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

Paris Reunion Band – French Cooking (1985)

01 - Klook’s Theme
02 - Sweet Love Of Mine
03 - The Burner
04 - Waltz
05 - Callitwhachawanna

LINEUP
Woody Shaw - trumpet
Dizzy Reece - trumpet
Johnny Griffin - tenor sax
Nathan Davis - tenor and soprano sax, flute
Slide Hampton - trombone
Kenny Drew - piano
Jimmy Woode - bass
Billy Brooks - drums

Recording at Sonet Studios, Stockholm, Sweden (07/03/1985)

MP3 @ 224 KBPS

Flac - 250Mb

REVIEW ~ Ken Dryden
Jazz journalist Mike Hennessey was responsible for putting together the Paris Reunion Band, a group of jazz all-stars who spent at least part of their careers based in Paris. Their debut album, French Cooking, was a studio date recorded in the summer of 1985, around the time of their first European tour. The band includes saxophonists Johnny Griffin and Nathan Davis, trumpeters Woody Shaw and Dizzy Reece, trombonist Slide Hampton, pianist Kenny Drew, bassist Jimmy Woode, and drummer Billy Brooks. Most of the musicians made names for themselves while living in their U.S. homeland (except for Reece, a Jamaica native). Nathan Davis is probably the least familiar name in the front line, because he spent a long period in Paris (1962-1969) following his discharge from the U.S. Army, and eventually returned to his homeland to become a jazz educator. He is a triple threat on tenor and soprano saxes as well as flute. Each member of the brass and reed sections contributed a cooking original to the date, while the solos and ensemble work are consistently inspired. Though the personnel changed somewhat after this initial recording, the Paris Reunion Band would continue to work off and on until 1989.

Thanks to Raz

Dizzy Reece – Star Bright 1959

MP3 | 320Kbps | 99MB | Time 39:32 | Covers

1. The Rake - 6:07
2. I'll Close My Eyes - 5:57 (Buddy Kaye, Billy Reid)
3. Groovesville - 8:07
4. The Rebound - 6:48
5. I Wished on the Moon - 6:51 (Dorothy Parker, Ralph Rainger)
6. A Variation on Monk - 5:41
All compositions by Dizzy Reece except as indicated

Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey on November 19, 1959

Dizzy Reece : Trumpet
Hank Mobley : Sax (Tenor)
Wynton Kelly : Piano
Paul Chambers : Bass
Art Taylor : Drums


Rapidshare

Megaupload
Mediafire

Flac
from Japanese CD

Dizzy Reece - Asia Minor - 1962

Tracks

1. The Shadow of Khan Reece 5:31
2. The Story of Love Almaran, Thorn 4:32
3. Yamask Reece 5:40
4. Spiritus Parkus [Parker's Spiritus] Payne 4:40
5. Summertime Gershwin, Gershwin, Heyward 7:51
6. Ackmet Reece 8:11


Personnel:
Dizzy Reece Trumpet Joe Farrell Flute, Tenor Sax Cecil Payne Baritone Sax, Brass
Ron Carter Bass Hank Jones Piano Charlie Persip Drums


LINK

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)