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Ray Bryant - Live at Basin Street

Ray Bryant's second album for Sue was the one of two releases taped during an engagement at Basin Street East in New York City in 1964. The pianist is joined by bassist Jimmy Rowser and drummer Ben Riley (neither of whom is credited on the album jacket). This LP concentrates primarily on standards, although one pop song of the period (Bob Dylan's "Blowin' in the Wind") is thrown in, along with a pair of Bryant's originals. The piano is in decent shape, though Bryant is fairly conservative in his approach to most of the tunes, resulting in a somewhat uninspired treatment of "C Jam Blues" and a funky but lackluster "Love for Sale." One of his more unusual choices is organist Wild Bill Davis' "Blues Azure" (also known as "Azure Te," as it was titled when Duke Ellington performed it between 1969 and 1971 with its composer in his orchestra). The audience, for the most part, seems more interested in talking among themselves than realizing they are witnessing the making of a live recording. Long unavailable following the demise of the label, this music was reissued on CD by Collectables in 1996.

Ken Dryden

Source : http://www.allmusic.com/album/live-at-basin-street-mw0000090434

Ray Bryant

Live at Basin Street

Tracks

1 What Is This Thing Called Love ? (Porter)  3:40

2 C Jam Blues (Bigard, Ellington)  3:30

3 Sister Suzie (Bryant)  4:36

4 This Is All I Ask (Jenkins)  2:28

5 Love for Sale (Porter)  4:26

6 Blowin' in the Wind (Dylan)  4:15

7 Satin Doll (Ellington, Mercer , Strayhorn)  4:40

8 Days of Wine and Roses (Mancini, Mercer)  4:07

9 Blue Azurte (Bryant)  2:20

10 All the Young Ladies (Bryant)  3:17

Personnel
Ray Bryant - p
Jimmy Rowser - b
Ben Riley - dr

Recorded at Basin Street East, New York City ; 1964

Joe Pass & J. J. Johnson

Few would argue with the statement that there is not an excess of guitar-trombone duet albums. In fact, in terms of instrumentation, this date may very well be somewhat unique in jazz history. Trombonist J.J. Johnson had already been the pacesetter on his instrument for nearly 40 years at the time, while guitarist Joe Pass proved in the 1970s that he could make his axe fulfill all the roles of an orchestra. Still, the strong success of this inspired outing is a bit of a surprise. While Pass often adds walking lines behind Johnson, the trombonist sometimes plays long tones behind the guitarist's solos. Most exciting are the spots where the two share the lead equally. Other than Bud Powell's "Bud's Blues" and Johnson's "Naked as a Jaybird," the duo sticks to standards. But obviously, these versions sound quite a bit different than usual. Highlights include "Wave," "Limehouse Blues," "Nature Boy," and "When Lights Are Low." Highly recommended.

Scott Yanow

Source : http://www.allmusic.com/album/well-be-together-again-mw0000267680

Joe Pass
J.J. Johnson

We'll Be Together Again

Tracks

1 Wave (Jobim) 3:32

2 We'll Be Together Again (Fischer, Laine) 4:19

3 Naked as a Jaybird (Johnson) 5:00

4 Blue Bossa (Dorham) 4:05

5 Limehouse Blues (Braham, Furber) 5:43

6 How Long Has This Been Going On ? (Gershwin, Gershwin) 5:25

7 Bud's Blues (Powell) 4:20

8 Nature Boy (Ahbez) 2:30

9 Solar (Davis) 4:17

10 When Lights Are Low (Carter, Williams) 5:07

Personnel
Joe Pass - g

J. J. Johnson - tb

Recorded at Group IV Recording Studios, Hollywood ; October 26, 1983.

Django Reinhardt 1940 (2)-1942 - Intégrale, vol. 11

When Django's opening bars of this eleventh volume sounded in late 1940, Marie-Jacques Perrier had left the capital for the provinces, and thus avoided direct contact with occupied radio stations. As it happened, few stations had resumed their broadcasting activities after the events of spring 1940 and the recording studios had largely reduced their workload despite the musical surge at the end of the year. Paradocically enough, during the first couple of occupied years, France emphasied the promotion of its cultural and artistic patrimony and a general nationalistic 'back to the earth' feeling was maintained. As far as music was concerned (and this was with German consent) both old and new works were issued or recycled. One of the most enterprising projects was the first unabridged recording of Debussy's 1904 Pelléas et Mélisande. However, the modified regime naturally entailed a different approach in producing popular music of quality. The Germans first consented to an 'original' form of European jazz as long as it was distinguishable from the American model but then in 1942 eveything changed, including jazz, and the promotion of all French music was brought back into perspective...

Adapted by Laure WRIGHT from the French text of Daniel NEVERS

© FRÉMEAUX & ASSOCIÉS S.A., 1999

Django Reinhardt

Swing 42
The complete Django Reinhardt, vol. 11
(1940-1942)

Cd. 1

TRIO DE SAXOPHONES ALIX COMBELLE
(1940)
1. Cascades (Combelle) 2’51
2. Reflets (Combelle) 2’47
3. Onze heures vingt (Combelle) 3’18
4. Sur les bords de l’Alamo (Jones) 3’12

PIERRE ALLIER ET SON ORCHESTRE
(1940)
5. Les Yeux noirs (Trad.) 2’56
6. Begin the Beguine (Porter) 2’28
7. Swinging the Blues Basie) 2’11
8. Petite Lili (Allier) 3’25
9. Ninouche (Allier) 3’23

FESTIVAL SWING
(1940)
10. Festival swing (Combelle) 4’11

DJANGO’S MUSIC
(1940)
11. Stockholm (Reinhardt) 3’12

CHARLES TRÉNET & LE QUINTETTE DU H.C.F.
(1941)
12. La Cigale et la Fourmi (Trénet, La Fontaine) 2’20

ANDRÉ EKYAN - SOLO DE SAXOPHONE
(1941)
13. Hungaria (Trad.) 2’27
14. Out of Nowhere (de nulle part) (Green) 3’00

DJANGO REINHARDT & LE QUINTETTE DU H.C.F.
(1941)
15. Dinette (Akst) 2’50
16. Crépuscule (Reinhardt) 3’00
17. Swing 42 (Reinahrdt) 2’47

FESTIVAL SWING
(1941)
18. Festival Swing 1942 (part. I & II) (Combelle, Rostaing) 7’23

HUBERT ROSTAING ET SON ORCHESTRE
(1942)
19. Première idée d’Eddie (Rostaing, Barclay) 3’21

*

Cd. 2

DJANGO’S MUSIC
(1942)
1. Nymphéas (Reinahrdt) 4’13
2. Féerie (Reinahrdt) 3’43

DJANGO REINHARDT & LE QUINTETTE DU H.C.F.
(1942)
3. Belleville (version 1) (Reinahrdt) 2’31
4. Lentement, Mademoiselle (Reinahrdt) 3’17

DJANGO REINHARDT ET IVON DE BIE
(1942)
5. Vous et moi (Bosmans) 3’11
6. Distraction (De Bie) 2’58
7. Blues en mineur (Reinhardt) 2’50
8. Studio 24 (Engelen) 3’01

DJANGO REINHARDT AV-W/. FUD CANDRIX ET SON ORCHESTRE
(1942)
9. Place de Brouckère (Reinhardt) 2’50
10. Seul ce soir (Durand) 2’51
11. Mixture (Candrix) 2’36
12. Bei dir war es immer so schön (Mackeben) 3’04

DJANGO REINHARDT, STAN BRENDERS ET SON GRAND ORCHESTRE
(1942)
13. Divine biguine (Begin the Beguine) (Porter) 2’54
14. Nuages (Reinhardt) 4’06
15. Djangologie (Reinhardt) 3’02
16. Éclats de cuivre (Brenders) 2’59
17. Django Rag (Reinhardt, Brenders) 2’34
18. Dynamisme (Saguet) 2’43
19. Tons d’ébène (Demany) 2’52
20. Chez moi à six heures (Van Hecke) 2’42

Personnel

Feat. Django Reinhardt, Hubert Rostaing, Alix Combelle, Joseph Reinhardt, Antonio "Tony" Rovira, Pierre Fouad, Christian Wagner, Noël Chiboust, Charles Trénet, Eugène Vées, Emmanuel Soudieux, Guy Paquinet, Armand Molinetti, Gus Viseur, André Lluis, Maurice Speilleux, Jerry Mengo, Michel Warlop, Aimé Barelli, Eddie Barclay, André Jourdan, etc.

Recorded between December 18, 1940 & May 8, 1942 

(See the complete artwork for all details)

Gerry Mulligan & Johnny Mandel - I Want to Live

Baritonist Gerry Mulligan and a group of West Coast all-stars were heard throughout the soundtrack of the Susan Hayward movie I Want to Live. Although not a soundtrack, this LP features six themes from the movie (all composed by Johnny Mandel) performed by the same musicians, who this time around get an opportunity to really stretch out. Since the band is comprised of Mulligan, trumpeter Art Farmer, altoist Bud Shank, trombonist Frank Rossolino, pianist Pete Jolly, bassist Red Mitchell and drummer Shelly Manne, virtually all of the music is quite interesting with plenty of fine solos and hard-swinging

Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3xfrxqegld0e

Gerry Mulligan
I Want to Live
(The Jazz Combo)

Tracks

1 Black Nightgown 3:33
2 Theme From "I Want to Live !" 6:53
3 Night Watch 3:54
4 Frisco Club 4:42
5 Barbara's Theme 4:38
6 Life's A Funny Thing 5:12
7 Bread and Wine* 4:11
8 Things are Looking Down* 5:37
9 Raising Caen* 3:04

*Bonus tracks
From the soundtrack of the film
The Subterraneans 
All compositions by Johnny Mandel
(Except 7-9 by André Previn)

Johnny Mandel's
Great Jazz Score
I Want to Live
(The Film Soundtrack)

Tracks

10 Main Title 1:21
12 Poker Game 1:36
13 San Diego Party 4:08
14 Henry Leaves 1:39
15 Stakeout 4:01
16 Barbara Surrenders 2:05
16 Trio Convicted 1:11
17 Trip to Corona 1:28
18 Peg's Visit 2:36
19 Gas Chamber Unveiling 1:03
20 Nightmare Sequence 1:08
21 Preparations for Execution 2:50
22 Letter Writing Sequence 1:25
23 The Last Mile 1:48
24 Death Scene 1:04
25 End Title 0:56

All compositions by Johnny Mandel

Personnel

Feat. Gerry Mulligan, Art Farmer, Bud Shank, Russ Freeman, Frank Rosolino, Pete Jolly, Red Mitchell, Shelly Manne, Mel Lewis, Bob Enevoldsen, Buddy Clark, Art Pepper, etc...

Recorded in Los Angeles ; May 24, 1958 [# 1-6] ; Summer 1959 [# 7-9] ; and August 12 & 22, 1958 [# 10-25].

(See the complete artwork for all details)

________

Paralleling Henry Mancini's own late-'50s, West Coast jazz noir backdrop to the detective TV series Peter Gunn, Johnny Mandel's I Want to Live soundtrack works both as high-end mood music and swinging jazz. And while straight jazz workouts like "San Diego Party" are fine, the most intriguing cuts are those that seamlessly combine jazz, Latin percussion, and strains of Max Steiner's dramatically moody soundtracks; Mandel creates an especially provocative and calamitous mix of it on tracks like "Stakeout." And as far as murky ambience goes, he delivers some of the best (next to Mancini) with numbers like the subtly sinister "Preparations for Executions." Mandel further demonstrates his ease with a variety of forms on marriages of high and low art like the avant-garde classical and Las Vegas grind/lounge mix "Trio Convicted," the spookily claustrophobic "Gas Chamber Unveiling," and the into-the-light-of-day "Letter Writing Sequence." To help navigate the vast terrain, Mandel enlists a cadre of top West Coast players like trumpeter Jack Sheldon, trombonist Frank Rosolino, reed player Bill Holman, bassist Red Mitchell, and drummer Shelly Manne. And topping off Mandel's original score, Rykodisc has included Gerry Mulligan and Art Farmer's combo interpretations of a handful of Mandel's original themes from the movie (Mulligan and company appear in the movie's bar scenes). One of the best jazz-inspired soundtracks around.

Stephen Cook

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0jfyxqujldde

The Birth of the Cool, vol. 2

Taking its name from Davis’ legendary 1950 recording, this welcome, if belated, compilation scoops up all of the Capitol cuts from the early ’50s by two of the nonet’s most important disciples, Shorty Rogers and his Giants and the Gerry Mulligan Tentette.

Mulligan, one of the original members of Davis Nonet, played with Rogers years before in the Stan Kenton Orchestra, so collecting the threesome here is foot-stampingly apropos. They’re notable, too, in that the eight Mulligan tracks are the only ones recorded with a 10-piece he organized in 1952, with Chet Baker taking a brilliant turn on trumpet.

The album’s topper comes late, and doesn’t hang around for long: Miles Davis and the Metronome All-Stars only appear on the final two tracks. Davis is joined by a constellation of jazz greats, including Stan Getz on the tenor, George Shearing at piano, Max Roach on drums and Terry Gibbs on vibes.

Shearing’s “Local 802 Blues,” which closes the album, gets everybody in on the act, with a series of thrilling, paired-off solos.

That makes it more than a nice companion piece to the original “Birth of the Cool” masterpiece. The result, in fact, is a primer on the West Coast sound that’s wider and deeper in scope.

Now, some say Rogers’ group invented that jazz sub genre with the six songs collected here. (They also appeared in 1952 on a record called “Modern Sounds.”) But, again, these are all guys on loan from the Kenton band, and Davis’ record with producer Gil Evans came first — so I think they need to be part of the conversation, too.

Nick DeRiso

Source : http://somethingelsereviews.com/2008/02/27/gerry-mulligan-shorty-rogers-miles-davis-birth-of-the-cool-vol-2-1992/

Gerry Mulligan

Shorty Rogers

Miles Davis

The Birth of the Cool

Vol. 2

Tracks

1 Four Mothers (Giuffre) 2:51

2 Didi (Rogers) 2:29

3 Sam and The Lady (Rogers) 3:09

4 Popo (Rogers) 3:03

5 Over the Rainbow (Arlen, Harburg) 3:03

6 Apropos (Rogers) 2:40

7 Westwood Walk (Mulligan) 2:37

8 Simbah (Mulligan) 3:00

9 Walking Shoes (Mulligan) 3:39

10 Rocker (Mulligan) 2:30

11 A Ballad (Mulligan) 2:55

12 Taking a Chance on Love (Duke, LaTouche, Fetter) 2:52

13 Flash (Mulligan) 3:05

14 Ontet (Mulligan) 3:16

15 Ealy Spring (Burns) 2:47

16 Local 802 Blues (Shearing) 2:38

Personnel
[# 1-6]
Shorty Rogers - tp
Gene Englund - tb
Art Pepper - as
John Graas - fr hrn
Jimmy Giuffre - ts
Hampton Hawes - p
Don Bagley - b
Shelly Manne - dr
Recorded in Los Angeles ; October 8, 1951
[# 7, 9-11]
Chet Baker, Conte Candoli - tp
Gerry Mulligan - bs & p
Bob Enevoldsen - vb
John Graas - fr hrn
Ray Siegel - tb
Bud Shank - as
Don Davidson - bs
Joe Mondragon - b
Chico Hamilton - dr
Recorded in Los Angeles ; January 29, 1953
[# 8, 12 & 14]
Same as previous except Larry Bunker - dr
Recorded in Los Angeles ; January 31, 1953
[# 15 & 16]
Miles Davis - tp
Kai Winding - tb
John LaPorta - cl
Lee Konitz - as
Stan Getz - ts
Serge Chaloff - bs
George Shearing - p
Billy Bauer - g
Eddie Safranski - b
Max Roach - dr
Terry Gibbs - vb
Recorded in New York City ; January 23, 1951

Shorty Rogers & André Previn - Collaboration

For this slightly unusual cd, Shorty Rogers and Andre Previn split the arranging chores in a somewhat competitive fashion. Rogers arranges a standard and then that is followed by a Previn original based on the same chord structure. This procedure is followed until the halfway point of the date when they reverse roles. As performed by a nonet featuring Rogers' trumpet, Previn's piano, altoist Bud Shank, Bob Cooper on tenor, baritonist Jimmy Giuffre, trombonist Milt Bernhart and a rhythm section, the result is a dead heat with some fine swinging solos on tunes (and variations) of such songs as "It's DeLovely," "You Stepped Out Of A Dream" and "You Do Something To Me."

Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0xfpxqtgldae

Shorty Rogers 
André Previn
Collaboration

Tracks

1 It's Delovely** (Porter) 2:30
2 Porterhouse** (Previn) 2:49
3 Heat Wave (Berlin) 2:40
4 40 Below* (Previn) 2:44
5 You Stepped out of a Dream (Brown, Kahn) 2:28
6 Claudia* (Previn) 3:27
7 You Do Something to Me** (Porter) 3:09
8 Call for Cole** (Rogers) 2:20
9 Everything I've Got (Rogers, Hart) 3:38
10 Some Antics* (Rogers) 3:25
11 It Only Happens When I Dance with You (Berlin) 3:04
12 General Cluster* (Rogers) 3:00

*

Personnel
Shorty Rogers - tp
André Previn - p
Milt Bernhart - tb
Bud Shank - as & fl
Bob Cooper - ts & ob
Jimmy Giuffre - bs
Al Hendrickson or Jack Marshall** - g
Joe Mondragon or Curtis Counce* - b
Shelly Manne - dr

Recorded in Los Angeles ; March 30, 1954 [# 1, 5, 9 & 11] ; June 14, 1954 [# 4, 6, 10 & 12] ; September 14, 1954 [# 1, 2, 7 & 8]

Bill Evans & Jim Hall - Intermodulation

A duet recording between pianist Bill Evans and guitarist Jim Hall is one that should retain high expectations to match melodic and harmonic intimacies with brilliant spontaneous musicianship. Where this recording delivers that supposition is in the details and intricacy with which Evans and Hall work, guided by simple framings of standard songs made into personal statements that include no small amounts of innovation. Only two standards are included, and begin the program before the duo merges into some original material with some foraging off the beaten path, along with tender notions that should please anyone. If you hear the melody of the opener, "I've Got You Under My Skin," in your head, you'd never believe Evans and Hall could conceive of this reharmonized and essentially improvised take, full of interplay and invention. The classic waltz version of "My Man's Gone Now" is closer to a stock rendition, except that Evans wrings out every bit of somber emotion in a spontaneous manner. Hall's "All Across the City" -- by now a revered standard -- is heard here in an early version with languid, serene, and peaceful tones. Another similarly iconic standard is "Turn Out the Stars," mostly a solo piano work with Evans hinting at quotes of Dave Brubeck's "In Your Own Sweet Way." The most unusual choice is Joe Zawinul's "Angel Face," with a naturally delicate lead from Hall's guitar, while Claus Ogerman's "Jazz Samba" injects a bit of energy into this otherwise easygoing set, with Hall's basslines setting off some bright harmonic reinforcements. At only 32 and a half minutes, it's disappointing there are no bonus tracks and/or additional material for a CD-length reissue, but Intermodulation still remains a precious set of music from these two great modern jazz musicians.

Michael G. Nastos

Source : http://www.allmusic.com/album/intermodulation-mw0000651794

Bill Evans

Jim Hall

Intermodulation

Tracks

1 I've Got You Under My Skin (Porter)  3:25

2 My Man's Gone Now (Gershwin, Gershwin, Heyward)  6:47

3 Turn Out the Stars* (Evans, Lees)  7:36

4 Angel Face (Zawinul)  6:36

5 Jazz Samba (Ogerman)  3:10

6 All Across the City* (Hall)  4:51

Personnel
Jim Hall - g
Bill Evans - p

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; April 7* & May 10, 1966

A Portrait of Shorty Rogers

A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings.

Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:apfixqr5ldfe~T1

Shorty Rogers
A Portrait of Shorty

Tracks

1 Saturnian Sleigh Ride 3:48
2 Martians Lullaby 7:13
3 The Line Backer 4:11
4 Grand Slam 4:57
5 Play ! Boy 5:43
6 A Geophysical Ear 3:46
7 Red Dog Play 4:49
8 Bluezies 6:40

All Compositions by Shorty Rogers

Personnel

Featuring Shorty Rogers, Al Porcina, Conrad Gonzo, Don Fagerquist, Conte Candoli, Pete Candoli, Frank Rosolino, George Roberts, Herb Geller, Richie Kamuca, Pepper Adams, Lou Levy, Stan Levey, etc...

Recorded in Los Angeles ; between July 15 & August 11, 1957

Booker Little

Trumpeter Booker Little's second session as a leader (there would only be four) is a quartet outing (with either Wynton Kelly or Tommy Flanagan on piano, bassist Scott LaFaro and drummer Roy Haynes) that puts the emphasis on relaxed tempoes. Little's immediately recognizable melancholy sound and lyrical style are heard in top form on "Who Can I Turn To" and five of his originals, some of which deserve to be revived. His jazz waltz "The Grand Valse" (inspired by Sonny Rollins' "Valse Hot") is a highpoint of this set which has been reissued by Bainbridge/Time on CD.

Scott Yanow

Source : http://www.allmusic.com/album/booker-little-mw0000313900

 

Booker Little

Booker Little

Tracks

1 Opening Statement (Little) 6:42
2 Minor Sweet (Little) 5:38
3 Bee Tee's Minor Plea (Little) 5:40
4 Life's a Little Blue (Little) 6:53
5 Grand Valse (Little) 4:57
6 Who Can I Turn To (When Nobody Needs Me) (Bricusse, Newley) 5:25

Personnel

Booker Little - tp

Wynton Kelly - p [# 3 & 4]

Tommy Flanagan - p [# 1, 2, 5 & 6]

Scott LaFaro - b

Roy Haynes - dr

Recorded April 13 & 15,1960

Jim Hall - All Across the City

Jim Hall's successful blend of contemporary and mainstream jazz should appeal to both camps on this well-crafted CD. Hall displays the subtle quiet lyricism that makes his guitar sound instantly identifiable. Gil Goldstein is a perfect choice on keyboards, because he uses synthesizer only to color rather than overpower a song, while avoiding schmaltz. Both "Beja-Flor" and the title track benefit from his contributions. Though his piano is frequently in the background, it matches Hall's hushed, effective guitar lines. Bassist Steve LaSpina and drummer Terry Clarke frequently lay out during the introductions and then enter to add either gentle shadings or full steam, if needed. One of Jim Hall's best CDs.

Ken Dryden

Source : http://www.allmusic.com/album/all-across-the-city-r157731

Jim Hall
All Across the City

Tracks

1. Beija-Flor (Cavaquinho, Silva, Tomaz) 6:32
2. Bemsha Swing (Monk, Best) 5:13
3. Prelude to a Kiss (Ellington, Gordon, Mills) 4:51
4. Young One (For Debra) (Hall) 4:27
5. R.E.M. State (Goldstein) 5:34
6. Jane (Hall) 4:59
7. All Across the City (Hall) 5:32
8. Drop Shot (Hall) 5:33
9. How Deep Is the Ocean ? (Berlin) 3:29
10. Something Tells Me (Jane Hall) 5:00
11. Big Blues (Hall) 6:25

Personnel
Jim Hall - g
Gil Goldstein - p
Steve LaSpina - b
Terry Clarke - dr

Recorded at Penny Lane Studios New York City ; May 1989

Barney Kessel - Jellybeans

On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings.

Scott Yanow

Source : http://www.allmusic.com/album/jellybeans-mw0000648205

Barney Kessel

Jellybeans

Tracks

1 Jellybeans (Kessel) 4:08
2 Stella by Starlight (Washington, Young) 5:46
3 Mermaid (Kessel) 4:27
4 My Foolish Heart (Washington, Young) 4:34
5 Juarez After Dark (Kessel) 4:26
6 I've Never Been in Love Before (Loesser) 5:19
7 St. Thomas (Rollins) 4:45
8 Shiny Stockings (Foster) 5:14

Personnel
Barney Kessel - g
Bob Maize - b
Jimmie Smith - dr
Recorded at Coast Recorders Inc., San Francisco, California ; April 1981

Joe Diorio - A Tribute to Wes Montgomery

Guitarist Diorio knew Wes Montgomery and presents this tribute to his hero, but very little here sounds distinctly like Montgomery. It's all the brilliant leader in a variety of mostly trio settings, but duos and solos alternate on these twelve tracks. Bassist Steve LaSpina and drummer Steve Bagby are both underrated jazz men like Diorio, but together the three mesh well, and on the non-trio tracks prove they have something to say on their own. As a triad on half the cuts, they easily swing the title cut, but Diorio pops off some impressive single improvised extrapolations off the straight melody. "Invitation" is outstanding as churning brushes and ostinato bass set up the guitarists galloping interpretations with Spanish inquisitions. The long ballad "In a Sentimental Mood" is fairly typical if not for the elongated notion, "Estate" simmers in bossa-based languidity, while "Lament" is a laid-back swing ballad, and the original "Monk-ing" clearly reflects Thelonious Monk's angular, up, down, and sideways approach as evoked by the witty Diorio. Inserted on every other tune are beautiful, patient guitar solos ("Reflections of Wes"), loose and free drum solos ("It's Rudimentary, Watson!"), or call and response guitar/drum duets ("More or Less"). LaSpina gets lots of solo space on the trio cuts, but he stands alone on the slow, contemplative "While You're Away" while chatting with Bagby on the counterpointed "The Two Faces of Steve." The finale is a spirited, boppish guitar/bass tandem on "Guess What?" Diorio's unusual harmonic approach is prevalent throughout, but listen closely to LaSpina on this disc. They have a thing going on that supersedes the specter of Montgomery.

Michael G. Nastos 

Source : http://www.allmusic.com/album/i-remember-you-a-tribute-to-wes-montgomery-mw0000049936

Joe Diorio

I Remember You
A Tribute to Wes Montgomery

Tracks

1 I Remember You (Mercer, Schertzinger) 7:57

2 Reflections of Wes (Diorio) 2:23

3 Invitation (Kaper, Webster) 6:31

4 It's Rudimentary, Watson! (Bagby) 2:27

5 In a Sentimental Mood (Ellington, Kurtz, Mills) 9:51

6 More or Less (Diorio) 4:17

7 Monking (Diorio) 6:16

8 When You're Away (LaSpina) 3:39

9 Estaté (Brighetti, Martino 5:34

10 The Two Faces of Steve Bagby, (Diorio, LaSpina) 2:57

11 Lament (Johnson) 4:45

12 Guess What! (Bagby, Diorio) 6:11

Personnel

Joe Diorio - g
Steve LaSpina - b
Steve Bagby - dr

Digitally recorded and mixed at MM Recording Lab (Italy) ; March 2 & 3, 1994

Phineas Newborn, Jr. - The Newborn Touch

This CD reissue adds an alternate take and an unissued selection to the original program. Pianist Phineas Newborn's only recording of the 1963-1968 period, the trio outing with bassist Leroy Vinnegar and drummer Frank Butler, finds Newborn's virtuosic style unchanged from the late '50s. As is usual on his Contemporary recordings, the pianist explores superior jazz compositions, in this case interpreting a song apiece by Benny Carter, Russ Freeman, Hampton Hawes, Art Pepper, Ornette Coleman ("The Blessing"), Carl Perkins, Frank Rosolino, Leroy Vinnegar, Jimmy Woods and Barney Kessel. Newborn's remarkable control of the piano was still unimpaired, and he is heard giving Oscar Peterson a run for his money. [Originally released in 1964, Newborn Touch was reissued on CD in 1994 and includes the bonus tracks "Good Lil' Man" and "Be Deedle Dee Do"; it was reissued again in 2006.]

Scott Yanow

Source : http://www.allmusic.com/album/the-newborn-touch-mw0000619972

Phineas Newborn, Jr.

The Newborn Touch

Tracks

1 A Walkin' Thing (Benny Carter)  4:37

2 Double Play (Freeman,  Jones)  3:59

3 The Sermon (Hawes)  2:40

4 Diane (Mingus, Pepper, Pollack, Rapee)  4:17

5 The Blessing (Coleman)  3:08

6 Grooveyard (Perkins)  3:07

7 Blue Daniel (Rosolino)  3:18

8 Hard to Find (Difford, Tilbrook, Vinnegar)  4:04

9 Pazmuerte (Woods)  3:30

10 Be Deedle Dee Do (Kessel)  4:04

11 Good Lil' Man (Jenkins)  3:10

12 Be Deedle Dee Do [alt. take] (Kessel)  4:50

Personnel
Phineas Newborn, Jr. - p
Leroy Vinnegar - b
Frank Butler - dr

Recorded at Contemporary Records' Studio, Los Angeles ; April 1, 1964

Chico Hamilton - El Chico & Futher Adventures

In 1965, Japanese altoist Sadao Watanabe was Chico Hamilton's regular reed player, and it is for his playing (fairly early in his career) that this LP is most notable. Also heard from is guitarist Gabor Szabo (winding up a long period with Hamilton), bassist Al Stinson, guest trombonist Jimmy Cheatham (on three of the eight songs), and the Latin percussion of Willie Bobo and Victor Pantoja. The band plays a couple of movie themes (including "People"), three Hamilton originals, a group improvisation, and two obscurities. The influences of Latin jazz, bossa nova, and the avant-garde are mixed into the unusual musical blend.
Scott Yanow

Source : http://www.allmusic.com/album/el-chico-r140049

Chico Hamilton
El Chico
&
Futher Adventures of El Chico
(1965-1966)
 
Tracks

1 El Chico (Hamilton) 3:46
2 People (Merrill, Styne) 6:07
3 Marcheta (Schertzinger) 4:02
4 This Dream (Bricusse, Newley) 3:12
5 Conquistadores (Bobo, Hamilton, Stinson, Szabo, Thiele) 6:40
6 El Moors (Hamilton) 5:25
7 Strange (Latouche, Fisher) 4:48
8 Helena (Hamilton) 4:19
9 Got My Mojo Working (But I Just Won't Work on You) (Foster, Waters) 3:07
10 Who Can I Turn To (When Nobody Needs Me) (Bricusse, Newley) 3:39
11 That Boy With Long Hair (Hamilton) 4:14 12 Day Dream (Sebastian) 2:14
13 The Shadow of Your Smile (Mandel, Webster) 3:17
14 Evil Eye (Szabo) 3:19
15 Monday, Monday (Phillips) 2:26
16 Manila (Hamilton) 4:51
17 My Romance (Hart, Rodgers) 2:53
18 Stella by Starlight (Washington, Young) 4:58

*

Personnel

[# 1-8]
Chico Hamilton - dr
Jimmy Cheatham - tb [# 3, 6 & 7]
Sadao Watanabe - as & fl
Gabor Szabo - g
Al Stinson - b
Victor Pantoja & Willie Bobo - lat perc

Recorded in New York City ; August 26 [# 3 & 7] & August 27 [other selections], 1965

[# 9-18]

Chico Hamilton - dr
Clark Terry - tp [# 9, 11, 12 & 15]
Jimmy Cheatham - tb [# 9, 11, 12 & 15]
Charlie Mariano - as
Jerome Richardson - fl & alt fl
Danny Bank - pic [# 9, 11, 12 & 15]
Gabor Szabo - g
Richard Davis - b [# 9, 11, 12 & 15]
Ron Carter - b [other selections]
Victor Pantoja & Willie Bobo - lat perc

Recorded at Englewood Cliffs, New Jersey ; May 2 [# 10, 13, 14, 16-18] & May 5 [# 9, 11, 12 & 15], 1966

Do it Yourself ! Duke Jordan

Although he had a long career, Duke Jordan will always be best known for being pianist with Charlie Parker's classic 1947 quintet. A little earlier, he worked with the Savoy Sultans, Coleman Hawkins, and the Roy Eldridge big band (1946). After his year with Parker (his piano introductions to such songs as "Embraceable You" were classic), Jordan worked with the Sonny Stitt/Gene Ammons quintet (1950-1951) and Stan Getz (1949 and 1952-1953). He started recording as a leader in 1954, debuting his most famous composition, "Jor-Du," the following year. Although he worked steadily during the next few decades (writing part of the soundtrack for the French film Les Liaisons Dangereuses), Jordan was in obscurity until he began recording on a regular basis for Steeplechase in 1973. Duke Jordan, who was married for a time to the talented jazz singer Sheila Jordan, lived in Denmark from 1978 until his death on August 8, 2006. He recorded through the years for Prestige, Savoy, Blue Note, Charlie Parker Records, Muse, Spotlite, and Steeplechase.

Scott Yanow

Source : http://www.allmusic.com/artist/duke-jordan-p6858/biography

Duke Jordan
Do It Yourself Jazz

Tracks

1 Sometimes I'm Happy (Caesar, Grey, Youmans) 5:55
2 Embraceable You (Gershwin, Gershwin) 7:30
3 Jordu (Jordan) 4:57
4 Oh Yeah (Jordan) 4:31
5 Pennies from Heaven (Burke, Johnston) 7:14
6 Yesterdays (Harbach, Kern) 7:51
7 It's Only a Paper Moon (Arlen, Harburg, Rose) 5:20
8 You'd Be So Nice to Come Home To (Porter) 5:28

Personnel
[# 1-4]
Duke Jordan - p
Gigi Gryce - as
Oscar Pettiford - b
Kenny Clarke - dr

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey ; March 7, 1955

[# 5-8]
Hall Overton - p
Phil Woods - as
Teddy Kotick - b
Nick Stabulas - dr

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey ; February 8, 1955

See also
http://www.jazzdisco.org/savoy-records/discography-1955/

Chico Hamilton (feat. Larry Coryell)

Drummer Chico Hamilton introduced many top young players during his years as a bandleader, but few probably realize that Larry Coryell made his recording debut with Chico a year before joining Gary Burton's quartet. This CD reissue brings back Coryell's initial appearance on record, and at times he sounded oddly like Chuck Berry (especially on "The Dealer"). Also heard on this set are altoist Arnie Lawrence, bassist Richard Davis, organist Ernie Hayes (on two numbers), and, on his spirited boogaloo "For Mods Only," Archie Shepp making a rare appearance on piano. Most of the performances still sound surprisingly fresh, especially the explorative "A Trip," making this an underrated but worthy release.

Scott Yanow

Source : http://www.allmusic.com/album/the-dealer-mw0000208016

Chico Hamilton

The Dealer

  Tracks

1 The Dealer (Cheatham, Hamilton) 6:21
2 For Mods Only (Shepp) 4:25
3 A Trip (Cheatham, Hamilton) 6:35
4 Baby, You Know (Cheatham, Hamilton) 3:59
5 Larry of Arabia (Coryell) 5:09
6 Thoughts (Hamilton) 9:20
7 Jim-Jeannie (Hamilton) 5:48
8 Chic Chic Chico [*] (Albam) 2:49
9 Big Noise from Winnetka [*] (Bauduc, Crosby, Haggart, Rodin) 2:49
10 The Second Time Around [*] (Cahn, VanHeusen) 3:12
11 El Toro [*] (Hamilton, Lloyd, Szabo) 4:39

Personnel
[# 1-7]

Arnie Lawrence - ts [except on # 5]

Larry Coryell - g

Archie Shepp - p [# 2 only]

Ernie Hayes - org [# 4 & 5 only]

Richard Davis - b

Chico Hamilton - dr, perc & voc [# 1 & 4 only]

Recorded at RCA Recording Studio, New York City ; September 9, 1966.
[# 8-9]

Charles Lloyd - fl [# 8 only]

Jimmmy Woods - ts [# 8 only]

Gabor Szabo - g [# 8 only]

Albert Stinson - b & voc [# 9 only]

Chico Hamilton - dr

Willie Bobo - maracas & cowbells [# 8 & 9]

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey ; March 15, 1965.
[# 10 & 11]

Charles Lloyd - ts & fl [# 10 & 11]

George Bohanon - tb [# 10 only]

Gabor Szabo - g

Albert Stinson - b

Chico Hamilton - dr

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey ; September 18, 1962.

Phineas' Rainbow

Phineas Newborn, Jr.

Phineas' Rainbow

Tracks

1 Overtime (Newborn)  3:45

2 Angel Eyes (Brent, Dennis)  4:19

3 Come to Baby, Do ! (James, Miller, Miller)  4:09

4 Stairway to the Stars (Malneck, Parish, Signorelli)  5:22

5 Land's End (Land, Nyman)  5:21

6 Clarisse (Newborn)  4:37

7 She (She Means Everything to Me) (Shearing)  4:22

8 Tin Tin Deo (Fuller, Gillespie, Pozo)  4:20

9 Autumn in New York (Duke)  4:02

10 What Is This Thing Called Love ? (Porter)  6:09

Personnel
[# 2, 4, 7 & 9]
Phineas Newborn Jr. - p
Recorded in New York City ; October 16, 1956
[# 1, 6 & 10]
Phineas Newborn Jr. - p
Calvin Newborn - g
George Joyner - b
Philly Joe Jones - dr
Recorded in New York City ; October 19, 1956
[# 3, 5 & 8]
Same as above, except Philly Joe Jones is out
Recorded same place as above ; October 22, 1956

Howard Rumsey - Sunday Jazz a la Lighthouse, vol. 2

This 1998 OJC CD reissues a very elusive item, the first 10" LP released by Contemporary. The six selections by the Lighthouse All-Stars (actually their fourth recording and third for Contemporary) were recorded live at the Lighthouse. At the time, the band had quite a notable lineup (trumpeter Shorty Rogers, trombonist Milt Bernhart, both Jimmy Giuffre and Bob Cooper on tenors, pianist Russ Freeman, bassist Howard Rumsey, and drummer Shelly Manne). The recording quality is not as good as studio records of the era, but the musicians all play well; Teddy Edwards' "Sunset Eyes" is a highlight. Shortly after, Rogers and Manne would depart to lead their own bands and Giuffre would join Rogers. This CD concludes with three previously unreleased numbers from September 1953 (including a 12-minute version of "Four Others") that feature a mostly different version of the All-Stars : Rolf Ericson and Chet Baker, who were sitting in on trumpets ; altoist Bud Shank ; Cooper back on tenor ; an unidentified pianist ; leader/bassist Rumsey ; and drummer Max Roach. Collectors of West Coast jazz and completists will want this CD even if it falls short of being essential.

Scott Yanow

Source : http://www.allmusic.com/album/sunday-jazz-a-la-lighthouse-vol-2-mw0000036803

Howard Rumsey's

Lighthouse All-Stars

Sunday Jazz a la Lighthouse, vol. 2

Tracks

1 Luau (Rogers)  3:36

2 Comin' Thru the Rye Bread (Domain, Rogers)  6:10

3 Taking a Chance on Love (Duke, Fetter, Latouche)  3:57

4 The Big Top (Giuffre)  4:10

5 The Duke You Say ! (Giuffre)  3:42

6 Sunset Eyes (Edwards)  5:25

7 Glidin' Along (Giuffre)  5:37

8 Beau Boy (Rogers)  7:36

9 Four Others (Giuffre)  12:01

Personnel
[# 1-6]
Milt Bernhart - tb
Shorty Rogers - tp
Jimmy Giuffre, Bob Cooper - ts
Russ Freeman - p
Howard Rumsey - b
Shelly Manne - dr
[# 7-9]
Bob Cooper - ts
Rolf Ericson, Chet Baker - tp
Bud Shank - as
Lorraine Geller - p
Claude Williamson or Russ Freeman - p [# 8]
Howard Rumsey - b
Max Roach - dr

Recorded live at the Lighthouse, Hermosa Beach, California ; May 15, 1943 [# 1-6] ; & September 1953 [# 7-9]

Clark Terry - Top and Bottom Brass

This lesser-known Clark Terry session (reissued on CD in the OJC series) has an unusual lineup with the flugelhornist joined by Don Butterfield on tuba, pianist Jimmy Jones, bassist Sam Jones and drummer Art Taylor. Butterfield has nearly as much solo space as C.T. (and is given a prominent role in the ensembles) while Jimmy Jones's chordal solos are somewhat eccentric. Terry is in fine form on a variety of blues, originals and obscurities along with the interesting versions of "My Heart Belongs to Daddy" and "A Sunday Kind of Love" but the results overall are not all that significant.

Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fbfuxq8gldte

Clark Terry

Top and Bottom Brass

Tracks

1 Mili-Terry (Smith, Terry) 4:19

2 The Swinging Chemise (Ellington, Reddon) 6:58

3 My Heart Belongs to Daddy (Porter) 3:13

4 Blues for Etta (Grant, Terry) 7:22

5 Top 'N' Bottom (Terry) 4:51

6 "127" (Terry) 8:06

7 A Sunday Kind of Love (Belle, Leonard, Prima, Rhodes) 3:24

8 Mardi Gras Waltz (Terry) 4:03

Personnel

Clark Terry - tp & flgh

Don Buterfeld - tb

Jimmy Jones - p

Sam Jones - b

Arthur Taylor - dr

Recorded at Reeves Sound Studios, New York City ; February 24 & 26, 1959.