Marian McPartland - Silent Pool (1997) Remastered 2003 [SACD rip via Playstation 3]

Marian McPartland - Silent Pool (1997) Remastered 2003 [SACD rip via Playstation 3]
Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe

Genre ~ Bop, Piano Jazz | Label ~ Concord Jazz Records

Rather than "Silent Pool," the Marian McPartland selection on this rather sleepy CD that best sums up the music is "Melancholy Mood." Long adept at writing harmonically sophisticated originals, pianist McPartland is featured on a dozen of her compositions with the backing of 20 strings, bassist Andy Simpkins and drummer Harold Jones. Alan Broadbent's string arrangements (a throwback in some ways to the mood music records of the 1950s) are lush, dreamy, always middle-of-the-road and sometimes dull. McPartland plays well as usual on the ballad-oriented set that includes at least three of her best-known originals ("A Delicate Balance," "Ambiance" and "Threnody"), but the unadventurous strings clearly weigh down the music. ~ AllMusic

Tracklist

01 For Dizzy (3:43)
02 Twilight World (5:20)
03 Stranger In A Dream (6:58)
04 A Delicate Balance (4:30)
05 Ambiance (4:50)
06 Silent Pool (6:22)
07 Castles In The Sand (6:00)
08 Melancholy Mood (4:08)
09 Threnody (4:43)
10 Time And Time Again (4:59)
11 There'll Be Other Times (3:24)
12 With You In Mind (3:59)

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Chet Baker - Grey December (1953) [Remastered 1992]

Chet Baker - Grey December (1953) [Remastered 1992]
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Genre ~ Cool, West Coast Jazz, Vocal Jazz | Label ~ Pacific Jazz

Two stray Chet Baker 10" titles and a few associated alternate takes are gathered on this single disc. Grey December is one of the better CD reissues featuring Baker's early-'50s recordings on Pacific Jazz, the purveyors of West Coast cool. The instrumental sides feature two septet sessions in December of 1953 and the vocal sextet session dates to February of 1955 -- all three of which feature Baker and pianist Russ Freeman. Rather than present these sides chronologically, the four vocal tracks precede the decidedly lengthier 1953 instrumental sessions -- a programming decision that works remarkably well. Enthusiasts of Baker's laid-back vocals should consider the February 1955 sessions as essential. The combination of Bud Shank's ethereal flute work when married to Baker's muted vocals create an intense burst of melancholy. The uneven tempo and minor chord progressions featured on the title track as well as "I Wish I Knew" are irresistible in their appeal to fans of the genre. Baker's soft-toned trumpet solos match his vocals in spirit and passion. Even the hapless optimism of "Someone to Watch Over Me" is tinged in noir pathos. A much more traditional setting for Baker can be heard on the septet sides. Although the instinctual interaction between Baker and Freeman shines throughout, "Headline," "Moonlight Becomes You," and the up-tempo swinger "A Dandy Line" best exemplify everything positive about that musical relationship. The pair intertwine their melodies so closely and carefully it can be difficult to separate them. On the CD pressing, alternate takes of "Bockhanal," "A Dandy Line," "Little Old Lady," "Moonlight Becomes You," and "Goodbye" are also included. ~ AllMusic

Tracklist

01. Grey December
02. I Wish I Knew
03. Someone To Watch Over Me
04. This Is Always
05. Headline
06. Ergo
07. Bockhanal
08. Bockhanal (Alternate Take)
09. A Dandy Line
10. A Dandy Line ( Alternate Take)
11. Pro Defunctus
12. Little Old Lady
13. Little Old Lady (Alternate Take)
14. Moonlight Becomes You
15. Moonlight Becomes You (Alternate Take)
16. Goodbye
17. Goodbye (Alternate Take)


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Red Garland - Rediscovered Masters, Vol. 2 (1961) [Remastered 1992]

Red Garland - Rediscovered Masters, Vol. 2 (1961) [Remastered 1992]
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Genre ~ Hard Bop, Piano Jazz | Label ~ Prestige Records

Red Garland operates in both a trio and quintet setting in this second batch of recently discovered master recordings unearthed from the Fantasy vaults. The trio sessions include an unissued "Satin Doll," along with three other numbers that featured Garland working with his favorites, bassist Doug Watkins and drummer Specs Powell. They're nicely played, but nothing exceptional. More interesting are the three cuts with Garland backed by a group that includes underrecorded trumpeter Richard Williams and alto saxophonist Oliver Nelson, played with more punch and energy than expected. These cuts marked one of the few times Nelson and Garland ever worked together, and Nelson's excitement seems to have spread throughout the group, especially drummer Charlie Persip, who doesn't dominate, yet makes his presence felt with authority. ~ AllMusic

Tracklist

1. Blues In The Closet (5:37)
2. Blue Velvet (5:50)
3. Mr. Wonderful (9:55)
4. Satin Doll (9:49)
5. Skinny's Blues (8:09)
6. Soft Winds (6:14)
7. Avalon (6:24)

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Red Garland - Rediscovered Masters, Vol. 1 (1961) [Remastered 1992]

Red Garland - Rediscovered Masters, Vol. 1 (1961) [Remastered 1992]
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Genre ~ Hard Bop, Piano Jazz | Label ~ Prestige Records

Originally released for the first time on a 1977 double LP and later reissued on two separate CDs, these performances are up to pianist Red Garland's usual level. Since he was teamed with bassist Paul Chambers, drummer Art Taylor and Ray Barretto on conga, the same lineup used on the Manteca date of two months earlier, the date went unreleased for decades, but in reality, the music is excellent. Highlights include "Lover," "Blues In Mambo," "Estrellita" and "East of the Sun." ~ AllMusic

Tracklist

1. Lover 5:11
2. Five O'Clock Whistle 5:11
3. Blues In Mambo 7:21
4. A Tisket A Tasket 4:26
5. Estrellita 6:55
6. It Might As Well Be Spring 4:54
7. East Of The Sun 11:03

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McCoy Tyner - McCoy Tyner with Stanley Clarke and Al Foster (2000) [SACD rip via Playstation 3]

McCoy Tyner - McCoy Tyner with Stanley Clarke and Al Foster (2000) [SACD rip via Playstation 3]
Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe

Genre ~ Post-Bop, Piano Jazz | Label ~ Telarc Distribution

No longer trying to push the envelope of innovation, Tyner settles down with a pair of experts and carves out a very nice, fairly orthodox piano trio album. This is Tyner reaffirming most of his strengths: the massive tone quality, the two-handed control over the entire keyboard, and the generally uplifting attitude conveyed through the shape of his melodic invention. He does so in a program of six originals, three standards, and one tune by Stanley Clarke, mixing modal tunes, blues, funk, ballads, and a mildly Caribbean ringer. Only once does he evoke memories of the classic John Coltrane Quartet -- not in "Trane-Like" but in "The Night Has a Thousand Eyes." Clarke takes a break from the film studios and turns in one of his rare sessions on acoustic double bass, producing solid, faultless, relatively conventional support. He doesn't leave the electric bass entirely at home, however; his funky side bumps through one of the two versions of "I Want to Tell You 'Bout That," and he exercises low-key, electric subtleties on his "In the Tradition Of" and "Caribe." Foster throws himself skillfully into every situation; he is at ease in all idioms. The sound is excellent, with each instrument, even Tyner's formidable piano, in perfect balance. ~ AllMusic

Tracklist

1. Trane-Like - 9:10
2. Once Upon a Time - 5:28
3. Never Let Me Go (Raymond Evans, Jay Livingston) - 4:16
4. I Want to Tell You 'Bout That - 5:16
5. Will You Still Be Mine (Matt Dennis) - 6:44
6. Goin' 'Way Blues - 6:28
7. In the Tradition Of (Stanley Clarke) - 7:36
8. The Night has a Thousand Eyes" (Jerry Brainin) - 4:49
9. Carriba - 5:38
10. Memories - 3:31
Bonus track:
11. I Want to Tell You 'Bout That [acoustic bass version] - 5:57

All compositions by McCoy Tyner except as indicated

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Eliane Elias Plays Live (2010) [Blue Note/EMI]

Eliane Elias Plays Live (2010) [Blue Note/EMI]
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Genre ~ Contemporary, Standards | Label ~ Blue Note/EMI

Multi-Grammy Award nominee, Brazilian pianist/singer/composer/arranger Eliane Elias is known for her distinctive and immediately recognizable musical style which blends her Brazilian roots, her sensuous, alluring voice with her impressive compositional and piano skills. All her recordings went top five on Billboard and top five on the radio charts in the U.S., with many reaching number one. In Japan, four of Eliane’s recordings received the Gold Disc Award from Swing Journal, (including consecutively her last three releases). Her 2007 release, Something for You, received the Best Vocal Album of the Year Award in Japan. In 2008, Eliane was the number two artist in CD sales in France on the Annual Jazz Charts. ~Eliane Elias official site

Tracklist:
01. Just Friends (10:30)
02. Bowing to Bud (10:49)
03. If You Could See Me Now (5:37)
04. Have You Met Miss Jones (10:47)
05. Embraceable You / But Not for Me / Jazz Influence / Who Knows (6:37)
06. Peggy's Blue Skylight (8:01)
07. Desafinado (18:12)

Personnel:
Eliane Elias - piano
Marc Johnson - bass
Joey Baron - drums

Recorded live in Amsterdam at The Bimhuis; on May 31st, 2002
This recording was made available by NPS Radio
NPS Radio Producer: Paul Harvey
Sound Engineer: Dick Lucas
Mastering Digital Preparation: Steve Rodby
Mastered by Rich Breen at Dogmatic Sound
Photographs by Tom LeGoff & Yuka Yamaji
Art Direction: Kaoru Taku
Release Coordination: Ken Arai
A&R Director: Kazuhiro Kobayashi

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Sarah Vaughan - Verve Jazz Masters.42: The Jazz Sides (1995) [PolyGram/Verve]

Sarah Vaughan - Verve Jazz Masters.42: The Jazz Sides (1995) [PolyGram/Verve]
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Genre ~ Vocal Jazz, Standards | Label ~ PolyGram/Verve

Modern jazz, with its emphasis on the cool, can often warp a song beyond recognition. As the performer experiments and tinkers with tunes, this sometimes means a substitution of technical brilliance for simplicity. Sarah Vaughan, however, can be wildly innovative and still score a direct hit in the ears and hearts of her audience. For instance, Vaughan's version of "I Feel Pretty" captures all the charm of the WEST SIDE STORY composition, at the same time imbuing it with a singular energy that enhances the song, altering it just enough to thrill the listener. She often changes aspects of a song, improving the piece's dynamics with her sense of tempo and range, such as on "Prelude to a Kiss." She's the proverbial singer who could make the phone book sound good. ~Cduniverse

Tracklist:
01. I Cried for You (Now it's Your Turn to Cry Over Me) (2:20)
02. I Feel Pretty (2:27)
03. Words Can't Describe (4:33)
04. Pennies from Heaven (3:07)
05. It's Got to Be Love (2:28)
06. Dancing in the Dark (3:46)
07. Doodlin' (4:35)
08. Prelude to a Kiss (2:47)
09. Polka Dots and Moonbeams (Around a Pug-Nosed Dream) (2:34)
10. The More I See You (5:18)
11. I Left My Heart in San Francisco (4:10)
12. Like Someone in Love (3:06)
13. Body and Soul (3:13)
14. Over the Rainbow (5:16)
15. Misty (6:02)
16. Tenderly (2:29)

Personnel:
Sarah Vaughan - vocals
Frank Wess - alto & tenor saxophones
Marshall Royal - alto saxophone
Frank Foster, Billy Mitchell, Frank Wess - tenor saxophones
Charlie Fowlkes - baritone saxophone
Thad Jones, Wendell Culley, Joe Newman, Snooky Young -trumpets
Freddie Hubbard, Charlie Shavers, Clark Terry - trumpet
Henry Coker, Al Grey, Benny Powell, J.J. Johnson, Kai Winding - trombone
Benny Golson, Phil Woods - woodwinds
Kirk Stuart, Jimmy Jones, Ronnell Bright, John Malachi, Bob James - piano
Freddie Green - guitar
Charles Williams, Richard Davis, Joe Benjamin - bass
George Hughes, Roy Haynes, Sonny Payne - drums

Recorded in Copenhagen, Denmark; New York; Chicago, Illinois between 1954-1967
Compilation supervised by Michael Lang
Selected and sequenced by James W. Brumskin
Researched by Ben Young
Mastered by Suha Gur at PolyGram Studios
Notes edited by Peter Pullman
Production coordinated by Aric Lach Morrison
Art designed and directed by Sheryl Lutz-Brown
Layout by Wendi Traub-Cohen
Design coordinated by Nichell Delvaille
Photographs by Paul J. Hoeffler
Executive Producer: Richard Seidel
Liner notes by Robert Baird

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Arne Domnerus Group - Jazz at the Pawnshop {2CD} (2007) [Proprius/LIM-K2HD]

Arne Domnerus Group - Jazz at the Pawnshop {2CD} (2007) [Proprius/LIM-K2HD]
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Genre ~ Mainstream, Bebop | Label ~ Proprius/LIM

On December 6 and 7, 1976, in a small jazz club called Stampen (The Pawn Shop) in Stockholm's Old Town, Swedish sound engineer Gert Palmcrantz recorded a group of leading Scandinavian jazzmen live, trying to get "the tight, harmonious sound of the records of my childhood." Conditions were less than ideal. A full house, a great deal of background noise. No rehearsals. No sound checks. The musicians just started playing with no one knowing what would be next on the agenda until reedman Arne Domnerus called it.

The result has often been hailed as the best live jazz recording ever. Amazingly, for a small country such as Sweden, the record sold more than half a million copies and still sells, at a rate of around 4,000 copies annually. In the past thirty years it has been re-released in all manner of formats and become a cult album for Hi-Fi freaks, especially in South East Asia, where a Hong Kong audio magazine devoted five pages to an analysis of Palmcrantz's achievement.

Now the icing on the cake: a special three-CD 30th anniversary edition of Jazz at the Pawnshop, with hybrid disks that play on ordinary CD, Stereo SACD and Surround SACD systems. It comes with previously unreleased material, a booklet in which a charmingly modest Palmcrantz very amusingly tells just how he did it. Plus a DVD, featuring interviews with Erstrand and Riedel, recorded in Stampen, with English subtitles.

Sound aside, the music is an absolutely glorious mix that seamlessly knits Ellington with Armstrong, melancholic Swedish folk songs with bop, and two takes of African High Life thrown in for good measure. Domnerus is at the very height of his considerable powers on alto saxophone and clarinet. The highlights are a lovely, lyrical version of "Over The Rainbow" and his booting rendition of Parker's "Now's The Time," which follow one another on the second disc. Pianist Bengt Hallberg, usually an extremely delicate and very measured player, was obviously affected by the general ambience, and here and there cuts loose with awesome force. "Bengt went almost crazy on occasions," bassist Riedel recalls on the DVD. Erstrand, one of Europe's best on vibes, played just one night but added a light, airy feel. He rides high on up-tempo numbers like "Limehouse Blues," but also provides subtle underpinning on ballads including "I'm Confessin'" and "Lady Be Good."

You hear the chink of glasses, the chime of the bell to acknowledge a tip, the burr of conversation. It all fits; that intimate club atmosphere that sparks jazz at its best. You feel as though you're there. Which is Palmcrantz's triumph, and why Jazz at the Pawnshop is likely to continue to fascinate both jazz and audio fans for a good many years to come. ~allAboutJazz

Tracklist, Disc One:
01. Introduction (0:39)
02. Limehouse Blues (9:35)
03. I'm Confessin' (8:03)
04. High Life (7:11)
05. Struttin' with Some Barbeque (6:38)
06. Jeep's Blues (7:00)
07. Stuffy (7:06)

Tracklist, Disc Two:
01. Lady be Good (9:33)
02. Here's that Rainy Day (5:30)
03. Barbados (8:28)
04. How High the Moon (6:14)
05. Take Five (6:59)
06. Everything Happens to Me (5:16)

Personnel:
Arne Domnerus - alto saxophone & clarinet
Bengt Hallberg - piano
Lars Erstrand - vibes
Georg Riedel - bass
Egil Johansen - drums

Recorded at The Pawnshop (Stampen) Jazz Club in Stockholm, Sweden
Recorded on December 6-7, 1976
Recording Engineer: Gert Palmcrantz
Format: K2 HD 24bit 100kHz Mastering
Producer: Winston Ma
Mastering Engineer: Takeshi "Hakkaman" Hakmata, Victor Entertainment, Inc., JVC, Japan
Venue: Flair Studios, Tokyo, Japan
Date: November 2, 2007
Cover Design: Touch Communication Inc., Vancouver, B.C. Canada

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Dizzy Gillespie & James Moody with Gil Fuller & The Monterey Jazz Festival Orchestra [Blue Note (Conneisseur)]

Dizzy Gillespie & James Moody with Gil Fuller & The Monterey Jazz Festival Orchestra [Blue Note (Conneisseur)]
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Genre ~ Big Band | Label ~ Blue Note (Conneisseur)

Recorded in 1965, this often out-of-print live set features bebop innovator and trumpeter Dizzy Gillespie, his frequent 1960's sideman James Moody (one of the greatest mainstream tenor saxophonists ever), and arranger Gil Fuller successfully collaborating in a big band context. The program is standards, pop hits of the day ("Sweets For My Sweet"), bop chestnuts ("Tin Tin Deo"), and some Latin-flavored big band swing (composed by Fuller). This edition has been expanded to 20 tracks. ~Cduniverse

Tracklist:
01. Man from Monterey (4:00)
02. Angel City Blues (8:20)
03. Love Theme from "The Sandpiper" (2:49)
04. Groovin' High (3:28)
05. Be's That Way (4:39)
06. Big Sur (4:37)
07. Moontide (4:19)
08. Things are Here (4:19)
09. Tin Tin Deo (2:54)
10. I'm in the Mood for Love (3:37)
11. Night Flight (3:03)
12. Our Man Flint (3:02)
13. Seesaw (3:36)
14. Batucada Surgiu (2:25)
15. 17 Mile Drive (4:12)
16. A Patch of Blue (2:42)
17. Latin Lady (5:37)
18. Blues for a Debutante (2:35)
19. Sweets for My Sweet (2:51)
20. Wild Chestnuts (2:20)

Personnel:
Dizzy Gillespie - trumpet (#1-8)
James Moody - alto sax, tenor sax, flute (#9-20)
Gil Fuller - arranger & conductor
Freddie Hill, Harry "Sweets" Edison, Melvin Moore, John Audino - trumpets
Lester Robinson, Francis Fitzpatrick, Jim Amlotte - trombones
Herman Lebow, Sam Cassano, David Duke, Alan Robinson - French horns
Buddy Colette, Gabe Baltazar, Bill Green, Carrington Visor Jr., Jack Nimitz - reeds
Phil Moore III - piano
Dennis Budimir - guitar
Jimmy Bond - bass
Earl Palmer - drums
(see booklet for complete personnel listing)

Arranged by Gil Fuller
Produced by Richard Bock
Originally recorded on June 8 & 9, 1965 (#1-8) at Pacific Jazz Studios, Los Angeles;
and on December 14, 23 & 24, 1965 (#9-20) at Western Recorders, Los Angeles.
Recording Engineer (#1-8): Richard Bock
Recording Engineers (#9-20): Lanky Linstrot & Henry Lewy
Produced for release by Michael Cuscuna
Remixed from the original three-and-four track tapes and mastered in 24bit by Ron McMaster
Liner photographs by Arthur Adams
Reissue design by Patrick Roques
Tracks 1-8 originally issued as Gil Fuller & The Monterey Jazz Festival Orchestra featuring Dizzy Gillespie (Pacific Jazz ST 93)
Tracks 9-20 originally issued as Night Flight (Pacific Jazz ST-20101)

Thanks to the original releaser.

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Gene Ammons and Friends at Montreux [Prestige/OJC]

Gene Ammons and Friends at Montreux [Prestige/OJC]
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Genre ~ Hard-Bop | Label ~ Prestige/OJC

Ammons, whose studio recordings of the period were somewhat commercial, is heard in excellent form playing a blues and three standards with the backing of a fine rhythm section: Hampton Hawes (who unfortunately sticks to electric piano), electric bassist Bob Cranshaw, drummer Kenny Clarke and Kenneth Nash on congas. Best of all is a 17-minute blues on which Ammons welcomes fellow tenor Dexter Gordon, cornetist Nat Adderley and altoist Cannonball Adderley; the four horns all get to trade off with each other. This is one of the better late-period Gene Ammons records. ~Allmusic

Tracklist:
01. Yardbird Suite (7:31)
02. Since I Fell for You (8:27)
03. New Sonny's Blues (7:36)
04. Sophisticated Lady (5:44)
05. 'Treuz Bleu (17:06)

Personnel:
Gene Ammons - tenor saxophone
Dexter Gordon - tenor saxophone (on #5 only)
Cannonball Adderley - alto saxophone (on #5 only)
Nat Adderley - cornet (on #5 only)
Hampton Hawes - electric piano
Bob Cranshaw - electric bass
Kenny Clarke - drums
Kenneth Nash - congas

Produced by Orrin Keepnews
Recorded during concert performance at the Montreux (Switxerland) Jazz Festival; July 7, 1973
Recording Engineers: Chris Penycate, Carlos Olms
Remix Engineer: Jim Stern (Fantasy Studios, Berkeley)
Remastering, 1999 - Kirk Felton (Fantasy)
Original LP art direction & photography by Tony Lane
Cover Montage: Jamie Putnam

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Kenny Dorham - Whistle Stop (2008) [Blue Note/Analogue Productions]

Kenny Dorham - Whistle Stop (2008) [Blue Note/Analogue Productions]
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Genre ~ Hard-Bop | Label ~ Blue Note/Analogue Productions

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. The CD reissue of Whistle Stop features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the '90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had recorded with previously along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set. ~Allmusic

Tracklist:
01. 'Philly' Twist (5:40)
02. Buffalo (7:43)
03. Sunset (6:22)
04. Whistle Stop (5:56)
05. Sunrise in Mexico (5:40)
06. Windmill (6:18)
07. Dorham's Epitaph (1:16)

All songs written by Kenny Dorham

Personnel:
Kenny Dorham - trumpet
Hank Mobley - tenor sax
Kenny Drew - piano
Paul Chambers - bass
Philly Joe Jones - drums

Recorded by Rudy Van Gelder; January 15, 1961
Originally released in 1961 on Blue Note as BST-84063
Mastered for SACD by Kevin Gray and Steve Hoffman AcousTech Mastering, Camarillo, California.
Authored for SACD by Gus Skinas on the SONOMA system at the Super Audio Center, Boulder, Colorado
Cover photo by Francis Wolff
Cover design by Reid Miles
Additional photos by Francis Wollf, 2008-Mosaic Imagec LLC.

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Nina Simone - Dejavu Retro Gold Collection {2CD} (2004) [Recording Arts]

Nina Simone - Dejavu Retro Gold Collection {2CD} (2004) [Recording Arts]
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Genre ~ Vocal, Soul | Label ~ Recording Arts

This collection of 25 tracks recorded by legendary blues singer Nina Simone includes some of her best material including "Black Is The Color Of My True Love's Hair." UK compilation featuring 25 tracks from the late jazz-soul diva. Includes 20 page booklet with rare photographs. Standard double jewelcase w/slipcase. English version includes artist info. booklet. ~Cduniverse

Tracklist, Disc One:
01. Cotton-eyed Joe (2:53)
02. Porgy (5:10)
03. Forbidden Fruit (3:50)
04. Gin House Blues (3:04)
05. Nina's Blues (Trouble in Mind) (5:32)
06. Summertime (5:37)
07. The Other Woman (3:01)
08. L'il Liza Jane (4:32)
09. Work Song (2:36)
10. You Can Have Him (5:52)
11. Exactly Like You (3:14)
12. Black Is the Color of My True Love's Hair (3:30)
13. Under the Lowest (7:59)

Tracklist, Disc Two:
01. Suzanne (6:34)
02. Be My Husband (4:42)
03. Save Me (5:16)
04. Ain't Got No, I Got Life (6:53)
05. Please Don't Let Me Be Misunderstood (6:40)
06. To Love Somebody (3:04)
07. House of the Rising Sun (6:46)
08. See Line Women (4:22)
09. Just in Time (4:41)
10. When I Was a Young Girl (4:50)
11. No Opportunity Necessary (4:20)
12. Young Gifted and Black (6:21)

Personnel:
Nina Simone - vocals, piano; with collective personnel. (compilation album)

Produced 2003, Recordings Arts SA.
Graphics by "Still Grafix"

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Horace Silver - Jazz... has... a Sense of Humor (1999) [GRP/Verve]

Horace Silver - Jazz... has... a Sense of Humor (1999) [GRP/Verve]
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Genre ~ Hard Bop, Soul | Label ~ GRP/Verve

In this set of nine originals, the Horace Silver touch is clearly evident: happy, strong melodies; groovin' beats; Silver's deft, deliberate, bluesy piano comping and boppin' leads; and the joyful playing of saxophonist Jimmy Greene and trumpeter Ryan Kisor, which seems to be more intense in the context of Silver's unmistakable compositions. The CD's title is in reference to the album's content (and that the listener has to go along with Silver's adoration in a nonsexist way toward women). Some might be offended by the title "I Love Annie's Fanny," but it's just the name of a bouncy, mainstream jazz ditty that Silver is so well known for writing. There are some clichés that pop up in old Silver numbers that he seems to have rewritten. Phrases of "Cape Verdean Blues" creep into the urgent first movement of "The Mama Suite," and his typical groove waltz is extant in the opener "Satisfaction Guaranteed" and the closer "Where Do I Go From Here?" But his tunefully familiar, head-noddin' original funk is a vital as ever, and sounds pretty fresh compared to some of the trite neo-bop being reprocessed this past decade. Silver's light, spare, soulful style -- particularly when he uses his left hand in tandem with John Webber's bass -- is a sound for sore ears, one that has a universal, timeless appeal, crossing generational and commercial barriers. This is well-played music, a specialty Silver has envisioned and realized through the bulk of his career. Highly recommended. ~Allmusic

Tracklist:
01. Satisfaction Guaranteed (5:49)
02. The Mama Suite Part I: Not Enough Mama (5:36)
03. The Mama Suite Part II: Too Much Mama (4:52)
04. The Mama Suite Part III: Just Right Mama (4:08)
05. Philley Millie (4:45)
06. Ah-Ma-Tell (6:00)
07. I Love Annie's Fanny (4:48)
08. Gloria (7:34)
09. Where Do I Go from Here? (4:01)

All songs, lyrics, and arrangements by Horace Silver

Personnel:
Horace Silver - piano
Ryan Kisor - trumpet
Jimmy Greene - tenor and soprano sax
John Webber - bass
Willie Jones III - drums

Recorded by Jim Anderson, December 17 and 18, 1998 at Avatar Studios; New York
Mixed by Al Schmitt, January 1999 at Schnee Studios, Burbank
Mastered by Doug Sax at The Mastering Lab, Hollywood
Production coordination: Marsha Black
Illustrations: Peter de Seve
Background Art: Kaei Ishiara
Art Direction: Hollis King
Design: Isabelle Wong / Isthetic
Release coordination: Theodora Kuslan
Produced by Horace Silver and Silveto Productions, Inc.
Executive Producer: Tommy LiPuma

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The Penguin Cafe Orchestra - A Brief History (2001) Remastered 2003 [SACD rip via Playstation 3]

The Penguin Cafe Orchestra - A Brief History (2001) Remastered 2003 [SACD rip via Playstation 3]
Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe

Genre ~ Chamber Jazz, Neo-Classical | Label ~ Virgin Records

If you are in any doubt as to who The Penguin Café Orchestra are, think back to that quirky tune on the One2One advert made up of telephone dial tones and jerky violin ? Yes, that's them. Or more precisely, him; the Penguin Café Orchestra was founded in the mid 70s by one man, the late British composer Simon Jeffes, as a soundtrack for a fantasy café whose daily specials were the re-written laws of physics and music.

A former music student, Jeffes' dream - which came to him during a bout of food poisoning in the early 70s - was to write and perform music which drew on styles and cultures all over the world. The PCO was the realisation of this dream, and A Brief History shows off the huge range of influences which shaped the PCO's charmingly unique and eccentric sound. It's all in there, chirpy Celtic folk tunes, minimalist drones, choral chants; and through it all, an almost hypnotic rhythmic repetitiveness which brings a dreamy, sleepy quality to even the livelier tunes.

Today, Jeffes' music remains delightfully unclassifiable, whilst its accessibility makes it beloved of advertisers and Café del Mar chill-out album compilers alike. In the 70s however the PCO was radical, even revolutionary, catching the attention of Brian Eno who signed them to his Obscure label. Other evidence of Jeffes' eclecticism; brought in as producer by Malcolm McLaren to raise Adam and the Ants from punk to pop and chart stardom; arranged the strings on Sid Vicious' version of "My Way". Need I say more?

A review cannot really do credit to this album. The PCO is a legend, and the music on A Brief History tells the story of an immensely creative and joyous force in music. Irrepressibly chirpy, irresistibly quirky and undeniably original, here is music to bring sunshine to a Sunday morning. ~ BBC Review

Tracklist

01. Beanfields (4:31)
02. Telephone And Rubber Band (2:29)
03. Music For A Found Harmonium (3:40)
04. Perpetuum Mobile (4:31)
05. From the Colonies (3:21)
06. Giles Farnaby's Dream (4:06)
07. Surface Tension (2:23)
08. Air A Danser (4:32)
09. Yodel 1 (4:12)
10. Numbers 1-4 (6:52)
11. Steady State (3:34)
12. Paul's Dance (1:46)
13. Prelude & Yodel (3:58)
14. Heartwind (4:13)
15. White Mischief (5:48)
16. Dirt (4:52)
17. Rosalosis (4:15)
18. Organum (3:53)
19. Lullaby (4:00)

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Duke Jordan - Lover Man (1975) [Remastered 1992]

Duke Jordan - Lover Man (1975) [Remastered 1992]
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Genre ~ Hard Bop, Piano Jazz | Label ~ Steeplechase Records

Although he had a long career, Duke Jordan will always be best known for being pianist with Charlie Parker's classic 1947 quintet. A little earlier, he worked with the Savoy Sultans, Coleman Hawkins, and the Roy Eldridge big band (1946). After his year with Parker (his piano introductions to such songs as "Embraceable You" were classic), Jordan worked with the Sonny Stitt/Gene Ammons quintet (1950-1951) and Stan Getz (1949 and 1952-1953). He started recording as a leader in 1954, debuting his most famous composition, "Jor-Du," the following year. Although he worked steadily during the next few decades (writing part of the soundtrack for the French film Les Liaisons Dangereuses), Jordan was in obscurity until he began recording on a regular basis for Steeplechase in 1973. Duke Jordan, who was married for a time to the talented jazz singer Sheila Jordan, lived in Denmark from 1978 until his death on August 8, 2006. He recorded through the years for Prestige, Savoy, Blue Note, Charlie Parker Records, Muse, Spotlite, and Steeplechase.
This album was remastered by Steeplechase Records in 1992.

Tracklist

1. Dig
2. Dancer's call
3. Love train
4. Don't blame me
5. Sea
6. Lover man
7. They say it's wonderful
8. Out of nowhere

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Manhattan School Of Music Afro-Cuban Jazz Orchestra - Tito Puente Masterworks Live!!! (2011)

Manhattan School Of Music Afro-Cuban Jazz Orchestra - Tito Puente Masterworks Live!!! (2011)
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Genre ~ Latin Jazz, Big Band | Label ~ Jazzheads Records

If the Latin Jazz community had its own Mount Rushmore, then Tito Puente's face would be there, right beside the images of Machito and Mario Bauzá. All three men are viewed as patriarchs and/or key figures in the evolution of the Afro-Cuban musical movement and, despite Puente being the only non-Cuban on that list, Bauzá himself paid him the ultimate compliment when he said that "no one in the world has done more for Afro-Cuban music than Tito Puente." While all three men have left this world, their music remains, and percussionist Bobby Sanabria—the ultimate advocate for Afro-Cuban music—is making sure that it makes its way to the masses.

Sanabria has become something of a Wynton Marsalis for the Latin jazz set, espousing the virtues and history of this music on PBS-aired documentaries, performing in a variety of high profile settings, and educating the next generation of musicians with his real-world experience and knowledge. When wearing his educator hat, Sanabria serves as the director of the Manhattan School of Music's Afro-Cuban Jazz Orchestra, but this is no mere college band. That phrase carries an apologetic tone, and this band has nothing to apologize for. Sanabria first unleashed an earlier incarnation of this explosive ensemble on the public, when he saluted Machito and Bauzá with Kenya Revisited (Jazzheads, 2009), and turns his attention toward Puente's oeuvre on this recording.
Power and passion play a big part in this music, and dance-worthy rhythms are always underneath it all. The horns can hit as hard as any section around, firing off volcanic chords that are capable of peeling paint off a wall, and this serves to demonstrate Sanabria's enthusiasm for the subject at hand, clearly seeping into every member of the band. Solos are plentiful on many selections and, while the members of the band put their hearts and souls into this fiery fare, some stand out more than others. Norman Edwards proves to be a double threat, delivering tasteful vibraphone lines ("Autumn Leaves") and dynamic drum work ("Mambo Beat") with equal skill, and baritone saxophonist Michael Sherman blows the roof off whenever he steps forward ("Mambo Beat" and Cuban Nightmare"). Paul Stodolka and Anthony Stanco constantly play the bold and brawny trumpet role to perfection, while each member of the saxophone section is in peak form on "Cuban Nightmare."

While Tito Puente Masterworks Live!!! is a fine tribute to the great Tito Puente, it goes beyond mere repertory rehash. Sanabria and his young stand mates have summoned the very spirit of Puente by putting a vibrant coat of paint on classic material from his catalog.

Tracklist

01. Intro/Elegua Chango [05:00]
02. Picadillo [08:27]
03. Bohemia (Birdland) After Dark [04:46]
04. Autumn Leaves [05:00]
05. Cuban Nightmare [08:20]
06. Mambo Buddha [03:14]
07. Ran Kan Kan [04:04]
08. Alegre Cha-Cha-Cha [04:06]
09. Ritual Fire Dance [04:30]
10. Yambeque [03:59]
11. Me Acuerdo De Ti [04:01]
12. Mambo Beat [07:46]
13. Mambo Adonis [08:16]

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Gil Evans - Great Jazz Standards (1959) [Remastered 1997]

Gil Evans - Great Jazz Standards (1959) [Remastered 1997]
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Genre ~ Cool, Big Band | Label ~ Capitol Records

Has there been a better album with a worse title? (There must be a list somewhere.) Jazz Standards would have been OK, but Great Jazz Standards is just too lumpy. But it is a very, very good album - containing some of Evans's finest work. It is a companion piece to the previous year's New Bottle Old Wine: like that album it is a series of versions of jazz standards, ranging from Bix Beiderbecke's Davenport Blues through to Clifford Jordan's Joy Spring (but on this album they are not presented chronologically and the record closes with one of Evans's compositions, here called the Theme, but more famously titled Nevada) and like the earlier album it is a series of dialogues with the original material, reflecting a great love for the material while transmuting it into something totally Evansian (again there are no Ellington tunes, probably because Evans' work is always a dialogue with the master); as with the earlier album the general rule is that the slower the music is the better it is, the up tempo Joy Spring is the weakest track while the version of John Lewis's Django is one of Evans's greatest arrangements, again Evans seems to need the temporal space to layer the levels of harmony. It differs from the earlier album in that there is not one central musician - and I think this makes it the stronger album: Johnny Coles is especially fine on the opening Davenport Blues and Django (at first I thought, perhaps because of the context, he was too close to Miles Davis, but on repeated listenings I realised while he had much of the come intensity as Davis it came from a very different temperament); I have previously compared much trombone playing to enthusiastically blowing into bathroom plumbing, but on Ballad of the Sad Young Men, Jimmy Cleveland plays with a control and beauty that shows I lied; Budd Johnson on clarinet and tenor is very fine on Chant of the Weed and the Theme, but Steve Lacy's alto on Straight No Chaser and Django is wonderful. Overall this is one of Evans's finest achievements: so why isn't it more famous?

Tracklist

01 Davenport Blues 4:25
02 Straight No Chaser 6:19
03 Ballad of The Sad Young Men 4:00
04 Joy Spring 2:49
05 Django 8:05
06 Chant of The Weed 4:25
07 La Nevada (Theme) 6:15

Recorded in New York on February 5, 1959 (tracks 3,4,6,7) and early 1959 (tracks 1,2,5)

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Shelly Manne & His Men — At The Black Hawk, Vol. 1 (1960) [Remastered 1991]

Shelly Manne & His Men — At The Black Hawk, Vol. 1 (1960) [Remastered 1991]
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Genre ~ Hard Bop, Cool | Label ~ Contemporary Records

Shelly Manne's Quintet was recorded extensively at San Francisco's Black Hawk club for three nights in 1959. Although not the most significant group that the drummer led, this edition (with trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Victor Feldman, and bassist Monty Budwig) was certainly capable of playing high-quality bebop. Originally their output was released on four LPs; the reissue expanded the music to five CDs. The first volume adds an alternate take of Frank Rosolino's "Blue Daniel" to a set that includes swinging versions of "Blue Daniel," "Poinciana," "Our Delight," and "Summertime." The extended performances are easily recommended to straight-ahead jazz fans. ~ AllMusic

Tracklist

01. Summertime (12:01)
02. Our Delight (12:04)
03. Poinciana (13:17)
04. Blue Daniel (8:44)
05. Blue Daniel (alternate version) (8:15)
06. Theme: A Gem From Tiffany (0:50)

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Shelly Manne & His Men — At The Black Hawk, Vol. 2 (1960) [Remastered 1991]

Shelly Manne & His Men — At The Black Hawk, Vol. 2 (1960) [Remastered 1991]
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Genre ~ Hard Bop, Cool | Label ~ Contemporary Records

Vol. 2 of the five CDs that document drummer Shelly Manne's Quintet at the Black Hawk club in San Francisco during a three-day period adds a new alternate take of Charlie Mariano's "Step Lightly" to the original program ("Step Lightly," "What's New," "Vamp's Blues"). These lengthy performances ("Vamp's Blues" is over 19 minutes long) give trumpeter Joe Gordon, the cool-toned tenor-saxophonist Richie Kamuca, pianist Victor Feldman, bassist Monty Budwig and the leader/drummer a chance to really stretch out. Fine 1950s bebop. ~ AllMusic

Tracklist

01. Step Lightly (13:00)
02. What's New (13:29)
03. Vamp's Blues (20:15)
04. Step Lightly (alternate version) (14:19)
05. Theme: A Gem From Tiffany (0:42)

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Shelly Manne & His Men — At The Black Hawk, Vol. 3 (1960) [Remastered 1991]

Shelly Manne & His Men — At The Black Hawk, Vol. 3 (1960) [Remastered 1991]
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Genre ~ Hard Bop, Cool | Label ~ Contemporary Records

Originally released as four LPs, the Shelly Manne Quintet's three days at San Francisco's Black Hawk club is now documented on five CDs. The third volume adds a second (and longer) version of "Whisper Not" to the original rendition, Cole Porter's "I Am in Love" and the spontaneous 18-minute "Black Hawk Blues." Considering how much music was documented, it is fortunate that trumpeter Joe Gordon, tenorman Richie Kamuca, pianist Victor Feldman, bassist Monty Budwig and drummer Shelly Manne were in top form for this enjoyable gig. The music is high-quality straightforward and uncomplicated bebop. ~ AllMusic

Tracklist

01. I Am In Love (12:22)
02. Whisper Not (10:04)
03. Black Hawk Blues (19:21)
04. Whisper Not (alternate version) (12:25)

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Shelly Manne & His Men - At The Black Hawk, Vol. 4 (1960) [Remastered 1991]

Shelly Manne & His Men - At The Black Hawk, Vol. 4 (1960) [Remastered 1991]
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Genre ~ Hard Bop, Cool | Label ~ Contemporary Records

Shelly Manne's 1959 quintet (with trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Victor Feldman, bassist Monty Budwig, and the drummer/leader) was not his most important, but it was a hard-swinging unit well versed in bebop. Their three days at the Black Hawk (a popular San Francisco jazz club during this era) was almost completely documented, originally on four LPs and now expanded to five CDs. As with the first three sets, the fourth volume adds an alternate take (of "Cabu") to the original program ("Cabu," "Just Squeeze Me," "Nightingale," and a full-length version of their theme, "A Gem from Tiffany"). The lengthy solos are consistently excellent, making this entire series recommended to straight-ahead jazz fans. ~ AllMusic

Tracklist

01. Cabu (11:00)
02. Just Squeeze Me (13:02)
03. Nightingale (12:07)
04. Theme: A Gem From Tiffany (10:10)
05. Cabu (alternate version) (11:51)

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Shelly Manne & His Men - At The Black Hawk, Vol. 5 (1960) [Remastered 1991]

Shelly Manne & His Men - At The Black Hawk, Vol. 5 (1960) [Remastered 1991]
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Unlike the first four volumes of this series, which included three or four selections previously released plus a "new" alternate take, the final CD of the extensive documentation of the Shelly Manne Quintet's stint at the Black Hawk club consists entirely of previously unreleased material. Fortunately, the performances by trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Russ Freeman, bassist Monty Budwig, and the drummer/leader are the same high level as on the more familiar material. They perform obscure songs by Horace Silver (has anyone else ever recorded his "How Deep Are the Roots?") and Victor Feldman in addition to a trio feature on "Wonder Why," the ballad "This Is Always," and a new version of the band's theme song, "A Gem From Tiffany." ~ AllMusic

Tracklist

01. How Deep Are The Roots (11:12)
02. This Is Always (10:14)
03. Wonder Why (8:56)
04. Eclipse Of Spain (10:42)
05. Pullin' Strings (4:44)
06. Theme: A Gem From Tiffany (5:49)

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Oscar Peterson - Time after Time (1992) [Pablo]

Oscar Peterson - Time after Time (1992) [Pablo]
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Genre ~ Mainstream | Label ~ Pablo

Pianist Oscar Peterson's final Pablo album (after a countless amount of appearances as both a leader and a sideman) features his quartet (which at the time included guitarist Joe Pass, bassist David Young and drummer Martin Drew) on the second of two CDs (along with Oscar Peterson Live) recorded during an engagement at Los Angeles's Westwood Playhouse in Nov. 1986. For the well-rounded set Peterson performs two of his originals, the blues "Soft Winds," a solo ballad medley and, as a climax, a burning version of "On the Trail." ~Allmusic

Tracklist:
01. Cool Walk (8:44)
02. Love Ballade (9:51)
03. Soft Winds (7:09)
04. Medley: Who Can I Turn To / Without a Song / Time after Time (15:18)
05. On the Trail (7:12)

Personnel:
Oscar Peterson - piano
Joe Pass - guitar
Dave Young - bass
Martin Drew - drums

Produced by Oscar Peterson
Recorded at Westwood Playhouse, Los Angeles; November 12 and 14, 1986.
Recording and remix supervision by Eric Miller
Recording Engineer: Steve Williams
Assistant Engineer: Bruce Balestier
Remote Engineer: John Falzarano
Remote truck provided by Studio on Wheels, Glendale, CA.
Digital Remix Engineer: Dave Luke
Mastering by George Horn (Fantasy Studios, Berkeley)
Mixed to and mastered from digital tape using the Mitsubishi X-80 digital tape recorder
Photography by Dimo Safari
Art Direction: Phil Carroll

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Stefano Battaglia Trio - The River Of Anyder (2011)

Stefano Battaglia Trio - The River Of Anyder (2011)
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Genre ~ Contemporary Jazz, Modern Jazz | Label ~ ECM Records 2151

The pure water of the Anyder River flowered through Sir Thomas Moore’s “Utopia”. Italian pianist Stefano Battaglia celebrates it and other mythical and legendary locations in a trio recording of new compositions which spurn self-conscious modernity: “I pushed myself to write songs and dances uninfluenced by the sophistication of contemporary musical languages, striving to shape pieces that might have been played on archaic instruments a thousand years ago.” If the piano trio is itself a modern institution and the group understanding that Battaglia, Maioere and Dani share cannot help but be of-the-moment, Battaglia has nonetheless made an album that feels “timeless”.

Tracklist

Minas Tirith
The River of Anyder
Ararat Dance
Return to Bensalem
Nowhere Song
Sham-bha-lah
Bensalem
Anagoor
Ararat Prayer
Anywhere Song

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Perico Sambeat - Friendship (2003)

Perico Sambeat - Friendship (2003)
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Genre ~ Guitar Jazz | Label ~ ACT Records

Music writen by Perico Sambeat except "Crazy She Calls Me" by Ben Sigman and Jaff Russell.
Spanish alto saxophonist Perico Sambeat, sometimes heard in Britain with Guy Barker or Tim Garland, is a performer with echoes of Art Pepper, Lee Konitz and Eric Dolphy who is none the less an artist of imposing character within a straightish postbop context.

Tracklist

01 - Memoria de un sueno
02 - Orbis
03 - Bioy
04 - Eterna
05 - Icaro
06 - Mirall
07 - Crazy She Calls Me
08 - Actors
09 - Matilda
10 - Iris

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The Cannonball Adderley Quintet - 74 Miles Away/Walk Tall (1967) [Remastered 2011]

The Cannonball Adderley Quintet - 74 Miles Away/Walk Tall (1967) [Remastered 2011]
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Genre ~ Hard Bop, Soul Jazz | Label ~ EMI Music Japan

With the hit "Mercy Mercy Mercy" still reverberating on the sales charts, Capitol simply had the Quintet crank out one live club date after another at this point, hoping for another smash. They never really got one, but Cannonball and Nat Adderley, in league with pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy, left a strong legacy like this vigorous live Hollywood gig. One of Nat's best gospel-styled hip-shakers, "Do Do Do," opens the record, and Joe Zawinul comes up with another bluesy, catchy self-help tune in the vein of "Mercy" called "Walk Tall," prefaced by another of Cannonball's wryly inspirational talks. Indeed Cannonball was such an ingratiating speaker that he could even deliver a gracious ode to a critic, in this case Leonard Feather prior to his eloquent performance of Feather's "I Remember Bird." Yet the Adderleys and Zawinul could also take off and offer exploratory, nearly avant-garde solos on Zawinul's Middle-Eastern-flavored montuna in 7/4 time, "74 Miles Away" (which presages some of Joe's experiments with Weather Report). This was a rare thing, a group that could grab the public's attention and gently lead them into more difficult idioms without pandering or condescension. ~ AllMusic

Tracklist

01. Do Do Do [06:22]
02. I Remember Bird [06:56]
03. Walk Tall [02:34]
04. 74 Miles Away [13:51]
05. Oh Babe [05:24]

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Mose Allison - Gimcracks and Gewgaws (1998)

Mose Allison - Gimcracks and Gewgaws (1998)
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Genre ~ Hard Bop, Piano Blues, Vocal Jazz | Label ~ Blue Note Records

The older Mose Allison gets, the sharper his mind becomes, the more idiosyncratic his music sounds, and the more pleasure the aficionado gets for spending the better part of an hour with his latest stuff. By this time, the 70-year old philosopher from Tippo, Miss. had sharpened his wit and insight on life to an even keener edge, musing wryly on materialism, technology, aging, death, even his own name ("MJA, Jr."). The tunes seem to have disappeared almost entirely but it doesn't matter; the lyrics are so damned clever and as hilarious as ever, even when they are obviously sequels to previous masterworks like "Your Mind Is On Vacation" ("What's With You") or "Young Man's Blues" ("Old Man Blues"). Mose's piano style by now has been pared down to its unique essentials, a ceaseless, swinging linear flow drawing from the three Bs -- Bach, Bartok and bop -- and his voice has barely aged since his Prestige days. Mark Shim muses ably on tenor sax now and then, and guitarist Russell Malone ranges all over the stylistic lot between R&B and jazz. At this rate, waiting four years or so between albums in the '90s, Allison has kept his creative batteries fresh every time out. ~ AllMusic

Tracklist

01. MJA Jr. (Mose Allison) 3:33
02. Gimcracks And Gewgaws (Mose Allison) 5:14
03. Numbers On Paper (Mose Allison) 2:35
04. Cruise Control (Mose Allison) 3:00
05. St. Louis Blues (W.C. Handy) 4:05
06. Mockingbird (Mose Allison) 3:04
07. The More You Get (Mose Allison) 2:54
08. Texanna (Mose Allison) 2:30
09. What Will It Be (Mose Allison) 3:11
10. So Tired (Mose Allison/Shapiro Bernstein/Russ Morgan) 4:04
11. Somebody Gonna Have To Move (Mose Allison) 1:57
12. Fires Of Spring (Mose Allison) 3:31
13. What's With You (Mose Allison) 3:33
14. Old Man Blues (Mose Allison) 1:33

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Wynton Marsalis - At the Octoroon Balls, A Fiddler's Tale Suite (1999) [Columbia/SONY]

Wynton Marsalis - At the Octoroon Balls, A Fiddler's Tale Suite (1999) [Columbia/SONY]
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Genre ~ Free Jazz | Label ~ Columbia/SONY

Will Wynton's omnivorous appetite ever be satisfied? Seemingly enthralled with the string quartets of Bartók, he tries to write one of his own that basically takes off upon Bartók's (and America's Charles Ives') own methods of drawing upon vernacular language to create thoroughly contemporary classical music. While Bartók's inspiration was Hungarian folk music, Marsalis, like Ives, seems to draw upon American fiddle tunes and blues. Sounds interesting, but Wynton's reach has again exceeded his grasp over seven, often disjointed movements that stretch some 45 minutes - a lot longer than Bartók dared go. Wynton employs a lot of slithering portamentos, occasional passages of dissonance in a tonal framework, flinging ideas out there that are not developed or even hammered into a groove. The best movements are the rambunctious fifth, where the nod to Bartók is explicit in its insistent rhythms and glides, and the charming, straight-forward ragtime of the seventh. Though the liner notes are thankfully not by Stanley Crouch, they are of little help in determining the motivations behind the piece, and the Orion String Quartet works hard to pump life into this lofty attempt to jump genres. Classical listeners will make the associations more readily than jazz fans, who will be hard-pressed to relate this to anything Wynton has recorded before 1998. The disc is filled out by Marsalis and musicians from the Chamber Music Society Of Lincoln Center playing a suite from Marsalis's A Fiddler's Tale - which is essentially the music stripped of the narration - and the slithering, subtly swinging metamorphosis of Stravinsky's L'Histoire du Soldat holds up a lot better this way. This was the third of Marsalis's eight releases in 1999. ~Allmusic

Tracklist:
01. Come Long Fiddler (9:42)
02. Mating Calls & Delta Rhythms (5:31)
03. Creole Contradanzas (5:00)
04. Many Gone (8:57)
05. Hellbound Highball (8:22)
06. Blue Lights on the Bayou (2:33)
07. Rampart St. Row House Rag (4:54)
08. The Fiddler's March (3:22)
09. A Fiddler's Soul (3:15)
10. Pastorale (4:13)
11. Happy March (2:25)
12. Concert Piece (3:07)
13. Tango, Waltz, Ragtime (7:30)
14. The Devil's Dance (2:37)
15. Big Chorale (2:49)
16. The Blues on Top (2:27)

Personnel:
At the Octoroon Balls (#1-7)
Orion String Quartet:
Daniel Phillips, Todd Phillips - violin
Steven Tenenbom - viola
Timothy Eddy - Cello

A Fiddler's Tale Suite (#8-16)
Wynton Marsalis - trumpet, with musicians from the Chamber Music Society of Lincoln Center:
David Shifrin - clarinet
Milan Turkovic - bassoon
David Taylor - trombone
Ida Kavafian - violin
Edgar Meyer - bass
Stefon Harris - percussion

Produced by Steven Epstein
Recording & Mix Engineer: Richard King
Assistant Engineer & Technical Supervisor: Jeff Francis
Editing Engineers: Robert Wolff, Todd Whitelock
DSD Engineer: Gus Skinas (#1-7)
Recorded at Giandomenico Studios, Collingswood, NJ on December 8-9, 1998 (#1-7);
and May 11-13, 1998 (#8-16)

Product Manager: Lisa Stevens
Editorial Direction: Richard Haney-Jardine
Art Direction: Josephine DiDonato
Cover Photography: Kip Meyer
Recording Session Photos: Waring Abbott

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Bill Evans Trio - Sunday at the Village Vanguard (1961)[JVC/xrcd Remaster 1998]

Bill Evans Trio - Sunday at the Village Vanguard (1961)[JVC/xrcd Remaster 1998]
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Genre ~ Post-Bop, Standards| Label ~ Riverside/JVC(xrcd)JVCXR-0051-2

Jazz pianist Bill Evans began a quiet revolution in the early 1960s. Before Evans, jazz piano trios spotlighted the pianist while the others essentially accompanied him or her. Evans envisioned a trio where all three musicians were on an equal footing, where they'd truly interact. "Sunday at the Village Vanguard", recorded live in 1961, captures the original Bill Evans Trio at its peak. Drummer Paul Motian plays with grace, subtlety, and restraint that are equal to Evans's, and bassist Scott LaFaro (who also played with Ornette Coleman) has a rapport with the others that seems telepathic. Evans absorbed the bebop approach to the keys but also took inspiration from the suave pianism of Nat "King" Cole and 20th-century classical Impressionism. "Sunday" is piano trio jazz that's executed so beautifully one might not notice how complex it really is. ~ CDUniverse

Tracklist:
01. Gloria's Step (take 2) (6:13)
02. My Man's Gone Now (6:27)
03. Solar (8:57)
04. Alice in Wonderland (take 2) (8:38)
05. All of You (take 2) (8:22)
06. Jade Visions (take 2) (3:47)
07. Gloria's Step (take 3) (6:57)
08. Alice in Wonderland (take 1) (7:06)
09. All of You (take 3) (8:07)
10. Jade Visions (take 1) (5:13)

Personnel:
Bill Evans - piano
Scott LaFaro - bass
Paul Motian - drums

Produced by Orrin Keepnews
Recording Engineer: Dave Jones
Recorded "live" at the Village Vanguard, New York City; June 25, 1961.
This JVC-xrcd edition was produced by Akira Taguchi
Mastered by Alan Yoshida at A&M Mastering Studios, Hollywood, CA.
xrcd Series design by Peter Grant
Creative direction by Sam Gay

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Jacques Loussier - Impressions On Chopin's Nocturnes (2004) [SACD rip via Playstation 3]

Jacques Loussier - Impressions On Chopin's Nocturnes (2004) [SACD rip via Playstation 3]

Sony PS3 SACD to *ISO | FLAC 24/88.2 Stereo | Scans | FileSonic/FileServe

Genre ~ Third Stream | Label ~ Telarc Distribution

Jacques Loussier has made a career out of playing classical themes in a jazz setting. Born in France in 1934, he came to fame in the late 1950s with his Play Bach Trio, a group that stayed together 20 years, transforming the themes of Bach into creative and melodic jazz. Since then he has put together another trio in which he interprets not just the music of Bach but Beethoven, Debussy, Ravel, Satie and other classical giants. This set (which is subtitled Impressions on Chopin's Nocturnes) is a bit of a departure in that Loussier performs Fryderyk Chopin's 21 nocturnes as unaccompanied piano solos. Nocturne No. 2 in E-Flat Major, Op, 9., No. 2 is the most famous of these melodies although a few of the other nocturnes may be familiar even to non-classical listeners. Generally Loussier states the right-hand melody while altering the patterns written for the left-hand, and then builds from there. The essence of Chopin's music is retained while Loussier is free to improvise his own ideas based on the themes. Most of his interpretations are gentle and subtle while never neglecting the rich melodie,s and the treatments are at times slightly reminiscent of early film music and ragtime. Classical purists may not love this approach but they should be thankful, for Jacques Loussier has consistently introduced the beauty of classical music to jazz listeners. This is a very enjoyable set. ~ AllMusic

Tracklist


1 Nocturne No. 1 in B-Flat Minor, Op. 9, No. 1
2 Nocturne No. 2 in E-Flat Major, Op. 9, No. 2
3 Nocturne No. 3 in B Major, Op. 9, No. 3
4 Nocturne No. 4 in F Major, Op. 15, No. 1
5 Nocturne No. 5 in F-Sharp Major, Op. 15, No. 2
6 Nocturne No. 6 in G Minor, Op. 15, No. 3
7 Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1
8 Nocturne, No. 8 in D-Flat Major, Op. 27, No. 2
9 Nocturne No. 9 in B-Flat Major, Op. 32, No. 2
10 Nocturne No. 10 in A-Flat Major, Op. 32, No. 2
11 Nocturne No. 11 in G Minor, Op. 37, No. 1
12 Nocturne No. 12 in G Major, Op. 37, No. 2
13 Nocturne No. 13 in C Minor, Op. 48, No. 1
14 Nocturne No. 14 in F-Sharp Minor, Op. 48, No. 2
15 Nocturne No. 15 in F-Minor, Op. 55, No. 1
16 Nocturne No. 16 in E-Flat Major, Op. 55, No. 2
17 Nocturne No. 17 in B Major, Op. 62, No. 1
18 Nocturne No. 18 in E Major, Op. 62, No. 2
19 Nocturne No. 19 in E Minor, Op. 72, No. 1
20 Nocturne No. 20 in C-Sharp Minor, Op. Posthume
21 Nocturne No. 21 in C Minor, Op. Posthume


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