17 Agosto 2011

Kenny Dorham - Complete 'Round About Midnight At The Cafe Bohemia 1956

Recorded live at the Cafe Bohemia in New York City on May 31, 1956

Kenny Dorham (trumpet) Kenny Burrell (guitar) J.R. Monterose (tenor saxophone)
Sam Jones (bass) Bobby Timmons (piano) Arthur Edgehill (drums)

CD 1
1. K.D.'s Blues (10:41)
2. Autumn In New York (4:38)
3. Monaco [alternate take] (5:33)
4. N.Y. Theme (5:39)
5. K.D.'s Blues (9:30)
6. Hill's Edge (8:16)
7. A Night In Tunisia (9:31)
8. Who Cares? [alternate take] (4:59)
9. Royal Roost (8:41)

CD 2
1. Mexico City (6:02)
2. 'Round About Midnight (7:44)
3. Monaco (6:37)
4. Who Cares? (6:21)
5. My Heart Stood Still (7:49)
6. Riffin' (7:50)
7. Mexico City [alternate take] (6:33)
8. The Prophet (6:20)

This is part of Blue Note Records "Rudy Van Gelder Editions" series.

Mp3 320 Kps

PART 1 - 
PART 2

During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham's group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder and remastered by him in 2001, Blue Note's 2002 double-disc "Complete" Dorham Café Bohemia edition combines every usable track taped during this exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham's band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham's jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day. ~ arwulf arwulf

Gracias a pepejazzy

16 Agosto 2011

Wadada Leo Smith

Gunter
Gunter "Baby" Sommer and Wadada Leo Smith at the Hungry Brain for the Umbrella Festival, Chicago 2010
photo by Kelly Weime

Wadada Leo Smith and Jack DeJohnette - America [2009]


2009 | MP3 CBR 320Kbps - 123 MB | Time 53:08 | Front Cover
FLAC: Tracks + log - 315 MB

Wadada Leo Smith: trumpet, flugelhorn (6);
Jack DeJohnette: drums.

Tracks:
1.- America Parts 1,2,3
2.- Red Trumpet
3.- John Brown's Fort
4.- Ed Blackwell, The Blue Mountain Sun Drummer
5.- Rabi'a's Unconditional Love, A Spiritual Mystery Of The Heart y
6.- The Masnavi: The Falcon And The Owls


Originally proposed to ECM Records in 1979, the collaboration of trumpeter Wadada Leo Smith and drummer Jack DeJohnette has finally found new life in America. Recorded last year in Bill Laswell's New Jersey studio (but without his heavy-handed production aesthetic), this unadorned acoustic session documents two of the world's most versatile and virtuosic improvisers working through a set of six new compositions written by Smith.

Legendary veterans whose seminal innovations can be traced to the late '60s, Smith was a charter member of the AACM, while DeJohnette served with Miles Davis during his influential fusion period. Their finely tuned rapport was rekindled in the company of pianist Anthony Davis and late bassist Malachi Favors in the first version of Smith's Golden Quartet. Favors passing in 2004 disbanded the original line-up, leaving their first two albums, Golden Quartet (Tzadik, 2000) and Year of the Elephant (Pi, 2002) as definitive examples of creative improvised music for the new century.

(all.about.jazz)

Thanks to zerumuga

13 Agosto 2011

Urbie Green - 21 Trombones & Umpteen Trombones 1967




Urbie Green and the 21 trombones

Urbie Green - Trombone
Wayne Andre - Trombone
Will Bradley - Trombone
Bill Elton - Trombone
Paul Faulise - Trombone
Phil Gardina - Trombone
Mervin Gold - Trombone
Mickey Gravine - Trombone
Dick Hixon - Trombone
J. J. Johnson - Trombone
Barry Maur - Trombone
Lou McGarity - Trombone
John Mesner, Jr. - Trombone
Tommy Mitchell - Trombone
Buddy Morrow - Trombone
Jack Rains - Trombone
Alan Raph - Trombone
Sonny Russo - Trombone
Charles Small - Trombone
Chauncey Welsch - Trombone
Kai Winding - Trombone

Tony Mottola - Guitar
Barry Galbraith - Guitar
Al Casamenti - Guitar
Bucky Pizzarelli - Guitar
George Duvivier - Bass
Grady Tate - Drums
Bobby Rosengarden - Drums / Percussion
Phil Kraus - Percussion
Umpteen Trombones

1 - Here's That Rainy Day
2 - The Look Of Love
3 - What Now My Love
4 - If He Walked Into My Life
5 - Because Of You
6 - You Only Live Twice
7 - Stardust
8 - Blue Again
9 - Watch What Happens
10 - Stars Fell On Alabama
11 - Without A Song
12 - Something You Got

21 Trombones

1 - I Get The Blues When It Rains
2 - Timbre
3 - Mood Indigo
4 - Sunny
5 - Just Dropped In
6 - Blue Flame
7 - The Party
8 - Perdido
9 - The Green Bee
10 - I Gotta Right To Sing The Blues
11 - How Come You Do Me Like You Do

megaupload

Thanks to jazz-bone

4 Trombones and 1 Flute 1956

Recorded on July 18, 1956.

Frank Wess (flute), Jimmy Cleveland, Henry Coker, Benny Powell, Bill Hughes (trombones),
Ronnell Bright (piano), Freddie Greene (guitar), Eddie Jones (bass), Kenny Clarke (drums).


1. Lo-Fi

2. Wanting You

3. Don’t Blame Me

4. Cracker Jack

5. You’ll Do

Label: Savoy

08 Agosto 2011

Joe Gordon & Scott Lafaro : West Coast Days 1958/60


Joe Gordon & Scott Lafaro : West Coast Days. Live At The Lighthouse 1958/60
Label: Fresh Sound

Recorded Live At The Lighthouse, Hermosa Beach, California, September 1958 and July 31, 1960.



Tracks #1-3:
Joe Gordon (tp), Richie Kamuca (ts), Russ Freeman (p),
Monty Budwig (b), Shelly Manne (d). Recorded at the Lighthouse, July 31, 1960.


Tracks #4-6:
Richie Kamuca (ts), Victor Feldman (p), Scott Lafaro (b), Stan Levey (d).
Recorded at the Lighthouse, September 1958.

01 - Our Delight (Dameron) (5:50) 

02 - Summertime / Shelly Manne Introduces Joe Gordon (Gershwin-Heyward) (11:58) 

03 - Poinciana (Simon-Lliso-Bemier) (11:44) 


04 - It Could Happen to You (Burke-Van Heusen) (11:13) 

05 - Bass Blues / Commentary By Richie Kamuca (Coltrane) (15:18)

Link

Previously unreleased material from two of the most highly regarded jazz musicians of their generation, who helped the development of their respective instruments. Trumpeter Joe Gordon and bassist Scott LaFaro both died young at the peak of their creativity. Two sessions from 1958 and 1960, live at the Lighthouse.

Thanks to lafaro

Slide Hampton


Slide Hampton Octet
Slide !
Tracks
1 Newport (Hampton) 9:10
2 Autumn Leaves (Prévert, Kosma) 3:24
3 Althea (Hampton) 4:01
4 Jazz Corner (Hampton) 4:22
5 Sometimes I Feel Like a Motherless Child (tard.) 3:00
6 Go East, Young Man (Hampton) 5:54
7 Patricia (Hampton) 3:42
8 Woodyn' You (Gillespie) 4:10
9 There's A Boat Dat's Leavin' Soon For New York (Gershwin) 3:46
10 Bess, You Is My Woman Now (Gershwin) 3:47
11 Summertime (Gershwin)
12 I Love You Porgy (Gershwin) 4:32
13 It Ain't Necessarily So (G.Gershwin) / The Cloister (Dance Suite) (Hampton) 4:53
14 Part I Impression 4:39
15 Part II Obsession 4:12
16 Part III Expression 2:58
17 Part IV Possession 3:03


[# 1-8]- Recorded in New York City ; 1959

Freddie Hubbard, Booker Little - tp
Slide Hampton - tb, p & tbium
Bernard McKinney - b hrn
George Coleman - ts & cl
Jay Cameron - bs & b cl
George Tucker - b
Charlie Persip - dr [# 2 & 7]
Kenny Dennis - dr [# 3 & 8]
Pete LaRocca - dr [other]

[# 9-13] - Recorded in New York City ; 1961

Hobart Dotson & Willie Thomas- tp
Slide Hampton & Ben Jacobs-El - tb
George Coleman - ts
Jay Cameron - bs
Eddie Kahn - b
Lex Humphries - dr

Link
PW: melanchthon

Thanks to Melanchthon

The two octets Slide Hampton uses on this recording are quite similar in content but different in the way they execute this music, and much of it has to do with the distinct difference in personnel, and the two years that separate their recording dates. The first half deals with hard to post-bop modifications and the way the group approaches a bridge between the two, while the other end of the program concentrates on interpretations the music written by George Gershwin, plus an extended four-part suite written by Hampton. These dual sides of Slide Hampton combine to form a complete picture of what the emerging arranger and trombonist offered as a individualist aside from peers (Quincy Jones, J.J. Johnson, Lalo Schifrin, et. al.) who concentrated on movie soundtracks. The sessions from 1959 include Bernard McKinney on the baritone horn, three different drummers (Kenny Dennis, Charlie Persip, and Pete LaRoca) on select tracks, and fledgling young trumpeters Booker Little and Freddie Hubbard, even though Burt Collins does all of the lead brass work with Hampton. "Newport" starts the set in a modal walk, the intro initially similar to "You Don't Know What Love Is," then merges into a steady streaming freight train jam. Four other Hampton originals range from the Latin unison call outs and boogaloo/bop "Althea" (assumedly for tennis star Althea Gibson), the regal "Go East, Young Man" based on the changes of "Milestones," the much quieter post-bopper "Jazz Corner," and the simple straight bop of "Patricia." Standards "Autumn Leaves," "Sometimes I Feel Like a Motherless Child," and "Woody 'n' You" feature add-ons from the originals like chatty, choppy horns, more anthemic than normal hues, and a harder, abundant, modified line, respectively. A slightly less potent but still talented lineup from 1961 plays the five Gershwin pieces, with "There's a Boat Dat's Leavin' Soon for New York" again richly enhanced with a little rock & roll beat tossed in; "Summertime" is performed via high drama, and "It Ain't Necessarily So" is dressed in Latin trim. George Coleman is the lone artist besides Hampton and baritone saxophonist Jay Cameron on the entire date, and the always effervescent tenor saxophonist gets a laid-back solo during "I Loves You Porgy." The "dance" suite "The Cloister" is impressionistic within ballad, easy swing, slightly urgent waltz, and frantic bop segments, with some call and response at the end. Other than some drum fills from Lex Humphries, the piece is played to strict tolerances, and over some 14 minutes, is not as memorable as the other tracks, although hinting at future projects of Hampton's. As solid musically as any mainstream jazz fan might need, this is an important prelude to other large ensemble projects Slide Hampton assembled, and deserves repeat listenings to fully reap its rewards.
Michael G. Nastos - allmusic review

07 Agosto 2011

Who Is Gary Burton? 1962

Gary Burton: Who Is Gary Burton?
RCA Victor LPM-2665 — (1962)
[flac]

Side A:
1. Storm (Swansen) 4:12
2. I've Just Seen Her (Strouse / Adams) 4:15
3. Fly Time Fly (Sigh) (Gibbs) 4:31
4. Conception (Shearing) 4:01

Side B:
1. Get Away Blues (Swansen) 5:40
2. My Funny Valentine (Rodgers / Hart) 5:22
3. One Note (Byard) 5:20

Clark Terry (tp) Phil Woods (as) Bob Brookmeyer (tb on A2-4, B1,2) Gary Burton (vib) Tommy Flanagan (p) John Neves (b) Chris Swansen (d on A2-4, B1,2) Joe Morello (d on A1, B3)

Recorded in RCA Victor's Studio A, NYC on November 14+15, 1962



(These are aiff files) p1 - p2

you prefer flac, go here

Burton's second album as a leader finds the 19 year old among such heavyweights as Clark Terry, Bob Brookmeyer, Phil Woods and Tommy Flanagan playing swinging, advanced hardbop.

This was still missing in my collection of Burton's 1960s dates and Blue was so very kind to offer this excellent vinyl rip. So please thank Blue for this fantastic contribution!

The amg rightly likes it:
"It is puzzling why Gary Burton's second recording as a leader, Who Is Gary Burton?, remains out of print.
The talented young vibraphonist had already proven himself as a sideman and was breaking new ground as a master technician on his instrument, utilizing four mallets simultaneously with seemingly little effort. Joining him on this sophomore outing is a septet that includes Clark Terry, Phil Woods, Bob Brookmeyer (who is strangely not listed anywhere on the album jacket), and Joe Morello.
The play list is anything but predictable, with two exciting originals by drummer Chris Swanson (a fellow Berklee alum), a well-crafted arrangement of George Shearing's "Conception," an elegant take of "My Funny Valentine" with a gorgeous flügelhorn solo by Terry, and an obscure but high-energy work by Jaki Byard, "One Note."
Although Burton is obviously a very confident soloist, he feels no need to hog the spotlight (a common mistake by young jazz musicians in later decades), as he is happy to step back and let the veterans take center stage. Until RCA gets around to reissuing this gem, finding a copy of this long unavailable LP will be very difficult." (The set was actually reissued on cd in 1996, but is long oop.)

There's not much to add to the above. Terry, Brookmeyer and Woods all get ample solo space and, pushed by the energetic rhythm section, sound fierce and inspired.

Thanks to Le Porc Rouge

06 Agosto 2011

Donald Byrd – Fuego 1959

Personnel
Donald Byrd (trumpet); Jackie McLean (alto saxophone); Duke Pearson (piano); Doug Watkins (bass); Lex Humphries (drums).

Tracklist
01. Fuego

02. Bup A Loup

03. Funky Mama

04. Low Life

05. Lmanet

06. Amen

MEGAUPLOAD
MEDIAFIRE

Donald Byrd’s Fuego is one of the many fine hard-bop sets the trumpeter recorded for Blue Note throughout the late 1950s and ’60s. Featuring all Byrd originals, from the driving pulse of the opening title track to the gospel-tinged “Amen,” which closes out the album, Fuego has much to recommend it. There are top-notch personnel (Jackie McLean lends his soulful sax work to the proceedings), strong compositions, and a relaxed, open feel throughout. And, of course, Rudy Van Gelder’s pristine engineering is the icing on the cake.

04 Agosto 2011

Booker Little

BOOKERLITTLE.jpg
Booker Little, Jr
(born on April 2, 1938 in Memphis, Tennessee - died October 5, 1961 in New York City, New York)

American jazz trumpeter and composer.
Despite having one of the shortest careers in jazz history, Little nevertheless made a noteworthy contribution to the music. Stylistically Little belongs to the lineage of Clifford Brown, featuring crisp articulation, a burnished tone and balanced phrasing.
He trained at Chicago Conservatory (1956–58) and worked with leading local musicians such as Johnny Griffin. Later, moving to New York, his most significant associations were with drummer Max Roach and multi-instrumentalist Eric Dolphy, recording with them both under his own name and theirs. With Dolphy, he co-led a residency at the Five Spot club in New York in June 1961, from which three classic albums were eventually issued by Prestige Records. Here he showed promise of expanding the expressive range of the “vernacular” be-bop idiom of Clifford Brown.
Only four albums under his own name were recorded: Booker Little 4 + Max Roach (1958) for United Artists, Booker Little Quartet (1960) for Time, his masterpiece Out Front (1961) for Candid and finally Booker Little and Friend (reissued as Victory and Sorrow) for Bethlehem mere weeks before his passing.
He died from uremia at the age of 23.

bookerlittle26iq.jpg

Booker Little Quartet 1960

Booker Little c.jpg
Booker Little Quartet
New York City, April 13 and 15, 1960

Booker Little (tp) Tommy Flanagan (p) Scott LaFaro (b) Roy Haynes (d)
NYC, April 13, 1960

Opening Statement (Booker Little) 6:41
Minor Sweet (Booker Little) 5:38
The Grand Valse (Booker Little) 4:55
Who Can I Turn To? (Alec Wilder-William Engvick) 5:24
-
Booker Little (tp) Wynton Kelly (p) Scott LaFaro (b) Roy Haynes (d)
NYC, April 15, 1960

Bee Tee's Minor Plea (Booker Little) 5:38
Life's A Little Blue (Booker Little) 6:51

mediafire

Booker Little

Aggression.GIFBeeVamp.GIF

03 Agosto 2011

Lester Bowie - The Odyssey of Funk & Popular Music [1998]

MP3@320 kbps 125 MB | Label: Dreyfus | CD 2002
(Original Release: Atlantic, 1998)
eac-flac, cue, log, artw.
Personnel:
Lester Bowie (Trumpet) Joseph "Mac" Gollehon (Trumpet) Ravi Best (Trumpet) Gerald Brazel (Trumpet)
Bob Stewart (Tuba) Vincent Chancey (French Horn) Luis Bonilla (Trombone) Joshua Roseman (Trombone) Gary Valente (Trombone)
Vinnie Johnson (Drums) Victor See Yuen (Percussion) Dean Bowman (Vocals on track 7) Joseph Bowie (Vocals and Trombone on track 2)

Tracks:
1. The Birth of the Blues (Lew Brown/Buddy DeSylva/Ray Henderson) 5:49
2. Next (Joseph Bowie/Sebastian Piekarek) 6:06
3. Two Become One (Spice Girls/Stannard/Rowe) 6:08
4. Don't Cry For Me Argentina (Tim Rice/Andrew Lloyd Webber) 9:10
5. Beautiful People (Marilyn Manson/Twiggy Ramirez) 6:57
6. In the Still of the Night (Cole Porter) 4:43
7. Notorious Thugs (Sean Combs/Al Henderson/S. Howse/Stevie J. Jordan/BrianMcCane/Christopher Wallace) 5:31
8. Nessun Dorma (Giocomo Puccini) 6:49
9. If You Don't Know Me By Now (Harold Melvin/Teddy Pendergrass) 4:15
Total time: 55:29

Label: Atlantic

MP3, @320
Part 1 | Part 2
shortText.com

Thanks to itr

01 Agosto 2011

Dizzy Reece - Nowhere To Go 1958

- Dizzy Reece Quartet - Nowhere To Go (Tempa EXA 86) -

Dizzy Reece trumpet Tubby Hayes tenor and baritone saxophones
Lloyd Thompson bass Phil Seaman drums

1. Main Title (Nowhere to Go)
2. The Escape and Chase
3. The Search
4. The Sunset Scene

Rec; London, October 2, 1958


Flac

Thanks to grumpy at BritJazz

A contemporary review:
Only limited use has been made of jazz as incidental music for British films, but Dizzy Reeceís ambitious scores for the recent Balcon production "Nowhere To Go" are a step in the right direction and compare favourably with some of the colourful themes played by the West Coasters for Hollywood movies. Moody and expressive, these tracks rank among Dizzy's most noteworthy compositions, and are outstanding examples of descriptive writing.
Both Dizzy and his front-line partner Tubby Hayes blow short, virile solos on "Main Title" and skate nimbly around the chords of the fast blues, "Escape And Chase". This title opens with some insistent cowbell work by Phil Seamen, while the up-tempo sequences are highlighted by Lloyd Thompson's powerful bass-work. "The Search" (sub-titled ''On The Scene") is a down-to-earth blues with crisp, crackling trumpet, a generous helping of robust tenor, and excellent "walking" bass. "Sunset Scene" is a reiteration of "Main Title"óa mournful melody that you'll find spinning round in your Read long after the record has finished.
Keith Goodwin ~ Jazz Journal Vol12 No4, April 1959