Howard McGhee - Jazz Brothers (1977) [New vinyl rip to flac 24/96

 

The Danish label Jazzcraft released eight LPs in the late 70s. 

 
Review by Michael G. Nastos [of the CD reissue]-
"Post-bop lived quite well in the '70s, especially when expressed by Howard McGhee and Charlie Rouse, as formidable a trumpet/tenor sax tandem as has ever existed. Add peerless pianist Barry Harris, bassist Lisle Atkinson, and drummer Grady Tate, and you had a dynamic quintet that could not only swing hard and play deep, but could even throw Latin rhythms into the mix, with the help of unsung conga player Jual Curtis. The ten songs on Jazz Brothers, a companion recording to Rouse's 1977 album Moment's Notice, make all this abundantly clear. "One for George" and "Driftin'" are essentially the same tune: a patient, counterpointed horn line in a slow-blues framework. "Island Mood," which uses a churning Latin rhythm and turnaround melody reminiscent of "Caravan," features Rouse's spare, staccato tenor contrasts and McGhee's Dizzy Gillespie-like muted trumpet, while the hot calypso bop "Frisky" is replete with melody and rhythm changes that recall "What Is This Thing Called Love?" Straight bop and calypso are welded together on "In There," the out-and-out bopper "Queens" (featuring drum stops from Tate), and the simple tag-team melody of "Search." Rouse gets a ballad feature on "When Sonny Gets Blue," displaying all of the original, wistful passion that made him Monk's favorite. This is an imperfect session, but not so much musically. The hour-long running time is disappointingly deceptive, because alternate takes of each song chew up much of that space. There are also some speed distortions during the piano solos, as if the master tapes were either defective or damaged. Nonetheless, this is some great modern jazz from a group of gentlemen who knew their stuff stone cold."

01. In There 5:21
02. One For George 7:40
03. Island Mood 5:35
04. Frisky 4:25
05. Driftin' 7:38
06. Queen's 3:56
07. Search 6:10

Howard McGhee (tp) Charlie Rouse (ts) Barry Harris (p) Lisle Atkinson (b) Grady Tate (d) Jual Curtis (cga)
New York, October 19, 1977

Dexter Gordon - Clubhouse (1965) [vinyl 24/96]

 

Review by Scott Yanow:
Although tenor saxophonist Dexter Gordon had moved to Europe in 1962, he made a return visit to the U.S. in 1965 that resulted in both this album and Gettin' Around. Gordon teams up with trumpeter Freddie Hubbard, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins for three of his originals, two obscurities, and a standard that ended up being the date's most memorable performance: "I'm a Fool to Want You." It is excellent music if not quite essential.

Review by Chris Sheridan, Jazz Journal (UK), May 1980:
Of their three collaborations, this is marginally the best Gordon/Hubbard match, the former playing with relaxed authority, the latter with a mature sparkle. Hanky is a son of Benny Golson's Blues March at Gordon's favourite loping tempo. I'm A Fool is another consumate ballad to set beside so many. The title track is a jaunty tipping of the hat to Dameron. Devilette predates the better-known Black Lion version by two years. Lady Iris B engenders an infectious bounce, though Hubbard loses continuity. And Jodi, dedicated to Gordon’s first wife, is an update of the tune on his "Resurgence” LP of 1960. Not a flawless LP, but a warm and sunny one, currently being issued also in the USA as LT-989.

01 - Hanky Panky
02 - I'm A Fool To Want You
03 - Clubhouse
04 - Devilette*
05 - Lady Iris B
06 - Jodi

Freddie Hubbard (t) Dexter Gordon (ts) Barry Harris (p) Bob Cranshaw or Ben Tucker* (b) Billy Higgins (d)
Van Gelder Studio, Englewood Cliffs, NJ, May 27, 1965

Blue Note GXF 3055 (J)/LT 989 (US)/LBR 1022 (UK) [1979]

Extract from “Long Tall Dexter” by Stan Britt:
But his next European experience was to have the most far-reaching consequences for Dexter Gordon. This was a trip to Scandinavia, to accept yet another comprehensive engagement, this time at the Montmartre Jazzhus, in Copenhagen. The reception, once again, was extraordinary. For the next two years, this latest American jazz musician to find unexpected recognition and respect in Europe was more or less to divide his time between Denmark and France, working with a regularity he must have found to be almost unnatural. These gigs were interspersed with periods of self-imposed inactivity, when the need to rid himself of the pressures and pain of his inescapable habit resurfaced. There was always someone to provide that magical (but never permanent) trip to euphoria. But, then, some things cannot change, or be changed, overnight.
It was probably only after re-reading Ira Gitler's Down Beat feature that Dexter Gordon realized just how long ago he had made that initial journey to London, just how much time had passed — and so quickly — since he had seen his ex-wife and two daughters, still living in Los Angeles. Suddenly, it seemed ages since he had performed in any North American jazz joint, had met and blown with his musical friends; the old ones and the newer, younger lions.

"I went back to the States, for about six months (in 1965). I was in New York for a couple of months. Then, I went out to LA for two or three months. I wanted to see my daughters and check out the domestic scene. But there were still sort of holes, - and I wasn't happy. At any rate, I had my return ticket."

In his heart, Gordon realized that if he used that return ticket it would be to resecure his European foothold. Periodic Stateside visits notwithstanding, he had a feeling it would be a long time before he would leave his new friends and security in Europe.

Note from grumpy: I've just revisited the film "Round Midnight", made me think about Dexter's own European experiences and his stateside returns - hence this post.

John Coltrane - Coltrane Jazz (1959-60) [mono vinyl>flac 24/96]

 

 "Coltrane Jazz" is the sixth studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue number SD 1354. The song "Village Blues" is noted as a landmark recording, as it marks the first session date of the early John Coltrane Quartet on record. Featured alongside Coltrane are pianist McCoy Tyner, drummer Elvin Jones, and bassist Steve Davis (who would within 18 months have been replaced by first Reggie Workman and then Jimmy Garrison who would stay with 'Trane until his death).

01 - Little Old Lady
02 - Village Blues
03 - My Shining Hour
04 - Fifth House
05 - Harmonique
06 - Like Sonny
07 - I'll Wait And Pray
08 - Some Other Blues

Tracks 1 & 7
John Coltrane, tenor sax; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums.
Atlantic Studios, NYC, November 24, 1959
Tracks 3,4,5,6,8 same personnel
Atlantic Studios, NYC, December 2, 1959

Track 2
John Coltrane, soprano, tenor sax; McCoy Tyner, piano; Steve Davis, bass; Elvin Jones, drums.
Atlantic Studios, NYC, October 21, 1960

Atlantic 1355 [1961

Some time ago Atlantic records issued: John Coltrane - The Atlantic Years In Mono
In this box were not included My Favorite Things (1961), Coltrane Jazz (1961) & Coltrane's Sound (1964); mono masters were destroyed in a fire.Well, here's one of them, from an LP that, strangely, I kept despite having bought the stereo CD issue. Perhaps the reason was sentimental! …

Back in the late autumn of 1965 I was in my first term as an undergraduate in the UK, living in a hall of residence. One of the closest friends I made owned something, I and others, had never seen - a Garrard record deck with, (I think) an SME arm, a glowing valve amplifier and a large speaker; a far cry from the Dansette I'd left at my parents house some 280 miles away. 

His room became a magnet, as people brought their records to play. As someone who'd only listened to top twenty singles for six years , the exposure to LPs was both a revelation and eclectic: folk, blues, high-life, ska, quality vocals and jazz...
Alistair was on a mission to expose us all to jazz! He was older than the rest of us and had worked for two years for an airline = USA and an amazing collection of relatively cheap US LPs. I remember the first night was all Charlie Parker... OK, but didn't really appeal (I still have a blind spot!!), but then there was Kind of Blue - I was stunned!
Some of the the albums from the following nights are still amongst my favourites, by Monk, Bill Evans, Mingus ‘Ah Um’, Mulligan's Jeru, Coleman Hawkins, Ornette's ‘Shape of Jazz To Come’. 

I still remember the introduction to the previously unknown Coltrane... Little Old lady was interesting, but Village Blues was - wow!. It was three years before I managed to buy the LP… that's the copy I'm sharing today.

Kaori Kobayashi - Shiny (2008)

Kaori Kobayashi's 4th Album produced, arranged and on keyboards by Shigemi Toru, who has worked with artists such as MISIA and Tatsuro Yamashita, the album adds funk and R&B flavors to the smooth jazz and programming sounds of her previous albums. On bass is Shimizu Oki from Naniwa Express, on drums is Michigan-born Jay Stixx, and on guitar is master Nishiyama 'HANK' Fumio, also known as "Hankoya." This album establishes a full-fledged groove sound. Apart from a wild arrangement of the Doobie Brothers classic "Long Train Runnin'," the album is made up entirely of original songs, and there are plenty of things to listen to, including the high quality of the songs, the urban arrangements, her distinctive, sharp and flashy tone, and sophisticated improvisation solos. 

JVC Entertainment, VICJ-61565, 2008
J Box Entertainment Inc., JBJC-8003, 2008
Recorded at Victor Yamanakako Studio and Victor Studio, Tokyo, Japan 

Musicians:
Kobayashi Kaori - Alto Sax, Tenor Sax, Flute, Arranger
Shigemi Toru - Acoustic & Electric Piano, Organ [Hammond B-3], Synthesizer, Programming
Nishiyama 'HANK' Fuminori - Acoustic & Electric Guitar (#1,4-6,8,10)
Shimizu Oki - Electric Bass (#1,4-6,8,10)
Murata Takayuki - Electric Bass (#2)
Jay Stix - Drums (#1,4-6,8,10)

Tracks:
01. Shiny {Kaori Kobayasi, Takayuki Murata} (4:05)
02. Minor Reason {Kaori Kobayashi, Takayuki Murata} (4:22)
03. Children’s Dream {Kaori Kobayashi, Takayuki Murata, Yukinori”KB”Inoue} (5:34)
04. Sunny {Kaori Kobayashi} (4:36)
05. Chillin’ In Manhattan {Kaori Kobayashi, Takayuki Murata} (6:25)
06. West Police {Kaori Kobayashi, Takayuki Murata} (5:09)
07. Interlude {Kaori Kobayashi} (0:58)
08. Long Train Runnin’ {Tom Johnston} (5:13)
09. Forever {Kaori Kobayashi, Toshiya Shibata} (6:28)
10. Black Sapphire {Kaori Kobayashi} (4:54)
11. Starry Heavens {Kaori Kobayashi} (5:47) 

Total Time: 53:37 

Credits:
Producer, Recording, Arranger - Shigemi Toru
Executive-Producer - Seigo Horiuchi
Recording & Mixing Engineer - Ken Matsuoka
Engineer [Recording Assistant] - Fumi Shinohara
Mastering Engineer - Hiroshi Kawasaki
A&R, Director - Kazuhiro Sasaki
Photography - Naoto Ohkawa
Design - Kenji Kikuchi 

Shiny

Dick De Graaf Septet - Heartbeat (1994)

This is Dutch saxophonist Dick De Graaf's third CD with his septet, and although he is little known in the States, he displays a knack for attractively original slightly left-of-center compositions with strong hooks. Using two horns (the other is trombonist Hans Sparla), a traditional rhythm section of bass, piano, and drums, plus electric guitar and violin, De Graaf carves snaky lines that never cross the border but instead highlight a quirky adventurousness. The unusual instrumentation adds immeasurably to the group sound. Michael Gustorff plays his violin like a horn, with delightfully refreshing solos. Contrariwise, Onno Kelk's guitar pumps up the volume with some nasty improvisations. Sparla's trombone sticks to the middle range, but his gruff tone and rough-edged style (with hints of Grachan Moncur III) contrast with De Graaf's more traditional sound on tenor and soprano. This largely fulfilling release should win a wider audience for De Graff's writing and leadership skills. ~ by Steve Loewy, AMG. 

Timeless Records, CD SJP 420, 1994
Recorded 4th January, 1994 2-track digital at Lindenberg Recording Studio, Nijmegen, Holland 

Musicians:
Dick De Graaf - Tenor & Soprano Saxes, Arranger
Hans Sparla - Trombone
Gé Bijvoet - Piano
Onno Kelk - Guitar
Egon Kracht - Bass
Pieter Bast - Drums
Michael Gustorff - Violin

Tracks:
1. Stepping Stones (9:03)
2. P.M. (10:49)
3. Heartbeat (9:31)
4. R.A.M. [Roundabout At Midnight] (5:25)
5. Sunday Morning Soweto [At Sofie's] (7:29)
6. Slo Mo (6:44)
7. Jams And Jellies (6:05) 

All compositions by Dick De Graaf 

Total Time: 55:09 

Credits:
Producer - Dick De Graaf, Manuel Cooymans
Executive Producer - Wim Wigt, Radio Netherlands International
Engineer - Manuel Cooymans and Stephan Dirkx
Digital Editing - Stephan, Dick, Ge, Michael & Hans 6th January, 1994
A&R Timeless - Anne De Jong
Art Direction & Design - Dolphin Graphics and Sound
Photography - Joost Leijen 

Jams And Jellies

Jesper Lundgaard Trio feat. Enrico Pieranunzi, Alex Riel - 60 Out Of Shape (2015)

Bassist Jesper Lundgaaard is one of the veterans of the Danish "bass monarchy", where Niels Henning Ørsted Pedersen is the one who will forever reign at the top. On June 12 and 13 last year, he was on stage at Jazzhus Montmartre in Store Regnegade in Copenhagen, together with drummer Alex Riel (another person who has influenced Danish jazz life since the early 60s), and Italian pianist Enrico Pieranunzi (Italy's leading jazz pianist for the past 20 years). And from these two concerts, this brilliant recording of familiar standards is now available. It opens with "Autumn Leaves", before we get "All The Things You Are", "I Can't Get Started", "My Funny Valentine" and "What Is This Thing Called Love" in a medley with "Everything I Love" and "'Round Midnight", before the three go in for landing with Sonny Rollins' fine "Oleo". Trio music from the top shelf is served throughout. Pieranunzi is a brilliant interpreter of these standards, and with a following like Lundgaard and Riel, you can hardly go wrong. All the songs have nice dynamics, and you can hear that the musicians are having two good nights in Montmartre. In the cover text, journalist Peter H. Larsen asks the question of whether there is any difference between European and American jazz, in a nice little essay. I'm not so sure if we get any answers through this album, but one thing is certain, and that is that these three gentlemen in their prime, deliver jazz music that is very close to the "American model". And there are few, if any trios "over there" who do this better than the Italian and the two Danes. ~ Jan Granlie, salt-peanuts.eu. [Translated From Norwegian] 

Storyville Records, 1018452, 2015
Recorded 12th & 13th June, 2014 Live At Jazzhus Montmartre, Copenhagen, Denmark 

Musicians:
Jesper Lundgaard - Bass
Enrico Pieranunzi - Piano
Alex Riel - Drums

Tracks:
1. Autumn Leaves {Joseph Kosma} (9:21)
2. All The Things You Are {Jerome Kern} (8:50)
3. I Can't Get Started {Vernon Duke} (8:07)
4. My Funny Valentine {Richard Rodgers} (12:05)
5. Medley (16:25)
    What Is This Thing Called Love {Cole Porter}
    Everything I Love {Cole Porter}
    Round Midnight {Thelonious Monk}
6. Oleo {Sonny Rollins} (7:03) 

Total Time: 61:51 

Credits:
Producer - Jesper Lundgaard, Christian Brorsen
Recording & Mixing Engineer - Mik Neumann
Mastering Engineer - Jorgen Vad, VADYD
Photos - Torben Christensen
Design - Kenneth Schultz
Liner Notes - Peter H. Larsen
Translation - Steve Schein 

Oleo

Art Blakey and The Jazz Messengers - Africaine (1959) [vinyl 24/96]

 

Throughout its existence the Messengers featured some very special line-ups but, for me, this is the pick of them. The quintessential hard bop quintet with the front line of Shorter and Morgan = made in heaven. Why this album sat in the vaults for 20+ years is incomprehensible!
In 1982 I read the review below and rushed out and bought the LP...

Review by Brian Davis, Jazz Journal (UK), April, 1982:
‘Africaine’ is on LT 1088 and is unissued from November 10,1059. This is a bit of a milestone LP in that it was actually Wayne Shorter's recorded debut with the Messengers yet has only now come to light after 21 years! This was one of the classic Blakey line ups: Shorter was already blossoming as a composer (all side 1 are his); his tenor playing then was strongly Coltrane-influenced yet paradoxically did not have the Trane heaviness which later on seemed to creep into Shorter’s work giving it a bleakness. Lee Morgan is here, very young, high-spirited and sassy, with Walter Davis Jr a pianist of the classic be-bop mould directly out of Bud Powell. Jymie Merritt is the bassist who also plays congas**[but see below], very basically, in the obligatory Blakey ‘African’ interlude in the title track， an otherwise excellent Shorter composition with an appealing descending line. Next is the first hearing of Shorter's Lester Left Town recorded five days before the version for RCA in Paris. Side 2 has all Morgan writings, already of considerable merit and not just thrown together studio heads. Haina, an affectionate tribute to Buhaina (Blakey) has some more thunderous African workouts from the boss but also some of the best jazz solos on the album. Another first, The Midget has its recorded debut here, five weeks before the Epic version, again in Paris.Recommended.

1. Africaine
2. Lester Left Town
3. Splendid
4. Haina
5. The Midget
6. Celine

Art Blakey (drums)
Lee Morgan (trumpet)
Wayne Shorter (tenor sax)
Walter Davis, Jr. (piano)
Jymie Merritt (bass)
**Dizzy Reece (conga)

Englewood Cliffs, New Jersey: November 10, 1959

Blue Note LT 1088 [1981] since reissued on CD.

I have the McMaster Connoisseur CD; it has a DR of 10, this LP rip has DR14.