Saturday, November 26, 2011

Gene Ammons & Sonny Stitt - God Bless Jug and Sonny (2001)


Gene Ammons & Sonny Stitt - God Bless Jug and Sonny (2001)
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Genre ~ Hard-Bop, Saxophone | Label ~ Prestige

The focus of this exciting, if imperfect, CD is a 1973 reunion of Gene "Jug" Ammons and Sonny Stitt, who were responsible for some of the most famous tenor saxophone battles of the 1940s and early '50s. When the two locked horns, it was musical sportsmanship at its finest. Jug and Stitt had a mutual respect for one another, and their battles were the essence of friendly competition. Some die-hard beboppers might be disappointed to learn that God Bless Jug and Sonny (which was recorded live in Baltimore in 1973 but went unreleased until 2001) isn't all that competitive -- the saxmen don't try to relive their legendary cutting contests of the 1940s and early '50s. Nonetheless, there are many inspired moments, and they enjoy a strong rapport on exuberant performances of "Blue 'n' Boogie," "Stringin' the Jug," and "Bye Bye Blackbird" (all of which employ Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums). Ammons and Stitt don't play together on all of the tunes; Stitt lays out on Billie Holiday's "God Bless the Child," and Stitt is the only saxophonist on Vernon Duke's "Autumn in New York" (the only performance that finds Stitt on alto instead of tenor). And neither saxman is heard on Walton's "Ugetsu," a gem that lets the rhythm section shine by itself. When Ammons and Stitt play together, it's never hard to tell them apart. In contrast to the Charlie Parker-minded Stitt, Ammons had the sort of big, breathy, Coleman Hawkins-influenced tone you expected from a swing tenor (even though he was very much a bebopper/hard bopper). Unlike some of their 1940s/early '50s encounters, God Bless Jug and Sonny falls short of essential. But this 1973 reunion is still enjoyable and will interest the saxophonists' hardcore fans. ~Allmusic

Tracklist:
01. Blue 'n' Boogie (16:36)
02. Stringin' the Jug (14:59)
03. God Bless the Child (5:48)
04. Autumn in New York (5:05)
05. Ugetsu (7:45)
06. Bye Bye Blackbird (17:52)

Personnel:
Gene Ammons - tenor saxophone (on #1, 2, 3, 6)
Sonny Stitt - tenor saxohone (on #1, 2, 6); alto saxophone (on #4 only)
Cedar Walton - piano
Sam Jones - bass
Billy Higgins - drums

Recorded at the Famous Ballroom, Baltimore, MD on June 24, 1973; for "The Left Bank Society"
Recording Engineer: Vernon Welsh
CD Production: Eric Miller
Digital Editing and Transfers: Dave Luke (Fantasy Studios, Berkeley)
Mastering: Kirk Felton (Fantasy), 2001
Art Direction: Jamie Putnam
Photography: Tony Lane
Liner notes by Zan Stewart, April 2001


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Friday, November 25, 2011

Coleman Hawkins Quartet - Today And Now (1963) [Analogue Productions Remastered 2011]

Coleman Hawkins Quartet - Today And Now (1963) [Analogue Productions Remastered 2011]
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Genre ~ Mainstream Jazz, Saxophone Jazz | Label ~ Impulse!/Analogue Productions CIPJ 34 SA


A very nice digital reissue of a very congenial and nicely played Coleman Hawkins Quartet release. Not always the most compelling title from the Hawkins catalog, the record at least has the virtue of both being listenable and worthy of somewhat deeper inspection. ~ AllMusic


Tracklist

1. Go Lil Liza
2. Quintessence
3. Don't Love Me
4. Love Song From "Apache"
5. Put on Your Old Grey Bonnet
6. Swingin' Scotch
7. Don't Sit Under the Apple Tree

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Sonny Stitt and Richie Cole - Battle Of The Saxes (1981) [Remastered 1998]

Sonny Stitt and Richie Cole - Battle Of The Saxes (1981) [Remastered 1998]
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Genre ~ Bop, Saxophone Jazz, Mainstream Jazz | Label ~ AIM Records


This session is a real rarity for it teams together Sonny Stitt (mostly playing tenor) and altoist Richie Cole (along with pianist Jack Wilson, bassist Ed Gaston and drummer Allan Turnbull) for the first and only time. Stitt and Cole inspire each other on the seven boppish selections and, even if little surprising occurs, the heated exchanges make this CD worth searching for. ~ AllMusic


Tracklist

01 - Laura (4:27)
02 - Seranada Espana (5:34)
03 - I Hear a Rhapsody (4:51)
04 - Lovers Concerto (5:09)
05 - Cherokee (7:20)
06 - Sonny's Blues (3:26)
07 - The Night Has a Thousand Eyes (8:48)

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Teddy Wilson - Gentleman Of Keyboard 1934-1957 (1990)

Teddy Wilson - Gentleman Of Keyboard 1934-1957 (1990)
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Genre ~ Swing, Big Band, Mainstream Jazz | Label ~ Giants Of Jazz Records



Gentleman of Keyboard, a Giants of Jazz compilation released in 1998, is a jumbled assemblage of great jazz recordings made between May 1934 and July 1957 by pianist and bandleader Teddy Wilson (1912-1986). The list of collective personnel on this one disc is staggering, as Wilson consistently worked with innovators and individualists who decisively shaped the evolution of jazz over the years. Among literally dozens of noteworthy participants are vocalists Billie Holiday and Ella Fitzgerald as well as tenor saxophonists Ben Webster and Lester Young. Wilson is also heard in his famous role as a member of the Benny Goodman Quartet and Sextet. Though it would take quite a number of Wilson collections to accurately demonstrate the magnitude of his contribution to the history of jazz, Gentleman of Keyboard is a good place to begin. ~ AllMusic


Tracklist

01. Somebody Loves Me (2:54)
02. I'm Painting The Town Red (2:57)
03. All My Life (3:11)
04. Why Do I Lie To Myself About You? (3:03)
05. The Way You Look Tonight (3:05)
06. Sailin' (2:51)
07. I'Ve Found A New Baby (2:40)
08. Just A Mood (6:48)
09. If Dreams Come True (3:08)
10. I Got Rhythm (5:09)
11. Jumpin' For Joy (3:06)
12. Wham (Re-Bop-Boom-Bam) (2:54)
13. Liza (2:25)
14. 71 (3:02)
15. China Boy (2:39)
16. Indiana (3:02)
17. I Want To Be Happy (3:16)
18. Rose Room (2:20)
19. Just Like A Butterfly (2:50)
20. Fine And Dandy (1:41)
21. Under A Blanket Of Blue (2:57)
22. Sweet Lorraine (3:20)
23. Airmail Special (3:47)

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Paul Desmond - Desmond Blue (1962) [Remastered 2002]

Paul Desmond - Desmond Blue (1962) [Remastered 2002]
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Genre ~ Cool, Saxophone Jazz | Label ~ Bluebird Records


Paul Desmond's sessions away from the Dave Brubeck Quartet were always something special, and this greatly expanded reissue edition of Desmond Blue is no exception. By far the most interesting album that the alto saxophonist ever did with an orchestra, no doubt due to the choice of first-rate standards (such as "My Funny Valentine," "Body and Soul," "Ill Wind," and "Like Someone in Love") as well as conductor Bob Prince's thoughtful and never burdensome arrangements, the dependably melodious and inventive Desmond works magic in each of the seven standards and two originals heard here. This CD adds the three unreleased tracks featured in the complete box set of Desmond's RCA recordings, but also includes four more alternate takes that appear for the first time. Accompanied by the equally lyrical guitarist Jim Hall and a rhythm section that alternates between bassists Milt Hinton, George Duvivier, and Gene Cherico and drummers Connie Kay, Bobby Thomas, and Osie Johnson, this is an ideal CD to introduce newcomers to jazz without overwhelming them. Doug Ramsey's new liner notes add a very personal touch to this reissue, which should be considered an essential acquisition. ~ AllMusic


Tracklist

1. My Funny Valentine (Richard Rodgers-Lorenz Hart) 3:49
2. Desmond Blue (Paul Desmond) 3:38
3. Then I'll Be Tired Of You (e.y. Harburg-Arthur Schwartz) 4:03
4. I've Got You Under My Skin (Cote Porter) 4:31
5. Late Lament (Paul Desmond) 4:07
6. I Should Care (Axel Stordahl-Paul Weston-Samtny Cohn) 3:49
7. Like Someone In Love (Johnny Burke-Jiтту Van Неusеп) 4:10
8. Ill Wind (You're Blowin' Me No Good) (Harold Arlen-Ted Koehler) 3:48
9. Body and Soul (Johnny Green-Edward Heyman-Frank Eyton-Robert B. Sour) 4:51

BONUS TRACKS
10. Autumn Leaves (Johnny Mercer-Jacques Prevert-Joseph Kozma) 5:42
11. Imagination (Johnny Виrkе-Jimmy Van Heusen) 4:02
12 Advise and Consent (Jerry Fielding) 2:00

PREVIOUSLY UNRELEASED ALTERNATE TAKES
13. Autumn Leaves 5:37
14. Autumn Leaves 3:38
15. Imagination 4:51
16. Advise and Consent 2:01

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Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)


Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
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Genre ~ Hard-Bop, Saxophone | Label ~ Prestige/OJC

When Eddie "Lockjaw" Davis and Johnny Griffin joined forces and formed a two-tenor front line, bop enthusiasts could safely assume that the sparks were going to fly. Davis and Griffin, after all, were one of hard bop's exciting tenor teams -- their saxophone battles were as legendary as the encounters of Gene Ammons and Sonny Stitt, Dexter Gordon and Wardell Gray, or Phil Woods and Gene Quill (who, unlike the other teams mentioned here, were a two-alto pair). Battle Stations, like other Davis/Griffin encounters, points to the fact that the two tenormen never had a problem finding common ground. Both had big tones; both were very extroverted, aggressive players; and both swung unapologetically hard -- no one ever mistook either of them for members of jazz's cool school, which favored subtlety, restraint, and understatement over intensity and aggression. A sense of friendly competition is evident on Battle Stations; when Davis and Griffin lock horns, the result is musical sportsmanship at its finest. And "friendly" is the operative word on this 1960 date -- as competitive as Davis and Griffin could be, they had a great deal of respect for one another. Battle Stations (which employs Norman Simmons on piano, Victor Sproles on bass, and Ben Riley on drums) demonstrates that the saxmen were not only sparring partners, they were also a mutual admiration society, and the improvisers enjoy an incredibly strong rapport on hard-swinging numbers like "Pull My Coat," "Hey Jim!," and "What's Happening." Battle Stations is an album that fans of heated two-tenor exchanges shouldn't overlook. ~Allmusic

Tracklist:
01. What's Happening (6:51)
02. Abundance (6:54)
03. If I Had You (6:46)
04. 63rd Street Theme (7:12)
05. Pull My Coat (6:41)
06. Hey Jim! (8:01)
07. Billie's Bounce (11:18)
08. Theme (1:06)

Personnel:
Eddie "Lockjaw" Davis - tenor saxophone
Johnny Griffin - tenor saxophone
Norman Simmons - piano (on #1-6)
Junior Mance - piano (on #7, 8)
Victor Sproles - bass (on #1-6)
Larry Gales - bass (on #7, 8)
Ben Riley - drums

Produced by Esmon Edwards
Recorded by Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ
Recorded on September 2, 1960 (#1-6);
and in performance at Minton's Playhouse, NYC; January 6, 1961 (#7, 8)

#7 originally released on "The Late Show (Prestige 7357)";
#8 on "The Midnight Show (Prestige 7330)"

Remastering, 2002 - Joe Tarantino (Fantasy Studios, Berkeley)
Cover design and photo by Don Schlitten
Liner notes by Dan Morgenstern (August, 1963)


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Cal Tjader - Amazonas (1995)


Cal Tjader - Amazonas (1995)
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Genre ~ Latin Jazz, Afro-Cuban | Label ~ Fantasy/OJC

Cal Tjader's Brazilian explorations continue and actually deepen with this release, as he joins forces with a host of progressive young Brazilian musicians, all overseen by producer Airto Moreira. By now, Tjader had figured out how to fit into the blend, doing so by losing himself in the complex mix of Afro-Brazilian rhythms, American funk and 1970s-era electronics, integrating his own identity for the sake of the ensemble. Indeed, Tjader actually appears on marimba on tracks like Joao Donato's "Amazonas" and his collaboration with Hermeto Pascoal, "Mindoro," his playing taking on a more brittle edge as a result. Tjader's Southern Hemisphere cohorts include such emerging luminaries as keyboardist Egberto Gismonti, percussionist Robertinho Silva, the sometimes wild flutist Hermeto Pascoal and on one track, the superb trombonist Raul de Souza. The intricate arrangements are in the hands of George Duke, and so are the funky, occasionally spaced-out keyboard sounds (albeit under the contractually dictated pseudonym "Dawilli Gonga"). CD buyers get a welcome bonus, an extended, impassioned outtake of "Cahuenga." ~Allmusic

Tracklist:
01. Amazonas (4:29)
02. Xibaba (5:55)
03. Mindoro (4:30)
04. Flying (4:11)
05. Corine (5:16)
06. Noa Noa (4:14)
07. Tamanco No Samba (5:33)
08. Cahuenga (4:46)
09. Cahuenga (long version) (9:29)

Personnel:
Cal Tjader - vibes, marimba
David Amaro - electric and acoustic guitars
Dawilli Gonga - electric keyboards
Egberto Gismnti - acoustic piano, syntehesizer
Luiz Alves - bass
Robertinho Silva - drums, percussions
Raul De Souza - trombone (on #6)
Hermeto Pascoal - flute (on #2, 3, 8, 9)
Aloiso Milanez - acoustic piano (on #7)

Produced by Airto (Moreira)
Executive Producer: Orrin Keepnews
Arrangements by George Duke
Recorded at Wally Heider's Recording Studio, Los Angeles; June 1975
Recording and Remix Engineer: Ken Caillat, assisted by Bill Broms
Additional Recording: Eddie Bill Harris, Don Cody (Fantasy Studios)
#9 remixed to digital by David Luke (Fantasy Studios)
Digital remastering, 1994 - Phil De Lancie (Fantasy Studios, Berkeley)
Art Direction & Cover Art: Phil Carroll
Booklet Photo: Bruce Talamon


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Thursday, November 24, 2011

Ron Carter - Jazz, My Romance (1994)


Ron Carter - Jazz, My Romance (1994)
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Genre ~ Hard-Bop, Post-Bop | Label ~ Blue Note

As with virtually all of Ron Carter's recordings as a leader, this CD is primarily a showcase for his bass solos. The unusual combination of musicians (a trio with guitarist Herb Ellis and pianist Kenny Barron) really does not live up to its potential. There are some short spots for Ellis and Barron but their roles are mostly in support of the bassist. Some of the selections (particularly "Sweet Lorraine" and the bassist's original "For Toddlers Only") do have their memorable moments but none of the songs are taken at faster than a medium tempo. Since bass solos (as with most drum showcases) often lose a lot when transferred to record (as opposed to being seen live), this CD is recommended mostly to Ron Carter completists. ~Allmusic

Tracklist:
01. Blues for D.P. (10:02)
02. My Romance (7:21)
03. Airegin (6:41)
04. Quiet Times (4:58)
05. Summertime (8:26)
06. I Fall in Love Too Easily (6:23)
07. For Toddlers Only (4:39)
08. Sweet Lorraine (5:43)

Personnel:
Ron Carter - bass
Herb Ellis - guitar
Kenny Barron - piano

Produced by Ron Carter for Retrac Productions, Inc.
Executive Producer: Hitoshi Namekata
Production Associate: Yoshiko Tsuge
Musical Assistant: Ray Gallon
Recording and Mixing Engineer: James Anderson
Assistant Engineer: Jonathan Mooney
Recorded at Clinton Studios, NYC; on January 4 & 5, 1994
Mastering Engineer: Yoshio Okazaki
Cover Photography: Kunihiro Takuma
Innersleeve Photography: William Claxton
Art direction by Kaoru Taku


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Webster Young – For Lady (1992)


Webster Young – For Lady (1992)
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Genre ~ Cool, Bop | Label ~ Prestige/OJC

While trumpeter Webster Young pays tribute to Billie Holiday on this, his only studio date as a leader, the set is equally a tribute to Young’s musical role model, Miles Davis. Young has Miles’ soft-focus tone from the early to mid-’50s and, according to Ira Gitler’s liner notes, he is actually playing Miles’ cornet on the date. The similarities between the two players make this 1957 session a satisfying companion to Miles’ work circa 1951-1953. Young is nicely matched here with tenor saxophonist Paul Quinichette, with the two of them using a pleasantly blowsy approach to weave loose, discursive counterpoint around each other. Guitarist Joe Puma distinguishes the set with thoughtful, understated playing that calls to mind Kenny Burrell’s own Prestige dates from this period. Pianist Mal Waldron, drummer Ed Thigpen, and bassist Earl May infuse the performances with a cohesive, relaxed swing. They give each other lots of space, and Waldron makes astute choices in his chord selection, phrasing, and comping strategies. The tracks comprise five pieces associated with Holiday and one Young original, written in homage to Lady Day. True to Holiday’s approach, the mood is world-weary, bordering on bleak, but with breaches of light like those that would briefly suffuse Holiday’s songs. “Strange Fruit” is the one track that misses the mark. Where Holiday allowed the stark irony of the lyrics to carry the song, Young’s instrumental version labors the point by including an execution squad drum roll. This could have been effective had it been limited to the intro and ending, but when Thigpen’s martial snare also crops up midsong it breaks the subtle, macabre atmosphere of the piece. ~Allmusic

Tracklist:
01. The Lady (7:03)
02. God Bless the Child (7:09)
03. Moanin’ Low (7:48)
04. Good Morning Heartache (8:59)
05. Don’t Explain (7:16)
06. Strange Fruit (4:19)

Personnel:
Webster Young – cornet
Paul Quinichette – tenor saxophone
Mal Waldron – piano
Joe Puma – guitar
Earl May – bass
Ed Thigpen – drums

Supervision by Bob Weinstock
Recorded in Hackensack, NJ; June 14, 1957
Recording Engineer: Rudy Van Gelder
Digital remastering, 1992 - Phil De Lancie (Fantasy Studios, Berkeley)
Liner notes by Ira Gitler


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Herbie Hancock - This is Jazz (1998)


Herbie Hancock - This is Jazz (1998)
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Genre ~ Post-Bop, Fusion | Label ~ Columbia/Legacy

Herbie Hancock's edition in the Columbia This Is Jazz series draws six tracks from the approximately 12-year period between 1974 and 1986. An electric band is featured on half of the selections, including "Gentle Thoughts" from Secrets, "Actual Proof" from Thrust, and "Calypso" from Mr. Hands. These aren't exactly the best tracks from Hancock's electric period, and the acoustic portion -- covering "The Sorcerer" from a 1981 V.S.O.P. performance in Tokyo, the live duet "Maiden Voyage" by Hancock and Chick Corea, and "The Peacocks" from the 1986 film 'Round Midnight -- are similarly erratic. All of the selections on This Is Jazz are good, but it doesn't make much sense to feature such a scattered set of tracks. ~Allmusic

Tracklist:
01. The Sorcerer (7:22)
02. Gentle Thoughts (7:07)
03. Actual Proof (9:45)
04. The Peacocks (7:20)
05. Calypso (6:45)
06. Maiden Voyage (13:51)

Personnel:
Herbie Hancock - piano, fender rhodes, keyboards
Chick Corea - piano (duet with H. Hancock on #6)
Bennie Maupin - soprano saxophone, bass clarinet
Wah Wah Watson, Ray Parker Jr. - guitars
Wynton Marsalis - trumpet
Ron Carter, Pierre Michelot - bass
Paul Jackson - electric bass
Tony Williams, James Levi - drums
Mike Clark, Billy Higgins - drums
Kenneth Nash, Sheila Escovedo - percussions

Recorded between 1974 - 1986
Selected, sequenced & annotated by James Isaacs
Project Director: Seth Rothstein
Mastering Supervisor: Nedra Olds-Neal
Mastered by Vic Anesini, Sony Music Studios, New York
A&R Coordinator: Patti Matheny
Art Direction: Howard Fritzson
Cover Design: Alice Butts
Graphic Artist: Ken Fredette
Photography: Don Hunstein / Sony Music Archives
Production Assistance: Rene Arsenault
Legacy A&R: Steve Berkowith
Liner notes by James Isaacs, April 1997


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Wednesday, November 23, 2011

Russell Malone - Heartstrings (2001)


Russell Malone - Heartstrings (2001)
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Genre ~ Mainstream, Guitar | Label ~ Verve

The example of Wes Montgomery is so ingrained into the jazz-guitar culture that sooner or later, everyone wants a crack at playing with a string section. Not everyone gets that opportunity, but when you're signed to a major label with an aficionado of plush settings like Tommy LiPuma in charge, your chances of making a string album are going to be pretty good. Thus the Russell Malone string album, a relaxed, easygoing, midnight-hour set of ten tracks polished to a fare-thee-well by a coterie of pros who seem bent upon adding another album by a surrogate Montgomery to the Verve catalog. How do you know that Malone had Montgomery on the brain? Just listen to the first notes of the Milt Jackson title track that opens the album; it's exactly the same riff that led off Montgomery's Bumpin' album. Stylistically, though, Malone is his own man, playing with one basic mellow, somewhat slender tone, resisting the temptation to indulge in the great one's patented octaves. The string charts, whether penned by Johnny Mandel, Alan Broadbent, or Dori Caymmi -- expert stringmen all -- tend to sound the same, laying on a glossy, sophisticated, muted carpet while thankfully not trying to fill every space and corner of the sound stage. It would be hard to assemble a more distinguished rhythm section in 2001 -- pianist Kenny Barron, bassist Christian McBride, and drummer Jeff "Tain" Watts -- than this one, but they're just around to keep things rolling steadily. Malone does an especially beautiful job with "Why Try to Change Me Now" -- and there is one tune of his own, "Loved Ones," that fits seamlessly into the pattern. Yet for all of his gifts, Malone doesn't deliver the heartstopping flashes of inspired improvised melody that made the Montgomery orchestral albums so ceaselessly listenable over the decades. That's the crucial ingredient that Montgomery took with him to the grave. ~Allmusic

Tracklist:
01. Heartstrings (6:36)
02. How About Me (5:13)
03. Loved Ones (3:28)
04. You Needed Me (3:47)
05. Handful of Stars (4:35)
06. Wind in the Willow (5:30)
07. Why Try to Change Me Now (5:05)
08. The Bad and the Beautiful (2:50)
09. Guess I'll Hang My Tears Out to Dry (5:45)
10. What a Friend We Have in Jesus (3:13)

Personnel:
Russell Malone - guitar
Kenny Barron - piano
Christian McBride - bass
Jeff "Tain" Watts - drums

Produced by Tommy LiPuma
Recorded and mixed by Joe Feria
String sections recorded by Al Schmitt
String arrangements by Johnny Mandel, Dori Caymmi and Alan Broadbent
Mixed on April 9-11, 2001 at Riversound, NYC
Mastered on April 23, 2001 by Greg Calbi at Sterling Sound, NYC
Production Coordinator: Stephanie Faraci
Art Direction: Hollis King
Design: Ana Teixeira
Photography by Jeffrey Henson Scales
Release Coordination: Stuart Pressman and Erin Whelan


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Major Holley - Mule (1995)


Major Holley - Mule (1995)
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Genre ~ Bop | Label ~ Black&Blue Records

Major Holley was best known for using the Slam Stewart trademark of singing along with his bowed bass solos, although he sang in unison while Stewart vocalized an octave above his bass. Otherwise, Major Holley (known as "Mule") was a fine supportive bassist. He originally played violin and tuba, but switched to bass while playing in Navy bands. He played with Dexter Gordon, Charlie Parker, and Ella Fitzgerald in the mid- to late '40s, and in 1950 did a series of duet recordings (never reissued) with Oscar Peterson. After a period working for the BBC in England, he toured with Woody Herman (1958), played with the Al Cohn-Zoot Sims quintet (1959-1960), and worked in the studios, in addition to appearing on some jazz recordings and having a stint with Duke Ellington (1964). Major Holley taught at Berklee (1967-1970), freelanced in New York, and recorded with everyone from Roy Eldridge and the Lee Konitz Nonet, to Quincy Jones; he even met up on two records with Slam Stewart. ~Allmusic

As Scott Yanow said above, Major Holley uses his voice to combine an unison (exactly the same music nota's played at the same time) with his bass, both on main melodies and on his improvisations. If you didn't listen Major Holley before; try this album, I believe you'll enjoy his unusual style. ~Cal Mayber

Tracklist:
01. Mack the Knife 4:04
02. There Will Never Be Another You 4:37
03. Realm of Love 6:18
04. Wig, Thig, Bad, and Major Too 4:56
05. Miss Mule 3:45
06. Angel Eyes 5:36
07. Recado Bossa Nova 5:53
08. Elum 3:22
09. No Place Like Home 4:42
10. Just a Closer Walk With Thee 2:49
11. There Will Never Be Another You (alternate) 4:34
12. Elum (alternate) 2:56

Personnel:
Major Holley - bass, vocals (unison with his bass)
Gerry Wiggins - piano
Ed Thigpen - drums
Gerard Badini - tenor saxophone

Recorded in Paris, France; on March 21, 1974
(*) Scans: front cover + tray + CD


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Elmo Hope - Trio and Quintet (2005)


Elmo Hope - Trio and Quintet (2005)
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Genre ~ Hard-Bop, Piano | Label ~ Blue Note

Of the collections of Elmo Hope's '50s recordings, Trio and Quintet is the one to get. It includes his prime Blue Note sessions and features a stellar cast of hard bop musicians including Art Blakey, Frank Foster, Philly Joe Jones, and Harold Land. The majority of the tunes are Hope originals which, in their angular introspection, bear the influence of both Bud Powell and Thelonious Monk. Things begin with ten mostly hard bop swingers from a trio date in 1953. Prominently featured is Hope's Powell like, single line attack. Solos stay brisk and straightforward on uptempo numbers like "Hot Sauce," but turn a bit mercurial on slower pieces like "Happy Hour." Standout tracks include Hope's "Mo Is On" with its "off to the races" opening statement and "Carvin' the Rock," which falls somewhere between Powell's "Parisian Thoroughfare" and "So Sorry Please." Percy Heath and Philly Joe Jones provide sympathetic support throughout. The Quintet tracks start with an East Coast session featuring Foster and Blakey. The opening number is the convoluted, yet hard swinging original "Crazy"; it causes some problems for trumpeter Freeman Lee, but finds Foster in command with a vigorous solo statement. The remainder of the session impresses with a series of rhythmically rich Hope compositions which, like the majority of Monk's tunes, stay memorable in spite of their complexity. Three more Hope tunes from a West Coast date round out the quintet tracks and close the CD. Land contributes strong tenor work while bassist Leroy Vinnegar and drummer Frank Butler do a fine job keeping things anchored. This Blue Note release is great not only for its cross-section of Hope compositions, but also for the many fertile ideas they've inspired in top-drawer soloists. ~Allmusic

Tracklist:
01. It's a Lovely Day Today (2:48)
02. Mo is On (2:51)
03. Sweet and Lovely (2:59)
04. Happy Hour (2:52)
05. Hot Sauce (3:53)
06. Stars Over Marrakech (3:06)
07. Freffie (3:06)
08. Carvin' the Rock (2:56)
09. I Remember You (2:46)
10. Mo is On (alternate) (2:52)
11. Crazy (4:17)
12. Abdullah (3:48)
13. Chips (3:36)
14. Later for You (4:02)
15. Low Tide (4:12)
16. Maybe So (4:25)
17. Crazy (alternate) (4:24)
18. So Nice (6:09)
19. St. Elmo's Fire (5:56)
20. Vaun Ex (4:45)

Personnel:
Elmo Hope - piano
Percy Heath, Leroy Vinnegar - bass
Freeman Lee, Stu Williamson - trumpets
Frank Foster, Harold Land - tenor saxophone
Art Blakey, Frank Butler, Philly Joe Jones - drums

Original sessions produced by Alfred Lion (#1-17) and Richard Bock (#18-20)
Recorded on June 18, 1953 (#1-10) and May 9, 1954 (#11-17)
Recorded at the Van Gelder Studio, Hackensack, NJ
Tracks #18-20 recorded in Los Angeles, CA; on October 31, 1957
Recording engineer on tracks #1-17: Rudy Van Gelder
Reissue produced by Michael Cuscuna
Mastered in 24-Bit by Ron McMaster
Reissue design by Patrick Roques
Creative Direction: Gordon H. Jee
Liner notes by Ira Gitler

Note: The dropout on #2 and phasing/dropout in #11 are on the existing tape sources.


Thanks to the original releaser.

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Cal Tjader – Soul Bird: Whiffenpoof (2002)


Cal Tjader – Soul Bird: Whiffenpoof (2002)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Latin Jazz, Afro-Cuban | Label ~ Verve

In the ’60s, R&B was a much larger market than jazz. While John Coltrane or Art Blakey could fill a small club like The Village Vanguard, James Brown and the Temptations were selling out large auditoriums — gone were the days when jazz was very much a part of popular culture and Benny Goodman’s name was all over the pop charts. Soul’s popularity wasn’t lost on Verve, which is why some of Cal Tjader’s ’60s LPs had titles like Soul Sauce and El Sonido Nuevo: The New Soul Sound — Verve wanted the baby boomers who were buying Stax and Motown releases to notice Tjader as well. However, Soul Bird: Whiffenpoof isn’t the R&B-drenched project that some might expect it to be. Tjader’s vibes solos are soulful in that he plays with a lot of feeling, but he isn’t trying to be Marvin Gaye. Produced by Creed Taylor in 1965, Soul Bird: Whiffenpoof is primarily an album of laid-back cool jazz that has strong Latin leanings — Latin as in Afro-Cuban (“Tin Tin Deo”), Latin as in Brazilian (“Samba de Orfeu”). Taylor has always believed that post-swing jazz doesn’t have to be devoid of commercial appeal, and he sees to it that Tjader has a groove-oriented outlook whether he is embracing the standard “How High the Moon” or giving Frank Foster’s “Shiny Stockings” a bossa nova makeover. The funkiest thing on the album is Tjader’s version of Sonny Rollins’ “Doxy,” which he approaches as a boogaloo. But overall, these performances are more cool jazz than soul-jazz. Soul Bird: Whiffenpoof (which Verve reissued on CD in 2002) isn’t among Tjader’s essential albums, but it’s an enjoyable demonstration of the vibist’s ability to be a bit more commercial than usual and still maintain his bop-based integrity. ~Allmusic

Tracklist:
01. The Whiffenpoof Song (2:05)
02. Soul Bird (Tin Tin Deo) (2:41)
03. How High the Moon (4:09)
04. That’s All (2:04)
05. Soul Motion (3:10)
06. Reza (4:10)
07. The Prophet (3:01)
08. Sonny Boy (3:32)
09. Doxy (4:22)
10. Samba de Orfeu (2:02)
11. Shiny Silk Stockings (2:33)
12. Daddy Wong Legs (3:42)

Personnel:
Cal Tjader – vibes
Richard Davis, Terry Hilliard – bass
Paul Griffin, Lonnie Hewitt – piano
Sol Gubin, John Rae, Grady Tate – drums
Armando Pereza – percussion

Original recordings; recorded at A&R Recording, New York City, June 1 and 2, 1965;
and Van Gelder Studios, Englewood Cliffs, New Jersey, July 21 and 22, 1965
Director of Engineering: Val Valentin
Cover Design: Winfield Bruder
Cover Photo: Courtesy of the American Museum of Natural History
Liner notes by E. Rodney Jones
Produced by Creed Taylor

Reissue; produced by Bryan Koniarz
Mastered by Kevin Reeves at Universal Mastering Studios - East
Production assisted by Austin Brentley and Mark Smith
Art directed by Hollis King
Designed by Isabelle Wong/Isthetic
Art production managed by Sherniece Smith
Executive Producer: Ken Druker


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Bill Evans – You Must Believe in Spring (2004)


Bill Evans – You Must Believe in Spring (2004)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Post-Bop, Piano Trio | Label ~ Rhino/Warner Bros.

This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as “We Will Meet Again,” Jimmy Rowles’s classic “The Peacocks” and the “Theme from M*A*S*H.” It’s a solid example of the great pianist’s artistry. ~Allmusic

Tracklist:
01. B Minor Waltz (for Ellaine) 3:18
02. You Must Believe in Spring 5:46
03. Gary’s Theme 4:23
04. We Will Meet Again (for Harry) 4:05
05. The Peacocks 6:04
06. Sometime Ago 4:40
07. Theme from MASH (aka “Suicide is Painless”) 6:03
08. Without a Song (bonus track) 8:10
09. Freddie Freeloader (bonus track) 7:38
10. All of You (bonus track) 8:10

Personnel:
Bill Evans – piano
Eddie Gomez – bass
Eliot Zigmund – drums

Produced by Helen Keane and Tommy LiPuma
Recorded at Capitol Studios, Hollywood, CA; August 23-25, 1977.
Recording and Remix Engineer: Al Schmitt, Hollywood
Art Direction and Design: Brad Kanawyer
Painting: "Yearning" by Charles Burchfield, courtesy of Kennedy Galleries, Inc., NYC
Back Cover Photos: Scott Lyons
Reissue supervised by Richard Seidel
Remastering: David Donnelly at DNA Mastering, Studio City, CA
Reissue Art Direction and Design: Gren Allen


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The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)


The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe/FilePost/Uploadstation
Genre ~ Hard-Bop, Soul | Label ~ Capitol Records

Why Am I Treated So Bad! is a live album by the Cannonball Adderley Quintet, recorded at the Capitol studios in Los Angeles in 1967. The song "I'm on My Way", was written by his nephew Nat Adderley, Jr., who at the time was an 11-year-old living in Teaneck, New Jersey. ~Wikipedia

By any stretch of the imagination, it would have been hard for Cannonball Adderley to follow up the stunning Mercy, Mercy, Mercy! with anything quite as strong or inspired. This set follows the exact same m.o. Producer David Axelrod invited a group of friends into the Capitol studios, supplied them with free booze, warmed them up, and brought out the band (the same lineup: bassist Victor Gaskin, drummer Ron McCurdy, pianist Joe Zawinul, cornetist Nat Adderley, and Cannonball on alto) to tear into a group of covers and originals. The better moments here include the Latin-tinged "I'm on My Way" (written by Nat and featuring a beautifully lyrical solo by him) and a cool little read of the Pops Staples tune the album is titled for (featuring a killer little Rhodes piano part by Zawinul with a mournful dual head by Cannonball and Nat). The other hard groover is Nat's "The Other Side," which takes the outside track in Cannonball's solo. Zawinul's tunes are starkly more original in contrast -- particularly "One for Newk" -- but sound less inspired somehow. The CD version issued by Capitol in 2006 contains two bonus tracks with workmanlike versions of Jimmy Heath's fine "Heads Up! Feet Down!" and an overly long take on the Blane-Martin standard "The Girl Next Door." The album doesn't quite live up to its predecessor, but it is a burner and Adderley fans are likely to want to own it. ~Allmusic

Tracklist:
01. Introduction (0:13)
02. Mini Mama (6:42)
03. I'm On My Way (7:49)
04. Why Am I Treated So Bad (7:47)
05. One for Newk (5:16)
06. Yvette (2:22)
07. The Other Side (9:04)
08. The Scene (2:40)
09. Heads Up! Feet Down! (7:00)
10. The Girl Next Door (12:08)

Personnel:
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
Joe Zawinul - piano & electric piano
Victor Gaskin - bass
Roy McCurdy - drums

Produced by David Axelrod
Recording Engineer: Joe Polito
Recorded live on March 6 (#1-4), March 23 (#5-8), and July 24 (#9 & 10); 1967
Recorded at Capitol Studios, Los Angeles, CA
Reissue produced by Michael Cuscuna
Remixed from the original three-track tapes using 24-Bit technology by Ron McMaster
Tracks #1-8 originally issued as Capitol ST-2617
Tracks #9 & 10, previously unissued


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Tuesday, November 22, 2011

Susannah McCorkle - From Bessie to Brazil (1993) Remastered 2003 [SACD rip via Playstation 3]

Susannah McCorkle - From Bessie to Brazil (1993) Remastered 2003 [SACD rip via Playstation 3]
Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe
Genre ~ Traditional Pop, Standards, Vocal | Label ~ Concord Jazz Records


For this Concord release, singer Susannah McCorkle alternates vintage standards and obscurities with some more recent songs such as "The Waters Of March," and Dave Frishberg's "Quality Time," and Paul Simon's "Still Crazy After All These Years." The bread and butter is still the older tunes and among the highlights are "The Lady Is A Tramp," "My Sweetie Went Away," "Hit The Road To Dreamland" and a remake of "The People That You Never Get To Love." McCorkle is joined by four horns (including trumpeter Randy Sandke and Ken Peplowski on tenor and clarinet) plus a rhythm section led by her pianist Allen Farnham who also serves as her musical director. A fine all-round showcase for the talented singer. ~ AllMusic


Tracklist

01 Love (3:28)
02 The People That You Never Get To Love (4:25)
03 Thief In The Night (3:38)
04 The Waters Of March (3:46)
05 Ac-cent-tchu-ate The Positive (3:56)
06 How Deep Is The Ocean? (3:44)
07 The Lady Is A Tramp (4:49)
08 Quality Time (4:09)
09 My Sweetie Went Away (3:15)
10 Still Crazy After All These Years (3:59)
11 Adeus America (5:55)
12 That Ole Devil Called Love (2:18)
13 Hit The Road To Dreamland (5:06)
14 You Go To My Head (3:53)

Thanks to the original uploader!


Elvin Jones and McCoy Tyner Quintet‎ - Reunited (1982)

Elvin Jones and McCoy Tyner Quintet‎ - Reunited (1982)
EAC rip | FLAC + CUE + LOG | Scans | FileSonic/FileServe
Genre ~ Hard Bop, Post-Bop | Label ~ Black Hawk Records


McCoy Tyner (p) and Elvin together again; Pharoah Sanders (sax) plus intriguing guitar from Jean-Paul Bourelly. ~ AllMusic


Tracklist

1 Little Rock's Blues 4:37
2 Hip Jones 7:28
3 Korina 5:34
4 For Tomorrow 7:09
5 Sweet and Lovely 6:53
6 Origin 5:08

Thanks to the original uploader!


Barney Kessel - Autumn Leaves (1968) [Remastered 1989]

Barney Kessel - Autumn Leaves (1968) [Remastered 1989]
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Cool, Bop, Guitar Jazz | Label ~ Black Lion Records


Barney Kessel was for years considered the finest jazz guitarist since the great Charlie Christian. Like Stitt, Kessel was born in 1924, but he was an Okie from Muskogee with a feel for the blues and a lyrical way with a melody line. Kessel paid his early dues in the bands of Ben Pollack, Charlie Barnett and Artie Shaw. By the 1950s the gifted young guitarist had hit full stride and was putting out annual hits—The Poll Winners—with bassist Ray Brown and drummer Shelly Manne. Kessel was also a founding member of the Oscar Peterson trio. Autumn Leaves presents the artist in the full flower of maturity. The CD brings together four recording sessions made in London and Los Angeles in 1968 and 1969, and it’s a tour de force for Kessel.


Tracklist

1. Autumn Leaves
2. Corcovado (Quiet Nights)
3. On a Clear Day (You Can See Forever)
4. Aquarius
5. You're the One for Me
6. The Look of Love
7. I Will Wait for You 3:21
8. Watch What Happens
9. Blue Soul
10. Comin' Home
11. Shufflin'
12. Quail Bait
13. Watch the Birds Go By

Thanks to the original uploader!


Shelly Manne - Mannekind (1972)

Shelly Manne - Mannekind (1972)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Cool, Hard Bop | Label ~ Mainstream Records/ Mobile Fidelity Sound Lab MFCD 853


One of the least interesting groups that drummer Shelly Manne led can be heard on this long out-of-print Mainstream LP. Manne tried hard to keep his mind open to the avant-garde and free jazz during this era but his septet (comprised of trumpeter Gary Barone, John Gross on tenor, pianist Mike Wofford, guitarist John Morell, bassist Jeffry Castleman and percussionist Brian Moffatt) only had one distinctive soloist (Wofford) and the group originals (by Wofford and Morell) are uncomfortable and immediately forgettable. Despite a few good solos, this is one of the weaker Shelly Manne albums. ~ AllMusic


Tracklist

1. birth
2. scavenger
3. seance
4. witches
5. fertility
6. maturity
7. tomorrow
8. pink pearl
9. mask
10. infinity

Thanks to the original uploader!


Jim Hall - Dedications And Inspirations (1994)

Jim Hall - Dedications And Inspirations (1994)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Cool, Post-Bop, Guitar Jazz | Label ~ Telarc Records


Guitarist Jim Hall accompanies himself on this collection of original compositions. Written and performed with various people in mind, including Coleman Hawkins, João Gilberto, and others, the music flows from straight-ahead jazz to Latin styles. Dedications & Inspirations is a virtuoso performance that every jazz guitar aficionado should check out. ~ AllMusic


Tracklist

01. Whistle Stop (Hall) 4:11
02. Hawk (Hall) 5:50
03. Canto Nostalgico (Hall) 6:36
04. Why Not Dance? (Hall) 2:30
05. Joao (Hall) 6:08
06. Seseragi (Hall) 4:32
07. All the Things You Are (Hammerstein, Kern) 4:21
08. Miro (Hall) 2:41
09. Monet (Hall) 3:07
10. Bluesography (Hall) 12:51
11. In a Sentimental Mood (Ellington, Kurtz, Mills) 4:43
12. Matisse (Hall) 1:42
13. Street Dance (Hall) 4:45

Thanks to the original uploader!


Monday, November 21, 2011

Lee Morgan – Tom Cat (2010)


Lee Morgan – Tom Cat (2010)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Hard-Bop, Trumpet | Label ~ Blue Note/JVC(xrcd)

It seems strange that the music on this CD was not released initially until 1980. Trumpeter Lee Morgan had had an unexpected hit with “The Sidewinder,” so his more challenging recordings were temporarily put aside. As it turns out, this was one of Morgan’s better sets from the 1960s and he had gathered together quite an all-star cast: altoist Jackie McLean, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Art Blakey. They perform “Rigormortis,” McCoy Tyner’s “Twilight Mist,” and three of the trumpeter’s originals, including the title cut. The advanced hard bop music still sounds fresh decades later despite its initial neglect. ~Allmusic

Tracklist:
01. Tom Cat (9:45)
02. Exotique (9:34)
03. Twice Around (7:39)
04. Twilight Mist (6:58)
05. Riggarmortes (7:27)

Personnel:
Lee Morgan – trumpet
Jackie McLean – alto saxophone
Curtis Fuller – trombone
McCoy Tyner – piano
Bob Cranshaw – bass
Art Blakey – drums

Recorded August 11, 1964, at Rudy Van Gelder Studio, Englewood Cliffs, NJ.
Recording Engineer: Rudy Van Gelder
Originally released in 1980 on Blue Note records as LT-1058.
xrcd24 produced by Joe Harley
Mastered by Alan Yoshida at Ocean Way Mastering, Hollywood, CA
Executive Producer: Robert Bantz
Production Coordinator: Kevin Berg
Art Direction & Design: Scott Warpool
Photography: Francis Wolff / Mosaic Images
Additional design - 2010, Audio Wave Music
Original album liner notes by Michael Cuscuna
Liner notes fro xrcd edition by Robert Bantz


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Ahmad Jamal – The Essence: Part.1 (1995)


Ahmad Jamal – The Essence: Part.1 (1995)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Cool, Post-Bop, Piano | Label ~ Birdology/PolyGram France

This album is brilliant on two levels. The songs are each fine compositions for piano, using varied spacing, tempo changes, and melodies to create fine pieces of music. On a more accessible level, each song is rich and beautiful to hear time and again. Particulary “Toulouse”, which gives me chills every time I hear the opening melody. ~Ama_zon

Tracklist:
01. Flight (6:33)
02. Toulouse (6:56)
03. The Essence (10:14)
04. Lover Man (Oh, Where Can You Be) (5:49)
05. Catalina (6:44)
06. Autumn Leaves (6:58)
07. Street of Dreams (5:33)
08. Bahia (6:35)

Personnel:
Ahmad Jamal – piano
George Coleman – tenor saxophone (on #3 & #6)
James Cammack, Jamil Nasser – bass
Idris Muhammad – drums
Manolo Badrena – percussion

Recorded on October 30-31, 1994 at Studio Marcadet, Paris, La Plaine St Denis, France;
and on February 6-7, 1995 at Clinton Studio, New York City.

Recording Engineer (#1, 2, 4, 5, 7, 8): Alain Français / Assisted by Jean-Yves Legrand
Recording and Mixing Engineer (#3, 6): Jim Anderson / Assisted by Mark Agostino
Tracks 1, 2, 7; mixing engineer: Jim Anderson / Assisted by Brian Kingman
Additional percussion recorded on February 6 and 7, 1995; at Clinton Studio
Edited and digitally mastered on July 20-22, 1995; at Studio De Preference, Wissous, France
Editing and Mastering Engineer: Alain Français
Paris session and cover photography by Jacques Beneich
New York session photography by Cheung Ching Ming
Art Direction: Patrice Beausejour
Design: CB Graphic
Prepared for release by Patrick Votan
Produced by Jean-François Deiber for Birdology Records
Production Coordination: François Zalacain
Liner notes by Ahmad Jamal


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Bud Powell Trio – Bouncing with Bud


Bud Powell Trio – Bouncing with Bud
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Bop, Piano Trio | Label ~ StoryVille/MFSL

This Delmark recording is an excellent set by the great pianist Bud Powell in a trio with the teenage bassist Niels Pederson and drummer William Shiopffe. Recored in Copenhagen, the session features Powell exploring seven bop standards (including his own “Bouncing with Bud”) and “The Best Thing for You.” All eight selections (which put the emphasis on faster material other than “I Remember Clifford”) showcase Bud Powell during his European renaissance period, giving pianists a definitive lesson in playing bop. ~Allmusic

Tracklist:
01. Rifftide (4:16)
02. Bouncing with Bud (6:01)
03. Move (5:00)
04. The Best Thing for You (6:01)
05. Straight, No Chaser (6:46)
06. I Remember Clifford (6:15)
07. Hot House (5:50)
08. 52nd Street Theme (2:24)

Personnel:
Bud Powell – piano
Niels Henning Orsted Pedersen – bass
William Schiopffe – drums

Recorded in Copenhagen, on April 26, 1962
Black & white photography courtesy of Max Jones Files
Liner notes by Erik Wiedemann, 1962
A monaural recording


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Frank Morgan All Stars - Reflections (1992)


Frank Morgan All Stars - Reflections (1992)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe/FilePost/Uploadstation
Genre ~ Hard-Bop, Saxophone | Label ~ Contemporary Records

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended. ~Allmusic

Tracklist:
01. Old Bowl, New Grits (7:38)
02. Reflections (7:16)
03. Starting Over (6:13)
04. Black Narcissus (6:52)
05. Sonnymoon for Two (9:10)
06. O.K. (6:15)
07. Caravan (9:12)

Personnel:
Frank Morgan - alto saxophone
Joe Henderson - tenor saxophone
Bobby Hutcherson - vibes
Mulgrew Miller - piano
Ron Carter - bass
Al Foster - drums

Produced by Orrin Keepnews
Recorded (January 11-12, 1988), mixed, and mastered at Fantasy Studios
Mixed to two track digital using the Mitsubishi X-80 tape recorder
Recording and Remix Engineer: Danny Kopelson
Mastering: George Horn (Fantasy Studios, Berkeley)
Art Direction: Phil Carroll
Cover Design: Jamie Putnam
Photography: Phil Bray
Liner notes by Orrin Keepnews


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Ray Brown and his West Coast All-Star Giants - I'm Walking (1990)


Ray Brown and his West Coast All-Star Giants - I'm Walking (1990)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe/FilePost/Uploadstation
Genre ~ Mainstream, Bop | Label ~ GML/JVC(xrcd)

Arriving in New York in 1945, on his first day in town Ray Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966) ~Elusivedisc

Tracklist:
01. I'm Walking (5:16)
02. Couch Rotate Blues (2:45)
03. Time after Time (6:31)
04. Drum Feature (4:09)
05. Brown Ballad (3:52)
06. A Portrait of Jenny (5:36)
07. Here to Stay (5:07)
08. Lined with a Groove (5:11)
09. Freddie (6:55)
10. F.S.R. (4:50)

Personnel:
Ray Brown - leader, bass
Ichiro Masuda - vibra-harp
Contecandoli - trumpet
Jeff Clayton - alto & soprano saxophone, alto flute
Pete Christlieb - tenor saxophone
Cedar Walton - piano & fender rhodes
Billy Higgins, John Guerin - drums

Co-Produced by Ray Brown & Ichiro Masuda
Arrangements by Ray Brown (#3, 5) and John Clayton (all others)
Recorded at Evergreen Recording, Burbank, CA
Recording Date: September 15-16, 1990
Recording Engineer: Gary Lux
Mastering Engineer: Tohru Kotetsu (JVC)
Art Direction: Masakazu Hirao
Cover Design: Shin Ozaki
Liner Notes: Hiroshi Moriyama


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Sunday, November 20, 2011

Ben Webster Quintet - Soulville (2003)


Ben Webster Quintet - Soulville (2003)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Mainstream, Saxophone | Label ~ Verve (Master Edt)

The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and gutsy "Late Date" -- Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly "Makin' Whoopee" is only outdone by an incredibly nuanced "Where Are You." Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie-styled numbers (these are his only piano recordings). Newcomers shouldn't hesitate to start here. ~Allmusic

Tracklist:
01. Soulville (8:04)
02. Late Date (7:16)
03. Time on My Hands (4:20)
04. Lover, Come Back to Me (8:30)
05. Where Are You? (4:44)
06. Makin' Whoopee (4:33)
07. Ill Wind (3:39)
08. Who (2:59)
09. Boogie Woogie (3:10)
10. Roses of Picardy (2:08)

Personnel:
Ben Webster - tenor saxophone, piano (#8-10)
Oscar Peterson - piano (#1-7)
Herb Ellis - guitar
Ray Brown - bass
Stan Levey - drums

Recorded October 1957, in Hollywood
Original recordings produced by Norman Granz
Original LP-cover photograph by Phil Stern
Reissue produced by Bryan Koniarz
Mastered by Suhar Gur at Universal Mastering Studio-East
Art directed by Hollin King
Designed by Edward O'Dowd
Art production managed by Sherniece Smith
Production assistance by Mark Smith
Notes edited by Stephanie Stein Crease
Reissue photography by Burt Goldblatt and Katherine Holzman Goldblatt
Executive Producer: Ken Druker


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Linn Records - The Super Audio Surround Collection Volume 2 (2006) [SACD rip via Playstation 3]

Linn Records - The Super Audio Surround Collection Volume 2 (2006) [SACD rip via Playstation 3]
Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe
Genre ~ Jazz, Classical | Label ~ Linn Records


Following numerous requests from the audiophile community, Linn Records has produced a stunning new collection of demonstration quality tracks that showcase our artists at their very best. Encompassing classical, jazz and Celtic music, the Linn Super Audio Surround Collection Vol. 2 exemplifies Linn Records' commitment to quality, originality and diversity. Many of the artists featured have never before appeared on a Linn Records compilation CD.

Making their debut are La Scala and Covent Garden favourite Emma Bell, whose soaring soprano voice garnered her numerous five star reviews for her 2005 album "Handel Operatic Arias", the inimitable Girl Talk, a trio of divas whose witty and politically incorrect showstoppers have delighted UK audiences for seven sell-out years, Ian Shaw, recently nominated for ‘Best Vocalist' at this year's BBC Jazz Awards and named Britain's leading male jazz singer by The Guardian and Baroque specialist Alison McGillivray whose debut album "Geminiani Cello Sonatas" was awarded Best Classical CD of 2005 by the Financial Times. Tracks by William Carter and Ian Bruce, not originally released on the SACD format, have been specially mastered for inclusion on this compilation.

Particularly exciting is the inclusion of a new track by Barb Jungr, from her new album "Walking in the Sun" due for release in October 2006. This is the first time a new track has ever been previewed on a Linn compilation.

The speaker featured on the front cover is the new ARTIKULAT loudspeaker system from Linn Products. The ARTIKULAT delivers stunning audio performance from a gorgeous cabinet design. Leading edge technologies encased in an exceptionally sophisticated and elegant cabinet make ARTIKULAT Linn's highest performing multi-channel loudspeaker system. The Linn Super Audio Surround Collection Vol. 2 is the perfect demonstration partner for the ARTIKULAT, beautifully complementing its amazing surround sound capabilities.


Tracklist

1. Barangrill (Ian Shaw)
2. Any Place I Hang My Hat Is Home (Richard Rodney Bennett)
3. Minor Swing (Martin Taylor)
4. That Old Black Magic (Sarah Moule)
5. I Enjoy Being A Girl (Girl Talk)
6. Who Do You Love? (Barb Jungr)
7. The Meaning Of The Blues (Claire Martin)
8. Little Auk (Haftor Medboe Group)
9. Variations On a Theme of Frank Bridge - Aria Italiana (Scottish Ensemble)
10. Czech Suite - Polka (Scottish Chamber Orchestra)
11. Flute Concerto in G K.313 - Rondo: Tempo di menuetto (Scottish Chamber Orchestra)
12. Fantaisie Impromptu in C# minor, Op.66 (Artur Pizarro)
13. Orrida agli occhi miei (Emma Bell)
14. Overture in C op.1 no.2 Allegro (Concerto Caledonia)
15. Sonata op.5 no.4 in B flat - Allegro (Allison McGillivray)
16. Pieces in D Gigue a la maniere Anglois (William Carter)
17. Lassie wi'the lintwhite locks (Ian Bruce)

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Hank Mobley - The Best Of Hank Mobley: The Blue Note Years (1996)

Hank Mobley - The Best Of Hank Mobley: The Blue Note Years (1996)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Hard Bop, Piano Jazz | Label ~ Blue Note Records



Part of Blue Note's quality series of artist samplers, The Best of Hank Mobley surveys the great tenor saxophonist's prime stretch from 1955-1965. Originally overshadowed by the likes of Joe Henderson, Wayne Shorter, and, of course, Coltrane, Mobley nevertheless gained the respect of his peers, thanks to his richly fluid phrasing and smooth, caramel tone -- in lieu of trying to impress you, he seduced you slowly from afar. And while one is advised to dive in directly with any one of his Blue Note discs -- especially Soul Station, No Room for Squares, and A Slice of the Top -- this ten-track overview still works well as a launching pad. Backed by a stellar array of "Blue Note" regulars like Lee Morgan, Curtis Fuller, Billy Higgins, Freddie Hubbard, and Horace Silver, Mobley ranges effortlessly from early hard bop favorites ("Funk in a Deep Freeze") to mature, solo-rich material from the mid-'60s ("The Turnaround"). In between, there are two stunning originals from his banner year of 1960 ("This I Dig of You," "Take Your Pick") and one of the best of his several bossa nova numbers ("Recado Bossa Nova"). For listeners who just want a taste, this best-of collection will do the trick just fine. ~ AllMusic


Tracklist

01. Avila And Tequila (4:31)
02. Funk In Deep Freeze (6:48)
03. Fin De L'Affaire (6:39)
04. Take Your Pick (5:28)
05. This I Dig Of You (6:26)
06. Smokin' (7:32)
07. Recado Bossa Nova (8:13)
08. No Room For Squares (6:59)
09. The Turnaround (8:17)
10. 3rd Time Around (6:14)

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Dave Brubeck - Brubeck A La Mode (1960) [Remastered 1990]

Dave Brubeck - Brubeck A La Mode (1960) [Remastered 1990]
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Cool, West Coast Jazz, Piano Jazz | Label ~ Fantasy Records


It's easy to forget that Dave Brubeck ever recorded any fascinating music with a horn player other than Paul Desmond. But in clarinetist William O. Smith, Brubeck had another foil, another thorough, highly developed (and well-regarded) composer with aerated tone and brilliance of ideas. This 1960 set, like Near Myth, features only Smith's compositions, all of them modal, and all of them showing melted edges and gentle bursts of creative improvising. Brubeck is his usual stalwart player, with his stark chords played so that they sound charming. Drummer Joe Morello and bassist Eugene Wright, Brubeck's best rhythm section, step up to Smith's demanding works, playing latticed harmony so that it rumbles a bit beneath the wood-toned clarinet--whose range sounds ever so Desmond-like. This is a sleeper in the Brubeck catalog, but don't let that imply anything negative. It's astounding. ~ Amazon


Tracklist

1. Dorian Dance
2. Peace Brother
3. Invention
4. Lydian Line
5. Catch-Me-If-You-Can
6. Frisco Fog
7. The Piper
8. Soliloquy
9. One For The Kids
10. Ballade

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Horace Silver - The Baghdad Blues (1959) [Remastered 1996]

Horace Silver - The Baghdad Blues (1959) [Remastered 1996]
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Hard Bop, Piano Jazz | Label ~ Giants Of Jazz Records


This CD takes music from a highly productive time in Horace Silver's brilliant career. It reflects his best, time honored tunes. Great if you have never heard of the man, or want a single source of solid Silver magic. Horace had co-founded and spent time with the Art Blakey and the Jazz Messengers and gone out on his own. I consider Horace Silver my "main man" and own over twenty of his albums. All tunes on this CD, with the exception of "The Baghdad Blues" and "How Did It Happen" are found on two previously issued Blue Note LPs, "Finger Poppin'" and "Blowin' The Blues Away." This music was created at the time Horace was making waves around the world. Within a few years, he would also become a big hit in Japan, Europe and on television. This CD is well worth the price! Enjoy! ~ Amazon Customer's Review


Tracklist

01. Juicy Lucy (5:47)
02. Swingin' The Samba (5:19)
03. Mellow D (5:37)
04. You Happened My Way (5:30)
05. Sister Sadie (6:21)
06. Sweet Stuff (5:34)
07. Break City (4:56)
08. The Baghdad Blues (4:52)
09. Blowin' The Blues Away (4:43)
10. Melancholy Mood (7:09)
11. The St. Vitus Dance (4:10)
12. Peace (6:03)
13. How Did It Happen (4:43)

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Wynton Kelly Trio – It’s All Right! (2006)


Wynton Kelly Trio – It’s All Right! (2006)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe
Genre ~ Hard-Bop, Piano | Label ~ Verve (Japan)

Wynton Kelly has reached an important milestone in his career as a musician. In the past he has worked with some of the most influential artists in jazz (i.e. Lester Young, Dizzy Gillespie, Miles Davis, etc.) and has also paid his dues in the rhythm and blues field as did John Coltrane and Clifford Brown before him. Howeveri, this swinging pianist, who constantly delights jazz musicians and audiences alike with his infectious playing is, in this album, consciously reaching for the ears of an even broader segment of the total audience. ~Album liner notes

Tracklist:
01. It’s All Right (2:52)
02. South Seas (5:30)
03. Not a Tear (6:00)
04. Portrait of Jennie (4:38)
05. Kelly Roll (3:53)
06. The Fall of Love (from “The Fall of The Roman Empire”) (2:07)
07. Moving Up (3:54)
08. On the Trail (from “The Grand Canyon Suite”) (4:31)
09. Escapade (2:58)
10. One for Joan (bonus track) (3:11)

Personnel:
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums
Kenny Burrell – guitar
Candido – conga drums

Recorded March 10, 11 & 19, 1964 at Webster Hall, New York City
Engineer: Bob Simpson
Produced by Creed Taylor
Cover illustration by Michael J. Matatak
Director of Engineering: Val Valentin
Liner notes by Billy Taylor


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Cannonball Adderley - With Strings & Jump for Joy (1995)


Cannonball Adderley - With Strings & Jump for Joy (1995)
EAC rip | FLAC + CUE + LOG | Full Scans | FileSonic/FileServe/FilePost/Uploadstation
Genre ~ Hard-Bop, Soul | Label ~ EmArcy/Verve

This CD reissues two complete LPs from near the beginning of altoist Cannonball Adderley's career. The first session is quite unusual for Adderley (who was completely unknown just a few months earlier) was given a very early opportunity to record with strings. He sounds fine on 11 standards and Terry Gibbs' "Lonely Dreams" but mostly sticks near the melody while Richard Hayman's Orchestra sounds rather anonymous. The 1958 sessions finds him performing ten songs from the early-'40s Duke Ellington show "Jump for Joy" (including "Just Squeeze Me," "I Got It Bad," and "Jump for Joy") while accompanied by a string quartet, a rhythm section, and trumpeter Emmett Berry; Bill Russo provided the generally stimulating arrangements. The formerly rare music on this CD is enjoyable but not as essential as Adderley's slightly later Riverside albums. ~Allmusic

Tracklist:
01. I Cover the Waterfront (2:29)
02. A Foggy Day (2:44)
03. The Surrey with the Fringe on Top (2:34)
04. Two Sleepy People (3:04)
05. I'll Never Stop Loving You (2:44)
06. (I'm Afraid) The Masquerade is Over (3:14)
07. I've Never Been in Love Before (2:22)
08. Lonely Dreams (2:32)
09. Falling in Love with Love (2:35)
10. Street of Dreams (2:16)
11. Polka Dots and Moonbeams (Around a Pug-nosed Dream) (3:07)
12. You are Too Beautiful (2:59)
13. Two Left Feet (3:15)
14. Just Squeeze Me (But Don't Tease Me) (3:19)
15. I Got it Bad (And That Ain't Good) (2:39)
16. Nothin' (4:36)
17. Jump for Joy (3:23)
18. Bli-Blip (3:51)
19. Chocolate Shake (2:43)
20. If Life Were All Peaches and Cream (5:17)
21. Brown-skin Gal (In the Calico Gown) (2:52)
22. The Tune of the Hickory Stick (3:24)

Personnel:
Cannonball Adderley - alto saxophone on all tracks, accompanied by:

Tracks #1-12
Richard Hayman's Orchestra, personnel unknown
Richard Hayman - arranger & conductor

Tracks #13-22
Emmett Berry - trumpet
Leo Kruczek, Gene Orloff - violins
Dave Schwartz - viola
George Ricci - cello
Bill Evans - piano
Barry Galbraith - guitar
Milt Hinton - bass
Jimm Cobb - drums
Bill Russo - arranger & conductor

Tracks #1-12 recorded October 27 and 28, 1955; at Fine Sound, New York City
Tracks #15-17, 20, and 21 recorded August 20, 1958 in New York City
Tracks #13, 14, 18, 19 and 22 recorded August 21, 1958 in New York City
Original LP issue for tracks #1-12: "Julian Cannonball Adderley and Strings" {EmArcy-MG36063}
Original LP issue for tracks #13-22: "Jump for Joy" {EmArcy-MG36146}
Original recordings for #1-12, produced by Bob Shad; cover photograph by Herman Leonard
Original recordings for #13-22, produced by Jack Tracy; cover photograph by Don Bronstein


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