Silky Denims: Richard Davis

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Sunday, February 19, 2023

Barry Harris, Muhal Richard Abrams - Interpretations of Monk

Album: Interpretations of Monk Disc 1
Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 50:22
Size: 115,6 MB
Art: Front

( 0:41) 1. Announcement by Verna Gillis
( 6:39) 2. Introduction by Nat Hentoff
( 3:39) 3. Crepuscule with Nellie
( 8:25) 4. I Mean You
( 8:02) 5. Ask Me Now
( 3:41) 6. Gallop's Gallop
( 7:32) 7. Blue Monk
(10:16) 8. Four in One
( 1:23) 9. Poetry by Amiri Baraka

Three and a half months before Thelonious Monk died, two memorable tribute concerts took place at Columbia University. The lineup of musicians was perfect: soprano saxophonist Steve Lacy (long an expert on Monk's music), Thelonious' longtime tenor saxophonist Charlie Rouse, trombonist Roswell Rudd, trumpeter Don Cherry, bassist Richard Davis, either Ben Riley or Ed Blackwell on drums, and four different pianists. This legendary event was fortunately recorded, and the afternoon concert has been released in full on this 1997 double-CD set. Pianist Muhal Richard Abrams is on the first CD, while Barry Harris takes his place on the second half. Both of the pianists have a brief solo piece as a feature; Lacy takes "Gallop's Gallop" unaccompanied, and the full group jams on 11 of Monk's more difficult pieces. The unique opportunity to hear this combination of musicians and the many inspired moments make the double CD a highly recommended acquisition for anyone interested in the music of Thelonious Monk.~Scott Yanow https://www.allmusic.com/album/interpretations-of-monk-vol-1-mw0000035894

Personnel: Piano – Barry Harris , Muhal Richard Abrams; Bass – Richard Davis ; Drums – Ben Riley, Ed Blackwell ; Soprano Saxophone – Steve Lacy; Tenor Saxophone – ; Trombone – Roswell Rudd; Trumpet – Don Cherry

Interpretations of Monk Disc.1

Album: Interpretations of Monk Disc 2

(0:17) 1. Announcement by Verna Gillis
(4:15) 2. Ruby, My Dear
(7:25) 3. Light Blue
(9:14) 4. Eronel
(8:14) 5. Bye-Ya
(5:35) 6. Pannonica
(6:46) 7. Off Minor
(10:34) 8. Epistrophy

Interpretations of Monk Disc 2

Thursday, December 15, 2022

Benny Carter - Princeton Concerts (And Beyond) [eight-album series]

"Benny Carter: The Princeton Concerts" is an eight-album series recorded at Carter’s request and until now, unissued. Although he received many distinguished awards (among the National Medal of the Arts, multiple Grammys, and the Kennedy Center Award), it was the doctorate bestowed by Princeton University in 1974 that he especially treasured. Invited and encouraged by Professor Morroe Berger, Carter not only grew close to the school as he led many classes and seminars, but also to the Berger family. Out of that relationship came the monumental biography and cultural history Benny Carter: A Life In American Music (written by Berger, his son Ed, and James Patrick) and the music presented here, recorded by Berger’s son, Ken.

Across these eight albums, Carter leads small groups and one all-star big band comprised of some of the greatest jazz musicians of all time. The intensity and interaction with a live audience always brought out the best in Carter and each concert has its own unique moments of inspired improvisation. He effortlessly reveals his mastery of the alto saxophone, the elegance of compositions, and his graciousness as a bandleader in giving generous space to his compatriots.

All, save two, were recorded at Princeton between 1972 and 1983. There is a brilliant 1978 evening captured in Buffalo that features one of the only recordings of the legendary pianist Al Tinney, whose role in the creation of bebop in the early 1940s has long been heralded by historians, but who went largely unrecorded during his long career. The collection set ends chronologically with music from the 90-year-old Carter, playing with astounding freshness and creativity, backed by pianist Chris Neville and bassist Steve LaSpina, who were in Carter’s last band.

Mrs. Hilma Carter has made a gift of this music to the National Jazz Museum in Harlem to support their mission of preserving, promoting, and presenting jazz. It is her wish that the music be made available free of charge, and the museum is placing it across the world’s most popular streaming services. In addition, visitors are always welcome (by appointment) to hear the music at the museum.

https://jmih.org/collections/benny-carter-the-princeton-concerts/

Benny Carter - Princeton Concerts (And Beyond) [Vol.1 April 19, 1973 Live at Princeton]

Styles: Jazz

Year: 2022
Time: 87:00
File: MP3 @ 320K/s
Size: 199,9 MB
Art: Front

(2:17) 1. Introduction (Live At Princeton, April, 1973)
(8:07) 2. A Night In Tunisia (Live At Princeton, 1973)
(8:28) 3. Undecided (Live At Princeton, April, 1973)
(8:36) 4. Robbins Nest (Live At Princeton, 1973)
(8:25) 5. The Shadow Of Your Smile (Live At Princeton, April, 1973)
(6:56) 6. Honeysuckle Rose (Live At Princeton, April, 1973)
(8:29) 7. In A Mellotone (Live At Princeton, April, 1973)
(6:53) 8. A Day In The Life Of A Fool (Live At Princeton, 1973)
(8:31) 9. All The Things You Are (Live At Princeton, 1973)
(9:25) 10. One Good Blues (Live At Princeton, 1973)
(4:41) 11. Sweet Georgia Brown (Live At Princeton, April,1973)
(6:07) 12. How High The Moon (Live At Princeton, 1973)

Princeton Concerts (And Beyond) [Vol.1 April 19, 1973 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 2 October 22, 1973 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 137:20
File: MP3 @ 320K/s
Size: 315,5 MB
Art: Front

(03:02) 1. Introduction (Live At Princeton, 1973)
(10:35) 2. Undecided (Live At Princeton, October 1973)
(11:28) 3. The Shadow Of Your Smile (Live At Princeton, October 1973)
(11:51) 4. Satin Doll (Live At Princeton, 1973)
(08:40) 5. When Lights Are Low (Live At Princeton, October 1973)
(02:53) 6. Nuages (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(02:43) 7. What Are You Doing The Rest Of Your Life (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(02:26) 8. I'm Coming Virginia (Live At Princeton, 1973) (Feat. Bucky Pizzarelli)
(06:08) 9. She's Funny That Way (Live At Princeton, 1973) (Feat. Grady Tate)
(05:22) 10. Body And Soul (Live At Princeton, 1973) (Feat. Grady Tate)
(10:41) 11. Blues Medley: Blues / Blue Monk / My Gal (Live At Princeton, 1973) (Feat. Clark Terry)
(14:09) 12. Take The "A" Train (Live At Princeton, 1973)
(10:20) 13. Perdido (Live At Princeton, 1973)
(07:47) 14. Evening Star (Live At Princeton, 1973)
(07:30) 15. Doozy (Live At Princeton, October 1973)
(03:54) 16. Mumbles (Live At Princeton, 1973) (Feat. Clark Terry)
(09:26) 17. In A Mellotone (Live At Princeton, October 1973)
(08:16) 18. Sweet Georgia Brown (Live At Princeton, October 1973)

Princeton Concerts (And Beyond) [Vol. 2 October 22, 1973 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 3 December 3, 1973 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 132:22
File: MP3 @ 320K/s
Size: 303,9 MB
Art: Front

(10:06) 1. Doozy (Live At Princeton, December 1973)
(03:11) 2. Introduction (Live At Princeton, 1973)
(03:50) 3. When Lights Are Low (Live At Princeton, December 1973)
(02:54) 4. You Are (Live At Princeton, 1973)
(06:11) 5. Souvenir (Live At Princeton, 1973)
(12:51) 6. Honeysuckle Rose (Live At Princeton, December 1973)
(18:19) 7. Blues For Beginners (Live At Princeton, 1973) (Feat. Hale Smith)
(13:14) 8. Coalition (Live At Princeton, 1973) (Feat. Ray Barretto)
(09:15) 9. I Can't Get Started (Live At Princeton, 1973)
(12:06) 10. Cotton Tail (Live At Princeton, 1973)
(04:14) 11. A Kiss From You (Live At Princeton, 1973)
(09:51) 12. A Walkin' Thing (Live At Princeton, 1973)
(04:18) 13. Sleep (Live At Princeton, 1973)
(12:40) 14. Ballad Medley: These Foolish Things/ A Day In The Life Of A Fool / St. Louis Blues / The Nearness Of You (Live At Princeton, 1973)
(09:17) 15. Juke Box (Live At Princeton, 1973)

Princeton Concerts (And Beyond) [Vol. 3 December 3, 1973 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 4 March 18, 1977 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 157:03
File: MP3 @ 320K/s
Size: 360,8 MB
Art: Front

(04:06) 1. Introduction (Live At Princeton, 1977)
(09:42) 2. Undecided (Live At Princeton, 1977)
(10:19) 3. Easy Money (Live At Princeton, 1977)
(08:01) 4. Here's That Rainy Day (Live At Princeton, 1977)
(10:49) 5. South Side Samba (Live At Princeton, 1977)
(10:41) 6. Green Wine (Live At Princeton, 1977)
(05:23) 7. A Child Is Born (Live At Princeton, 1977) (Feat. Joe Newman)
(09:48) 8. Yesterdays (Live At Princeton, 1977)
(09:27) 9. Satin Doll (Live At Princeton, 1977)
(06:52) 10. St.thomas (Live At Princeton, 1977)
(07:45) 11. Django Medley: Nuages / Tears (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(03:47) 12. Send In The Clowns (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(04:20) 13. Ballad Medley: I'll Be Around / I Concentrate On You (Live At Princeton, 1977) (Feat. Bucky Pizzarelli)
(07:07) 14. Evening Star (Live At Princeton, 1977)
(09:10) 15. On Green Dolphin Street (Live At Princeton, 1977)
(06:45) 16. Summertime (Live At Princeton, 1977) (Feat. Richard Davis)
(04:17) 17. When You're Smiling (Live At Princeton, 1977) (Feat. Joe Newman)
(10:59) 18. The Courtship (Live At Princeton, 1977)
(08:26) 19. Perdido (Live At Princeton, 1977)
(09:08) 20. In A Mellotone (Live At Princeton, 1977)

Princeton Concerts (And Beyond) [Vol. 4 March 18, 1977 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 5 October 12, 1979 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 94:59
File: MP3 @ 320K/s
Size: 218,2 MB
Art: Front

(08:19) 1. Ain't Misbehavin' (Live At Princeton, 1979)
(11:41) 2. Straight, No Chaser (Live At Princeton, 1979)
(07:07) 3. Gee, Baby, Ain't I Good To You (Live At Princeton, 1979)
(09:28) 4. Broadway (Live At Princeton, 1979)
(04:50) 5. This Is Always (Live At Princeton, 1979) (Feat. Joe Kennedy)
(00:42) 6. Introduction (Live At Princeton, 1979)
(11:38) 7. Perdido (Live At Princeton, 1979)
(11:32) 8. On Green Dolphin Street (Live At Princeton, 1979)
(08:51) 9. My Old Flame (Live At Princeton, 1979) (Feat. Stanley Jordan)
(03:25) 10. Now's The Time (Live At Princeton, 1979) (Feat. Stanley Jordan)
(10:20) 11. Caravan (Live At Princeton, 1979)
(07:00) 12. Blues (Live At Princeton, 1979)

Princeton Concerts (And Beyond) [Vol. 5 October 12, 1979 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 6 May 21, 1982 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 137:53
File: MP3 @ 320K/s
Size: 316,7 MB
Art: Front

(12:14) 1. Opening Remarks (Live At Princeton, 1982)
(01:23) 2. Introduction (Live At Princeton, 1982)
(09:41) 3. Easy Money (Live At Princeton, 1982)
(10:27) 4. Autumn Leaves (Live At Princeton, 1982)
(09:50) 5. The Courtship (Live At Princeton, 1982)
(08:10) 6. Love For Sale (Live At Princeton, 1982) (Feat. Derek Smith)
(10:30) 7. In A Mellotone (Live At Princeton, 1982)
(07:11) 8. Ain't Misbehavin' (Live At Princeton, 1982) (Feat. Harry "Sweets" Edison)
(06:16) 9. Basically The Blues (Live At Princeton, 1982) (Feat. George Duvivier)
(10:51) 10. Southside Samba (Live At Princeton, 1982)
(08:47) 11. Undecided (Live At Princeton, 1982)
(06:46) 12. Souvenir (Live At Princeton, 1982)
(01:33) 13. Introduction 2 (Live At Princeton, 1982)
(05:09) 14. Misty (Live At Princeton, 1982) (Feat. Stanley Jordan)
(12:08) 15. Perdido (Live At Princeton, 1982)
(09:44) 16. Cotton Tail (Live At Princeton, 1982)
(07:03) 17. Blues (Live At Princeton, 1982)

Princeton Concerts (And Beyond) [Vol. 6 May 21, 1982 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol 7. September 13, 1997 Live at Princeton]

Styles: Jazz
Year: 2022
Time: 55:05
File: MP3 @ 320K/s
Size: 126,6 MB
Art: Front

(2:01) 1. Introduction (Live At Princeton, 1997)
(6:28) 2. Just Friends (Live At Princeton, 1997)
(6:40) 3. My One And Only Love (Live At Princeton, 1997) (Feat. Steve Laspina)
(7:49) 4. Another Time, Another Place (Live At Princeton, 1997)
(9:58) 5. Lover Man (Live At Princeton, 1997)
(4:55) 6. You, Only You (Live At Princeton, 1997) (Feat. Chris Neville)
(8:00) 7. What Is This Thing Called Love (Live At Princeton, 1997)
(9:09) 8. Perdido (Live At Princeton, 1997)

Princeton Concerts (And Beyond) [Vol 7. September 13, 1997 Live at Princeton]

Benny Carter - Princeton Concerts (And Beyond) [Vol. 8 October 28, 1978 Live in Buffalo]

Styles: Jazz
Year: 2022
Time: 139:56
File: MP3 @ 320K/s
Size: 321,5 MB
Art: Front

(05:41) 1. There Will Never Be Another You (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:53) 2. In A Mellotone (Live In Buffalo, 1978) (Feat. Al Tinney)
(05:07) 3. What's New (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:43) 4. On Green Dolphin Street (Live In Buffalo 1978) (Feat. Al Tinney)
(06:07) 5. 12 Bar Blues (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:25) 6. Undecided (Live In Buffalo, 1978) (Feat. Al Tinney)
(04:56) 7. Take The "A" Train (Live In Buffalo, 1978) (Feat. Al Tinney)
(05:11) 8. When Lights Are Low (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(04:29) 9. A Walkin' Thing (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(10:25) 10. Blues For Beginners (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(05:15) 11. I Can't Get Started (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(07:59) 12. Honeysuckle Rose (Live In Buffalo, 1978) (Feat. University Of Buffalo Jazz Ensemble)
(09:06) 13. In A Mellotone, Pt. 2 (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:08) 14. On Green Dolphin Street, Pt. 2 (Live In Buffalo, 1978) (Feat. Al Tinney)
(09:17) 15. Lover Man (Live In Buffalo, 1978) (Feat. Al Tinney)
(09:05) 16. Perdido (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:50) 17. Body And Soul (Live In Buffalo, 1978) (Feat. Al Tinney)
(07:58) 18. Cherokee (Live In Buffalo, 1978) (Feat. Al Tinney)
(08:11) 19. All The Things You Are (Live In Buffalo, 1978) (Feat. Al Tinney)

Princeton Concerts (And Beyond) [Vol. 8 October 28, 1978 Live in Buffalo]

Saturday, December 10, 2022

Ronnell Bright - The Ronnell Bright Trio

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 34:11
Size: 79,2 MB
Art: Front

(3:47) 1. Sail 'Em
(4:18) 2. Things Ain't What They Used To Be
(4:30) 3. Johnny Pate's Blues
(4:49) 4. R & R Groove
(2:33) 5. The Champ
(4:27) 6. Easy Listening
(3:45) 7. Chasing Sarah
(5:59) 8. Doxology

A talented pianist who made an impact at a young age, Ronnel Bright has had compositions recorded by Sarah Vaughan, Cal Tjader, Horace Silver and Blue Mitchell, and collaborated with lyricist Johnny Mercer. He won a piano competition at nine and played with The Chicago Youth Piano Symphony Orchestra in 1944. Bright attended Juilliard and graduated in the early '50s, playing his first jazz dates with a navy band. He later worked in Chicago with bassist Johnny Tate and was Carmen McRae's accompanist in the mid-'50s. Bright moved to New York in 1955, then performed and recorded with Rolf Kuhn and formed his own trio in 1957. He played in Dizzy Gillespie's big band in 1957 and 1958, and was accompanist and conductor for Vaughan, Lena Horne and Gloria Lynne at various times during the late '50s and early '60s. He became Nancy Wilson's arranger, conductor, pianist and music director in 1964, moving to Los Angeles. There Bright became involved in studio work and joined Supersax in 1972. After leaving them in 1974, Bright taught high school for a year. ~ Ron Wynn https://itunes.apple.com/ca/album/the-ronnell-bright-trio/451895580

Personnel: Piano – Ronnell Bright; Bass – Richard Davis ; Drums – Art Morgan

The Ronnell Bright Trio

Thursday, December 8, 2022

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

Wednesday, September 28, 2022

Joe Henderson - The Complete Blue Note Studio Sessions (5-Disc Set)

Styles: Jazz
Year: 2021
Time: 79:01
File: MP3 @ 320K/s
Size: 180,9 MB
Art: Front

(15:18) 1. Una Mas (One More Time)
( 8:58) 2. Straight Ahead
( 7:20) 3. Sao Paulo
( 5:08) 4. If Ever I Would Leave You
( 8:01) 5. Blue Bossa
( 9:09) 6. La Mesha
( 4:14) 7. Homestretch
( 6:02) 8. Recorda Me
( 7:23) 9. Jinrikisha
( 7:24) 10. Out of the Night

If an artist stamps his jazz passport with any one of these labels Blue Note, Verve, Milestone it's pretty much a guarantee that you've arrived in style. Tenor saxophonist Joe Henderson has traveled with all three and more. The 2021 reissue from the prestigious Mosaic Records focuses on Henderson's 1960s tenure with Blue Note offers a new opportunity to experience an abundance of rich and creative jazz from the decade.

Big band and bop were duking it out in the late 1940s, bebop gained a foothold in the 1950s and the 1960s saw some amazingly creative artists emerge as they conjured up even more jazz hybrids (straight jazz, Avant-Garde, fusion and more). Henderson began to come of age during the very late 1950s, the tail end of one of the most dynamic and creative decades for jazz. He then moved confidently into the 1960s and beyond. He began to gain momentum in the 1960s (sitting in with saxophone master Dexter Gordon early on), learned from listening to other sax giants including Charlie Parker and Sonny Rollins and soon teamed up with numerous A-list artists including trumpeter Kenny Dorham, a Blue Note co-artist. The spotlight shifted a bit during the seventies and eighties for Henderson but he was amazingly prolific in the 1990s. Verve championed him during that decade with a high profile 'come back' campaign and sessions such as Lush Life (1982) contained everything from the supple and smoky "Isfahan" and "Blood Count" to the soaring and spontaneous "Johnny Come Lately." Touring took him to various venues and in a talk backstage after a mid-1990s concert, Mr. Henderson was dapper and smartly dressed, low key, quiet and reserved. He was a joy to talk to. But his constant companion, a lit cigarette, was absent, probably due to venue restriction (chain smoking eventually took him down in 2001.)

Mosaic collected nearly fifty cuts on five CDs and captured a world of spontaneous creativity. In addition, a modest yet informative booklet is included. A book's worth of praise could follow, so let's look at a few tracks from each compact disc: Everything gets underway with the title cut from trumpeter Kenny Dorham's Una Mas (1963) album in which Henderson joins as a featured sideman. At over fifteen minutes, the opening track is a celebration of the then contemporary sounds of Bossa Nova, with hints of other styles including the blues. He may be the second billed musician on the disc, but Henderson's sax is supple, lush and creatively enticing as a close bond was being forged between the two men. Everyone swings, and they are upbeat on "Straight Ahead," one of the other standout tracks from the Dorham-lead sessions. (full review => https://www.allaboutjazz.com/the-complete-joe-henderson-blue-note-studio-sessions-joe-henderson-mosaic-records)

Personnel: Joe Henderson: Saxophone; Kenny Dorham: Trranumpet; Herbie Hancock: Piano; Tony Williams: Drums; McCoy Tyner: Piano; Bob Cranshaw: Bass; Duke Pearson: Piano; Richard Davis: Bass, Acoustic; s: Drums; Tommy Flanagan: Piano; Ron Carter: Elvin Jones: Bass; Cedar Walton: Piano; Lee Morgan: Trumpet; Curtis Fuller: Trombone; Grant Green: Guitar; Bobby Hutcherson: Vibraphone; J.J. Johnson: Trombone; Al Harewood: Drums; Woody Shaw: Trumpet; Andrew Hill: Piano.

The Complete Blue Note Studio Sessions CD1

Styles: Jazz
Year: 2021
Time: 76:41
File: MP3 @ 320K/s
Size: 175,6 MB
Art: Front

( 8:17) 1. La Mesha (alternate take)
( 7:38) 2. Homestretch (alternate take)
( 8:33) 3. Teeter Totter
(10:05) 4. Pedro's Time
( 5:38) 5. Our Thing
( 6:20) 6. Back Road
( 8:06) 7. Escapade
( 7:11) 8. Teeter Totter (alternate take)
( 5:31) 9. Our Thing (alternate take)
( 9:18) 10. In 'N Out (alternate take)

The Complete Blue Note Studio Sessions CD2

Styles: Jazz
Year: 2021
Time: 76:45
File: MP3 @ 320K/s
Size: 175,7 MB
Art: Front

(10:25) 1. In 'N Out
( 9:09) 2. Punjab
( 6:17) 3. Serenity
( 7:11) 4. Short Story
( 6:25) 5. Brown's Town
(12:24) 6. Trompeta Toccata
( 5:46) 7. Night Watch
(11:05) 8. Mamacita
( 8:00) 9. The Fox

The Complete Blue Note Studio Sessions CD3

Styles: Jazz
Year: 2021
Time: 78:40
File: MP3 @ 320K/s
Size: 180,1 MB
Art: Front

(11:58) 1. Inner Urge
( 9:16) 2. Isotope
( 7:14) 3. El Barrio
( 7:21) 4. You Know I Care
( 7:24) 5. Night and Day
( 8:14) 6. Hobo Joe
( 8:30) 7. Step Lightly
( 6:07) 8. The Kicker
( 5:46) 9. Mo' Joe
( 6:45) 10. If

The Complete Blue Note Studio Sessions CD4

Styles: Jazz
Year: 2021
Time: 59:11
File: MP3 @ 320K/s
Size: 135,5 MB
Art: Front

(7:08) 1. A Shade of Jade
(8:03) 2. Mode for Joe
(6:53) 3. Black
(6:43) 4. Caribbean Fire Dance
(7:23) 5. Granted
(6:41) 6. Free Wheelin'
(9:28) 7. Mode for Joe (alternate take)
(6:49) 8. Black (alternate take)

The Complete Blue Note Studio Sessions CD5

Thursday, August 18, 2022

Lew Soloff - Speak Low

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 55:21
Size: 126,9 MB
Art: Front

(7:55) 1. Marilyn
(7:26) 2. Duty Blues
(7:45) 3. Speak Low
(9:14) 4. Raunchy Rita
(4:39) 5. Reincarnation of a Lovebird
(9:51) 6. But Beautiful
(8:28) 7. Stella by Starlight

In May of 1968, Lew Soloff got the call to replace Randy Brecker in a fledging jazz/rock band called Blood, Sweat and Tears. The band became a immediate hit, selling millions of albums and winning a Grammy Award for their initial release. Since then, he has become one of New York's "first call" trumpeters and has never lost his love for jazz, which is apparent in his 1987 album, Speak Low. ~ Editorial Reviews https://www.amazon.com/Speak-Low-Lew-Soloff/dp/B001CJJPJK

Personnel: Trumpet – Lew Soloff; Bass – Richard Davis; Drums – Elvin Jones; Piano – Kenny Kirkland

Slammin' & Jammin'

Sunday, September 6, 2020

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!!!

Sunday, July 19, 2020

Sonny Stitt - Stitt Plays Bird

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 44:39
Size: 104,5 MB
Art: Front

(3:16) 1. Now's the Time
(3:04) 2. My Little Suede Shoes
(4:18) 3. Parker's Mood
(3:15) 4. Constellation
(2:39) 5. Au Privave
(6:23) 6. Hootie Blues
(4:34) 7. Confirmation
(4:52) 8. Ko-Ko
(4:49) 9. Yardbird Suite
(3:46) 10. Scrapple from the Apple
(3:38) 11. Ornithology

Sonny Stitt forged his own approach to playing bebop out of the sound and style of Charlie Parker, so this tribute album was a very logical project. With fine support from guitarist Jim Hall, pianist John Lewis, bassist Richard Davis, and drummer Connie Kay, Stitt performs ten Parker compositions, plus Jay McShann's "Hootie Blues"; these renditions of "Now's the Time" and "Yardbird Suite" were previously unreleased. Stitt, who mastered bebop and could play hot licks in his sleep, is in top form on such numbers as "Constellation," "Confirmation," and "Ko-Ko," making this an essential item for straight-ahead jazz fans (although the prolific altoist would record eight other albums in 1963 alone). ~ Scott Yanow https://www.allmusic.com/album/stitt-plays-bird-mw0000195617

Personnel: Sonny Stitt – alto saxophone; John Lewis – piano; Jim Hall – guitar; Richard Davis – bass; Connie Kay – drums

Stitt Plays Bird

Saturday, May 16, 2020

Thad Jones, The Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live)

Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live) Disc 1

Styles: Jazz, Hard Bop

Year: 2016

File: MP3@320K/s

Time: 48:36

Size: 112,0 MB

Art: Front

(13:22) 1. Back Bone

( 4:22) 2. All My Yesterdays

( 5:51) 3. Big Dipper

( 4:49) 4. Mornin' Reverend

(14:25) 5. The Little Pixie

( 5:45) 6. Big Dipper

Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live) Disc 2

Time: 76:51

Size: 177,2 MB

( 4:38) 1. Low Down

( 5:25) 2. Lover Man (Oh Where Can You Be?)

(10:08) 3. Ah, That's Freedom

( 4:28) 4. Don't Ever Leave Me

( 6:15) 5. Willow Weep for Me

( 5:51) 6. Mean What You Say

(12:45) 7. Once Around

( 4:02) 8. Polka Dots & Moonbeams

( 5:49) 9. Mornin' Reverend

( 4:25) 10. All My Yesterdays

(12:59) 11. Back Bone

Offering: Live at Temple University (Resonance Records, 2014), Getz/Gilberto '76 (Resonance Records, 2016), Moments in Time (Resonance Records, 2016)...and these are just the most recent (not to forget several Wes Montgomery) releases. Resonance Records steps up (again) and releases what can only be considered the apotheosis of live jazz performance, All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard. Before even considering the music, there is the captured ambiance. Recorded by a then 19-year old amateur engineer, George Klaban, the period technology may be lacking by today's standards. Maybe even Klaban's amateur status could call things into question. However, the results provide the listener with a very intimate listening experience that only lacks the smell of just-lit Lucky Strikes and Cutty Sark on the rocks. Klaban's gig pack included a Crown Professional two Track stereo tape recorder, an Ampex four-input mixer and six mics (Neumann U67, Bayer and AKG professional mics and an Electro Voice 654 Dynamic, the last used for the bass). Klaban details that he placed one mic each for the reeds, trombones, and trumpets, the fourth for the bass, the fifth for the piano and the last for the leader, Thad Jones. The result of this alchemic paradigm is a presence, not in the audience, but up over the middle of the band looking (hearing) down (a physical impossibility given the compressed confines of the Village Vanguard).

Nonetheless, the sound and atmosphere is electrically charged and immediate. The sound is spacious enough to get up and walk around in, passing through all of the sections. It is musical arrangement as subatomic metaphor...each musical element interacting with and against one another to produce a compounded product of rare substance and beauty. It is immediately evident that there is something special taking place. Queue up the first performance of the Thad Jones composition and arrangement "Back Bone" and listen. Alto saxophonist Jerry Dodgion spits out an unaccompanied blues chorus of spurred on with shouts and encouragement from the band with Thad Jones himself anticipating the entry of the whole band with a grand, "Yeah!" This is unbridled joy in music making. Evidence of Bill Basie is all over the charts, in both the riffing and solos. Altoist Jerome Richardson introduces "Little Dipper" twice and pianist (and Thad Jones' brother) Hank Jones channel the spirit of the still living Count Basie. This is, simply, what live music is all about: invention, spontaneity, improvisation, and spring freshness. Hear from where all big band since has come. ~ C.Michael Bailey https://www.allaboutjazz.com/all-my-yesterdays-the-debut-1966-recordings-at-the-village-vanguard-thad-jones-resonance-records-review-by-c-michael-bailey.php

Personnel: Thad Jones – flugelhorn; Mel Lewis – drums; Hank Jones – piano; Richard Davis – bass; Sam Herman – guitar; Jerome Richardson – alto saxophone, soprano saxophone, clarinet, bass clarinet, flute; Jerry Dodgion – alto saxophone; Joe Farrell – tenor saxophone, clarinet, flute; Eddie Daniels – tenor saxophone, clarinet, bass clarinet; Pepper Adams – baritone saxophone; Snooky Young – trumpet; Jimmy Owens – trumpet; Bill Berry – trumpet; Jimmy Nottingham – trumpet; Bob Brookmeyer – trombone; Jack Rains – trombone; Garnett Brown – trombone; Cliff Heather – trombone

All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard(Live)Disc1,Disc2

Tuesday, November 12, 2019

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

Tuesday, November 5, 2019

Andrew Hill - Smoke Stack (Remastered)

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 60:52
Size: 140,4 MB
Art: Front

(5:00) 1. Smoke Stack
(5:07) 2. The Day After
(5:46) 3. Wailing Wall
(4:29) 4. Ode To Von
(6:24) 5. Not So
(5:48) 6. Verne
(7:06) 7. 30 Pier Avenue
(4:20) 8. Smoke Stack
(4:49) 9. The Day After
(5:28) 10. Ode To Von
(6:28) 11. Not So

Emerging at the beginning of the '60s, Andrew Hill was always difficult to pigeonhole. The pianist was too aligned with mainstream harmony to be considered avant garde, too complex a writer to be considered free, too abstruse a player to be considered mainstream. The people at Blue Note knew they had a gem when they signed him. What they didn't know was that it would be decades before his value was truly appreciated. But better late than never. Smoke Stack, the second of six Blue Note sessions recorded between November 1963 and February 1965, was the pianist's fourth release by the label. While Hill's other sessions from the time were equally challenging from a compositional perspective, Smoke Stack was the most inherently difficult to fathom. It eschewed the more traditional instrumentation of Black Fire (1963), Judgement! (1964) and Point of Departure (1965) in favor of a piano/two-bass/drums lineup that was likely too unorthodox, even for a label that wasn't particularly averse to the unconventional. Hill's partners on this recording are bassists Richard Davis and Eddie Khan, along with drummer Roy Haynes, who also played on Black Fire. Other sessions from 1963-65 would feature different drummers, but Davis remained a constant throughout the period. Always a thinking man's bassist, Davis is at his most dominant on Smoke Stack, where Khan and Haynes assume the role of rhythmic anchor. Unlike Ornette Coleman and John Coltrane, who had already used twin-bass lineups but typically buried them underneath one or more solo voice, Hill places Davis front and center alongside his own idiosyncratic playing. Even on the balladic "Verne," where Khan sits out, Haynes steadfastly maintains rhythmic consistency while Davis interacts more persistently with Hill. On "Wailing Wall," Haynes' prevalent cymbal work sets a precedent for drummers like Jon Christensen and Jack DeJohnette; Davis' out-front arco gives credence to the song's title. Even on the semi-swinging "Ode to Von," where the harmonies feel mainstream, Hill's playing always skews things just the slightest bit off-kilter. But the tandem playing with Davis ensures an even greater elasticity which sometimes feels as though it might actually fall apart completely if it weren't for the real rhythmic glue that Haynes provides to bind this quartet. Looking back on Hill's emergence, it's remarkable how much he varied the contexts in which he worked. Smoke Stack may have been more of a challenge to listeners at the time, but today it stands out as one of Hill's most satisfying efforts, if only because of his remarkable interplay with Davis. ~ John Kelman https://www.allaboutjazz.com/smoke-stack-andrew-hill-blue-note-records-review-by-john-kelman.php

Personnel: Andrew Hill: piano; Richard Davis: bass; Eddie Khan: bass; Roy Haynes: drums.

Smoke Stack

Monday, September 2, 2019

Joe Henderson - Relaxin' At Camarillo

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 45:06
Size: 103,7 MB
Art: Front

(11:40) 1. Y Todavia La Quiero
(10:01) 2. My One And Only Love
( 5:23) 3. Crimson Lake
( 8:37) 4. Yes, My Dear
( 9:23) 5. Relaxin' At Camarillo

Henderson had been doing quality work for years on numerous independent and foreign labels, and 1979's Relaxin' at Camarillo, is just one among many examples of that. There are five selections, only one less than eight minutes long, with the usual Henderson attributes: full, deep tone, keen ideas, and an ability to sweep through registers and across octaves with ease. Chick Corea made an excellent partner, playing with none of the self-consciousness that crops up repeatedly in his fusion and electric fare. Bassists and drummers were interchangeable, although you can certainly tell Tony Williams from Peter Erskine (and that's no knock on Erskine). ~ Ron Wynn https://www.allmusic.com/album/relaxin-at-camarillo-mw0000619558

Personnel: Joe Henderson – tenor saxophone; Chick Corea – piano; Richard Davis; Tony Dumas – bass; Peter Erskine, Tony Williams – drums

Relaxin' At Camarillo

Wednesday, July 17, 2019

Hank Jones - One More - The Music of Thad Jones

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:22
Size: 159,9 MB
Art: Front

(5:37) 1. Subtle Rebuttal
(4:54) 2. Thad's Pad
(6:40) 3. Kids Are Pretty People
(5:49) 4. One More
(7:05) 5. Mean What You Say
(8:02) 6. A Child Is Born
(5:12) 7. Bossa Nova Ova
(7:02) 8. The Waltz You Swang for Me
(5:37) 9. H & T Blues
(5:23) 10. Consummation
(5:27) 11. The Farewell
(2:31) 12. Monk's Mood

Great jazz things have been happening at IPO Recordings, and they have been for a while. One More: Music of Thad Jones is the sixth CD from Executive Producer Bill Sorin, and it continues the generous spirit of tribute that has informed each of its predecessors. Three of the six recordings so far have been among the final recordings of the late piano maestro, Sir Roland Hanna, with another Hanna album on the way later this year. Listeners familiar with the Thad Jones-Mel Lewis Band should know that Hanna held the piano chair in the band from its beginning in '66 through '74, and that he often performed Thad's compositions on his own recordings. Hanna is present posthumously on One More, in a recreation of one his classic unaccompanied introductions to "A Child Is Born, arguably Jones' most famous composition. One More indeed pays homage to Jones the composer with stellar performances of 11 of his tunes. The aggregation that performs Michael Patterson's distinctive arrangements is an octet made up of a Who's Who of straight-ahead blowing jazz. James Moody, Benny Golson and Frank Wess appear on tenor and other saxophones, with Wess tripling on flute; Bob Brookmeyer on trombone and Jimmy Owens on trumpet and fluegelhorn comprise the brass section. The superb rhythm section is anchored by Richard Davis on bass and Mickey Roker on drums. One might wonder if Hanna were still alive, he would be on piano. But here we have the redoubtable Hank Jones, Thad's brother, on piano. It is hard to ask for more. Ira Gitler points out in his liner notes, "What Patterson has done is write for this ensemble (and what an ensemble) without losing the spirit of the big band. That's the way Thad wrote, very translatable. With musicians who have no doubt known one another and played together often over many years, there is the feeling here of a reunion, a celebration not only of Thad Jones' talents as a composer but perhaps of the rare chance to play together again.

For a one-time project, the group is surprisingly tight and polished; everyone really seems to have come to play his best, together. Without slighting any of the other masters, one can't miss the contributions of Hank Jones on piano and Jimmy Owens on trumpet, which are consistently brilliant on this album, on virtually every cut. What an honor for jazz lovers to still have Hank in our midst; here and on his new Great Jazz Trio recordings of late he sounds better than ever. Perhaps Owens' highlight is his solo on "Consummation. Poetic justice: Thad Jones wrote the song for a concert performance by Owens in '69. One More concludes on a rather special note. The final track is an unaccompanied solo performance by Hank Jones of "Monk's Mood, the only tune on the album not by Thad. He is playing an arrangement that he learned, note-for-note, directly from the composer himself, Thelonious Monk, in the mid-'40s, which was a favorite of Thad's. IPO seems headed in a good direction. One More: Music of Thad Jones follows With Malice Toward None: The Music of Tom McIntosh, another great composer, which features some of the same musicians. Who knows? Maybe someday we will see a tribute to the compositional talents of Sir Roland Hanna, another match surely to be made in heaven. ~ Wayne Zade https://www.allaboutjazz.com/one-more-music-of-thad-jones-by-wayne-zade.php

Personnel: Benny Golson (tenor saxophone); James Moody (tenor and soprano saxophone); Frank Wess (tenor and alto saxophone, flute); Jimmy Owens (trumpet and fluegelhorn); Bob Brookmeyer (trombone); Hank Jones (piano); Richard Davis (bass); Mickey Roker (drums)

One More - The Music of Thad Jones

Monday, June 17, 2019

James Williams - I Remember Clifford

Styles: Piano Jazz
Year: 1990
Time: 44:35
Size: 41,0 MB
Art: Front

(9:01) 1. As I Live And Breathe
(6:29) 2. I Remember Clifford
(5:29) 3. Take The Coltrane
(7:47) 4. Simone
(4:32) 5. Focus
(5:34) 6. Shelly
(5:40) 7. Sweet And Lovely

Pianist James Williams channeled the gospel and R&B influences of his youth to forge a soulful, deeply expressive approach to contemporary jazz. A gifted soloist and accompanist, he was also a respected producer and educator. Born in Memphis on March 8, 1951, Williams began piano lessons at age 13. A fan of Ray Charles, Stevie Wonder, and Ramsey Lewis, he spent six years as the organist with Memphis' Eastern Star Baptist Church before studying music education at Memphis State University. After befriending fellow pianists Mulgrew Miller and Donald Brown, Williams turned his focus to jazz, drawing influence from Hank Jones, Ahmad Jamal, and local legend Phineas Newborn. At just 22 Williams joined the faculty of Boston's Berklee School of Music, additionally backing touring jazz dignitaries like Milt Jackson, Art Farmer, and Sonny Stitt in groups led by colleague Alan Dawson. During his five years at Berklee, the pianist also developed his compositional skills, and in 1977 issued his first LP as a leader, the Zim label release Flying Colors. Williams joined Art Blakey's Jazz Messengers the following year, completing a lineup that included a young Wynton Marsalis. This iteration of Blakey's long-running group cut no fewer than ten LPs over the next four years. Upon exiting the Jazz Messengers Williams settled in New York City, where he collaborated with Dizzy Gillespie, Freddie Hubbard, and Kenny Burrell in addition to leading his own projects, among them his vocal/instrumental combo Intensive Care Unit, a group featuring saxophonist Bill Pierce, bassist Christian McBride, and drummer Tony Reedus. In 1987 Williams reunited with Blakey and bassist Ray Brown in the Magical Trio. Later incarnations included drummers Elvin Jones and Jeff "Tain" Watts.

He also founded his own production firm, Finas Sound, and with Miller and Brown launched the Contemporary Piano Ensemble, a group dedicated to preserving and promoting the music of Phineas Newborn. In 1999 William Paterson University named Williams its director of jazz studies; he remained with the school until he was diagnosed with the liver cancer that claimed his life on July 20, 2004. ~ Jason Ankeny https://www.allmusic.com/artist/james-williams-mn0000059027/biography

Personnel: James Williams (piano); Ronnie Burrage (drums); Richard Davis (bass)

I Remember Clifford

Monday, April 8, 2019

Thad Jones, Mel Lewis Jazz Orchestra - Presenting Thad Jones, Mel Lewis & The Jazz Orchestra

Styles: Flugelhorn Jazz, Big Band
Year: 1966
File: MP3@320K/s
Time: 45:06
Size: 104,5 MB
Art: Front

( 5:29) 1. Once Around
( 5:37) 2. Willow Weep For Me
( 5:01) 3. Balanced Scales = Justice
( 5:48) 4. Three In One
( 5:32) 5. Mean What You Say
( 4:37) 6. Don't Ever Leave Me
(12:59) 7. ABC Blues

The debut recording of the Thad Jones/Mel Lewis Orchestra launched a mighty (if part-time) all-star big band. With arrangements by Jones, Bob Brookmeyer, and Tom McIntosh and such soloists as baritonist Pepper Adams, pianist Hank Jones, valve trombonist Brookmeyer, Jerome Richardson on various reeds, altoist Jerry Dodgion, and Joe Farrell and Eddie Daniels on tenors (in addition to flügelhornist Jones), it is not surprising that the orchestra was soon rated near the top. Among the seven selections are four Thad Jones originals (including "Mean What You Say"), "Willow Weep for Me," and Brookmeyer's lengthy "ABC Blues." ~ Scott Yanow https://www.allmusic.com/album/presenting-thad-jones-mel-lewis-the-jazz-orchestra-mw0000877905

Personnel: Thad Jones – flugelhorn; Mel Lewis – drums; Hank Jones – piano; Richard Davis – bass; Pepper Adams, Eddie Daniels, Joe Farrell, Jerry Dodgion, Jerome Richardson – saxophone; Jimmy Nottingham, Bill Berry, Danny Stiles , Richard Williams – trumpet; Jack Rains, Bob Brookmeyer – trombone, Tom McIntosh, Cliff Heather.

Presenting Thad Jones-Mel Lewis & The Jazz Orchestra

Friday, March 15, 2019

Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13) 1. Dedication
( 3:07) 2. It Only Happens Every Time
( 6:42) 3. Tiptoe
( 4:09) 4. A Child Is Born
( 3:37) 5. Us
( 7:57) 6. Ahunk Ahunk
(10:38) 7. Fingers
( 5:09) 8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel: Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

Thursday, February 28, 2019

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

Monday, November 12, 2018

Andrew Hill - Nefertiti

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 42:32
Size: 98,4 MB
Art: Front

(14:10) 1. Blue Black
( 5:29) 2. Relativity
( 8:08) 3. Nefertiti
( 3:47) 4. Hattie
( 7:33) 5. Mudflower
( 3:23) 6. Unnatural Man

Originally recorded for the Japanese East Wind label and only made available domestically on a 1979 Inner City LP, this trio outing by pianist Andrew Hill also features bassist Richard Davis and drummer Roger Blank. Hill performs six of his unpredictable originals ("Nefertiti" is his tune, not the more famous composition by Wayne Shorter) and, although the music seems slightly more conservative than usual for a Hill set, the music is consistently stimulating; too bad it's so difficult to locate. ~ Scott Yanow https://www.allmusic.com/album/nefertiti-mw0000311943

Personnel: Andrew Hill, piano; Richard Davis, bass; Roger Blank, drums.

Nefertiti

Sunday, November 4, 2018

Eric Dolphy - Iron Man

Styles: Clarinet, Flute And Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 40:27
Size: 93,0 MB
Art: Front

( 9:10) 1. Iron Man
( 4:45) 2. Mandrake
( 6:26) 3. Come Sunday
(11:54) 4. Burning Spear
( 8:10) 5. Ode to C. P.

The companion piece to Conversations (recorded at the same mid-1963 sessions with producer Alan Douglas), Iron Man is every bit as essential and strikes a more consistent ambience than its widely varied twin. It also more clearly anticipates the detailed, abstract sound paintings of Dolphy's masterwork Out to Lunch, in large part because this time around the program is weighted toward Dolphy originals. "Iron Man," "Burning Spear," and the shorter "Mandrake" all have pretty outside themes, full of Dolphy's trademark wide interval leaps and playful sense of dissonance. Yet there's enough structure and swing to make their roots in hard bop perfectly clear, and once the front-line horns blast out the themes, the ensemble shifts into a more cerebral, exploratory mode. In the absence of a piano, Bobby Hutcherson's vibes are a crucial anchor, outlining dissonant harmonies that hang in the air almost spectrally behind the rest of the group. Most of the same musicians from Conversations appear here, including trumpeter Woody Shaw, flutist Prince Lasha, altoist Sonny Simmons, and soprano sax player Clifford Jordan. And once again, Dolphy duets with bassist Richard Davis, twice this time -- on bass clarinet for Ellington's "Come Sunday" and on flute for Jaki Byard's "Ode to C.P." Both are lovely, meditative pieces filled with conversational exchanges between the two players, illustrating what similar wavelengths they were on. Between Conversations and Iron Man, split up the way they are, one has to give a slight edge to the latter for its more cohesive presentation, yet these are classic sessions in any form and constitute some of the most brilliant work of the early-'60s avant-garde. ~ Steve Huey https://www.allmusic.com/album/iron-man-mw0000651215

Personnel: Eric Dolphy – bass clarinet, flute, alto saxophone; Richard Davis – bass; Clifford Jordan – soprano saxophone; Sonny Simmons – alto saxophone; Prince Lasha – flute; Woody Shaw – trumpet; Bobby Hutcherson – vibraphone; J.C. Moses – drums; Eddie Khan – bass ("Iron Man")

Iron Man

Tuesday, October 23, 2018

Eric Dolphy - Muses

Styles: Clarinet, Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 37:22
Size: 86,1 MB
Art: Front

(12:07) 1. Alone Together
( 8:48) 2. Muses
( 8:27) 3. Iron Man
( 3:39) 4. Love Me
( 4:18) 5. Mandrake

Undelivered collection of waiting Douglas session. Anyway, attention is the duo with Richard Davis by bus clarinet , which is another take of the world first debut title drama "Muses" and "Alone Together" by world clarinet . (In addition, I imagined another take of "Iron Man" "Love Me" " Mandrake " and I imagined it actually, as you can imagine, the sound quality is not good). First of all, from "Alone Together" at the beginning. The basic composition is the same as this take, but Dollfie is an unexpected development that plays the theme melody quite clearly from the beginning, it is totally scary or loose, after all the original is not enemy. Expected "Muses" has a gloomy mood that is hard to say, and it is certain that it is one song different from the composition of Dolphy 's compositions. However, I still feel that it is incomplete. I guess that it was for that reason that it was not included in the original (and it will also float completely from other songs). However, I think that the significance of the existence of this performance became clear. If you lived long, you probably had become an ECM musician. I could not think of anything like that at all. https://translate.google.com.br/translate?hl=en&sl=ja&u=http://outwardbound.hatenablog.com/entry/2013/11/28/010918&prev=search

Personnel: Eric Dolphy - bass clarinet, alto saxophone, composer; Woody Shaw - trumpet; Bobby Hutcherson - vibraphone; Richard Davis - double bass; Eddie Khan - double bass.

Muses