Tuesday, February 13, 2018

Thursday, June 23, 2016

Erroll Garner - Contrasts

Here's some great ear candy for fans of Erroll Garner, or anyone else who enjoys pianistic virtuosity. Recorded in 1954, the highlight of the recording, which is housed in its original Mercury-EmArcy cover art, is Garner's first recording of his biggest hit, "Misty," free from pops, scratches, and other ravages of time. And since Johnny Mathis made the romantic tune popular, Garner played it nightly for the rest of his performing life-about 1,000 times a year, he estimated.
The opener, "You Are My Sunshine," is stamped with that full, rich sound that is Garner's everlasting calling card. Joining him on the trio date were longtime pals Wyatt Ruther on drums and "Fats" Heard on bass. The contrasts the title refers to are Garner the swinger and Garner the balladeer, the later coming home on "Don't Worry About Me" in spectacular fashion. Garner's reading of "Sweet and Lovely" is also a kick with its Latin touch, and you can tell he was having fun with his treatment of the Rogers and Hart standard, "There's a Small Hotel."
It's great that CDs were invented and that the stuff we grew up with and loved is available again, sounding like it was recorded yesterday. These Verve "master editions" will include many of the label's classic recordings from the '50s and '60s with the best sound quality possible, which, for any jazz fan, is good news.
David Zych

Source : http://jazztimes.com/articles/9084-contrasts-erroll-garner

Erroll Garner


1 You Are My Sunshine (Davis, Mitchell)  3:26
2 I've Got the World on a String (Arlen, Koehler)  3:58
3 7-11 Jump (Garner)  7:16
4 Part-time Blues (Garner)  4:31
5 Rosalie (Porter)  2:35
6 In a Mellow Tone (Ellington)  4:17
7 Don't Worry 'Bout Me (Bloom, Koehler)  5:01
8 (All of a Sudden) My Heart Sings (Herpin, Rome)  3:19
9 There's a Small Hotel (Rodgers, Hart)  3:08
10 Misty (Garner)  2:45
11 I'v Got to Be a Rugcutter (Ellington)  2:19
12 Sweet and Lovely (Arnheim, Lemare, Tobias)  3:53
13 Exactly Like You (McHugh, Fields)  3:10


Erroll Garner - p
Wyatt Ruther - b
Eugene "Fats" Heard - dr
Candido Camero - cng [# 12]

Recorded at Universal Recording Studios, Chicago ; July 27, 1954

Wednesday, June 22, 2016

Lester Young - The Complete Aladdin

Although it has often been written that cool-toned tenor saxophonist Lester Young's experiences with racism in the military during 1944-1945 so scarred him that he never played at the same musical level as he had previously, the music on this essential two-CD reissue disproves that theory. It is true that his attitude toward life was affected and Young became somewhat self-destructive, but his postwar solos rank with the greatest work of his career. This two-fer, which has four selections from 1942 in which Young is heard in a trio with pianist Nat King Cole and bassist Red Callender and a rare 1945 session headed by singer Helen Humes (including a previously unknown instrumental "Riffin' Without Helen"), is mostly taken up with Young's very enjoyable 1945-1948 small-group dates. Highlights include "D.B. Blues," "Jumpin' with Symphony Sid" (which was a minor hit), "Sunday," and "New Lester Leaps In," among many others. Minor errors aside (trumpeter Snooky Young is left out of the personnel listing for the Humes date and Young's final Aladdin session is from 1948, not 1947), this is a well-conceived and brilliant set filled with exciting performances by one of the true greats of jazz.
Scott Yanow

Source : http://www.allmusic.com/album/the-complete-aladdin-recordings-mw0000172821

Lester Young
The Complete Aladdin


Cd. 1

1 Indiana (F. Hanley, MacDonald)  4:50
2 I Can't Get Started (Duke, Gershwin)  4:53
3 Tea for Two (Caesar, Youmans)  4:45
4 Body and Soul (Eyton, Green, Heyman, Sour)  5:07
5 D.B. Blues (Beaks, Young)  2:58
6 Lester Blows Again (Young)  2:29
7 These Foolish Things (Link, Marvell, Strachey)  3:08
8 Jumpin' at Mesner's (Young)  2:42
9 It's Only a Paper Moon (Arlen, Harburg, Rose)  3:03
10 After You've Gone (Creamer, Layton)  2:40
11 Lover, Come Back to Me (Hammerstein II, Romberg)  2:35
12 Jammin' with Lester (Young)  3:01
13 You're Driving Me Crazy (Donaldson)  3:03
14 New Lester Leaps In (Young)  2:55
15 Lester's Be Bop Shop (Young)  3:12
16 She's Funny That Way (Moret (Chas. N. Daniels), Whiting)  3:17
17 Sunday (Cohn, Krueger, Miller, Styne)  2:22
18 S.M. Blues (Young)  3:00


Cd. 2

1 Jumpin' with Symphony Sid (Young)  3:09
2 No Eyes Blues (Young)  2:57
3 Sax-O-Be-Bop (Young)  2:50
4 On the Sunny Side of the Street (Fields, McHugh)  2:57
5 Easy Does It (Oliver, Young)  2:31
6 Easy Does It [alt. take] (Oliver, Young)  2:27
7 Movin' with Lester (Young)  2:43
8 One O'Clock Jump (Basie)  2:36
9 Jumpin' at the Woodside (Basie)  2:57
10 I'm Confessin' (Daugherty, Neiburg, Reynolds)  2:29
11 Lester Smooths It Out (Young)  2:52
12 Just Cooling (Young)  2:56
13 Tea for Two (Irving Caesar, Youmans)  3:05
14 East of the Sun (Bowman)  3:07
15 Sheik of Araby (Smith, Snyder, Wheeler)  2:29
16 Something to Remember You By (Dietz, Schwartz)  2:42
17 Riffin' Without Helen (Young)  3:10
18 Please Let Me Forget (Callender)  3:07
19 He Don't Love Me Anymore (Hathaway)  2:49
20 Pleasing Man Blues (Brock)  3:03
21 See See Rider (Rainey)  2:46
22 It's Better to Give Than Receiving (Humes)  2:55


[Cd. 1, # 1-4]
Lester Young - ts
Nat "King" Cole - p
Red Callender - b
Recorded in Los Angeles ; July 15, 1942
[Cd. 1, # 5-8]
Lester Young - ts
Vic Dickenson - tb
Dodo Marmarosa - p
Red Callender - b
Henry Tucker - dr
Recorded in Los Angeles ; December, 1945
[Cd. 1, # 9-12]
Lester Young - ts
Willie Smith - as
Wesley Jones - p
Curtis Counce - b
Johnny Otis - dr
Recorded in Los Angeles ; January, 1946
[Cd. 1, # 13-16]
Lester Young - ts
Joe Albany - p
Irving Ashby - g
Red Callender - b
Chico Hamilton - dr
Recorded in Los Angeles ; August, 1946
[Cd. 1, # 17-18 & Cd. 2, # 1-4]
Lester Young - ts
Shorty McConnell - tp
Argonne Thornton - p
Fred Lacey - g
Rodney Richardson - b
Lyndell Marshall - dr
Recorded in Chicago ; October, 1946
[Cd. 2, # 5-9]
Same as above, except
Ted Briscoe - b, replaces Richardson
Roy Haynes - dr, replaces Marshall
Recorded at Radio Recorders, Los Angeles ; February 18, 1947
[Cd. 2, # 10-12]
Same as [Cd. 2, #1-4]
Nasir Barakaaf - g, replaces Briscoe
Recorded in New York City ; April 2, 1947
[Cd. 2, # 13-16]
Lester Young - ts
Gene DiNovi - p
Chuck Wayne - g
Curly Russell - b
Tiny Kahn - dr
Recorded at WOR Studios, New York City ; December 29, 1947
[Cd. 2, # 17-22]
Helen Humes - vcl
Lester Young & Maxwell Davis - ts
Willie Smith - as
Dave Barbour - g
Jimmy Bunn - p
Junior Rudd - b
Henry Tucker - dr
Recorded in Los Angeles ; December 22, 1945

Tuesday, June 21, 2016

Jazz Giants '58

Producer Norman Granz (1918-2001) had an uncanny ability to create really amazing jazz albums by experimenting with the combinative chemistry of musical minds, temperaments, and personalities. While not every Granz session resulted in recordings of equal depth or profundity, the number of artistically rewarding, genre-defining albums that came together under his supervision is almost difficult for the human mind to fully comprehend. One fine example is Jazz Giants '58, a Verve album recorded inside the rented Capitol studios in Hollywood, CA on August 1, 1957 and released almost exactly one year later. The 2008 Japanese CD reissue faithfully reproduces the original cover art and makes this outstanding music available in immaculately remastered sound. Although it has since come to be identified mainly with Stan Getz, Jazz Giants '58 feels a lot like a Gerry Mulligan session, with Harry "Sweets" Edison perfectly complementing the other two horns. To support and illuminate the trumpet, tenor, and baritone saxes, Granz used his preferred rhythm trio — Oscar Peterson, Herb Ellis, and Ray Brown — and added master percussionist Louie Bellson, fully primed after working for his wife Pearl Bailey, his hero Duke Ellington, and with Granz's internationally famous Jazz at the Philharmonic project. This was the blossoming of the great era of long-playing records, and the participants clearly relished the opportunity to stretch out and jam together in a relaxed, intimate studio environment. "Chocolate Sundae," a ten-minute collectively improvised blues of incredible warmth and irresistible texture, is followed by seven-and eight-minute sets of creative variations on a couple of tunes that were in the air during the '50s. The nearly 12-minute manifestation of the patented Norman Granz "Ballad Medley" is especially powerful by virtue of starting out with Billy Strayhorn's "Lush Life." An extended romp through the changes of Dizzy Gillespie's "Woody'n You" (a tribute to the progressive sensibilities of bandleader Woody Herman penned during the 1940s) adds pure undiluted pleasure to an album that already sounds and feels like some of the best music ever recorded by any of the participants under any circumstances.
arwulf arwulf

Source : http://www.allmusic.com/album/jazz-giants-58-r139227/review

Stan Getz
Gerry Mulligan
Harry "Sweets" Edison
Jazz Giants '58


1 Chocolate Sundae (Edison, Getz, Mulligan, Peterson)  10:10
2 When Your Lover Has Gone (Swan)  7:16
3 Candy (David, Kramer, Whitney)  7:59
4 Ballade Medley 11:54
a). Lush Life (Strayhorn)
b). Lullaby of the Leaves (Petkere, Young)
c). Makin' Whoopee (Donaldson,Kahn)
d). It Never Entered in my Mind (Rodgers, Hart)
5 Woody'n You (Gillespie)  9:35


Harry "Sweets" Edison - tp
Stan Getz - ts
Gerry Mulligan - bs
Oscar Peterson - p
Herb Ellis - g
Ray Brown - b
Louis Bellson - dr

Recorded at Capitol Studios, Vine Street, Hollywood, California ; August 1, 1957

See also

Jack Sheldon & His All-Stars

Trumpeter Jack Sheldon is heard leading two separate sessions from the late '50s. The earlier supporting cast includes Pete Jolly, Stu Williamson, and baritone saxophonist Billy Root. Several of the arrangements on the first studio date are by Lennie Niehaus, including the uplifting opener, "On Green Dolphin Street," the snappy blues "I'm Also a Person" (composed by Niehaus), and a richly textured chart of "I Had the Craziest Dream." George Wallington scored two snappy originals, "Arrividerci" and "Brown Cow." The mood is much lighter on the second date, with all of the arrangements by Paul Moer, including three originals. Although Art Pepper, Mel Lewis, Herb Geller, Chet Baker, and Harold Land are among the musicians present, this session is still a cut below the first. The playing is at a consistently strong level, even if some of the arrangements and compositions are less than memorable. But fans of cool jazz will likely enjoy this CD.
Ken Dryden

Source : http://www.allmusic.com/album/jack-sheldon-his-all-stars-r549858

Jack Sheldon

His All-Stars


1 Green Dolphin Street (Kaper, Washington)  3:07
2 I'm Also a Person (Niehaus)  4:45
3 I Had the Craziest Dream (Gordon, Warren)  3:34
4 Arrividerci (Wallington)  3:43
5 Brown Cow (Tiny Kahn)  2:59
6 Anyhow (Moer)  3:24
7 Julie Is Her Name (Troup)  3:28
8 Aplomb (Moer)  3:47
9 Sunset Eyes (Edwards)  2:55
10 J.S. (Abercrombie, Moer)  3:39


[# 1-5]
Jack Sheldon, Conte Candoli - tp
Stu Williamson - tb
Vince DeRosa - fr hrn
Lennie Niehaus - as
Billy Root - bs
Pete Jolly - p
Red Callender - tb
Buddy Clark - b
Mel Lewis - dr
Recorded in Los Angeles, California ; July 20, 1957
[# 6-10]
Jack Sheldon, Chet Baker - tp
Art Pepper, Herb Geller - as
Harold Land - ts
Paul Moer - p & arr
Buddy Clark - b
Mel Lewis - dr
Recorded in Los Angeles, California ; March 6, 1959

Sunday, June 19, 2016

Herbie Hancock - Complete Warner Bros. (1969-1972)

While no one can argue that Herbie Hancock's early Blue Note recordings aren't milestones in his career and some are as enduring as any other jazzman's in history, the mostly overlooked Warner Bros. period remains one of his most adventurous, creatively satisfying, and amazingly enduring. The three albums presented here all offer wildly different sides of Hancock after he left Miles Davis. All of them are presented here in their entirety, with copious notes by Bob Blumenthal, who interviewed Hancock for the package. The set begins with the wildly joyous, deep, funky groove of Fat Albert's Groove, the music Hancock recorded for Bill Cosby's Saturday morning cartoon show. These seven tracks, with their three-horn front line (originated for Hancock on his final Blue Note album, Speak Like a Child) of Joe Henderson on flute and tenor, Johnny Coles' trumpet, and Garnett Brown's trombone, are singing, lyrical funk grooves that predated Headhunters by a few years and swung way harder by sticking back and lying in the groove as much as possible. Hancock's electric piano teamed with Tootie Heath and Buster Williams to form an unbeatable, gutsy, and stomping rhythm section. The band was fleshed out on a couple of tracks by additional horns, additional drums and percussion, and electric guitars. After such a melodic entry, Warners' executives must have been shocked when Hancock brought them the abstract funkified impressionism of Mwandishi. Comprised of three long tracks, the album showcased Hancock's brief preoccupation with free jazz improvisation and long intervallic inventions on modal frames. Hancock had kept only Buster Williams in the sextet that recorded both Mwandishi and Crossings. He added Billy Hart, Eddie Henderson, Julian Priester, and Bennie Maupin to fill out his newfound electric preoccupation. This same band with the addition of a few sidemen recorded the completely gone Crossings. This record sank from the market like a stone, with its commercial appeal only found a year later when Hancock moved to Columbia to issue first Sextant and then Headhunters. The music on Crossings is a blend of street music and Sun Ra ; it's a completely proletarian approach to out jazz that keeps it close to the street while fully exploring the varying tonal and rhythmic changes that were going on in jazz at the time. Again, only three tracks appear, though the first is a long, brazen expressionistic suite ("Sleeping Giant") that makes the more abstract moments on "Water Torture" possible for listeners to find themselves in. This double-CD package is carried only sporadically by record shops, and as inexpensive imports the three original albums can be found separately. But why would anyone want to ? The musical evolution present here in the composer, arranger, and pianist is absolutely the most visionary and large-scale in his career. Where the music misses, it does so bravely, when it's on, it goes for the jugular and grooves right on in.
Thom Jurek

Source : http://www.allmusic.com/album/mwandishi-the-complete-warner-bros-recordings-mw0001967824

Herbie Hancock
The Complete Warner Bros. Recordings


Cd. 1

1 Wiggle-Waggle (Hancock)  5:48
2 Fat Mama (Hancock)  3:48
3 Tell Me a Bedtime Story (Hancock)  5:00
4 Oh! Oh! Here He Comes (Hancock)  4:05
5 Jessica (Hancock)  4:11
6 Fat Albert Rotunda (Hancock)  6:27
7 Lil' Brother (Hancock)  4:25
8 Ostinato (Suite for Angela) (Hancock)  13:09
9 You'll Know When You Get There (Hancock)  10:15

All Compositions by Herbie Hancock


Cd. 2

1 Wandering Spirit Song (Priester)  21:25
2 Sleeping Giant (Pts. 1-5) (Hancock)  23:56
3 Quasar (Maupin)  7:22
4 Water Torture (Maupin)  13:56


Feat. Herbie Hancock, Billy Hart, Benny Maupin, Julian Priester, Eddie Henderson, Joe Henderson, Eric Gale, Garnett Brown, Albert "Tootie" Heath, Buster Williams, Joe Newman, Ernie Royal, Johnny Coles, Joe Farrell, Billy Butler, etc.

Recorded between October 4, 1969 & February 17, 1972

(See the complete artwork for all details)

Shades of Gray Sargent

Throughout this enjoyable set, guitarist Gray Sargent is the epitome of cool, unhurried, and relaxed no matter what the tempo. Sargent is accompanied by bassist Marshall Wood and drummer Ray Mosca and, on half of the set, great pianist Dave McKenna. The music falls between swing and bop, sounding both spontaneous and fully under control. Sargent, who has a very appealing sound, uplifts each of the standards and some of them (particularly the ones with McKenna) swing quite hard.
Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wjfpxq9gldke

Gray Sargent
Shades of Gray


1 Let's Get Lost (Loesser, McHugh)  4:59
2 Gray Haze (Sargent)  3:52
3 Don't Take Your Love from Me (Nemo)  7:15
4 I Know Why/My Foolish Heart (Gondon, Warren)  6:57
5 A.P. In the P.M. (Sargent)  4:08
6 You Don't Know What Love Is (DePaul, Raye)  8:31
7 A Nightingale Sang in Berkeley Square (Maschwitz, Sherwin)  6:25
8 This Time the Dream's on Me (Arlen, Mercer)  5:11
9 My Ideal (Chase, Robin, Whiting)  6:19
10 Long Ago (And Far Away) (Gershwin, Kern)  5:02
11 Love Is a Many Splendored Thing (Fain, Webster)  5:02


Gray Sargent - g
Marshall Wood - b
Ray Mosca - dr
ith special Guest Dave McKenna - p [# 3, 6, 7, 9 & 10] 

Recorded at Skyline Studios, New York, New York ; February 1-2, 1993

Jerry Fuller - Clarinet Portrait

The long career of clarinetist Jerry Fuller includes an intriguing series of recordings under his name, an extended collaboration with the great trombonist Jack Teagarden, and in Fuller's senior years participation in the prophetic Style Is Back in Style combo. Fuller's name if often linked with traditional Dixieland stylings — for example, he was the longest-living member of the original Dukes of Dixieland band — but like fellow clarinetist Pee Wee Russell he is known for modernizing whatever context he plays in, importantly without creating discomfort for other members of the ensemble.
Not to be confused with an Albertan modern jazz drummer nor the Texan rock performer and producer of the same name, Fuller hailed from California and began playing clarinet as a youngster. In 1949 he joined the band of Jimmy Zito, played the next year with Will Osborne, and then was in the reed section of Uncle Sam's army through 1953. Following several years with Pete Daily's Chicagoans, Fuller started up his own trio in Hollywood but then found the employment offered by Teagarden much more inviting. His four years with the latter outfit involved a lengthy tour of Asia sponsored by the U.S. State Department. Fuller began working with the Dukes of Dixieland in 1959, appearing on the group's sides on the Audio Fidelity label.
The clarinetist's recordings on his own include productions on major labels including Capitol, Columbia, and Decca. He did a great deal of playing on the popular variety shows of '60s television, fitting into pit bands for "The Dean Martin Show", "The Mike Douglas Show", and "The Ed Sullivan Show", among others. Fuller often picks a stylistic concept to cloak an album project : examples include South American Cookin' in 1961, a collection of hit record themes the same year, and the swing versions of traditional holiday music presented by Style Is Back in Style for the 2004 Christmas Is for Us Kids release.
Eugene Chadbourne

Source : http://www.allmusic.com/artist/jerry-fuller-mn0001344287

Jerry Fuller
Clarinet Portrait


1 I'm Getting Sentimetal Over You (Bassman, Washington)  3:58
2 That's A Plenty (Pollack, Gilbert)  4:23
3 Minor Epic (Estes)  4:14
4 On Green Dolphin Street (Kaper, Washington)  4:40
5 Judy (Carmichael, Lerner)  3:06
6 Somebody Loves Me (Gershwin, MacDonald, DeSilva)  4:06
7 Makin' Whoopee (Donaldson, Kahn)  3:40
8 Raz-Ma-Taz (Florence)  3:29
9 Benny's Idea (Fuller)  6:30
10 Georgia On My Mind (Carmichael, Gorrell)  3:25


Jerry Fuller - cl
Howard Roberts - g
Gene Estes - vb
Bob Florence - p
Mel Pollan - b
Frank Capp - dr

Recorded at Third Street Studios, Los Angeles ; March 17, 19 & 20, 1959

Two of a Mind - Gerry Mulligan & Paul Desmond

Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically. For this RCA CD (a series that reissued some of the earlier Bluebirds under the RCA banner), the two masterful reed players are featured in pianoless quartets that also include Wendell Marshall, Joe Benjamin or John Beal on bass, and Connie Kay or Mel Lewis on drums. The songs all utilize common chord changes including the two "originals" ("Two of a Kind" and "Blight of the Fumble Bee") and the interplay between Desmond and Mulligan is consistently delightful. Highly recommended.
Scott Yanow

Source : http://www.allmusic.com/album/two-of-a-mind-rca-r137679

Paul Desmond 
Gerry Mulligan
Two of a Mind


1 All the Things You Are (Hammerstein, Kern)  5:53
2 Stardust (Carmichael, Parish)  8:20
3 Two of a Mind (Desmond)  5:45
4 Blight of the Fumble Bee (Mulligan)  6:33
5 The Way You Look Tonight (Fields, Kern)  7:19
6 Out of Nowhere (Green, Heyman)  6:42
7 Easy Living* (Robin, Raigner)  7:29
8 All the Things You Are* [alt. take] (Hammerstein, Kern)  6:58
9 The Way You Look Tonight* [alt. take] (Fields, Kern)  7:52
10 Untitled Blues* Waltz (unkwnown)  9:45
11 Untitled Blues* Waltz [breakdown] (unkwnown)  1:38

* previously unissued


[# 1, 2, & 8]
Paul Desmond - as
Gerry Mulligan - bs
Wendell Marshall - b
Connie Kay - dr
Recorded at RCA Recording Studio A, New York City ; July 3, 1962
[# 3, 6, & 9]
Paul Desmond - as
Gerry Mulligan - bs
Joe Benjamin - b
Mel Lewis - dr
Recorded same place as above ; August 3, 1962
[# 4, 5, & 7]
Paul Desmond - as
Gerry Mulligan - bs
John Beal - b
Connie Kay - dr
Recorded same place as above ; June 26, 1962
[# 10 & 11]
Paul Desmond - as [& bs on # 11]
Gerry Mulligan - bs [add p on # 11]
Jim Hall - g
John Beal - b
Ed Shaughnessy - dr
Recorded at Webster Hall, New York City ; June 8, 1962

Saturday, June 18, 2016

Larry Koonse - What's in the Box ? (The Music of Jimmy Wyble)

A true labor of love, this quietly charming disc by guitarist Koonse rescues several rarely heard tunes from the pen of his mentor, cool-jazz innovator Jimmy Wyble. With delicately balanced counterpoint and sweet-tempered improvisations, Koonse sets up casually swinging scenes for clarinetist Gary Foster and bassist Darek Oles. But the most sublime tracks are twin-guitar affairs, with Koonse and his father, Dave, in a beautiful, slow-motion ballet. It’s strong testament to the 86-year-old Wyble, who remains active and deserves to be better known.
Forrest Dylan Bryant

Source : http://jazztimes.com/articles/18188-what-s-in-the-box-larry-koonse

Larry Koonse
What's in the Box ?
(The Music of Jimmy Wyble)


1 Two Lines for Barney (Dedicated to Barney Kessel) (Wyble)  5:46
2 Cajun Waltz (Wyble)  6:40
3 Stella by Starlight (Young, Washington)  3:28
4 Chorale for Lily (Dedicated to Lily Wyble) (Wyble)  3:07
5 Blues for Monk (Dedicated to Thelonious Monk) (Wyble)  5:50
6 Don't Ask Why (Dedicated to Allan Broadbent & Larry Koonse) (Broadbent)  503
7 Waltz for George (Dedicated to George Van Eps) (Wyble)  4:23
8 Nostalgia (Wyble)  4:49
9 One from Davie (Dedicated to Dave Koonse) (Wyble)  6:18
10 Blue for Bix (Dedicated to Bix Beiderbecke) (Wyble)  5:20
11 Variations on a Theme (Dedicated to Gene Bertocini and Peter Bernstein) (Wyble)  5:31
12 Blues for Alec Wilder (Wyble)  4:03


Larry Koonse - g
Gary Foster - cl [# 1, 2, 5, 8 & 9]
Dave Koonse - g [# 3, 4, 6, 10 & 11]
Darek "Oles" Oleszkiewicz - b [# 1, 2, 5, 7-9]
Putter Smith - b [# 3, 4, 6 & 11]
Joe La Barbera - dr [# 1, 2, 5, 7, 8 & 10]

Recorded at  No Sound Studios, Pasadena, California ; June 28 & July 9, 2007

Alicia de Larrocha Plays Música Española (IV)

Alicia de Larrocha's greatest contribution as a musician was her unrivaled advocacy of Spanish and Catalonian piano music. Her interpretations of the music of Albéniz, Granados, Falla, Mompou (a lifelong friend who dedicated several works to her), and Montsalvatge were universally described as brilliant, authentic, and masterful in tonal color, texture, and rhythm. She was also highly regarded for her recordings of Mozart and French Impressionist music. She began her career before the age of six with a solo recital, followed by her orchestral debut at the age of 11 performing Mozart's "Coronation" Concerto (K. 537) with the Orquesta Sinfónica de Madrid. She studied with Frank Marshall at his Academia Marshall and also studied music theory with Ricardo Lamote de Gignon. Her adult career began in 1940, but she did not make any international tours until 1947, when she first toured Europe. In 1953, she premiered Montsalvatge's Concierto breve, which is dedicated to her, and also made her first visit to England. Her first appearance in the U.S. was in 1955 with the Los Angeles Philharmonic. After that, she began performing around the world, working with such artists as Victoria de Los Angeles, Montserrat Caballé, the Guarneri and Tokyo String Quartets, Sir Colin Davis, Rafael Frühbeck de Burgos, Kent Nagano, and Gerard Schwarz. She even performed Poulenc's Concerto for two pianos with the composer at the second piano. In addition to her performing, she took on the directorship of the Academia Marshall in 1959. Her recordings, particularly of Albéniz and Granados, have received numerous prizes, including Grammys, the Edison Prize, the Grand Prix du Disque, and the Deutsche Schallplatten Prize. She herself was awarded the Paderewski Memorial Medal and the Principe de Asturias prize, among others, and was recognized for her talents by the city of Barcelona, the Spanish and French governments, and UNESCO. She continued to perform until her 80th year. After breaking her hip in 2007, she suffered an overall decline in health, and died in 2009.
Patsy Morita

Source : http://www.allmusic.com/artist/alicia-de-larrocha-mn0000767474/biography

Alicia de Larrocha
Música Española


Cd. 1

Manuel de Falla

1 Danza de los vecinos  3:0
2 Danza del molinero  2:42
3 Danza de la molinera  3:50

Suite de El amor brujo
4 Pantomima  4:37
5 Canción del fuego fatuo  2:39
6 Danza del terror  2:08
7 El círculo mágico (narración del pescador)  2:13
8 Danza ritual del fuego  4:41

Joaquín Turina

9 Sacromonte, Op. 8 n° 5  1:59
10 Zapateado, Op. 8 n° 3  4:03

Ernesto Halffter

11 Danza de la pastora  3:31
12 Danza de la gitana  3:59

Xavier Montsalvatge

Sonatina para Yvette
13 I. Vivo e spiritoso  3:33
14 II. Moderato molto  4:08
15 III. Allegretto  2:06

16 Divertimento n° 2 "Habanera"  2:19

Joaquín Nin-Culmell

Tonadas, vol. 2
17 I. Canción del labrador (León)  1:52
18 II. Copla castellana  0:56
19 III. Canción otoñal (País Vasco)  1:57
20 IV. Seguidilla murciana  1:17
21 V. Canción de trilla (Murcia)  1:46
22 VI. Muñeira (Galicia)  1:17

Carlos Suriñach

23 3 Canciones y Danzas españolas  8:54


Cd. 2

Frederico Mompou

Impresiones íntimas
1 I.  1:06
2 II.  1:46
3 III.  1:10
4 IV.  1:37
5 V. Pájaro triste  2:41
6 VI. La barca  1:42
7 VII. Cuna  2:36
8 VIII. Secreto  2:17
9 IX. Gitano  3:05

10 Preludio [VII] a Alicia de Larrocha  2:14

11 Música callada, IV  18:42

7 Cançons i Dansas
12 I. (1921)  4:05
13 II. (1918-1924)  2:45
14 III. (1926)  4:08
15 XIV (1978)  4:33
16 IV. (1928)  4:17
17 V. (1942)  4:11
18 VI. (1942)  3:50


Alicia de Larrocha - p

Recorded 1970 [Cd. 1, # 11-23 & Cd. 2, # 16-18] ; 1974 [Cd. 1, # 1-8] ; 1975 [Cd. 1, # 9-10] ; 1984 [Cd. 2, # 1-9] ; 1985 [Cd. 2, # 10-15]

Francesco Nicolosi Plays Scarlatti

Kudos to Naxos for the way it has handled its ongoing series covering Domenico's enormous body of keyboard sonatas: in a repertory only (at best) loosely divisible into chronological or stylistic groupings, they have opted instead to divide the sonatas up among different performers. The buyer gets to look at these miniature masterworks, which can be performed in so many different ways, through different lenses. The label has not shied away from strongly pianistic readings of the sort that were heard 50 years ago, when Scarlatti was one of the few Baroque composers known outside small circles of performers and supporting enthusiasts. This volume is by Francesco Nicolosi, an Italian pianist who has specialized in the likes of Thalberg and Liszt, so it's no surprise it falls into the highly pianistic category. Nicolosi uses heavy dynamic contrasts and plenty of pedal. In the faster works he is given to bending the tempo a bit, especially toward the ends of phrases. Check out the Sonata in C minor, K. 139 (track 5), with distinct slowdowns on the highly progressive dominants that clearly mark out the reappearances of the tonic key. Nicolosi takes his time on these, which is one of several devices that make Scarlatti seem here like some kind of immediate predecessor to Chopin. Another is the murky pedaling in the slower pieces, several of which are quite long; the opening Sonata in D minor, K. 52, at more than seven and a half minutes, has the feel of Liszt in one of his more Bach-obsessed moments. The good news is that Nicolosi is among the group that, in Charles Burney's words, "have now perseverance sufficient to vanquish [the] peculiar difficulties of execution" in these sonatas, and he never uses the pedal to mask any of the hand crossings or other brilliant effects. The harpsichord brings out colors in Scarlatti's work (Spanish ones, for example) that aren't available on the piano, but the advantage of the Naxos approach is that the buyer can sample individual discs without becoming enmeshed in the entire series, and Nicolosi's Romantic treatments are well suited to several of the pieces chosen here.
James Manheim

Source : http://www.allmusic.com/album/domenico-scarlatti-complete-keyboard-sonatas-vol-9-mw0001871139

Francesco Nicolosi
Domenico Scarlatti

Complete Keyboard Sonatas, vol. 9


1 Sonata in D minor, K. 52  7:34
2 Sonata in D minor, K. 77  5:12
3 Sonata in G major, K. 79  3:22
4 Sonata in G minor, K. 111 3:15
5 Sonata in C minor, K. 139  4:04
6 Sonata in C major, K. 170  6:42
7 Sonata in D minor, K. 176  7:30
8 Sonata in D major, K. 277  4:29
9 Sonata in A major, K. 344  3:03
10 Sonata in C major, K. 340  3:58
11 Sonata in D major, K. 388  3:40
12 Sonata in C major, K. 398  5:21
13 Sonata in A major, K. 456  2:31


Francesco Nicolosi - p

Recorded at Potton Hall, Westleton, Suffolk, UK. ; February 2/3, 2007

Wednesday, June 15, 2016

Jim Hall - Concierto

Amongst the many CTI classics of the 1970s, few stand the test of time as well as guitarist Jim Hall's Concierto, an ambitious album that, in its original form, married one side of modern mainstream with a second taken up by a 19-minute version of Joaquin Rodrigo's 1939 piece for classical guitar and orchestra, "Concierto de Aranjuez." That Miles Davis and Gil Evans had already delivered what was considered the definitive jazz adaptation on the trumpeter's 1960 classic, Sketches of Spain (Columbia), and that pianist Chick Corea had grabbed parts as the intro to his now-classic "Spain," were clearly no deterrents to Hall, or to arranger Don Sebesky, who — sticking with this minimalist quintet/sextet rather than the overblown orchestras he'd sometimes resort to on other CTI titles — delivers one of the best charts of his career.
Sebesky perfectly balances the innate economy and astute improvisation acumen of Hall's group with written scores that maximize the beauty of space and nuanced understatement. Trumpeter Chet Baker is in terrific form here, in the midst of a relatively brief cleanup period from heroin and with two strong CTI recordings from the previous year — his own She Was Too Good to Me (reissued in 2010 by CTI Masterworks) and Carnegie Hall Concert, with baritone saxophonist Gerry Mulligan and a crack band that includes drummer Harvey Mason, and a young John Scofield on guitar. Paul Desmond is also in great shape, interacting particularly empathically with Baker on the swinging opener, "You Be So Nice To Come Home To," before the trumpeter takes over with a solo of surprising fire and even occasional grit.
As is the case on the lion's share of CTI recordings, bassist Ron Carter stokes the engine room — this time with drummer Steve Gadd — demonstrating his remarkable versatility. Appearing on all six of 2011's first batch of CTI Masterworks reissues, and playing, as he does, with three different drummers in a variety of contexts, Carter demonstrates just how malleable he is, and how ideal a rhythm section partner he's always been, all while remaining instantly recognizable.
Hall's career has been founded on a thoughtful and restrained economy that's made every note, every voicing, count. What's most remarkable about his playing here is how perfect his choices still are, nearly 40 years later. It's often easy to look back and reassess performances for what they might have been, but there's absolutely nothing here that could (or should) be changed ; pianist Roland Hanna also plays with a combination of melodic invention and Spartan lyricism on the two versions of "You'd Be So Nice," including a bonus alternate that, taken at an ever-so-slightly-slower tempo, breathes a tad more than the album version; though, with slightly softer edges, it's easy to see why Hall and producer Creed Taylor made the choice they did.
With its reading of "Concierto de Aranjuez" standing easily beside the Davis/Evans version on Sketches of Spain, Concierto deserves to be considered an equal classic, and a masterpiece in its own right — proof that music can be deep, modern, timeless and accessible.
John Kelman

Source : https://www.allaboutjazz.com/concierto-jim-hall-cti-masterworks-review-by-john-kelman.php

Jim Hall


1 You'd Be So Nice to Come Home To (Porter)  7:07
2 Two's Blues (Hall)  3:51
3 The Answer Is Yes (Hall)  7:39
4 Concierto de Aranjuez (Rodrigo)  19:18
5 Rock Skippin' [aka Rock Skippin' at the Blue Note] (Ellington, Strayhorn)  6:12
6 Unfinished Business (La Paloma Azul [The Blue Dove]) (Andrews, Carter, Chávez, Hall)  2:38
7 You'd Be So Nice to Come Home To [alt. take] (Porter)  7:29
8 The Answer Is Yes [alt. take] (Hall)  5:36
9 Rock Skippin' [aka Rock Skippin' at the Blue Note] [alt. take] (Ellington, Strayhorn)  6:03


[# 2 & 8]
Chet Baker - tp
Roland Hanna - el-p
Jim Hall - g
Ron Carter - b
Steve Gadd - dr
Don Sebesky - arr.
Recorded at Englewood Cliffs, New Jersey ; April 16, 1975
[# 5 & 9]
Same as above ; except Hanna plays p ; & Baker is out ; same Place & Date
[# 1, 4 & 7]
Same as [# 2 & 8] ; except Paul Desmond - as is added ; & Hanna plays p
Recorded at Englewood Cliffs, New Jersey ; April 23, 1975
[# 3]
Same as [# 2 & 3]. Same Place & Date as above
[# 6]
Paul Desmond - as
Jim Hall - g
Ron Carter - b
Don Sebesky - arr.
Same Place & Date as above

Se also