Chihiro Yamanaka - Outside By The Swing (2005)

Chihiro Yamanaka’s Outside By The Swing (2005) is her fourth piano trio album and continues her annual series of releases since bursting on the scene with her 2001 debut Living Without Friday. While previous releases were on the Osaka boutique jazz label Atelier Sawano, this release marks her first in a long run with Verve Records. The album contains a baker's dozen of fun jazz tracks, some quite short but mostly in the four-to-six-minute range, plenty enough to showcase Yamanaka's piano filled with percussive fire and melodic creativity. With acrobatic thrills and exciting jazz runs, Yamanaka’s piano is definitely the featured instrument in the trio. Her improvisational runs and fluid technique is on display and easily grab the listener’s attention. Whether playing on up-tempo tracks like "Impulsive" or "2:30 Rag", or slower grooves such as "Angel Eyes" or "Teared Diary", Yamanaka soars in the spotlight on center stage, justifiably garnering the praise her attention to detail and facility receives. Perfectly in line with the direct reference in the album title, pure, simple, straightforward swinging jazz is honored here to a high degree. Along with fleet-fingered lines on Bud Powell's "Cleopatra’s Dream", the second track, "I Will Wait", is a great example of pure swing and scratches that itch perfectly. There is even a behind-the-scenes video for this song with scenes from the recording session. Track six, "Yagibushi - Revised Version" is another highlight, first heard on Yamanaka’s second album When October Goes (2002) and updated here in a refreshing and exciting arrangement. ~ Brian McCrory, jazzofjapan.com. 

Verve Records, UCCJ-2040, 2005
Recorded 13th-15th May, 2005 at Avatar Studios, New York 

Musicians:
Chihiro Yamanaka - Piano, Arranger
Robert Hurst - Bass
Jeff "Tain" Watts - Drums

Tracks:
01. Outside By The Swing {Chihiro Yamanaka} (2:07)
02. I Will Wait {Chihiro Yamanaka} (5:14)
03. Impulsive {Eliane Elias} (4:35)
04. He's Got The Whole World In His Hands {Traditional} (4:06)
05. Teared Diary [Attends Ou Va-T'En] {Serge Gainsbourg} (6:05)
06. Yagibushi [Revised Version] {Traditional} (4:51)
07. Cleopatra's Dream {Bud Powell} (3:55)
08. Matsuribashi {Miyuki Nakajima} /
       Happy-Go-Lucky Local {Billy Strayhorn, Duke Ellington} (6:21)
09. 2:30 Rag {Chihiro Yamanaka} (2:32)
10. Living Without Friday {Chihiro Yamanaka} (6:19)
11. Angel Eyes {Earl K. Brent, Matt Dennis} (6:01)
12. All The Things You Are {Jerome Kern, Oscar Hammerstein II} (1:56)
13. Candy {Alex Kramer, Joan Whitney, Mack David} (5:12) 

Total Time: 59:22 

Credits:
Producer - Chihiro Yamanaka
Executive-Producer - Tomohide Ishikawa, Hiroto Furuya
Recording & Mixing Engineer - James Farber
Assistant Engineer - Brian Montgomery, Peter Doris
Mastering Engineer - Greg Calbi [Sterling Sound]
Art Direction - Kitetsu Takamiya
Photography - Toru Koike

LINK

I Will Wait (from the recording session)

Geri Allen - Celebrating Mary Lou Williams

It is that time of year when our thoughts go to those artists lost to us...

"These modern jazz VIPs render a synchronized attack that incites a harmonious mélange of mainstream, progressive, and free-jazz during this homage to legendary pianist, composer and arranger Mary Lou Williams. One of the mainstays and redeeming traits of this live program relates to the musicians' inimitable styles amid their technical faculties and keen interpretative powers. With a consortium of diverse approaches, the trio merges jazz boogie-woogie with swing and gutsy solos on Williams' "New Musical Express."

Alto saxophonist Oliver Lake's yearning lines, free form bursts and knotty unison choruses with pianist Geri Allen keep this train rolling on a fast track, to complement the clamorous breakouts and tender dissections of the primary theme. It's a fifteen-minute exposition, where the band abides by a democratic group-based slant. Allen's fluid soloing, simmering chord clusters and mesmeric harmonics, intimate remembrances of Williams' dazzling technique, yet these crafty musicians inject several nooks and crannies into the mix, their distinct voices elevating the core concept of this project, amid their shrewd plan of attack, to a higher realm." By GLENN ASTARITA
August 19, 2011

---

Chihiro Yamanaka - Live In New York (2011)

Since the heyday of Oscar Peterson, few pianists have either refined the technique or cultivated the desire to play straight-ahead classic jazz with the kind of showboating virtuosity that makes listeners doubt their senses. Chihiro Yamanaka, the prizewinning classically trained pianist from Japan (and a rising star in her adopted New York), is one of the world’s most accomplished heirs to Peterson’s legacy, and some have compared her effortless virtuosity and warmth to that of the late great Mulgrew Miller, too. Like Peterson, Yamanaka favours opening a song at a quiet, lounge-jazz sway and winding it up to a sprint just as listeners are settling back in their chairs. Her originals often sound like old Broadway hits ~ John Fordham, theguardian.com. 

Along those lines the opener "Outside By The Swing" keeps in that vein, long enough for bassist Yasushi Nakamura and drummer John Davis to add their supporting touches to the piece. Invariably listeners are taken on a captivating journey as the performance evolves. To view the concert is to see Yamanaka's pintsized frame cover the whole keyboard; standing at times to deliver perfectly connected treble runs and rapidly pounded chords. Yamanaka’s impulsive twists and turns are clearly on display especially when she joins with guest veteran drummer Bernard "Pretty" Purdie and bassist Ben Williams for the final tune "So Long". Five of nine tunes are her own compositions, drawing in three other jazz classics and a traditional number to complete the set. No piano jazz loving fan should not embrace the opportunity to listen to this virtuoso showcase her craft! 

Verve Records, UCBJ 1006, 2011
Recorded 30th June, 2011 Live at "Iridium" Jazz Club, 1650 Broadway, New York 

Musicians:
Chihiro Yamanaka - Piano
Yasushi Nakamura - Bass (#1-3,6-8)
John Davis - Drums (#1-3,6-8)
Ben Williams - Bass (#4,5,9)
Bernard "Pretty" Purdie - Drums (#4,5,9)

Tracks:
0. Intro (0:42)
1. Outside By The Swing {Chihiro Yamanaka} (4:17)
2. Living Without Friday {Chihiro Yamanaka} (12:19)
3. Take Five {Paul Desmond} (9:19)
4. Antonio's Joke {Chihiro Yamanaka} (7:50)
5. When You Wish Upon A Star {Ned Washington, Leigh Harline} (7:46)
6. Sing, Sing, Sing {Louis Prima} (9:16)
7. 2'30'' Rag {Chihiro Yamanaka} (2:55)
8. Yagibushi {Traditional} (7:45)
9. So Long {Chihiro Yamanaka} (12:53) 

Total Time: 75:02 

Credits:
Producer, Director - Chihiro Yamanaka
Executive Producer - Kimitaka Kato, Hiroko Kawachi, Yoshihisa Saito
Director - Tomokazu Tazawa, Keiichi Yamamoto
Sound Mastering - Kenji Yoshino
Cover Photo - Tokio Kuniyoshi 

N.B.
Audio files ripped from DVD to WAV, edited, optimised and excess applause trimmed.
Finally converted to FLAC, tested OK and tagged, album art organised for post, enjoy!

LINK

2'30'' Rag

Sean Jones - Gemini (2005)

Trumpeter Sean Jones certainly covers a great deal of musical ground on Gemini. The music ranges from the hard boppish "In Her Honor," a hint of 1960s lyrical Freddie Hubbard on "Rain of Patience," and the medium-tempo "Blues for Matt B." to some more electronic, funky, and even fusionish selections. The music on Gemini keeps one guessing throughout and Jones plays well in every setting. The other soloists, which at various times include Tim Fuller on alto and flute, the tenors of Ron Blake and Walter Smith III, trombonist Andre Hayward, and pianist Mulgrew Miller among others, are utilized to their best advantage, but it is the warm sound and versatility of Jones that makes Gemini a consistent success. ~ by Scott Yanow, AMG. 

Superb: Sean Jones' tone, intonation and musicality are stellar. On this CD, the material is interesting and appealing, the other musicians are outstanding and Jones is great. The bop and funkier tracks blend well. The uses of synth keyboard on a few tracks is tasteful and adds to rather than detracting from the overall sound and musical quality. This is a CD I have found myself listening to every day, and I am sure I will be enjoying this for years. IMO, one of the best jazz CDs in recent years. ~ Kindle Customer, Amazon.com. 

Mack Avenue Records, MAC1023, 2005
Recorded at Avatar Studios, New York, NY 

Musicians:
Sean Jones - Trumpet
Tia Fuller - Alto Sax, Flute
Walter Smith III - Tenor Saxophone (#4,6)
Ron Blake - Tenor Saxophone (#9-10)
Mulgrew Miller - Piano (#1-6)
Orrin Evans - Keyboards (#7-13)
Kenny Davis - Acoustic & Electric Bass, Bass Guitar
E.J. Strickland - Drums (#1-6)
Corey Rawls - Drums (#7-12)
Andre Heyward - Trombone (#10)

Tracks:
01. Gemini [Phase 1] {Sean Jones} (1:37)
02. In Her Honor {Sean Jones} (5:40)
03. Rain Of Patience {Tia Fuller} (5:54)
04. Blues For Matt B {Sean Jones} (5:41)
05. BJ's Tune [Life In The Hand, Divine] {Sean Jones} (10:15)
06. Mission Statement {Quamon Fowler} (7:35)
07. Gemini [Phase 2] {Orrin Evans} (1:53)
08. Into The Sun {Sean Jones} (5:37)
09. Chillin' At Da Grill {Sean Jones} (5:33)
10. T.V. Land {Sean Jones} (7:27)
11. Momma's Groove {Corey Rawls} (4:53)
12. Gemini {Kenny Davis} (4:34)
13. Gemini [Phase 3] {Traditional} (1:32) 

Total Time: 68:17 

Credits:
Producer - Al Pryor
Executive Producer, Liner Notes - Gretchen Carhartt
Recording & Mixing Engineer - Jim Anderson
Recording Engineer [Assistant] - Anthony Ruotolo
Mixing Engineer [Assistant] - Kaori Kinoshita
Mastering Engineer - Greg Calbi
Mastering Engineer [Assistant] - Steve Fallone
Art Direction, Design, Photography - Raj Naik

LINK

Rain Of Patience

Various Artists - JVC XRCD Sampler Vol. 2 (1998)

This JVC sampler includes jazz standards and new tracks, with two tracks each by the Bill Holman Band, Ernie Watts, Tiger Okoshi, Carmen Lundy and Hiroko Kokubu. Holman's "Straight No Chaser" and Watts' "In a Sentimental Mood" are the highlights. ~ by Keith Farley, AMG. 

JVC Records, JVCXR-0201-2, 1998 

Tracks:
01. Straight, No Chaser - The Bill Holman Band {Thelonious Monk} (6:09)
02. 'Round Midnight - The Bill Holman Band {Hanighen, Monk, Williams} (7:43)
03. On Green Dolphin Street - Ernie Watts {Bronislaw Kaper, Ned Washington} (6:28)
04. In A Sentimental Mood - Ernie Watts {Duke Ellington, Manny Kurtz, Irving Mills} (6:51)
05. Kagome, Kagome - Tiger Okoshi {Traditional} (6:25)
06. Color Of Soil - Tiger Okoshi {Tiger Okoshi} (5:40)
07. Just One More Chance - Carmen Lundy {Sam Coslow, Arthur Johnston} (4:35)
08. When Your Lover Has Gone - Carmen Lundy {Einar A. Swan} (4:46)
09. Lullaby Of Takeda - Hiroko Kokubu {Traditional} (5:12)
10. Keep Hope Alive - Hiroko Kokubu {Hiroko Kokubu} (5:02) 

Total Time: 59:18 

Credits:
Producer, Compilation - Akira Taguchi
Mastering - Alan Yoshida
Art Direction & Design - Peter Grant
Creative Direction - Sam Gay
Photograph [Cover] - Sakiko Yamanaka
[Details]

LINK

Ernie Watts - In A Sentimental Mood

David Hazeltine Trio - The Jobim Songbook In New York (2007)

On this project, pianist David Hazeltine takes on the music of the late Jobim (who would have turned eighty in 2007) by looking at the music from an American point of view, without the typical bossa nova elements. Most of the music presented here is well-known, from "The Girl from Ipanema” to "Quiet Nights of Quiet Stars" (titled "Quiet Nights" on the CD), but what Hazeltine does here is augment the classical influence that the songs' writer brought to them. Jobim borrows from classical sources, Hazeltine comments in the liners. "Studying classical piano opens my mind and wipes the slate clean". One of the highlights is "Wave", which begins with the melody popularized in the US by Frank Sinatra. "One Note Samba" makes good use of its syncopated beat to showcase the talents of bassist Nat Reeves and drummer Joe Farnsworth. "Caminhos Cruzados" (Crossed Paths) is a song from Jobim's early partnership with Newton Mendonça that did not become a household tune. The song's original lyrics speak of a lover who needs to call an affair off because he is tired of the other partner's attitude towards him (a recurring theme in bossa nova). Hazeltine uses the melody's sad tone to his advantage, playing slow notes to enhance its feel. "The Girl From Ipanema" may be the best-known Brazilian song of all time, with thousands of renditions. Hazeltine's take utilizes a fast-paced modern jazz beat that comes in, does its job and ends in the length of a pop single - just over four minutes. The Jobim Songbook in New York is not for strict bossa nova fans. It is, instead, a jazz disc made with an open mind. Hazeltine dares to find new elements in songs ingrained into the fabric of popular music. ~ Ernest Barteldes - AllAboutJazz.com. 

Chesky Records, SACD 328, 2007
Recorded 15th November, 2006 at St Peters Episcopal Church, New York, NY. 

Musicians:
David Hazeltine - Piano
Nat Reeves - Bass
Joe Farnsworth - Drums 

Tracks:
01. Dreamer {Antônio Carlos Jobim, Eugene Lee} (6:44)
02. Once I Loved {Ray Gilbert, Antônio Carlos Jobim, Vinícius de Moraes} (6:30)
03. Meditation {Norman Gimbel, Antônio Carlos Jobim} (5:26)
04. Quiet Nights {Antônio Carlos Jobim, Buddy Kaye} (4:38)
05. Dindi {Ray Gilbert, Antônio Carlos Jobim, Aloysio de Oliveira} (6:56)
06. Wave {Antônio Carlos Jobim} (6:24)
07. One Note Samba {Antônio Carlos Jobim} (4:50)
08. Desafinado {Antônio Carlos Jobim} (5:17)
09. Caminhos Cruzados {Antônio Carlos Jobim, Vinícius de Moraes} (5:15)
10. O Grande Amor {Antônio Carlos Jobim, Vinícius de Moraes} (3:58)
11. The Girl From Ipanema {Norman Gimbel, Antônio Carlos Jobim, Vinícius de Moraes} (4:13) 

Total Time: 60:12 

Credits:
Producer, Liner Notes - David Chesky
Executive Producer, Liner Notes - Norman Chesky
Recording, Editing & Mastering Engineer - Nicholas Prout
Assistant Engineer, Session Coordinator - Rick Eckerle
Production Assistant - Lisa Hershfield
Liner Notes - Ted Panken

LINK

Quiet Nights

Various Artists - JVC XRCD Sampler (1996)

A work that encapsulates

the performer's heart

=========================

The musicians, song selection, arrangement, performance, and recording are all excellent. Once I listened to it, I was captivated, then I listened to it again to experience that same emotion, and again before going to bed. Even if I listen to it three times a day, I still feel something new. The artist, engineer, and production team are united, and you can really feel the sincerity of the project, as they want to convey the heart of the music. The nostalgic melody of Tiger's trumpet can be heard in "Snowy Town," Nakagawa's modern jazz intertwines the vibration of the piano strings and the passionate breath of the flute (= the sense of life), and Bill Holman's true essence of Bob's melting bass clarinet can be heard. I won't write about it, but there is not a single track that I skip. If I could only take one jazz CD to a deserted island, I would choose this one without hesitation. ~ Micropure, amazon. com. [Translated From Japanese] 

JVC Musical Industries, Inc., JVCXR-0001-2, 1996 

Tracks:
01. The Peacocks - The Bill Holman Band {Jimmy Rowles} (5:27)
02. Lightnin' - The Bill Holman Band {Bill Holman} (5:02)
03. In Your Own Sweet Way - Ernie Watts {Dave Brubeck} (5:11)
04. Yuki No Furu Machi O [Snowy Town] - Tiger Okoshi {Naoya Uchimura} (6:41)
05. 'Round Midnight - Carmen Lundy {Hanighen, Monk, Williams} (6:00)
06. 'Round Midnight - Nakagawa {Hanighen, Monk, Williams} (4:06)
07. Merry Christmas Baby - Spirit Traveler {Lou Baxter, Johnny Moore} (7:46)
08. Holding With An Open Hand - Oscar Castro-Neves {Oscar Castro-Neves} (4:32)
09. Once And Forever - Hiroko Kokubu {Hiroko Kokubu} (5:50)
10. From The Street - Tom Coster {Tom Coster} (6:09)
11. Through The Rain - Misha Segal {Misha Segal} (4:23) 

Total Time: 61:12 

Producer, Compilation - Akira Taguchi
Credit Details 

Immerse yourself in the rich sounds of jazz with the JVC Sampler XRCD. This audiophile edition features a trio of talented artists showcasing their skills on voice, delivering a mesmerizing listening experience. Released by JVC, this XRCD format ensures top-notch audio quality, making it a must-have for any jazz enthusiast's collection.

LINK

Tiger Okoshi - Yuki No Furu Machi O [Snowy Town]

Hank Mobley - The Flip (1969) [re-rip]

Late work by tenor giant Hank Mobley - and a really unique session that stands out from his other Blue Note work of the time! The set was recorded in Paris with an ultra-hip lineup - one that features Dizzy Reece on trumpet and Slide Hampton on trombone - both fresh players alongside Hank's work on tenor sax, making for really wonderful phrasing and timing in the front line! The bottom's pretty great, too - with wicked rhythms from Philly Joe Jones on drums, at a level that bounces around with a growing sense of soul - yet still has all the complex colors of Mobley's classic work. The balance is beautiful - as fresh as the image on the cover - and the album's one that we'd rank right up there with The Phantom by Duke Pearson and Slow Drag by Donald Byrd - overlooked gems that show some great Blue Note growth in the late 60s. Titles include "The Flip", "Feelin' Folksy", and "Snappin' Out".  © Dusty Groove, Inc.

Blue Note, BST 84329, 1970

Recorded 12th July, 1969 at Studio Barclay, Paris, France

Musicians:

Hank Mobley - Tenor Saxophone

Dizzy Reece - Trumpet

Slide Hampton - Trombone

Vince Benedetti - Piano

Alby Cullaz - Bass

Philly Joe Jones - Drums

Tracks:
A1. The Flip (9:02)
A2. Feelin' Folksy (8:29)
B1. Snappin' Out (7:13)
B2. 18th Hole (5:59)
B3. Early Morning Stroll (6:52)

All compositions by Hank Mobley 

Total Time: 37:35 

Credits:
Producer - Francis Wolff
Recording Engineer - Jacques Yves Barral
Rerecording Engineer, Lacquer Cut - Rudy van Gelder
Cover Design - Bob Venosa, Havona
Art Direction - Frank Gauna
Liner Notes - Leonard Feather 

Leonard Feather once hailed Hank Mobley as "the middleweight champion of the tenor saxophone." Mobley was better than that. An exquisite soul messenger, Mobley was criticized for not being as aggressive, voluminous, or trailblazing as his contemporaries. Indeed, he was not. Instead, his music was steeped in care, precision and nuances. In Mobley's hands, such treatment often dazzled, as on this Blue Note LP, The Flip. He's supported by an excellent crew of international musicians, including Dizzy Reece on trumpet, Slide Hampton on trombone, Vince Benedetti on piano, Alby Cullaz on bass and Philly Joe Jones on drums. All the tunes on The Flip were composed by Mobley and are built around his strengths of soul, swing, and subtlety. Listen to the opening statements of the title track, the punch of the horns, the dance of the rhythm section, and the sheer joy of it all. It's a vicious groove by all accounts, as the members revel in this boogaloo scene. The charms do not end with Mobley, either. Hampton's trombone wailings are often clever and valuable throughout the album. Check out Reece's trumpet solos on "Snappin' Out," and "18th Hole." Jones, as always, is beyond compliments. The true surprise on this album is the pianist, Benedetti. His accompaniments are in excellent taste, as are those of Cullaz. True, this album and its composer will never be within the ranks of the most influential, the most revered, or even the most downloaded. Fine. Besides, as a provocateur of beauty, Mobley is in a class all his own. ~ excerpts from Germein Linares, All About Jazz.

LINK

18th Hole

John Coltrane - Giant Steps (1959) [original US mono vinyl pressing to flac 24/96]

 

 Penguin Guide to Jazz (rated with a crown):
Moving from Prestige to Atlantic had the same effect on Coltrane as a more extended association with Blue Note might have done. The first album is the product of time and preparation, and it cements its status as Trane’s first genuinely iconic record, with no fewer than seven original compositions, most of them now squarely established in the repertory. The big stylistic shift is the move away from chordal jazz, and a seemingly obsessive need to cross-hatch every feasible subdivision before moving on to the next in the sequence. In its place, a faster-moving, scalar approach that was to achieve its (in the event) brief apotheosis in the title-track. That this was a technically exacting theme is underlined by the false starts and alternative takes included on The Heavyweight Champion set. The beautiful ballad ‘Naima’ with Wynton Kelly and Jimmy Cobb, remains one of Trane’s best-loved themes, a million miles away from the pitiless drive of many of his solos. Dedicated to the bassist,‘Mr P.C.’ is a delightful original blues which has become part of most contemporary horn-players’ repertoire. ‘Syeeda’s Song Flute’ is a long, spun-out melody for Trane’s daughter. The remaining tracks are ‘Spiral’, ‘Countdown’ and the funky, homely 'Cousin Mary'. Giant Steps was released on the cusp of a new decade, in January 1960. It threw down a quiet, unaggressive challenge.

Review by Jack Cooke, Modern Jazz, The Essential Records:
Giant Steps marked a watershed in Coltrane’s musical explorations. Up to 1957, in his so-called ‘sheets of sound’ period, he struggled hard, not always successfully, to express some complex ideas on the relationships between melody, harmony and rhythm, and to do so within the terms of conventional chord sequences and the methods of the hard bop rhythm section. His solos, their long, involved lines shaped almost at random by furious races through a harmonic context qualified by the rhythm section’s pacing, were often massive yet undifferentiated constructions relating less to a particular theme than to his own private musical situation. After mid-1957, however, a new quality emerged in Coltrane’s playing, a better sense of organisation, of phrasing and composition, so that his ‘sheets of sound’ became more effectively part of a whole. This advance finds it clearest expression in the Giant Steps LP, where solos like those on Cousin Mary and Mr. P.C. show that clarity of expression had been achieved without any loss of force.
All the themes here are Coltrane’s, and by now he was composing a great deal. This signified another change, his attempt to find a secure formal basis for his explorations, and it is noteworthy that already, on Syeeda's song flute and Naima, harmonic movement is reduced to a minimum, the better to examine what remains. Control over style and materials extends to the other musicians, also, for by now Coltrane was more than a nominal leader on his recording dates, and at this point the form and method of his expression reached a kind of perfection, even though its exploratory principles signalled a still further development. The Giant Steps performances were recorded by what essentially was a pick-up group, but all the players had considerable previous experience of Coltrane’s music and they support him extremely well; he was now virtually bound to become a full-time leader.

01 - Giant Steps (**)
02 - Cousin Mary (*)
03 - Countdown (**)
04 - Spiral (*)
05 - Syeeda's Song Flute (**)
06 - Naima (***)
07 - Mr. P.C. (**)

(*)John Coltrane, tenor sax; Tommy Flanagan, piano; Paul Chambers, bass; Art Taylor, drums.
Atlantic Studios, NYC, May 4, 1959
(**)same personnel.
Atlantic Studios, NYC, May 5, 1959
(***)John Coltrane, tenor sax; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums.
Atlantic Studios, NYC, December 2, 1959

Atlantic LP 1311 [1960]

 A couple of thoughts:

1. For some strange reason there seems to be an interest in the mono masters of classic 50s and early 60s albums. As it happens I have a fair number of mono LPs, not bought through choice, it was all that was available at a price I could afford in mid 60s UK!

2. I bought this as new copy, reduced price deletion, over 50 years ago. I probably haven't played it since the 80s. It's easier to listen to CDs and digital downloads. But on playing this I realised I knew it... as one track ended I knew the notes of the next before they played. In the days when I only owned a few hundred LPs I played them frequently, could choose an album to suit a mood. These days I have thousands of albums available to play but I 'know' almost none of them. In some ways less was much more...

An LP always carefully handled, only ever played on decent equipment and properly stored, over 50 years old and near mint condition, ripped to flac at 24/96.

Dave Burrell - La Vie De Bohême (1969) [re-rip]

La Vie de Bohême. Opéra de Giacomo Puccini, arrangements de Dave Burrell

A great free improvisation reinterpretation of Puccini's opera arranged and played by Dave Burrell. This musician played with some of the great artists of the '60s free jazz scene including Pharoah Saunders, Sonny Sharrock and Elvin Jones and the album was released on the legendary French jazz label BYG Records. If you have some interest in Free Jazz, it is worth the trip.

This album is Dave Burrell's free jazz take on Puccini's opera "La Bohème". Regardless of its French title it is not French. However, the LP was recorded in France and half the musicians are indeed French. For this album Burrell plays piano and occasionally harp, Rick Colbeck doubles on trumpet and piano harp, Jackie McLean-alum Grachan Moncur III blows his bittersweet trombone and rattles the chimes, Kenneth Terroade plays tenor sax and flute, Beb Guérin is on bass, Claude Delcloo tears it up on drums, and Burrell's mother Eleanor provides some rather abstract vocals. It's a suite in four acts; the ungainly ensemble takes up the occasional classical theme, enriching it now and then with jazzy themes and then launches into improvisation shifting into other avant-garde styled music with Burrell performing some insane lightning runs up and down the keyboard. The overall affect is quite dramatic, with quirky and melancholic overtones that create an atmosphere full of uplifting joy and harmony. The album maintains a common focus on collective improvisation with some soloing. Overall it is a well constructed and conceived arrangement of enthralling music which can be enjoyed with repetitive appraisals.

BYG/ACTUEL Records, 529.330, 1970

Recorded 21^st December, 1969 at Studio Saravah, Paris

Musicians:

Dave Burrell - Piano, Harp

Kenneth Terroade - Tenor Saxophone, Flute

Grachan Moncur III - Trombone, Chimes

Ric Colbeck - Trumpet, Piano Harp

Beb Guérin - Bass

Claude Delcloo - Drums

Eleanor Burrell - Voice

Tracks:

A1. First Act (20:03)

A2. Second Act [1st Part] (6:16)

B1. Second Act [2nd Part] (10:56)

B2. Third Act (4:51)

B3. Fourth Act (7:16)

Rip Info:

The music was taken from a well-loved old pressing. Some muffled surface noise is still apparent, especially in quieter sections. Tracks A2 and B1 have been carefully joined into Second Act, hence new Tracklist:

1. First Act (20:03)

2. Second Act (16:59)

3. Third Act (4:51)

4. Fourth Act (7:16)

Credits:

Producer - Jean Georgakarakos, Jean-Luc Young

Arranger - Dave Burrell

Liner Notes - Dave Burrell & Jean-Max Michel

Hampton Hawes - For Real! (1958) [vinyl]

 

1 - Hip
2 - Wrap Your Troubles In Dreams
3 - Crazeology (Little Bennie)
4 - Numbers Game
5 - For Real
6 - I Love You

Harold Land, tenor sax; Hampton Hawes, piano; Scott La Faro, bass; Frank Butler, drums.

Contemporary Records, Los Angeles, CA, March 17, 1958

Rip from UK Boplcity LP reissue, licensed from Contemporary.

Donald Byrd - Slow Drag (1967) [vinyl24/96]

 

Slow Drag was one of trumpeter Donald Byrd's final hard bop dates. Teamed with altoist Sonny Red, pianist Cedar Walton, bassist Walter Booker and drummer Billy Higgins (who takes a surprise vocal on the title cut), this quintet outing features originals by Byrd, Walton and Red along with the standards "Secret Love" and "My Ideal." The music in general finds Byrd looking both backwards toward the blues and forwards toward modal music and hints of the avant-garde. A fine effort. 

01 - Slow Drag

02 - Secret Love

03 - Book's Bossa

04 - Jelly Roll

05 - The Loner

06 - My Ideal

Donald Byrd, trumpet

Sonny Red, alto sax

Cedar Walton, piano

Walter Booker, bass

Billy Higgins , drums, vocal

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on May 12, 1967

Blue Note BST-84292 [1968]

Gordon Brisker feat. Tom Harrell - Cornerstone (1983) [vinyl]

 

Review by David Badham, Jazz Journal, February 1985:
I've given the attribution of this issue as it is on the sleeve, but it's really Harrell's record! Noted first on Mulligan's superb Walk On Water LP, his superb tone grabbed me by the ears. I am not going overboard when I say he reminds me of two of my alltime favourite brass players — Bix and Bill Coleman!!! Not by imitation, but for seeming to make the very metal of the instrument ring as Bix did, and by the adventurous exploration of its whole range combined with sheer daring a la Coleman. A quite superb display whether playing fast (Scat) or slow (as on the genuinely haunting Love Song).
Leader Gordon Brisker contributes nice deep virile tenor solos in the West Coast tradition, and combines with great sensitivity in the ensembles. Four of the seven themes are also by him and, with the sole exception of Snake People (which is really only minor TV incidental music), very nice they are too, the best (and the best played) being the title track and For J And T. The synthesiser is so tastefully applied here that it does, in fact, help for once. On Cornerstone it gives substantial body, freeing the horns to decorate, while on Love Song it harmonises with flute and flugelhorn to make this small group sound twice the size. A very nice as well as exciting record without a shriek or sour note anywhere — a thoroughly modern production without the pain of many of its contemporaries!

For J And T; Smoke Gets In Your Eyes; In The Land Of The Snake People (19.45) — Cornerstone; Love Letters; Love Song; Scat (23.10)

Gordon Brisker (ts/fl); Tom Harrell (t/flh); David Loeb (p/rh); John Eldsvoog (syn); Bob Bewman (b); Peter Donald (d).

Hollywood Ca. February 1983.

Sea Breeze SB 2016 [1984]

Coleman Hawkins with Horace Silver - Complete Birdland Broadcasts

"Coleman Hawkins and Horace Silver were only recorded together during the two Birdland broadcasts presented here, which had never previously appeared on CD. As a bonus, we have added Hawkins' complete quartet set at the First Playboy Jazz Festival in 1959 and a seven-minute Hawkins interview, which also appear here for the first time ever on CD."

How great is it that this kind of stuff continues to show up? These are certainly not the greatest recordings ever or anything like that, but given the level of the participants, how can you possibly resist?  These tracks are from the golden age of radio when live dates with the giants of jazz were a regular weekly event. Jump into the 'Wayback Machine' and spend an hour or so transported back to a time when jazz was still popular music in the spotlight.

Hans Ulrik - Day After Day (1992)

Hans Ulrik, born 1965, is one of the most highly esteemed musicians in Denmark. He worked and studied in the U.S.A. from 1984 to 1987, and has since then been based in Copenhagen, His music has a truly Nordic sound. His playing is powerful and the composing is melodic and accessible but never ordinary. Some of the best players in the world are gathered here with Hans Ulrik, and the result cannot be disregarded: Strong and emotional playing - music that makes sense! ~ storyvillerecords. 

Storyville Records, STCD 4189, 1992
Recorded 30th January & 2nd December, 1991 at Sound On Sound Studio, New York City 

Musicians:
Hans Ulrik - Tenor Sax, Soprano Sax
John Abercrombie - Guitars
Niels Lan Doky - Piano
Gary Peacock - Bass
Adam Nussbaum - Drums
Mino Cinelu - Percussion (#2)

Tracks:
1. Day After Day {Hans Ulrik} (5:52)
2. The Kelimbag {Hans Ulrik} (4:40)
3. Slowly {Hans Ulrik} (5:06)
4. Ordinary People (6:27)
5. Innocence {Hans Ulrik} (7:19)
6. Message Returned {Hans Ulrik} (4:45)
7. Domestic Life {Hans Ulrik} (5:22)
8. Mr. Mox {Hans Ulrik} (6:15)
9. Christmas Song #2 {Niels Lan Doky} (3:12) 

Total Time: 49:02 

Credits:
Producer - Niels Lan Doky
Executive Producer - Karl Emil Knudsen
Recording & Mixing Engineer - James Farber
Photography [Front & Back] - Gorm Valentin
Photography [Photos] - Felicia Nestor
Layout - Chris Olesen 

Slowly

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.