28 janeiro 2011

Before the Music Dies (2006)

Before the Music Dies
AVI | XviD 854x480 23.98fps 1698Kbps | Mp3 @ 192kbps stereo | 1.2 GB
DVDRip | Music Industry Crisis Documentary | 2006 | Director: Andrew Shapter | Total Time: 01:31:12

Let's get the obvious out of the way first. This is a great film. But more than that, it is an important film.
Before The Music Dies says a lot of the things many music fans have been thinking for years now. It also asks the single most fundamental question many of us have pondered over: Has the music industry abandoned both music fans--and more importantly, the musicians themselves--in the almighty name of commerce over actual art?
To find the answer, Andrew Shapter and his team travelled from coast to coast, speaking with fans, critics, and several musicians--ranging from household names like Eric Clapton and Elvis Costello--to a number of people you have never heard of (but in a number of cases, you should have). Academy award winner Forest Whitaker narrates.
In doing so, several of the villians you've come to know and hate are uncovered as expected. These include the usual suspects such as the huge, faceless radio conglomerates like Clear Channel and the tight, restrictive playlists such corporations ushered in. The way music videos forever changed the way we experience music by coloring in the images we previously were able to conjure ourselves--emphasing the flavor of the moment, and pretty faces that are discounted as fast as you can say Britney Spears--are also given ample examination.
And let us not forget the record companies who have replaced old school "record guys" cut in the mold of people like Columbia's great John Hammond and Atlantic's Ahmet Ertegun, with corporate bean counters whose ties run far closer to Wall Street than they do to Abbey Road or Muscle Shoals.
I mean, it used to be about the music, man. Right?

Truth is, much of this ground has been covered before, and in great detail, most notably in books like Fred Goodman's great The Mansion On The Hill. Like that book's subtitle, this is a film dealing with the collision of music and commerce. But where that great book puts things in terms of both a historical perspective and what was at the time it was written, a warning--Before The Music Dies brings things full circle into the present day world of MP3 downloads and the like.
Rightfully so.
Before The Music Dies applauds the instant access to music that such former traditional delivery systems as the LP album and the cassette--and the soon to be extinct CD--have long since been put out to pasture by way of restricting what the mass audience is actually able to hear. My only complaint here is that it fails to likewise address the way that such instant access reduces music to more of a single song driven commodity, than it has ever been before. Wonderful thing that this technology is, the bottom line is that the guys running companies like Microsoft and Apple have even less of a connection to the music itself than their predecessors at places like Warner and Sony did.
What was that famous line from Pete Townshend about "meet the new boss, same as the old boss?"
Still, this is an absolutely fascinating, and dare I say it, important film. It is also one that asks all of the right questions at exactly the right time about whether we are going to surrender the art and the heritage of our music--and the culture it represents-- forever to some faceless, corporate monolith--whatever mask it chooses to wear. This is truly thought provoking stuff.

Of the artists interviewed--people like Erykah Badu, Dave Matthews, and Branford Marsalis--several things also stand out. Marsalis for example rightfully points out how Bruce Springsteen would have been "thrown out on his butt" by today's record companies after releasing several records sounding nothing like Born To Run.
Erykah Badu likewise puts things into the modern perspective of how todays artists better show up with their cleavage hanging out. This, from an artist who has done more to summon the ghost of Billie Holliday and out it in a modern hip-hop sort of perspective than anybody I can think of.
Before The Music Dies also introduces us to some great new artists I had previously never heard of. These include Doyle Bramhall II--who is championed by no less than Eric Clapton as the "real deal"--and Calexico, a band who combine some very nice atmospherics with a Spanish sort of flavor.
For people who truly love music, this film is a must. You can view a trailer for it by going here. Be sure to click on the fast forward, double arrow function once the trailer ends too. There you will find one of this film's truly revealing gems--how a talentless 17 year old model is transformed into a "singer" by modern day studio technology.

Download @ RS
Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - Part 7


PASSWORD : marm@Duk3

Thanks to marmadukebass - A Kind O' Music :-)

Art Farmer - To Duke with Love 1975



01 In A Sentimental Mood
02 It Don't Mean A Swing
03 The Star Crossed Lovers
04 The Brown Skin Gal In The Calico Gown
05 Lush Life
06 Love You Madly


Art Farmer (flg)
Cedar Walton (p)
Sam Jones (b)
Billy Higgins (ds)

Blue Rock Studio, New York


Charlie Christian - Dizzy Gillespie - Thelonious Monk - After Hours 1941

Charlie Christian - Dizzy Gillespie - Thelonious Monk - After Hours 1941

Recorded live at Minton's Playhouse
and Clark Monroe's Uptown House in New York, N Y

in May 6, 1941 and May 12, 1941.

Charlie Christian ~ guitar
Dizzy Gillespie ~ trumpet
Joe Guy, Hot Lips Page, Victor Coulson ~ trumpet
Rudy Williams ~ alto saxophone
Don Byas, Kermit Scott ~ tenor saxophone
Thelonious Monk, Al Tinney, Ken Kersey ~ piano
Nick Fenton, Ed Paul ~ bass
Kenny Clarke, Tom Miller ~ drums

Originally released on Esoteric (548)

1. Swing to Bop (Improvisation)
2. Stompin' at the Savoy
3. Up on Teddy's Hill (Improvisation)
4. Down on Teddy's Hill (Improvisation)
5. Guy's Got to Go (Improvisation)
6. Lips Flips (Improvisation)
7. Stardust (#1)
8. Kerouac (Improvisation)
9. Stardust (#2)

AFTER HOURS is an excellent live document of the early roots of bebop, capturing this exciting music in the process of being built by its pioneering architects. Recorded live in New York City at jam sessions at Minton's Playhouse and Monroe's Uptown House in 1941, these tapes feature young modernists Charlie Christian, Dizzy Gillespie, Thelonious Monk, Kenny Clarke, and Don Byas as they pushed the structural materials of swing toward something new and intense.

Beyond the historical significance of these sessions, however, the music is simply fabulous. There are revisions of "Stardust" and "Stompin' at the Savoy, " but the tunes are mainly blues-based improvisations, with plenty of syncopated play and stretched-out soloing from all involved. Christian's guitar takes center stage--his fluid, fleet-fingered style and mellow amplified tone have become such a stock part of jazz guitar, it is hard to remember that he almost single-handedly wrote the book. Though Gillespie gets double-billing on this set, he only appears on four of the nine tunes, but one can hear early hints of the advanced technical style that would explode in his work with Charlie Parker in the later '40s. This music is truly classic.

27 janeiro 2011

Lee Morgan - The Procrastinator (1967)



1. The Procrastinator (Lee Morgan) 8:05
2. Party Time (Lee Morgan) 6:00
3. Dear Sir (Wayne Shorter) 6:53
4. Stopstart (Lee Morgan) 6:09
5. Rio (Wayne Shorter) 6:10
6. Soft Touch (Lee Morgan) 7:00

Lee Morgan trumpet
Wayne Shorter tenor sax
Herbie Hancock piano
Bobby Hutcherson vibes
Ron Carter bass
Billy Higgins drums

Recorded on July 14, 1967


This album is prime mid-sixties Lee Morgan, in the company of five stellar associates. Billy Higgins had been Morgan's drummer from The Sidewinder forward; thus he and Morgan had recorded with Wayne Shorter (on Search For The New Land, and The Gigolo) and Herbie Hancock (Search and Cornbread). Bobby Hutcherson was the leading vibes innovator of the era and (like Morgan, Shorter and Hancock) a Blue Note contract artist: he had previously worked with Morgan on Grachan Moncur's Evolution. While Ron Carter's bass had not been heard behind Morgan he was perfectly compatible and, of course, he worked with Shorter and Hancock in the immortal Miles Davis Quintet of the time. One fascinating sidelight of the session is that it took place in the middle of the production of Davis' Nefertiti.

"The Procrastinator" is a stunning Morgan composition with a variety of strengths. During the slow section, the main theme conveys a majesty akin to the classic "Search for the New Land," while the counter-melody on the bridge could pass for the work of John Lewis; once the tempo arrives, however, the line shows how perfectly it assumes a relaxed hard-bop lope. Morgan is extremely poised and, the pinpoint brilliance of his sound notwithstanding, mellow. Shorter sounds very Trane-ish, as he did on some of his own Blue Note dates of the time (and for the most part didn't with Miles), and Hutcherson is joyously fleet. Blue Note's "house" pianist of the time (Hancock, McCoy Tyner, Andrew Hill) always brought out the best in the vibist, and the value of Hancock's support here is unmistakable. The pianist lets his own lines soar, with minimal use of the left hand, and comments pithily behind the ensemble as he does throughout the session.

"Party Time," a staccato medium blues, shows the ability of these men to get into a groove without affectation. Hancock's subtle voicings and shifts in attack sound easy but are actually quite sophisticated, as are Shorter's beautiful simplicity and Morgan's tonal innuendos.

Shorter's "Dear Sir" takes the sextet into the ethereal atmosphere of the Davis quintet. The slow, calmly twisting 16-bar line floats in characteristic Shorter fashion with harmonic modulations and rhythmic emphasis appearing at unexpected places. In the tenor solo we hear a different Shorter from "The Procrastinator," a quietly compassionate and highly intelligent voice that has synthesized Coltrane, Rollins, Young and Getz. Hutcherson, whose approach is quite different, achieves an incredible unity, of mood, and Hancock is this mood. The trumpet player on a piece like this must obviously confront Davis' example, and Morgan does sound uncommonly close to Miles in a solemn solo.

Morgan's bright "Stop-Start" does just what the title implies. Everyone digs in and flies here (note the change in Shorter), with Hancock bouncing ideas between left and right hands in what might be called his "Blue Note style" (with Davis he often played what amounted to right-handed solos). Morgan breaks up his lines in order to play with the beat, creating the impression of a man whipping the music with controlled fury. There are moments of disorganization in the fours with Higgins, but they hardly impair "Stop-Start's" glowing energy.

Carter begins "Rio" with some characteristically reverberating lines. Shorter's melody is a terse quasi-bossa nova, 14 bars in length, which has an infinite quality akin to so many of Wayne's pieces (like unravelling an onion skin). Hancock and Shorter are most adept in this setting, with the composer working in his enveloping lower register and displaying his elegant thematic bent.

With its off-center intro by piano and bass and its stealthy theme, Morgan's "Soft Touch" displays some Shorterish sensitivity. This was the last recorded meeting of the two horn men, who had complemented each other so brilliantly since 1959 in the Jazz Messengers, and "Soft Touch" reminds us how each (in different ways) was a master of tantalizing ambiguity. Morgan's casual cockiness and Shorter's gruff nonchalance both work, aided by the taut rhythm section. Hutcherson piggybacks phrase on phrase and shows off his bright metallic sound, while Hancock seems to buff his already lucid ideas through repetition. Lee had recorded this tune with Jackie McLean in 1965 as "Slumber."

--BOB BLUMENTHAL, from the liner notes,
The Procrastinator, Blue Note.

Clifford Brown - Jazz Immortal (1954)



01. Daahoud (Brown) 4:13
02. Finders Keepers (Montrose) 3:52
03. Joy Spring (Brown) 3:16
04. Gone With the Wind (Magidson, Wrubel) 3:40
05. Bones for Jones (Brown) 4:15
06. Blueberry Hill (Lewis, Rose, Stock) 3:16
07. Tiny Capers (Brown) 4:16
08. Tiny Capers [Alternate Take] (Brown) 2:59
09. Gone With the Wind [Alternate Take] (Magidson, Wrubel) 2:58


Clifford Brown (trumpet)
Zoot Sims (tenor saxophone)
Bob Gordon (baritone saxophone)
Stu Williamson (valve trombone)
Russ Freeman (piano)
Joe Mondragon, Carson Smith (bass)
Shelly Manne (drums)
Jack Montrose (arranger)

Recorded at Capitol Recording Studios, Los Angeles, California on July 12 & August 8, 1954

While at the time Clifford Brown was associated with East Coast jazz and the burgeoning hard-bop movement, these 1954 Los Angeles recordings show that he was just as much at home and just as welcome in the midst of the West Coast's cool school. Jack Montrose wrote the arrangements for this septet, and the band is perfectly formed to showcase Brown's brilliant trumpet sound, contrasting it with the lower-pitched but lighter sounds of Zoot Sims's tenor saxophone, Bob Gordon's baritone, and Stu Williamson's valve trombone. Brown's best-known compositions, "Daahoud" and "Joy Spring," are heard in their debut recordings here, and they're well suited to the Montrose treatment, with Brown's scintillating bop lines moving fluidly within the developed ensemble harmony. The other horns have some fine solo moments, but it's Brown who stands out, the precision of his attack highlighting the subtlety and invention of his solos. Pianist Russ Freeman and drummer Shelly Manne contribute tasteful support throughout, and the new remastering by Rudy Van Gelder highlights both the brassy sheen of Brown's playing and the lightly grained reeds. --Stuart Broomer


Art Farmer Quintet feat Gigi Gryce - Satellite (1955)



1. Forecast (4:48)
2. Evening In Casablanca (5:20)
3. Nica's Tempo (7:50)
4. Satellite (4:21)
5. San Souci (6:39)
6. Shabozz (5:32)

Art Farmer (trumpet)
Gigi Gryce (alto sax)
Duke Jordan (piano)
Addison Farmer (bass)
Philly Joe Jones (drums)

During 1955, trumpeter Art Farmer had a short-lived quintet with altoist Gigi Gryce, but because neither of the co-leaders were big names at the time, the band did not last long. Fortunately, they did record two albums of material, of which this CD reissue (originally known as Evening in Casablanca) was the second. In addition to Farmer and Gryce, the unit includes pianist Duke Jordan, bassist Addison Farmer, and drummer Philly Joe Jones. With the exception of Duke Jordan's "Forecast," the cool-toned hard bop date consists entirely of Gryce compositions, of which "Evening in Casablanca" and "Nice's Tempo" are best known. Excellent music well deserving a close listen. -- AMG


Donald Byrd & Kenny Burrell - All Night Long (1956)


Donald Byrd - Trumpet
Kenny Burrell - Guitar
Jerome Richardson - Flute and Tenor Saxophone
Hank Mobley - Tenor Saxophone
Mal Waldron - Piano
Doug Watkins - Double Bass
Art Taylor - Drums


1. All Night Long (Kenny Burrell) 17:12
2. Boo-Lu (Hank Mobley) 6:48
3. Flickers (Mal Waldron) 6:13
4. Li’l Hankie (Hank Mobley) 8:23
5. Body And Soul (Edward Heyman/Frank Eyton/Johnny Green/Robert Sour) 10:22
6. Tune Up (Miles Davis) 5:36


Benny Golson And The Philadelphians (1958)



1. You're Not The Kind 4:21
2. Blues On My Mind 7:33
3. Stablemates 5:49
4. Thursday's Theme 7:39
5. Afternoon In Paris 6:57
6. Calgary 3:42

Lee Morgan (tp)
Benny Golson (ts)
Ray Bryant (p)
Percy Heath (b)
Philly Joe Jones (dr)

Nola's Penthouse Sound Studios, NYC, November 17, 1958


Don Rendell - Ian Carr Quintet - Shades Of Blue (1964)



Blue Mosque (Don Rendell/Ian Carr)
Latin Blue (Don Rendell)
Just Blue (Ian Carr)
Sailin' (Mike Carr)
Garrison '64 (Don Rendell/Dave Green)
Blue Doom (Don Rendell/Ian Carr)
Shades of Blue (Neil Ardley)
Big City Strut (Ian Carr)

Don Rendell (ts/ss)
Ian Carr (tpt/fln)
Colin Purbrook (p)
Dave Green (b)
Trevor Tomkins (d)

Shades Of Blue

Jamey Aebersold Vol 15 - Payin' Dues

58 Мб

1. Another Yew
2. It's You
3. Stella
4. April
5. You're
6. The Song
7. Flesh & Spirit
8. What Is This?
9. Share A Key


Al Cohn, Joe Newman, Freddie Green - Mosaic Select vol.27

MP3@192kbps :CD1 - 105mb CD2 - 81mb CD3 - 77mb
Label:Mosaic Records

In the mid fifties, Al Cohn, Joe Newman and Freddie Green were ubiquitous at RCA Victor jazz sessions. In 1955, they made five superb small group swing albums together for RCA with the group size ranging from septet to nonet. These wonderful sessions were issued as Cohn's The Natural Seven and Four Trumpets, One Tenor, Newman's All I Wanna Do Is Swing and I'm Still Swinging and Green's Mr. Rhythm.

1. A Kiss To Build A Dream On (A) 3:31
(Hammerstein-Kalmar-Ruby) Arranged by Manny Albam
2. Doggin' Around (A) 3:02
(E. Battle-H. Evans) Arranged by Ernie Wilkins
3. Jump The Blues Away (A) 2:58
(Ed Lewis) Arranged by Manny Albam
4. Jack's Kinda Swing (A) 3:36
(Al Cohn) Arranged by Al Cohn
5. The Natural Thing To Do (A) 3:01
(Al Cohn) Arranged by Al Cohn
6. A.C. Meets Osie (A) 2:43
(Al Cohn) Arranged by Al Cohn
7. Baby Please (A) 3:05
(Al Cohn) Arranged by Al Cohn
8. 9:20 Special (A) 2:59
(Warren-Palmer-Engvick) Arranged by Manny Albam
9. Pick A Dilly (A) 3:30
(Al Cohn) Arranged by Al Cohn
10. Count Me In (A) 3:34
(Al Cohn) Arranged by Al Cohn
11. Freddie's Tune (A) 3:27
(Freddie Green) Arranged by Al Cohn
12. Osie's Blues (A) 2:30
(O. Johnson-M. Albam) Arranged by Manny Albam
13. Up In The Blues (B2) 2:34
(Freddie Green) Arranged by Al Cohn
14. Down For Double (B1) 4:00
(Freddie Green) Arranged by Al Cohn
15. Back And Forth (B2) 2:18
(Freddie Green) Arranged by Ernie Wilkins
16. Free And Easy (B1) 3:26
(Freddie Green) Arranged by Manny Albam
17. Learnin' The Blues (B1) 3:29
(Dolores Vicki Silver) Arranged by Manny Albam
18. Feed Bag (B2) 2:59
(Freddie Green) Arranged by Manny Albam
19. Something's Gotta Give (B1) 2:54
(Johnny Mercer) Arranged by Al Cohn
20. Easy Does It (B1) 3:43
(S. Oliver-J. Young) Arranged by Manny Albam
21. Little Red (B2) 2:09
(Freddie Green) Arranged by Ernie Wilkins
22. Swinging Back (B1) 3:23
(Freddie Green) Arranged by Ernie Wilkins
23. A Date With Ray (B1) 4:53
(Freddie Green) Arranged by Ernie Wilkins
24. When You Wish Upon A Star (B1) 2:39
(N. Washington-L. Harline) Arranged by Ernie Wilkins

1. Pretty Skinny Bunny (C) 2:27
(Ernie Wilkins) Arranged by Ernie Wilkins
2. Leonice (C) 3:35
(Joe Newman) Arranged by Manny Albam
3. Jack's Wax (C) 2:30
(Al Cohn) Arranged by Al Cohn
4. Topsy (C) 3:15
(E. Durhan-E. Battle) Arranged by Manny Albam
5. Captain Spaulding (C) 3:28
(Al Cohn) Arranged by Al Cohn
6. I Could Have Told You (C) 2:56
(J. Van Heusen-C. Sigman) Arranged by Ernie Wilkins
7. Soon (C) 2:41
(G. Gershwin-I. Gershwin) Arranged by Manny Albam
8. Limehouse Blues (C) 3:24
(P. Braham-D. Furber) Arranged by Al Cohn
9. Dream A Little Dream Of Me (C) 2:35
(Andre-Kahn-Schwandt) Arranged by Ernie Wilkins
10. Corner Pocket (C) 2:42
(Freddie Green) Arranged by Ernie Wilkins
11. If I Could Be With You (C) 3:07
(J. P. Johnson-H. Creamer) Arranged by Al Cohn
12. It's A Thing Of The Past (C) 2:41
(Manny Albam) Arranged by Manny Albam
13. Lullaby Of Birdland (C) 3:08
(George Shearing) Arranged by Manny Albam
14. Top Hat, White Tie And Tails (D) 2:46
(Irving Berlin) Arranged by Manny Albam
15. You Can Depend On Me (D) 3:32
(Hines-Carpenter-Dunlap) Arranged by Manny Albam
16. We'll Be Together Again (D) 3:40
(F. Laine-C. Fischer) Arranged by Ernie Wilkins
17. It's Bad For Me (D) 3:19
(Cole Porter) Arranged by Al Cohn
18. Exactly Like You (D) 3:16
(J. McHugh-D. Fields) Arranged by Al Cohn
19. Shameful Roger (D) 2:46
(Manny Albam) Arranged by Manny Albam

1. The Daughter Of Miss Thing (D) 2:30
(J. Newman-E. Wilkins) Arranged by Ernie Wilkins
2. Sometimes I'm Happy (D) 3:00
(Youmans-Caesar-Grey) Arranged by Manny Albam
3. Sweethearts On Parade (D) 2:40
(C. Newman-C. Lombardo) Arranged by Al Cohn
4. Slats (D) 3:56
(Joe Newman) Arranged by Ernie Wilkins
5. Lament For A Lost Love (D) 3:10
(Ellington-Bigard-Mills) Arranged by Al Cohn
6. Prefidia (D) 2:51
(A. Dominguez-M. Leeds) Arranged by Ernie Wilkins
7. Rosetta (E1) 4:29
(E. Hines-H. Woode) Arranged by Al Cohn
8. The Song Is Ended (E2) 2:45
(Irving Berlin) Arranged by Manny Albam
9. Linger Awhile (E3) 3:23
(V. Rose-H. Owens) Arranged by Manny Albam
10. Every Time (E1) 2:19
(W. Farrar-W. Kent) Arranged by Al Cohn
11. Haroosh (E3) 4:02
(Al Cohn) Arranged by Al Cohn
12. Just Plain Sam (E1) 2:56
(Manny Albam) Arranged by Manny Albam
13. I'm Coming Virginia (E3) 2:31
(D. Heywood-W. Cook) Arranged by Al Cohn
14. Cohn, Not Cohen (E2) 2:45
(Al Cohn) Arranged by Al Cohn
15. A Little Song (E2) 2:46
(Al Cohn) Arranged by Al Cohn
16. Foggy Water (E2) 2:48
(Manny Albam) Arranged by Manny Albam
17. Sugar Cohn (E3) 3:07
(Manny Albam) Arranged by Manny Albam
18. Alone Together (E1) 3:29
(H. Dietz-A. Schwartz) Arranged by Manny Albam

(A) Joe Newman, trumpet; Frank Rehak, trombone; Al Cohn, tenor sax; Nat Pierce, piano;
Freddie Green, guitar; Milt Hinton, bass; Osie Johnson, drums, vocal on "Osie's Blues."
Arranged by Al Cohn, Manny Albam and Ernie Wilkins
Recorded at Webster Hall, New York City on February 3, 1955
Originally issued as AL COHN - THE NATURAL SEVEN, RCA Victor LPM-1116

(B) Joe Newman, trumpet; Henry Coker, trombone; Al Cohn, tenor sax, clarinet, bass clarinet;
Nat Pierce, piano; Freddie Green, guitar; Milt Hinton, bass; Jo Jones (B1) or Osie Johnson (B2), drums.
Arranged by Al Cohn, Manny Albam and Ernie Wilkins
Recorded at Webster Hall, New York City on December 18, 1955
Originally issued as FREDDIE GREEN MR. RHYTHM, RCA Victor LPM-1210

(C) Joe Newman, trumpet; Frank Rehak, trombone; Ernie Wilkins, alto sax; Al Cohn, tenor sax;
Nat Pierce, piano; Freddie Green, guitar; Milt Hinton, bass; Shadow Wilson, drums.
Arranged by Al Cohn, Manny Albam and Ernie Wilkins
Recorded at Webster Hall, New York City on February 8, 1955
"Lullaby Of Birdland" originally issued on VARIOUS ARTISTS - LULLABY OF BIRDLAND, RCA Victor LPM 1146
All other tunes originally issued as JOE NEWMAN - ALL I WANNA DO IS SWING, RCA Victor LPM-1118

(D) Joe Newman, trumpet; Urbie Green, trombone; Gene Quill, alto sax; Al Cohn, tenor sax;
Dick Katz, piano; Freddie Green, guitar; Eddie Jones, bass; Shadow Wilson, drums.
Arranged by Al Cohn, Manny Albam and Ernie Wilkins
Recorded at Webster Hall, New York City on October 3 & 4, 1955
Originally issued as JOE NEWMAN - I'M STILL SWINGING, RCA Victor LPM-1198

(E) Joe Newman, Thad Jones, Joe Wilder (E1) or Bernie Glow (E2) or Phil Sunkel (E3), trumpets; Nick Travis, trumpet, valve trombone;
Al Cohn, tenor sax; Dick Katz, piano; Freddie Green, guitar; Buddy Jones, bass; Osie Johnson, drums.
Arranged by Al Cohn and Manny Albam
Recorded at Webster Hall, New York City on May 9 (E1), May 14 (E2) and May 16 (E3), 1955
Originally issued as THE JAZZ WORKSHOP - FOUR BRASS, ONE TENOR, RCA Victor LPM-1161

part 1 - part 2 - part 3

Dizzy Reece - Mosaic Select 11

Recording : Aug 24, 1958-Jul 17, 1960
Audio Format: MP3@320 kbps : 144 + 131 + 143 MB
Time: 195:33
Label: Mosaic
Year: 2004

Disc 1:
1. Blues In Trinity (A) 6:44
2. I Had The Craziest Dream (A) 3:02
3. Close-Up (A) 10:38)
4. Shepherd’s Serenade (S) 6:35
5. Color Blind (A) 5:59
6. ‘Round About Midnight (A) 4:44
7. Eboo (A) 4:01
8. Just A Penny (A) 5:27
9. The Rake (B) 6:04
10. I’ll Close My Eyes (B) 5:55
11. Groovesville (B) 8:05
Disc 2:
1. The Rebound (B) 6:46
2. I Wished On The Moon (B) 6:48
3. A Variation On Monk (B) 5:41
4. (I Don’t Stand A) Ghost Of A Chance (C) 5:04
5. Once In A While (C) 7:54
6. Eb Pob (C) 7:27
7. Yesterdays (C) 7:44
8. Our Love Is Here To Stay (C) 7:08
9. Blue Streak (C) 6:21
Disc 3:
1. Ye Olde Blues (D) 6:40
2. The Case Of The Frightened Lover (D) 5:42
3. Tenderly (D) 9:02
4. Achmet (D) 8:28
5. The Story Of Love (D) 10:09
6. Sands (E) 6:00
7. Comin' On (E) 6:44
8. Goose Dance (E) 6:49
9. The Things We Did Last Summer (E) 6:17

(A) BLUES IN TRINITY: Dizzy Reece, Donald Byrd, trumpets; Tubby Hayes, tenor saxophone; Terry Shannon, piano; Lloyd Thompson, bass; Art Taylor, drums.

(B) STAR BRIGHT: Dizzy Reece, trumpet; Hank Mobley, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass: Art Taylor, drums.

(C) SOUNDIN’ OFF: Dizzy Reece, trumpet; Walter Bishop, Jr., piano; Doug Watkins, bass; Art Taylor, drums.

(D) COMIN’ ON: Dizzy Reece, trumpet, congas; Stanley Turrentine, tenor saxophone; Bobby Timmons, piano; Jymie Merritt, bass; Art Blakey, drums.

(E) COMIN’ ON: Dizzy Reece, trumpet; Stanley Turrentine, tenor saxophone; Musa Kaleem, tenor saxophone, flute; Duke Jordan, piano; Sam Jones, bass; Al Harewood, drums.

part 1 - part 2 - part 3

The 11th volume in Mosaic's Select series is one of its finest. Devoted to the Blue Note recordings of Jamaican-born trumpeter Dizzy Reece, it offers a particular portrait of one of hard bop's most capable practitioners. There are five sessions compiled here, issued on four albums -- the legendary debut Blues in Trinity (1958), Star Bright (1959), Soundin' Off (1960), and Comin' On! (1960). These sides were the introductions American audiences had to the hot licks trumpeter who offered a wealth of influences and styles in his solos and compositions.

Singling out Blues in Trinity is necessary because it was the transition album for Reece, whose reputation preceded him -- via the critical raves of Miles Davis -- to American jazzmen, and was recorded in Paris. Americans Donald Byrd and Art Taylor were working in the city as was Canadian bassist Lloyd Thompson; add to this two vacationers in the form of British alto legend Tubby Hayes and pianist Terry Shannon, and you have an international jazz summit. An unusual sextet session with two trumpeters, the set includes no less than six Reece originals and a wonderful read of Monk's "'Round Midnight." Reece's blues pieces -- the title track, "Close Up," and "Shepard's Serenade" (with a blazing solo by Hayes) -- are tough, lean, hard-blowing sessions, full of knotty line configurations and intense, over-the-top solos by the horns.
Its follow-up Star Bright also included Taylor, but the rest were current and future Davis sidemen including Hank Mobley, Paul Chambers, and Wynton Kelly. The rapport between Mobley and Reece is of particular interest because of the sharp contrast in their playing styles and tones. Mobley was already moving toward his soulful, bluesy approach and his tone was warm and fully juxtaposed to the fiery phrasing and bright, brittle tone exhibited by Reece on his tunes such as "The Rake" and "Groovesville." Soundin' Off offers Reece in a quartet setting without any other horns on the front lines, Taylor is once again on the set with pianist Walter Bishop, Jr., and bassist Doug Watkins completes the band. What is interesting is in the longer lines Reece is featuring in his solos and his willingness to stretch time by relying more on Taylor's long-ish beat, such as on "Once in a While" and "Blue Streak." Reece's final album for Blue Note is two separate sessions. Besides Reece, the only constant is saxophonist Stanley Turrentine. On the first half of the disc, Art Blakey, bassist Jymie Merrit, and pianist Bobby Timmons usher in the bluesy, soulful groove that Reece began exploring in his playing in early 1960. This is fleshed out further when saxophonist and flutist Musa Kaleem is added to the front line, and the rhythm section features Al Harewood, bassist Sam Jones, and pianist Duke Jordan. Here was the extension of hard bop into the beginnings of funky soul. Reece's tempos slowed just a bit, but his gut-bucket groove got deeper and wider. His soloing offered the same strident musculature, but it was more reliant on following the blues line rather than breaking it into fragments. The underlying swing on this session is wonderful and continuous despite the presence of two bands. This is one of those box sets a jazz fan will be eternally grateful for. There was nothing left in the can, so these sides are complete without bonus material, but it hardly matters when they are all assembled in one place.
(Thom Jurek)

Gerry Mulligan with Chet Baker (1952-3)



1. Line For LyonS
2. Walking Shoes
3. Love Me Or Leave Me
4. Carioca
5. Freeway
6. Moonlight In Vermont
7. The Lady Is A Tramp
8. Bark For Barksdale
9. My Funny Valentine
10. Bernie's Tune
11. Five Brothers
12. Turnstile
13. I May Be Wrong
14. Swing House
15. Lullaby Of The Leaves
16. The Nearness Of You
17. I'm Beginning To See The Light
18. Makin' Whoopee
19. Frenesi
20. Nights At The Turntable
21. Jeru
22. Cherry
23. Aren't You Glad You're You
24. Tea For Two

Chet Baker (Trumpet),
Chico Hamilton (Drums)
Gerry Mulligan (Sax (Baritone))
Larry Bunker (Drums),
Carson Smith (Bass),
Bobby Whitlock (Bass)

The first half of this album has the six rarest studio performances by the Gerry Mulligan quartet, excellent music that does not duplicate the Mosaic box or Jeru's Prestige output. The quartet with trumpeter Chet Baker sounds at the top of its form on such songs as "Varsity Drag," "Speak Low," "Half Nelson," "Lady Bird," "Love Me or Leave Me" and "Swing House." The second half of this set is not on the same level, finding the Buddy DeFranco quartet of 1953 hampered by The Herman McCoy Swing Choir on six numbers, all of which have "Star" in its title. This budget set inexcusably leaves off any personnel or date listing but is worth picking up for the Mulligan performances.
~ Scott Yanow, All Music Guide


Ella & Louis Sing Gershwin - Our Love Is Here to Stay (1957-9)



I Got Plenty O' Nuttin'
2. He Loves And She Loves
3. A Woman Is A Sometime Thing
4. They Can't Take That Away From Me
5. Let's Call The Whole Thing Off
6. Strike Up The Band
7. Things Are Looking Up
8. They All Laughed Ell
9. A Foggy Day Ella Fitzgerald
10. How Long Has This Been Going On?
11. Summertime
12. Love Is Here To Stay
13. There's A Boat Dat's Leavin' Soon For New York
14. 'S Wonderful Ella Fitzgerald
15. I Was Doing All Right
16. Oh, Lady Be Good

On tracks 1,3,11,13:
Ella Fitzgerald & Louis Armstrong with Russell Garcia's orchestra

On tracks 2,6,7,14:
Ella Fitzgerald with Nelson Riddle's orchestra

On tracks 4,5,8-10,12,15:
Ella Fitzgerald & Louis Armstrong with Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Loie Bellson (d)/
Buddy rich on tracks 4,9

On track 16:
Ella Fitzgerald with Roy Eldridge, J.J. Johnson (tb), Sonny Stitt (as),
Oscar Peterson (p), Herb Ellis (g),
Ray Brown (b), Jo Jones (d)
, Stan Getz, Coleman Hawkins, Illinois Jacquet, Flip Phillips, Lester Young (ts),


25 janeiro 2011

Bennie Green - Back On The Scene (1958)



1. I Love You - 6:08
2. Melba's Mood - 5:35
3. Just Friends - 7:03
4. You're Mine, You - 5:18
5. Bennie Plays The Blues - 8:25
6. Green Street - 5:09

Rec.Mar 23, 1958

Bennie Green (trombone)
Charlie Rouse (tenor sax)
Joe Knight (piano)
George Tucker (bass)
Louis Hayes (drums)


Blue Mitchell - Vital Blue (1971)

Request by Henry



Trumpet - Blue Mitchell
Bass - Stan Gilbert
Piano - Walter Bishop, Jr.
Drums - Doug Sides
Flute, Tenor Sax - Joe Henderson
Tenor Sax - Ernie Watts
Vocals - Susaye Greene
Producer - Bob Shad


In Memoriam :
 Freddie Hubbard

Zwart wit tekening van Freddie Hubbard gemaakt door Piet Klaasse op 17 juli 1982 tijdens het North Sea Jazz Festival in Den Haag. (Collectie van de auteur).

Desenho a preto e branco de Freddie Hubbard por Piet Klaasse em 17 de julho de 1982 no North Sea Jazz Festival, em Haia. (Coleção do autor)

Blue Mitchell - Big Six (1958)


1. Blues March
2. Big Six
3. There Will Never Be Another You
4. Brother 'Ball
5. Jamph
6. Sir John
7. Promenade

Blue Mitchell (tp)
Curtis Fuller (tb)
Johnny Griffin (ts)
Wynton Kelly (p)
Wilbur Ware (b)
Philly Joe Jones (d)


Bennie Green - Walkin' And Talkin' (1959)

Total Time - 37:28 - release: 2004
Label - Blue Note JPN

1. The Shouter - 4:59
2. Green Leaves - 5:41
3. This Love Of Mine - 6:42
4. Walkin' And Talkin' - 8:55
5. All I Do Is Dream Of You - 5:30
6. Hoppin' Johns - 5:26

Rec.January 25, 1959


Bennie Green - trombone,
Eddy Williams - tenor sax,
Gildo Mahones - piano,
George Tucker - bass,
Al Dreares - drums

All of Bennie Green's Blue Note records were rich with joyously swinging blues and bop, highlighted by his warm, friendly tone and good humor. Walkin' & Talkin', his third record for the label, was no exception to the rule. Leading a quintet that features tenor saxophonist Eddy Williams, pianist Gildo Mahones, bassist George Tucker and drummer Al Dreares, Green keeps things light, swinging and immensely entertaining. Mahones wrote three of the six songs, including the swinging opener "The Shouter" and the Latin-tinged "Green Leaves"; Green contributed the bluesy title track, and the group offers two standards engaging, lightly swinging readings of "This Love of Mine" and "All I Do is Dream of You." The result is no different than Green's two previous Blue Note records, but it's no less satisfying, and fans of swinging bop should be contented with Walkin' & Talkin'.
~ Stephen Thomas Erlewine, All Music Guide

Bix Beiderbecke - Jass Me Blues (1927-8)

Total time 60:54. MP3 @ 128 (59.8 MB)

Personnel, recording dates and locations:

-- Trumbology --
-- Singin' The Blues --
Frankie Trumbauer and His Orchestra, N.Y.C., 04 February 1927
Bix Beiderbecke (cornet), Bill Rank (trombone), Frank Trumbauer (c-melody sax), Jimmy Dorsey (clarinet, alto sax), Paul Mertz (piano, arranger),
Howdy Quicksell (banjo, "Trumbology" only), Eddie Lang (guitar, "Singin' The Blues" only), Chauncey Morehouse (drums).

-- Ostrich Walk --
-- Riverboat Shuffle --
Frankie Trumbauer and His Orchestra, N.Y.C., 09 February 1927
Bix Beiderbecke (cornet, arranger), Bill Rank (trombone), Frank Trumbauer (c-melody sax, alto sax), Don Murray (clarinet, tenor sax),
Doc Ryker (alto sax), Irving Riskin (piano), Eddie Lang (guitar), Chauncey Morehouse (drums), Bill Challis (arranger).

-- For No Reason at All in C --
Frankie Trumbauer, Bix Beiderbecke and Eddie Lang, 13 May 1927
TRAM, BIX AND EDDIE (IN THEIR THREE PIECE BAND): Bix Beiderbecke (p, cor), Frank Trumbauer (c-melody), Eddie Lang (g).

-- I'm Coming Virginia --
-- Way Down Yonder in New Orleans --
Frankie Trumbauer and His Orchestra, 13 May 1927
Bix Beiderbecke (cor), Bill Rank (tb), Frank Trumbauer (c-melody), Don Murray (cl, ts, arr), Doc Ryker (as), Irving Riskin (p, arr),
Eddie Lang (g), Chauncey Morehouse (d, harpophone).

-- In A Mist --
Bix Beiderbecke (piano solo), N.Y.C., 08 September 1927

-- Clementine (From New Orleans) --
Jean Goldkette and His Orchestra, 15 September 1927

-- At The Jazz Band Ball --
-- Jazz Me Blues --
-- Royal Garden Blues --
Bix Beiderbecke and His Gang, N.Y.C., 05 October 1927
Bix Beiderbecke (cor), Bill Rank (tb), Don Murray (cl), Frank Signorelli (p), Adrian Rollini (bass sax), Chauncey Morehouse (d).

-- Goose Pimples --
-- Sorry --
-- Since My Best Girl Turned Me Down --
Bix Beiderbecke and His Gang, N.Y.C., 25 October 1927
Bix Beiderbecke (cor), Bill Rank (tb), Don Murray (cl), Frank Signorelli (p), Adrian Rollini (bass sax), Chauncey Morehouse (d), Howdy Quicksell (arr).

-- There'll Come a Time --
Frankie Trumbauer and His Orchestra, N.Y.C., 09 January 1928
Bix Beiderbecke (cor), Bill Rank (tb), Frank Trumbauer (c-melody, as), Jimmy Dorsey (cl, as), Chet Hazlett, Rube Crozier (reeds),
Lennie Hayton (p, cel), Carl Kress (g), Min Leibrook (bass sax), Hal McDonald (d, harpophone), Willard Robison (arr).

-- Mississippi Mud --
Frankie Trumbauer and His Orchestra, N.Y.C., 20 January 1928
Bix Beiderbecke (cor), Charlie Margulis (tp), Bill Rank (tb), Frank Trumbauer (c-melody, as, vcl), Jimmy Dorsey (as), Chet Hazlett (as),
Matty Malneck (vln), Lennie Hayton (p), Carl Kress (g), Min Leibrook (bass sax), Hal McDonald (d), Bing Crosby (vcl).

-- Thou Swell --
Bix Beiderbecke and His Gang, N.Y.C., 17 April 1928
Bix Beiderbecke (cor), Bill Rank (tb), Irving Friedman (cl), Roy Bargy (p), Min Leibrook (bass sax), Hal McDonald (d, harpophone).

-- A Wa Da Da (Everybody's Doin' It Now) --
-- Ol' Man River --
Bix Beiderbecke and His Gang, Chicago, Illinois, 07 July 1928
Bix Beiderbecke (cor), Bill Rank (tb), Irving Friedman (cl), Roy Bargy (p), Min Leibrook (bass sax), Harry Gale (d).


Bix Beiderbecke - Bixology

FLAC (98+85 MB) | MP3 320 KBp/s (92 MB) | 41:22 min

01 - Tiger rag
02 - Davenport blues
03 - Singin' the blues
04 - Riverboat shuffle
05 - I'm coming Virginia
06 - For no reason at all in C
07 - In a mist
08 - Clementine (from New Orleans)
09 - Jazz me blues
10 - At the Jazz Band ball
11 - Royal Garden blues
12 - Sorry
13 - I'll be a friend with pleasure
14 - Bessie couldn't help it

part 1 | part 2


24 janeiro 2011

Cat Anderson

Cat Anderson, Aquarium New York. between 1946 and 1948
William P. Gottlieb

Cat Anderson - Ellingtonia (1959)



01. Between Some Place, Goin' No Place
02. A Flower Is A Lovesome Thing
03. The Mexican Bandit
04. Lovelinessence
05. Accen'tuate
06. Chelsea Bridge
07. Summertime
08. Like, Dig

Cat Anderson - t
Butter Jackson- tb
Sam Woodyard- d
Ray Nance- vln
Jimmy Woode- b
Leroy Lovett- p
Bud Johnson- ts, fl (only tracks 1, 5, 7 and 8)
Rudy Powell- as, cl (only tracks 2, 3, 4 and 6)

Trumpeter Cat Anderson had one of his infrequent vacations from Duke Ellington's Orchestra to record this rare and decent small-group swing date. The septet has five of Duke's men (including trombonist Quentin Jackson, violinist Ray Nance, bassist Jimmy Woode and drummer Sam Woodyard) joined by pianist Leroy Lovett and either Rudy Powell or Budd Johnson on reeds. Some original jump tunes alternate with Ellington/Strayhorn ballads ("A Flower Is A Lovesome Thing" and "Chelsea Bridge") and, although nothing too unpredictable occurs, the music should please swing and Ellington collectors.


Cat Anderson again

Duke Ellington, Cat Anderson, and Sidney De Paris, Aquarium, New York, ca. Nov. 1946
Bill Harris, Dave Tough and Charlie Ventura, Three Deuces, New York, between 1946 and 1948

23 janeiro 2011

The Brass Family

The trumpet is a musical instrument with the highest register in the brass family.The trumpet is used in many forms of music, including classical music and jazz. Trumpets have three piston valves. Each of these change the length of tubing when the player blows into it. There are lots of trumpet techniques: flutter tonguing, growling, double tonguing, triple tonguing, doodle tongue, glissando, vibrato, pedal tone, etc. They are made of brass tubs bent twice making an oblong shape, and are played by blowing air through closed lips.
The Brass family by Noah
The trombone is a musical instrument in the brass family. It is a lip-reed aerophone instrument. The trombone is characterised by having a slide with which the player changes the length of the tube to change the pitch. A person who plays the trombone is called a trombonist. The parts of the trombones are: tuning slide, counterweight, mouthpiece, slide lock ring, bell, knob, water key, main slide, second slide brace, first slide brace and connector nut.

The French horn is a brass instrument. Horns have three valves, wich are pressed with the left hand, they are pressed to change the pitch. A musician who plays the horn is called a horn player. The horn is the second highest sounding instrument group in the brass family. The horn is most often used as an orchestral instrument. The French horn has a spiral shape.There are differents horns: like the double horn, the Vienna horn, the hunting horn, the French Omnitonic horn, the natural horn at the Victoria, the Mozart era natural horn, etc.

The tuba is the largest and lowest pitched brass instrument. Its sound is produced by vibrating the lips into a large mouthpiece. The tuba is used in jazz. Tubas have four to five valves. There are four types of tubas: the bass tuba, contrabass tuba, tenor tuba and the subcontrabass tuba. It is the principal bass instrument in symphonic and military bands. It serves as the bass of the brass section and of brass quintets and choir.

Conte Candoli – The Five (1955)

(if you have better bitrate send me the link please)

Recorded in Los Angeles, March 9, 1955


1.whistle while you work


3.beyond the sea

4.i dig ed

5.lullaby of the leaves


7.soft as spring

8.just for judie

9.if i love again

10.red eyes

11.pushin’ sand

12.i’ll be in scotland after you

Bill Perkins ~ Tenor Sax

Conte Candoli ~ Trumpet

Pete Jolly ~ Piano

Buddy Clark ~ Bass

Mel Lewis ~ Drums

This excellent album (a reissue LP of music deserving to be reissued on CD) is really led by Shorty Rogers, who provided the dozen arrangements and five originals, although he does not play trumpet on the date. Featuring a quintet of fine West Coast players (including pianist Pete Jolly at the beginning of his career), Rogers’ charts really set the mood for the set of cool jazz. Trumpeter Conte Candoli and tenor saxophonist Bill Perkins (heard at his coolest, tone-wise) take plenty of fine solos, while bassist Buddy Clark and drummer Mel Lewis are lightly swinging in support. This is a near-classic that has somehow remained obscure through the years, perhaps due to the group’s name.
by Scott Yanow

:: The Five ::

Thks to Raz Jazz Is My Life :-)

Bill Russo - A Recital Of New American Music (1951)

mp3@320 kb/s : ~ 25 min : 58,31

01. An Esthete On Clark Street (2:58)
02. Sposin’ (2:18)
03. Cathy (2:40)
04. Cookie (2:39)
05. Ennui (3:36)
06. Gloomy Sunday (3:19)
07. Vignette (3:07)
08. Strange Fruit (2:48)
09. I Can’t Get Started (3:02)
10. My Man (2:35)


Gail Brockman (tp), Bill Russo (trb), Bill Porter (trb), Chris Leuba (frh),
Ralph Meltzer (frh), Clyde Bachand (tuba), Dom Carone (as), Kenny Mann (ts), Dan Handby (bs), Chicago, August 15, 1951

Bill Russo (trb), Kenny Mann (ts), Lloyd Lifton (p), Max Wayne (b), Mickey Simonetta (dr)
Chicago, August 15, 1951

Gail Brockman (tp), Bill Russo (trb), Chris Leuba (frh), Ralph Macciocchi (frh), Leon Mendelshon (frh), Ralph Meltzer (frh), Clyde Bachand (tuba), Martin Lerner (fl), Larry Molinelli (fl); Robert Mayer (oboe), Wilbur Simpson (bosson), Dom Carone (as), Kenny Mann (ts), Dan Handby (bs),
Lloyd Lifton (p), Bob Leshner (g), Max Wayne (b), Mickey Simonetta (dr). Shelby Davis (voc #6&8)
Chicago, August 15, 1951

tracks #9/10 SHELBY DAVIS
Lloyd Lifton (p), Bob Leshner (g), Max Wayne (b), Mickey Simonetta (dr), Shelby Davis (voc)
Chicago, August 15, 1951

In the late Forties trombonist and composer Bill Russo, a young and prominent disciple of Lennie Tristano, was already leading his own experimental studio bands in Chicago. He always composed with a concern for jazz, and did much in the field of advanced orchestral writing, finally rising to fame when successful bandleader Stan Kenton hired him in early 1950. He became one of Kenton’s most brilliant orchestra arrangers, but decided to return to his hometown in 1955 to continue writing and conducting. He proved to be an extraordinarily well-informed individual in diverse areas, with the felicitously stimulating personality of one who is always an intellectual but never an intellectual snob. He worked in the jazz and classical fields and, in his opinion, a good symphony musician could play really swinging jazz if it was properly written. And he brought a much needed insistence on integrity to the music. This CD compiles the most important of his early works, including The World of Alcina, a ballet score in five dances which Russo defined as “a piece written in terms of my background in jazz.” ~ Absolute Distribution

:: A Recital Of New American Music ::

Bill Russo - The World Of Alicia (1955-6)

mp3@320 kbps : ~ 37 min : 53,49

1. Under The Greenwood Tree (2:32)
2. The First Saturday In May (2:54)
3. Speculum (2:50)
4. Bill’s Blues(3:29)
5. L’affaire Bugs (2:29)
6. For My Sister(2:59)
7. First Dance. Solo Of Girl (3:28)
8. Second Dance. Solo Of Boy (2:48)
9. Third Dance. Chorus And Solo Of Girl (3:18)
10. Fourth Dance. Duet For Boy And Girl (4:30)
11. Fifth Dance. Chorus, Solo Of Boy, Solo Of Girl, Ensemble (4:17)


Bill Russo (v trb), BiII Porter (trb), Bill Trujillo (ts), Sandy Mosse (ts), Eddie Baker (p), Israel Crosby (b), Mickey Simonetta (dr)
Chicago, Apri/ 18, 1955

Bill Russo (v trb), Bil Trujillo (ts), Eddie Baker (p), Israel Crosby (b), Mickey Simonetta (dr)
Chicago, Apri/ 19, 1955

Conducted by Bill Russo. Johnny Howell (tp), Al Mueller (tp), Porky Panico (tp), Dom Geraci (tp), Davo Mulholland (tp), Tommy Shepard (trb), Paul Grumbaugh (trb), Paul Severson (trb), Marc McDunn (trb), Earl Hoffman (trb), Phillip Farkas (frh), , Frank Brouk (frh), Don Hagner (tuba), Ronnie Kolher (reeds), Lennie Druss (reeds), Hobart Grimes (reeds), Vito Price (reeds), Mike Simpson (reeds), Gus Jean (reeds), Phil Wing (reeds), Ken Soderbiom (reeds), Eddie Baker (p), Mel Schmidt (b), Fari Bakus (g), Mickey Simonetta (dr)

In the late Forties trombonist and composer Bill Russo, a young and prominent disciple of Lennie Tristano, was already leading his own experimental studio bands in Chicago. He always composed with a concern for jazz, and did much in the field of advanced orchestral writing, finally rising to fame when successful bandleader Stan Kenton hired him in early 1950. He became one of Kenton’s most brilliant orchestra arrangers, but decided to return to his hometown in 1955 to continue writing and conducting. He proved to be an extraordinarily well-informed individual in diverse areas, with the felicitously stimulating personality of one who is always an intellectual but never an intellectual snob. He worked in the jazz and classical fields and, in his opinion, a good symphony musician could play really swinging jazz if it was properly written. And he brought a much needed insistence on integrity to the music.

:: The World Of Alicia ::

22 janeiro 2011

Chris Barber – Barber’s Best (1954-5)

Flac (LP) : 69mb


01 Bobby Shaftoe

02 Merrydown Rag

03 It’s Tight Like That

04 The World is Waiting for the Sunrise


Pat Halcox – cornet

Chris Barber – trombone

Jim Bray – tuba, bass

Monty Sunshine – clarinet

Lonnie Donegan – banjo

Ron Bowden – drums

Many people in the UK were first introduced to jazz through the music of Chris Barber (I was one) who has now been playing and leading various groups for over 55 years.
Chris played, and still does to a large extent, what came to be known as Traditional Jazz and it had a huge following in the 1950s although over the years he broadened his musical style and played on a regular basis with such ‘modernists’ as Joe Harriott.
Here in recordings from 1954 and 1955 with his regular group the band plays typical music from that period. Lonnie Donegan, who played banjo for a while with Barber, went on to have a successful musical career in the pop/folk world and was one of the leaders in introducing the ‘skiffle’ sound to the UK. One of his forgettable hits was ‘My Old Man’s A Dustman’

Decca ep DFE 6382

:: Barber’s Best ::

Thanks to Raz Jazz Is My Life :-)

21 janeiro 2011

Jamey Aebersold : Vol. 76 How To Learn Tunes

April In August
At Twilight
Everybody's Song
Illegal Entrance
Kirsten And Her Puppy Katie
Preparatory Exercise #1
Preparatory Exercise #2
To The Fore
Velvet Rose

Curtis Fuller - Boss Of The Soul Stream Trombone 1960



1. The Court (Fuller) - 5:09
2. Flutie (Fuller) - 7:12
3. If I Were a Bell (Loesser) - 9:15
4. Mr. L (Fuller) - 5:04
5. But Beautiful (Burke/VanHeusen) - 5:34
6. Do I Love You? (Porter) - 5:59
7. Chantized (Fuller) - 4:10

Curtis Fuller : Trombone
Freddie Hubbard : Trumpet
Yusef Lateef : Tenor Sax
Walter Bishop : Piano
Buddy Catlett : Bass
Stu Martin : Drums

The Boss Of The Soul Stream Trombone

An obscure set by trombonist Curtis Fuller that was originally put out by the Warwick label, this otherwise unremarkable set is sparked by the inclusion of the young trumpeter Freddie Hubbard (recently arrived from Indianapolis) and tenor saxophonist Yusef Lateef. With veteran bebopper Walter Bishop on piano and two players from Quincy Jones' big band (bassist Buddy Catlett and drummer Stu Martin), Fuller performs four originals and three standards (including "If I Were a Bell"). Hubbard's fiery statements often steal the show. ?
Scott Yanow

19 janeiro 2011

Valery Ponomarev - A Star For You (1997)



1. Commandments From a Higher Authority
2. First Draft
3. Dance Intoxicant
4. Star For You, A
5. Uh Oh
6. We'll Be Together Again
7. Blue For Elena

Valery Ponomarev : Trumpet
Bob Berg : tenor saxophonist
Sid Simmons : piano
Ken Walker : bass
Billy Hart : drums

Review by Scott Yanow

Valeri Ponomarev, one of the most underrated trumpeters in jazz, has a style based in the hard bop tradition of Clifford Brown, Lee Morgan and Freddie Hubbard, yet he keeps an open mind toward newer developments. On this CD, he is teamed with tenor saxophonist Bob Berg (whose soulful post-bop style has long been influenced by Michael Brecker), the little-known but talented Philadelphia-based pianist Sid Simmons, bassist Ken Walker, and drummer Billy Hart. The quintet performs six of the trumpeter's tricky yet swinging originals and a reharmonized rendition of "We'll Be Together Again." Ponomarev's very impressive range (hitting high notes with little difficulty), full sound and inventive ideas clearly inspire his sidemen. Berg puts plenty of passion into his solos, and Simmons makes one wish that he were recorded more extensively. Easily recommended to modern straight-ahead jazz collectors.