Wednesday, September 17, 2064

Tuesday, October 17, 2017

Teddy Charles Nonet & Tentet

Teddy Charles is a true rarity : a jazz musician who largely retired from the business. A skillful if not overly distinctive vibraphonist and (early in his career) quite capable on piano and drums, Charles was as important for his open-minded approach in the 1950s toward more advanced sounds as he was for his playing. He moved to New York to study percussion at Juilliard in 1946, but instead became involved in the jazz world. He had short stints with the big bands of Randy Brooks, Benny Goodman, Artie Shaw, Buddy DeFranco, and Chubby Jackson from 1948-1951 and then played with combos headed by Anita O'Day, Oscar Pettiford, Roy Eldridge, and Slim Gaillard. He also became a member of the Jazz Composers' Workshop (1953-1955) along with Charles Mingus and Teo Macero, opening his style up to the influences of classical music and freer improvising. Charles, who recorded with Mingus, Miles Davis, and Wardell Gray, among many others, began leading his own stimulating record dates in 1951, and by 1953 he was also working as a record producer, a field that took much more of his time from 1956 on. He led his own sessions for Prestige, Atlantic, Savoy, Jubilee, Bethlehem (where he produced around 40 records, mostly for other artists), and Warwick from 1951-1960, but was hardly heard from in the 1960s, other than a 1963 set for United Artists. Charles relocated to the Caribbean, where he opened a sailing business. After participating in a 1980 jam session, he eventually moved back to New York, making a "comeback" record for Soul Note in 1988, but still remaining semi-retired from music.
Scott Yanow

Source : http://www.allmusic.com/artist/teddy-charles-p6266/biography

The
Teddy Charles
Nonet & Tentet
[Complete Recordings]

Tracks

1 Vibrations (Waldron)  6:18
2 The Quiet Time (Giuffre)  5:55
3 The Emperor (Charles)  8:10
4 Nature Boy (Ahbez)  6:26
5 Green Blues (Charles)  4:11
6 You Go To My Head (Coots, Gillespie)  4:30
7 Lydian M-1 (Russell)  4:29
8 Word From Bird (Charles)  10:09
9 Show Time (Brookmeyer)  6:06
10 Sheherazade Blue (Rimsky-Korsakov)  3:48
11 Love For Three Oranges March (Prokofiev)  2:20
12 Borodin Bossa Nova (Borodin)  3:38
13 Dance Arabe (Tchaikovsky)  2:48
14 Lullaby Russe (Khachaturian)  4:25
15 Etude (Prokofiev)  3:13


*

Personnel [# 2, 4 & 6]
Teddy Charles - vb
Art Farmer - tp
Gigi Gryce - as
J. R. Monterose - ts
George Barrow - bs
Don Butterfield - tub
Mal Waldron - p
Jimmy Raney - g
Teddy Kotick - b
Joe Harris - dr
Recorded 1956
[# 1, 3 & 7]
Same as above except Sol Schlinger - bs replaces Barrow Recorded January 17, 1956
[# 8-9]
Teddy Charles - vb
Art Farmer - tp
Eddie Bert - tb [# 8 only]
Jimmy Buffington - frhrn
[# 8 only]
Don Butterfield - tub
Hal Stein - as
Robert Newman - ts
George Barrow - bs
Hall Overton - p
Jimmy Raney - g
Addison Farmer - b
Ed Shaughnessy - dr
Recorded New York ; October 23, 1956
[# 10-12]
Teddy Charles - vb
Jerome Richardson - fl & ts
Zoot Sims - ts
Eric Dolphy - b cl
Pepper Adams - bs
Hall Overton - p
Jimmy Raney - g
Teddy Kotick - b
Osie Johnson - dr
Recorded New York ; April 23 or 26, 1963
[# 13-15]
Teddy Charles - vb
Jerome Richardson - fl & ts
Jimmy Giuffre - cl & ts
Tommy Newsom - b cl
Pepper Adams - bs
Hank Jones - p
Jim Hall - g
Teddy Kotick - b
Osie Johnson - dr
Recorded New York ; May 6, 1963

Monday, October 16, 2017

Ruby Braff & George Barnes - To Fred Astaire with Love

For their last album together, To Fred Astaire with Love (which opens our CD), the bassist present was Michael Moore. He had recorded on most at their works as a quartet. This last album consisted of a homage to Fred Astaire, compiling songs the octor-singer-dancer had made famous in his movies. Mast ol the program (six out of the ten songs) features tunes by Irving Berlin, while the rest include two by the Gershwin brothers, one by Jerome Kern & Johnny Mercer, and a Dietz-Schwartz item. The original liner notes quoted the book American Popular Song by Alec Wilder, stating that : "Every song written for Fred Astaire seems to bear his mark. Every writer, in my opinion, was vitalized by Fred Astaire and wrote in a manner they had never quite written in before : he brought out in them something a little better than their best — a little more subtlety, flair, sophistication, wit and style, qualities he himself possesses in generous measure..“.
The Ruby Braff-George Barnes Quartet does justice to these outstanding compositions, in a way that will leave the listener happy and with no need for a singer. Even such battered tunes like 'Cheek to Cheek" seem fresh here in the hands at the two masters. While Braff would live many years aiter the recording at these albums, Barnes (who was the first jazz musician ever to record with an electric guitar, on March 1, 1938), would die soon after on September 5, 1977, at the age of 56.
Michael Sheldon (2009), from the booklet

Ruby Braff
George Barnes
To Fred Astaire with Love

Tracks

1 Cheek to Cheek (Berlin)  2:19
2 They Can't Take That Away from Me (Gershwin, Gershwin)  3:41
3 Easter Parade (Berlin)  2:13
4 A Shine On Your Shoes (Dietz, Schwartz)  2:01
5 I'm Putting All My Eggs in One Basket (Berlin)  2:22
6 They All Laughed (Gershwin, Gershwin)  2:22
7 Be Careful, It's My Heart (Berlin)  2:22
8 I'm Old Fashioned (Mercer, Kern)  2:18
9 Isn't It a Lovely Day to Be Caught in the Rain (Berlin)  2:34
10 Top Hat, White Tie and Tails (Berlin)  2:09
11 Oh, That Kiss (Waren, Dixo, Young)  4:01
12 With Time to Love (Braff, Wilson)  3:22
13 Looking At You (Porter)  4:31
14 Old Folks (Robison)  2:54
15 Liza (Gershwin, Gershwin)  4:59
16 Here, There and Everywhere (Lnnon, McCartney)  2:06
17 Our Love Is Here to Stay (Gershwin, Gershwin)  2:36
18 Nobody Else But You (Redman)  5:00
19 It's Like the Fourth of July (Barnes)  3:21
20 Everything's George (Braff)  4:41


*

Personnel
[# 1-10] The Ruby Braff-George Barnes Quartet - To Fred Astaire with Love (RCA ‎– APL1-1008)
Ruby Braff - crn
George Barnes - g
Wayne Wright - rht. g
Michael Moore - b
Recorded in New York ; February 3/5, 1975
[# 11-20]  The Ruby Braff-George Barnes Quartet (Chiaroscuro Records CR 121)
Same as above, except
John Giuffrida - b, replaces Moore
Recorded in New York ; July 1973

Stan Getz Plays

It's said the gifts Stan Getz had included perfect pitch and perfect rhythm — blessings to any jazz improvisationlist and certainly insight to his creative genius. "Stan Getz Plays" is young Getz at his best and, in my opinion, one of his best albums ever. Another talent of his noted by other jazz giants was an uncanny ability to decide what order the musical selections ought to be in — perfect programming. This collection demonstrates his splendid feel for ballads, hard bop and easy going, straight ahead blowing. Like jazz itself, this album never gets old. By the way, the kid in the cover picture is Stan's son.
Anthony P. Mario

Source : https://www.amazon.com/Stan-Getz-Plays-STAN-GETZ/product-reviews/B000004763/ref=cm_cr_dp_d_show_all_btm?ie=UTF8&reviewerType=all_reviews

Stan Getz
Plays
(UCCU-5030)

Tracks

1 Stella by Starlight (Washington, Young)  2:41
2 Time on My Hands (Adamson, Gordon, Youmans)  2:56
3 'Tis Autumn (Nemo)  3:12
4 The Way You Look Tonight (Fields, Kern)  3:02
5 Lover, Come Back to Me (Hammerstein, Romberg)  2:55
6 Body and Soul (Eyton, Green, Heyman, Sour)  3:14
7 Stars Fell on Alabama (Parish, Perkins)  3:21
8 You Turned the Tables on Me (Alter, Mitchell)  2:56
9 Thanks for the Memory (Rainger, Robin)  3:17
10 Hymn of the Orient (Gryce)  2:53
11 These Foolish Things (Link, Marvell, Strachey)  3:20
12 How Deep is the Ocean ? (Berlin)  2:49

*

Personnel
Stan Getz - ts
Jimmy Raney - g
Duke Jordan - p
Bill Crow - b
Frank Isola - dr

Recorded New York City ; December 12 & 29, 1952

Sunday, October 15, 2017

Barney Kessel - Red, Hot & Blues

One of guitarist Barney Kessel's final recordings before a stroke put him out of action, this is an excellent quintet session with vibraphonist Bobby Hutcherson, pianist Kenny Barron, bassist Rufus Reid and drummer Ben Riley. Three of Kessel's originals (a pair of blues and a bossa nova) alternate with four standards and Laurindo Almeida's dedication to the guitarist ("Barniana") on this well-paced and consistently swinging set; the uptempo version of "By Myself" is a highpoint.
Scott Yanow


Source : Source : http://www.allmusic.com/album/red-hot-and-blues-r162658

Barney Kessel
Red Hot and Blues

Tracks

1 It's You or No One (Cahn, Styne)  5:59
2 Barniana (Almeida, Kessel)  4:49
3 You've Changed (Carey, Fischer)  6:27
4 Blues for Bird (Kessel)  6:45
5 Rio (Kessel)  5:59
6 Messin' With the Blues (Kessel)  8:05
7 I'm Glad There Is You (Dorsey, Mertz)  5:36
8 By Myself (Dietz, Schwartz)  6:58
9 Blues Echoes (Kessel)  10:45

*

Personnel
Barney Kessel - g
Bobby Hutcherson - vb
Kenny Barron - p
Rufus Reid - b
Ben Riley - dr

Recorded at Fantasy Studios ; March 15-17, 1988

Wilhelm Kempff - The Complete Wartime 78-rpm Piano Sonata Recordings

As one the foremost pianists of the twentieth century,  it is surprising that Kempff's recordings from the 78 era are so little known today. In part this may be because Kempff went on to record into the age of the LP resulting in the neglect of his earlier output, and indeed he set down two complete cycles of the Beethoven sonatas — the first, in mono, in the early 1950s, and the second stereo set in the 1960s. Nevertheless, given the exposure that other Beethovenians of the shellac age such as Schnabel, Backhaus, Fisher, Gieseking, Solomon, and even Lamond from an earlier generation, have had, it is astonishing that few of even the  most knowledgeable aficionados know the full extent of Kempff’s output and how badly it has been served by the historic reissue labels. This seems to be a good opportunity to set the record straight.
Kempff made his first recording in Berlin around 1920 for Grammophon (Polydor in export markets), the label that had originally been the German branch of the British Gramophone Company, but which became an independent entity during the First World War. He was to record for them prolifically, and exclusively, up until 1943. He then made no further recordings until 1949 when he worked briefly with Decca before returning to his original label, now known as Deutsche Grammophon, where he remained until the end of his career.
While the early recordings feature a twentieth century, it is surprising that variety composers central to Kempff’s repertoire, most notably Bach, Brahms, Schubert and Schumann, the vast majority, probably, 80% were of Beethoven. These Beethoven recordings included four of the five Beethoven concertos (available on APR6019), the Op. 69 cello sonata and the Op. 47 ‘Kreutzer’ sonata for violin. Several minor piano works were also recorded, but it was the piano sonatas that took up most of Kempff’s studio time. What has not been clear before is that the most popular sonatas were recorded multiple times. It was common in the days of 78s that artists would re-record repertoire they had made under the ‘acoustic’ process (up until 1925) when the new improved ‘electric’ process came along, but Kempff and his label seem to have taken this to extreme. It turns out there are no fewer than five different versions of the ‘Pathétique’ sonata, for example. It appears that Kempff started out by recording the most popular sonatas, not surprising when major works on disc were still a novelty, but by the 1930s he began to cover more ground. It was during this period that most of the late Beethoven sonatas were done (available on APR6018) and this may well have been Grammophon’s answer to HMV in London, who had started to record their complete Beethoven sonata edition with Schnabel...
Michael Spring (booklet)

Wilhelm Kempff
Plays
Beethoven
(The Complete Wartime 78-rpm Piano Sonata Recordings)

Tracks

Cd. 1

Ludwig van Beethoven
(1770-1827)

Piano Sonata in A Major, Op. 2, n° 2
1 I. Allegro vivace  5:18
2 II. Largo appassionato  7:04
3 III. Scherzo. Allegretto  2:38
4 IV. Rondo. Grazioso  5:59

Piano Sonata in E Major, Op. 14, n° 1
5 I. Allegro  4:41
6 II. Allegretto  4:01
7 IV. Rondo. Allegro comodo  3:43

Piano Sonata on G Major, Op. 14, n° 2
8 I. Allegro  7:28
9 II. Andante  4:16
10 III. Scherzo. Allegro assai  3:28

Piano Sonata in B-Flat Major, Op. 22
11 I. Allegro con brio  5:27
12 II. Adagio con molta espressione  7:50
13 III. Menuetto  2:26
14 IV. Rondo. Allegretto  6:26

*

Cd. 2

Piano Sonata in E-Flat Major, Op. 7
1 I. Allegro molto e con brio  6:13
2 II. Largo, con gran espressione  8:23
3 III. Allegro  4:03
4 IV. Rondo. Poco allegretto e grazioso  6:45

Piano Sonata in C Minor, Op. 10, n° 1
5 Allegro molto e con brio  4:36
6 II. Adagio molto  8:03
7 III. Finale. Prestissimo  4:11

Piano Sonata in F Major, Op. 10, n° 3
8 I. Allegro  4:22
9 II. Allegretto  3:45
10 III. Presto  2:18

Piano Sonata in D Major, Op. 10, n° 3
11 I. Presto  6:43
12 II. Largo e mesto  8:56
13 III. Menuetto. Allegro  2:49
14 IV. Rondo. Allegro  4:05

*

Cd. 3

Piano Sonata in C Minor "Pathétique", Op. 13
1 I. Grave - Allegro di molto e con brio  7:53
2 II. Adagio cantabile  4:30
3 III. Rondo. Allegro  4:32

Piano Sonata in A-Flat Major 'Funeral March', Op. 26
4 I. Andante con variazioni  8:29
5 II. Scherzo. Allegro molto  2:55
6 III. Marcia funebre sulla morte d'un Eroe  6:13
7 IV. Allegro  3:13

Piano Sonata in C-Sharp Minor 'Moonlight', Op. 27, n° 2
8 I. Adagio sostenuto  6:10
9 II. Allegretto  2:31
10 III. Presto agitato  5:34

Piano Sonata in C Major 'Waldstein', Op. 53
11 I. Allegro con brio  8:33
12 II. Introduzione. Adagio molto  3:55
13 III. Rondo. Allegretto moderato  9:58

*

Cd. 4

Piano Sonata in E-Flat Major, Op. 27, n° 1
1 I. Andante - Allegro  4:32
2 II. Allegro molto e vivace  2:01
3 III. Adagio con espressione  3:18
4 IV. Allegro vivace  5:52

Piano Sonata in D Major 'Pastoral', Op. 28
5 I. Allegro  7:29
6 II. Andante  6:53
7 III. Scherzo. Allegro vivace  2:23
8 IV. Rondo. Allegro ma non troppo  5:01

Piano Sonata in E-Flat Major, Op. 31, n° 3
9 I. Allegro  6:05
10 II. Scherzo. Allegretto vivace  3:37
11 III. Menuetto. Moderato e grazioso  4:5
12 IV. Presto con fuoco  4:33

Piano Sonata in F Minor 'Appassionata', Op. 57
13 I. Allegro assai  10:07
14 II. Andante con moto  6:28
15 III. Allegro ma non troppo  5:41

*

Wilhelm Kempff - p

Recorded between February 20, 1940 & June 21, 1943

See the complete artwork

Friday, October 13, 2017

Stan Getz - Complete Roost Recordings, vol. 2

The appeal of the Roost sessions stems from Getz's gifts as a sensitive swinger and balladeer. Like Lester Young, Getz played his tenor sax high on up on the instrument's register, which enchants the ear. Getz's tone was dry and bright, and he routinely left strategic gaps of space, allowing the ear to catch up before giving his horn the gas to race ahead of the heart. As for phrasing, Getz emulated the singing sound of many female pop vocalists in the late 1940s like Margaret Whiting, Peggy Lee and June Christy.
Getz's melodic modernism is unrivaled at this point. Solos on songs like "Potter's Luck", "Split Kick", "Parker 51", "Hershey Bar" and "Tootsie Roll" illustrate his drive and daredevil approach to improvisation. He had a delicate, commanding touch and a lyrical sensibility on the Roost material that has all the charm of a salesman selling you something you thought you didn't need. He's insistent but never pushy...
Marc Myers

Source : https://news.allaboutjazz.com/stan-getz-on-roost-1950-52.php

Stan Getz
The Complete Roost
Recordings, vol. 2
(TOCJ-5383)

Tracks

1 Penny (Silver)  2:50
2 Split Kick (Silver)  3:08
3 Split Kick [alt. take] (Silver)  2:53
4 It Might as Well be Spring (Rodgers, Hammerstein II)  2:46
5 It Might as Well be Spring [alt. take] (Rodgers, Hammerstein II)  2:53
6 The Best Thing for You (Berlin)  2:42
7 Melody Express (Gryce)  2:46
8 Yvette (Gryce)  2:57
9 Potter's Luck (Silver)  2:40
10 The Song is You (Kern)  2:47
11 Wildwood (Gryce)  3:05
12 Lullaby of Birdland (Shearing, Foster)  2:24
13 Autumn Leaves (Mercer, Cosma)  3:00
14 Autumn Leaves [alt. take] (Mercer, Cosma)  3:06
15 Fool Rush In (Mercer, Bloom)  2:26
16 Fool Rush In [alt. take] (Mercer, Bloom)  2:31
17 These Foolish Things (Link, Strachey, Marvell)  3:00

*

Personnel
[# 1-6]
Stan Getz - ts
Horace Silver - p
Joe Calloway - b
Walter Bolden - dr
Recorded in New York City ; March 1, 1951
[# 7-11]
Stan Getz - ts
Jimmy Raney - g
Horace Silver - p
Leonard Gaskin - b
Roy Haynes - dr
Recorded in New York City ; August 15, 1951
[# 12-17]
Stan Getz - ts
Jimmy Raney - g
Duke Jordan - p
Bill Crow - b
Frank Isola - dr
Recorded in New York City ; December 19, 1952

Hank Jones - Complete Original Trio Recordings

One of the most prolific pianists in jazz history, the current CD focuses on Hank Jones' earliest excursions into the trio format. Despite his ubiquitous presence in jazz dating back to the mid-40s, Jones' trio recordings as a leader were quite sparse. In fact, only four of his 1950s sessions featured recordings in a trio setting (two of which utilized larger formats on the majority of the dates' tracks). All four of these sessions would be recorded between 1953 and 1955. Jones' subsequent trio date as a leader consisted of a rare 1964 album dedicated to ragtime music, half of which featured him performing on tack piano. (The album This ls Ragtime Now ! was recorded in New York on April 13-14, 1964, with Milt Hinton on bass and Osie Johnson on drums.) After this, Jones' wouldn’t lead another trio session until his July 14-15, 1975 dates that would be issued on the album Hanky Panky (featuring Ron Carter on bass and Grady Tate on drums).
This release compiles all of Hank Jones' 1950s master takes in a trio setting issued under his own name. The pianist's first trio recording of the decade consisted of a single medley, which included J. Fred Coots & Haven Gillespie's tune "You Go to My Head". It was recorded in New York on April 29, 1953, with a trio featuring bassist Charles Mingus and drummer Max Roach, and issued on an anthology album featuring various artists titled Autobiography in Jazz. The same trio would record five more tracks during that session as accompanists to vocalists Honi Gordon, George Gordon, Jr., and Richard Gordon, including readings of the tunes "Can You Blame Me", "’Cause l Fell in Love with You", "You and Me", "Bebopper" and "Cupid"...
Ozzie Cadena, booklet

Hank Jones
Complete Original Trio
Recordings

Tracks

1 Medley (You Go to My Head) (Coots, Gillespie)  2:49
2 Thad's Pad (Jones)  2:59
3 Things Are So Pretty in the Spring (Jones, Jones, Harris)  3:40
4 Little Girl Blue (Rodgers, Hart)  2:48
5 Odd Number (Jones)  3:33
6 We're All Together (Jones)  4:10
7 Odd Number (Jones)  4:3
8 We Could Make Such Beautiful Music Together (Manners, Sour)  4:52
9 Now's the Time (Parker)  3:32
10 Cyrano (Cadena)  5:19
11 There's a Small Hotel (Rodgers, Hart)  8:15
12 My Funny Valentine (Rodgers, Hart)  5:54
13 When the Hearts Are Young (Goodman, Romberg)  4:17
14 Little Girl Blue (Roders, Hart)  5:37
15 Pretty Brown (Wilkins)  3:33
16 Four And Six (Nelson)  5:00
17 The Party's Over (Comden, Freen, Styne)  4:24
18 Have You Met Miss Jones ? (Rodgers, Hart)  3:21

*

Personnel
[# 1]
Hank Jones - p
Charlie Mingus - b
Max Roach - dr
Recorded in New York City ; April 29, 1953
[# 2-5]
Hank Jones - p
Johnny Smith - g
Ray Brown - b
Recorded in New York City ; September 4, 1953
[# 6-14]
Hank Jones - p
Wendell Marshall - b
Kenny Clarke - dr
Recorded in New York City ; August 4, 1955 & November 3, 1955 [# 14]
[# 15-16]
Hank Jones - p
Art Davis - b
Elvin Jones - dr
Recorded in New York City ; July 11, 1961
[# 17]
Hank Jones - p
Aaron Bell - b
Ed Thigpen - dr
Recorded in New York City ; June 20, 1958
[# 18]
Hank Jones - p
Oscar Pettiford - b
Charlie Smith - dr
Recorded in New York City ; August 22, 1956

Thursday, October 12, 2017

Chet Baker Sextet

Chet Baker Sextet features tracks recorded by trumpeter Chet Baker in 1954 and 1957 for the Pacific Jazz label and released over the years on various albums, including the original Playboys date. These are stellar "West Coast"-style tracks reminiscent of the small group work Baker did with saxophonist Jerry Mulligan and featuring first class arrangements by Jack Montrose and Bob Zieff. However, the Zieff cuts feature an unusual for the period chamber-style group with French horn, bassoon, cello, bass clarinet, and bass. The result was softly angular and very modern for the time. Interestingly most of the tracks have remained largely unavailable until this collection. While there are far more influential Baker albums from the '50s, Sextet is a beautiful album and a must-hear for Baker aficionados.
Matt Collar

Source : http://www.allmusic.com/album/the-chet-baker-sextet-r153054

Chet Baker
The Chet Baker Sextet

Tracks

1 Little Man, You've Had a Busy Day (Hoffman, Sigler, Wayne)  4:45
2 Dot's Groovy (Montrose)  4:34
3 Stella by Starlight (Washington, Young)  3:55
4 Tommyhawk (Mandel)  3:43
5 I'm Glad There is You (Dorsey, Madeira)  3:14
6 The Half Dozens (Holman)  2:23
7 Dot's Groovy [EP Take] (Montrose)  3:09
8 Stella by Starlight [EP Take] (Washington, Young)  3:09
9 A Minor Benign (Zieff)  4:20
10 Ponder (Zieff)  4:27
11 Twenties Late (Zieff)  5:41
12 X (Zieff)  4:33

Arranged By Bill Holman [# 5, 6] ; Bob Zieff [# 9-12] ; Jack Montrose [# 1, 2, 7]
Johnny Mandel [# 3, 4, 8]

*

Personnel
[# 1-8]
Chet Baker - tp
Bud Shank - bs
Bob Brookmeyer - tb
Russ Freeman - p
Carson Smith - b
Shelly Manne - dr
[# 9-12]
Chet Baker - tp
Seymour Barab - cel
Gene Allen - b. cl
Jimmy Buffington - frch hrn
Bob Tricarico - bss
Russ Savakus - b

Recorded [# 2, 4, 6, 7] September 9, 1954 ; [# 3, 4, 8] Radio Annex, Los Angeles ; September 15, 1954 ; & Coastal Studios, New York ; [# 9-12] December 9, 1957 

*

[# 1-6] originally issued on Pacific Jazz (10") LP-15 in 1955 ; [# 7, 8] originally issued on Pacific Jazz ER 4-24 in 1955 ; [# 11] originally issued on Playboy BR 1959 in 1959 ; [# 9, 10, 12] originally issued on Chet Baker - The Pacific Jazz Years (CD 89292) in 1994

Sviatoslav Richter - The Eurodisc Recordings (Part. 2)

ln the course of his career, Richter played more than nine hurdred different works, and yet his repertory contains some startling gaps. He was far from having all of Beethoven’s concertos and sonatas under his belt, and instead of mastering Chopin’s studies and Brahms’s First Piano Concerto, he preferred the concertos of Glazunov and Rimsky-Korsakoy. Only in the case of the contemporary avant-garde did he keep his distance : "I don’t like it when music becomes a science and art becomes a science. I want music to give me pleasure." ln spite of this, Richter always spoke admiringly of the music of Pierre Boulez.
Not until the end of 1971 did Richter give his first concerts in what was then the Federal Republic of Germany : Bonn, Hanover and Berlin were the first German cities to hear a pianist who was already fifty-six. The previous September hehad completed a three-week marathon recording session at Schloss Klessheim just outside Salzburg. On the programme were Schumann's Bunte Blätter and Symphonic Studies, Beethoven's Piano Sonata in E Minor, Op. 90, a handful of pieces by Brahms and thirteen of Rachmaninoff's Preludes. "It was a lot of work," Richter reported in his diary, "but the result is three new records [...] In spite of the fact that they are studio recordings, there’s a real atmosphere and a genuine sense of life to them. Let's say they are a success." Richter went on to thank the entire recording team, "especially the elderly and sympathetic Herr Ganss". By this date in his career, Fritz Ganss was one of the most respected producers in the classical music business, revered almost as a cult figure. And with Eurodisc, which had been founded in 1962, he had built up a catalogue featuring star singers that represents an important chapter in the history of German-language opera and operetta recordings.
Richter worked closely with Ganss and his successor, Oskar Waldeck, during his Eurodisc years from 1970 to 1983. And with their very first joint project he passed a milestone in his career with his recording of Book One of The Well-Tempered Clavier that above and beyond its analytical transparency creates a wonderfully fluent and at the same time gloriously calm tonal picture that almost suggests the world of sacred music. Reviewing the set in The Times on 1 September 1973, Stanley Sadie hailed Richter as "a fine Bach player". The whole of Book Two followed in an equally pioneering recording in 1972-73...
Guido Fischer, Translation texthouse (booklet)

Sviatoslav Richter
The Eurodisc Recordings
(Part. 2)

Tracks

Cd. 8

Sergei Rachmaninov
(1873-1943)

Six Preludes, from Op. 23
1 N° 1 in F-Sharp minor (Largo)  3:56
2 N° 2 in B-Flat major (Maestoso)  3:27
3 N° 4 in D major (Andante cantabile)  4:15
4 N° 5 in G minor (Alla marcia)  3:47
5 N° 7 in C minor (Allegro)  2:27
6 N° 8 in A-Flat major (Allegro vivace)  3:15

Seven Preludes, from Op. 32
7 N° 1 in C major (Allegro vivace)  1:16
8 N° 2 in B-Flat minor (Allegretto)  3:06
9 N° 6 in F minor (Allegro appassionato)  1:22
10 N° 7 in F major (Moderato)  2:13
11 N° 9 in A major (Allegro moderato)  2:37
12 N° 10 in B minor (Lento)  5:24
13 N° 12 in G-Sharp minor (Allegro)  2:27

*


Cd. 9

Franz Schubert
(1797-1828)

Piano Sonata n° 19 in C minor, Op. posth. (D. 958)
1 I. Allegro  11:29
2 II. Adagio  8:17
3 III. Menuetto. Allegro  3:31
4 IV. Allegro  8:36

5 Impromptu n° 2 in A-Flat Major, D. 935 n° 2  8:11
(Allegretto)

*

Cd. 10

Franz Schubert
(1797-1828)

Piano Sonata n° 21 in B-Flat major, Op. posth. (D. 960)
1 I. Molto moderato  24:28
2 II. Andante sostenuto  10:01
3 III. Scherzo. Alegro vivace con delicatezza  3:51
4 IV. Allegro ma non troppo  7:50

*


Cd. 11

Ludwig van Beethoven
(1770-1827)

Piano Sonata n° 3 in C Major, Op. 2, n° 3
1 I. Allegro con brio  10:26
2 II. Adagio  7:37
3 III. Scherzo - Allegro/IV. Allego assai  8:30

Piano Sonata n° 4 in E-Flat Major, Op. 7
4 I. Allegro molto con brio  8:24
5 II. Largo con gran espressione  7:52
6 III. Allegro/IV. Rondo  11:29

*


Cd. 12

Frédéric Chopin
(1810-1849)

4 Scherzi
1 N° 1 in B minor, Op. 20  10:25
Presto con fuoco - Agitato - Molto più lento
Tempo I
2 N° 2 in B-Flat minor, Op. 31  9:42
Presto
3 N° 3 in C-Sharp minor, Op. 39  7:26
Presto con fuoco - Meno mosso - Tempo I
Più lento - Tempo I
4 N° 4 in E major, Op. 54   11:32
Presto - Più lento
Tempo I

*


Cd. 13

Piotr Ilyitch Tchaïkovsky
(1840-1893)

From "The Seasons", Op. 37 bis
1 N° 5 May. White Nights (Andantino - Allegro giocoso)  4:38
2 N° 6 June. Barcarole (Andante cantabile)  5:44
3 N° 11 November. Troika (Allegro moderato)  2:54
4 N° 1 January. By the Fireplace (Moderato semplice ma esspressivo)  5:13

Serge Rachmaninov
(1873-1943)

Etudes-Tableaux, from Op. 33
5 N° 9 in C-Sharp minor (Grave)  2:37
6 N° 5 in D minor (Moderato)  2:54
7 N° 6 in E-Flat minor (Non allegro)  1:40

Etudes-Tableaux, from Op. 39
8 N° 1 in C minor (Allegro agitato)  2:54
9 N° 2 in A minor (Lento assai)  6:54
10 N° 3 in F-Sharp minor (Allegro molto)  2:46
11 N° 4 in B minor (Allegro assai)  3:34
12 N° 9 in D major. Allegro moderato (Tempo di marcia)  3:39
13 N° 7 in C minor (Lento)  6:58

*


Cd. 14

Piotr Ilyitch Tchaïkovsky
(1840-1893)

1 Nocturne in F major, Op. 10, n° 1 (Andante cantabile)  4:29
2 Waltz-Scherzo in A minor, Op. 7  4:14
3 Humoresque in G major, Op. 10, n° 2  2:39
4 Capriccioso in B flat major, Op. 19, n° 5  3:52
5 Chanson triste, Op. 42, n° 2  2:57
6 Waltz in A flat major, Op. 40, n° 8  3:20
7 Romance in F minor, Op. 5  6:34
8 Romance in F major, Op. 51, n° 5  8:39
9 Un poco di Chopin, Op. 72, n° 15  3:25
10 L'Espiègle, Op. 72 n° 12  2:07
11 Rêverie du soir, Op. 19, n° 1  4:20
12 Menuetto-Scherzoso, Op. 51, n° 3  4:07
13 Valse de salon, Op. 51, n° 1  5:04
14 Méditation, Op. 72, n° 5  5:19

*

Sviatoslav Richter - p

Recorded at Schloss Klessheim, Salzburg, Austria ; September 1971 [Cd. 8] ; & August 12/13, 1972 [Cd. 9] ; at Schloss Anif, Salzburg, Austria ; November 6, 8/9, 1972 [Cd. 10] ; at Polyhymnia Wien, Austria ; April 3/14, 1975 [Cd. 11] ; in Munich, Germany ; July 25 & 30, 1977 [Cd. 12] ; at Studio 3 of the Bavarian Radio, München, Germany ; April 1983 [Cd. 13 & 14]

Wednesday, October 11, 2017

Sonny Stitt Plays - Roost

One of Sonny Stitt's amazing albums for Roost — a record with a beautifully mature conception of bop soloing, and a totally confident tone throughout ! There's an understated brilliance here that's nearly impossible to describe in words — a sense of placement, timing, and phrasing that's really impeccable — and handled with Stitt at a level that shows tremendous growth from his early years on Prestige ! The group's a quintet, with Freddie Green on guitar and Hank Jones on piano — and titles include "Afterwards", "Biscuit Mix", "Blues For Bobby", and "The Nearness Of You". Great cover, too – with Stitt backlit against a smokey backdrop, blowing away easily.
© 1996-2011, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=5xbgpwx8kn

Sonny Stitt
Plays
Roost LP 2208

Tracks

1 There Will Never Be Another You (Warren, Gordon)  4:33
2 Yesterdays (Kern, Harbach)  4:56
3 The Nearness Of You (Carmichael, Washington)  5:08
4 Biscuit Mix (Stitt)  3:14
5 Afterwards (Stitt)  3:14
6 If I Should Lose You (Rainger, Robin)  4:15
7 Blues For Bobby (Stitt)  4:48
8 My Melancholy Baby (Burnett, Norton)  5:36
9 The Nearness Of You [alt. tk] (Carmichael, Washington)  5:22
10 If I Should Lose You [alt. tk] (Rainger, Robin)  4:29

*

Personnel
[# 1-4 & 9]
Sonny Stitt - as
Hank Jones - p
Freddie Green - g
Wendell Marshall - b
Shadow Wilson - dr
Recorded at Capitol Studios, New York City ; December 15, 1955
[# 5-8 & 10]
Same as above except omit Green
Recorded at Capitol Studios, New York City ; probably December 16, 1955