Showing posts with label Jazz. Show all posts
Showing posts with label Jazz. Show all posts

Wednesday, April 21, 2010

Dizzy GILLESPIE and His Oechestra - Gillespiana 1960

Dizzy GILLESPIE and His Oechestra - Gillespiana 1960
1961 Issue.CLP 1484/CSD1392

Jazz

For the first jazz release on his self-run Aleph label, Schifrin flew to Cologne, Germany to record this solid remake of Gillespiana, his 1960 five-movement concerto for Dizzy Gillespie with which Schifrin had been touring earlier in 1996. Designed to illustrate the sources that inspired Gillespie's music, the work remains one of the chameleonic Schifrin's best in a big-band idiom, particularly the dynamic Afro-Cuban-flavored blues "Toccata" that closes the concerto. The choice of Jon Faddis as Gillespie's stand-in was, of course, a no-brainer, for Faddis is the foremost Gillespie disciple on the scene, and his high-wire performance here captures both the stratospheric Gillespie of his youth and the mellower, slyer, muted Gillespie of later years. Fellow Jazz Meets the Symphony regular Paquito D'Rivera has some hot solo passages on alto; Alex Acuña and Marcio Doctor are given percussion showcases; Schifrin himself remains a persuasive jazz pianist, and Cologne's WDR Big Band almost matches the electricity that Schifrin's American bands generated on tour with this piece.
By Richard S. Ginell, All Music Guide.
**
Dizzy Gillespie recorded Gillespiana in November 1960. At that time, Lalo Schifrin, a 28-year-old- Argentinean, was his pianist and musical conductor. Gillespie had first heard him in 1956 - he was struck by Schifrin's writing and asked the young musician to compose something for him. This was the start of Gillespiana, which was described in the original album notes as a "suite form [in a] concerto grosso format".
**
Bass- Art Davis
Bongos- Jack Del Rio
Congas- Candido
Drums- Chuck Lampkin
Horns- Al Richman* , Gunther Schuller , James Buffington* , Julius Watkins , Morris Secon , William Lister
Piano- Lalo Schifrin,Arrange
Saxophone- Leo Wright
Timbales, Timpani- Willie Rodriguez
Trombone- Britt Woodman , Frank Rehak , Paul Faulise , Urbie Green
Trumpet- Clark Terry , Dizzy Gillespie , Ernie Royal , Joe Wilder , John Frosk
Tuba- Don Butterfield
**

A1. Prelude   5:52
A2. Blues   11:16
A3. Panamericana   4:39
B1. Africana   7:31
B2. Toccata   12:01
**
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Shelly MANNE & His Men - Play More Music From Peter Gunn, Son Of Gunn! 1959

Shelly MANNE & His Men - Play More Music From Peter Gunn, Son Of Gunn! 1959
2005 Issue

Jazz

While drummer/bandleader Shelly Manne's initial 1959 outing, dedicated to Henry Mancini's Peter Gunn TV scores, was more than just a novelty, this follow-up disc stretches the concept to the absolute limit. Recorded only five months after the release of Shelly Manne & His Men Play Peter Gunn, Son of Gunn!! sounds exactly like what it is: jazz musicians taking ostensibly generic background music for a television show and trying to make something more out of it. Apparently, even Mancini was aware of the challenge these musicians were facing, and encouraged them to apply free interpretations on these ten cuts and not to worry about maintaining a "Mancini feeling." Besides the lack of interesting material, Manne was also working with a brand-new front lineup, as trumpeter Conte Candoli and alto saxophonist Herb Geller were replaced by trumpeter Joe Gordon and tenor man Richie Kamuca. In retrospect, this isn't a horrible set, just one that should have focused less on concept and more on vision.
By Al Campbell. AMG.
**
A crackling set of crime jazz from drummer Shelly Manne -- a follow-up to his first set of work from the Peter Gunn soundtrack, and arguably even better than the first! Manne's working here with a great combo that includes Victor Feldman on vibes, Joe Gordon on trumpet, and Richie Kamuca on tenor  playing with a warmly raspy tone that gives the work a quality that's even more soulful than the Henry Mancini originals that inspired the set, and which is perfectly matched with the trumpet of Joe Gordon. There's a depth here that goes way beyond the simple soundtrack roots of the material and the arrangements on the set are proof that Manne was one of the hippest-thinking jazz cats on the mainstream LA scene of the time. Titles include "Spook", "Joanna", "Walkin Bass", "Blues For Mothers", "Odd Ball", "Blue Steel", and "Goofin At The Coffee House".
From Dusty Groove.
**
More music from Mother's, Peter Gunn's favorite watering hole. Manne's second LP of Mancini's TV show music has weaker material & a different front line (trumpeter Conte Candoli & alto saxophonist Herb Geller replaced by trumpeter Joe Gordon & Richie Kamuca on tenor.). This followup is more bluesy than the first album. Maybe not essential Shelly Manne, but both albums taken together are classic Mancini & "crime jazz."
**
Bass- Monty Budwig
Composed By, Arranged By- Henry Mancini
Drums- Shelly Manne
Piano- Russ Freeman
Tenor Saxophone- Richie Kamuca
Trumpet- Joe Gordon
Vibraphone [Vibraharp], Marimba- Victor Feldman
**
01. Odd Ball (H. Mancini) (3:33)
02. Blue Steel (H. Mancini) (4:52)
03. Spook! (H. Mancini) (5:24)
04. Joanna (H. Mancini) (4.13)
05. Goofin' at the Coffee House (H. Mancini) (3:34)
06. Walkin' Bass (H. Mancini) (4:31)
07. My Manne Shelly (H. Mancini) (3:38)
08. Blues for Mother's (H. Mancini) (4:25)
09. A Quiet Gass (H. Mancini) (4:36)
10. Lightly (H. Mancini) (3:32)
**

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Paul HORN - Jazz Suite on the Mass Texts 1965

Paul HORN - Jazz Suite on the Mass Texts 1965
LSP-3414

Jazz

A piece of music played by jazz specialist Paul Horn with music composed and conducted by Lalo Schifrin, the material present brings both the classical and jazz genres together, blending it further with the magic and mystery of the hymns of the church. The music at times is structured and arranged for the listener to enjoy with ease and relaxation. Though one point of the record is its method of tension and release, present during the far more abstract parts of the record, such as at the very climax of "Credo." The music here is a reflection of the church, using a broader base of textures and colors in jazz. The dynamics are powerful in this performance, and the communication between Horn's quintet, the orchestra led by Lalo Schifrin, and the chorus is undeniably magical. Certainly much of the record can be found leading into the realm of experimental music, and the critical listener should not be so critical, but rather sit, enjoy, and open their mind and listening senses.
By Shawn M. Haney, All Music Guide.
**
One of Paul Horn's groovier albums from the 60s -- and a record that features some nice arrangements by Lalo Schifrin! As the title might make you guess, the album's kind of a "jazz mass", and replicates the Kyrie, Gloria, and Offertory progression of a regular Catholic mass. The whole thing might be pretty snoozy, but it's fortunately saved by some nice playing by Horn, and by groovy elements in Schifrin's arrangements, particularly the percussion playing of Emil Richards and Milt Holland.
From Dusty Groove.
**
Lalo Schifrin- (Conductor),
Paul Horn- (Clarinet),Flute),(Alto Sax),
Conte Candoli- (Trumpet),
Bill Plummer- (Bass),
Lynn Blessing- (Vibraphone),
Al Porcino- (Trumpet),
Larry Bunker- (Drums),
Red Callender- (Tuba),
Milt Holland- (Percussion),
Dorothy Remsen- (Harp),
Emil Richards- (Percussion),
Frank Rosolino- (Trombone),
Ann Mason Stockton- (Harp),
Ken Watson- (Percussion),
Vincent DeRosa- (French Horn),
Frank Emilio Flynn- (Percussion),
Mike Lang- (Piano),
Betty Allen- (Choir, Chorus),
William Cole- (Choir, Chorus),
Marie Vernon- (Choir, Chorus),
Sara Jane Tallman- (Choir, Chorus),
Loulie Jean Norman- (Choir, Chorus),
Evangeline Carmichael- (Choir, Chorus),
Vern Rowe- (Choir, Chorus),
Marilyn Powell- (Choir, Chorus).
**
A1 Kyrie  
A2 Interludium  
A3 Gloria  
A4 Credo  
B1 Sanctus  
B2 Prayer  
B3 Offertory  
B4 Agnus Dei
**

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Lee MORGAN & Thad JONES - Minor Strain 1960

Lee MORGAN & Thad JONES - Minor Strain 1960
1990 Issue

Jazz

Lee Morgan shares this CD reissue with fellow trumpeter Thad Jones. Morgan's three selections feature a quintet with tenor-saxophonist Wayne Shorter, pianist Bobby Timmons, bassist Jimmy Roser and drummer Art Taylor. While that hard bop group democratically performs one original apiece from Morgan, Timmons and Shorter, Thad Jones's date has four of his songs plus a previously unissued alternate take of "Subtle Rebuttal"; best-known is "Tip Toe" which was later recorded by The Thad Jones/Mel Lewis Orchestra. Jones's septet is filled with Count Basie sidemen (trombonist Al Grey and tenors Billy Mitchell and Frank Wess) along with a fine rhythm section (pianist Hank Jones, bassist Richard Davis and drummer Osie Johnson) and is more swing-oriented than The Morgan group, but the two sets are equally rewarding.
By Scott Yanow, All Music Guide.
**
Jimmy Rowser- Bass
Frank Wess- Flute, Sax (Tenor)
Osie Johnson- Drums
Richard Davis- Bass
Al Grey- Trombone
Hank Jones- Piano
Thad Jones- Trumpet
Billy Mitchell- Sax (Tenor)
Lee MorganTrumpet
Wayne Shorter- Sax (Tenor)
Art Taylor- Drums
Bobby Timmons- Piano
**
01. Suspended Sentence 5:22
02. Minor Strain 6:23
03. A Bid For Sid 4:28
04. Subtle Rebuttal (alt take) 3:56
05. Subtle Rebuttal 4:02
06. Tip Toe 3:35
07. H and T Blues 9:56
08. Friday The 13th 6:55
**

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Tito PUENTE and Woody HERMAN - Latin Flight 1958

Tito PUENTE and Woody HERMAN - Latin Flight 1958
1993 Issue

Jazz

Woody played clarinet and alto sax and was the leader. His 1958 "Herman's Herd" averaged 16-18 members. These selections were all recorded between Aug. lst and Dec. 26th of that year. I think I owned this on vinyl in '59 under the title "Tito Meets Woody" and I think it was on the Everest label. This CD reissue is a great deal of fun. In addition to Puente's Latin percussion and Herman's horn, Nat Adderly does some trumpeting, Charlie Byrd plays guitar a little, and Bob Brookmeyer can be heard on trombone. The other band members have less public recognition, but hey, nobody plays badly for a Herman band. The "Herd" could easily have been doing these tunes in the early 40's, in the glory days of big bands instead of the waning years. Tito brought the 50's fad of Cuban-style drumming into the mix, and the result is a total victory. You can probably get this at a good price used here in 2003, and if you like swing, jazz, percussion or big groups, this is for you. Not only does it make you feel like dancing, these sounds can lure you into thinking you actually can dance well.
This is 41 minutes of joy.
By  William E. Adams.
**
Tito Puente and Woody Herman teamed in 1958 for a mutually satisfying meeting in the same way that Charlie Parker, Dizzy Gillespie, and Machito found common ground in the late '40s. Puente's Latin rhythms and beats meshed with the swing and bebop of Herman's band on half of the disc's cuts, and the results were hot and delightful. With Puente heading the rhythm section and playing timbales, Robert Rodriguez on bass, and assorted percussion from Gilbert Lopez, Raymond Rodriquez, and Ray Barretto, the band stays locked into the Latin groove while the saxophonists and trumpeters weave in, out, and around the beat. There are also more conventional Herman swing numbers such as "Blue Station" and "Woodchopper's Ball," where the standard Herman stomping sound is in effect.
By Ron Wynn, All Music Guide.
**
Tito Puente- Percussion, Timbales
Woody Herman- Clarinet
Sam Marowitz- Reeds
Pete Mondello- Reeds
Danny Bank- Reeds
Paul Quinichette- Reeds, Tenor Sax
Al Cohn- Reeds, Tenor Sax
Joe Romano- Tenor Sax
Jay Migliori- Tenor Sax
Marty Flax- Tenor Sax
Al Belletto- Baritone Sax
Bobby Clark- Trumpet
Irwin Marky Markowitz- Trumpet
Hal Posey- Trumpet
Steve Lipkins- Trumpet
Danny Stiles- Trumpet
Willie Thomas- Trumpet
Ernie Royal- Trumpet
Nick Travis- Trumpet
Al Forte- Trumpet
Jimmy Guinn- Trombone
Frank Rehak- Trombone
Roger DeLillo- Trombone
Willie Dennis- Trombone
Bill Elton- Trombone
Billy Byers- Trombone
Al Planck- Piano
Major Holley- Bass
Robert Rodriguez- Bass
Ray Barretto- Conga
Gilbert Lopez- Percussion
Ray Rodriguez- Percussion
Jimmy Campbell- Drums
**
01. Latin Flight 2:02
02. New Cha-Cha 3:03
03. Mambo Herd 2:39
04. Tito Meets Woody 2.39
05. Cha-Cha Chick 3:02
06. Blue Gardenia 3:10
07. Prelude a la Cha Cha 4:05
08. It's Coolin' Time 4:19
09. Black Orchid 2:33
10. Original No. 2 3:09
11. Sinbad the Sailor 4:02
12. Mambo Bambo 3:19
13. Fire Island 3:16
**

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Tuesday, April 20, 2010

Herb ELLIS & Stuff SMITH - Together! 1963

Herb ELLIS & Stuff SMITH - Together! 1963
1995 Issue

Jazz

This Koch CD reissues an interesting and very successful matchup between guitarist Herb Ellis and the great swing violinist Stuff Smith. Pianist Lou Levy and Bob Enevoldsen (doubling on his cool-toned tenor and valve trombone) contribute some solos and drummer Shelly Manne adds fine support. The reissue (which has three alternate takes in addition to the original six-song program) features plenty of cooking and strong interplay between Stuff and Ellis on some blues, the ancient standard How Come You Do Me Like You Do (which has one of the violinist's two personable vocals) and Smith's two originals Hillcrest and Skip It. This is one of Ellis' personal favorite records and one of the best recordings from Stuff Smith's later years.
By Scott Yanow, All Music Guide.
**
A rare treat from the now defunt Koch Jazz . Stuff really benefits from having two other front liners to enhance his customary drive and swing.They all gain from having Manne on board. Stand out track - Get Acquainted Blues. Three bonus takes mean good value. Surpassed only by NOTHING BUT THE BLUES.Recommended
By Brian E. White.
**
Stuff Smith-  Violin, Vocals
Herb Ellis- Guitar
Shelly Manne- Drums
Bob Enevoldsen- Trombone, Tenor Sax
Lou Levy- Piano
**
01. Skip It 8:07
02. Alone Together (take 2) 4:18
03. Blues For Janet 4:16
04. How Come You Do Me Like You Do 3:06
05. Get Acquainted Blues (take 5) 7:33
06. Hillcrest  (take 2)  7:09
07. Get Acquainted Blues 7:33
08. Alone Together (take 1) 7:15
09. Hillcrest (take 5)  6:08
**

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Lisa EKDAHL - Back To Earth 1998

Lisa EKDAHL - Back To Earth 1998

Jazz

Best known in Scandinavia for her 1994 hit "Vem Vet, " Lisa Ekdahl became one of the top Swedish pop singers of the 1990s but also records and performs straightahead jazz. Ekdahl's pop albums have been in Swedish, while her acoustic jazz albums have favored English-language standards. The thin-voiced singer was born and raised in Stockholm, where in 1990, she started singing jazz with the trio of pianist Peter Nordahl. In 1994, her self-titled debut album came out in Sweden, and it was that year that her single "Vem Vet" (which is Swedish for "Who Knows") made her a superstar in Scandinavia at the age of 23. Ekdahl's subsequent pop albums in Sweden included Med Kroppen Mot Jorden in 1996 and Bortom Det Bla in 1997. The singer's first English-language effort, When Did You Leave Heaven, was also her first jazz album and the first Ekdahl album to come out in the U.S. When Did You Leave Heaven was a big seller in Sweden, but the album (which came out on RCA Victor in the U.S.) received its share of negative reviews from American jazz critics, who felt that Ekdahl's thin, very girlish voice was wrong for standards and straightahead jazz and argued that she should stick to pop. Her next jazz recording, Back to Earth, came out in 1999.
By Alex Henderson, All Music Guide.
*
At first, Lisa Ekdahl's squeaky, girlish voice may seem inappropriate for the pop standards she has chosen to make her trade, but given some time, her voice and laid-back style become endearing. True, she occasionally seems mannered and borrows heavily from her inspirations (most notably Billie Holiday), but she shows signs of developing her own style throughout her second American album, Back to Earth. Like its predecessor, When Did You Leave Heaven, Back to Earth was recorded with the Peter Nordahl Trio and has a charming mellow vibe. Nordahl has an elegant turn of phrase and his rhythm section -- drummer Ronnie Gardiner and bassist Patrik Boman -- has a light touch that keeps the focus on Ekdahl. It is true that her voice may strike some listeners as odd, but it's girlish, not thin, which means she can nail the emotions of the songs. There may be a few missteps here and there, but she delivers ballads ("What Is This Thing Called Love?," "The Laziest Gal in Town," "Now or Never") as well as swing ("Down with Love," "I Get a Kick Out of You"). Yes, the selections are a little predictable and Ekdahl is a bit of an acquired taste, but ultimately, Back to Earth is quite charming.
By Stephen Thomas Erlewine, All Music Guide.
**
Lisa Ekdahl- (Vocals);
Peter Nordahl- (Piano);
Patrik Boman- (Bass);
Ronnie Gardiner- (Drums).
**
01. Now or Never 3:35
02. Nature Boy 4:48
03. Stranger on Earth 3:41
04. Laziest Gal in Town 6:12
05. It Had to Be You 3:09
06. Down With Love 1:37
07. What Is This Thing Called Love 5:04
08. Tea for Two 5:29
09. The Lonely One 3:20
10. I Get a Kick Out of You 3:20
11. Just for a Thrill 3:25
12. Night and Day 4:32
13. Plaintive Rumba 6:22
**

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Flip PHILLIPS with Scott HAMILTON - A Sound Investment 1987

Flip PHILLIPS with Scott HAMILTON - A Sound Investment 1987

Jazz

By sheer coincidence, this album was recorded a few months before and released just one month after the 1987 stock market crash; hence the upticking curve on the graph depicted on the jacket became a positive antidote of sorts to the financial screwups of the time. But without even seeing the jacket, one is always aware of the good vibes these tenor players generate in these small-combo contemporary swing sessions. Already in his 70s, Flip still plays with mature, husky soul, a slightly wailing upper register, and a feeling for space, while Hamilton's busier, directly booming tone becomes a neutral foil. Of the eight tunes, five of them are by Phillips, and the two rarely miss an opportunity to trade riffs good-naturedly in a friendly JATP manner. Good supporting cast, too, with guitarist Chris Flory making his mark as the ghost of Charlie Christian peers over the music stand.
By Richard S. Ginell, All Music Guide.
**
Flip Philips, Scott Hamilton- (Tenor Sax)
Chris Flory- (Guitar)
John Bunch- (Piano)
Phil Flanigan- (Bass)
Chuck Riggs- (Drums)
**
01. A Sound Investment (F. Phillips) (4:48)
02. Comes Love (L. Brown - C. Tobias - S. H. Stept) (6:12)
03. Blues for the Midgets (F. Phillips) (5:30)
04. With Someone New (F. Phillips) (6:36)
05. Maria Elena (L. Barcelata - B. Russell) (6:38)
06. Great Scott (F. Phillips) (3:50)
07. A Smooth One (B. Goodman) (6:37)
08. New Orleans (H. Carmichael) (3:36)
09. The Claw (F. Phillips) (6:00)
**

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Ahmad JAMAL – Standard Eyes 1967

Ahmad JAMAL – Standard Eyes 1967
LPS-786

Jazz

One of Ahmad Jamal's most popular trios, with bassist Israel Crosby and drummer Vernel Fournier, is featured in this Cadet LP anthology of live recordings made between 1958 and 1961 for Argo. Even though the pianist sticks almost exclusively to very familiar standards, his fresh approach to each of them makes his interpretations very distinctive. His spacious, light-hearted and Afro-Cuban-flavored arrangement of "Taboo" (which Art Tatum played as a virtuoso showstopper), the adventurous take of "Billy Boy," and the playfulness of his rapid but brief rendition of "I'll Remember April" are among the standout tracks. While it is preferable to locate each of the original records from which each of these dozen tracks were compiled (since not all of them have been reissued on CD), this LP contains a well-rounded sampling of early Ahmad Jamal for those who neither have the time nor the funds to acquire all of them.
By Ken Dryden, All Music Guide.
**
Ahmad Jamal- (Piano)
Israel Crosby- (Double Bass)
Vernel Fournier- (Drums)
**
A1. Billy Boy   2:55
A2. Sweet and Lovely   3:53
A3. I Didn't Know What Time It Was   3:20
A4. Taboo   3:55
A5. I'll Never Stop Loving You   3:01
A6. I'll Remember April   2:35
B1. So Beats My Heart for You   3:26
B2. For All We Know   2:42
B3. The Breeze and I   2:53
B4. Like Someone in Love   2:46
B5. Angel Eyes   4:12
B6. The Girl Next Door   3:22
**

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Sunday, April 18, 2010

Tania MARIA - Outrageous 1993

Tania MARIA - Outrageous  1993

Jazz

Tania Maria sticks to Brazilian pop music on her concise but unremarkable program. The entire focus is on her vocals and there is little or no improvising over the repetitious vamps. The closer one listens to the admittedly danceable music, the more tedious it sounds.
By Scott Yanow. AMG.
**
Don Alias- Percussion
Tom Barney- Bass
Sergio Brandao- Bass
Reinaldo Fernandes- Repique
Darryl Jones- Bass
Zé Luis Flute, Sax (Soprano), Sax (Tenor)
Tania Maria Synthesizer, Piano, Arranger, Keyboards, Vocals, Vocals (Bckgr)
Rio- Vocals
Ricky Sebastian- Drums
Claudio Silva- Pandeiro
Jorge Silva- Tambourine
Mitch Stein- Guitar, Mandolin  
Buddy Williams- Drums
Dan Carillo- Guitar
John Purcell- Soprano & Alto Sax
**
01. Dear Dee Vee (4:42)
    Flute, Saxophone [Tenor] - Zé Luis
    Piano [Acoustic] - Tania Maria
02. Confusion (3:35)
    Bass - Tom Barney
03. She's Outrageous (6:47)
    Percussion - Jorge Silva
    Saxophone [Soprano] - Zé Luis
04. Bom Bom Bom Tchi Tchi Tchi (4:56)
05. Happiness (5:03)
    Vocals [Hip Hop Bop Singer] - Rio (31)
06. Amei De Mais (I Loved Too Much) (4:27)
    Pandeiro - Jorge Silva
07. Tá Tudo Certo (Everything Is Fine) (4:50)
    Saxophone [Tenor] - Zé Luis
    Tambourine - Jorge Silva
08. I Can Do It (4:53)
    Mandolin - Mitch Stein
09. Minha Mãe (My Mother) (4:52)
10. Happiness 2 (4:10)
    Bass - Tom Barney
11. Granada (5:31)
    Written-By - Austin Lara
12. Granada Vignette (1:04)
    Written-By - Austin Lara
**

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Paquito D'RIVERA, Featuring Arturo SANDOVAL - Reunión 1991

Paquito D'RIVERA, Featuring Arturo  SANDOVAL - Reunión 1991

Jazz

Two of Latin jazz's most brilliant leading lights are brought together on this 2004 recording. As alumni of the groundbreaking Orquestra Cubana de Musica Moderna, bandmates in the genre-splicing fusion group Irakere, defectors from their native Cuba, and international superstars, Paquito D'Rivera and Arturo Sandoval have a lot in common, not least their synthesis of complex Cuban styles within a range of jazz idioms. REUNION finds the two joining forces once again, with a remarkable young cadre of players lending support.

The smoky, gorgeous feel of Chucho Valdes's bolero "Claudia" allows ample space for D'Rivera's dead-eye melodic sense and pure, expressive tone on the sax. A treatment of "Body & Soul" (with fluid, dancing trumpet by Sandoval) offers the only other down-tempo breather in the set. Otherwise, an intricate web of frenetic Cuban rhythms dominates, all counterpoint and syncopation, with the musicians reeling off their considerable chops throughout (guitarist Fareed Haque deserves special mention). The insanely paced take on Dizzy Gillespie's "Tanga" is incandescent, with blazing solos all around, and superhuman drumming from Mark Walker. The high-minded musicianship is undeniable here, but the Latin groove rules. In addition to REUNION's stellar artistic merits, it is a dance album extraordinaire.

Reunion was the first time that Paquito D'Rivera and trumpeter Arturo Sandoval recorded together since D'Rivera's defection in 1980; Sandoval had recently left Cuba himself. The co-leaders are joined by a superb band: pianist Danilo Perez, acoustic guitarist Fareed Haque, bassist David Finck, drummer Mark Walker, and Giovanni Hidalgo on conga. The group mostly performs originals plus a couple Chucho Valdes songs, "Body and Soul" (a showcase for Sandoval) and Dizzy Gillespie's "Tanga." Plenty of fireworks occur on this consistently heated Afro-Cuban jazz set and the co-leaders clearly inspire each other. When will they have their next reunion? Paquito D'Rivera: Cuba-born and New York-based saxophonist and clarinet player, Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and their expressive capabilities is unquestionable". In 1965, D'Rivera became a featured soloist with the Cuban National Symphony Orchestra. After playing the Cuban Army Band, D'Rivera joined with pianist Chucho Valdez to found the Orchestra Cubana de Musica Moderna. D'Rivera served as the band's conductor for two years. In 1973, D'Rivera joined with eight members of the Orchestra Cubana de Musica Moderna to form a band, Irakere. The group, which fused jazz, rock, classical and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz". In 1988, D'Rivera was invited to become a charter member of Gillespie's fifteen-piece all-star group, the United Nations Orchestra. In 1997, D'Rivera's album, Portraits of Cuba, received a Grammy award as "Best Latin Jazz Performance." D'Rivera is artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society.
Arturo Sandoval: A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing any..
**
Paquito d'Rivera- (Clarinet, Sax Alto, Performer)
Arturo Sandoval- (Flute, Percussion, Trumpet, Flugelhorn, Vocals, Whistles, Choir, Chorus
Giovanni Hidalgo- Percussion, Bongos, Choir, Chorus)
Danilo Perez- (Piano)
Mark Walker- Percussion, Drums, Choir, Chorus
Fareed Haque- (Guitar Acoustic, Guitar, Choir, Chorus)
David Finck- (Bass, Choir, Chorus)-
Uwe Feltens (Choir, Chorus)
**
01. Prologo: Mambo Influenciado  0:25
    Written-By - Chucho Valdés
02. Reunion  4:59
    Written-By - Paquito D'Rivera
03. Tanga  9:19
    Written-By - Dizzy Gillespie
04. Claudia  7:12
    Written-By - Chucho Valdés
05. Friday Morning  6:33
    Written-By - Danilo Perez
    Latin American Suite (5:24)
06.
   a)   Part I Venezuelan Waltz No. 1  0:50
    Clarinet - Paquito D'Rivera
    Written-By - Antonio Lauro

   b)   Part II Introduction  1:34
    Acoustic Guitar - Fareed Haque
    Written-By - Fareed Haque

   c)   Part III Chorizinho  3:00
    Written-By - Fareed Haque
07. Body & Soul  3:51
     Written-By - Hayman , Green
08. Caprichosos De La Habana  4:14
    Vocals [Carnival Chorus] - Arturo Sandoval , David Finck , Fareed Haque , Giovanni Hidalgo , Götz A. Wörner ,     Mark Walker  , Rike , Uwe Feltens , Wolfgang König
    Whistle, Vocals - Arturo Sandoval
    Written-By - Arturo Sandoval
09. Epilogo: Mambo Influenciado  0:21
    Written-By - Chucho Valdés
**

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John SCOFIELD - A Go Go with Medeski Martin & Wood 1998

John SCOFIELD - A Go Go with Medeski Martin & Wood 1998

Jazz

On A GO GO, Scofield teams with Generation X funksters Medeski, Martin and Wood for an album of greasy grooves and hip downtown sonorities. The leader's guitar and John Medeski's keyboards weave and sway in a laid back slink over the lazy, ringing back beats of Billy Martin. And just when you think the groove has bent and twisted to the verge of falling to pieces, bassist Chris Wood is the glue that holds it all together.

All ten tracks are Scofield originals but it was surely a group effort to develop such a deep pocket of funk. From the hip-hop of the opening title cut we get a sense that this is not your average jazz quartet. The James Brown-ish "Chank" captures an all new Scofield sound that's even more harsh and gritty than normal, as he scratches and twangs out a slinky intro to kick off the groove. Solos are kept at a conservative length throughout but that's not to say they're less intense. Check out Sco's tasty improv in the easy-groovin' "Southern Pacific" for a demonstration. His young cohorts provide some fiery moments as well, with Medeski and Martin both cranking out exciting solos on the bouncy "Hottentot."
**
On this particular studio date, Scofield is joined by Medeski, Martin and Wood, who provide the perfect setting for Scofields guitar work. The result is a funky jazz album of high calibre, which never loses the listeners interest. Tracks including Boozer, Jeep On 35 and Chank are amazingly funky thanks to the superior drumming of Billy Martin, whilst Southern Pacific has a more percussive feeling. There is not a single track on this disc that can be considered to be of a lesser standard. This high quality consistancy is welcome, as often MMW tend to adventure into realms that move beyond the groove and into the obscure.
If your after funky jazz in a small group environment, then you will be hard pushed to find any better an example than "A Go Go". This CD is thoroughly enjoyable from start to finish, remaining deceptively simple in its musical complexity, whilst delivering some truly first class contemporary jazz.
**
John Scofield's stature as a modern jazz master on electric guitar puts him in a sweet spot for this simmering, sexy collaboration with acid jazz pathfinders Medeski, Martin and Wood, Scofield's taut and spicy lines striking sparks against the soulful grooves pitched by drummer Billy Martin, keyboard colorist John Medeski, and bassist Chris Wood. Far from a cheap commercial shot, the leader's plunge into this reheated '60s style is appropriately redolent of its funk heritage and his own astringent command of sharp lyrical and smart harmonic asides.
By Sam Sutherland.
**
John Scofield- Electric and Acoustic Guitar, Whistle
John Medeski- Organ, Wurlitzer, Clavinet, Piano
Chris Wood- Acoustic and Electric Bass
Billy Martin- Drums, Tambourine
**
01. A Go Go 6:36
02. Chank 6:47
03. Boozer 5:27
04. Southern Pacific 5:14
05. Jeep on 35 4:31
06. Kubrick 2:14
07. Green Tea 5:12
08. Hottentot 6:46
09. Chicken Dog 6:22
10. Deadzy 2.41
**

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Idrees SULIEMAN - Bird's Grass 1976

Idrees SULIEMAN - Bird's Grass 1976
1992 Issue. SCS 1202
Recorded in Copenhagen, Denmark, 10. 12. 1976.

Jazz

Prior to 1976, the talented bop-oriented trumpeter Idrees Sulieman had only led one record date (back in 1964). On this superior set, Sulieman is teamed in Copenhagen with tenor saxophonist Per Goldschmidt, pianist Horace Parlan, bassist Niels Pedersen, and drummer Kenny Clarke. They perform a pair of straight-ahead originals, Michel Legrand's "The Summer Knows," and a pair of bop standards ("Wee" and "Billie's Bounce"). Excellent music with plenty of colorful solos.
by Scott Yanow, All Music Guide.
**
Though Idrees Sulieman was a laying with Hies in 43'.Monk.Mary Lou Williams,and many big band and small band Prestige settings his move to Copenhagen in 1964 limited his output as a leader.But here in 1976 he has a crack unit one of those perfect bands that pulls it off.With a a young Per Goldscmidt on Baritone (though Yannow lists him as on Tenor at AMG),Horace Parlan,NHOP,and Kenny Clarke it pays off.Two originals,a Legrand tune and standards like "We" and Billies Bounce" make this set a delight.If Suleiman had stayed in USA one assumes he would have gotten much more leadership shots but one never knows.Never a trailblazer inn terms of invoation or a new sound he was the equal of the contemporaries like Byrd,Hubbard,and others though his style staid with that Dizzy,Navarro,Brownie (and who am I forgetting????) with a sound that characterized the 50's Savoy Prestige scene.A good acquisition.Visit Jazz Foundation in these hard times we should give back to those who gave us so much pleasure yet whose art makes them vulnerable.
By C. Katz.
**
Idrees Sulieman- (Trumpet, Fluegelhorn)
Per Goldschmidt- (Tenor Sax)
Horace Parlan- (Piano)
Niels-Henning Ørsted Pedersen- (Bass)
Kenny Clarke- (Drums)
**
01. Wee 4:59
02. The summer Knows 6:28
03. Billie's Bounce 12:39
04. Loneliness Is a Mutual Feeling 10:39
05. All your words 10:15
06. Loneliness Is a Mutual Feeling
**

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Freddie HUBBARD - Straight Life 1970

Freddie HUBBARD - Straight Life 1970
SR 3311, CTI 6007

Jazz

This is a remarkable and often overlooked album by one of the finest and most innovative trumpet players of the '60s and '70s. Steeped deeply in funk, Hubbard brings his bright tone and evocative, mercurial playing to the post-BITCHES BREW soundscape of electrified instruments, Latin percussion, complex polyrhythms, and "free" blowing focused on texture and atmosphere. STRAIGHT LIFE charts waters different from Davis' masterpiece, however. Whereas BITCHES BREW is a dark, ominous journey into a jungle of rhythm clusters and tonal coloring, Hubbard's work is sparer, cleaner, and characterized by catchy, almost pop-like themes.

STRAIGHT LIFE is much more than a mere groove-fest, though, as the top-notch players (including Joe Henderson, Herbie Hancock, Ron Carter, and a young George Benson on guitar) unfurl formidable chops and vibrant backing throughout. The first two tracks, Hubbard's title track and Weldon Irvine's "Mr. Clean," are lengthy, soulful workouts whose propulsive qualities and buoyancy are contrasted by the third track, the artist's delicate and gorgeous flugelhorn treatment of "Here's That Rainy Day." Taken together, the cuts on STRAIGHT LIFE are musically sophisticated, stirring, and eminently groovy, making this "soul-jazz" of the highest order.
**
Bass- Ron Carter
Drums- Jack DeJohnette
Guitar- George Benson
Percussion- Richard "Pablo" Landrum*
Piano- Herbie Hancock
Tenor Sax- Joe Henderson
Tambourine, Tabla- Weldon Irvine
Trumpet, Flugelhorn- Freddie Hubbard
**
A1. Straight Life  17:40
    Composed By - F. Hubbard
B1. Mr. Clean  13:38
    Composed By - W. Irvine
B2. Here's That Rainy Day  5:18
    Composed By - J. V. Heusen , J. Burke
**

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Hampton HAWES & Paul CHAMBERS - The East-West Controversy 1951-57

Hampton HAWES & Paul CHAMBERS - The East-West Controversy 1951-57
1975 Issue

Jazz

There is nothing too controversial about the pair of sets that comprise this Xanadu LP, which finds musicians identified with East Coast and West Coast styles playing with each other. Pianist Hampton Hawes (making his recording debut as a leader) performs six blues and bop standards in 1951 and is in already fairly mature form. The second half of the album (released for the first time on this 1975 LP) has bassist Paul Chambers directing a quintet arranged by John Graas and featuring the tenors of Bill Perkins and Jack Montrose, pianist Paul Moer and either Mel Lewis or Philly Joe Jones on drums. The cool-toned bop music is quite enjoyable and it seems odd that it took 18 years for it to be released.
By Scott Yanow, All Music Guide.
**
A divine head start if there ever was one, Hampton Hawes was born with six fingers on each hand. The extra digits were removed shortly after birth, but the ten remaining members paid tribute to their two lost brethren by taking up the piano as a youngster. A student of boogie-woogie, stride and swing until childhood buddy Eric Dolphy introduced him to the work of Bird and Diz, Hawes reduced his wide range of jazz influences to an intense, historically steeped, swinging bop voice. Land and Hawes trade off the melody here, and their respective solos are both inspired and impressive. Note the dominance of Hawes's right hand to create an improvisatory statement that's often more reminiscent of a horn player than a pianist. LaFaro's walking and solo are expectedly perfect.
**
Hampton Hawes- (Piano),
Harper Cosby- (Bass),
Lawrence Marable- (Drums),
Paul Chambers- (Bass),
Philly Joe Jones- (Drums),
Mel Lewis- (Drums),
Jack Montrose- (Tenor Sax),
Bill Perkins- (Tenor Sax),
Paul Moer- (Piano).
**
01. Buzzy
02. What Is This Thing Called Love (These Foolish Things)
03. Bud's Blues (Hamp's Claws)
04. Another Hair Do
05. All The Things You Are
06. Blue Bird (Hamp's Paws)
07. Montrose
08. The Mouse Hop
09. Jazz City
10. Sweet Saxophones
11. Early Morning Smog
12. Two Visitors
13. Cute
**

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Friday, April 16, 2010

Ralph TOWNER, Jan GARBAREK, John ABERCROMBIE, Naná VASCONCELOS 1978

Ralph TOWNER, Jan GARBAREK, John ABERCROMBIE, Naná VASCONCELOS  1978
Bootleg
ECM Brodcast.
NDR Jazz Workshop No. 134, Grosser Sendesaal des NDR Funkhauses,
Hamburg, 11 April 1978
Thx to *Bob*

Jazz

Here we have four ECM-aces in a rare get-together as part of the famous NDR Jazz Workshop series. The four artists also appeared together at the Willisau Jazz Festival in Switzerland later that same year.

This is a first generation digital copy of the the original preFm tapes, done in the studio of the radio station which had recorded this show highly professional during a 'live in the studio' concert.
NDR Jazz Workshop No. 134, produced by Michael Naura.
**
Ralph Towner- Acoustic Guitar
Jan Garbarek- Tenor and Soprano Sax, Flute, Percussion
John Abercrombie- Electric Guitar
Naná Vasconcelos- Percussion, Berimbau, Voice
**
Cd 1
01. Red Roof (Garbarek) (12:46)
02. Timeless (Abercrombie) (9:00)
03. Viddene (Garbarek) (14:05)
04. Nimbus (Towner) (10:16)
05. Krusning (Garbarek) (10:12)

Cd 2
01. Waterwheel (Towner) (14:17)
02. Medley: (43:57)
    a. Backward Glance (Abercrombie)
    b. Entering (Garbarek)
    c. Telegram (Abercrombie)
**
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Mary Lou WILLIAMS - I Made You Love Paris 1954

Mary Lou WILLIAMS - I Made You Love Paris 1954
2001 Issue.

Jazz

Mary Lou Williams is easily the most honoured and well-known female instrumentalist in jazz so far. Her career started in earnest with Andy Kirk's Band for whom she was not only pianist, but also staff arranger. Many people believe that it is because of her arrangements that the music of the Kirk Band is still heard today.
She was very influential with a lot of younger jazz performers who she constantly helped and encouraged. Her latter days were spent teaching at Duke University in North Carolina, she died in 1981 at the age of 71.Her most famous composition was her Zodiac Suite, which was performed by the Dizzy Gillespie Big band at the 1957 Newport Jazz Festival.
This particular CD has her playing I many different settings from solo piano to quintet. On two of the tracks British singer Beryl Bryden is heard, this was something of a surprise as she has mostly worked with more traditional organisations, however everything works out fine. In all the different groups the talent of Mary Lou shines through and she certainly was a top class performer, I particularly liked the trio version of Memories of You, the up-tempo Lover and the solo piano on Small Hotel. On every tack however she exudes professionalism.
It is nice to have something from Mary Lou Williams in the library, she was a woman who lived for her music and her chosen music was jazz. She made a major contribution to its enhancement both as a performer and arranger.
By Don Mather.
**
Mary Lou Willams- Piano
Beryl Bryden- Vocals 3&8
Nelson Williams- Trumpet 2,5,10&11
Ray Lawrence- Tenor2,5,10&11
Buddy banks- Bass
Kansas Fields, Jaques David- Drums
**
01. Avalon 2:37
02. Scratchin' in the Gravel 3:36
03. Rock Me 3:11
04. I Made You Love Paris 2:34
05. Nancy Is In Love With The colonel 3:12
06. Swingin' For the Guys 2:30
07. Club Francais Blues 3:25
08. Freight Train Blues 3:13
09. Memories Of You 3:11
10. Leg'n Lou 2:58
11. Mary Lou Blues 2:52
12. Between The Devil And The Deep Blue Sea 2:17
13. There's A Small Hotel 3:11
14. En Ce Temps-La 3:21
15. Lover 3:04
16. Carioca 2:40
17. Nicole 3:31
18. Tire Tire L'Aiguille 2:34
19. Autumn In New York 2:31
**

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Charles MINGUS - Live in Chateauvallon 1972

Charles MINGUS - Live in Chateauvallon 1972
August 22, 1972, Chateauvallon, France
1989 Issue. FCD 134

Jazz

Recently, every discovery of a Mingus date "At UCLA," "At Cornell," "The Great Charles Mingus Concert" has produced sales, critical acclaim, wide-spread popular acceptance, in spite of often ragged musical performance (even by Mingus standards) and inferior, distant and distorted audio fidelity. This recording, on the other hand, is admittedly very "leisurely" Mingus, but it reveals his love of melody, of Ellington, and of the authentic tradition of African-American and American popular song art. It's basically an altoist (the commanding, lush-toned, Bird-influenced Charles McPherson) plus rhythm section, but there's never the least doubt about who the leader on the session is.

Pianist John Foster was an obscure, little-recorded musician who deserved far better. Thankfully, he can be heard here, one of his very few recorded appearances. Roy Brooks is, quite simply, one of the outstanding drummers, whether judged as a time-keeper and swinger, a technician (both his brushwork and stick-work were immaculate), or creative spirit (I've never seen any other drummer literally "blow" drums that's right, with Mingus he would attach hollow tubes to the toms and blow into them to raise and lower the pitch). He was the drummer in Horace Silver's most successful quintet with Blue Mitchell and Junior Cook, but those relatively formulaic, restrictive recordings don't do him justice. To see him live with Mingus or the Heath brothers was to appreciate his immense talent. His life came to a sad and pathetic end not long ago, causing many to overlook his immense contributions prior to his final year.

1972 was, I'm quite sure, the year I caught this group at the Brown Shoe in Chicago, supplemented by the trumpet of Jon Faddis and woodwinds of the ill-fated Bobby Jones. That's the group I wish had been more frequently recorded, but in its absence I'll gladly settle for "Live at Chateauvallon."
By Samuel Chell.
**
Charles McPherson- Alto Sax
John Foster- Piano, Vocal
Charles Mingus- Bass
Roy Brooks- Drums, Musical Saw
**
1. Duke Ellington Medley (2646)
   a-Blues in G (bass solo)
   b-In A Sentimental Mood (Duke Ellington)
   c-Sophisticated Lady (Ellington)
   d-Mood Indigo (Ellington, Barney Bigard)
   e-Take The A Train (Billy Strayhorn)
2. Fables Of Faubus (1910)
3. Diane [Body And Soul] (656)
4. Blues Medley [Blues for Some Bones] (1532)
   a-John's Blues (1021)
   b-Blues for Roy's Saw (202)
   c-Noddin' Ya Head Blues (251)
**

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Ben WEBSTER - King of Tenor 1953

Ben WEBSTER - King of Tenor 1953
1993 Issue.

Jazz

A lot of words aren't needed to describe Ben Webster.. maybe three at best SOULFUL, SWINGING and VERSATILE.  While players to follow put more emphasis on melodic, harmonic and rhythmic explorations, Ben Webster's trademark was his tonal mastery and expressiveness on his instrument... he was one of the few players who was able to change his tone according to what he wanted to say.. he could play lush, sweet, mellow and breathy on one tune... then go full honker style in another.. for this reason, this CD, which definitely showcases a wide scope of elements representing his unique virtuosity is a great listen.

THAT'S ALL, of course can be described as a monumentous moment in Jazz... I can only pray more young tenor hot head will get their hands on this album and remember one thing... WARMTH, feeling and expressiveness are what its really about, not the continuity of notes one is able to play in a single riff. Webster was profound, both melodically and expressively, hence its almost impossible not to listen to this CD repeatedly with awe and respect !
**
By 1953, Ben Webster had carved out his own niche in the world of jazz (and certainly in the world of saxophone). Earlyin his career, the tenor man was under the spell of ColemanHawkins and some critics considered him a mere copy. However, by the '50s, Webster had formed his own idiom. Still showing his roots, Webster nonetheless began to play with more flexible phrasing and a unique breathy tone. Uptempo numbers were intense yet controlled, and his ballad work (probably his greatest asset) was lyrical and more emotional than that of any of his contemporaries.
On KING OF THE TENORS we hear Webster in two different versions of the Oscar Peterson Quartet. The first setting features only one horn (Webster), the second session features legends Harry "Sweets" Edison (trumpet) and Benny Carter (alto sax) in addition to Webster. This reissue includes a previously unreleased version of "Poutin" as well as superb renditions of standard tunes "Tenderly", "Don't Get Around Any More", and the lovely Irish traditional "Danny Boy".
**
This 1953 date matched Webster with such peers as alto saxophonist Benny Carter, trumpeter Harry Edison, and pianist Oscar Peterson for a series of elegant yet soulful and exuberant small group dates. With no cut longer than four and a half minutes, the players didn't have time for excess statements or overkill; they had to quickly get to the heart of the matter in their solos, make their points, and return to the head. The original session has been enlarged by the addition of two previously unissued tracks, plus an alternate version of "That's All" that was later issued as a single. Label head Norman Granz excelled in producing swing-oriented, crisply played mainstream dates. Although this date is more than four decades old, Ben Webster's solos have a freshness and vitality that make them quite relevant to contemporary events.
By Ron Wynn. AMG.
**
Ben Webster- Tenor Sax
Benny Carter- Alto Sax
Harry "Sweets" Edison- Trumpet
Oscar Peterson- Piano
Barney Kessel- Guitar
Herb Ellis- Guitar
Ray Brown- Bass
J. C. Heard- Drums
Alvin Stoller- Drums
**
01. Tenderly 3:05
02. Jive At Six 4:15
03. Don't Get Around Much Any More 3:09
04. That's All (Album Version) 3:50
05. Bounce Blues (Album Version) 4:35
06. Pennies From Heaven 2:52
07. Cotton Tail 3:23
08. Danny Boy 3:40
09. Poutin' 3:59
10. Bounce Blues (1993 King Of Tenors Version) 3:39
11. That's All (Single Version) 2:54
**

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Art BLAKEY's Jazz Messengers - Art Blakey With Thelonius MONK 1957

Art BLAKEY's Jazz Messengers - Art Blakey With Thelonius MONK 1957
1977 Issue. HATS 421-231

Jazz

Two giants of modern jazz collaborate on this session of all-Monk tunes. Recorded in 1958, Blakey's always-impressive Jazz Messengers are joined by the Mad Professor himself (this record affords a glimpse of Monk as a distinguished and individual accompanist, in addition to his usual dazzling lead performances), for workouts on such classics as "Blue Monk," "Rhythm-a-ning," and "In Walked Bud."
Side by side, Blakey and Monk exhibit a strong, electric interplay, and the similarities of their approaches (both are concerned with space, polyrhythms, meter and accent) are evident. In "I Mean You," for example, Blakey carries the standard time of the piece, yet introduces a simultaneous line that forms a dialogue with the melody and rhythm. Likewise, Monk improvises harmonic variations in the two choruses of the same song; the first is a descending motif, the second a contrasting line turned around and inside out. Inventive treats like these, as well as some strong playing from horn men Johnny Griffin and Bill Hardman, make this outing of the Messengers and Monk of interest to aficionados and casual listeners alike.
**
Art Blakey's Jazz Messengers With Thelonious Monk (1958) was one of a number of landmark projects that Monk (piano) would record during the remarkably prolific spring and summer of 1957. In addition to this confab, he also documented the solo platter Thelonious Himself (1957), as well as Monk's Music's (1957) with a septet, and even going toe to toe with another respective pair of his formidable contemporaries on Thelonious Monk With John Coltrane (1957) and Mulligan Meets Monk (1957). However in this classic confrontation, Art Blakey (drums) and his concurrent Jazz Messengers — featuring the talents of Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) — play host to the pianist on his only sides for the venerable Atlantic record label. As one might anticipate with an artist whose catalog almost single-handedly defines bebop, the vast majority of the cleverly chosen material consists of Monk standards. While both co-leads rise to the occasion with thoroughly expressive performances throughout, this incarnation of the Jazz Messengers reveals a particularly potent support. During Evidence, Hardman unleashes a powerful lead into an equally inspired keyboard run of enthusiastic chord progressions and advanced phrasings from Monk. Griffin's interminable bop mentality effortlessly punctuates In Walked Bud as he almost immediately pounces into the free swinging melody with a verve that refuses to subside. From Blakey's boisterous opening to Blue Monk right through to the single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the tune's bluesy origins. This directly contrasts the up-tempo charge of Rhythm-a-Ning. The quirky-yet-catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's Purple Shades is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, his opening solo alternately shimmers and shudders with Debrest as well as the two-piece brass section demonstrating its own pronounced capabilities over Monk's counterpoint. This European release contains an additional three full-length alternate takes of Evidence, Blue Monk — which in some ways bests the released version — and I Mean You. These are the same supplementary sides that are included on the Rhino Records 1999 North American domestic CD reissue of this same title.
**
Most of the titles on this album are derived from Thelonious Monk's vast catalog of bop standards. Both co-leaders are at the peak of their respective prowess with insightful interpretations of nearly half a dozen inspired performances from this incarnation of the Blakey-led Jazz Messengers. This combo features Art Blakey (drums), Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass). Immediately, Hardman ups the ante with a piledriving lead during "Evidence" that underscores the heavy-hitting nature of this particular jazz confab. Monk counters with some powerful and inspired runs that are sonically splintered by the enthusiastic — if not practically percussive — chord progressions and highly logistic phrasings from the pianist. The inherent melodic buoyancy on "In Walked Bud" contains a springboard-like quality, with Griffin matching Monk's bounce measure for measure. Griffin's incessant efforts create a freshness to the tune that often escapes other less inspired readings. From Blakey's boisterous opening on "Blue Monk" through to Monk's single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the melody's bluesy origins. This directly contrasts the uptempo charge of "Rhythm-A-Ning." The quirky yet catchy chorus glides with the dual-lead horn section as the entire arrangement is tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is the only non-Monk composition that this aggregate recorded. This smartly syncopated blues seems better suited for the Jazz Messengers than for Monk. However, the pianist's opening solo alternately shimmers and shudders with Debrest as well as Griffin and Hardman, who demonstrate their own pronounced capabilities over Monk's otherwise occasional counterpoint.
By Lindsay Planer. AMG.
**
Art Blakey- (Drums);
Thelonious Monk- (Piano);
Johnny Griffin- (Tenor Sax);
Bill Hardman- (Trumpet);
Spanky DeBrest- (Bass).
**
A1. Evidence   6:42
A2. In Walked Bud   6:38
A3. Blue Monk   7:49
B1. I Mean You   7:58
B2. Rhythm-A-Ning   7:16
B3. Purples Shades   7:39
**

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