Louis Smith - Once in a While

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 70:23
Size: 161,8 MB
Art: Front

( 8:21)  1. Just Friends
(10:32)  2. Once in a While
( 9:22)  3. Over the Rainbow
( 5:36)  4. Tune Up
( 7:42)  5. Don't Blame Me
( 7:36)  6. Once I Had a Secret Love
( 9:47)  7. Sandu
(11:24)  8. There Is No Greater Love

Trumpeter Louis Smith’s only major claim to fame has been two late ‘50s dates he cut for Blue Note. Then his propensity for musical pedagogy led him to the University of Michigan, where he spent many years quietly teaching and inspiring youngsters. Back in 1978, a renewed career as a recording artist came in the guise of a contract with the Danish SteepleChase label, briefly interrupted in the ‘80s by a return to teaching. Now, Smith finds himself retired and that has given him more time to concentrate on his trumpet work once again. Cut in Denmark during Smith’s summer vacation in 1998, Once In a While is representative of the kind of bebop session that is part and parcel of Smith’s time-honored approach, although the line-up is a novel one not used previously by the trumpeter. Guitarist Doug Raney is the ringer in this piano-less group that also includes SteepleChase regular Keith Copeland on drums. The quartet hits a relaxed, but resolute groove on a set of eight golden standards, including a tip of the hat to Louis’ fellow trumpeters- namely through versions of Miles Davis’ "Tune Up" and Clifford Brown’s "Sandu." Never much of a technician, Smith still has the ability to construct intelligent solos that tell a story and his sound is marked by a round and softened timbre. Raney should have received equal billing here, because his rich and melodic lines are some of the best moments to be found among this generous offering of music. Cutting to the chase, this no-nonsense affair is a worthy addition to Smith’s burgeoning recorded career. And who says there ain't life after retirement? ~ C.Andrew Hovan https://www.allaboutjazz.com/once-in-a-while-louis-smith-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Louis Smith- trumpet, Doug Raney- guitar, Hugo Rasmussen- bass, Keith Copeland- drums

Once in a While

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Horace Silver - Live At Newport '58

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 44:46
Size: 103,1 MB
Art: Front

( 0:44)  1. Introduction By Willis Connover
(13:10)  2. Tippin'
(11:47)  3. The Outlaw
( 8:42)  4. Señor Blues
(10:21)  5. Cool Eyes

For a jazz artist of such longevity, pianist Horace Silver has precious few live recordings as leader. Before Paris Blues: Olympia Theater, Paris, 1962 (Fantasy, 2003) was released, Silver's single live recording was Doin' The Thing At The Village Gate (Blue Note, 2006/1961). This fact makes any newly discovered and released live recording somewhat of an event. Enter Horace Silver Live At Newport '58. Horace Silver Live At Newport '58 aurally details July 6, 1958 at the Newport Jazz Festival. The Horace Silver Quintet closed that Sunday afternoon's performances with a 40-minute set drawn from music Silver was composing and recording during at the time. The performance falls between Silver's recording of Further Explorations (Blue Note, 1958) and Finger Poppin' (Blue Note, 1959) and includes "The Outlaw" from that session and "Tippin'," recorded on June 15, 1958 for the b-side of the vocal version of "Senor Blues" (Bill Henderson, vocals). This performance is notable for the presence of trumpeter Louis Smith, who served as a bridge between Donald Byrd and Blue Mitchell. This represents the only full performance by Smith as part of Silver's quintet and one of the only times that "Tippin'" was recorded live by its original quintet. To be sure, Smith is neither Byrd nor Mitchell. He is a lightning bolt briefly illuminating the jazz sky with force and brilliance. This earliest example of live Silver shows the leader fully formed as a stage personality. If Horace Silver can be described as anything, it would be as his music is described: "funky cool." Horace Silver is part of the hard bop trinity, along with trumpeter Miles Davis and drummer Art Blakey. This trio ushered in a more accessible form of be-bop, making it acceptable to a wider audience by their infusion of blues and gospel elements. Hard bop was the first jazz genre to tax the confines of description. It is a more subtle artifact of jazz evolution than the earthquake which produced be-bop, which was a major mutation of jazz genes. Hard bop is extroverted where be-bop is introverted. It is muscular and brash, loose and sensual or frankly sexual music, particularly in the blues. 

The Newport performance is book ended with two classic be-bop constructions shot through with hard bop swagger. "Tippin'" is a classic AABA composition after Gershwin's "I Got Rhythm." It sports a complicated head and assertive soloing, and it swings with a jackhammer momentum, driven by the muscular drumming of Louis Hayes, who prefaces Tony Williams a decade later. "Cool Eyes" is similarly constructed with a devilishly complex Horace Silver head. Both pieces illustrate how hard bop was born out of be-bop. Those pieces performed between are the heart of hard bop, compositions that adopt challenging structures and time signatures. "The Outlaw"is pure genius, carefully constructed to convey the maximum drama. It stirs blues, Tin Pan Alley, church, and disorder at the border into a potent cocktail intended to weaken one's knees after the first shot. That soloists can spin their respective wares over these challenges is a credit to their musicianship. "Senor Blues" needs little introduction. It is the minor key blues of "Birk's Works" introduced to "My Little Red Shoes" with plutonium added for a slow burn. "Senor Blues" showcases its composer, allowing him to demonstrate the universe of his composing and pianist talents. If the late 1950s has a soundtrack, it would be "Senor Blues." Horace Silver Live At Newport '58 joins three other recent releases from trumpeter Dizzy Gillespie/saxophonist Charlie Parker, pianist Thelonious Monk and saxophonist John Coltrane as one of the most significant new finds in jazz. It appropriately casts Horace Silver as a significant jazz composer and reminds the modern listener that there are still giants among us, no matter how briefly. ~ C.Michael Bailey https://www.allaboutjazz.com/horace-silver-live-at-newport-58-by-c-michael-bailey.php?width=1920

Personnel: Horace silver: piano; Louis Smith; trumpet; Junior Cook: tenor Saxophone; Gene Taylor: bass; Louis Hayes: drums.

Live At Newport'58

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Louis Smith Sextet - Strike Up The Band

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 69:44
Size: 159,9 MB
Art: Front

(10:31)  1. I Hear A Rhapsody (Frejus-Baker-Gasparre)
( 6:33)  2. It's All Right (Edwards)
( 8:15)  3. Don't Misunderstand (Parks)
( 7:38)  4. Edwaa (L. Smith)
(10:45)  5. Stablemates (B. Golson)
( 9:06)  6. Lover (Rodgers)
( 9:10)  7. Night and Day (C. Porter)
( 7:43)  8. Strike Up The Band (Gershwin)

This session, under the leadership of trumpeter Louis Smith, brings hard bop veterans together with a couple newcomers who were at the time helping to revive the style. This is the kind of recording session where one gets a taste of the fireworks that would result from a live jam session featuring the participants. Each soloist launches into the heart of the tune, cutting out the preliminaries and never reaching the heights more extended blowing would allow. Each song gives the frontline and pianist Kevin Hays a chance to have their say. The hornmen have complementary yet distinctive approaches. Tenor saxophonist Junior Cook, like Smith a former member of Horace Silver's combo, is a study in soulful reserve, whittling statements from the grain of the tunes. Alto saxophonist Vincent Herring, in contrast, plays with barely restrained passion. He can't seem to wait to burst into doubletime. On &"Stablemates" he picks up Cook's last phrase and rips ahead like the anchor runner on a relay team. The leader's style has Cook's restraint matched with Herring's penchant for rapid fire runs. No matter how fast he plays, though, he never loses his knack for plucking the plumpest notes off the chords. That harmonic structure is well rooted by the rhythm section, especially bassist Steve LaSpina. On the ballad &"Don't Misunderstand", LaSpina burrows deep to create a melodic as well as harmonic counterline to Smith's tender theme and variations. 

~ David Dupont https://www.allmusic.com/album/strike-up-the-band-mw0000978277  

Personnel:  Trumpet, Flugelhorn – Louis Smith ;  Alto Saxophone – Vincent Herring;  Bass – Steve LaSpina;  Drums – Leroy Williams;  Piano – Kevin Hays;  Tenor Saxophone – Junior Cook

Strike Up The Band

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Louis Smith - Louisville

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 60:16
Size: 139,8 MB
Art: Front

(7:08)  1. Buzzy
(6:52)  2. Isfahan
(6:38)  3. Algo Bueno
(8:19)  4. I'll Close My Eyes
(7:46)  5. Ande
(6:35)  6. For All We Know
(8:06)  7. Days Of Wine And Roses
(8:49)  8. Scrapple From The Apple

Louis Smith’s Louisville (Steeplechase) is a no-frills, straightahead exercise in postbop. Smith and altoist Jon Gordon provide an excellent front line, with tight playing on heads, backed effectively by pianist Michael Cochrane, bassist Calvin Hill and drummer Jeff Hirshfield. The tune selections show imagination, from the neglected (Charlie Parker’s “Buzzy”) to the familiar (“Scrapple From the Apple”) to the in-between (Dizzy Gillespie’s “Algo Bueno,” better known as “Woody ‘n’ You”). Smith has a penchant for ballads with interesting changes (“For All We Know” and “I’ll Close My Eyes”), including a reverent reading of Billy Strayhorn’s lovely “Isfahan.” The lone original is Smith’s “Ande,” an uptempo reworking of the changes to “Indiana” that allows him to show that at 73 he’s lost none of his fluidity, none of his improvisational skill and none of his ability to swing at any tempo. ~ Harve Siders https://jazztimes.com/reviews/briefs/louis-smith-quintet-louisville/ 

Personnal: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Cochrane (piano); Calvin Hill (bass); Jeff Hirshfield (drums).

Louisville

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Louis Smith - Bopsmith

Styles: Trumpet Jazz
Year: 2001
File: MP3@256K/s
Time: 59:03
Size: 108,4 MB
Art: Front

( 4:41)  1. Val's Blues
( 8:37)  2. For Heaven's Sake
( 9:11)  3. The Way You Look Tonight
(10:26)  4. I Love You
( 8:10)  5. Ed's Love
(10:00)  6. A Ghost of a Chance
( 7:55)  7. Sweet Clifford

He’s one of the guys you probably never knew was still around. Trumpeter Louis Smith has become the stuff of legend, especially among Blue Note collectors who proudly cherish the two sets for the label that bear his name. In Michigan, where he currently resides, Smith is somewhat of a household name among jazz fans and he’s usually on hand for Detroit’s Ford International Jazz Festival. For many years now, the trumpeter has also been a favorite of SteepleChase producer Nil Winther and a sizable catalog of Smith led sessions have been the result, with The Bopsmith being the most recent.  Although past Smith SteepleChase sides have found him working with such names as Vincent Herring, Kenny Washington, George Cables, and Junior Cook, this may be one of the most finely integrated units to back Smith to date. Alto saxophonist Jon Gordon’s tart sound fits in ever so nicely with Smith’s decidedly bebop outlook, while pianist Michael Weiss provides the kind of tasty support that has made him a favorite accompanist to such performers as the incomparable Johnny Griffin. Finally, bassist Jay Anderson and drummer Joe Farnsworth form a tightly knit rhythm team that keeps things moving along properly.  No surprises here as to the material, with bop and standards the order of the day. Even Smith’s two originals, “Val’s Blues” and “Ed’s Love” (the title is a play on words involving the name of Detroit deejay Ed Love, although the liners don’t allude to this fact) are squarely in the mainstream. This is where one could pick a bone of contention if feeling inclined to do so. There’s a manner of similitude to much of the material that prevents this from becoming a five star affair, yet bop fans will still find much to enjoy and the individual contributions of the band members are definitely worth a listen. ~ C.Andrew Hovan https://www.allaboutjazz.com/the-bopsmith-louis-smith-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Weiss (piano); Joe Farnsworth (drums).

Bopsmith

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Louis Smith - Just Friends

Styles: Trumpet Jazz
Year: 1978
File: MP3@256K/s
Time: 57:52
Size: 106,1 MB
Art: Front

( 7:02)  1. Blues For Jimmy
( 8:58)  2. Lulu
( 8:11)  3. Vaughn's Bounce
( 9:37)  4. Quiet Nights
( 9:11)  5. I Remember Clifford
( 4:39)  6. Oleo
(10:11)  7. Minor Bit

Great date for master trumpeter with Memphis friends, including George Coleman on tenor sax. ~ Michael G.Nastos https://www.allmusic.com/album/just-friends-mw0001881587

Personnel: Trumpet – Louis; Smith Bass – Jamil Nasser;  Drums – Ray Mosca;  Piano – Harold Mabern;  Tenor Saxophone – George Coleman

Just Friends

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Kenny Burrell - Blue Lights Volume 1 And Volume 2

Album: Blue Lights Volume 1

Styles: Guitar Jazz

Year: 1958

File: MP3@320K/s

Time: 34:56

Size: 80,7 MB

Art: Front

(11:10)  1. Yes Baby

( 8:00)  2. Scotch Blues

( 5:48)  3. Autumn In New York

( 9:56)  4. Caravan

Album: Blue Lights Volume 2

Time: 40:11

Size: 92,7 MB

(11:22)  1. Rock Salt

( 6:47)  2. The Man I Love

(12:13)  3. Chuckin'

( 9:47)  4. Phinupi

The music on this 1997 two-CD set was originally on two LPs and already previously reissued as a pair of CDs. Guitarist Kenny Burrell leads a very coherent jam session in the studio with a particularly strong cast that also includes trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, either Duke Jordan or Bobby Timmons on piano, bassist Sam Jones, and drummer Art Blakey. The material consists of basic originals and standards and has excellent playing all around; six of the nine tunes are over nine minutes long. At that point in time, Cook and Brooks had similar sounds, but, fortunately, the soloists are identified in the liner notes for each song. The solo star is often trumpeter Louis Smith, who fell into obscurity after a few notable appearances on Blue Note during the period (including his own brilliant date, Here Comes Louis Smith). He was one of the finest of the Clifford Brown-influenced players of the period and deserves much greater recognition. This is a recommended reissue for hard bop collectors who do not already have the two individual CDs. ~ Scott Yanow http://www.allmusic.com/album/blue-lights-vols-1-2-mw0000024842

Personnel:  Kenny Burrell – guitar;  Louis Smith – trumpet;  Tina Brooks (Volume 1 tracks 2, 3 & 5, Volume 2 tracks 1-3), Junior Cook (Volume 1 tracks 1-3 & 5, Volume 2 tracks 1-3) - tenor saxophone;  Duke Jordan (Volume 1), Bobby Timmons (Volume 2) – piano;  Sam Jones – bass;  Art Blakey - drums

Blue Lights Volume 1 And Volume 2

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Louis Smith - Smithville

Bitrate: MP3@320K/s

Time: 57:29

Size: 131.6 MB

Styles: Hard bop, Trumpet jazz

Year: 1958/2008

Art: Front

[11:02] 1. Smithville

[ 9:00] 2. Wetu

[ 7:04] 3. Embraceable You

[ 5:31] 4. There Will Never Be Another You

[ 6:25] 5. Later

[ 6:29] 6. Au Privave

[ 6:22] 7. Bakin'

[ 5:32] 8. There Will Never Be Another You

Like his debut, Smithville is another set of thoroughly winning straight-ahead bop from the underappreciated trumpeter Louis Smith. Stylistically, there are no surprises here -- this is mainstream bop and hard bop, comprised of original and contemporary bop numbers, as well as standards ("There'll Never Be Another You," "Embraceable You") -- but since the music is performed so well, it doesn't matter.

There is genuine passion to this music, not only from Smith, but also from pianist Sonny Clark, tenor saxophonist Charlie Rouse, bassist Paul Chambers and drummer Art Taylor. It's a first-rate hard bop set that deserves wider distribution than it has received. ~Stephen Thomas Erlewine

Smithville 

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Louis Smith Quintet - Silvering

Bitrate: MP3@320K/s
Time: 67:55
Size: 155.5 MB
Styles: Trumpet jazz
Year: 1994
Art: Front

[ 9:10] 1. I'll Remember April
[ 7:17] 2. Au Privave
[10:18] 3. Roadies
[ 4:45] 4. What Is This Thing Called Love
[10:04] 5. Body And Soul
[ 7:44] 6. Silvering
[11:35] 7. Stella By Starlight
[ 7:00] 8. Blues For Alice

Even after the re-entry to the recording scene with his first SteepleChase recording SCCD 31096 “Just Friends” in 1978 ending his two decades’ silence since his Blue Note recording days, trumpeter Louis Smith has been hard to catch on the band stand. He chose to leave Horace Silver’s group in 1958 in favour of full time teaching job. However, this situation is now changed for good. Louis retiring from his job as a music teacher, resumed his career as musician with this new recording which took place in Chicago October 1993. With the Windy City’s legendary tenorman Von Freeman in the backing group, Louis the hard bopper tells his story in his warm, beautiful tone with unflagging intensity and impeccable technique.

Silvering

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Louis Smith & Jodie Christian - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 66:33
Size: 152.4 MB
Styles: Bop, Cool jazz
Year: 1995
Art: Front

[5:11] 1. My Ideal
[9:23] 2. Don't Take Your Love Away From Me
[5:16] 3. Mihoko's Tune
[5:55] 4. I Will Wait For You
[6:12] 5. But Not For Me
[8:55] 6. A Cottage For Sale
[8:33] 7. The Very Thought Of You
[7:28] 8. A Child Is Born
[9:35] 9. I Should Care

Louis Smith (trumpet); Jodie Christian (piano).

Born in Chicago, Illinois, United States, Christian was one of the co-founders of the Association for the Advancement of Creative Musicians (AACM) along with pianist/composer Muhal Richard Abrams, drummer Steve McCall, and composer Phil Cohran. He and Abrams were also part of the Experimental Band. He worked at Chicago's Jazz Showcase club, and performed with Eddie Harris, Stan Getz, Dexter Gordon, Gene Ammons, Roscoe Mitchell, Buddy Montgomery and John Klemmer. Christian led a group on albums. He died on February 13, 2012, aged 80, in Chicago.

Edward Louis Smith (born May 20, 1931, Memphis, Tennessee, United States) is an American jazz trumpeter. While studying at the University of Michigan, he played with visiting musicians such as Dizzy Gillespie, Miles Davis, Thad Jones and Billy Mitchell, before going on to play with Sonny Stitt, Count Basie and Al McKibbon, Cannonball Adderley, Percy Heath, Philly Joe Jones, Lou Donaldson, Donald Byrd, Kenny Dorham and Zoot Sims.

He began his career with two albums for Blue Note Records. The first, Here Comes Louis Smith, originally recorded for the Boston based Transition Records, featured Cannonball Adderley (then under contract to Mercury) playing under the pseudonym "Buckshot La Funke", Tommy Flanagan, Duke Jordan, Art Taylor and Doug Watkins. Smith's initial music career was brief; he became a teacher at the University of Michigan and Ann Arbor's public school system, but later recorded for the SteepleChase label. Smith suffered a stroke in 2006, and is seen occasionally enjoying live jazz in the Detroit/Ann Arbor area, but has not returned to performing.

The Very Thought Of You

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Various - A Tribute To Charlie Parker

Bitrate: MP3@320K/s
Time: 88:12
Size: 201.9 MB
Styles: Assorted jazz styles
Year: 2013
Art: Front

[ 2:06] 1. Charlie Parker - Scrapple From The Apple
[ 7:55] 2. Grant Green - Cool Blues
[ 6:30] 3. Louis Smith - Au Privave
[ 6:15] 4. Paul Chambers - Chasin' The Bird
[ 5:25] 5. Stanley Turrentine - The Jumpin' Blues
[15:14] 6. Art Blakey - Moose The Mooche
[ 9:32] 7. Clifford Jordan - Billie's Bounce
[ 4:39] 8. Buddy Rich - Now's The Time
[ 3:08] 9. Roy Ayers - Donna Lee
[ 1:56] 10. Carmen Mcrae - Yardbird Suite
[ 4:10] 11. Elvin Jones - Anthropology
[ 4:10] 12. Ernie Andrews - Parker's Mood
[ 5:46] 13. Howard Roberts - Relaxin' At Camarillo
[ 3:48] 14. Michel Camilo - My Little Suede Shoes
[ 7:32] 15. Jim Hall - Scrapple From The Apple

In terms of his global influence and enduring legacy, alto saxophonist Charlie Parker was unquestionably one of the most important artistic figures of the 20th century. Almost sixty years after his premature demise Parker's musical DNA can be detected almost everywhere jazz is played. Parker's music—and in no small measure his myth—has inspired countless jazz musicians but it has also inspired authors, painters, film makers and a surprising number of poets.

A Tribute To Charlie Parker

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