Friday, February 13, 2015

Wednesday, October 1, 2014

E Venia Da Campi Che di Cerri Sentia

Franco Cerri was not only one of the world's most popular and the most authoritative Italian guitarists, but was also one of the most important stylist in the European jazz world. He began his long and prolific career in 1945 with Gorni Kramer and in 1949 he accompanied Django Reinhardt. In the 1950s he was near great jazz masters. Working with musicians from Chet Baker to Gerry Mulligan, and from Billie Holliday to Lee Konitz, and in modern jazz quartet, he became a leader in the Italian and European jazz world. On January 1, 2006 he was named "Commendatore della Repubblica" (official title awarded for service to Italy) by President of the Italian Republic Carlo Azeglio Ciampi. 

Source : http://www.discogs.com/artist/543841-Franco-Cerri

Franco Cerri
E Venia Da Campi Che di Cerri Sentia

Tracks

1 E Venia Da' Campi Che di Cerri Sentia (Cerri)  7:15
2 Brasil (Barroso)  4:22
3 Fine & Dandy (Swift)  9:17
4 All the Way (VanHeusen)  2:56
5 S.O.S. (Cerri)  7:05
6 But Not for Me (Gershwin)  4:21
7 It Could Happen to You (Burke, VanHeusen)  2:35
8 Look for the Silver Lining (Kern)  8:20
9 The Days of Wine and Roses (Mancini)  8:07
10 When the Saints Go Marchin' In (Trad.)  3:56
11 Sultry Serenade (Ellington, Glenn)  6:01

*


Personnel
Franco Cerri - g
Alberto Gurrisi - org
Mattia Magaletti - b
Riccardo Tosi - dr

Recorded at Studio Forzani, Milano, Italy ; May 29 & 30, 2008

Tuesday, September 30, 2014

Charlie Haden & Jim Hall

On September 30, the newly reactivated impulse! label released Charlie Haden-Jim Hall, a previously-unreleased recording of a stunning duo performance by these two recently departed masters at the 1990 Montreal International Jazz Festival.  impulse! is a division of Universal Music France which is distributed by Blue Note Records in the U.S.
“This album documents a rarified journey,” writes pianist Ethan Iverson in the album’s liner notes. “Charlie Haden and Jim Hall knew each for over a half century, played more than a few concerts together, and shared many ideals, but this is their first concert-length recording. It is a major addition to the discography of both artists.”
Upon hearing the recording guitarist Pat Metheny remarked “What a treat it is to hear two of my heroes and my two favorite personal duet partners playing in a setting like this ! This is a recording for the ages.”
At first this might seem an unusual pairing the dean of the avant-garde bass and a fellow that defined mainstream jazz guitar — but Charlie Haden and Jim Hall shared much common ground. Besides the decades of jazz history they each walked on stage with on July 2, 1990, they also both proved themselves to be masters of the Art of the Duo over the course of their illustrious careers: Haden with Metheny, Keith Jarrett, Ornette Coleman, Alice Coltrane, Kenny Barron, and more ; Hall with Metheny, Bill Evans, Ron Carter, and George Shearing, among others. Together Haden and Hall bring thundering intimacy and gentle envelope-pushing on this profound series of duos.
Haden and Hall had something else in common as well, an earthiness that grounded whatever they’re doing, something that gives a listener something to hold onto. Haden’s background in folk music is never far away, just as shades of the blues and even folk-like simplicity are within Hall’s approach. Both gents swing — Haden with that big, pliant, supple, buoyant sound, Hall with those lithe, carefully considered lines and often crystalline notes.

Source : http://www.bluenote.com/news/impulse-presents-charlie-haden-jim-hall

Charlie Haden
Jim Hall

Tracks

1 Bemsha Swing (Monk, Best)  8:32
2 First Song (Haden)  8:52
3 Turnaround (Coleman)  9:32
4 Body & Soul (Green, Heyman, Sour)  11:14
5 Down From Antigua (Hall)  12:04
6 Skylark (Carmichael, Mercer)  9:22
7 Big Blues (Hall)  9:19
8 In The Moment (Haden)  7:04

*

Jim Hall - g
Charlie Haden - b

Recorded at the Montreal International Jazz Festival live ; July 2, 1990

Monday, September 15, 2014

Bud Shank Quintet & Sextet - New Groove & Barefoot Adventure

The two albums included here, New Groove, and Barefoot Adventure, present Bud Shank not only on alto sax, but also on baritone, an instrument he had played in clubs and as a sideman in sporadic studio sessions since the early ‘50s, but never before on his own recording dates. And while his alto has his customary command and fluency, his work on the less familiar baritone is equally impressive, the sound hard and driving, with expressive use of dynamics.
In these 1961 recordings, he fronts two similar groups, with a fresh approach, more groove-based and soulful, compared to previous works. With that in mind, he hired the young and talented trumpeter Carmell Jones, just arrived to the L.A. scene from Kansas City, whose warmth and enthusiasm on both sides are contagious. On Barefoot Adventure, the presence of Bob Cooper is felt throughout, with his tenor solos consistenly fluent and swinging.
In the rhythm, Dennis Budimir on guitar handles most of the comping chores in his puckish prodding way ; Gary Peacock shows he was developing into a reliable rhythm mate ; and Mel Lewis in the first date and Shelly Manne in the second, play with their celebrated taste, imagination, and musicianship.

Source : http://www.freshsoundrecords.com/new_groove_&_barefoot_adventure_2_lps_on_1_cd_feat._carmell_jones_&_bob_cooper-cd-5650.html

Bud Shank
New Groove
Barefoot Adventure
(2 Lps On 1 Cd)
Feat. Carmell Jones & Bob Cooper

Tracks

1 New Groove (Shank)  6:44
2 The Awakening (Shank)  4:24
3 White Lightnin’ (Shank)  5:20
4 Sultry Serenade (Ellington)  7:12
5 Well, You Needen’t (Monk)  6:57
6 Liddledabllduya (Peacock)  3:55
7 Barefoot Adventure (Shank)  4:12
8 Shoeless Beach Meeting (Shank)  4:05
9 Jungle Cruise (Shank)  4:44
10 How High the Makaha (Shank)  3:11
11 Well, ‘Pon My Soul (Shank)  4:14
12 Ala Moana (Shank)  2:15
13 Bruce Is Loose (Shank)  3:23
14 Dance of the Sea Monsters (Shank)  4:07



Personnel
[# 1-6] from the Pacific album "New Groove" (Stereo-21)
Carmell Jones - tp
Bud Shank - as & bs
Dennis Budimir - g
Gary Peacock - b
Mel Lewis - dr
Recorded at Rex Productions, Los Angeles ; February 22, 1961
[# 7-14] from the Pacific album "Barefoot Adventure" (PJ-35)
Same as above, but
Bob Cooper - ts, is added
Shelly Manne - dr, replaces Mel Lewis
Recorded same place ; September 8, 1961

The Jimmy Giuffre Clarinet

This quietly influential 1956 album, reissued after being out of print many years, is essential listening for anyone who favors ECM- and Windham Hill-style music, because Giuffre was a key source for such pastoral impressionism and did it better than any of his successors.
Built around his subtone, Lester Young-inspired clarinet playing, which never rises above the middle-register, the album presents Giuffre in a wide range of settings, beginning with an unaccompanied blues ('So Low') and including two harmonically adventurous pieces for wind ensemble ('The Side Pipers' and 'The Sheepherder'). Best of all, perhaps, is 'My Funny Valentine,' with its Gil Evans-like shadings.
There are moments of preciousness here, as Giuffre himself eventually realized. But time has granted them a nostalgic charm, while the purity and intelligence of this album's best music hasn't dated one bit.
Larry Kart

Source : http://articles.chicagotribune.com/1985-02-03/entertainment/8501070185_1_harmonically-purity-nostalgic-charm

The
Jimmy Giuffre
Clarinet

Tracks

1 So Low (Giuffre)  2:48
2 Deep Purple (DeRose, Parish)  4:38
3 The Side Pipers (Giuffre)  5:07
4 My Funny Valentine (Hart, Rodgers)  5:03
5 Quiet Cook (Giuffre)  4:18
6 The Sheepherder (Giuffre)  5:23
7 Fascinating Rhythm (Gershwin, Gershwin)  4:04
8 Down Home (Giuffre)  5:40


Personnel
[# 1]
Jimmy Giuffre - cl & foot-tapping
[# 2]
Jimmy Giuffre - cl
Jimmy Rowles - clst
[# 3]
Jimmy Giuffre - cl
Buddy Collette - fl
Bud Shank - alt fl
Harry Klee - b fl
Shelly Manne - dr
[# 4]
Jimmy Giuffre - cl
Bob Cooper - ob
Dave Pell - engl hrn
Maury Berman - bssn
Ralph Peña - b
[# 5]
Jimmy Giuffre - cl
Ralph Peña - b
Stan Levey - dr
[# 6]
Jimmy Giuffre - cl
Buddy Collette - alt cl
Harry Klee - b cl
[# 7]
Jimmy Giuffre - cl
Jimmy Rowles - p
Shelly Manne - dr
[# 8]
Jimmy Giuffre - cl
Harry Edison, Shorty Rogers & Jack Sheldon - tp
Bob Cooper & Dave Pell - ts
Maury Berman - b s
Ralph Peña - b
Stan Levey - dr

Recorded in Los Angeles, California ; March 21, 1956 [# 1, 4, 5 & 8] ; & March 22, 1956 [# 2, 3, 6 & 7]

See also
http://www.jazzdisco.org/atlantic-records/discography-1956/

Artie Shaw & His Gramercy Five

The already popular quintet formation seems fond of naming itself as a "Five" of one sort or another — notes, chambers, Americans, guys named Moe, fakers, gravediggers, primaries, after hours and much more than five more. With all of that there is nonetheless only one distinct use of the Gramercy Five combo name. That was by famous swing bandleader and clarinetist Artie Shaw, who utilized the moniker to represent different small groupings through more than a dozen years of his career. Like everything Shaw was involved in including his career itself as well as his marriages, the existence of the group was strictly an off and on again thing. This resulted in many changes in lineup, but Shaw's considerable fame, status, and pocketbook meant that when he was ready to hire new members they would be comers.
Jazz buffs can drop some serious names in relationship to Shaw's sidemen in versions of the Gramercy Five. On electric guitar alone he managed to seat Barney Kessel, Tal Farlow and Joe Puma at various times. There are other reasons why the band is significant to the history of the genre, however. Shaw pioneered use of the small group as a band-within-a-band during big band programs, which like similar ventures by rival Benny Goodman, upped the spectacular ante of jazz, including the importance of exciting soloists. The Gramercy Five is also one of the few examples of the harpsichord being used in jazz. Pianist Johnny Guarnieri made this move in 1940 at work with the first version of the group to be recorded. The harpsichord was another of Shaw's generous references to classical music, also including use of a string quartet four years previously. By adding in electric guitar, Shaw can be seen as a visionary in art pop circles, providing they can get their eyes focused.
Trivia buffs may succeed in piling up further monumental evidence of the Gramercy Five's individuality. It is true that it represents one of the only examples of a group named after a New York telephone exchange. When presented as the Artie Shaw Gramercy Five, as it often is, it is also a rare example of the numerical representation of a band not actually including the leader. With Shaw out front blowing, the number of musicians actually featured was six, not five. The Dave Clark Five, on the other hand, featured leader Dave Clark as one of five guys onstage.
Gramercy Five sides such as "Concerto for Clarinet," "Summit Ridge Drive" and "Special Delivery Stomp" were extremely popular, extending well beyond the noses of trivia hounds. Subsequent reissue action involving the Shaw discography has also extended something, that being the life of the Gramercy Five itself. While never together as long as Goodman's similarly popular small combos, the Gramercy Five was held in such esteem that any of Shaw's small group recordings tend to be passed off as Gramercy Five performances whether then name was in play or not. Shaw did start-up a very short-lived new Gramercy Five in 1953, however, which he quickly abandoned to try dairy farming again in Skekomeko, NY.
Eugene Chadbourne

Source : http://www.allmusic.com/artist/artie-shaw-his-gramercy-five-mn0001905729/biography

Artie Shaw
&
His Gramercy Five
Six Star Treats
The Complete Commercially Released Recordings
(1940-1954)

Tracks

1 Special Delivery Stomp (Shaw)  2:48
2 Summit Ridge Drive (Shaw)  3:26
3 Keepin' Myself for You (Youmans, Clare)  3:16
4 Cross Your Heart (Gensler, DeSylva)  2:39
5 Dr. Livingstone, I Presume (Shaw)  3:24
6 When the Quail Come Back to San Quentin (Shaw)  3:18
7 My Blue Heaven (Donaldson, Whiting)  2:52
8 Smoke Gets in Your Eyes (Kern, Harbach)  3:17
9 Dr. Livingstone, I Presume (Shaw)  4:00
10 The Grabtown Grapple (Shaw, Harding)  2:56
11 The Sad Sack (Shaw, Harding)  3:04
12 The Sad Sack (Shaw, Harding)  3:30
[broadcast, Philco Radio Hall of Fame]
 13 The Grabtown Grapple (Shaw, Harding)  2:45
[broadcast, Philco Radio Hall of Fame]
 14 I Was Doing All Right (Gershwin, Gershwin)  3:43
[broadcast, Philco Radio Hall of Fame]
 15 You Took Advantage of Me (Rodgers, Hart)  2:58
[broadcast, Philco Radio Hall of Fame]
 16 Scuttlebutt (Shaw)  3:10
17 The Gentle Grifter (Shaw, Carleton)  2:49
18 Mysterioso (Shaw, Carleton)  3:00
19 Mysterioso (Shaw, Carleton)  3:00
20 Hop, Skip and Jump (Shaw, Carleton)  2:57
21 Summit Ridge Drive (Shaw)  3:03
[broadcast Coca Cola Spotlight Bands]
 22 Scuttlebutt (Shaw)  3:03
[broadcast Coca Cola Spotlight Bands]
23 Hop, Skip and Jump (Shaw, Carleton)  2:37
[broadcast Coca Cola Spotlight Bands]
24 The Sad Sack (Shaw, Harding)  3:09
[broadcast Coca Cola Spotlight Bands]
25 The Grabtown Grapple (Shaw, Harding)  3:12
[broadcast Coca Cola Spotlight Bands]

*


Cd. 2

5 titles for Thesaurus Transcriptions (EO MM603)

1 Summit Ridge Drive (Shaw)  3:32
2 The Grabtown Grapple (Shaw, Harding)  2:22
3 Smoke Gets in Your Eyes (Kern, Harbach)  2:50
4 The Pied Piper Theme (Shaw)  2:05
5 Cross Your Heart (Gensler, DeSylva)  2:25
6 There Must Be Somthing Better Than Love (Gould, Fields)  2:54
7 Nothin' from Nothin' (Gould, Fields)  3:00
8 Crumbum (Shaw)  2:44
9 The Shekomeko Shuffle (Shaw)  3:13
10 My Kinda Love (Alter, Trent)  2:52
11 Dancing on the Ceiling (Rodgers, Hart)  2:57
12 Where There's Smoke, There's Fire (Spina, Elliott)  3:09
13 My Little Nest of Heavenly Blue (Lehar, Spaeth)  3:08
14 Besame Mucho (Velasquez, Skylar)  2:57
15 That Old Feeling (Fain, Brown)  2:55
16 Tenderly (Gross, Lawrence)  2:59
17 Stop and Go Mambo (Shaw)  2:56
18 The Sad Sack (Shaw, Harding)  6:07
19 Stop and Go Mambo (Shaw)  5:38
20 Sunny Side Up (Shaw)  6:40
21 Star Dust (Carmichael, Parish)  5:55

*


Cd. 3

1 When the Quail Come Back to San Quentin (Shaw)  5:59
2 Someone to Watch Over Me (Gershwin, Gershwin)  4:49
3 Besame Mucho (Velasquez, Skylar)  4:03
4 Love of My Life (Shaw, Mercer)  4:54
5 Lyric (Shaw)  6:21
6 The Chaser (Sequence in B Flat) (Shaw)  8:02
7 Autumn Leaves [take 5] (Kosma, Mercer)  3:36
8 Back Bay Shuffle (Shaw, McRae)  7:20
9 I've Got a Crush on You (Gershwin, Gershwin)  3:55
10 Begin the Beguine (Porter)  3:36
11 Summit Ridge Drive (Shaw)  6:09
12 Dancing in the Dark (Schwartz, Dietz)  4:38
13 Scuttlebutt (Shaw)  6:17
14 I Can't Get Started (Duke, Gershwin)  5:15

*

Cd. 4

1 Imagination (Burke, VanHeusen)  4:18
2 The Pied Piper Theme (Shaw)  6:18
3 Don't Take Your Love from Me (Nemo)  5:28
4 Cross Your Heart (Gensler, DeSylva)  8:00
5 How High the Moon (Lewis, Hamilton)  8:48
6 Frenesi (Dominguez)  8:24
7 The Chaser (Sequence in B Flat) [alt. version] (Shaw)  8:42
8 Rough Ridin' (Jones, Fitzgerald)  7:50
9 Dancing on the Ceiling (Rodgers, Hart)  7:13
10 Autumn Leaves [take 6] (Kosma, Mercer)  3:33
11 Crumbum [Mysterioso ?] (Shaw)  5:20

*


Cd. 5 

1 Sunny Side Up [78 RPM Version] (Shaw)  2:54
2 Imagination [78 RPM Version] (Burke, VanHeusen)  3:03
3 Tenderly (Gross, Lawrence)  4:45
4 Lugubrious (Shaw)  4:41
5 The Grabtown Grapple (Shaw, Harding)  10:09
6 That Old Feeling (Fain, Brown)  4:11
7 Bewitched, Bothered and Bewildered (Rodgers, Hart)  4:13
8 Rough Ridin' [alt. version] (Jones, Fitzgerald)  8:01
9 Dancing on the Ceiling* [alt. version] (Rodgers, Hart)  7:13
10 S'posin' (Denniker, Razaf)  5:34
11 September Song (Weill, Anderson)  4:09
12 Too Marvellous for Words (Whiting, Mercer)  5:47
13 My Funny Valentine (Rodgers, Hart)  5:31
14 Yesterdays (Kern, Harbach)  6:057

*

Personnel
[Cd. 1, # 1-9]
Artie Shaw - cl
Billy Butterfield - tp
Johnny Guarnieri - hrpchrd & p [# 9]
Al Hendrickson - g
Jud DeNaut - b
Nick Fatool- dr
Recorded in Hollywood Palladium*, California ; September 3 [# 1-4] ; December 5, 1940 [# 5-8] ; & January 22, 1941
[Cd. 1, # 10-25]
Artie Shaw - cl
Roy Eldridge - tp [except #14 & 22]
Dodo Marmarosa - p
Barney Kessel - g
Morris Rayman - b
Louis Fromm - dr
Recorded in New York City ; January 9-18, 1945 [# 10 & 11] ; March 4, 1945 [# 12 & 13] ; Hollywood, March 15, 1945 [# 14 & 15] ; July 31, 1945 [#16] ; August 2, 1945 [#17-20] ; Naval Hospital, San Diego ; September 12, 1945 [# 21] ; Ford Ord, California ; September 19, 1945 [# 22] ; San Luis Obispo, California ; September 26, 1945 [# 23] ; Santa Ana A.A.F. Base ; October 3, 1945 [# 24] ; & Huff Hospital, Santa Barbara ; October 10, 1945
[Cd. 2, # 1-7]
Artie Shaw - cl
Don Fagerquist - tp
Gil Barrios - p
Jimmy Raney - g
Dick Niveson - b
Irv Kluger - dr
Mary Ann McCall - vc [# 6-7]
Recorded in New York ; early January 1950 [# 1-5] ; January 6, 1950 [# 6 & 7]
[Cd. 2, # 8 & 9]
Artie Shaw - cl
Lee Castle - tp
Don Lanphere - ts
Gil Barrios - p
Jimmy Raney - g
Teddy Kotick - b
Dave Williams - dr
Recorded in New York ; April 7 & 8 [# 9], 1950
[Cd. 2, # 10 & 11]
Artie Shaw - cl
Stan Freeman - p
Don Perry - g
Bob Haggart - b
Bunny Shawker - dr
Jane Hutton - vc
Recorded in New York ; January 30, 1951
[Cd. 2, # 12 & 13]
Artie Shaw - cl
Bob Kitsis - p
George Barnes - g
Trigger Alpert - b
Buddy Schutz - dr
Connee Boswell - vc
Recorded in New York ; August 1, 1952
[Cd. 2, # 14-21 ; Cd. 3 & Cd. 4, # 1-7]
Artie Shaw - cl
Joe Roland - vb
Hank Jones - p
Tal Farlow - g
Tommy Potter - b
Irv Kluger - dr
Recorded in New York ; December 1953
[Cd. 4, # 8 & 9]
Artie Shaw - cl
Hank Jones - p
Joe Puma - g
Tommy Potter - b
Irv Kluger - dr
Recorded in Hollywood, California ; June 1954
[Cd. 4, # 10 & 11 & Cd. 5, # 1-6]
Same as Cd. 3 ; Fine Sound Studios, New York ; February/March, 1954
[Cd. 5, # 7-14]
Artie Shaw - cl
Hank Jones - p
Joe Puma - g
Tommy Potter - b
Irv Kluger - dr
Recorded in Hollywood, California ; June 1954

Anita O'Day Meets The Rhythm Sections

Few vocalists merited the compliment of “singer’s singer” as thoroughly as Anita O’Day. This is Miss O’Day at her best. On these sides she sings accompanied by some of the finest rhythm sections, with her hotly wailing beat and an intensely personal, jazz-driven phrasing that is an exciting delight. Above all, there is the warm, husky O’Day sound, a happiness, a sensual zest in the pleasures of blowing with the voice, that combine into one of the most infectious delights of jazz listening. She is just as convincing on ballads as on up-tempos, proving to be one of the greatest jazz singers of all times. These recordings are gems of jazz singing.

Source : http://www.freshsoundrecords.com/anita_meets_the_rhythm_sections-cd-5389.html

Anita O'Day
Meets The Rhythm Sections

Tracks

1 No Soap, No Hope Blues (Adler, Ross)  2:32
2 Speak Low (Weill, Nash)  2:34
3 The Lady is a Tramp (Rodgers, Hart)  2:38
4 A Strawberry Moon (Hilliard, Mysels)  3:06
5 The Gypsy in My Soul (Boland, Jaffe)  2:31
6 Just One of Those Things (Porter)  2:39
7 The Man I Love (Gershwin, Gershwin)  4:11
8 Frankie and Johnny (Cannon)  3:35
9 Anita’s Blues (O'Day)  3:24
10 I Cover the Waterfront (Green, Heyman)  3:44
11 I Didn’t Know What Time It Was (Rodgers, Hart)  3:41
12 Let’s Fall in Love (Arlen, Koehler)  2:24
13 You’re Getting to Be a Habit with Me (Warren, Dubin)  2:43
14 From This Moment On (Porter)  3:10
15 You Don’t Know What Love Is (DePaul, Raye)  2:55
16 Medley  3:13
a. There Will Never Be Another You (Warren, Gordon) 
b. Just Friends (Klenner, Lewis) 
17 Who Cares ? (Gershwin, Gershwin)  3:14
18 Fine and Dandy (Swift, James)  2:25
19 As Long As I Live (Arlen, Koehler)  3:39
20 Beautiful Love (Young, Alstyne, Gillespie, King)  2:37
21 Don’t Be That Way (Sampson, Parish)  2:32
22 Let’s Face the Music and Dance (Berlin)  3:15
23 Pick Yourself Up (Kern, Fields)  3:04
24 I Used to Be Color Blind (Berlin)  3:08




Personnel
[# 1-4] from the Norgran LP Anita Sings Jazz (MGN-1049)
Roy Kral - p
Earl Backus - g
Johnny Frigo - b
Red Lionberg - dr
Jimmy Wilson - bng
Recorded in Chicago ; July, 1952
[# 5-8] From the Norgran LP An Evening with Anita O'Day (MGN-1057)
Arnold Ross - p
Barney Kessel - g
Monty Budwig - b
Jackie Mills - dr
Recorded in Hollywood ; April 15, 1954
[# 9-12] From the Norgran LP An Evening with Anita O'Day (MGN-1057)
Bud Lavin - p
Monty Budwig - b
John Poole - dr
Recorded in Hollywood ; June 28, 1954
[# 13-16] From the Norgran LP An Evening with Anita O'Day (MGN-1057)
Jimmy Rowles - p
Tal Farlow - g
Leroy Vinnegar - b
Larry Bunker - dr
Recorded in Hollywood ; August 11, 1955
[# 17-20] From the Verve LP Anita (MGV-2000)
Paul Smith - p
Barney Kessel - g
Joe Mondragon - b
Alvin Stoller - dr
Recorded in Hollywood, Capitol Studios ; December 8, 1955
[# 21-24] From the Verve LP Pick Yourself Up (MGV-2043)
Same as above, except
Larry Bunker - vb, is added
Recorded in Hollywood ; December 18, 1956

________
A combination of three sessions with three different small backing groups [on A Evening with Anita O'Day, # 5-16 ] -- this is an early revealing example of Anita O'Day's growth as a jazz artist since her days as a big band thrush. Her virtuosity at fast tempos is right on the dot, and she is fearlessly willing to take wide-open liberties with the melodies. The tune of "The Man I Love," and for instance, is completely taken apart and personalized; you wouldn't even recognize it were it not for the words. O'Day also shows us her vulnerable side in a remarkable on-the-edge performance of "You Don't Know What Love Is," and she gives listeners a rare taste of her songwriting in "Anita's Blues." Barney Kessel and Tal Farlow sit in on guitar on four tracks apiece; the other four are with piano trio. Low-key, modestly produced, this is best heard as directed -- in the evening.
Richard S. Ginell

Source : http://www.allmusic.com/album/an-evening-with-anita-oday-mw0000870792

Anita O'Day - Cool Heat

This release presents the complete original album Cool Heat, which showcases the superlative Anita O'Day singing tailor-made arrangements by Jimmy Giuffre. She is backed by a variety of all-star combos featuring Frank Rosolino, Art Pepper, Conte Candoli, Jack Sheldon, Jim Hall, and of course, Giuffre himself.
As a bonus, the complete album Anita O'Day Swings Cole Porter, recorded that same week, as well as the only track featuring O'Day from the soundtrack of the film "The Gene Krupa Story".

Source : http://www.jazzmessengers.com/en/7196/anita-o-day/cool-heat-sings-jimmy-giuffre-arrangements

Anita O'Day
Cool Heat
Anita O'Day Sings
Jimmy Giuffre
Arrangements

Tracks

1 Mack The Knife (Weill, Brecht)  3:10
2 Easy Come, Easy Go (Green, Heyman)  3:14
3 Orphan Annie (trad.)  2:03
4 You're A Clown (Albany)  2:33
5 Gone With The Wind (Wrubel, Magidson)  2:27
6 Hooray For Hollywood (Mercer, Whiting)  2:23
7 It Had Be You (Kahn, Jones)  3:15
8 Come Rain Or Come Shine (Mercer, Arlen)  2:17
9 Hershey Bar (Mendel)  2:07
10 A Lover is Blue (Mundy, Young, Carpenter)  3:02
11 My Heart Belongs To Daddy (Porter)  2:54
12 The Way You Look Tonight (Kern, Fields)  2:12
13 Just One Of Those Things (Porter)  2:09
14 Love For Sale (Porter)  2:45
15 You'd Be So Nice To Come Home To (Porter)  1:51
16 Easy To Love (Porter)  2:04
17 I Get A Kick Out Of You (Porter)  2:25
18 All Of You (Porter)  1:44
19 Get Out Of Town (Porter)  2:32
20 I've Got You Under My Skin (Porter)  1:49
21 Night and Day (Porter)  2:03
22 It's De-Lovely (Porter)  2:07
23 I Love You (Porter)  1:59
24 What Is This Thing Called Love ? (Porter)  2:33
25 Memories Of You (Blake, Razaf)  2:53


*

Personnel
[# 1-12] Cool Heat
[# 2, 4, 8 & 10]
Anita O'Day - vcl
Frank Rosolino - tb
Jimmy Giuffre - reeds & arr.
Alan Harding, Bud Shank - reeds
Jim Hall - g
George Morow - b
Mel Lewis - dr
Recorded in Los Angeles ; April 6, 1959
[# 1, 5, 9 & 11]
Anita O'Day - vcl
Frank Rosolino, Lester Robertson - tb
Art Pepper - as
Richie Kamuca - ts
Jimmy Giuffre - ts, bar & arr.
George Morrow - b
Mel Lewis - dr
Recorded in Los Angeles ; April 7, 1959
[# 3, 6-7 & 12]
Anita O'Day - vcl
Conte Candoli, Tomy Reeves, Jack Sheldon - tp
Frank Rosolino, Lester Robert son, Gil Falco - tb
Jim Hall - g
George Morrow - b
Mel Lewis - dr
Jimmy Giuffre - arr.
Recorded in Los Angeles ; April 8, 1959
[# 13-24] Bonus album - Anita O'Day swings Cole Porter with Billy May
Big band conducted by Billy May featuring Mannie Klein, Conrad Gozzo, Ronnie Lang, George Morrow, Mel Lewis, Tommy Tedesco, etc., see the complete artwork for more details...
Recorded in Los Angeles ; April 2 & 9, 1959
[# 25] Bonus track - From the soundtrack of the film The Gene Krupa Story.
Anita O'Day - vcl
Benny Carter - as
Eddie Miller - ts
Red Nichols - crnt
Moe Schneider - tb
Heinie Beau - cl & arr.
Barney Kessel - g
Jess Stacy - p
Morty Corb - b
Gene Krupa - dr
Recorded in Los Angeles ; December 23, 1959

Georges Arvanitas - 3 A.m. + Cocktail For Three

Georges Arvanitas, who died in 2005, was one of Europe's finest jazz pianists. He was tempted away briefly to the US, but soon returned to his beloved Paris, complaining of "too much travelling and not enough money". Thereafter, Americans came to him. The two sessions on this CD, recorded in late-50s Paris, find him accompanied by two of the world's finest bass-and-drums teams – Doug Watkins and Art Taylor on the first and Gene Taylor and Louis Hayes on the second. The style is fluent, immaculate late bebop, the performances world class.
Dave Gelly, The Observer, Sunday 8 August 2010 

Source : http://www.theguardian.com/music/2010/aug/08/arvanitas-3am-review

Georges Arvanitas
3 A.m.
Cocktail For Three
(2 Lps on 1 Cd)

Tracks

1 Three A.M. (Arvanitas)  8:19
2 A Night In Tunisia (Gilespie, Paparelli)  5:50
3 Celia (Powell)  4:47
4 Softly As In A Morning Sunrise (Romberg, Hammerstein)  5:05
5 Our Delight (Dameron)  2:38
6 What’s New ? (Burke, Haggart)  6:48
7 T.W.A. Blues (Taylor, Watkins, Arvanitas)  4:59
8 Cocktail For Three (Arvanitas)  5:10
9 Everything Happens To Me (Adair, Dennis)  6:36
10 Algo Bueno (Gillespie)  6:04
11 Airegin (Rollins)  4:12
12 Mean To Me (Turk, Ahlert)  4:48
13 Tune Up (Davis)  2:37
14 Bluesy Blues (Taylor, HayesArvanitas,)  8:06


*

Personnel
[# 1-7] 3 A. M. (Pretoria 30J 3000)
Georges Arvanitas - p
Doug Watkins - b
Art Taylor - dr
Recorded in Paris ; September 10, 1958
[# 8-14] Cocktail for Three (Pretoria 30J 3003)
Georges Arvanitas - p
Gene Taylor - b
Louis Hayes - dr
Recorded in Paris ; March 4, 1959

________
This CD edition contains the two complete long unavailable trio albums recorded by the legendary French pianist Georges Arvanitas for the Pretoria label. He is accompanied on both LPs by well-known American guest artists.
Highly influenced by the music of Bud Powell, these were among Arvanitas' earliest albums as a leader. Both albums were very well received in its time. 3 a.m. won the Prix Django Reinhardt and the Prix Jazz Hot, while Cocktail for Three won the Prix Jazz Hot and the Prix de l'International Jazz Club.

Source : http://www.freshsoundrecords.com/3_a.m._+_cocktail_for_three_2_lps_on_1_cd-cd-6035.html

Sunday, September 14, 2014

Mark Elf - Dream Steppin'

On Dream Steppin’, Mark Elf’s eighth release for his Jen Bay label, the first thing you notice is the guitarist’s distinctive sound. The tone is full, rounded, and each note rings hard and true. While encompassing the somewhat polite quality of traditional jazz guitar, his sound nonetheless looms large, almost getting in your face without veering off into the sonic territory normally associated with Rock and R & B-influenced music. On the other hand, there’s nothing imprudent about Elf’s playing. Even at fast tempos everything is in its proper place. The neat, thoughtful development of his turns is a pleasant contrast to the legions of plectrists who sacrifice form in favor of facile visceral impact. Although the record mostly features his able original material (“Griff’s Riff,” “Rhymin’ For Simon,” and “Pregnant Chad Blues” are particularly catchy), Elf also displays affection for the melodies of a few standards. For example, while executing Irving Berlin’s “Cheek To Cheek,” he evokes the romantic dance of the tune’s lyrics by cleverly integrating single notes and chords.
Excepting two solo guitar cuts (one is an ornate treatment of the patriotic song “America”), Elf works with bassist Neal Miner and drummer Lewis Nash, and overdubs light, skeletal rhythm guitar parts that subtly broaden the trio’s overall sound. Although the impression made by their respective instruments is not as forceful or assertive as the guitarist’s, Miner and Nash are ideal partners — so good, in fact, that it’s difficult to imagine the record without them. The bassist has a nice, full, woody intonation, and interesting things to say as a soloist on “Loved Again,” and “Blues To The Left.” Nash is a master of percussive textures and rhythmic nuance. Without making a big deal of it, he effectively utilizes a stick in one hand and brush in the other during portions of the title track and “Ballad 2000,” and skillfully integrates his bass drum to accent portions of Elf’s statement of the melody on “Loved Again.”
David A. Oothmann

Source : http://www.allaboutjazz.com/dream-steppin-mark-elf-jen-bay-records-review-by-david-a-orthmann.php

Mark Elf
Dream Steppin'

Tracks

1 Dream Steppin' (Elf)  3:20
2 Too Marvelous For Words ()  4:38
3 Loved Again (Elf)  4:44
4 Griff's Riff (Elf)  6:19
5 Oye DNA (Elf)  4:53
6 Ballad 2000 (Elf)  7:21
7 Rhymin' For Simon (Elf)  4:32
8 Blues To The Left (Elf)  3:55
9 America (public domain)  3:34
10 Cheek To Cheek (Berlin)  5:37
11 Pregnant Chad Blue (Elf)  4:35
12 Have You Met Miss Jones ? (Rodgers, Hart)  4:38
13 Pregnant Chad Blues [alt.take] (Elf)  1:25

*

Personnel
Mark Elf - g
Neal Miner - b
Lewis Nash - dr

Recorded at Acoustic Sound Recording [Trio], New York ; November 20 & 21, 2001 ; & Sound on Sound Studio [Solo] ; December 18, 2000