Silky Denims: Sonny Clark

Showing posts with label Sonny Clark. Show all posts

Sunday, November 19, 2023

Grant Green - Born To Be Blue

Bitrate: MP3@320K/s
Time: 59:10
Size: 135.5 MB
Styles: Bop, Guitar jazz
Year: 1962/1989
Art: Front

[6:29] 1. Someday My Prince Will Come
[4:56] 2. Born To Be Blue
[4:41] 3. Born To Be Blue (Alternate Take)
[6:05] 4. If I Should Lose You
[8:04] 5. Back In Your Own Back Yard
[5:50] 6. My One And Only Love
[6:21] 7. Count Every Star
[7:57] 8. Cool Blues
[8:44] 9. Outer Space

Bass – Sam Jones; Drums – Louis Hayes; Guitar – Grant Green; Piano – Sonny Clark; Tenor Saxophone – Ike Quebec. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey. B3 recorded on December 23, 1961. All other titles recorded March 1st, 1962. Digitally remastered.

Although Grant Green provided his share of groove-oriented soul-jazz and modal post-bop, his roots were hard bop, and it is in a bop-oriented setting that the guitarist excels on Born to Be Blue. Most of the material on this five-star album was recorded at Rudy Van Gelder's New Jersey studio on December 11, 1961, when Green was joined by tenor titan Ike Quebec, pianist Sonny Clark, bassist Sam Jones, and drummer Louis Hayes. Tragically, Quebec was near the end of his life -- the distinctive saxman died of lung cancer at the age of 44 on January 16, 1963 -- but there is no evidence of Quebec's declining health on Born to Be Blue. He was playing as authoritatively as ever well into 1962, and the saxman is in fine form on hard-swinging interpretations of "Someday My Prince Will Come" and Al Jolson's "Back in Your Own Back Yard." It's interesting to hear Quebec playing bop, for his big, breathy tone was right out of swing and was greatly influenced by Coleman Hawkins and Ben Webster. Although Quebec and Green (who was 14 years younger) had very different musical backgrounds, they were always quite compatible musically. They clearly enjoyed a strong rapport on the uptempo selections as well as ballads like "My One and Only Love" and Mel Torme's "Born to Be Blue." Originally a vinyl LP, this album was reissued on CD in 1989, when Blue Note added an alternate take of the title song and a previously unreleased version of Charlie Parker's "Cool Blues." ~Alex Henderson

Born To Be Blue

Friday, July 16, 2021

Buddy DeFranco - Cooking The Blues & Sweet & Lovely

Album: Cooking The Blues & Sweet & Lovely Disc 1

Styles: Clarinet Jazz
Year: 2009
File: MP3@320K/s
Time: 37:26
Size: 86,7 MB
Art: Front

(5:36) 1. I can't get started
(6:57) 2. Cooking the blues
(6:06) 3. Stardust
(6:51) 4. How about you
(5:07) 5. Little girl blue
(6:47) 6. Indian summer

Album: Cooking The Blues & Sweet & Lovely Disc 2

Time: 41:27
Size: 96,1 MB

(9:02) 1. Getting a balance
(6:39) 2. Old black magic
(7:19) 3. They say it's wonderful
(4:35) 4. But beautiful
(4:54) 5. The nearness of you
(4:48) 6. What can I say dear [after I say I'm sorry?]
(4:07) 7. Moe

Buddy De Franco's two albums Cooking the Blues and Sweet & Lovely contain material from three different quintet sessions featuring the same personnel. In John A. Tynan's 1958 review for Down Beat magazine, he expressed the desire to have both of the aforementioned LPs compiled in their complete form on one sole edition. His wish has finally been granted 50 years later on this CD! Lonehill. 2009. https://www.amazon.ca/Cooking-Blues-Sweet-Buddy-Defranco/dp/B001O8C5SW

Personnel: Clarinet – Buddy DeFranco; Bass – Gene Wright; Drums – Bobby White; Guitar – Tal Farlow; Piano – Sonny Clark

Cooking The Blues & Sweet & Lovely

Monday, September 30, 2019

Sonny Criss - Go Man

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 39:47
Size: 92,4 MB
Art: Front

(4:04) 1. Summertime
(3:49) 2. Memories Of You
(2:45) 3. Whalin' With Joe
(3:01) 4. How Deep Is The Ocean
(2:33) 5. The Blues For Rose
(3:20) 6. The Man I Love
(4:03) 7. Until The Real Thing Comes Along
(2:38) 8. Blue Prelude
(3:42) 9. After You've Gone
(3:52) 10. Come Rain Or Come Shine
(3:10) 11. How High The Moon
(2:44) 12. If I Had You

By the mid-'50s, William "Sonny" Criss was maturing as a significant voice on the alto saxophone. Heavily influenced by Charlie Parker, much of Criss' earlier output was plagued by a hurried time feel, awkward phrasing and an uncomfortably tense vibrato. Go Man!, one of three dates he did for the Imperial label, showcases a confident, energetic Criss on ten standard tunes and two original lines. This hard-to-find collection is a must-have for fans of pianist Sonny Clark, heard in fine form (a bit more aggresive and "on top of the beat" than usual) along with the very coherent team of bassist Leroy Vinnegar and drummer Lawrence Marable. Only 24 years old at the time of recording, Clark had recently settled in California and was establishing himself as an inspired accompanist and soloist with the groups of Buddy DeFranco and Howard Rumsey. Clark's piano introduces nearly every cut on this recording, and his crisp, inventive soloing is a perfect compliment for Criss' brightly expressive, lightening quick lines. Overall, a lively assortment of concisely rendered, boppish treatments. ~ Lee Bloom https://www.allmusic.com/album/go-man%21-mw0000471629

Personnel: Saxophone [Alto] – Sonny Criss; Bass – Leroy Vinnegar; Drums – Lawrence Marable; Piano – Sonny Clark

Go Man

Tuesday, September 24, 2019

Ike Quebec - Ballads

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:43
Size: 122,0 MB
Art: Front

(7:24) 1. Nancy (With The Laughing Face)
(4:54) 2. Born To Be Blue
(6:30) 3. The Man I Love - Digitally Remastered
(5:54) 4. Lover Man
(5:21) 5. Willow Weep For Me
(6:04) 6. If I Could Be With You (One Hour Tonight)
(6:39) 7. Everything Happens To Me - Long Version
(5:10) 8. Imagination
(4:43) 9. There Is No Greater Love

Tenor saxophonist Ike Quebec always had a big, warm sound, and he was particularly expert on ballads. This 1997 sampler CD surprisingly does not have any examples of his early work on Blue Note in the mid- to late 1940s, instead concentrating on selections from four of Quebec's seven late-period Blue Note albums, a few songs originally issued as 45s, and "Born to Be Blue," which is taken from an album by guitarist Grant Green. The eight ballads are all standards and put the focus very much on Quebec, making for a fine mood album even if acquiring the full sessions (all but "It Might As Well Be Spring" are currently available on CD) is preferable. ~ Scott Yanow https://www.allmusic.com/album/ballads-mw0000024976

Personnel: Ike Quebec (tenor saxophone); Sonny Clark (piano); Freddie Roach, Sir Charles Thompson, Earl Vandyke (organ); Grant Green, Willie Jones (guitar); Milt Hinton, Sam Jones (bass); Art Blakey, Louis Hayes, Al Harewood, J.C. Heard, Wilbert Hogan (drums).

Ballads

Wednesday, September 11, 2019

Ike Quebec - Easy Living

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 56:54
Size: 131,2 MB
Art: Front

(9:01) 1. See See Rider
(6:51) 2. Congo Lament
(5:40) 3. Que's Pills
(6:15) 4. B.G.'s Groove Two
(9:48) 5. I.Q. Shuffle
(6:51) 6. I've Got A Crush On You
(7:24) 7. Nancy (With The Laughing Face)
(5:01) 8. Easy Living

Ike Quebec is one of those funny figures in Blue Note Records' history. By the late fifties, after he'd been out of recording for a number of years, he was too old to really be at the hard-bop vanguard (he was born in 1918) but not old enough to be a senior statesman like Coleman Hawkins or Duke Ellington. Much of his involvement with the record label in those years was as an A&R man, scouting for new talent for the label's owner Alfred Lion. Considered in the context of musical fashion it might be fair to say that, at the dawn of the 1960s, his own musical style was a little dated, even passé. But to hell with fashion; Quebec was a terrific musician and wonderful, big blue tenor saxophone (and occasionally piano) player. His chops might have been rooted in the swing of the late 1930s and '40s but, as the saying goes, good taste never goes out of style. Music Matters has re-mastered Quebec's last outing for Blue Note, Easy Living, on two 45RPM vinyl records. Recorded in 1961 but released posthumously in 1987, the date features classic Rudy Van Gelder recording sound, recaptured from the original master tapes on state of the art equipment. As with all of the Music Matters Blue Note reissues, the goal is to create an all analog record with the best possible sonics. The first disk adds Stanley Turrentine on a second tenor, and Bennie Green on trombone. These tracks are tight and well-written, with excellent solos from both Quebec and with a more 1960s modern playing style Turrentine. The opening "See See Rider" is a greasy slow chitlin circuit blues that sets the tone for the whole record. It's hard to go wrong with Mr. T on anything, and Sonny Clark's comping and occasional fills are shear perfection. But the real meat of the album is on the last three tunes. Turrentine and Green bow out, leaving Quebec in the sole spotlight.

His tone is warm, smooth and full, and his balladeering is second to none. "Nancy" possesses the kind of playing that never grows old: tender and emotive, but powerful too. It doesn't hurt that the recording captures the saxophone with exceptional realism, even if the overall recording retains that period Blue Note sound. The title track closes the date with more brilliant slow play, with Quebec showing his period roots. It's clear that he came from the school that began with Coleman Hawkins and later begat Lester Young and, especially, Ben Webster. That's a favorable comparison and Quebec plays as well as any of them. It's sad to note that within a year of recording Easy Living, both Quebec and Clark would be dead (Quebec from lung cancer and Clark from fast living). But the record is testament to the shear quality of their talent. Some recordings are timeless, and this is one of them. Easy Living is a record always worth hearing and appreciating. ~ Greg Simmons https://www.allaboutjazz.com/easy-living-ike-quebec-blue-note-records-review-by-greg-simmons.php

Personnel: Ike Quebec: tenor saxophone; Stanley Turrentine: tenor saxophone; Bennie Greene: trombone; Sonny Clark: piano; Milt Hinton: bass; Art Blakey: drums.

Easy Living

Tuesday, August 13, 2019

Lee Morgan - Candy

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 42:04
Size: 97,1 MB
Art: Front

(7:07) 1. Candy
(5:39) 2. Since I Fell For You
(5:06) 3. C.T.A.
(7:27) 4. All The Way
(5:01) 5. Who Do You Love, I Hope
(6:16) 6. Personality
(5:26) 7. All At Once You Love Her

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. Not merely a technical marvel, his tone on this album was sweet and his playing fluid, infused with joy and crisply articulated emotion. Morgan would later turn out to be an expert songwriter, but here songs like Buddy Johnson's "Since I Fell for You," and Jimmy Heath's "C.T.A." gave him ample space to show off his talents. ~ Stacia Proefrock https://www.allmusic.com/album/candy-mw0000649662

Personnel: Lee Morgan - trumpet; Sonny Clark - piano; Doug Watkins - bass; Art Taylor - drums

Candy

Wednesday, March 27, 2019

Sonny Clark - Blues Mambo

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 41:56
Size: 100,5 MB
Art: Front

(3:47) 1. Minor Meeting
(6:16) 2. Nica
(6:18) 3. Sonny's Crip
(5:08) 4. Blues Mambo
(4:24) 5. Blues Blue
(6:16) 6. Junka
(4:31) 7. My Conception
(5:15) 8. Sonja

Like Fats Navarro and Charlie Parker before him, Sonny Clark's life was short but it burned with musical intensity. Influenced deeply by Bud Powell, Clark nonetheless developed an intricate and hard-swinging harmonic sensibility that was full of nuance and detail. Regarded as the quintessential hard bop pianist, Clark never got his due before he passed away in 1963 at the age of 31, despite the fact that it can be argued that he never played a bad recording date either as a sideman or as a leader. Known mainly for seven records on the Blue Note label with a host of players including such luminaries as John Coltrane, Art Farmer, Donald Byrd, Jackie McLean, Hank Mobley, Art Taylor, Paul Chambers, Wilbur Ware, Philly Joe Jones, and others, Clark actually made his recording debut with Teddy Charles and Wardell Gray, but left soon after to join Buddy DeFranco. His work with the great clarinetist has been documented in full in a Mosaic set that is now sadly out of print. Clark also backed Dinah Washington, Serge Chaloff, and Sonny Criss before assuming his role as a leader in 1957. Clark's classic is regarded as Cool Struttin' but each date he led on Blue Note qualifies as a classic, including his final date, Sonny's Crib with John Coltrane. And though commercial success always eluded him, he was in demand as a sideman and played dozens of Alfred Lion-produced dates, including Tina Brooks' Minor Move. Luckily, Clark's contribution is well documented by Alfred Lion; he has achieved far more critical, musical, and popular acclaim than he ever did in life. ~ Thom Jurek https://www.allmusic.com/artist/sonny-clark-mn0000036934/biography

Personnel: Sonny Clark (Piano); Max Roach (Drums); George Duvivier (Double Bass)

Blues Mambo

Wednesday, March 6, 2019

Sonny Clark Trio - Blues In The Night

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 34:00
Size: 80,4 MB
Art: Front

(4:20) 1. Can`t We Be Friends
(4:41) 2. I Cover The Waterfront
(4:18) 3. Somebody Love Me
(3:32) 4. Dancing In The Dark
(7:15) 5. Blues In The Night (alt)
(5:59) 6. Blues In The Night
(3:54) 7. All Of You

The piano trio material included in this Japanese reissue, along with another session from late 1958 (see The Art of the Trio, aka "The 45 Sessions"), constitutes a body of work which was never released in LP format during Sonny Clark's tragically short life. Clark was an underrated master of the hard bop genre who had a very subtle, artful touch. On this date, he exhibits the influence of Ahmad Jamal and Red Garland (a lighter sound) and less of the Bud Powell-inspired, hard-driving bebop lines. This material was intended for jukebox release in 45 format. The arrangements are simple and concise; the tunes are all well-known standards. Sonny's conception is quite accessible relaxed tempos and blues-inflected improvisations. His chord voicings and harmonies are exquisite on "I Cover the Waterfront," "Somebody Loves Me," "Dancing in the Dark," and Cole Porter's "All of You." The recording in many ways presages the Three Sounds' approach to a tightly organized, commercially affable piano trio concept. This material is also included in Blue Note's 1998 domestic Sonny Clark release entitled Standards.

~ Lee Bloom https://www.allmusic.com/album/blues-in-the-night-mw0000536692

Personnel: Sonny Clark - piano; Paul Chambers - bass; Wes Landers - drums

Blues In The Night

Tuesday, June 19, 2018

Cal Tjader - Tjader Plays Tjazz

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Vibraphone jazz
Year: 1955/2006
Art: Front

[4:01] 1. Moten Swing
[2:32] 2. I've Never Been In Love Before
[5:05] 3. There Will Never Be Another You
[3:03] 4. How About You
[3:17] 5. Jeepers Creepers
[3:57] 6. A Minor Goof
[2:47] 7. My One And Only Love
[3:17] 8. Imagination
[2:57] 9. I'll Know
[3:29] 10. Brew's Blues

Bass – Al McKibbon; Drums – Bobby White, Cal Tjader; Guitar – Eddie Duran; Piano – Sonny Clark; Tenor Saxophone – Brew Moore; Trombone – Bob Collins; Vibraphone – Cal Tjader.

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. ~Scott Yanow

Tjader Plays Tjazz mc
Tjader Plays Tjazz zippy

Friday, May 25, 2018

John Jenkins - John Jenkins With Kenny Burrell

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 51:10
Size: 117,4 MB
Art: Front

(7:39) 1. From This Moment On
(6:17) 2. Motif
(6:12) 3. Everything I Have Is Yours
(7:49) 4. Sharon
(5:58) 5. Chalumeau
(4:44) 6. Blues For Two
(6:29) 7. Sharon (stereo tk)
(5:58) 8. Chalumeau (stereo tk)

The second (and best) of John Jenkins' two sessions as a leader features the altoist in a quintet with guitarist Kenny Burrell, pianist Sonny Clark, bassist Paul Chambers, and drummer Dannie Richmond. Sounding at times like Charlie Parker (with touches of Phil Woods and Jackie McLean), Jenkins easily keeps up with his better-known sidemen and plays the boppish music with plenty of creativity, emotion, and excitement. After listening to the high-quality set, one wonders why Jenkins did not make it.
~ Scott Yanow https://www.allmusic.com/album/john-jenkins-with-kenny-burrell-mw0000263941

Personnel: John Jenkins (alto saxophone); Kenny Burrell (guitar); Sonny Clark (piano); Paul Chambers (bass); Dannie Richmond (drums).

John Jenkins With Kenny Burrell

Sunday, April 22, 2018

Sonny Clark - Standards

Bitrate: MP3@320K/s
Time: 62:02
Size: 142.0 MB
Styles: Bop, Piano jazz
Year: 1959/1998
Art: Front

[5:57] 1. Blues In The Night (Short Version)
[4:15] 2. Can't We Be Friends
[4:13] 3. Somebody Loves Me
[3:56] 4. All Of You
[3:32] 5. Dancing In The Dark
[4:41] 6. I Cover The Waterfront
[7:11] 7. Blues In The Night (Alternate Take)
[4:01] 8. Gee Baby, Ain't I Good To You
[4:44] 9. Ain't No Use
[3:48] 10. I Can't Give You Anything But Love
[3:23] 11. Black Velvet
[4:28] 12. I'm Just A Lucky So And So
[3:55] 13. The Breeze And I
[3:48] 14. Gee Baby, Ain't I Good To You (Alternate Take)

The sessions that comprise the 14-track Standards were recorded by Sonny Clark at the end of 1958, with the intention that his interpretations would be issued as 45-rpm singles. His takes on these 12 standards (two of the tracks are alternate takes) are exceptional. Supported by drummer Wes Landers and, on varying dates, either Paul Chambers or Jymie Merritt on bass, Clark turns in lyrical, sensitive renditions of "Dancing In the Dark," "All of You," "I Cover the Waterfront," "I Can't Give You Anything But Love," "Black Velvet" and "I'm Just a Lucky So And So," among others. Although some of the performances are a little brief, limiting his opportunity to solo, Standards is a lovely collection of beautiful music that's a welcome addition to Clark's catalog. ~Stephen Thomas Erlewine

Standards mc
Standards zippy

Saturday, November 18, 2017

Jackie McLean - A Fickle Sonance

Bitrate: MP3@320K/s
Time: 35:03
Size: 80.2 MB
Styles: Bop, Saxophone jazz
Year: 1961/2000
Art: Front

[7:03] 1. Five Will Get You Ten
[5:51] 2. Subdued
[4:51] 3. Sundu
[6:46] 4. A Fickle Sonance
[5:44] 5. Enitnerrut
[4:44] 6. Lost

Alto saxophonist Jackie McLean was one of the few jazz players to come up through bebop and incorporate free jazz into his style. Even though A Fickle Sonance preceded McLean's intense 1962 album Let Freedom Ring, the playing remained in a swinging blues-oriented style, showing no hint of the direction his music was about to take. The sidemen on the date (Tommy Turrentine [trumpet], Sonny Clark [piano], and Butch Warren [bass]) prove to be an invigorating combination of musicians, however not as involved in the burgeoning free music as drummer Billy Higgins. At the time of these sessions, Higgins had already played with Ornette Coleman, providing a link to the avant-garde, but nevertheless his playing follows the hard bop pace of the others. McLean provides two original compositions, "Subdued" and the title track, while Clark, Turrentine, and Warren fill the remaining tracks. ~Al Campbell

A Fickle Sonance

Saturday, May 27, 2017

Dexter Gordon - Go!

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 37:47
Size: 86,7 MB
Art: Front

(6:33) 1. Cheese Cake
(5:23) 2. I Guess I'll Hang My Tears Out to Dry
(7:05) 3. Second Balcony Jump
(7:40) 4. Love for Sale
(5:21) 5. Where Are You
(5:42) 6. Three O'Clock in the Morning

From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go is going to be one of those albums where everything just seems to come together magically. A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines. Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance. Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all. ~ Stacia Proefrock http://www.allmusic.com/album/go%21-mw0000245374

Personnel: Dexter Gordon (tenor saxophone); Sonny Clark (piano); Butch Warren (bass); Billy Higgins (drums).

Go!

Tuesday, March 14, 2017

Sonny Clark - Oakland, 1955

Bitrate: MP3@320K/s
Time: 71:56
Size: 164.7 MB
Styles: Bop, Piano jazz
Year: 1955/1995
Art: Front

[7:10] 1. What's New
[6:25] 2. Willow Weep For Me
[6:45] 3. There Will Never Be Another You
[5:18] 4. D & E
[4:12] 5. All The Things You Are
[5:13] 6. But Not For Me
[5:12] 7. Bags' Groove
[5:47] 8. You Go To My Head
[7:47] 9. Between The Devil And The Deep Blue Sea
[8:46] 10. A Night In Tunisia
[6:06] 11. Ow!
[3:10] 12. Theme

Bass, Recorded By – Jerry Good; Drums – Al Randall; Piano – Sonny Clark. Recorded Jan. 13, 1955, Mocambo Club, Oakland, CA.

The first officially recorded date from an ensemble led by the brilliant jazz pianist Sonny Clark is an interesting prelude to his subsequent classic efforts for the Blue Note label. After leaving his home near Pittsburgh, moving to Los Angeles and finishing work as a sideman with Wardell Gray, Oscar Pettiford, and Buddy DeFranco, Clark lived in the Northern California Bay area of San Francisco, and led this obscure trio of bassist Jerry Good and drummer Al Randall. Recorded in performance at the Mocambo Club in Oakland in mid-January 1955, it is an historical document for fans of Clark who might want to hear the pianist at a time when he was happy -- not doing the drugs that destroyed his life and career -- and in a freewheeling mood playing standards. Clearly influenced by Bud Powell's virtuosity, Clark shows he has all of the chops, inventiveness, and speed to burn that made him one of the most impressive pianists of the hard bop era. The production values are thin, though, especially Randall's drumming, which hurts the overall quality of the sound, but Clark's piano still reigns supreme, and it takes him little time to warm up. As deft as his fleet lines are, the feeling of the music is relaxed in tempo and development. It is not until the third tune, "There Will Never Be Another You," that the trio brings the beat to a boil, and Clark shows off with flurries of arpeggios, but not staggeringly so. A take of the basic, happy blues of John Lewis' "D & E" lopes along, while "All the Things You Are" sports a slight calypso refrain. The rest of the program is distinguished by classic bop tunes, and Randall's scratchy snare drum. The loose snare is distracting, and sounds like a supplemental percussion instrument. The band does kick into another gear, using tight and frequent stop-start techniques on the melody of "Between the Devil & the Deep Blue Sea," while Clark unleashes his power during "But Not for Me" and Dizzy Gillespie's stretched-out "Night in Tunisia." There's a wow in the tape recording for the intro of "All the Things," some poor microphone placements on the drums causing the sonic imbalance, with Randall sounding tired or less inspired in the second half. Randall died a decade after these recordings, and Clark spent only eight more years playing brilliant jazz before losing his battle with drug addiction, while Good went on to a career in music as a player and accountant for the local musician's union. This LP, while definitely flawed, gives a clear indication of what the pianist had to offer when the moment was somewhat right. ~Michael G. Nastos

Oakland, 1955

Sunday, February 12, 2017

Sonny Clark Trio - S/T

Bitrate: MP3@320K/s
Time: 68:08
Size: 156.0 MB
Styles: Bop, Piano jazz
Year: 1960/2003
Art: Front

[3:44] 1. Minor Meeting
[6:12] 2. Nica
[6:14] 3. Sonny's Crib
[4:56] 4. Blues Mambo
[4:25] 5. Blues Blue
[6:07] 6. Junka
[4:36] 7. My Conception
[5:08] 8. Sonia
[6:51] 9. Nica
[7:33] 10. Blues Blue
[4:58] 11. Junka
[7:19] 12. Sonia

This lesser-known Sonny Clark session (his only studio album not made for Blue Note) is sometimes issued under drummer Max Roach's name, too. They are joined by bassist George Duvivier for a set of generally obscure Clark originals including "Minor Meeting," "Blues Mambo," and "My Conception" (which is taken as an unaccompanied piano solo). Although not obvious while listening to his recording, Clark's life was in decline and this would be his penultimate date as a leader. ~Scott Yanow

Sonny Clark Trio

Thursday, November 24, 2016

Curtis Fuller - Two Bones

Styles: Trombone Jazz

Year: 1958

File: MP3@320K/s

Time: 39:35

Size: 91,1 MB

Art: Front

(7:48) 1. Fuss Budget

(4:40) 2. Oatmeal Cookie

(7:33) 3. Da-Baby

(5:39) 4. Pajama Tops

(4:00) 5. Slide's Ride

(4:12) 6. Loquacious Lady

(5:40) 7. Mean Jean

One of the hippest Curtis Fuller albums for Blue Note and one of the rarest too a set that was recorded in 1958, but only ever issued on vinyl in this rare Japanese pressing from the 80s! The date's quite unique as it features "two bones", that is, two trombonists both Curtis Fuller and Slide Hampton, the latter of whom makes a rare Blue Note appearance with a hard, heavy, soulful groove. Rhythm is from the trio of Sonny Clark on piano, George Tucker on bass, and Al Harewood on drums and the quality of the record is all super-high another one of those Blue Note mysteries as to why the label never issued the set at the time. Titles include "Pajama Tops", "Fuss Budget", "Oatmeal Cookie", "Da-Baby", and "Loquacious Lady". (SHMCD pressing.) © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/700816

Personnel: Bass – George Tucker; Drums – Al Harewood; Piano – Sonny Clark; Trombone – Curtis Fuller, Slide Hampton

Two Bones

Tuesday, September 6, 2016

Sonny Criss - Plays Cole Porter

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 37:00
Size: 101,1 MB
Art: Front

(4:13) 1. I Love You
(3:12) 2. Anything Goes
(3:16) 3. Easy To Love
(3:10) 4. It's Alright With Me
(4:19) 5. In The Still Of The Night
(2:46) 6. Love For Sale
(4:43) 7. Night And Day
(2:48) 8. Just One Of Those Things
(5:43) 9. What Is This Thing Called Love
(2:46) 10. I Get A Kick Out Of You

Sonny Criss plays Cole Porter and the results are way greater than the sum of the parts even though those parts are already pretty darn great! Criss' alto sax has a superb tone at this time razor-sharp, and nicely crisp yet still filled with warmth that sets it apart from some of his more modern contemporaries a beautiful balance that really illuminates these tunes, and has you thinking of them as fresh Criss compositions, not older Porter standards. The instrumentation is quite fresh, too thanks to the addition of Larry Bunker on vibes, which is a really nice surprise and piano by Sonny Clark and Jimmy Bunn. The great Lawrence Marable plays drums and titles include "I Love You", "Easy To Love", "Night & Day", and "Love For Sale". (200 gram Quiex pressing.) © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/20372

Personnel: Alto Saxophone – Sonny Criss; Bass – Buddy Clark; Drums – Lawrence Marable; Piano – Sonny Clark; Vibraphone – Larry Bunker

Plays Cole Porter

Friday, August 19, 2016

Lou Donaldson - Lou Takes Off

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 38:20
Size: 88,2 MB
Art: Front

(10:05) 1. Sputnik
( 7:17) 2. Dewey Square
(14:34) 3. Strollin' In
( 6:22) 4. Groovin' High

A cadre of young musicians, each who would, in time, evolve into a master, is caught as they begin to shine early on for this fireball 1957 set. A thinly disguised take on Cole Porter's "What Is This Thing Called Love?" is the opening tune, altoist Lou Donaldson's "Sputnik." It launches matters at full throttle, with Donaldson unmistakably reflecting Charlie Parker's then still very fresh and vibrant influence. Joining the pulsating rhythms is a young Donald Byrd, whose ebullient trumpet intonation makes for a perfect complement to Donaldson's sweet bop heat. Adding more flavor is a strong rhythm section driven by the breathtaking marathon-paced drumming of Art Taylor.

A bop classic, Charlie Parker's own "Dewey Square," includes a showcasing solo from the too-soon-gone Sonny Clark, who was already displaying his rhythmically sophisticated and seriously playful piano. Easing in and out smoothly on the tune is Curtis Fuller, who was already demonstrating the JJ Johnson-influenced technique that, as composer and trombonist, has led to his playing with a galaxy ranging from Miles Davis and John Coltrane to Count Basie and many more. On another Donaldson piece, "Strollin' In," Fuller's sound is so varied and sweet it's as if he's just invented a new instrument. And Clark's piano is so mesmerizing one can only regret, again, that his life was so short. If Lou Takes Off is not an essential set, it is a fascinating one, if only historically. It's a welcome opportunity to savor a steaming, vivid and fascinating session when a band of young lions were clearly on the verge of greatness. ~ Andrew Velez https://www.allaboutjazz.com/lou-takes-off-lou-donaldson-blue-note-records-review-by-andrew-velez.php

Personnel: Lou Donaldson: alto saxophone; Donald Byrd: trumpet; Curtis Fuller: trombone; Sonny Clark: piano; Jamil Nasser: bass; Art Taylor: drums.

Lou Takes Off

Monday, April 4, 2016

Sonny Clark - Sonny's Crib

Bitrate: MP3@320K/s

Time: 69:32

Size: 159.2 MB

Styles: Hard bop, Piano jazz

Year: 1959/1998

Art: Front

[ 7:51] 1. With A Song In My Heart

[ 6:46] 2. Speak Low

[ 7:25] 3. Come Rain Or Come Shine

[13:27] 4. Sonny's Crib

[ 8:30] 5. News For Lulu

[ 8:43] 6. With A Song In My Heart

[ 6:53] 7. Speak Low

[ 9:53] 8. Sonny's Crib

Recorded in 1957, Sonny's Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin' session, nonetheless the set produced some awesome readings of classic tunes, like the opener, "With a Song in My Heart," with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd's that is stunning in its complexity -- though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill's "Speak Low" and "News for Lulu," the latter of which has been adopted by John Zorn as his theme. On the former, Clark's rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane's solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller's next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin' Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark's colors -- which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny's Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late '50s, and one that drew deft, imaginative performances from all its players. ~Thom Jurek

Sonny's Crib

Monday, February 8, 2016

Sonny Clark - My Conception

Bitrate: MP3@320K/s
Time: 60:51
Size: 139.3 MB
Styles: Bop, Piano jazz
Year: 1959/2003
Art: Front

[7:26] 1. Junka
[7:13] 2. Blues Blue
[6:43] 3. Minor Meeting
[6:57] 4. Royal Flush
[6:15] 5. Some Clark Bars
[4:41] 6. My Conception
[6:51] 7. Minor Meeting
[8:11] 8. Eastern Incident
[6:30] 9. Little Sonny

Sonny Clark's conception of modern jazz is not far removed from his peer group of the late '50s, in that advanced melodic and harmonic ideas override the basic precepts of swing and simplicity. What sets Clark apart from other jazz pianists lies in his conception of democracy to allow his bandmates to steam straight ahead on compositions he has written with them in mind. Though the bulk of this session features the marvelous trumpet/tenor tandem of Donald Byrd and Hank Mobley, it is drummer Art Blakey whose demonstrative presence is heard in full force. He's kicking the band in his own distinctive, inimitable way, rambling through the opener "Junka," based on the changes of "You Go to My Head" with his brand of bomb drops, hard accents, and indefatigable swing. Simply put, this is hard bop at its very best. Several of Clark's very best works are present and accounted for, including two takes of the definitive "Minor Meeting." The second version with Byrd and Mobley has a wonderfully subtle, Asian flavored ascending and descending melody, but the so-called initial recording includes guitarist Kenny Burrell, tenor saxophonist Clifford Jordan, and drummer Pete LaRoca, and sounds quite different. A calypso intro from the drummer yields a different palate, as Burrell in particular takes charge. "Eastern Incident" with the Burrell-Jordan tandem also takes a Far East tack, a completely relaxed line with Jordan smoother than Mobley. "Royal Flush" is also one of Clark's all-time keepers, a true beauty in Latin dress with slight harmonic inferences. This is for the most part a hard swinging date, the exceptions being the cute, sweet, basic shuffle "Blues Blue," a dramatic two-chord progression on "Some Clark Bars," and the third track featuring a Grant Green styled Burrell for the fleet "Little Sonny." Kudos to the great bassist Paul Chambers who plays on all of these cuts with Clark, and is unquestionably in his prime. Except the extraordinary Leapin' and Lopin, this album of contrasts, depth, and spirit showcases Clark's dual concepts brilliantly, and is only a half step below his best. ~Michael G. Nastos

My Conception