Tuesday, February 13, 2018

Tuesday, April 25, 2017

Celebration Django Reinhardt

Celebrating Django Reinhardt — DR Big Band with Adrien Mogniard. 2010 was the year European jazz legend, Django Reinhardt would have turned 100 years. On 'Celebrating Django Reinhardt', DR Big Band is celebrating the music of the legend, together with the young new guitar star of France, Adrien Moignard. The album features a swinging big band and virtuoso guitarist performing brand new arrangements, that all would make Django Reinhardt proud and his fans delight...

Source : http://www.reddotmusic.net/releases/1/

DR Big Band
Adrien Moignard
Celebration Django Reinhardt


1 Appel indirect (Reinhardt)  3:58
2 Où es-tu, mon amour ? (Reinhardt)  5:10
3 How High the Moon (Lewis)  4:07
4 Nuages (Reinhardt)  3:12
5 Belleville (Reinhardt)  5:00
6 Les Feuilles mortes (Kosma)  6:15
7 Blues en Mineur (Reinhardt)  4:37
8 Cest si bon (Betti)  5:35
9 Impressions (Coltrane)  5:40
10 Det var en lørdag aften (trad.)  5:35


Andrien Moignard - g
Henrik Gunde - p
Jacob Fischer - g
Kaspar Vadsholt - b
Søren Frost - dr
DR Big Band
Jesper Sveidahl - cond.

Recorded at DR Byen, studio 3, Copenhagen, Denmark ; November, 2009

Bill Jennings - Glide On (Legends of Acid Jazz)

Bill Jennings' guitar was integral to the sound of jazz organ pioneers Bill Doggett and Wild Bill Davis. His dry, twangy, swinging sound was also part of organist Jack McDuff's transitional first release as a leader, Brother Jack. Here Jennings is in the spotlight on a compilation of his 1959 date, Enough Said, and 1960's Glide On. The lineup is actually the same as on Brother Jack  : McDuff, Wendell Marshall on bass, and Alvin Johnson on drums. Jennings' brother, Al, joins in on the later set, contributing second guitar and some effective work on vibes. Just as McDuff's organ here still has the imprint of the roller-rink sound of Doggett and Davis, Jennings' guitar is also a product of an earlier era. It's easy to hear the influence of the bluesy jazz of guitarist Tiny Grimes, along with the jumping Texas blues of T-Bone Walker, the elastic riffing of Chuck Berry, and the early bop of Charlie Christian. In other words, the music has a vintage charm that is appealing in its own right and insightful as a precursor to the more full-throttled sound of the classic jazz organ combos of Jimmy Smith. The earlier set predates Brother Jack by a few months ; the later one was recorded at about the same time. The tracks are generally grounded in the blues, with occasional forays into popular songs, one or two of which don't quite catch fire. Highlights include "Billin' and Bluin'" (with McDuff on excellent blues piano), Wild Bill Davis' "Azure-Te," and the sly, soul-jazz prototypes "Enough Said" and "Glide One."
Jim Todd, All Music Guide

Source : http://www.artistdirect.com/nad/store/artist/album/0,,918753,00.html

Bill Jennings
Glide On
Legends of Acid Jazz


1 Enough Said (Johnson)  6:42
2 Tough Gain (Jennings)  4:17
3 Volare (Migliacci, Modugno, Parish)  7:02
4 Dark Eyes (Salama)  4:42
5 It Could Happen to You (Burke, VanHeusen)  6:26
6 Blue Jams (Jennings, McDuff)  5:29
7 Dig Uncle Will (McDuff)  3:31
8 Glide On (Wilson)  5:33
9 Alexandria, Virginia (Jennings)  3:55
10 Billin' and Bluin'(Jennings)  4:45
11 There Will Never Be Another You (Gordon, Warren)  3:53
12 Azure-Te (Paris Blues) (Davis, Wolf)  4:44
13 Fiddlin'(Jennings)  2:37
14 Cole Slaw (Stone)  8:08
15 Hey, Mrs. Jones (Miller, Ragan)  4:19


[# 1-7] Enough Said !
Bill Jennings - g
Jack McDuff - org
All Jennings - g
Wendell Marshall - b
Alvin Johnson - dr
[# 8-15] Glide On
Same as above, except All Jennings - vb
Jack McDuff plays piano on [# 10]

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey ; August 21, 1959 [# 1-7] & January 12, 1960 [# 8-15]

Jo Privat, feat. Matelo Ferret - Manouche Partie

Though recorded in 1960, this is a vintage recording, because it contains the most essential collection of tunes for those interested in the gypsy-style, or Manouche, aspect of musette. If you are going to try to put together a swing-musette group, listen to this, learn all the tunes, and you are on the right path. Jo Privat is the ultimate Manouche accordionist, and accompanied by Matelo Ferret, a fine bassist, and an occaisional violin or clarinet, it's one of the swinginest waltz records ever. Musette waltzes are alternated with gypsy swing classics like Dark Eyes, Kalinka, Two Guitars, and Nuages, played by the folks who made them the classics they are today. 

Source : http://www.daddysqueeze.com/news_musette_discography.html

Jo Privat
feat. Matelo Ferret
Manouche Partie


1 Valse Des Niglos (Malha)  2:22
2 Les Yeux Noirs (Trad. arr. Privat)  2:56
3 Nuages (Reinhardt)  2:19
4 Songe d’automne (Joyce)*  2:36
5 Les Deux Guitares (Trad. arr. Aznavour)  2:53
6 Minor Swing (Reinhardt, Grappelli)  2:15
7 Chez Jacquet (Reinhardt)  2:18
8 Tamboo (Cavez)  2:51
9 Crépuscule (Reinhardt)*  2:39
10 Rêve Bohémien (Privat)  2:29
11 Rythmes Gitans (Privat)*  2:44
12 Java Manouche (Privat)  2:02
13 Kalinka (Trad. arr. Popp)  2:36
14 La Zingara (Privat)*  2:19


Jo Privat - ac
Jean "Matelot" Ferret - g
Jean Tordo - cl
Jacques Montagne - 2nd g [# 1-3, 5-8, 10, 12, 13]
Jo Privat Jr - 2nd g [# 4, 9, 11, 14]
René (?) Dubois - b
Baptiste "Mac Kak" Reilhes - dr [# 1-3, 5-8, 10, 12, 13]
René Motta - dr [# 4, 9, 11, 14]

Recorded at Pathé-Marconi studios, Boulogne, [# 1-3, 5-8, 10, 12, 13] November 3, 1960, originally released as 10" 33 r.p.m. album 10" album originally named "Manouche Partie", some subsequent editions named "Hommage à Django" ; [# 4, 9, 11, 14] December 16, 1966, originally released with other tracks as 12" 33 r.p.m. LP.
Manouche Party with accordeonist Jo Privat and Matelo Ferret is one of the best gypsy jazz and musette albums of all time. It’s near impossible to find this French CD in the USA, but Matelo’s daredevil solo on “Dark Eyes” would make an airplane ticket to Paris to buy the disc worthwhile.
Michael Dregni


Monday, April 24, 2017

Art Tatum - Complete Brunswick & Decca Recordings (1932-1941)

The starting point of Art Tatum's style was Fats Waller's stride. As Tatum once said, “Fats, that's where I come out of and, man, that's quite a place to come from”. From this beginning he went on to create and superbly original and creative style of playing piano. His left-handed figures where similar to stride but he was really known for the way that he explored harmonic complexities and unusual chord progressions. When improvising, Tatum would often insert totally new chord sequences (occasionally with a chord on each beat) into one or two measures. He also developed the habit of quoting from other melodies, something that became a standard practice among modern jazz musicians. What really set Tatum apart was his amazing technical abilities which combined with his willingness to explore the imagined limitations of the orthodox keyboard which produced astonishing rhythmic and harmonic complexities. It is claimed that he could identify the dominant note in a flushing toilet.
Perhaps the greatest tribute to the excellence of Art Tatum lies in the opinions of his peers. He has influenced many musicians including Bud Powell, Herbie Hancock, and even non-pianists such as Charlie Parker and John Coltrane. Many would say that he inspired the bebop revolution in jazz. When Oscar Peterson first heard him play he thought it was two people and he considered Tatum the best jazz instrumentalist of all time. Legend has it that classical pianist Vladimir Horowitz was so awed by Tatum's wizardry that it brought him to tears ; he also is to have said that it was fortunate for classical pianists that Tatum did not choose to pursue a classical career.
Fittingly, his strongest support comes from one of his early influences, Fats Waller. One time in 1938 Tatum dropped in to hear Waller play at a club. By way of introduction Waller told the audience, “I just play the piano, but God is in the house tonight.”

Source : https://musicians.allaboutjazz.com/arttatum

Art Tatum
Complete Brunswick & Decca


Cd. 1

1 Tiger Rag (Rocca)  1:58
2 Strange as it Seems (Waller, Razaf)  3:06
3 Strange as it Seems (Waller, Razaf)  3:08
4 I'll Never Be the Same (Malneck, Signorelli)  3:09
5 I'll Never Be the Same (Malneck, Signorelli)  3:17
6 You Gave Me Everything But Love (Wilhite, Gallop)  3:12
7 You Gave Me Everything But Love (Wilhite, Gallop)  3:07
8 This Time it's Love (Coots, Lewis)  3:09
9 This Time it's Love (Coots, Lewis)  3:09
10 Tea For Two (Caesar, Youmans)  3:11
11 St. Louis Blues (Handy)  2:30
12 Tiger Rag (Rocca)  2:17
13 Sophisticated Lady (Mills, Ellington)  3:14
14 Moonglow (Mills, Hudson)  2:35
15 I Would Do Anything For You (Williams, Hill)  2:36
16 When a Woman Loves a Man (Mercer, Jenkins)  3:04
17 Emaline (Parish, Parkins)  2:34
18 Love Me (Young, Washington)  2:53
19 Cocktails For Two (Johnston, Coslow)  2:56
20 After You've Gone (Creamer, Layton)  3:06
21 Stardust (Carmichael)  3:17
22 I'll Wind (Graham, Williams)  2:55


Cd. 2

1 The Shout (Tatum)  2:42
2 Beautiful Love (Gillespie, Young)  2:51
3 Beautiful Love (Gillespie, Young)  3:18
4 Liza (Gershwin, Gershwin)  2:41
5 I Would Do Anything For You (Williams, Hill)  2:36
6 When A Woman Loves a Man (Mercer, Jenkins)  3:04
7 After You've Gone (Creamer, Layton)  2:28
8 I Ain't Got Nobody (Graham, Williams)  3:21
9 Liza (Gershwin, Gershwin)  3:03
10 Boots and Saddle  (Powell, Samuels, Whitcupv)  3:07
11 Body And Soul (Heyman, Green, Sour)  3:06
12 Body And Soul (Heyman, Green, Sour)  3:06
13 With Plenty of Money and You (Dubin, Warren)  2:40
14 With Plenty of Money and You (Dubin, Warren)  2:40
15 What Will I Tell My Heart ? (Lawrence, Tinturin) 3:06
16 I've Got My Love to Keep Me Warm (Berlin) 3:02
17 Gone with the Wind (Wrubel, Magidson)  2:48
18 Stormy Weather (Harlen, Koehler)  3:07
19 Chloe (Kahn, Moret)  3:21
20 Chloe (Kahn, Moret)  3:02
21 The Sheik of Araby (Smith, Wheeler)  2:40
22 Tea for Two (Caesar, Youmans)  2:32
23 Deep Purple (Parish, DeRose)  3:12
24 Deep Purple (Parish, DeRose)  3:15


Cd. 3

1 Elegie (Massenet)  3:10
2 Humoresque (Dvorak)  3:00
3 Sweet Lorraine (Parish, Burwell)  2:57
4 Get Happy (Arlen, Koehler)  2:40
5 Lullaby of the Leaves (Petkere, Young)  3:01
6 Tiger Rag (La Rocca)  2:09
7 Sweet Emalina my Gal (Layton, Creamer)  2:58
8 Sweet Emalina my Gal (Layton, Creamer)  2:50
9 Emaline (Parish, Perkins)  2:16
10 Moonglow (Mills, Hudson)  2:57
11 Love Me (Young Washington)  2:38
12 Cocktails for Two (Johnson, Coslow)  2:48
13 St. Louis Blues (Handy)  2:26
14 Begin the Beguine (Porter)  2:37
15 Rosetta (Woode, Hines)  2:45
16 Indiana (Hanleu, McDonald)  2:45
17 Wee Baby Blues (Trner, Johnson)  2:50
18 Stompin' at the Savoy (Sampson, Goodman)  3:12
19 Last Goodbye Blues (Turner, Johnson)  3:10
20 Battery Bounce (Tatum)  2:28
21 Lucille (Williams)  3:03
22 Lucille (Williams)  3:25
23 Rock Me Mama (Jones)  2:57
24 Corrine Corrina (Chatman, Williams)  2:28
25 Lonesome Graveyard Blues (Williams, Jones)  3:05
26 Lonesome Graveyard Blues (Williams, Jones)  3:09


[Cd. 1, # 1]
Art Tatum - p
Recorded in New York City ; August 5, 1932
[Cd. 1, # 2-5]
Adelaide Hall - vcl
Charlie Teagarden - tp
Jimmy Dorsey - cl & as
Francis Carter & Art Tatum - p
Dick McDonough - g
Recorded in New York City ; August 5, 1932
[Cd. 1, # 6-9]
Adelaide Hall - vcl
Francis Carter & Art Tatum - p
Recorded in New York City ; August 10, 1932
[Cd. 1, # 10-22 ; Cd. 2, # 1-9]
Art Tatum - p
Recorded in New York City ; March 21, 1933 [# 10-13] ; August 22, 1934 [# 14-19] ; August  24, 1934 [# 20-22 & Cd. 2, # 1-4] ; October 9, 1934 [# 5-9] ; & December 21, 1935 [# 10]
[# 11-16] Art Tatum and His Swingsters
Lloyd Reese - tp
Marshall Royal - cl
Art Tatum - p & cel
Bill Perkins - g
Joe Bailey - b
Oscar Bradley - dr
Recorded in New York ; February 26, 1937
[# 17-24 ; Cd. 3, # 1-16]
Art Tatum - p
Recorded in New York City ; November 29, 1937 [# 17-21] ; April 12, 1939 [# 22-24] ; February 22, 1940 [Cd. 2, # 1-12] ; July 26, 1940 [# 13-16]
[# 17-20] Art Tatum and His Band
Joe Thomas - tp
Edmond Hall - cl
Art Tatum - p
John Collins - g
Billy Taylor - b
Eddie Dougherty - dr
Joe Turner - vcl
Recorded in New York City ; January 21, 1941
[# 21-26]
Joe Thomas - tp
Art Tatum - p
Oscar Moore - g
Billy Taylor - b
Yank Porter - dr
Joe Turner - vcl
Recorded in New York City ; June 13, 1941

Sunday, April 23, 2017

Sonny Stitt & Bennie Green - My Main Man

Bennie Green was no where near the technician Stitt was. In fact, his trombone vocabulary precedes J. J. Johnson's and the bebop revolution of Bird and Diz. Nevertheless, Sonny and Bennie sounded like soul mates on the two occasions I caught them together at McKee's Show Lounge 63rd and Cottage in Chicago. Their meetings didn't produce the sparks of Stitt and Jug (Gene Ammons) but a spirit of rare camaraderie (Stitt could be an ornery loner). On this session, Green's broad, open sound comes through better than in person (he was playing without a mike in front of a Hammond B-3 when I caught him), and Sonny exercises restraint and good taste in deference to his good friend and worthy musical companion. (The title track and two others can also be found on a Stitt anthology called "How High the Moon.") Another recommended album by the pair is "Pow."
Samuel Chell

Source : http://www.amazon.com/Main-Man-Mlps-Sonny-Stitt/dp/B00013YRCS

Sonny Stitt
Bennie Green
My Main Man


1 Flame and Frost (Edwards)  4:31
2 Let's Play Chess (Stitt)  4:50
3 Double Dip (Stitt)  4:41
4 Our Day Will Come (Garson)  5:17
5 My Main Man (Green)  4:29
6 The Night Has a Thousand Eyes (Bernier)  5:14
7 Broilin' (Stitt)  5:54


Sonny Stitt - as & ts
Bennie Green - tb
Bobby Buster - org
Joe Diorio - g
Dorel Anderson - dr

Redorded in Chicago ; March 10 & 11, 1964

Herbie Mann & Sam Most Quintet (BCP40)

This CD reissues an early Herbie Mann set that matches him with his fellow flutist, Sam Most. Originally, this date was known as The Mann With the Most. Recorded back during Mann's bebop period, the set teams the two flutists with guitarist Joe Puma, bassist Jimmy Gannon and drummer Lee Kleinman. The quintet performs nine standards plus an original apiece from Most and Puma. Highlights include "Fascinating Rhythm," "Let's Get Away from It All" and "Seven Come Eleven." Most was actually the better known of the two flutists at the time but, while he ended up in the Los Angeles studios, Mann's constant musical curiosity would result in him gaining worldwide fame. Their enjoyable music finds the flutists battling it out to a draw.
Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fifoxq9kldse

Herbie Mann
Sam Most


1 Fascinating Rhythm (Gershwin, Gershwin)  3:49
2 Why Do I Love You ? (Hammerstein, Kern)  3:49
3 It's Only Sunshine (Puma)  2:42
4 Love Letters (Heyman, Young)  2:11
5 Let's Get Away from It All (Adair, Dennis)  3:22
6 Flying Home (Goodman, Hampton, Robin)  3:21
7 I'll Remember April (DePaul, Johnston, Raye)  4:59
8 Empathy (Most)  3:19
9 It Might as Well Be Spring (Hammerstein, Rodgers)  3:13
10 Just One of Those Things (Porter)  3:56
11 Seven Comes Eleven (Goodman)  4:54


Herbie Mann - fl
Sam Most - fl
Joe Puma - g
Jimmy Gannon - b
Lee Kleinman - d

Recorded in New York City ; October 12 & 17, 1955

See also :

Jimmy Giuffre - New Forms in Jazz

These were Jimmy Giuffre's first recordings as a leader. A native of Dallas, TX, Giuffre developed his chops in the reed sections of postwar big bands led by Boyd Raeburn, Jimmy Dorsey, Buddy Rich, and Woody Herman. Everything reissued here was recorded in Hollywood, CA. Giuffre was surrounded by excellent musicians : alto saxophonist Bud Shank, pianist Russ Freeman, bassists Ralph Peña and Curtis Counce, drummers Artie Anton and Shelly Manne, trumpeter Jack Sheldon, valve trombonist Bob Enevoldsen, and Shorty Rogers blowing the flügelhorn. The material is profoundly positive, smoothly inventive, and at times exquisitely relaxing. The cool and pleasantly eccentric ideas, the velvety and whimsical or animated, angular elements bring to mind Gerry Mulligan's masterpiece album What Is There to Say ? and the brilliant accomplishments of Lennie Tristano, Warne Marsh, and Lee Konitz. This music is very friendly and accessible. Some unusual combinations of notes seem to have been deliberately engineered in order to stand apart from conventional notions of musicality. And that's a good thing.
arwulf arwulf

Source : http://www.allmusic.com/album/new-forms-in-jazz-complete-capitol-recordings-1954-1955-mw0001032400

Jimmy Giuffre
New Forms in Jazz
(Complete Capitol Recordings)


1 Do It ! (Giuffre)  3:17
2 All For You (Giuffre)  2:46
3 I Only Have Eyes For You (Warren, Dubin)  6:14
4 Four Brothers (Giuffre)  3:13
5 Sultana (Giuffre)  2:50
6 Nutty Pine (Giuffre)  3:10
7 Wrought Of Iron (Giuffre)  2:48
8 Someone To Watch Over Me (Gershwin, Gershwin)  3:07
9 A Ring-Tail Monkey (Giuffre)  2:33
10 Iranic (Giuffre)  4:47
11 Scintilla One (Giuffre)  0:54
12 Finger Snapper (Giuffre)  2:35
13 Lazy Tones (Giuffre)  4:10
14 Scintilla Two (Giuffre)  2:27
15 Chirpin’ Time (Giuffre)  5:47
16 This is My Beloved (Duke)  3:30
17 The Leprechaun (Giuffre)  6:35
18 Scintilla Three (Giuffre)  1:38
19 Rethoric (Giuffre)  3:25
20 Scintilla Four (Giuffre)  2:52


[# 1-3] Jimmy Giuffre - Capitol T549
Jimmy Giuffre - cl, ts & bs
Jack Sheldon - tp
Russ Freeman - p
Curtis Counce - b
Shelly Manne - dr
Recorded in Hollywood ; February 19, 1954
[# 4-7] Jimmy Giuffre - Capitol T549
Jimmy Giuffre - cl, ts & bs
Jack Sheldon - tp
Shorty Rogers - flgh
Bob Enevoldsen - tb
Bud Shank - as
Ralph Peña - b
Shelly Manne - dr
Recorded in Hollywood ; April 15, 1954
[# 8-20] Tangents in Jazz - Capitol T634
Jimmy Giuffre - cl, ts & bs
Jack Sheldon - tp
Ralph Peña - b
Artie Anton - dr
Recorded in Hollywood ; January 31 [# 8-9]  ; & June 6,7 & 10 [# 11-20], 1955

Jimmy Giuffre set forth with these 1954-1955 sessions a bold new form for improvised music. In all, it was touted by many influential figures as one of the most stimulating contributions to first-rate modern jazz literature. In these, his first recordings as a leader, Giuffre shows a fine versatility, a communicative emotion and the ability to swing that made him a respected soloist on tenor, baritone and clarinet. Fifty years later, there’s still some fascinating listening enjoyment here, and there will be for quite a while to come.

Source :

Saturday, April 22, 2017

Herb Ellis - Nothin' but the Blues

Although guitarists played an important role in rhythm groups ranging from swing to hard bop, they are an exception as bandleader. Among the most successful are George Benson, Wes Montgomery and Herb Ellis. The present blues CD was the second recording made under his direction for the Verve label.
"My mother tells me I always played the blues", said Herb Ellis in thinking back to his childhood. And this is exactly what he did on this CD from 1957 : blues in every shape and form, in every mood, in every tempo. There’s not a dull moment with this range of variation ; that’s simply impossible when his fellow musicians are called Ray Brown and Stan Levey. He freed himself quite simply from the piano (and maybe also from the omnipresence of Oscar Peterson) — the piano stool remained unoccupied. Just listen to this CD as far as "Royal Garden Blues" and with the hot-blooded Roy Eldridge, nicknamed 'Little Jazz', on the trumpet and Stan Getz, the cool and relaxed musician on the tenor saxophone, you will certainly know why blues is the talk of the town.

Source : http://www.elusivedisc.com/Herb-Ellis-Nothing-But-The-Blues-180g-LP/productinfo/EUROS8252/

Herb Ellis
Nothin' but the Blues


1 Pap's Blues (Brown, Brown)  7:07
2 Big Red's Boogie Woogie (Brunies, Ellis)  5:39
3 Tin Roof Blues (Brunis, Brunies, Mares)  3:01
4 Soft Winds (Goodman)  6:03
5 Royal Garden Blues (Williams, Williams)  4:46
6 Patti Cake (Ellis)  6:03
7 Blues for Janet (Brown, Ellis, Smith)  7:14
8 Blues for Junior (Brown)  4:50


Herb Ellis - g
Roy Eldridge - tp
Stan Getz - ts
Ray Brown - b
Stan Levey - dr

Recorded in Hollywood, California ; October 11-12, 1957

From Hollywood to New York with Jon Eardley

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period.
Scott Yanow

Source : http://www.allmusic.com/album/from-hollywood-to-new-york-r137953

Jon Eardley
From Hollywood to New York


1 Late Leader (Eardley) 4:57
2 Indian Spring (Eardley) 5:25
3 Black (Eardley) 4:05
4 Gloss (Eardley) 4:36
5 Hey There (Adler, Ross) 5:50
6 Demanton (Eardley) 4:35
7 Sid's Delight (Dameron) 4:17
8 If You Could See Me Now (Dameron) 6:23


[# 1-4]
Jon Eardley - tp
Pete Jolly (aka Pete Cera) - p
Red Mitchell - b
Larry Bunker - dr
Recorded in Los Angeles ; December 25, 1954
[# 5-8]
Jon Eardley - tp
J. R. Monterose - ts
George Syran - p
Teddy Kotick - b
Nick Stabulas - dr
Recorded in Hackensack, New Jersey ; March 14, 1955

Erroll Garner Trio - The Most Happy Piano (The 1956 Studio Sessions)

Subtitled "The 1956 Studio Sessions", this double CD unites all the trio recordings originally released on four LPs entitled respectively The Most Happy Piano, The One and Only Erroll Garner, He's Here ! Here's Gone! He's Garner !, and Encores in Hi-Fi. A couple of the tracks were recorded in 1956 but not included on those LPs. The last seven tracks were included on those albums although they were actually recorded earlier : between 1950 and 1953.
All this may sound complicated, but it adds up to a cornucopia of performances by one of jazz's great individualists. The untaught Erroll Garner had an entirely personal style which has been much copied but never bettered. By 1956, most of the Garner trademarks were in place: the bouncy left hand; the right hand lagging slightly behind the beat; the flowery decorations ; and the build-up at the end of nearly every chorus. In such tracks as "My Silent Love", there are even hints of his habit of prefacing tunes with mystifying introductions, which was to become more of a feature in many later performances.
So Erroll Garner had his mannerisms but he could still surprise us. For instance, in "But Not For Me", his two hands are even more out of sync than usual, producing a seesawing effect. And what are those strange chords that he introduces into "Moonglow" ? "Humoresque" displays his drollery, while many ballads (e.g. "My Silent Love", "Crème de Menthe") illustrate his poetic treatment of slow numbers, with lots of tremolos and generous use of the sustaining pedal to get the most emotion out of the piano.
Ol' Man River has the same drive as many of the performances on Garner's renowned Concert by the Sea album. Erroll even sneaks in an impudent quotation from "Cocktails for Two !" And "The Man I Love" surprises by beginning as an ornate ballad but then doubling the tempo to create an eight-minute romp.
The transfers to compact disc are well engineered, and an informative 20-page booklet is included. Garner fans will need no encouragement to buy this generous album but, if you haven't yet sampled Erroll, this is a marvellous place to start. The album title is well-chosen, as Garner was one of the happiest pianists in jazz - and he conveyed this happiness to his audiences.
Tony Augarde

Source : http://www.musicweb-international.com/jazz/2010/Erroll_Garner_99021.htm

Erroll Garner
The Most Happy Piano
(The 1956 Studio Sessions)


Cd. 1

1 Rose Room (Hickman, Williams)  5:05
2 But Not for Me (Gershwin, Gershwin)  3:36
3 My Silent Love (Heyman, Suesse)  4:38
4 Full Moon and Empty Arms (Kay, Mossman)  4:19
5 Some of these Days (Brooks)  3:50
6 Time on my Hands (Adamson, Gordon, Youmans)  4:19
7 Girl of my Dreams (Clapp)  4:28
8 Alexander's Ragtime Band (Berlin)  3:40
9 If It's the Last Thing I Do (Cahn, Chaplin)  6:42
10 After I Say I'm Sorry (Donaldson, Lyman)  5:29
11 I Got It Bad (And that Ain't Good) (Ellington, Webster)  5:46
12 Ol' Man River (Kern, Hammerstein)  5:58
13 Them There Eyes (Pinkard, Tauber, Tracey)  4:42
14 The Man I Love (Gershwin, Gershwin)  8:10


Cd. 2

1 Moonglow (Hudson, DeLange, Mills)  5:28
2 All God's Chillun Got Rhythm (Jurmann, Kahn, Kaper)  5:01
3 Crème de Menthe (Garner)  4:45
4 Humoresque (Dvořák)  5:10
5 My Lonely Heart (Garner)  5:40
6 Mambo 207 (Garner)  4:17
7 The Way Back Blues (Garner)  6:12
8 Passin' Through (Garner)  3:09
9 Once in a While (Edwards, Green)  5:45
10 Dancing Tambourine (Polla, Ponce)  3:53
11 Sophisticated Lady (Ellington, Parish, Mills)  2:54
12 Robbin's Nest (Thompson, Jacquet)  3:20
13 How High the Moon (Hamilton, Lewis)  3:31
14 Fancy (Garner)  4:29
15 Groovy Day  (Garner)  3:41


[Cd. 1 & Cd. 2, # 1-8]
Erroll Garner - p
Al Hall - b
Specs Powell - dr
Recorded in New York City ; June 7 [# Cd. 1 & Cd. 2, # 1-4] ; & September 11 [# Cd. 2, # 5-8], 1956
[Cd. 2, # 9-10]
Erroll Garner - p
Wyatt Ruther - b
Fats Heard - dr
Recorded in New York City ; February 27, 1953
[Cd. 2, # 11-14]
Erroll Garner - p
John Simmons - b
Shadow Wilson - dr
Recorded in Los Angeles ; July 2, 1951 [# 11 & 12] ; & in New York ; October 7, 1950
[Cd. 2, # 15]
Erroll Garner - p
Wyatt Ruther - b
Fats Heard - dr
Recorded in New York City ; March 30, 1953

Friday, April 21, 2017

Howard Rumsey's Lighthouse All-Stars - vol. 6

All of the recordings by Howard Rumsey's Lighthouse All-Stars are easily recommended to fans of bop and West Coast jazz. This CD reissue is as good as any of their dates, featuring a particularly strong lineup : trumpeter Conte Candoli, either Frank Rosolino or Stu Williamson on trombone, altoist Bud Shank, tenor saxophonist Bob Cooper, pianist Claude Williamson, bassist Rumsey, and drummer Stan Levey. With the exception of three Cooper originals, most of the songs hark back to the swing era (including "Isn't It Romantic," "East of the Sun" and "Dickie's Dream"), but the solos and arrangements were modern for 1955. Recommended.
Scott Yanow

Source : http://www.allmusic.com/album/howard-rumseys-lighthouse-all-stars-vol-6-mw0000202471

Howard Rumsey
Lighthouse All-Stars
vol. 6


1 Who's Sleepy (Cooper)  3:08
2 Isn't It Romantic ? (Hart, Rodgers)  3:12
3 Mad at the World (Cooper)  3:26
4 East of the Sun (Bowman)  4:04
5 Long Ago (And Far Away) (Gershwin, Kern)  6:28
6 Sad Sack (Shank)  5:45
7 If I Should Lose You (Rainger, Robin)  2:46
8 Prelude to a Kiss (Ellington, Gordon, Mills)  4:22
9 Dickie's Dream (Basie, Young)  7:05


Howard Rumsey - b
Frank Rosolino - tb [# 1, 3 & 6]
Stu Williamson - tb [# 5 & 9]
Conte Candoli - tp
Bud Shank - as & fl [# 1, 3 & 6]
Bob Cooper - ts
Claude Williamson - p
Stan Levey - dr

Recorded in Hollywood, California ; December 3, 1954 [# 1, 3 & 6] ; February 22, 1955 [# 5 & 9] ; March 1, 1955 [other selections]

Art Van Damme Quintet - Sound & Martini

The hippest cat ever to swing an accordion, Art Van Damme dared go where no man had gone before: jazz accordion. He started taking accordion lessons at the age of nine, and moved on to classical studies after his family moved to Chicago, Illinois, in 1934. After leaving school. he played in a trio in local clubs under big band leader Ben Bernie hired him in 1941. He soon returned to Chicago, though, and continued to work the club circuit there throughout World War Two.
Van Damme was inspired by swing recordings, particularly Benny Goodman's, and in the late 1930s, he began experimenting, adapting Goodman solos to the accordion. Throughout his career, he would often be compared to Goodman, since the two were both classically trained, technical masters of their instruments, and versatile and creative jazz soloists. He formed a quintet with several of his studio colleagues, and recorded his first album, for the small label, Music Craft, in 1944.
More Cocktail Capers LPHe joined the staff of NBC Radio in Chicago in 1945 and remained a studio musician for over 15 years, even after he became a recording artist in his own right. His early style fits into a small but at the time quite popular niche between the cocktail piano sound and the accordion/guitar/organ sound of the Three Suns. In fact, his earliest albums for Capitol and Columbia all had titles that made this connection explicit : Cocktail Capers ; Martini Time ; Manhattan Time.
Despite liner notes that described this music as "background for badinage," these are excellent albums, if far more subdued that the bebop they shared the record bins with. Van Damme's introduction of the accordion as a featured jazz instrument was well-received critically, and in 1947, Downbeat magazine put his photo on the cover of one of their issues. He would go on to voted "Top Accordionist" in Downbeat's annual poll of jazz musicians for ten years in a row. Later, he was similarly recognized by Contemporary Keyboard magazine for five years in a row.
As time went on, Van Damme moved into more adventurous territory, closer to mainstream jazz. His later Columbia albums feature him at the lead of small, tight combos, and include a mix of standards and Van Damme's own slightly bebop-ish originals. Accordion a la Mode may be his best album, although A Perfect Match, in which he pairs with the fine jazz guitarist Johnny Smith, is a favorite among fans of what's been called "light jazz."
Van Damme never had a problem finding a gig, and performed at clubs and hotels throughout Europe and the U.S. Over the course of over fifty years of performing, he traveled to Europe nearly 40 times and played everywhere from the Desert Inn in Las Vegas, to the Blue Note in New York, to Disney World in Florida. He also appeared on numerous television shows, from "The Tonight Show" to "The Dinah Shore Show." In the early 1950s, his quintet also recorded over 130 15-minute segments for NBC Radio. He claims that his performing kept him so busy he never needed to practice, and says that he probably played his accordion at home less than six hours total in all that time.
After leaving NBC Radio in 1960, Van Damme opened a music store and accordion studio in Chicago, but he continued to tour regularly. He left the recording mainstream when his contract with Columbia Records ran out in 1965, but was quickly signed by the German jazz label, MPS, and went on to record 16 albums for them. Since 1980, he has recorded less frequently, usually for small jazz labels, including an excellent album with the group Singers Unlimited on the Pausa. He gradually shifted his focus from clubs to accordion and jazz workshops, telling one interview that, "The audience is more attentive and listens more intensely."
Although a number of other accordionists ventured into jazz territory after Van Damme broke the trail, he remains the acknowledged master. As one reviewer recently wrote, he dispatches "Right-hand runs with a velocity and lightness of touch that defied the presumed limitations of the instrument," while at the same time, "Consistently emphasizing the lyric contours of a melodic phrase rather than the lightning technical flourishes that led up to it."

Source : http://www.spaceagepop.com/vandamme.htm

Art Van Damme
Van Damme Sound
Martini Time


1 Carioca (Kahn, Eliscu, Youmans)   3:01
2 I'll Remember April (Raye, DePaul, Johnston)  2:42
3 Lullaby of Broadway (Dubin, Warren)  2:24
4 Early Autumn (Mercer, Burns, Herman)  3:03
5 Ol' Man River (Hammerstein II, Kern)  1:41
6 Slaughter On Tenth Avenue (Rodgers)  3:36
7 I Let A Song Go Out Of My Heart (Redmond, Mills, Nemo, Ellington)  2:43
8 Thou Swell (Rodgers, Hart)  2:12
9 Deep Night (Vallee, Henderson)  3:00
10 Let's Fall In Love (Koehler, Arlen)  2:15
11 Don't Worry 'Bout Me (Koehler, Bloom)   2:43
12 Tea for Two (Caesar, Youmans)   2:33
13 Adios (Madriguera)   2:29
14 Blue Lou (Sampson, Mills)  2:06
15 Cheek To Cheek (Berlin)  3:06
16 Let Yourself Down (Van Damme, Doerschuk)   2:02
17 My Kinda Love (Alter, Trent)   2:46
18 I Hear Music (Loesser, Lane)  2:55
19 If I Could Be With You (One Hour Tonight) (Creamer, Johnson)  2:30
20 I Didn't Know What Time it Was (Rodgers, Hart)  3:00
21 The Surrey With the Fringe On Top (Hammerstein, Rodgers)  2:42
22 Tenderly (Lawrence, Gross)  4:14
23 It's Easy to Remember (Rodgers, Hart)  2:55
24 Madame Van Damme (Van Damme, Doerschuk)  1:56


Art Van Damme - acc
Charlie Calzaretta - vb
Fred Rundquist - g
Lon Skalinder - b
Max Mariash - dr

Recorded [# 1-12] The Van Damme Sound (Columbia, CL-544), 1953 ? & [# 13-24] Martini Time (Columbia, CL-630), 1955 ?

Two Jims and Zoot Sims

Guitarists Jimmy Raney and Jim Hall, both masterful unto themselves, team with tenor saxophonist Zoot Sims in a pianoless quintet on a recording made as one of the original CD's in the digital era from the Mobile Fidelity group. It's an energetic program (there's only one laid back tune, Hall's "All Across The City") of original boppish compositions or slightly Brazilian flavored musics that lend well to these great jazz players improvisational talents, especailly considering the strong rhythm section of bassist Steve Swallow and drummer Osie Johnson are also top notch. This rare recording, made in limited quantity, is one to search for and hold onto if you can find it.
Michael G. Nastos

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jvfyxq85ldte

Jimmy Raney
Two Jims and Zoot


1 Hold Me (Mulligan)  2:55
2 A Primera Vez (Marcal, Barcellow)  4:19
3 Presente de Natal (Noronha)  3:06
4 Morning of the Carnival (Bonfa)  4:34
5 Este Seu Olhar (Jobim)  4:35
6 Betaminus (Ellen)  3:18
7 Move It (Hall)  4:25
8 All Across the City (Hall)  4:48
9 Coisa Mais Linda (De Moraes, Lyra)  4:20
10 How About You ? (Freed, Lane)  3:52

Zoot Sims - ts
Jim Hall - g
Jimmy Raney - g
Steve Swallow - b
Osie Johnson - dr

Recorded in New York ; May 11 & 12, 1964

Thursday, April 20, 2017

Teddy Wilson - 1952-1953

Between the years 1946 and 1952, pianist Teddy Wilson made few recordings as a leader, spending most of his time and energy teaching music at Juilliard, working as an all-purpose utility pianist at radio station WNEW, and gigging occasionally with Benny Goodman. On October 6, 1952, Wilson cut eight tracks for the Metronome label in Stockholm, Sweden with excellent support from bassist Yngve Akerberg and a feisty drummer by the name of Jack Noren. In keeping with personal artistic patterns established over his first 20 years of professional musicianship, Wilson concentrated upon jazz standards, breathing new life into each melody. Volume 12 in the Classics Teddy Wilson chronology also contains the excellent recordings Wilson made for the Mercury and Clef labels from December 1952 through early September 1953 under the auspices of producer Norman Granz. At each session, Wilson found himself grouped with his musical peers : bassists John Simmons, Aaron Bell, and Arvell Shaw as well as drummers Buddy Rich, Denzil Best, and J.C. Heard. With ingredients like these, it's no wonder the music came out so well.
arwulf arwulf

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

Teddy Wilson
The Chronogical Classics


1 You're Mine You (Green)  2:37
2 I Got Rhythm (Gershwin)  2:52
3 Someone to Watch Over Me (Gershwin, Gershwin)  3:04
4 (Back Home Again In) Indiana (Hanley, MacDonald)  3:15
5 Time on My Hands (Youmans)  3:06
6 Sweet Georgia Brown (Bernie, Casey, Pinkard)  2:42
7 I Can't Get Started (Duke)  2:45
8 Takin' a Chance on Love (Duke)  3:11
9 The One I Love (Jones, Kahn)  2:59
10 Darn That Dream (DeLange, VanHeusen)  2:16
11 Tea for Two (Caesar, Youmans)  3:18
12 Oh, Lady Be Good (Gershwin)  2:59
13 Emaline (Parish, Perkins)  2:36
14 Tenderly (Gross, Lawrence)  3:08
15 Everything Happens to Me (Adair, Dennis)  3:12
16 Liza (All the Clouds'll Roll Away) (Gershwin, Kahn)  2:26
17 Nice Work If You Can Get It (Gershwin)  2:58
18 Airmail Special (Christian, Goodman, Mundy)  3:19
19 Night and Day (Porter)  2:59
20 Cheek to Cheek (Berlin)  3:52
21 East of the Sun (Bowman)  3:08
22 Autumn in New York (Duke)  2:45
23 Isn't It Romantic ? (Hart, Rodgers)  4:08
24 You Go to My Head (Coots, Gillespie)  3:06


[# 1-8]
Teddy Wilson - p
Yngve Akerberg - b
Jack Norén - dr
Recorded in Stockholm ; October 6, 1952
[# 9-12]

Teddy Wilson - p
John Simmons - b
Buddy Rich - dr
Recorded in New York ; December 16, 1952
[# 13-16]
Teddy Wilson - p
Aaron Bell - b
Denzil Best - dr

Recorded in New York ; April 13, 1953
[# 17-20]
Teddy Wilson - p
Arvell Shaw - b
J. C. Heard - dr

Recorded in New York ; September 4, 1953
[# 21-24]
Same as above
Recorded in New York ; September 8, 1953

Ruby Braff - Blowing Around the World

"I’ve always hated the trumpet. I didn‘t choose it. I wanted the B flat tenor saxophone. When my folks went to the store and saw what they thought was a tenor (it was actually a baritone), they said : “This is ridiculous”. They brought home this peculiar thing with valves on it, which I hated for ever. Never did care for it.
In school sometimes there would be an instructor that would give you lessons, but not very much. Unfortunately, I’m mostly self–taught. I hope to fix that one of these days.
As for inspirations—I never even knew what Louis Armstrong was. I only heard people talk about artists that were on the radio or on the screen—the Tommy Dorseys, the Artie Shaws, that sort of thing. And they looked like they were having such a marvellous, glamorous life, living in hotels, so well–dressed. It seemed like the epitome of luxury. I had no idea that they were all miserable! My first records were made in Boston, for a label called Storyville, and for Savoy Records, with Edmond Hall and Vic Dickenson. But they were terrible recordings—off broadcasts, mainly. Very sad things. I couldn’t play, either. The one made in a club where you could hear the audience more than the music was one of the better records.
Sure, they’ve made statements about my supposedly combining a modern approach with a feeling for traditional forms. Well, people say all sorts of things, because they want to categorise and label. I’ve only ever had two labels. Either it’s good or it stinks.
It always makes me laugh. If you heard David Oistrakh, would you say to him : “Man, what bag are you in ?” No, you wouldn’t. Yet they say that to a musician who has spent 30 or 40 years trying to evolve a way of playing.
So it’s silly. Is he playing good or isn’t he ? That’s the only thing that counts. But I know a lot of people don’t agree with me; Particularly the critics. They must put labels on music, so they can have it like canned goods on their shelf.
The truth of the matter is : there are a couple of idioms of music, the so–called symphonic world and the improvisational world of jazz, an American music which is a mixture of European ingredients, the Negro cultures from New Orleans. and Tin Pan Alley.
It’s also silly to keep talking about the blues as the most vital part of jazz. The blues is just a 12–bar series of chord changes which doesn’t really mean that much. How does somebody play a well–written, well–constructed song, keeping the character of it and then adding something to it ? I think that’s important..."

Ruby Braff
Blowing around The World


1 In A Little Spanish Town (Wayne, Lewis, Young)  3:09
2 April in Paris (Harburg, Duke)  3:47
3 Russian Lullaby (Berlin)  3:48
4 Too-Ra-Roo-Ra-Loo-Ra (Shannon)  4:06
5 Nagasaki (Warren, Dixon)  5:02
6 Song of India (P.D.)  3:18
7 Come Back to Sorrento (P.D.)  4:30
8 South Of the Border (Kennedy, Carr)  6:37
9 Loch Lomond (P.D.)  3:53
10 Chinatown My Chinatown (Schwartz, Jerome)  3:06


Ruby Braff - tp
Bob Brookmeyer - p
Barry Galbraith - g
Joe Benjamin - b
Buzzy Drootin - dr

Recorded in 1959
"...I don’t know what they mean by “blues feeling”. That’s a very mysterious phrase to me. I’ve heard it applied to players that are incredibly horrible, ridiculous musical morons.
These congenital idiots play insipid nonsense and they say: “Man, don’t he play the blues!” I wouldn’t want anyone to think that I play the blues if that’s what they imagine it is. Who cares about blues, anyway ? Admittedly. it’s part of the folk heritage. There were many singers who made up millions of variations on those same kind of chords, sometimes with a few different changes here and there — Handy would have a few. Jelly Roll Morton was very inventive when it came to writing blues; they all have a little character of their own.
But the guys who are praised for playing the same set of changes, the same amount of foolish notes all the time — can they play anything else ? As a matter of fact, when they play some other tune, it sounds like they’re still playing the blues. After all, you’re supposed to be composing something while you’re playing. Or trying to.
I love to worry about composition when I play. There is no other way to know if someone is talented or not, outside of whether what he plays hangs together in a composite form.
How else can we tell ? Whether he’s drumming, singing, whistling, dancing or whatever, it must hang together.
And if it doesn’t, I can’t see how people read things into it. On what basis do they judge talent—reading ability, how fast he can run the notes ? Out of a symphony of 180 musicians, there’s liable to be three that have talent. They can all play their instruments beautifully that has nothing to do with having talent.
Talent is something that very few people have, really. And there are no geniuses. Maybe Louis and Duke are something in jazz. But they keep throwing these words around. If Albert Einstein is a genius, for example, how can Albert Ayler be a genius ? It’s ridiculous. It doesn’t make any sense.
There’s more talent than there are geniuses, but not everybody was born to write or play. I think they’d be much better off if they would just try to love what they’re doing, forget all the meaningless words, and let the axe fall where it may."
Ruby Braff (Talking in 1968)

Source : http://www.jazzprofessional.com/interviews/Ruby%20Braff_1.htm