Showing posts with label Kenny Drew. Show all posts
Showing posts with label Kenny Drew. Show all posts

Saturday, December 2, 2023

Ted Curson - Plenty Of Horn (1961)

Ted Curson, born in 1935 in Philadelphia, participated in some great Mingus albums such as Mingus At Antibes or Mysterious Blues; he is also featured on Archie Shepp's Fire Music and other albums. Ted Curson recorded this album in April 1961 in New York with some of his usual accomplices like tenor sax Bill Barron (Kenny's brother) or Roy Haynes on drums (on 4 tracks), Eric Dolphy on 2 tracks. Kenny Drew is on piano, Jimmy Garrison on double bass. Danny Richmond replaces Roy on 3 tracks and Pete La Roca on two. This is, I believe, his first album as a leader. After a very orientalist version of "Caravan" a little waltz from Ted “Nosruc Waltz”, then a beautiful ballad with guest Éric Dolphy on flute. Five original compositions by Ted follow, where "Flatted Fifth" stands out and the beautiful theme of "Bali-H'ai" (composed by Hammerstein and Rodgers) where Dolphy shines. A good disc to discover this musician. ~ Philippe A, AMG. [Translated from French] 

Old Town, OT LP 2003, 1961
Fresh Sounds Records, FSR 1622, 2004
Recorded April, 1961 in New York City 

Musicians:
Ted Curson - Trumpet
Bill Barron - Tenor Saxophone (#1,2,4-6,8,9)
Eric Dolphy - Flute (#3,7)
Kenny Drew - Piano
Jimmy Garrison - Bass
Roy Haynes - Drums (#1,3,6,7)
Dannie Richmond - Drums (#2,4,9)
Pete La Roca - Drums (#5,8) 

Tracks:
1. Caravan {Irving Mills, Duke Ellington, Juan Tizol} (2:53)
2. Nosruc {Ted Curson} (6:16)
3. The Things We Did Last Summer {Sammy Cahn, Jule Styne} (4:23)
4. Dem's Blues {Ted Curson} (3:41)
5. Ahma [See Ya] (Ted Curson} (4:21)
6. Flatted Fifth {Ted Curson} (3:34)
7. Bali-H'ai {Oscar Hammerstein II, Richard Rodgers, Jerome Kern} (3:55)
8. Antibes {Ted Curson} (5:04)
9. Mr. Teddy {Teddy Curson} (5:10) 

Total Time: 39:21 

Credits:
Producer - Hy Weiss
Produce [Reissue] - Jordi Pujol
Post Production - Duncan Cowell
Mastering - Krieg Wunderlich
Package Design - Chris Popham
Liner Notes - John Crosby, Nat Hentoff 

Flatted Fifth

Wednesday, September 7, 2022

Claudio Fasoli - Lido (1983)

"What is particularly pleasurable about this session is the clarity of it all, the lines, the time, the collective and solo improvisatory direction.  And out in front is a leader of fire and delicacy, directness and intimacy-- Claudio Fasoli." ~ Nat Hentoff, Liner Notes. 

Excellent vigorous lyrical mainstream post-bop from this quartet of Fasoli on tenor and soprano sax, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Barry Altschul on drums playing six of Fasoli's tunes. ~ SadRoger, rateyourmusic.com. 

Soul Note, 121071-2, 1983
Recorded 22nd & 24th February, 1983 at Barigozzi Studio, Milano, Italy 

Musicians:
Claudio Fasoli - Tenor & Soprano Saxophones
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Barry Altschul - Drums 

Tracks:
1. Snob (7:21)
2. Lyrical Touch (3:26)
3. Etna (8:42)
4. Lido (6:44)
5. Map (7:21)
6. Jazz Job (5:42) 

All Compositions by Claudio Fasoli 

Total Time: 39:26 

Credits:
Producer - Giovanni Bonandrini
Recording Engineer - Giancarlo Barigozzi
Mastering Engineer - Gennaro Carone
Cover Design - Pick Up Studios
Cover Painting - Claudio Rebaudo
Photography [Cover] - Mirko R. Boscolo
Liner Notes [English] - Nat Hentoff 

Etna

Friday, May 13, 2022

Kenny Drew - For Sure (1978) [vinyl]


Review by Scott Yanow

Kenny Drew recorded two Xanadu albums in two days during one of his very rare visits to the United States after he moved to Europe in 1961. This rare quintet outing (with altoist Charles McPherson, trumpeter Sam Noto, bassist Leroy Vinnegar and drummer Frank Butler) features Drew playing at the peak of his powers. The material (four originals by the pianist plus two obscurities) is strong, is sometimes quite boppish and contains plenty of variety. This out-of-print LP was underrated at the time and is worth searching for.

Or for the more perceptive, review by KingCake:

In 1978 Drew made a rare visit home and recorded two albums in two days, this quintet session and a trio session to follow. Kenny is in spectacular form and his band mates are both sympathetic and talented enough to make this sound like a session from a group with real history together. The front line of McPherson and Noto are one of those special but relatively unknown pairings from the 70's much like Ira Sullivan and Red Rodney and throughout these Xanadu dates it becomes clear that the tandem of Leroy Vinegar and Frank Butler belong in the highest echelon of bass, drum duo's. The tune 'Dark Beauty' is enough all by itself to make this whole session worthwhile, but the rest of it kills too. You may have a hard time getting this one off of your player.

For Sure
Mariette
Arrival
Blues Wail
Dark Beauty
Context

Sam Noto (t), Charles McPherson (as), Kenny Drew (p) Leroy Vinnegar (b), Frank Butler (d)
Los Angeles, CA, October 16, 1978

Sunday, March 21, 2021

Booker Ervin - Lament For Booker Ervin (vinyl rip)

Also a repost of a 2014 rip 

"At an overbooked all-star saxophone concert held in 1965 Berlin, the musicians were supposed to only play for 15 minutes. Tenor saxophonist Booker Ervin protested against the restrictive situation by performing the intense and stirring "Blues for You" for 27½-minutes, tearing down the house. A decade later (after Ervin's 1970 death) the performance (with pianist Kenny Drew, bassist Neils Pedersen and drummer Alan Dawson) was released for the first time and its passion was worth waiting for. Also on this historic album is pianist Horace Parlan's somber solo tribute to Ervin ("Lament for Booker") which was recorded in 1975." AMG

The first rip on my new Pro-Ject carbon turntable!


Wednesday, September 9, 2015

Dexter Gordon Quintet - Ladybird (1965)

The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Cafe Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC emigre, sitting in with the working group.

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.

So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the denouement.

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave. ~ Bagatellen.com

SteepleChase Records, SCCD 36035, 2005
Recorded 19th August, 1965 Live at "Jazzhus Montmartre", Copenhagen, Denmark

Personnel:
Dexter Gordon - Tenor Saxophone
Donald Byrd - Trumpet (#1,2,4)
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen- Bass
Alex Riel - Drums

Track Listing:
1. Ladybird {Tadd Dameron} (19:59)
2. So What? {Miles Davis} (18:00)
3. Who Can I Turn To [When Nobody Needs Me] {Leslie Bricusse, Anthony Newley} (5:25)
4. Blues By Five [Inc.] {Miles Davis} (4:12)

Credits:
Producer, Restoration - Nils Winther
Photography - Kirsten Malone

Monday, August 10, 2015

Dexter Gordon - Stella By Starlight (1966)

Historically speaking, radio’s been both friend and foe to jazz listener sensibilities. Broadcasts from innumerable venues brought the music into countless homes and establishments. A large chunk of archival recordings are sourced from these classic concert documents. Where a complication lies is in the vagaries of the production customs that sometimes governed these broadcasts. Announcers intrude with regularity over the music (the insufferable Symphony Sid, anyone?). Station breaks edit solos and sets into commercial-friendly morsels. Coupled with the technological limitations of reel-to-reel tape the results can be checkered and sometimes downright vexing when it comes to what’s omitted or lost.

Witness the recent release of Coltrane’s Half Note Recordings from the spring of ’65. What’s there is incredible. But a pang of regret is practically inevitable when the purchaser realizes that nearly 35 minutes of the monumental title cut went unrecorded and the version of “Afro Blue” only survived in fragmentary form (a gaff repeated on Live in Seattle from months later, what’s with the reverse-kismet when it comes to Coltrane’s readings of Mongo Santamaria’s most famous tune?). The same sort of situation colors the music on Stella By Starlight, the latest and purportedly final installment in Steeplechase’s series of vintage Dexter Gordon broadcasts made by Danmarks Radio from the Montmarte Jazzhus, Copenhagen.

This sixth entry differs from the previous ones in a few notable respects. Firstly, there’s the presence of altoist Pony Poindexter in a second horn slot. Poindexter was on European tour at the start of 1966 and found time to sit in with Gordon’s working combo. Neither man was a stranger to two horn team-ups, Gordon locking congenial saxes with the likes of Wardell Gray, Gene Ammons and James Moody among a host of others over the course of his career. Mark Gardner’s exceptionally readable liners also make mention of an earlier meeting between the two in ’62 that included Billy Mitchell, Phil Woods, Gene Quill and Pepper Adams. Man, sign me up for a copy that one!

The program here focuses on three loquacious readings of standards. Solos are routinely lengthy and there are lots of them. Pianist Kenny Drew and bassist Niels-Henning Ørsted Pedersen, Gordon’s regular Montmarte confreres make up the rhythm section along with guest drummer Makaya Ntshoko, pinch hitting for Alex Riel who apparently had the night off. The title track commences in media res with the front men finishing the tail end of the theme statement. Gordon takes the floor early, holding forth with a robust extended foray as Drew comps somewhat reticently beneath him. Poindexter’s solo suffers from a somewhat shrill tonality in spots. But he surprises with a lively scat-sung rejoinder as follow-up. Drew and Pedersen have their respective says in succession next as Ntshoko keeps competent, if garden-variety time. A string of loose sax exchanges and final return to theme predictably signs the action off.

Occupying just over a third of an hour “Satin Doll” follows the same general template with minor deviations and includes another priceless Pedersen improvisation. “Round About Midnight” finds the band starting to gel in earnest and contains the finest playing by Poindexter of the date as he adjusts to the smoky ballad tempo of the piece. The tempered work of the rest of the band is gorgeously on target too, Ntshoko whose minimalist brushes add just the right amount of diaphanous texture. Gordon’s sensuous baritone inaugurates all but the title number with sultry spoken prefaces to further seduce the crowd. “Sonnymoon For Two” is present only as a maddeningly abbreviated half-minute taste, those misguided Danmarks engineers possibly fading out for what might have been station identification. Then again, beggars can’t be choosers as they say. And when it comes to recorded work Gordon’s certainly falls under the header “Finite Supply”. ~ Derek Taylor.

SteepleChase Records, SCCD 36036, 2005
Recorded 6th January, 1966 Live at "Montmartre Jazzhus", Copenhagen, Denmark

Personnel:
Dexter Gordon - Tenor & Soprano Saxophones
Pony Poindexter - Alto Saxophone, Vocals
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Makaya Ntshoko - Drums

Tracks:
1. Stella By Starlight {Victor Young} (16:51)
2. Introduction (0:10)
3. Satin Doll {Duke Ellington} (20:05)
4. Introduction (0:15)
5. 'Round About Midnight {Thelonious Monk} (10:23)
6. Introduction (0:16)
7. Sonnymoon For Two [Fade-out] {Sonny Rollins} (0:30)

Credits:
Recording - Danmarks Radio
Sound Restoration - Nils Winther
Liner Notes - Mark Gardner
Producer - Nils Winther

Sunday, May 19, 2013

Ben Webster - There Is No Greater Love (1965)



On this rare studio session of Webster playing with a trio he usually worked with live at the Montmarte Jazzhus in Copenhagen, we hear Webster and his cohorts in a set comprised mostly of ballads. Typically, Webster sounds superb on these standard tunes. Readings of "I Got It Bad [And That Ain't Good]," "Yesterdays," "There is No Greater Love," and "Autumn Leaves" are particularly inspired. Webster's airy, yet thick tone is one that many saxophonists have tried to copy for generations. However, while many of his imitators can offer decent versions of his style, there is no one who can truly evoke meaning from a melody like Webster. One of the great instrumental balladeers in history, Webster, even in 1965, played with a passion for music that was truly remarkable. Not all jazzbos can boast such a high level of musicianship late in their career. ~ CDUniverse.com

Black Lion, BLCD-760151, 1987
Recorded 5th September, 1965 at Metronome Studios, Copenhagen, Denmark

Personnel:
Ben Webster - Tenor Saxophone
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Alex Riel - Drums

Track Listing:
1. Easy To Love {Cole Porter} (4:23)
2. Stardust {Hoagy Carmichael, Mitchell Parish} (3:49)
3. There Is No Greater Love {Isham Jones, Marty Symes} (4:39)
4. Close Your Eyes {Bernice Petkere} (5:03)
5. What's New? {Johnny Burke, Bob Haggart} (4:29)
6. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Francis Webster} (4:57)
7. Yesterdays {Otto Harbach, Jerome Kern} (5:51)
8. Autumn Leaves {Joseph Kosma, Johnny Mercer} (5:19)

Credits:
Producer - Alan Bates
Engineer - Birger Svan
Liner Notes - Alun Morgan

Note:
Like many Black Lion releases the sound quality is not always desirable. I have ripped, cleaned and optimized maintaining integrity.