band.

A brilliant stylist, who also plays soprano saxophone and clarinet, Slagle’s work indicates his abiding interest on the transitional music that followed hard bop into free jazz, although he is at his considerable best when he underpins these latter-day forms with the essence of the blues. His striking technical mastery of his instruments is always evident but it is never used for its own sake. Although adept on all the instruments in his arsenal, Slagle is perhaps must interesting on alto, where his sinuous solo lines create a musical atmosphere that is both demanding and compelling in its intensity. https://www.allmusic.com/artist/steve-slagle-mn0000033922/biography

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death.~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Reincarnation

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Warne Marsh & Kenny Drew - I Got A Good One For You

Styles: Saxophone And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 61:01
Size: 142,3 MB
Art: Front

(4:53)  1. I Got A Good One For You
(7:46)  2. Sophisticated Lady
(4:31)  3. On Green Dolphin Street
(5:41)  4. Sippin' At Bells
(4:31)  5. Ev'rytime We Say Goodbye
(4:50)  6. Little Willie Leaps
(5:16)  7. Easy To Love
(4:05)  8. Body And Soul
(4:54)  9. Ornithology
(9:45) 10. Star Eyes
(4:44) 11. Softly As In A Morning Sunrise

Warne Marsh told writer Nat Hentoff "the big thing I got from Lennie Tristano was the feeling that if music was worth that much to him, it could mean that much to me to play only what I wanted to play”. The Storyville catalogue is rich in the recorded work of Warne Marsh but the highligt certainly is "Body And Soul", a tune with strong jazz tenor links. Here Marsh fashions a masterly improvisation over the harmonies, creating melodic statements of great richness for two choruses. Music such as this is the very essence of jazz; four men united in the creation of spontaneously creative music after what must have been only a short time available for rehearsal. The result speaks for itself. https://www.storyvillerecords.com/products/i-got-a-good-one-for-you-stcd8277

Personnel: Warne Marsh (tenorsax), Kenny Drew (piano), Bo Stief (bass) and aage Tanggaard (drums)

I Got A Good One For You

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Kenny Drew Jr. - Portraits of Charles Mingus & Thelonious Monk

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:43
Size: 139,4 MB
Art: Front

(5:17)  1. Work
(6:41)  2. Ruby My Dear
(9:05)  3. Peggy's Blue Skylight
(3:50)  4. Light Blue
(5:36)  5. Trinkle-Tinkle
(4:19)  6. Nobody Knows (The Bradley I Know)
(7:41)  7. Farewell Farwell
(7:29)  8. Eclipse
(7:04)  9. Weird Nightmare
(3:36) 10. Skippy

This is one of Kenny Drew, Jr.'s finest recordings. Teamed in a trio with bassist Lynn Seaton (whose bowed solos are a constant highlight) and drummer Marvin "Smitty" Smith, Drew performs five Thelonious Monk songs and five from Charles Mingus. Other than "Ruby, My Dear," none of the tunes are played all that often, so it is a particular pleasure hearing Drew dig into such songs as "Work," "Trinkle-Tinkle," "Skippy," "Nobody Knows," and "Farewell Farwell." The Mingus tunes, in particular, sound fresh, new, and transformed in the piano trio setting. Drew Jr. displays both the technique and the imagination to make this often-difficult music sound effortless and logical. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/portraits-of-mingus-monk-mw0000173799

Personnel:  Piano – Kenny Drew Jr.; Double Bass – Lynn Seaton; Drums – Marvin "Smitty" Smith

Portraits of Charles Mingus & Thelonious Monk

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Kenny Drew - The Ideation Of Kenny Drew

Styles: Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 25:10
Size: 58,2 MB
Art: Front

(3:15)  1. Four And Five
(4:18)  2. Polka Dots And Moonbeams
(6:00)  3. Kenny's Blues
(3:36)  4. Lo Flame
(3:24)  5. 52nd Street Theme
(4:34)  6. Chartreuse

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Piano – Kenny Drew;  Bass – Eugene Wright; Drums – Lawrence Marable

The Ideation Of Kenny Drew

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Ted Curson - Plenty Of Horn

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 39:18
Size: 91,1 MB
Art: Front

(2:52)  1. Caravan
(6:16)  2. Nosruc Waltz
(4:22)  3. The Things We Did Last Summer
(3:41)  4. Dem's Blues
(4:20)  5. Ahma ( See Ya )
(3:33)  6. Flatted Fifth
(3:55)  7. Bali - H'ai
(5:03)  8. Antibes
(5:12)  9. Mr Teddy

An excellent and flexible trumpeter, Ted Curson will always be best known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy and Dannie Richmond). He studied at Granoff Musical Conservatory; moved to New York in 1956; played in New York with Mal Waldron, Red Garland, and Philly Joe Jones; and recorded with Cecil Taylor (1961). After the 1959-1960 Mingus association (which resulted in some classic recordings), Curson co-led a quintet with Bill Barron (1960-1965), played with Max Roach, and led his own groups. He spent time from the late '60s on in Europe (particularly Denmark) but had a lower profile than one would expect after returning to the U.S. in 1976. 

He led sessions for Old Town (1961), Prestige, Fontana, Atlantic, Arista, Inner City, Interplay, Chiaroscuro, and several European labels. Curson died of a heart attack on November 4, 2012. He was 77 years old. ~ Scott Yanow https://itunes.apple.com/gb/album/plenty-of-horn-remastered/915587792

Personnel:  Ted Curson (trumpet), Bill Barron (tenor sax on #5 & 6), Eric Dolphy (flute on #3 & 7), Kenny Drew (piano), Jimmy Garrison (bass), Roy Haynes (drums on #5 & 6), Danny Richmond (drums on #3 & 7) and Pete La Roca (drums on #1,2,4,8 & 9).

Plenty Of Horn

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Dexter Gordon & Slide Hampton - A Day In Copenhagen

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 40:57
Size: 113,4 MB
Art: Front

(9:07)  1. My Blues
(5:59)  2. You Don't Know What Love Is
(5:03)  3. A New Thing
(8:00)  4. What's New
(4:57)  5. The Shadow Of Your Smile
(7:48)  6. A Day In Vienna

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.~ Scott Yanow https://www.allmusic.com/album/day-in-copenhagen-mw0000649538

Personnel:  Dexter Gordon - tenor saxophone;  Slide Hampton - trombone;  Dizzy Reece - trumpet;  Kenny Drew - piano;  Niels-Henning Orsted Pedersen - bass;  Art Taylor - drums

A Day In Copenhagen

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Kenny Drew - Cleopatra's Dream

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 57:20
Size: 131,8 MB
Art: Front

(9:39)  1. Moonlit Desert
(6:05)  2. I Didn't Know What Time It Was
(6:14)  3. Right On
(5:35)  4. Cleopatra's Dream
(6:51)  5. What Are You Doing The Rest of Your Life
(7:44)  6. Lite Bossa
(3:31)  7. Alice In Wonderland
(6:56)  8. Images
(4:40)  9. Hymn

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death.~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Kenny Drew (piano), Niels-Henning Orsted Pedersen (bass), Alvin Queen (drums)

Cleopatra's Dream

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Miles Davis - Birdland 1951

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Trumpet jazz
Year: 2004
Art: Front

[ 6:11] 1. Move
[ 7:31] 2. Half Nelson
[ 7:11] 3. Down
[ 5:51] 4. Out Of The Blue
[ 7:40] 5. Half Nelson
[ 6:42] 6. Tempus Fugit
[12:08] 7. Move
[ 8:36] 8. The Squirrel
[ 5:29] 9. Lady Bird

Bass – Charles Mingus, Tommy Potter; Drums – Art Blakey; Piano – Billy Taylor, Kenny Drew; Tenor Saxophone – Big Nick Nicholas, Eddie "Lockjaw" Davis, Sonny Rollins; Trombone – J.J. Johnson; Trumpet – Miles Davis.

These nine tracks, taken from radio broadcasts from the legendary Birdland in 1951, represent a particularly fruitful period in Miles Davis' development as a bandleader. There are three different broadcasts included here; two comprising six cuts in total were from June and September and have been issued in various forms on bootlegs over the decades. Four cuts, however, taken from a broadcast on February 17, have never been available in any form and it is these as well the marginally better fidelity of the entire set that makes this worth owning for Miles freaks -- and only Miles freaks. The sextet on the February and June dates included J.J. Johnson, Sonny Rollins, Art Blakey, Tommy Potter, and Kenny Drew. In September, Charles Mingus, Eddie "Lockjaw" Davis, Billy Taylor, and Big Nick Nicholas joined Davis and Blakey. The fidelity here is listed on the sleeve as "primitive." That's a nice way to say it sucks bad. These are better than Charlie Parker's Dean Benedetti recordings, but not by much. Soundwise, the best that can be said is that one can hear all of the instruments. The performances, however, particularly as delineated in the three different versions of the cut "Move," are stellar. They are inspired, furious, and cutting. Rollins outdoes himself in the June performance of the cut, and the latter band transforms it entirely. For the record, it is the only duplicate selection. Also, the live version of "Tempus Fugit," with its knotty head and punched-up rhythm, is revelatory in the manner of arrangement for those days and points a solid direction for the immediate future -- check the tempos and structure of the solo breaks on the September session for evidence. While this set is exclusively for those Miles fans who have to have absolutely everything, it is nonetheless worth it for those who have the bootlegs because of the heightened fidelity and the new session. ~Thom Jurek

Birdland 1951

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Kenny Drew - Moonlit Desert

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 38:27
Size: 88,1 MB
Art: Front

(5:46)  1.Moonlit Desert
(4:35)  2 Solveig's Song
(4:15)  3 Kay-Dee
(4:41)  4 Stardust
(4:03)  5 Roselil
(4:24)  6 Prelude To A Kiss
(6:11)  7 Blues Wail
(4:29)  8 Star Crossed Lovers

Kenny Drew is joined by bassist Niels Pedersen and drummer Ed Thigpen, along with members of the Royal Danish Chamber Orchestra on this 1982 recording made originally for the Japanese label Baystate. Drew's playing is surprising laid-back and someone introspective for the most part. His arrangement of classical composer Edvard Grieg's "Solveig's Song" is masterful, with the addition of strings and a solo flute. Ernie Wilkins, who wrote the arrangements for the remaining tracks, also composed the boisterous "Kay-Dee," which adds a brass section to augment the trio. Alto flute plays a prominent role in the scoring of the standard "Stardust," showcasing Drew's ability to interpret ballads. Pedersen's prominent bass is a key component of the string-laden scoring of "Prelude to a Kiss," while another piece from the Duke Ellington songbook, "The Star-Crossed Lovers," is at first nearly overcome by overly sweet strings, but Pedersen's marvelous solo helps overcome this liability. While this CD may not appeal to fans of Drew's typical trio recordings in a hard bop setting, those with open minds will enjoy it.~ Ken Dryden https://www.allmusic.com/album/moonlit-desert-mw0000346012 

Personnel:  Kenny Drew  piano;  Niels-Henning Ørsted Pedersen  bass;  Ed Thigpen  drums;  Ernie Wilkins  conductor, arranger

Moonlit Desert

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Kenny Drew - Afternoon In Europe

Styles: Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 38:13
Size: 93,2 MB
Art: Front

(4:31)  1. Golden Striker
(4:52)  2. Midnight Sun
(4:31)  3. Jeg Gek Mig Ud En Sommerday At Hore
(5:48)  4. Tivoli Stroll
(6:34)  5. Ach Varmeland Du Skona
(5:48)  6. Afternoon In Paris
(6:06)  7. The Quiet Cathedral

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. 

He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography                

Personnel:  Kenny Drew piano;  Niels-Henning Ørsted Pedersen bass;  Ed Thigpen drums

Afternoon In Europe

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