Tete Montoliu - That's All

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 37:07
Size: 85,7 MB
Art: Front

(5:11) 1. You Go to My Head
(2:34) 2. When I Fall in Love
(5:35) 3. Round About Midnight
(5:13) 4. A Child Is Born
(4:12) 5. Giant Steps
(5:22) 6. Imagination
(4:50) 7. That's All
(4:07) 8. Solar

The virtuosic Spanish pianist Tete Montoliu is usually heard from in trio settings, making this rare solo outing particularly special. Montoliu digs into eight familiar standards (including "You Go to My Head," "'Round Midnight," "A Child Is Born" and "Giant Steps") and to his credit comes up with fresh new variations. Montoliu's style has Bud Powell's bop approach as its foundation but also incorporates the more modern chord voicings of McCoy Tyner and Bill Evans. This album is a fine example of his talents. By Scott Yanow https://www.allmusic.com/album/thats-all-mw0000768958

Personnel: Tete Montoliu - Piano

That's All

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Tete Montoliu - Catalonian Fire

Styles: Piano Jazz 
Year: 1991
File: MP3@320K/s
Time: 57:25
Size: 132,0 MB
Art: Front

( 7:37)  1. Sweet Georgia Fame
( 7:35)  2. A nightingale sang in Berkeley Square
( 8:54)  3. Blues for Perla
(10:22)  4. Falling in love with love
( 8:08)  5. Old folks
( 4:52)  6. Au privave
( 9:52)  7. Body and soul

Tete Montoliu spent most of his career recording for various European-based record labels, with some of his best work appearing on Steeplechase, such as this trio session with bassist Niels Pedersen and drummer Tootie Heath. Montoliu chose his rhythm section well, because both of these musicians respond well to an aggressive pianist like their leader, providing both strong support and lively interplay. The program is dominated by standards, including a rather abstract take of "A Nightingale Sang in Berkeley Square" and an extended workout of "Falling in Love With Love" with a Latin rhythm. "Old Folks" starts with an unusual solo introduction that is both eerie and playful; Pedersen's countermelody is sparse and effective. Montoliu's sole original, "Blues for Perla," also stands out. The date concludes with a freewheeling exploration of Charlie Parker's "Au Privave," with the leader occasionally leaning toward an avant-garde sound in places. Recommended. ~ Ken Dryden https://www.allmusic.com/album/catalonian-fire-mw0000233581

Personnel: Piano – Tete Montoliu; Bass – Niels-Henning Ørsted Pedersen; Drums – Albert Heath

Catalonian Fire

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Tete Montoliu - Tete Montoliu Interpreta a Serrat

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 54:20
Size: 126,0 MB
Art: Front

(2:12)  1. Con ho fa el Vent
(8:31)  2. Medley Marta: Marta, Una Guitarra, Cançó de Matinada, Me'n Vaig a Peu
(3:14)  3. Paraules d'amor
(4:36)  4. Els Vells Amants
(5:00)  5. Saps
(4:40)  6. Sota un Cirerer Florit
(3:51)  7. Quasi una Dona
(2:45)  8. Camí Avall
(2:56)  9. Manuel
(5:35) 10. El Meu Carrer
(2:28) 11. De Mica en Mica
(5:26) 12. No Hago Otra Cosa que Pensar en Tí
(3:00) 13. Conillet de Vellut

An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note. ~ Scott Yanow https://www.allmusic.com/artist/tete-montoliu-mn0000024907/biography

Tete Montoliu Interpreta a Serrat

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Tete Montoliu - Piano-Bolero

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 45:16
Size: 104,4 MB
Art: Front

(7:13)  1. Popurrí: Frenesi, Contigo en la Distancia, María Elena
(7:55)  2. Popurri: Quizas Quizas Quizas, Tu Mi Delirio, Adios
(7:44)  3. Popurri: Tres Palabras, Amor Mío, Siempre en Mi Corazon
(6:12)  4. Popurri: Noche de Ronda, Solamente una Vez, Vereda Tropical
(8:20)  5. Popurri: Perfidia, No Me Platiques, Besame Mucho
(7:49)  6. Popurri: Amor Amor Amor, La Puerta, María de la O

An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note. ~ Scott Yanow https://www.allmusic.com/artist/tete-montoliu-mn0000024907/biography

Personnel: Piano – Tete Montoliu; Bass – Albert Moraleda; Drums – Miguel Angel Lizandra; Percussion [Tumbas] – Pedro Díaz

Piano-Bolero

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Ben Webster, Don Byas - Ben Webster Meets Don Byas

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 36:55
Size: 85,0 MB
Art: Front

(7:04)  1. Blues for Dottie Mae
(5:46)  2. Lullaby to Dottie Mae
(6:08)  3. Sunday
(5:47)  4. Perdido
(3:00)  5. When Ash Meets Henry
(9:07)  6. Caravan

This early-'70s meeting between two giants of the tenor sax (both of whom by this time were living in Europe on a permanent basis) is full of memorable moments. The styles of Ben Webster and Don Byas provide a distinct contrast (though Byas was also a swing-influenced saxophonist, he was heavily into bop as well), yet they mesh very well together. On their opening improvised "Blues for Dottie Mae," Webster's big toned swing tends to dominate, though Byas' boppish lines dart around at lightning speeds; Tete Montoliu's bluesy piano provides the perfect support. The roles are evened out a bit more on a swinging take of "Sunday." The evenly matched tenor battle continues with a rousing "Perdido" and very swinging "Caravan." Bassist Peter Trunk introduces Byas' "Lullaby to Dottie Mae," an easygoing reworking of the timeless ballad "Body and Soul," which features a rapid-fire solo by Byas. Webster's turn in the solo spotlight is his own ballad "When Ash Meets Henry," in which he is accompanied only by Trunk's well chosen basslines. Also present on the date is drummer Albert "Tootie" Heath. Sadly, this LP was a bit of a swan song for both tenor saxophonists; Byas died in the year prior to its 1973 release, while Webster died the following year, though he taped at least one more album following this one. ~ Ken Dryden https://www.allmusic.com/album/ben-meets-don-byas-mw0000188808

Personnel:  Tenor Saxophone – Ben Webster, Don Byas; Bass – Peter Trunk; Drums – Albert Heath; Piano – Tete Montoliu

Ben Webster Meets Don Byas

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Ben Webster - Gentle Ben

Bitrate: MP3@320K/s
Time: 55:49
Size: 127.8 MB
Styles: Saxophone jazz
Year: 1972/2013
Art: Front

[9:01] 1. Ben's Blues
[5:35] 2. Strike Up The Band The Man I Love
[5:23] 3. My Nephew Bent
[8:03] 4. Rosalie How Long Has This Been Going On
[6:28] 5. Sweet Georgia Brown
[8:00] 6. Don't Blame Me
[8:38] 7. Did You Call
[4:37] 8. Barcelona Shout

Bass – Eric Peter; Drums – Peer Wyboris; Piano – Tete Montoliu; Saxophone [Tenor] – Ben Webster.

This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with one another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.

Gentle Ben mc
Gentle Ben zippy

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Kenny Dorham & Barry Harris Quartet - New York 1964

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 50:59
Size: 117,1 MB
Art: Front

(3:18)  1. Introduction
(6:55)  2. Confirmation
(6:02)  3. Ma, He's Making Eyes at Me
(7:40)  4. 'Round Midnight
(4:18)  5. The Theme
(4:07)  6. Tin Tin Deo
(8:53)  7. Scandia Skies
(9:44)  8. Manhã de Carnaval

Kenny Dorham spent his career being famous for not being famous, a perennially underrated trumpeter who was overshadowed by Dizzy Gillespie, Fats Navarro, Clifford Brown, Miles Davis and Lee Morgan. Always an excellent bop and hard bop player, Dorham is heard on New York 1964 in solid form. The first five selections were recorded in a trio with pianist Barry Harris in 1964. The music was previously out on an obscure Raretone LP. The last two numbers are from 1963, they match Dorham with pianist Tete Montoliu and were formerly released on a pair of Steeplechase albums, the lone quartet performances from two quintet sessions. The recording quality in all cases is decent and listenable, but far from impeccable. Dorham sounds fine during what would be the last part of a fairly brief career, although nothing all that essential occurs during these boppish performances. ~ Scott Yanow https://www.allmusic.com/album/new-york-1964-mw0001047346

Personnel: Kenny Dorham (tp), Barry Harris (p), Julian Ewell (b) Albert 'Tootie' Heath (d) / Kenny Dorham (tp), Tete Montoliu (p), NH Ørsted Pedersen (b) Alex Riel (d)

New York 1964

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Tete Montoliu, Niels-Henning Ørsted Pedersen - Face To Face

Styles: Piano Jazz 
Year: 1982
File: MP3@320K/s
Time: 40:31
Size: 93,1 MB
Art: Front

(10:34)  1. There'll Never Be Another You
( 9:20)  2. I Love You
(11:02)  3. I Fall In Love Too Easily
( 9:34)  4. Lover Man / Salt Peanuts

A legendary meeting of two of the greatest European jazz talents. Though they have been playing together since the early 60s, this is their first and (so far) only duo recording.

Personnel:  Tete Montoliu – piano;  Niels-Henning Ørsted Pedersen – bass

Face To Face

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Tete Montoliu Trio - Tootie's Tempo

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 51:32
Size: 119,0 MB
Art: Front

(9:49)  1. Invitation
(5:42)  2. Lover Man
(5:45)  3. Some Other Blues
(9:31)  4. Time For Love
(8:00)  5. Lament
(5:31)  6. Tootie's Tempo
(7:11)  7. Darn That Dream

Tete Montoliu's sixth release for Steeplechase is a very rewarding studio date, with the blind pianist being accompanied by bassist Niels Pedersen and drummer Albert "Tootie" Heath. Fans of hard bop will enjoy the extended opener, "Invitation," which gives each of the musicians an opportunity to solo. The fireworks continue with a lively interpretation of "Lover Man," which starts with Montoliu's virtuoso solo introduction. John Coltrane's "Some Other Blues" is also fertile ground for the trio's improvisations, as is J. J. Johnson's pretty ballad "Lament." The pianist turns on the afterburners as he launches his furious original "Tootie's Tempo." The closer is a rich arrangement of "Darn That Dream." This CD is highly recommended, as are all of Tete Montoliu's recordings for Steeplechase. ~ Ken Dryden https://www.allmusic.com/album/tooties-tempo-mw0000768959

Personnel:  Tete Montoliu – piano;  Niels-Henning Ørsted Pedersen - bass;  Albert Heath - drums.

Tootie's Tempo

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Duško Gojković - Ten To Two Blues

Bitrate: MP3@320K/s
Time: 41:51
Size: 95.8 MB
Styles: Bop
Year: 1971/2009
Art: Front

[7:00] 1. Ten To Two Blues
[5:14] 2. I Remember O.P
[8:33] 3. Old Fishernan's Daughter
[9:05] 4. I Love You
[3:37] 5. The Child Is Born
[8:19] 6. Blues To Line

Pianist Tete Montoliu recorded two fine albums under trumpeter Duško Gojković’s leadership in November 1971 in Barcelona, Spain. In quintet formation, with the Spanish pianist regular rhythm backing of German bassist Robert Langereis and drummer Joe Nay, they did It’s About Blues Time (Ensayo, reissued on CD by Fresh Sounds) and a day later in quartet they did Ten To Two Blues (Ensayo, reissued as After Hours on Enja). The rhythm section on both is the same and both albums are recommended. Gojković is in excellent form on the hard bop-oriented Ten To Two Blues (a.k.a. After Hours) which conjures up images of smoky nightclubs, reflections in rain puddles under dark skies, or perhaps just the quieter music... This album is a little too busy and blustery to live up to those preconceptions, but it is nevertheless an excellent example of that all-too-rare commodity, the trumpet quartet. With no saxophone to trade solos with, the trumpet must bear the burden of carrying the tune and sustaining interest while sharing the spotlight with the supporting trio. With influences extending from Serbia to Dixieland, from bebop to blues, Gojković contributes three songs and adds three standards to this mostly uptempo collection. With the pianist playing up to his usual level and fine support contributed by Langereis and Nay, Gojković takes stimulating solos with his poignant, soft tone on two standards (Thad Jones’ “A Child Is Born” and Cole Porter’s “I Love You”), Slide Hampton’s “Last Minute Blues,” and three basic originals. There is muted artistry of Gojković on “Old Fisherman’s Daughter” and a nostalgic opening solo on the title tune. Montoliu probably deserves a double-billing here: he is outstanding throughout, particularly on the ballad “Remember Those Days” and a boppish take of “I Love You.” Gojković never dominates the proceedings, and steps aside for long stretches on “Last Minute Blues.” One drawback here is the musty, prehistoric engineering: Langereis and Nay give great performances but are not heard to their best advantage, with Langereis especially sounding like he is in the next room. If the wide range of influences and the less-than-ideal (but typical for the time) recording are not a hindrance, listeners should enjoy this album. One mystery surrounding Ten To Two Blues regards its original release date. The recording date is given as November 1971, so one can assume it was first released not too long after. It has appeared on many labels in many different countries throughout the years, sometimes with different track listings. The LP/CD release on Enja After Hours has also two tracks re-titled: “I Remember O.P.” is re-titled to “Remember Those Days,” while “Blues To Line” is re-titled to “Last Minute Blues.” No matter the title, this album is recommended to straight-ahead jazz fans, while the Enja CD reissue seems to be the easiest to find. ~Slobodan Mihajlović

Ten To Two Blues mc
Ten To Two Blues zippy

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Tete Montoliu - Solo Piano

Styles: Piano Jazz

Year: 1995

File: MP3@256K/s

Time: 68:12

Size: 125,4 MB

Art: Front

(5:49)  1. Yellow Dolphin Street

(6:39)  2. Come sunday

(4:31)  3. I hate you

(6:20)  4. You've changed

(3:52)  5. Waltz for Nicolien

(4:07)  6. Where are you?

(3:56)  7. Napoleon

(5:20)  8. If you could see me now

(5:02)  9. Cigales al vent

(4:39) 10. Canço de Matinada

(5:20) 11. Manuel

(4:17) 12. M'en vaig a peu

(3:54) 13. Una guitarra

(4:20) 14. Ruço

This 1995 Timeless release assembles together on CD two of the Catalonian pianist's finest recordings: 1977's Yellow Dolphin Street and Catalonian Folksongs, recorded just ten months apart. The contrast in Tete Montoliu's styles is very evident. Yellow Dolphin Street is an album of originals and standards that encompass the wide range of Montoliu's playing from the heart of the tradition. Here are readings of Jimmy McHugh's "Where Are You," Duke Ellington's "Come Sunday," and Tadd Dameron's "If You Could See Me Now." These stand in sharp contrast with Montoliu's own knotty, percussively savvy tunes such as "Yellow Dolphin Street" and the hilariously titled "I Hate You." Catalonian Folksongs features only one original composition, the elegantly uncharacteristic "Cigales Al Ven," with its wide-open midrange and striated thirds, along with four by the gloriously anthemic Joan Manuel Serrat and the album's closer, "Ruço" by Lluys Maria Millet. Of the two recordings, the latter is the one that will endure, hopefully forever, with its lush pronouncements, proud strides, and odd-timed rhythmic structures. The lyric side of these tunes is a cross between café music, work songs, and pastoral countryside singalongs. Beautiful stuff. ~ Thom Hurek http://www.allmusic.com/album/solo-piano-mw0000765921

Personnel:  Tete Montoliu – Solo Piano.

Super Solos

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Tete Montoliu Trio - Hot House Disc 1 And Disc 2

Styles: Piano Jazz
Year: 1974
File: MP3@224K/s
Time: 57:25 + 48:11
Size: 93,2 MB + 78,2 MB
Art: Front

( 7:37)  1. Sweet Georgia Fame
( 7:35)  2. A Nightingale Sang in Berkeley Square
( 8:54)  3. Blues for Perla
(10:22)  4. Falling in Love With Love
( 8:08)  5. Old Folks
( 4:52)  6. Au Privave
( 9:52)  7. Body and Soul

( 6:26)  1. Giant Steps
( 7:11)  2. Theme for Ernie
(12:19)  3. Body and Soul [#]
( 6:55)  4. Solar
( 8:22)  5. I Remember Clifford
( 6:56)  6. Hot Housse

Tete Montoliu (1933-1997) was an outstanding veteran pianist from Spain. Born blind, he learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Some of Tete Montoliu's most important recordings were done for the Danish SteepleChase label, but he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note.

Personnel:  Tete Montoliu  (piano);  Niels-Henning Orsted Pedersen (bass);  Albert Tootie Heath (drums)

Hot House Disc 1 And Disc 2

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Buddy Tate Quartet & Quintet - Tate A Tete

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 65:10
Size: 149,7 MB
Art: Front

( 7:19)  1. Stompin' At The Savoy
( 9:01)  2. Body And Soul
( 9:35)  3. Buddy's Blues
( 9:18)  4. Broadway
( 8:52)  5. Just You Just Me
(17:34)  6. In A Mellow Tone
( 3:28)  7. I Surrender Dear

Tenor-saxophonist Buddy Tate meets up with pianist Tete Montoliu on this enjoyable blowing date. Other than "Buddy's Blues" (which has a Tate vocal), all of the songs are swing standards with "In A Mellow Tone" clocking in at 17 1/2 minutes. Violinist Finn Ziegler makes worthwhile guest appearances on two of the five selections and the group is completed by bassist Bo Stief and drummer Svend Erik Norregard. Easily recommended for swing fans, this album finds Buddy Tate still very much in prime form. ~ Scott Yanow http://www.allmusic.com/album/tate-a-tete-at-la-fontaine-copenhagen-mw0000668822

Personnel:  Bass – Bo Stief;  Drums – Svend-Erik Nørregaard;  Piano – Tete Montoliu;  Tenor Saxophone – Buddy Tate;  Violin – Finn Ziegler; Vocals – Buddy Tate

Tate A Tete

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Tete Montoliu Trio - Catalonian Rhapsody

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 52:40
Size: 121,2 MB
Art: Front

(7:02)  1. The Lady From Aragon (La Dama d'Arago)
(7:44)  2. Catalonian National Anthem (Els Segadors)
(6:36)  3. Three Young Ladies (Hiru Damatxu)
(6:56)  4. The Singing of the Birds (El Cant dels Ocells)
(6:28)  5. Song of the Robber (La Canco del Lladre)
(4:51)  6. Words of Love (Paraules d'Amor)
(4:50)  7. Don't Smoke Anymore (Ja no Fumo)
(8:10)  8. My Street (El meu Carrer)

This wonderful studio date by the talented Catalonian blind pianist Tete Montoliu (1933-1997) was recorded in his native Barcelona in March of 1992, but until now it had been only available on a long out of print CD issued in Japan by the Alfa Jazz label shortly after being recorded. The renowned Venus label presents it back again for everyone to enjoy. Tete is backed by New Orleans drummer Idris Muhammad, and Netherlands born bassist Hein Van de Geyn, and the program features a selection of Catalan traditional songs, plus two versions of songs by the remarkable Joan Manuel Serrat (“Words of Love”, which Tete recorded on several other occasions, and the more seldom heard “My Street”), and one Montoliu original, "I Don't Smoke Anymore".

Personnel:  Tete Montoliu (piano);  Hein Van de Geyn (bass);  Idris Muhammad (drums)

Catalonian Rhapsody

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Tete Montoliu Trio - The Man From Barcelona

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 62:46
Size: 144,3 MB
Art: Front

(4:00)  1. Concierto de Aranjuez
(7:14)  2. Stella By Starlight
(6:31)  3. Easy Living
(5:55)  4. Autumn Leaves
(5:05)  5. For You My Love
(4:58)  6. Tune Up
(7:24)  7. I Fall In Love Too Easily
(5:44)  8. Django
(5:48)  9. When Lights Are Low
(4:08) 10. Please I Like to Be Gentle
(5:53) 11. A Night In Tunisia

The blind Catalonian pianist Tete Montoliu is in top form throughout this 1990 trio date with bassist George Mraz and drummer Lewis Nash, though the label evidently didn't get around to releasing it until a few years after his death. The session draws from standards and timeless jazz compositions, all played with Montoliu's inventive touch. He throws quite a few twists into his complex setting of "Stella by Starlight," shows off his chops in an intense workout of "Autumn Leaves," and pulls out all stops with the furious rendition of "A Night in Tunisia." 

The pianist's lyrical side is showcased in ballads like "Easy Living" and "I Fall in Love Too Easily." Montoliu returns to a bit of flashy playing in his original blues composition "Please I Like to Be Gentle." Mraz has numerous solos, all of which are up to his standard, while Nash provides terrific support throughout the recording. Highly recommended! ~ Ken Dryden  http://www.allmusic.com/album/the-man-from-barcelona-mw0000086055

Personnel:  Tete Montoliu – piano;  George Mraz – bass;  Lewis Nash - drums

The Man From Barcelona

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Tete Montoliu - Blues for Myself

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 40:36
Size: 93,1 MB
Art: Front

(5:14)  1. Blues For Corien
(7:35)  2. You've Changed
(6:11)  3. It Could Happen To You
(6:14)  4. Blues For Myself
(5:16)  5. Jimmy's Tempo
(6:01)  6. Blues For Llorach
(4:00)  7. Blues For Coltrane

The blind Catalonian pianist Tete Montoliu is in great form on this 1977 session recorded in Spain, accompanied by bassist Eric Peter and drummer Peer Wyboris. He shows off his tremendous chops in a roller coaster treatment of the bittersweet ballad "You've Changed," then switches to a jaunty mood for a brisk treatment of "It Could Happen to You." Wyboris kicks off the thunderous take of Jimmy Heath's "Jimmy's Tempo," a passionate hard bop vehicle. But the primary focus of this CD consists of four original blues penned by the pianist. 

It seems likely that at least some of them were improvised on the date, though "Blues for Coltrane" seems to draw inspiration from the late tenor saxophonist's rapid-fire live solos that left little open space. "Blues for Myself," the centerpiece of the release, seems closely related to "You've Changed," though the chord progressions do vary. Released by the Spanish label Ensayo, this disc is worth acquiring. ~ Ken Dryden  http://www.allmusic.com/album/blues-for-myself-mw0001887283

Personnel:  Tete Montoliu, piano;  Peer Wyboris, drums;  Eric Peter, bass

Blues for Myself

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Roland Kirk - Kirk In Copenhagen

Styles: Straight-ahead/Mainstream
Year: 1964
File: MP3@320K/s
Time: 38:30
Size: 88,2 MB
Art: Front

(5:23)  1. Narrow Bolero
(8:07)  2. Mingus-Griff Song
(5:43)  3. The Monkey Thing
(7:18)  4. Mood Indigo
(7:46)  5. Cabin In The Sky
(4:12)  6. On The Corner Of King And Scott Streets

To fully appreciate his artistry, Roland Kirk truly needed to be experienced live. Sure, playing three instruments at once is an incredible feat, but wouldn't it be great to have seen it? Unfortunately for most of us, we can only be satisfied with recordings such as this one from Club Montmarte, Denmark's famous jazz club. Live, Kirk barrels through tunes with an almost reckless abandon, making judicious use of the noisemaking possibilities of his various instruments and firing out long, squalling passages made possible by the circular breathing he mastered. Kirk was a performer who was very sympathetic to his audience, injecting humor through bawdy lyrics and the occasional nose flute licks and, this being an earlier recording, little of the politicizing that became his passion later on. Overall this is a prime example of Kirk's gifts as a musician. He was often criticized for being a carnival act, and certainly his ability to multitask brought out the showman in him in front of interested parties. 

But he was also a crafty improviser as well, and tunes like "Mingus-Griff Song" show his dedication to preserving the legacy of jazz by stitching all its manifestations into a patchwork quilt of influences. This 1963 date is a good representation of Kirk's work, but it has a couple of drawbacks. First, the sidemen seem under rehearsed, not having fully absorbed Kirk's method and hanging on by their fingernails whenever he solos, seeming to breathe a sigh of relief when he takes a break. Also, the levels aren't balanced: the drums are overmiked and the piano lacks the presence it requires. But one of the joys of jazz is bringing together musicians from different backgrounds different countries, even and watching the interplay that follows no matter what occurs. When it comes right down to it, all musicians speak the same language, and in the end this was the message that Kirk was preaching all along. ~ David Rickert  

http://www.allaboutjazz.com/kirk-in-copenhagen-roland-kirk-verve-music-group-review-by-david-rickert.php

Personnel: Roland Kirk - tenor saxophone, manzello, stritch, flute, nose flute, and/or siren whistle; Tete Montoliu - piano; Niels-Henning

Thank You Steve!

Kirk In Copenhagen

Kirk In Copenhagen

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Lucky Thompson & Tete Montoliu - Soul's Nite Out

Styles: Piano And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 42:08
Size: 96,8 MB
Art: Front

(3:56)  1. When Sunny Is Blue
(4:19)  2. Body And Soul
(3:48)  3. Spanyola
(5:26)  4. I Got It Bad
(3:04)  5. Soul Carnival
(3:56)  6. Blues 'N' Boogie
(4:46)  7. Spanish Rails
(5:17)  8. What's New
(3:31)  9. Soul's Nite Out
(4:00) 10. The World Awakes

Recorded in Barcelona on May 1 and 2, 1970 and released shortly thereafter on the Spanish Ensayo label, Soul's Nite Out was reissued in 1978 by Chuck Nessa as Body and Soul, reappeared under its original title on a second Ensayo LP in 1993, and was finally released on CD by Ensayo in 2000. On this mainstream hard bop session, Lucky Thompson blew both soprano and tenor saxophones with sympathetic support from pianist Tete Montoliu, bassist Eric Peter, and drummer Peer Wyboris.

In addition to five Thompson compositions the quartet handled ballads and standards including Duke Ellington's "I Got It Bad and That Ain't Good" and Dizzy Gillespie's "Blue 'n' Boogie" (mistitled "Blues 'n' Boogie"). Like Gene Ammons, Charlie Ventura, and Jack McVea, Lucky Thompson was always "straight-ahead accessible". This album represents only a fraction of the excellent music he recorded in collaboration with Tete Montoliu. ~ arwulf arwufl  http://www.allmusic.com/album/souls-nite-out-mw0001487598

Personnel:  Eric Peter - Bass; Peer Wyboris - Drums; Tete Montoliu - Piano; Lucky Thompson - Soprano Saxophone, Tenor Saxophone

Soul's Nite Out

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