Wednesday, September 17, 2064

Thursday, December 14, 2017

Zoot Sims - The Art of Jazz

These early 1956 sessions feature Zoot Sims in top form playing a pair of standards and originals by members of the quintet. Bob Brookmeyer is the perfect foil for the tenor saxophonist, as they seamless interweave intricate lines throughout the record, especially in an upbeat take of "September in the Rain." Pianist John Williams contributed the cool "Down at the Loft" and solos brilliantly on every track. Brookmeyer penned the slinky "Our Pad" with drummer Gus Johnson, a track that would have fit a typical Gerry Mulligan date (with whom both Sims and Brookmeyer worked from time to time). Sims contributed three originals, but the hottest solos come in the closer, appropriately titled "One to Blow On." Anchoring the rhythm section is the great bassist Milt Hinton, who is easily identifiable after just a few notes during his solos. Though most of this music was reissued on the Biograph CD The Rare Dawn Sessions, "September in the Rain" was unjustly omitted, so serious fans of Zoot Sims will want to look for this rare LP as well.
Ken Dryden

Source :

Zoot Sims
The Art of Jazz


1 September in the Rain (Dubin, Warren)  5:08
2 Down at the Loft (Williams)  4:29
3 Ghost of a Chance (Crosby, Washington, Young)  6:39
4 No So Deep (Sims)  7:04
5 Them There Eyes (Pinkard, Tracey)  6:01
6 Our Pad (Johnson, Brookmeyer)  4:44
7 Dark Clouds (Sims)  4:33
8 One to Blow On (Sims)  5:31


Zoot Sims - ts
Bob Brookmeyer - tb
John Williams - p
Milt Hinton - b
Gus Johnson - dr

Recorded in New York City ; January 11 & 18, 1956

Pat Metheny - Trio 99→00

Mixing up his pitches just to keep his fans off balance as always, Metheny returns to the strict jazz-guitar trio format for the first time in a decade, in league with a couple of combative, unintimidated partners. At the age of 45, Metheny leaves no doubt that he has become a masterful jazz player, thoroughly at home with even the most convoluted bebop licks ("What Do You Want ?") yet still as open as ever to ideas outside the narrow mainstream, as illustrated in the country-western-tinged phrasing on "The Sun in Montreal." Bassist Larry Grenadier propels his own voice prominently into the texture, even when walking the fours, and drummer Bill Stewart does not hesitate to go against the grain of Metheny's ideas. There is a slow, almost bossa nova-like take on "Giant Steps" that works unexpectedly well; it actually becomes a lyrical, gliding thing. Bye Bye Birdie's "Got a Lot of Livin' to Do" gets a rare contemporary cover, and why not? it's a good tune that holds up, even when fractured as creatively as it is here. There are also a few songs on acoustic guitar that sound like embryonic soundtrack material : "Just Like the Day," "We Had a Sister," and "Travels," the latter being Metheny's first studio recording of a tune that was recorded live 17 years before. Metheny's brigade of jazz buffs will savor this.
Richard S. Ginell

Source :

Pat Metheny
Trio 99→00


1 (Go) Get It (Metheny)  5:37
2 Giant Steps (Coltrane)  7:54
3 Just Like the Day (Metheny)  4:43
4 Soul Cowboy (Metheny)  8:29
5 The Sun in Montreal (Metheny)  4:36
6 Capricorn (Shorter)  6:19
7 We Had a Sister (Metheny)  5:30
8 What Do You Want ? (Metheny)  5:24
9 A Lot of Livin' to Do (Adams, Strouse)  5:28
10 Lone Jack (Mays, Metheny)  5:31
11 Travels (Mays, Metheny)  5:48


Pat Metheny - g
Larry Grenadier - b
Bill Stewart - dr

Recorded at Right Track Recording, New York City ; August 1999

Monday, December 11, 2017

Lennie Tristano - Live in Toronto 1952

By 1952, pianist Lennie Tristano was starting to withdraw from public performances, spending most of his time teaching. This formerly unknown recording matches him with four of his best students : altoist Lee Konitz, tenor-saxophonist Warne Marsh, bassist Peter Ind and drummer Al Levitt. Together they explore six common chord changes, five of them given new titles. Although not essential, this music is quite enjoyable and a good example of Lennie Tristano's unique approach to jazz improvisation.
Scott Yanow

Source :

Lennie Tristano
Live in Toronto 1952


1 Lennie's Pennies (Bauer, Tristano)  6:22
2 317 East 32nd Street (Bauer, Tristano)  9:17
3 You Go to My Head (Coots, Gillespie)  6:41
4 April (Bauer, Tristano)  8:39
5 Sound-Lee (Konitz)  7:38
6 Back Home (Bauer, Tristano)  8:04


Warne Marsh - ts
Lee Konitz - as
Lennie Tristano - p
Peter Ind - b
Al Levitt - dr

Recorded at UJPO Hall, Toronto, Canada ; July 17, 1952

Charlie Parker - Jazz at the Philharmonic, 1949

Charlie Parker's 1949 appearance at Norman Granz's annual Jazz at the Philharmonic concert is less legendary than his 1946 debut there, but listening to this magnificently remastered 68-minute document of his set, it's nearly impossible to understand why. Surrounded by an astonishing group of sidemen, including Ella Fitzgerald, Roy Eldridge, Hank Jones, and Buddy Rich, Parker is at the top of his form throughout. Even when he's trading choruses with his foremost influence, tenor Lester Young, on Young's signature piece "Lester Leaps In," Parker's passionate, powerful alto pretty much blows Young off the stage. Elsewhere, Parker plays around with standards, transforming "Perdido," "How High the Moon ?" and "Embraceable You" from well-worn set pieces to exciting and innovative bop showcases. Jazz at the Philharmonic 1949 is a breathtaking example of live jazz at its most transcendent.

Source :

Charlie Parker
Jazz at the Philharmonic


1 The Opener (Shrdlu)  12:47
2 Lester Leaps in (Young)  12:14
3 Embraceable You (Gershwin, Gershwin)  10:33
4 The Closer (Parker)  10:57
5 Ow ! (Gillespie)  0:48
6 Flyin' Home (Goodman, Hampton, Robin)  5:31
7 How High the Moon (Hamilton, Lewis)  6:24
8 Perdido (Drake, Lengsfelder, Tizol)  8:34


Roy Eldridge - tp
Tommy Turk - tb
Charlie Parker - as
Flip Phillips - ts
Lester Young - ts
Hank Jones - p
Ray Brown - b
Buddy Rich - dr
Ella Fitzgerald - vcl [# 6-8]

Recorded at Carnegie Hall, New York ; September 18, 1949

Herbie Mann & Bobby Jaspar - Flute Soufflé

At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird."
Scott Yanow

Source :

Herbie Mann
Bobby Jaspar
Flute Soufflé


1 Tel Aviv (Mann)  14:38
2 Somewhere Else (Puma)  5:55
3 Let's March (Mann)  7:21
4 Chasin' the Bird (Parker)  8:13


Herbie Mann, Bobby Jaspar - fl & ts

Tommy Flanagan - p
Joe Puma - g
Wendell Marshall - b
Bobby Donaldson - d

Recorded at Van Gelder Studio, Hackensack, New Jersey ; March 21, 1957

Gary Burton & Joe Morello - Who's Gary Burton ? / Hank Garland - Subtle Swing

One of the two great vibraphonists to emerge in the 1960s (along with Bobby Hutcherson), Gary Burton's remarkable four-mallet technique (best displayed on an unaccompanied version of "No More Blues" from 1971) can make him sound like two or three players at once. He recorded in a wide variety of settings and always sounds distinctive. Self-taught on vibes, Burton made his recording debut with country guitarist Hank Garland when he was 17, started recording regularly for RCA in 1961, and toured with George Shearing's quintet in 1963. He gained some fame while with Stan Getz's piano-less quartet during 1964-1966, and then put together his own groups. In 1967, with guitarist Larry Coryell, he led one of the early "fusion" bands ; Coryell would later be succeeded by Sam Brown, Mick Goodrick, John Scofield, Jerry Hahn, and Pat Metheny. Burton recorded duet sets with Chick Corea (they also toured extensively), Ralph Towner, Steve Swallow, and Paul Bley, and collaborated on an album apiece with Stéphane Grappelli and Keith Jarrett. Among his sidemen in the late '70s and '80s were Makoto Ozone, Tiger Okoshi, and Tommy Smith. Very active as an educator at Berklee since joining its faculty in 1971, Burton (who teamed up with Eddie Daniels in the early '90s for an interesting Benny Goodman/Lionel Hampton tribute tour and recording) remained a prominent stylist. He recorded during different periods of his career extensively for RCA, Atlantic, ECM, GRP, and Concord, releasing Like Minds through the latter in 1998. Two years later, Libertango, his tribute to tango master Astor Piazzolla, arrived. The very personal composition For Hamp, Red, Bags, and Cal was issued in 2001 and in 2002 he explored classical music with the duet album Virtuosi, recorded with pianist Makoto Ozone. The year 2004 found Burton back on more familiar ground with the release of Generations, a bop-influenced album featuring a quartet of younger musicians. Burton paired with the same group for 2005's Next Generation. In 2009, Burton released Quartet Live featuring guitarist Pat Metheny and bassist Steve Swallow on Concord. In 2012, he released another duet recording with Corea entitled Hot House. In August of 2013, the vibraphonist released Guided Tour by the New Gary Burton Quartet on Mack Avenue Records. His new bandmates included drummer Antonio Sanchez, bassist Scott Colley, and guitarist Julian Lage.
Scott Yanow

Source :

This edition presents the complete Gary Burton LP Who Is Gary Burton ? (RCA Victor LSP-2665), appearing here for the first time ever on CD. It showcases Burton in a septet format accompanied by such stars as Clark Terry, Phil Woods, Tommy Flanagan, and the Dave Brubeck Quartet's drummer, Joe Morello. The only five quintet tracks from Joe Morello's LP It's About Time, recorded the previous year and also featuring Burton and Woods, have been added here as a bonus. Also are include the complete original LP Subtle Swing (Sesac PM3901/3902), featuring Burton in a quintet format with the leader of the album, guitarist Hank Garland.

Source :

Gary Burton
Who's Gary Burton ?
Hank Garland
Subtle Swing 


1 Storm (Swansen)  4:17
2 I've Just Seen Her (Strouse, Adams)  4:18
3 Ly Time Fly (Gibbs)  4:28
4 Conception (Shearing)  4:01
5 Get Away Blues (Swansen)  5:44
6 My Funny Valentine (Rodgers, Hart)  5:26
7 One Note (Byard)  4:52
8 Time After Time (Styne, Cahn)  3:54
9 Every Time (Martin, Blane)  2:52
10 Summertime (Gershwin, Gershwin, Heyward)  4:03
11 Mother Time (Woods)  4:04
12 Just in Time (Comden, Green, Styne)  4:10
13 What Am I To Do ? (Kinn)  2:37
14 Not For Me (Wynert)  2:42
15 You're Here Again (Keller)  3:22
16 Just For Tonight (Szpilzman)  2:06
17 Pop Goes The Weasel (trad. arr. Burton)  2:09
18 It's Love Of Course (Godfrey, Harris, Scott)  2:50
19 Unless You're in Love (O'Connell, Jr.)  3:07
20 Close Your Eyes (Olari, Nozyk)  2:12
21 Rainy Afternoon (Burton)  2:47
22 Call D. Law (Burton) 2:31


[# 1-7] Gary Burton - Who is Gary Burton (RCA/Victor LSP-2665)
Gary Burton - vb
Clark Terry - flghrn
Phil Woods - as
Chris Swansen - tb
Tommy Flanagan - p
John Neves - b
Joe Morello - dr
Recorded in New York City ; September 14 [# 1 & 7] ; & September 15 [# 2-6], 1962.
[# 8-12] Originally issued on the Joe Morello LP It's About Time (RCA Victor LSP2486)
Gary Burton - vb
Phil Woods - as & arr.
John Bunch - p
Gene Cherico - b
Joe Morello - dr
Recorded in Webster Hall and RCA Victor´s Studio A, New York City ; June 6 [# 8-9] ; & June 15 [# 10-12], 1961.
[# 13-22] Hank Garland - Subtle Swing (Sesac PM3901/02)
Gary Burton - vb
Hank Garland - g
William Pursell - p
Bob Moore - b
Murray Harman - dr
Recorded in Nashville, Tennessee ; August 23 [# 19], 29 [# 15-18 & 22] & 30 [# 13, 14, 20 & 21], 1960
Nothing upsets preconceived minds like someone who successfully crosses over to another genre after he has been thoroughly pigeonholed by experts in a previous one. Such was Hank Garland, Nashville's busiest country guitar picker who, with little warning, made a superb jazz album in mid-career and seemed headed for jazz stardom until an auto accident left him unable to perform. As a jazz performer, Garland had a fertile melodic and harmonic imagination and a sound that had apparently honed to the gospel of tone and attack according to Charlie Christian -- with some Les Paul mixed in and more than a touch of Bud Powell's influence as well. But even on his country records (check out Red Foley's sublime "Midnight" and "Hearts of Stone"), Garland's urbane jazz and blues sensibilities can be felt. Cowpens is a rural suburb of Spartanburg, SC, and while growing up there, Garland absorbed country music from Arthur "Guitar Boogie" Smith and Mother Maybelle Carter on the radio, eventually switching from banjo to guitar. He joined the Grand Ole Opry at 15 in 1945, signed with Decca in 1949 as a solo artist, and appeared on innumerable Nashville recording sessions while jamming privately in local clubs. In July 1960, Garland came forward as a jazz musician, organizing a combo that was scheduled to play the Newport Jazz Festival but found itself on the sidelines after riots closed the festival. The following year, Garland's jazz debut on record, Jazz Winds From a New Direction, astonished both jazz and country circles, and a follow-up album, The Unforgettable Guitar of Hank Garland, was issued. But in September 1961, a near fatal auto accident robbed Garland of a good deal of his coordination and memory. He eventually returned to playing, but never regained the renown of his early 60s heyday. Hank Garland passed away on December 27, 2004 at the age of 74.
Richard S. Ginell

Source :

Sunday, December 10, 2017

Charlie Parker - Intégrale, vol. 13 "I Remember You"

"Now, I'd like to do a session with five or six woodwinds, a harp, a choral group, and a rhythm section ; something on the line of Hindemith's 'Kleine Kammermusik'. Not a copy or anything like that. I don’t want ever to copy. But that sort of thing." On May 25th Parker might have thought his dream was being fulfilled thanks to Gil Evans. Gil was an old friend, and a few years earlier he’d conceived a nonet for Parker that would finally become famous with Miles Davis.
Norman Granz used to hate rehearsals and so the sessions had to be conducted briskly. This was the exact opposite to Gil Evans’ customary practise : he used to work on his scores on the spot, multiplying his corrections, variations and changes of mind complete with emendations. "What happened that day made Norman Granz not one of my favourite people, because we had enough music for an album but we had to rehearse the music. I had a woodwind quintet, and Dave Lambert had a vocal group, and then Charlie's rhythm section… so we had to rehearse the numbers a little bit. Also, during the record date, Max Roach had a concert. He had to dash off and play a one-hour concert somewhere, so there was a substitute drummer while that was going on, and Max came back. Well, Norman was so impatient with it and had such poor musical equipment that he cancelled us out — right in the middle of the thing — he snapped the thing. He said, OK, that’s all… goodnight."
Of course, the lack of rehearsal led to the disintegration of a fine project, but just as responsible was the casting error that Hal McKusick denounced : "The voice parts were way too complicated. Gil's charts were beautiful and complex, as always. His arrangements always could push your buttons, musically. But Dave's vocal charts were heavy, and by the time everyone realized this, it was too late. The recording session was already underway." McKusick, by the way, was wondering why the voice parts hadn't been entrusted to Gil Evans as well ; he would have used a mere quartet. The takes that were released, however — composite ones — nevertheless have some beautiful moments, like Parker advancing in the midst of the voices in Old Folks or the introduction of "If I Love Again". On the tune "In the Still of the Night", Bird takes flight with assistance from voice parts that are rather ordinary in other respects.
When Gil Evans and Dave Lambert listened to the test pressings they noticed that the sound engineer had made a mistake when balancing the sound : the voices were drowning the orchestra, the soloist and the rhythm section. After consulting Parker, they offered to do the session again for free. Granz refused. The result was that what promised to be a rare moment in Parker’s recorded work remains a rough draft.
In June Parker was given another booking at the Hi-Hat in Boston. It was a noisy establishment and, contrary to practice at its competitor, the Storyville, the club paid hardly any attention to providing its customers with the best listening conditions. This time, trumpeter Herb Pomeroy would replace Joe Gordon, who was unavailable. Pomeroy sensibilities, and his taste for melody, had earned him a place in the category reserved for people dear to Bird’s heart, along with trumpeters ranging from Miles Davis to Chet Baker, and including Tony Fruscella and Don Joseph. "I remember working with Charlie Parker for the first time at the Hi-Hat. I probably heard Bird there several different times before I worked with him. The club was upstairs on the second floor, and I can remember walking up the stairs, and my knees were shaking, literally shaking, that I was going to work with Charlie Parker, June of '53. It was the very month, the very week that I would have graduated if I had stayed at Harvard." On piano there was Dean Earl, who was at the time in charge of musical interludes at the Hi-Hat ; on bass there was Bernie Briggs, a cornerstone of the jazz scene in Boston, as was the drummer, Bill "Baggy" Grant. They made up an efficient, attentive formation and they provided Parker with adequate support for him to exercise his imagination on pieces he'd already played a thousand times, like "Cool Blues", "Scrapple from the Apple" or "Ornithology". The only new ones were "Laura", previously reserved for the string orchestra, and "My Funny Valentine", which Gerry Mulligan and Chet Baker had brought up to date the previous year. It was during the Hi-Hat gig that John McLellan did an interview with Bird, and they listened to some records. Parker expressed his admiration for "My Lady", a feature for Lee Konitz with the Kenton orchestra, and he praised the latter for the innovations he'd introduced into jazz. Stan Getz playing "Cherokee" at the Storyville also garnered praise from Bird.
Exactitude was never Bird’s cardinal virtue. With the beginning of a new quartet session fixed for noon, Parker turned up at a quarter past two. But once he was there he didn’t dither. Forty-five minutes later the mandatory four titles were in the can : "Chi-Chi", a composition given to Max Roach by Parker (Roach had recorded it three months earlier), plus Confirmation, the standard "I Remember You", and a new version of "Now’s The Time"...
Adapted by Martin Davies from the French Text of Alain Tercinet
© 2017 Frémeaux & Associés

Source  : https ://

Charlie Parker
Intégrale,vol. 13
"I Remember You"


Cd. 1

1 In the Still of the Night (Porter)  3 :25
2 Old Folks (Robinson, Lee Hill)  3 :35
3 If I Love Again (Oakland, Murray)  2 :27

(Radio transcriptions)
4 Announcement  0:39
5 Cool Blues (Parker)  5:36
6 Announcement  0:10
7 Scrapple from the Apple (Parker)  7:02
8 Announcement  0:57
9 Laura (Raskin, Mercer)  6:33
10 Closing announcement  0:31

(Radio transcriptions)
11 Ornithology (Parker, Harris)  4:49
12 Out of Nowhere (Green, Hayman)  5:43
13 My Funny Valentine (Rodgers, Hart)  6:35
14 Cool Blues (Parker)  6:49

15 Chi-Chi (Parker)  3:06
16 Chi-Chi (Parker)  2:43
17 Chi-Chi (Parker)  3:03
18 I Remember You (Schertzinger, Mercer)  3:03
19 Now's the Time (Parker)  3:01
20 Confirmation (Parker)  2:57


Cd. 2

(Radio transcriptions)
1 Now's the Time (Parker)  4:17
2 Don't Blame Me (McHugh, Fields)  4:59
3 Dancing in the Ceiling (Rodgers, Hart)  2:29
4 Cool Blues (Parker)  4:4
5 Groovin' High (Gillespie)  5:06

(Private recordings ?)
6 Ornithology [inc.] (Parker, Harris)  2:53
7 Barbados [inc.] (Parker)  4:03
8 Cool Blues [inc.] (Parker)  5:39

(Radio transcriptions)
9 Announcement  0:14
10 Ornithology (Parker, Harris)  7:51
11 Introduction  0:28
12 My Little Suede Shoes (Parker)  7:16
13 Introduction  0:29
14 Now's the Time (Parer)  7:04
15 Groovin' High (Parker, Gillespie)  6:08
16 Annoucement  0:21
17 Cheryl (Parker)  5:47
18 Introduction  0:04
19 Ornithology (Parker, Harris)  6:29
20 52nd Street Theme (Monk)  1:32


Cd. 3

(Radio transcriptions)
1 Announcement  0:21
2 Ornithology (Parker, Harris)  6:47
3 Announcement  0:19
4 Out of Nowhere (Green, Hayman)  9:32
5 Announcement  0:32
6 Cool Blues (Parker)  6:52
7 Announcement  0:45
8 Scrapple from the Apple (Parker)  4:34

(Radio transcriptions)
9 Now's the Time (Parker, Gillespie)  9:12
10 Announcement  0:33
11 Out of Nowhere (Green, Hayman)  5:43
12 My Little Suede Shoes (Parker)  5:05
13 Jumpin' with Symphony Sid (Young)  1:08
14 Cool Blues (Parker)  6:20
15 Announcement  1:02
16 Ornithology (Parker, Harris)  7:35
17 Announcement  1:22
18 Out of Nowhere (Green, Hayman)  4:22
19 Jumpin' with Symphony Sid (Young)  2:34


Cd. 4

(Private recordings)
1 Night and Day (Porter)  3:01
2 My Funny Valentine (Rodgers, Hart)  3:18
3 Cherokee (Noble)  2:56

4 I Get a Kick of You (Porter)  4:51
5 I Get a Kick of You (Porter)  3:33
6 Just One of those Things (Porter)  2:41
7 My Heart Belongs to Daddy (Porter)  3:19
8 I've Got You Under my Skin (Porter)  3:32

(Radio transcriptions)
9 What is this Thing Called Love ? (Porter)  2:14
10 Repetition (Hefti)  2:42
11 Easy to Love (Porter)  2:11
12 East of the Sun (Bowman)  3:48

13 The Song is You (Kern, Hammerstein II)  4:41
14 My Funny Valentine (Rodgers, Hart)  2:02
15 Cool Blues (Parker)  2:58

16 Love for Sale (Porter)  5:29
17 Love for Sale [master] (Porter)  5:31
18 I Love Paris (Porter)  5:05
19 I Love Paris [master] (Porter)  5:07


[Cd. 1, # 1-3]
Charlie Parker - as
Junior Collins - fr hrn
Al Block - fl
Hal McKusick - cl
Tommy Mace - ob
Manny Thaler - bsn
Tony Aless - p
Charles Mingus - b
Max Roach - dr
Dave Lamber Singers - vcl
Dave Lambert - ar. vcl
Gil Evan - arr. & cond.
Recorded in New York City ; May 25, 1953
[Cd. 1, # 4-10]
Herb Pomeroy - tp
Charlie Parker - as
Dean Earle - p
Bernie Griggs - b
Bill Grant - dr
Symphonid Sid - mcr
Recorded at Hi-Hat, Boston (WCOP Radio) ; June 14, 1953
[Cd. 1, # 11-14]
Same as above, except
poss. Bernie Griggs - b
poss. Bill Grant - dr
Symphony Sid is out
Recorded same place as above ; between June 8/14, 1953
[Cd. 1, # 15-20]
Charlie Parker - as
Al Haig - p
Percy Heath - b
Max Roach - dr
Recorded in New York City ; July 30, 1953
[Cd. 2, # 1-5]
Herb Pomeroy - tp
Charlie Parker - as
Sir Charles Thompson - p
Jimmy Woode - b
Kenny Clarle - dr
John McLellan - mcr
Recorded at Storyville Club, Boston (WCOP Radio) ; September 22, 1953
[Cd. 2, # 6-8]
Chet Baker - tp
Charle Parker - as
Jimmy Rowles - p
Carson Smith - b
Shelly Manne - dr
Recorded at University of Oregon, Portland ; November 5, 1953
[Cd. 2, # 9-20]
Herbie Williams - tp
Charlie Parker - as
Rollins Griffith - p
Jimmy Woode - b
Marquis Foster - dr
Recorded at Hi-Hat, Boston (WCOP/WBMS radio broadcast) ; December 18 & 20, 1953
[Cd. 3, # 1-8]
Same as above
Recorded same place as above (WCOP radio broadcast) ; January 1, 1954
[Cd. 3, # 9-19]
Herbie Williams - tp
Charlie Parker - as
Jay Migliori - ts [# 9-13 only]
Rollins Griffith - p
Jimmy Woode - b
George Solano [# 9-13 only] or Marquis Foster - dr
Recorded at Hi-Hat, Boston (WCOP/WBMS radio broadcast) ; January 23, 1954
[Cd. 4, # 1-3]
Charlie Parker - as
with collective personnel featuring
Stu Williamson - tp
Frank Rosolino - tb
Charlie Mariano - as
Stan Kenton - p
Bob Lesher - g
Don Bagley - b
Stan Levey - dr
Recorded at Civic Auditorium, Portland ; February 25, 1954
[Cd. 4, # 4-8]
Charlie Parker - as
Walter Bishop - p
Teddy Kotick - b
Roy Haynes - dr
Recorded in New York City ; March 31, 1954
[Cd. 4, # 9-12]
Charlie Parker - as
unknown oboe & strings
Teddy Kotick or Tommy Potter - b
Roy Haynes - dr
Recorded at Birdland (WBC radio broadcast) ; August 27, 1954
[Cd. 4, # 13-15]
Charlie Parker - as
John Lewis - p
Percy Heath - b
Kenny Clare - d
Recorded at Carnegie Hall, New York City ; September 25, 1954
[Cd. 4, # 16-19]
Charlie Parker - as
Walter Bishop - p
Billy Bauer - g
Teddy Kotick - b
Art Taylor - dr
Recorded in New York City ; December 10, 1954

Saturday, December 9, 2017

Barney Kessel - On Fire & ‘Jazz Scene USA’ ('62)

Many an enthralling thing come together in the first ever live album of Jazz guitarist Barney Kessel (1923–2004), released in 1965 on Kessel’s private label Monarch Records. And Kessel knows the constraints and restraints that occur in live surroundings, that’s why he prefers to offer his service in studios only. Johnny Magnus, KMPC radio DJ utters the following words of wisdom in the liner notes that capture his surprise when he became aware of Barney Kessel at PJ’s Club in West Hollywood : “My surprise was due to the fact that I have seldom seen these guys outside a recording studio. […] Most live recordings … that is to say on location dates leave much to be desired sound-wise: you have to forsake accoustically for the spontaneity of the performance before a real, living, receptive audience, in a setting conductive to inspired playing.” In this recording, there’s no trade-off. Enchantement is exactly what happens in a club that is nowadays known as the Starwood Club. Kessel is joined by Jerry Scheff on the bass and Frankie Capp on drums. Gyring between Bebop, Bossa Nova and oneiric interstices, On Fire only disappoints when its title is interpreted literally, as the material is so mellow and bucolic that the tonality of Exotica is evoked even without the respective instrumental base...

Source :

The Fantastic Guitar of
Barney Kessel
On Fire


1 Slow Burn (Kessel)  8:38
2 Just in Time (Comden, Green, Styne)  4:13
3 The Shadow of Your Smile (Mandel, Webster)  3:34
4 Recado Bossa Nova (Antonio, Ferreira)  4:53
5 Sweet Baby (Kessel)  3:29
6 Who Can I Turn To (Bricusse, Newley)  2:23
7 One Mint Julep (Toombs)  8:04
8 The Gypsy in My Soul (Boland)  2:46
9 Danny Boy (trad.)  2:22
10 Fly Me to the Moon (Howard)  2:52
11 April in Paris (Duke)  4:15
12 One Mint Julep (Toombs)  3:50


[# 1-7] On Fire (Esmerald Records EST-2401)
Barney Kessel - g
Jerry Scheff - b
Frank Capp - dr
Recorded live at P.J.'s, Los Angeles ; 1965
 [# 8-12]
Barney Kessel - g
Buddy Woodson - b
Stan Levey - dr
Recorded at Studio 31, CBS TV ‘Jazz Scene USA’, Los Angeles, California ; 1962

Wayne Shorter - Adam's Apple

With the possible exception of its song, "Footprints," which would become a jazz standard, Adam's Apple received quite a bit less attention upon its release than some of the preceding albums in Wayne Shorter's catalog. That is a shame because it really does rank with the best of his output from this incredibly fertile period. From the first moments when Shorter's sax soars out in the eponymous opening track, with its warmth and roundness and power, it is hard not to like this album. It might not be turning as sharp of a corner stylistically as some of his earlier works, like Speak No Evil, but its impact is only dulled by the fact that Shorter has already arrived at the peak of his powers. Taken in isolation, this is one of the great works of mid-'60s jazz, but when Shorter has already achieved a unique performance style, compositional excellence, and a perfectly balanced relationship with his sidemen, it is hard to be impressed by the fact that he manages to continue to do these things album after album. But Shorter does shine here, while allowing strong players like Herbie Hancock to also have their place in the sun. Especially hypnotic are two very different songs, the ballad "Teru" and Shorter's tribute to John Coltrane, "Chief Crazy Horse," both of which also allow Hancock a chance to show what he could do.
Stacia Proefrock

Source :

Wayne Shorter
Adam's Apple


1 Adam's Apple (Shorter)  6:52
2 502 Blues (Drinkin' and Drivin') (Rowles)  6:36
3 El Gaucho (Shorter)  6:32
4 Footprints (Shorter)  7:31
5 Teru (Shorter)  6:15
6 Chief Crazy Horse (Shorter)  7:39
7 The Collector (Hancock)  6:55


Wayne Shorter - ts
Herbie Hancock - p
Reggie Workman - b
Joe Chambers - dr

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; February 2 [# 1] & February 24 [# all others], 1966

Friday, December 8, 2017

Pee Wee Russell & Coleman Hawkins - Jazz Reunion

This LP (whose contents have been reissued on CD) features a reunion between ténor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell ; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful.
Scott Yanow

Source :

Pee Wee Russell
Jazz Reunion


1 If I Could Be With You (One Hour Tonight) (Creamer, Johnson)  6:29
2 Tin Tin Deo (Fuller, Gillespie, Pozo)  8:57
3 Mariooch (Hinton, Pierce, Russell)  7:19
4 All Too Soon (Ellington, Sigman)  7:32
5 28th and 8th (Pierce, Russell)  7:25
6 What Am I Here For ? (Ellington, Laine)  7:52


Pee Wee Russell - cl
Coleman Hawkins - ts
Bob Brookmeyer - tb
Emmett Berry - tp
Nat Pierce - p
Milt Hinton - b
Jo Jones - dr

Recorded at Nola Penthouse Studios, New York City ; February 23, 1961