Friday, February 13, 2015

Monday, November 24, 2014

Herbie Mann - Four Classic Albums

AVID Jazz here presents four classic Herbie Mann albums including original LP liner notes on a finely re-mastered and low priced double CD. Herbie Mann With the Wessel Ilcken Trio ; Sultry Serenade ; Yardbird Suite and Mann in the Morning. Wessel Ilcken Trio. This hard to find and previously unavailable in the UK on CD album was one of Herbie's very early recordings made during a trip to Holland and featuring local musicians. The album finds Herbie joined by the late Wessel Ilcken on drums and two brothers Pim and Roud Jacobs on piano and bass respectively. Herbie himself switches between flute, tenor sax and clarinet. On Sultry Serenade the focus is not just the playing but also the arranging skills of Herbie Mann. As the original liner notes point out 'one of the notable features is the overall unity and internal musical consistency and purpose'. Here this is achieved with some fine musicians, Urbie Green on trombone, Jack Nimitz on baritone sax, Oscar Pettiford on bass, Joe Puma on guitar and Charlie Smith on drums. Yardbird Suite. Herbie is here joined by Phil Woods on alto sax, Eddie Costa on vibes, Joe Puma on guitar, Wendell Marshall on bass and Bobby Donaldson on drums for an essentially driving, rhythmically dynamic and ultimately very fine jazz album! 'Mann in the Morning', the second hard to find and previously unavailable in the UK on CD selection and our final album Mann in the Morning finds Herbie this time in Sweden where he restricts himself to just the flute and tenor sax duties playing alongside three basic groups of musicians. Recorded in 1957 this fine album is testament to the improvements in his playing that Herbie had made both on flute and sax ! All four albums have been digitally re-mastered. 

Source : https://www.jpc.de/jpcng/jazz/detail/-/art/Herbie-Mann-1930-2003-Four-Classic-Albums/hnum/2686288

Herbie Mann
Four Classic Albums

Tracks

Cd. 1

1 Lady Bach (Mann)  2:16
2 Little Girl (Hyde, Henry)  2:53
3 Imagination (Burke, VanHeusen)  2:49
4 Love is Here to Stay (Gershwin, Gershwin)  2:34
5 The Lady is a Tramp (Rodgers, Hart)  2:59
6 Dear old Stockholm (Getz)  2:47
7 Falling in Love with Love (Rodgers, Hart)  2:48
8 Summertime (Heyward, Gershwin)  4:23
9 Blues for Leila (Mann)  6:13
10 Lover Come back to Me (Hammerstein, Romberg)  3:29
11 Try a Little Tenderness (Campbell, Connelly, Woods)  2:39
12 Afro Blues (Mann)  2:14
13 Let me Tell You (Mann)  4:26
14 When the Sun Comes out (Koehler, Arlen)  4:56
15 Professor (Puma)  3:44
16 Lazy Bones (Mercer, Carmichael)  7:05
17 Sultry Serenade (Glenn)  5:01
18 Little Man you´ve Had a Busy Day (Sigler, Hoffman, Wayne)  5:11
19 One Morning in May (Carmichael)  4:03
20 Swing Till the Girls Come Home (Pettiford)  4:53

*


Cd. 2

1 Yardbird Suite (Parker)  5:55
2 Here´s that Mann (Costa, Plancmar)  4:25
3 One for Tubby (Puma, Crossroads)  6:08
4 Squire´s Parlor (Woods)  4:51
5 Who Knew (Puma, Planemar)  7:14
6 Opicana ((Puma, Crossroads)  5:28
7 Cherry Point (Hefti)  6:15
8 Hurry Burry (Mann)  3:24
9 Serenada (Anderson)  3:01
10 Adam´s Theme (Mann)  3:29
11 Early Morning Blues (Mann)  3:17
12 Nature Boy (Ahbez)  3:24
13 Ow ! (Glower, Millender)  6:14
14 Polka Dots and Moonbeams (Burke, VanHeusen)  3:48
15 I Can´t Believe that You´re in Love with Me (McHugh, Gaskill)  3:18
16 Song for Ruth (Mann)  4:35


*


Personnel
[Cd. 1, # 1-12] Herbie Mann With the Wessel Ilcken Trio
Herbie Mann - fl, ts & cl
Ado Broodman - tp
Pim Jacobs - p
Ruud Jacobs - b
Wessel Ilcken - dr
Recorded in Holland ; November 8, 1956
[Cd. 1, # 13-20] Sultry Serenade
SEXTET
Herbie Mann - fl, alt. fl & b cl
Jack Nimitz - b cl & bs
Urbie Green - tb
Joe Puma - g
Oscar Pettiford - b
Charlie Smith - dr
QUARTET*
Herbie Mann - fl & alt. fl
Joe Puma - g
Oscar Pettiford - b
Charlie Smith - dr
Recorded in New York City ; April 1 & 8, 1957
[Cd. 2, # 1-6] Yardbird Suite
Herbie Mann - fl & ts
Phil Woods - as
Eddie Costa - vb
Joe Puma - g
Wendell Marshall - b
Bobby Donaldson - dr
Recorded in New York City ; May 14, 1957
[Cd. 2, # 7-16] Mann in the Morning
*[# 7, 15 & 16] Octet
Herbie Mann - fl & ts [# 16]
Bengt-Arne Wallin - tp
Arne Domnerus - as
Rolf Blomqvist - ts
Lennart Jansson - bs
George Riedel - b
Egil Johansen - dr
*[# 8, 9-11 & 14] Quartet [# 10 & 14] & Quintet
Herbie Mann - fl & ts [# 10 & 14]
Knud Jorgensen - p [added # 10 & 14]
Ake Person - tb
George Riedel - b
Joe Harris - dr
*[# 12 & 13] Quintet
Herbie Mann - fl
Bengt-Arne Wallin - tp
Rune Ofwerman - p
George Riedel - b
Egil Johansen - dr
Recorded in Sweden ; October 10 & 12, 1956

Saturday, November 22, 2014

Sal Salvador - A Tribute To The Greats

The idea for this album came about between Bethlehem and myself around Dec. of 1956. Discussing doing a tribute to prominent jazz artists, I mentioned this to Nat Hentoff and he suggested that as long as there had been so many tributes paid to the early jazz musicians, it might be a good idea to feature the contemporaries. There was immediate agreement on this. I realized that this would be quite a task for just four of us and that the arrangements would have quite a lot to live up to. We thought George Roumanis as the arranger. He had played bass with the group at one time and had recently done quite a lot of writing for us. When he was approached with the idea, his feeling and enthusiasm for it made it a happy thing right from the start. The next decision was a real brainteaster. Who, of the many, many people that had done so much for this music of ours, would we pick ? Which ten ? In order to pay tribute to all the greats that I feel deserve it, I'd have to make quite a number of albums indeed ! The only fair thing to do was to pick them at random and try to complete the series later on. We tried to pick tunes that are associated with the "tributees". These were discussed with everyone involved, record company, arranger the guys in the group and myself. We did not try to copy the original arrangement, but just to retain some of the flavor. Now to present the tune...
Sal Salvador, original liner notes from the booklet

Sal Salvador
A Tribute To The Greats

Tracks

1 Artistry In Rhythm (Kenton)  3:10
2 Taps Miller (Basie, Russell)  4:09
3 Prelude To A Kiss (Ellington)  3:58
4 Walking Shoes (Mulligan)  3:54
5 Solos For Guitar (Roumanis)  3:27
6 Four Brothers (Giuffre, Herman)  3:24
7 In Your Own Sweet Way (Brubeck)  2:59
8 Ruby, My Dear (Monk)  3:25
9 Manteca (Gillespie)  2:55
10 Cool Eyes (Silver)  2:54
11 Yardbird Suite (Parker)  3:57

*

Personnel
Eddie Costa - p & vb
Sal Salvador - g
Sonny Dallas - b
Ronnie Free - dr

Recorded in New York City ; June 3-5, 1957

See also
http://www.jazzdisco.org/bethlehem-records/discography-1957/
&
http://www.jazdiskat.co.uk/57.htm

Wednesday, November 19, 2014

Jim Hall, Jimmy Raney & Bob Brookmeyer - Street Swingers

This edition presents Bob Brookmeyer’s complete album The Street Swingers, featuring him on both trombone and piano, backed by Jimmy Raney and Jim Hall.

*

As a bonus, the complete original LP, The Dual Role of Bob Brookmeyer, which was also recorded in a small group format and presents Raney again on guitar and Brookmeyer in the dual role of trombonist and pianist.

Source : http://www.freshsoundrecords.com/the_street_swingers_+_the_dual_role_of_bob_brookmeyer_2_lps_on_1_cd-cd-5291.html


Bob Brookmeyer 
Jim Hall
Jimmy Raney
The Street Swingers
The Dual Role of 

Tracks

1 Arrowhead (Hall)  7:03
2 Street Swingers (Brookmeyer)  6:22
3 Hot Buttered Noodling (Raney)  6:05
4 Musicale du Jour (Brookmeyer)  8:48
5 Raney Day (Hall)  5:25
6 Jupiter (Raney)  5:05
7 Rocky Scotch (Brookmeyer)  4:40
8 Under the Lilacs (Brookmeyer)  5:07
9 They Say It's Wonderful (Berlin)  5:49
10 Potrezebie (Raney)  4:49
11 Revelation (Mulligan)  5:46
12 Star Eyes (DePaul, Raye)  4:29
13 Nobody's Heart (Hart, Rodgers)  4:25
14 Loup-Garou (Charles)  4:38


*

Personnel
[# 1-6]
Bob Brookmeyer - tb
Jim Hall - g
Jimmy Raney - g
Bill Crow - b
Osie Johnson - dr
Recorded at Coastal Studios, New York City on December 13 & 16, 1957
[# 7-10]
Bob Brookmeyer - tb
Jimmy Raney - g
Teddy Kotick - b
Mel Lewis - dr
Recorded in Hackensack, New Jersey ; June 30, 1955
[# 11-14]
Bob Brookmeyer - tb
Teddy Charles - vb
Ed Shaughnessy - dr
Nancy Overton - vcl on [# 13] only
Recorded in New York City ; January 6, 1954
________
This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy ; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative.
Scott Yanow

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

Tuesday, November 18, 2014

Bud Powell - Blues in the Closet

In the bebop revolution of the 1940’s, as Charlie Parker was the leading voice of the alto saxophone, so was Bud Powell the leading voice of the piano. Recorded in 1956 (before his Paris sojourn), the long-unavailable Blues in the Closet features Powell’s lightning-fast runs and nimble keyboard navigations on a set of originals and well-chosen standards. He is accompanied by Osie Johnson, a solid mainstream drummer, and the dean of jazz bassists, Ray Brown. A must for Powell fans and bop devotees.

Source : http://www.allmusic.com/album/blues-in-the-closet-mw0000804298

Bud Powell
Blues in the Closet 

Tracks

1 When I Fall in Love (Heyman, Young)  1:42
2 My Hear Stood Still (Roders, Hart)  3:33
3 Blues in the Closet (Pettiford)  3:03
4 Swinging 'Til the Girls Come Home (Pettiford)  3:22
5 I Know That You Know (Caldwell, Caldwell, Youmans)  2:25
6 Elogie (Powell)  3:00
7 Woodyn' You (Gillespie)  3:55
8 I Should Care (Cahn, Stordahl, Weston)  3:42
9 Now Is the Time (Parker)  4:36
10 I Didn't Know What Time It Was (Hart, Rodgers)  4:02
11 Be-Bop (Gillespie)  2:26
12 Fifty-Second Street Theme (Monk)  2:22

*


Personnel
Bud Powell - p
Ray Brown - b
Osie Johnson - dr

Recorded at Fine Sound Studios, New York City ; September 13, 1956

Grant Green - Talkin' About !

On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he'd begun pursuing with the help of members of Coltrane's quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane's modal innovations into his own style. Talkin' About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it's exceptional, one of the most underrated items in Green's discography. With just a basic organ trio lineup, the album works a fascinating middle ground between the soul-jazz of Green's early days and the modal flavor of his most recent work. Though Young's style wasn't quite fully formed yet, he's no longer the in-the-pocket Jimmy Smith disciple of his earliest sessions ; his playing here is far more adventurous than the typical soul-jazz date, both harmonically and rhythmically. Jones and Young often play off one another to create an intricate, percolating pulse that's miles ahead of the standard soul-jazz groove. The trio's interplay is best showcased on Young's Coltrane tribute, "Talkin' About J.C.," a monster jam that's worth every one of its nearly 12 minutes, and the cheerful "I'm an Old Cowhand," popularized as a jazz tune by Sonny Rollins. Meanwhile, Young and Green positively shimmer together on the ballad numbers, "People" and "You Don't Know What Love Is." It all makes for a terrific album that ranks in Green's uppermost echelon.
Steve Huey

Source : http://www.allmusic.com/album/talkin-about!-mw0000259010

Grant Green
Talkin' About !

Tracks

1 Talkin' About J.C. (Young)  11:41
2 People (Merrill, Styne)  7:25
3 Luny Tune (Young)  7:41
4 You Don't Know What Love Is (DePaul, Raye)  7:36
5 I'm an Old Cowhand (From the Rio Grande) (Mercer)  6:29

*

Personnel
Grant Green - g
Larry Young - org
Elvin Jones - dr

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey ; September 11, 1964

Conte Candoli - Five

This excellent album (a reissue LP of music deserving to be reissued on CD) is really led by Shorty Rogers, who provided the dozen arrangements and five originals, although he does not play trumpet on the date. Featuring a quintet of fine West Coast players (including pianist Pete Jolly at the beginning of his career), Rogers' charts really set the mood for the set of cool jazz. Trumpeter Conte Candoli and tenor saxophonist Bill Perkins (heard at his coolest, tone-wise) take plenty of fine solos, while bassist Buddy Clark and drummer Mel Lewis are lightly swinging in support. This is a near-classic that has somehow remained obscure through the years, perhaps due to the group's name.
Scott Yanow

Source : http://www.allmusic.com/album/five-mw0001379844

Conte Candoli
Five

Tracks

1 Whistle While You Work (Churchill)  2:31
2 Perkin' (Rogers)  2:39
3 Beyond the Sea (Lawrence, Trenet)  3:37
4 I Dig Ed (Rogers)  3:16
5 Lullaby of the Leaves (Young, Petkere)  3:08
6 Forelock (Rogers)  3:03
7 Soft as Spring (Wilder)  2:57
8 Just for Judie (Rogers)  3:17
9 If I Love Again (Murray, Oakland)  2:49
10 Red Eyes (Jolly)  3:04
11 Pushin' Sand (Hillman, Simmons)  3:04
12 I'll Be in Scotland After You (Rogers)  2:49

*

Personnel
Conte Candoli - tp
Bill Perkins - ts
Pete Jolly - p
Buddy Clark - b
Mel Lewis - dr

Recorded in Los Angeles ; March 9, 1955

Monday, November 17, 2014

Bud Shank & Bob Cooper - European Tour '57

Bud Shank and Bob Cooper were prolific players on the 1950s West Coast jazz scene, readily available to participate in studio sessions while making a lot of hay as studio musicians. However, they developed a unique chemistry early on as members of Stan Kenton's band, particularly in the area of unusual instrumentation. While the altoist and tenorist were kindred spirits, it was their affinity for the unusual flute and oboe combination that really ignited their relationship, resulting in a series of fine recordings. Few jazz musicians enjoyed the kind of symbiotic relationship that Cooper and Shank held for so long.
These recordings, from their first trip through Europe in 1957, are part of a series from Lone Hill, collected from various overseas sojourns. Cooper and Shank took a brief break from touring to rub shoulders with pianist Joe Zawinul's working studio trio in Baden, Germany. Zawinul would soon emigrate to the U.S. to become famous as part of altoist Cannonball Adderley's unit, but here, he, bassist Johnny Fischer, and drummer Victor Plasil provide the top-notch backing that comes from working together for so long. Also joining the reeds in the front line is the masterful trombonist Albert Mangelsdorf.
The group runs through a few originals, kicking things off to a fine start with "Vielaf, a spirited tune that brings out fine soloing from all. "A Night In Tunisia is as fiery as any other recordings of the blower since Gillespie and Parker, but the real highlight is a ballad medley which allows the front line and Zawinul to take masterful, elegant solos. All of these songs are fairly lengthy, allowing each of the soloists to stretch out. While Cooper and Shank had recorded numerous times, they hadn't played with the others before and in some ways it's astonishing that they were able to achieve such symbiosis.
The ample bonus tracks come from a radio broadcast in Dusseldorf, featuring Shank with the Hans Koller Combo (Cooper is not present). While the sound quality isn't the best, these recordings also showcase a group of Europeans weaned on American jazz, who were capable of matching their idols in passion and dexterity. Of particular interest is the presence of Gary Peacock on bass and Atilla Zoller on guitar, both of whom eventually made names for themselves in the States. There's nothing really surprising here, just a lot of terrific playing of some great standards, that brought out the best in everyone.
David Rickert

Source : http://www.allaboutjazz.com/european-tour-57-bud-shank-lone-hill-jazz-review-by-david-rickert.php

Bud Shank
Bob Cooper
European Tour '57

Tracks

1 Vielaf (Shank, Cooper, Mangelsdorff)  5:26
2 For Bud (Shank)  4:24
3 Mademoiselle Butterfly (Shank, Cooper, Mangelsdorff)  6:33
4 A Night in Tunisia (Gillespie, Paparelli)  7:29
5 Medley
a. Stairway to the Stars (Malneck, Parish, Signorelli)  1:57
b. That's All (Brandt, Haymes)  2:00
c. Easy Living (Rainger, Robin)  2:02
d. Lover Man (Davis, Ramirez, Sherman)  2:18
6 Boop-Boop-Be-Doop (Holman)  7:57
7 I'll Remember April (DePaul, Johnston)  14:13
8 Indian Summer (Dubin, Herbert)  6:42
9 Polka Dots and Moonbeams (Burke, VanHeusen)  4:37
10 Yardbird Suite (Parker)  5:42

*

Personnel
[# 1-5]
Bud Shank - as & fl
Bob Cooper - ob & ts
Joe Zawinul - p
Albert Mangelsdorff - tb
Johnny Fischer - b
Victor Plasil - dr
Recorded in Baden-Baden, Germany ; March 25, 1957
[# 6-10]
Bud Shank - as & fl
Hans Koller - ts [# 6 & 7]
Albert Mangelsdorff - tb [# 6 & 7]
Atilla Zoller - g
Dr. Roland Kovac - p
Gary Peacock - b
Karl Sanner - dr
Recorded at "Café Krüger", Düsseldorf, Germany ; May 1957

Saturday, November 15, 2014

Urbie Green - East Coast Jazz, vol. 6

Urbie Green has spent most of his career as a studio musician rather than leading many of his own recordings, but this early date as a leader (originally issued by Bethlehem) showed that the trombonist had lots of promise. With arrangements and several strong compositions by the now-obscure Marion Evans, Green is accompanied by a strong group, including Danny Bank, Oscar Pettiford, Osie Johnson, and Al Cohn (identified on the initial release under the pseudonym Ike Horowitz). The very hushed take of "On Green Dolphin Street" features the leader's mellow trombone and the fine muted trumpet of Doug Mettone, while "Three Little Words" is an effortless swinger. Cohn adds a twist with several top-notch bass clarinet solos. Finally reissued by Avenue Jazz in 2001, this rewarding cool jazz date has stood the test of time rather well and is worth purchasing.
Ken Dryden

Source : http://www.allmusic.com/album/east-coast-jazz-vol-6-mw0000198240

Urbie Green
East Coast Jazz, vol. 6

Tracks

1 Mutation (Evans)  3:11
2 On Green Dolphin Street (Kaper, Washington)  3:34
3 Just One of Those Things (Porter)  4:20
4 How About You ? (Freed, Van Heusen, Lane)  2:48
5 When Your Lover Has Gone (Swan)  3:26
6 Three Little Words (Kalmar, Ruby)  4:02
7 Sneaky Pete (Evans)  3:55
8 Melody in BB (Evans, Green)  2:20
9 Sassafras (Evans)  3:57
10 Love Locked Out (Kester, Noble)  2:54

*

Personnel
Urbie Green - tb
Doug Mettome - tp
Ike Horowitz [Al Cohn] - ts, b-cl & fl
Danny Bank - fl, cl & bs
Jimmy Lyon - p
Oscar Pettiford - b
Jimmy Campbell - dr  [# 2, 4 & 9]
Osie Johnson - dr [all others]

Recorded in New York City ; January 12, 1955 [# 2, 4 & 9] ; & January 19, 1955 [all other selections]

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

Oscar Peterson Trio + One

When the contract with Verve was terminated at the beginning of 1964, Mercury’s producers and owners endeavoured to find new openings for Oscar Peterson who was committed to the piano trio. Among them was an LP of songs with Nat King Cole numbers scored for big band, the only long composition by Peterson — a reminiscence of his Canadian native country, a Latin album, and the present meet-up with Clark Terry. Filled with mutual respect, with a complete understanding of one another’s humour, and deliciously swinging without being obtrusive, these ten numbers will get your feet tapping and your fingers snapping — although exactly 40 years have passed by.
Especially the blues pieces such as "Squeaky’s Blues", "Blues For Smedley" and "Incoherent Blues" are little oases of relaxed swing, freed as they are of the composers’ or producers’ preconceived ideas. In the liner notes, Oscar Peterson mentions how proud he is of the introduction to "They Didn’t Believe". And he deserves to be, but not just of this! A further reason for the relaxed atmosphere may well be that Oscar Peterson was permitted to play his own piano for the first time at a recording session. Surely he makes special mention of this because at the highly praised live sessions for Verve in London House in 1962 he had to perform on an out-of-tune piano which impaired the recordings. Looking back, one shouldn’t forget either that Oscar Peterson’s ears had already been spoiled by the Steinway and Boesendorfer pianos of SABA producer Brunner-Schwer and his excellent recording technique in his Black Forest studio.

Source : http://www.soundstagedirect.com/oscar-peterson-trio-+-one-clark-terry-180-gram-vinyl-lp.shtml

Oscar Peterson
Trio
+
One

Tracks

1 Brotherhood of Man (Loesser)  3:36
2 Jim (Shaw, Petrillo, Samuels)  3:02
3 Blues for Smedley (Peterson)  6:55
4 Roundalay (Peterson)  3:56
5 Mumbles (Terry)  2:02
6 Mack the Knife (Weil, Brecht, Blitzstein)  5:17
7 They Didn't Believe Me (Kern, Reynolds)  4:20
8 Squeaky's Blues (Peterson)  3:29
9 I Want a Little Girl (Mencher, Moll)  5:10
10 Incoherent Blues (Terry)  2:42

*


Personnel
Oscar Peterson - p
Clark Terry - tp
Ray Brown - b
Ed Thigpen - dr

Recorded in New York City ; August 1964

The Blue Stars Of France - Pardon my English

There are only a select few that can boast of having owned the original release of "Pardon My English" by the "Blue Stars of France". A charmingly kitsch cover photograph brings to mind album sleeves of vocal groups such as the Platters, the Drifters and the Flamingos. These groups dominated the world of successful American popular music during the mid 1950', but they hardly enjoyed a favorable opinion from jazz enthusiasts. In smite of their appearence, Les Blue Stars were not striving to compete with those bands. Their sound was closest to groups like the Hi-Lo's or the Four Freshmen, with whom they shared common roots dating back to the Swing Era. At the time, nearly all big bands were performing with vocal groups such as The Pied Pipers (Tommy Dorsey), The Modernaores (Glenn Miller), The Snowflakes (Claude Thornhill), The Blue Reys (Alvino Rey), The Blue Flames (Woody Herman), and Four Bees and a Honey (Fred Waring). A member from the last three of those groups, singer and pianist Blossom Dearie, was invited to Paris in 1952 by Nicole Barclay. She suggested that Blossom start a vocal group on the Old Continent that would compare to those in America, something that could also benefit her husband Eddie. Upon arrival in the French capital, Blossom started working as a pianist and singer in the cabaret scene. She performed for awhile with Bob Dorough, and then in 1954 she borrowed the name of the record label created by Eddie Barclay and formed Les Blue Stars...
Alain Tercinet, translation by Nina Schmir, from the booklet

Blue Stars
Of France
Pardon my English

Tracks

1 I'll Remember April (DeRaye, DePaul)  2:21
2 A Smooth One (Goodman)  2:25
3 (All Of a Sudden) My Heart Sings (Rome, Blanvillain, Herpin)  2:36
4 Small Talk (Adler, Ross)  2:40
5 I'm Lost Without You Tonight (Daniels, Greene)  2:55
6 Move (Best)  1:59
7 Did You Close Your Eyes (When We Kissed) (Merrill)  1:59
8 Bernie's Tune (Miller, Stoller, Leiber)  2:28
9 Don't Be That Way (Parish, Sampson, Goodman)  2:45
10 Please Be Kind (Cahn, Chaplin)  3:41
11 Star Dust (Parish, Carmichael)  2:49
12 Promises and Lies (Stock, Powell)  2:21

BONUS TRACKS
13 La Légende du pays aux oiseaux "Lola" (Shearing, Constantin)  2:48
14 Lettres à Virginie (Constantin)  3:02
15 Toute ma vie (That's My Girl) (Ellington, Lucchesi)  2:41
16 Embrasse-moi bien (Durand, Contet)  2:45
17 Jumpin' at the Woodside (Basie)  2:58
18 C'est la vie (White, Wolfson)  2:33
19 Broadway at Basin' Street (Wayne, Frish)  3:09
20 Grapevine (Alfred, Silver)  2:32

*


Personnel
[# 1-12]
Vocal Quartet, possibly including
Mimi Perrin, Nadine Young, Christian Chevallier & Jean Mercadier
with Orchestral accompaniment
Recorded in Paris ; 1957
[# 13-16]
Blossom Dearie, Christiane Legrand, Jeannine de Waleyne, Nadine Young, Christian Chevallier, Roger Guérin, Jean Mercadier
with Orchestral accompaniment probably including
Roger Guérin - tp
Fats Sadi - vb
Bob Dorough - p
Michel Legrand - arr. [# 13]
Recorded in Paris ; November 1954
[# 13-16]
Same as above,
with Orchestral accompaniment
Recorded in Paris ; circa 1956

See also
http://www.jazzwax.com/2010/11/sunday-wax-bits-2.html

Friday, November 14, 2014

Horace Silver Trio

This CD reissue has pianist Horace Silver's first sessions as a leader, trios with drummer Art Blakey and either Gene Ramey, Curly Russell or Percy Heath on bass. Silver already had his funky style pretty well together by 1952 (two years after being discovered by Stan Getz), and the program is most notable for introducing his compositions "Ecaroh" and "Opus De Funk." In addition, there are two percussion features : a drum solo by Blakey on "Nothing But Soul" and "Message From Kenya," a duet by the drummer with the percussion and vocals of Sabu Martinez.
Scott Yanow

Source : http://www.bluenote.com/artists/horace-silver/horace-silver-trio-rudy-van-gelder-edition

Horace Silver
Trio
Horace Silver

Tracks

1 Safari (Silver))  2:48
2 Ecaroh (Silver)  3:09
3 Prelude to a Kiss (Ellignton) 2:47
4 Thou Swell (Rodgers, Hart)  2:52
5 Quicksilver (Silver)  2:59
6 Horoscope (Silver)  3:46
7 Yeah (Silver)  2:47
8 Knowledge Box (Silver)  2:47
9 How About You (Lane, Freed)  3:40
10 I Remember You (Schwertzinger, Mercer)  3:52
11 Silverware (Silver)  2:34
12 Message from Kenya (Blakey)  4:33
13 Opus de Funk (SIlver)  3:25
14 Nothing but the Soul (Blakey)  4:07
15 Buhaina (Silver)  3:04
16 Day in, Day out (Bloom, Mercer)  3:00

*


Personnel
[# 1, 4, & 6]
Horace Silver - p
Gene Ramey - b
Art Blakey - dr
[# 2, 3, 5, 7 & 8]
Same as above, except
Curly Russell - b, replaces Ramey
[# 9-11, 13, 15 & 16]
Same as above, except
Percy Heath - b, replaces Russell
[# 12 & 14]
Art Blakey - dr
Sabu Martinez -  cng & vc [# 12]

Recorded at WOR Studios, New York City ; October 9, 1952 [# 1, 4, & 6] ; October 20, 1952 [# 2, 3, 5, 7 & 8] ; & November 23, 1953, all others

Thursday, November 13, 2014

Early Jazz Messengers feat. Art Blakey - Ritual

A very hard swingin' album by Art and an early version of the Messengers (with Jackie McLean, Bill Hardman, Sam Dockery, and Spanky DeBrest). And despite the fact that the record was on Pacific Jazz, who often put out cleaner west coast material, this session crackles with the hard New York energy of sides that this version of The Messengers cut for labels like Savoy, Vik, and Chess during the same time. McLean's edgey alto's in great form, and his solos are a treat throughout. Tracks include "Touche", "Sam's Tune", "Once Upon A Groove", and "Wake Up".
© 1996-2012, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=rrxqkqtxk4

Art Blakey
Ritual
The Modern Jazz Messengers

Tracks

1 Little T. (Byrd)  8:46
2 Exhibit A (Blakey, Sears)  6:44
3 Scotch Blues (Jordan)  8:31
4 Once Upon a Groove (Marshall)  8:36
5 Sam's Tune (Dockery)  5:52
6 Touche (Waldron)  6:16
7 Wake Up ! (Sears)  5:04
8 Art Blakey's Comments on Ritual (Blakey)  1:55
9 Ritual (Blakey)  9:59

*

Personnel
Art Blakey - dr
Jackie McLean - as
Bill Hardman - tp
Sam Dockery - p
Spanky DeBrest - b

Recorded in New York City ; January 14 [# 1, 4-6] ; & February 11, 1957 [all others]
________
Interesting, uneven '57 date that contains a lengthy drum piece by Blakey. This was not his greatest group, although alto saxophonist Jackie McLean was among the hardest blowers he ever employed. Bassist Spanky Debrest and trumpeter Bill Hardman were good musicians, but a notch below the others who filled their roles in future Messenger editions.
Ron Wynn

Source : http://www.allmusic.com/album/ritual-the-modern-jazz-messengers-r135530

Wednesday, November 12, 2014

The Modern Jazz Quartet Plays George Gershwin's "Porgy and Bess"

The Modern Jazz Quartet, a group legendary for it's feats during their heyday in the cool bop period of jazz music, shares with the listener a brilliant effort encompassing their impression of composer George Gershwin's "Porgy and Bess." Acclaimed by Encyclopedia Britannica as "the greatest American musical drama ever written," The Modern Jazz Quartet perform it at the highest level of creative flair to pay homage to a marvel of composition with the utmost degree of sincerity and respect. This is a piece that Gershwin took a full 11 months to compose and nine months to orchestrate, all based on the initial inspiration from a drama written by playwright Dorothy Heyward. Opening up the score is Gershwin's dazzling and seductive tune "Summertime," a landslide mark of musical brilliance. So daring and stylish do the quartet seem, that they bring quite a sense of dynamics and energy to the performance. The percussive textures of Connie Kay on drums and Percy Heath on bass blend in beautifully with the lush dual sound of John Lewis on piano and Milt Jackson on the vibraharp. The second tune, "Bess, You Is My Women," is an up-tempo delight of soaring swing, with a combination of dashing walking basslines and sweetly decorated melody chops. "My Man's Gone Now" is a savvy piece that deeply grips the listener's soul and sweeps them away. Alluring and charming in content, one can sincerely feel the band has spoken confidently, not diminishing its avant-garde form. Two other tunes of note on the record are "I Love Porgy," a sentimental and softly done ballad, and "It Ain't Necessarily So," quite a mesmerizing tune encompassing a vast array of changing meters. Sweetly syncopated, this jam is quite a roller coaster ride. The Modern Jazz Quartet is alive and well in this effort, thoroughly brewing with overbearing optimism. Lavish in orchestration, shining with dexterity, it is no wonder that it is rare to find such a group that can emulate George Gershwin's work with such spontaneity and prowess. The music is felt in the text of a discretely tight yet unpredictable setting, yet the band doesn't fail to go overboard on taste. Well versed in direction and refreshing in statement, The Modern Jazz Quartet invents Gershwin in a new fashion, with a personality in and of their own.
Shawn M. Haney

Source : http://www.allmusic.com/album/plays-george-gershwins-porgy-and-bess-mw0000367204

The Modern Jazz
Quartet
Plays George Gershwin's
"Porgy and Bess" 

Tracks

1 Summertime (Gershwin, Gershwin, Heyward)  5:57
2 Bess, You Is My Woman Now (Gershwin, Gershwin, Heyward)  5:38
3 My Man's Gone Now (Gershwin, Gershwin, Heyward)  7:21
4 I Loves You, Porgy (Gershwin, Gershwin, Heyward)  3:25
5 It Ain't Necessarily So (Gershwin, Gershwin)  6:21
6 Oh Bess, Oh Where's My Bess ? (Gershwin, Gershwin, Heyward)  4:15
7 There's a Boat Dat's Leavin' Soon for New York (Gershwin, Gershwin, Heyward)  4:18

*

Personnel
John Lewis - p
Milt Jackson - vb
Percy Heath - b
Connie Kay - dr

Recorded in New York City ; July 23-24, 1964 [# 1, 3, 4 & 7] ; & at RCA Webster Hall, New York City ; April 26, 1965 [# 2, 5 & 6]

Tuesday, November 11, 2014

Bill Evans & Jeremy Steig - What's New ?

This CD reissue has the debut of drummer Marty Morell with Bill Evans and bassist Eddie Gomez ; that particular trio would keep the same personnel for six productive years. Actually this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock although in both of their collaborations with Bill Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight, No Chaser," "Autumn Leaves" and "So What."
Scott Yanow

Source : http://www.allmusic.com/album/whats-new-nirvana-mw0000188122 

Bill Evans
Jeremy Steig
What's New ?

Tracks

1 Straight, No Chaser (Monk)  5:40
2 Lover Man (David, Sherman, Ramirez)  6:19
3 What's New ? (Burke, Haggart)  4:50
4 Autumn Leaves (Prévert, Kosma, Mercer)  6:12
5 Time Out for Chris (Evans)  7:17
6 Spartacus Love Theme (North)  4:58
7 So What (Hall, Davis)  9:06

*

Personnel
Bill Evans - p
Jeremy Steig - fl
Eddie Gomez - b
Marty Morell - ds

Recorded in New York City ; February 3-5 & March 11, 1969