 |
Calendar |
 |
 |
| « February 2012 » | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | | 6 | 7 | 8 | 9 | 10 | 11 | 12 | | 13 | 14 | 15 | 16 | 17 | 18 | 19 | | 20 | 21 | 22 | 23 | 24 | 25 | 26 | | 27 | 28 | 29 | |
|
 |
 |
 |
 |
|
Friends |
|
|
jasapaal
 Into the Rhythm
|
|
|
|
|
|
 |
 |
1990: Clark Terry - Having Fun |
Swing, Mainstream |
 |
|
 Artist: Clark Terry Album: Having Fun Label: Delos Year: 1999 Quality: MP3@320 kbps Size: 158 mb Total time: 69:37 AMG rating  The title of this CD definitely fits not only its music but Clark Terry's career. The colorful flugelhornist is teamed with Red Holloway doubling on tenor and alto, bassist Major Holley (who sings along with his bass in his solos), pianist Jon Campbell and drummer Lewis Nash. Since C.T., Holloway and Holley were all humorists, the music is not only swinging, but quite enthusiastic. With titles like "Mumbles," "Meet the Flintstones," "The Snapper" and "Mule's Soft Claw," the humor isn't unexpected. An excellent and consistently swinging date. ~ Scott Yanow, All Music Guide |
|
|
1927: Bix Beiderbecke - Singin' the Blues (Vol.1) |
Traditional Jazz, New Orleans Jazz |
|
|
 Artist: Bix Beiderbecke Album: Singin' the Blues (Vol.1) Label: Columbia Year: 1927; release: 1991 Quality: MP3@320 kbps Size: 132 mb Total time: 60:56 AMG Rating:   Cornetist Bix Beiderbecke's greatest recordings were mostly made in 1927. This definitive CD (reissued in 1990) has most of Beiderbecke's best-loved work, including "Singin' the Blues," "I'm Coming Virginia," "Ostrich Walk," "Way Down Yonder in New Orleans," and his solo piano classic "In a Mist." Most of the recordings were cut with Frankie Trumbauer's Orchestra, although there are also two titles from the Broadway Bellhops, a similar group. The beauty of Beiderbecke's horn outshone virtually every other brassman in the 1920s other than Louis Armstrong, and he never sounded better than on these records. Beiderbecke is joined by such notables as C-melody saxophonist Trumbauer, guitarist Eddie Lang, clarinetist Jimmy Dorsey, trombonist Bill Rank, and clarinetist Don Murray, among others. In addition to the titles mentioned, the renditions of "Clarinet Marmalade," Hoagy Carmichael's "Riverboat Shuffle," and "Wringin' and Twistin'" are among the other highlights. Essential music that in one form or another belongs in every serious jazz collection. ~ Scott Yanow, All music Guide |
|
|
1956: Dizzy Gillespie - For Musicians Only |
Music » Jazz » BeBop |
|
|
 Artists: Dizzy Gillespie , Stan Getz, Sonny Stitt , John Lewis, Herb Ellis , Ray Brown Album: For Musicians Only Label : Verve Year: 1956, release - 1989 Quality: MP3@320 kbps Size: 98 mb Total time: 52:44 AMG Rating:  REPOST with a new link from Mr.bultra This has plenty of great players and lots of amazing music. Getz, Dizzy Gillespie (tpt), and Sonny Stitt (as) are great, as are John Lewis (p) and Herb Ellis (g). ~ Ron Wynn, AMG Often in the early days of the modern jazz movement, players would come up with the most dazzling tempos, complex chord changes, intricate melodies and tricky rhythmic breaks imaginable, as much to challenge themselves as to keep the squares from trying to get on the bandstand and jam. FOR MUSICIANS ONLY is just that, and then some. Gillespie, the great virtuoso trumpeter is joined on the front line by Stan Getz and Sonny Stitt for a blowing session of phenomenal proportions.
[Gillespie's demanding tune "Bebop," and Denzil Best's "Wee (Allen's Alley)" (based on "I Got Rhythm") are given a brisk, wailing treatment. Both tunes highlight Stitt's scampering alto, Getz's dancing mentholated tenor (very much in his Lester Young mode), and Gillespie's coiled, tempestuous trumpet. The tough, swinging rhythm section really distinguishes itself on the standards "Dark Eyes" and "Lover Come Back To Me" (particularly bassist Ray Brown). They always manage to keep a hint of the basic tune in the foreground, no matter how free the soloists get. Gillespie is inspired throughout, and FOR MUSICIANS ONLY contains some of his spunkiest, most pugnacious solos. ~ cduniverse.com |
|
|
1936-1937: Woody Herman 1936-1937 |
Music » Jazz » Swing |
|
|
 Artist: Woody Herman Album: Woody Herman 1936-1937 Label: Classics Years: 1936-1937; release: 1999 Quality: MP3@320 kbps Size: 145 mb Total time: 65:21 Woody Herman led many big bands throughout his career. Some biographies give very little space to his earliest groups and start out with the First Herd of 1944-46, but Herman was a bandleader as early as 1936. This CD actually starts out with a few Herman appearances with Isham Jones during March 1936. The full orchestra performs "Stompin' At The Savoy" and then "Isham Jones' Juniors" (an octet taken from the big band) performs six numbers, four of which include Herman vocals. Virginia Verrell sings a spirited "Slappin' The Bass" and the only instrumental is "Nola" but the best number (and one that would reappear with Herman in the future) is "Fan It." By Nov. 1936 the clarinetist-altoist was leading his own big band, one that also included five other musicians from Isham Jones' orchestra which had broken up a few months earlier. Few listeners probably know that the very first Herman big band mostly featured his ballad vocalizing; "Woodchoppers Ball" would not change the orchestra's direction until 1939. Only one song among the 16 selections by Woody Herman's orchestra is an instrumental ("Mr. Ghost Goes To Town"). The leader' singing ranges from insipid and romantic to (in a few cases) swinging; best are "Doctor Jazz," "Trouble In Mind" and "It Happened Down In Dixieland." But this set is strictly for completists and Woody Herman collectors who are curious to know how he started out. ~ Scott Yanow, All Music Guide |
|
|
1969: The Buck Clayton Swing Band - Live from Greenwich Village, NYC, 1969 |
Music » Jazz » Mainstream |
|
|
 Artist: The Buck Clayton Swing Band Album: Live from Greenwich Village Label: Nagel - Heyer Records Year: 1969, release: 1997 Quality: MP3@320 kbps Size: 164 mb Total time: 72:46 AMG Rating: REPOST by request During the last few years of his life, when he could no longer play trumpet, Buck Clayton became a full-time arranger and wrote for an enthusiastic mainstream big band. The 16-piece orchestra (which is filled with such notables as altoist Jerry Dodgion, tenor saxophonist Frank Wess, pianist Dick Katz and a trumpet section comprised of John Eckert, Jordan Sandke, Byron Stripling and Warren Vache) is heard on this 1997 CD performing a dozen of Buck's originals, most of which were newly composed. The concise solos perfectly fit the swinging charts, and although Clayton does not play a note, his personality can be felt throughout the rewarding date, one of his final recordings. ~ Scott Yanow., All Music Guide |
|
|
1941: Don Byas - Midnight At Minton's |
Music » Jazz » Mainstream |
|
|
 Artist - Don Byas Album - Midnight At Minton's Label - Highnote Records Year - 1941, release - 1999 Genre - swing, bop Quality - MP3@320 kbps Size - 79,8 mb Total Time - 38:51 AMG:  REPOST by request It features one of the earliest known recordings of Thelonious Monk, who was then playing piano in Minton's house band. Tenor saxophone legend Don Byas is heard with great clarity on this, a relative jam session, as is vocalist Helen Humes (the first two cuts) and ostensible leader/trumpeter Joe Guy, whose high energy solos are very good in spots. Less audible in the mix are pianist Thelonious Monk and drummer Kenny Clarke, working in this band while bebop was fermenting. These two would lead the bop charge later in the '40s at Minton's Playhouse, the bebop concubine/jazz club in N.Y.C. The music is pretty much swing material, with Humes tossing in a ballad ("Stardust") and a bluesy number ("Exactly Like You") while the instrumental "Indiana" is all fired up, and they typically chill down "Body & Soul." Present on the dates is an unidentified tenor saxophonist and trumpeter tossing in his/her less than two-cents worth solos. Even annotator Dan Morgenstern, with his detailed and informative liner notes, can't ID the pair. The star is clearly Byas. His well-rounded tenor inflections and characteristic quarter-to-eight note slurve is on throughout the performance. He can be at once warm, witty, smooth, precise, and consistently wonderful. He's one of the first original jazz voices on his horn and emphatic to boot on these tunes. These are true club date "field recordings," from the then Columbia University student Jerry Newman's portable unit, replete with crowd noise in the background (one can hear Humes rebuffing a heckler/admirer) annoying kicking of the stage area, and a brief drop out or distortion. Total time is barely 39 minutes. But the overall sound quality is quite acceptable, at most times remarkable. The music itself is priceless, the document of a transitional period from swing to bop, and some of the people that made it happen, especially the underappreciated genius Byas. ~ Michael G. Nastos, All Music Guide |
|
|
1953/1963: Ted Heath - Swing Session / Palladium Revisited (2LP/1CD) |
Music » Jazz » Big Band |
|
|
 Artist: Ted Heath Album: Swing Session / Palladium Revisited 2LP/1CD Label: Vocalion Years: 1953/1963; release: 2002 Quality: MP3@320 kbps Size: 164 mb Total time: 75:29 Î÷åðåäíàÿ âñòðå÷à ño çíàìåíèòûì áèã áåíäîì! Always considered to be the very best of the British Big Band leaders Ted Heath was able to survive the constant changing of tastes throughout his career, and his enduring appeal has won him a place at the forefront of 20th century British Music history. He formed his band at a time when Big band music's popularity was waning, but was able to buck this trend thanks to his ability to pick the best musicians in England, many of whom went on to lead their own bands, and popular vocalists like Denis Lotis and Lita Roza. As a result of this he managed to remain popular alongside the developing Rock and Roll and later the Beat groups. This collection contains his biggest hits and represents a fantastic overview of one of Britain's finest band leaders. ~ cduniverse.com |
|
|
2011: Charles McPherson - What Is Love |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Charles McPherson Album: What Is Love Label: Arabesque Recordings Year: 2011 Quality: MP3@320 kbps Size: 130 mb Total time: 57:14 McPherson remains a strong, viable force on the jazz scene today. He is at the height of his powers. His playing combines passionate feeling with intricate patterns of improvisation. Throughout his four decades of being an integral performer of the music, Charles has not merely remained true to his BOP origins, but has expanded on them. Stanley Crouch says in his New York Times article on Charles. “He is a singular voice who has never sacrificed the fluidity of his melody making, and is held in high esteem by musicians both long seasoned and young.” ~ All About Jazz |
|
|
1961: Howard McGhee - Maggie's Back In Town!! |
Music » Jazz » BeBop » Hard-bop |
|
|
 Artist: Howard McGhee Album: Maggie's Back In Town!! Label: OJC/Contemporary Year: 1961; release: 1992 Quality: MP3@320 kbps Size: 97 mb Total time: 42:25 AMG Rating:  Trumpeter Howard McGhee, after spending much of the 1950s only partly active in music (due to drug problems), made a full-fledged comeback in the early '60s only to find his bop-oriented music out of fashion. This Contemporary set (reissued on CD in the OJC series) was McGhee's finest recording of the period, a quartet outing with brilliant pianist Phineas Newborn, bassist Leroy Vinnegar, and drummer Shelly Manne. Although tenor saxophonist Teddy Edwards is not on the date, two of his compositions (his famous "Sunset Eyes" and a tribute to the trumpeter, "Maggie's Back in Town") are fully explored by the quartet. Other titles include three standards plus McGhee's original blues "Demon Chase." This CD is a perfect starting point for listeners not familiar with the underrated (and often overlooked) Howard McGhee. ~ Scott Yanow, All Music Guide |
|
|
1946;1954: Baby Dodds - Talking and Drum Solos |
Dixieland, Classic Jazz |
|
|
 Artist: Baby Dodds Album: Talking and Drum Solos Label: Atavistic Records Years: 1946,1954; release: 2003 Quality: MP3@320 kbps Size: 121 mb Total time: 55:56 "Spooky Drums No. 1," so-titled for the relative unfamiliarity of a drummer finding a studio all to himself, is as good an introduction to this man's art as any, and I suggest you hear it. The first in line, chronologically, of the great jazz drummers, Baby Dodds, who played and recorded with King Oliver, Louis Armstrong, and Jelly Roll Morton, is perhaps the most poorly served of all early jazz players by the primitive recording techniques of the twenties. On the recordings that constitute what there exists on record of Dodds in his prime, his drums are often difficult to discern, and harder to follow, a significant historical loss only slightly remedied with the enhancement of those 78s on CD. Talking and Drum Solos, an essential document for jazz historian and drum aficionado alike, is simple in concept and, in every manner possible for a record, invaluable, presenting Dodds sans band in the studio, talking about his kit, and providing musical examples. As this particular session—the idea of Fred Ramsey, an Alan Lomax sort of jazz missionary/ preservationist—dates from 1946, the fidelity, while rough, is plagued by none of the surface noise and overbalance of Dodd's earlier recordings. A key influence in extending the drummer's role from strict timekeeping—shades of Tony Williams and Keith Moon forty years before the fact—Dodds, along with his clarinet playing brother Johnny, was one of the principles in fashioning what one so often associates today with the classic style of New Orleans jazz, that music endemic of both fish frys and funeral processions. The excellent companion disc, Baby Dodds , on the American Music label, features the drummer a few years later, a little gruffer, expounding more at length, on "Tiger Rag," marching bands, and his traps, but the music itself is intercut from early records—a device that Talking and Drum Solos resorts to for only two examples. As an extension of the work of Ramsey, rather than Dodds, the rest of this disc features field recordings—made outdoors, at night, because it was cotton-planting season—from 1954 by two, I must admit, horrible bands by any professional standard. But if we hear them for what they are—that is, men making music for the joy and shared spirit of making music—they become that much easier to appreciate in the manner one appreciates folk art in the museum annex apart from the "proper artists." But if you seek out this record you are doing so for Baby Dodds and what amounts to a document of twentieth century drumming as significant as Who's Next , Nefertiti , or Elvin Jones' work with John Coltrane. ~ Colin Fleming, All About Jazz |
|
|
1955: Jimmy Smith - Jimmy Smith Plays The Standards on Sunset |
Music » Soul » Soul-Jazz |
|
|
 Artist: Jimmy Smith Album: Jimmy Smith Plays The Standards on Sunset Label: Sunset Records Year: 1955, release: 1968 Quality: MP3@320 kbps (LP-rip) Size: 77,12 mb Total time: 34:42 REPOST with a new link by request Ñàìûå ïåðâûå çàïèñè âûäàþùåãîñÿ îðãàíèñòà! Çâó÷àò çíàìåíèòûå äæàçîâûå ñòàíäàðòû! These tracks date from the first sessions which Jimmy Smith did for Blue Note in February, March and June 1955. Thornel Schwartz plays guitar on all tracks while Ray Perry (not the violinist of the same name) is the drummer on
Tenderly, Way You Look Tonight, Lady Be Good and But Not For Me; Perry is replaced by Donald Bailey on the remaining titles. Frankly I find this LP rather boring despite the fact that I have tried to make allowance for the age of the recordings. Things get off to a shaky start because it is obvious that Smith has learned The Way You Look Tonight by ear; he plays the melody incorrectly at bars 8, 24 and 56 of the thematic choruses and he seems uncertain of the 'tag' that occurs at the end of the main 16-bar figure. But the least attractive side of the Hammond organ is revealed on the slow ballads where a built-in throbbing vibrato threatens to engulf Smith, his trio and the entire recording studio. (There are moments on Tenderly when I was reminded of Stan Freberg's Heartbreak Hotel where, as Elvis Presley, he battles with an echo chamber.) Schwartz has some agreeable solo passages and, to be honest, the middle tempo tracks are quite acceptable in a superficial way. I still prefer to hear Smith roaring away in front of a big band but, to be fair to Jimmy, these early performances are not representative of his maturity as a soloist. Incidentally it is interesting to find Liberty putting together an album of Blue Note material. ~ A.M., gramophone.net |
|
|
1954 - 1955: Duane Tatro - Duane Tatro's Jazz For Moderns |
Music » Jazz » BeBop » Third Stream |
|
|
 Artist: Duane Tatro Album: Duane Tatro's Jazz For Moderns Label: OJC/Contemporary (Limited Edition) Years: 1954-1955; release: 1996 Quality: MP3@320 kbps Size: 81 mb Total time: 33:44 This remarkable album has been presented in our Club by dear Mr. paolomagnifichi. Only yesterday I managed to hear to it and I at all am not sorry about it. The album has given to me enormous pleasure. Unfortunately, it is known about the magnificent composer and the head of orchestra Duane Tatro a little, therefore I have dared to process radically this post, to add the interesting information and rare photos and again to bring this album to your attention.~ lex And what music! Listening to this album nearly 50 years later, I’m impressed by how well it holds up. (The mono recording is exemplary – as was typical of Contemporary’s albums of that era – despite the album’s short running time of 34:21.) Tatro’s own notes for the album (reprinted along with those of label owner Lester Koenig) are succinct and to the point: ”With the exception of ‘Dollar Day’ which is 52 bars, all the pieces use the standard 32-bar chorus.” He means the popular song form. ”The departures from conventional writing are melodic and harmonic. For example, only ‘Multiplicity’ has a key signature. The development of each piece is derived from the material introduced in the first chorus.” Individual pieces use a ”melody set in a Phrygian mode,” ”a theme built on a 12-tone row,” ”a simple melody written over a polychordal structure,” or ”intervals of a fourth with interplay of unison lines and ensemble,” to quote a few examples.
What Tatro did was to take not only the ”Birth of the Cool” advances of the late ’40s but Gerry Mulligan’s subsequent explorations (with piano-less groups) and he used and built on these to create a fully-formed and mature music which at once epitomizes ”West Coast jazz” and also goes beyond it into territory occasionally explored by Teddy Charles, Jimmy Giuffre and Bill Russo. It remains much closer to melodicism and jazz than the music of Robert Graettinger, but shares Graettinger’s sophisticated use of modern, 20th century compositional devices.
As such, the album, now available as part of the ”Limited Edition Series” by Fantasy’s Original Jazz Classics on CD, is highly recommended. The CD was released in 1996 and will not remain in print too much longer. ~ Dr.Progresso, holeintheweb.com |
|
|
1964: Charles Mingus - Mingus at Monterey |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Charles Mingus Album: Mingus at Monterey Label: Jazz Workshop Year: 1964; release: 2010 Quality: MP3@320 kbps Size: 128 mb Total time: 60:30 AMG Rating: By request One of the highpoints of Charles Mingus's career was his appearance at the 1964 Monterey Jazz Festival. This long out-of-print double LP contains the entire set: a lengthy Duke Ellington medley, "Orange Was the Color of Her Dress" and a stunning version of "Meditations on Integration" as performed by a 12-piece group featuring such players as altoist Charles McPherson, John Handy (on tenor), trumpeter Lonnie Hillyer and pianist Jaki Byard. This music is well deserving of eventual reissue on CD for it showcases the bassist/composer/bandleader at the peak of his powers. ~ Scott Yanow, All Music Guide A landmark recording from Mingus – and one of his best of the mid 60s! The album was recorded live at the Montery Jazz fest – and it features great work by Jaki Byard, Charles McPherson, John Handy, and Lou Blackburn. Mingus explores his increasing fascination with the work of Ellington on the extended Ellington Medley, which takes up most of the first record – and then he moves into two long fantastic originals, "Orange Was The Color Of Her Dress, Then Blue Silk" and "Meditations On Integrations. Both works represent some of his most sophisticated compositions – and the performances here are legendary. © 1996-2012, Dusty Groove America, Inc. |
|
|
1958: Coleman Hawkins - Stanley Dance Sessions |
Swing, Mainstream |
|
|
 Artist: Coleman Hawkins Album: Stanley Dance Sessions Label: Lonehill Jazz Years:1958, 1955 Release - 2006 Quality: MP3@320 kbps Size : 169 mb Total time: 78:16 REPOST with a new link from Mr.sunman556 In February 1958 Stanley Dance oversaw two recording sessions headed up by Coleman Hawkins. By this point in his long and eventful career, Hawkins was still an eminently sophisticated improviser. His tone was gradually beginning to harden and his way of handling the changes could swiftly become downright rambunctious when tempos and occasions called for extroverted exposition. There is, at times, a thrilling gruffness to the Hawkins of the late '50s. During the course of an extended jam like the 11-minute "Bird of Prey," the listener is pleasantly buffeted by Hawkins and trumpeter Buck Clayton and given a chance to recuperate during solos by bassist Ray Brown and pianist Hank Jones. Hawk's legendary ballad artistry is beautifully displayed on "My One and Only Love" and "You've Changed." Here he taps into the gentleness that enabled him, during the early '30s, to become the first truly dignified interpreter of ballads on his instrument. A session Hawk shared with Roy Eldridge has excellent work by bassist George Duvivier. The drummer on both dates was Mickey Sheen. "Honey Flower" and "Nabob" belong among the most laid-back extended romps that Hawkins and Eldridge ever participated in. For dessert, the producers of this reissue have included a segment of a live performance heard at the Phytian Temple in New York on November 7, 1955. Emcee Al "Jazzbo" Collins, after a bit of friendly hyperbole, asks Hawkins to deliver a brief unaccompanied solo ("Foolin' Around"), and a delicious seven-minute rendition of "The Man I Love" supported by Shadow Wilson, Wendell Marshall, and once again, the mighty Hank Jones. ~ arwulf arwulf, All Music Guide |
|
|
1931 - 1933: Don Redman And His Orchestra 1931 - 1933 |
Swing, Mainstream, Vocal Jazz |
|
|
 Artist: Don Redman And His Orchestra Album: Don Redman And His Orchestra 1931 - 1933 Label: Classics Years: 1931-1933; release: 1990 Quality: MP3@320 kbps Size: 117 mb Total time: 72:03 AMG Rating: Âåëèêîëåïíûé äæàç èç Çîëîòîé Ýðû Ñâèíãà! The first of three Don Redman Classics CDs consists of his orchestra's earliest sessions. Although Redman's big band never hit it as big as his former employers' (Fletcher Henderson and McKinney's Cotton Pickers), it was an impressive outfit, thanks to the leader's advanced arrangements. Among the key sidemen on these performances are trumpeters Red Allen (who is on the first two sessions) and Sidney DeParis, tenor saxophonist Robert Carroll, and pianist Horace Henderson. Highlights include "Chant of the Weed" (Redman's atmospheric theme song), "I Heard," "How'm I Doin'," and "Hot and Anxious." The main Don Redman CD to get. ~ Scott Yanow, All Music Guide |
|
|
1950/1953: Zoot Sims - Zoot Sims in Paris |
BeBop, Cool |
|
|
 Artist: Zoot Sims Album: Zoot Sims in Paris Label: Vogue Years: 1950/1953; release: 1995 Quality: MP3@320 kbps Size: 143 mb Total time: 65:19 This reissue CD from Vogue (made available domestically through BMG) has all of the music that the constantly swinging tenor Zoot Sims recorded at two Paris sessions. He is heard on seven titles (plus six alternate takes) in 1950 with a quiet but firm quartet comprised of pianist Gerald Wiggins, bassist Pierre Michelot and drummer Kenny Clarke; "Night and Day," "I Understand" and "Zoot and Zoot" are among the highpoints. The final six selections feature Sims with trombonist Frank Rosolino, pianist Henri Renaud, guitarist Jimmy Gourley, bassist Don Bagley and drummer Jean-Louis Viale for some cool bop in the same basic style as the earlier set. ~ Scott Yanow, All Music Guide |
|
|
1959: Jo Jones - Jo Jones Trio |
Music » Jazz » Mainstream |
|
|
 Artist: Jo Jones Album: Jo Jones Trio Label: Essential Media Group Year: 1959; release: 2009 Quality: MP3@320 kbps Size: 82,7 mb Total time: 38:39 Jo Jones is probably best known for his work with Count Basie, but his small-group dates as a leader, though overlooked, are also very rewarding. The veteran drummer is joined by pianist Ray Bryant and his brother, bassist Tommy Bryant, who both worked with Jones between 1957 and 1960. The trio is effortlessly swinging through two contrasting interpretations of "I Got Rhythm," and a version of "Jive at Five" features Jones drumming with just his hands. Equally enjoyable are the trio's treatments of "Greensleeves" and standards like "Sweet Georgia Brown" and "Embraceable You," which they could have likely played in their sleep. The pulsating closing blues "Little Susie" is a collaborative effort. While Everest developed a reputation as a budget label in the 1970s due to poor packaging and its frequent omission credits for the musicians and composers, this 1959 LP treats the musicians with the respect they deserve, adding warm liner notes by Nat Hentoff. This long-unavailable album will be somewhat difficult to find. ~ Ken Dryden, All Music Guide |
|
|
1953-1954: Herbie Harper - Jazz in Hollywood |
Cool, West Coast Jazz |
|
|
 Artist: Herbie Harper Album: Jazz in Hollywood Label: OJC/Nocturne Records (Limited edition) Years: 1953-1954; release: 1999 Quality: MP3@320 kbps Size: 80,3 mb Total time: 48:17 AMG Rating: Âåëèêîëåïíûé àëüáîì îò ïðåâîñõîäíîãî òðîìáîíèñòà! Although somewhat forgotten today, Herbie Harper was one of jazz's top trombonists of the 1950s. Even with the time he spent doing studio work, Harper was closely involved in the West Coast jazz movement in Los Angeles. This CD, whose music is also available as part of Fresh Sound's three-CD Complete Nocturne Recordings Vol. 1, has Harper's two Nocturne dates, including the earliest session cut by the label. Harper is heard on a delightfully swinging set with baritonist Bob Gordon, pianist Jimmy Rowles, bassist Harry Babasin and drummer Roy Harte, and on two other sessions with Babasin, Harte and sometimes Bud Shank (on tenor and baritone rather than alto and flute), guitarist Al Hendrickson and/or pianist Marty Paich. The music includes cool renditions of swing-era songs, a few newer originals, and some offbeat material. Recommended. ~ Scott Yanow, All Music Guide |
|
|
1944 - 1947: Mary Lou Williams - The Asch Recordings 2LP |
Music » Jazz » BeBop |
|
|
 Artist: Mary Lou Williams Album: The Asch Recordings 2LP Label: Smithsonian Folkways Years: 1944-1947, release: 1977 Quality: MP3@320 kbps (LP-rip) Size: 113 mb; 106 mb Total time: 52:34; 50:58 AMG Rating: By request Mary Lou Williams recorded exclusively for Asch during this period, and most of her performances are included on this two-LP boxed set. Williams's style was in a state of transition as she was gradually discarding stride piano and developing a much more boppish approach. She is heard here in a wide variety of settings ranging from piano solos to small groups and even a big band. Among her sidemen are trumpeters Frankie Newton, Dick Vance, Bill Coleman (who is well-featured), and Kenny Dorham, clarinetist Edmund Hall, trombonist Vic Dickenson, and tenors Don Byas and Coleman Hawkins. This very valuable set is well-worth an extensive search. ~ Scott Yanow, All Music Guide |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
