Wednesday, September 17, 2064

Monday, January 15, 2018

Charlie Christian - Complete Masters of Jazz

Charles Henry Christian was born in Bonham, TX on July 29, 1916 and succumbed to chronic pulmonary and ileocecal tuberculosis in New York City on March 2, 1942. During that brief lifespan, he developed an unprecedented ability to improvise on the electrically amplified guitar and became internationally famous as Benny Goodman's featured soloist. During the 1990s, the Masters of Jazz historic reissue label set a precedent for the careful reappraisal of Christian's complex and only partially studio-recorded legacy. The producers did this by lining up selected air shots, location recordings, and studio takes in chronological sequence, beginning with music that materialized on August 19, 1939 (three days after Christian auditioned for Benny Goodman in Los Angeles and sat in with Goodman's band at the French Garden Room of the Victor Hugo Restaurant in Beverly Hills on the evening of the same day) and following his footsteps to the Columbia recording session of November 7, 1940, when pianist Count Basie sat in with the Benny Goodman Sextet. Eight volumes in this series cover much of the recorded evidence from Christian's meteoric career ; volumes one through four, issued separately and as a four-CD set, paint a fascinating portrait of a young innovator at large during an exciting and transitional period in the evolution of jazz from swing to bop. A ninth volume, appended to the series in 2001, contained remastered versions of some tracks along with previously unheard rarities.
arwulf arwulf

Source : http://www.allmusic.com/album/1939-1940-vol-1-4-mw0001001995

Charlie Christian
Complete edition
1939-1941
(Masters of Jazz, vol. 1-9)

Tracks

Cd. 1
(Aug.-Oct. 1939)

BENNY GOODMAN SEXTET
1 Flying Home (Goodman, Hampton, Robin)  3:09
2 Stardust (Carmichael, Parish)  2:23

LIONEL HAMPTON & HIS ORCHESTRA
3 One Sweet Letter from You (Brown, Clare, Warren)  3:21

BENNY GOODMAN SEXTET
4 I Got Rhythm (Gershwin, Gershwin)  5:59
5 Stardust (Carmichael, Parish)  5:42
6 Tea for Two (Caesar, Youmans)  4:37
7 Flying Home (Goodman, Hampton, Robin)  3:11
8 Homeward Bound (Flying Home) (DeLange, Goodman, Hampton)  3:18
9 Rose Room (Hickman, Williams)  2:46
10 Stardust (Carmichael, Parish)  3:13
11 Flying Home (Goodman, Hampton, Robin)  3:53
12 Stardust (Carmichael, Parish)  2:32
13 Memories of You (Blake, Razaf)  3:14
14 Rose Room (Hickman, Williams)  3:02

LIONEL HAMPTON & HIS ORCHESTRA
15 Haven't Named It Yet (Christian, Hampton)  2:56

BENNY GOODMAN SEXTET
16 AC/DC Current (Christian, Goodman, Hampton)  2:25
17 Flying Home (Goodman, Hampton, Robin)  3:10
18 Soft Winds (Goodman, Henderson)  2:25
19 Memories of You (Blake, Razaf)  2:54

IDA COX
accompanied by her
ALL-STAR BAND
20 Deep Sea Blues (Cox)  3:07

*

Cd. 2
(Nov.-Dec. 1939)

BENNY GOODMAN SEXTET
1 Shivers (Christian, Hampton)  2:50
2 Memories of You [take 1] (Blake, Razaf)  3:09
3 Memories of You [take 2] (Blake, Razaf)  3:06
4 Soft Winds [take 1] (Goodman, Henderson)  2:25
5 Soft Winds [take 2] (Goodman, Henderson)  2:23
6 Seven Come Eleven (Christian, Goodman)  2:41

BENNY GOODMAN AND HIS ORCHESTRA
7 Honeysuckle Rose (Razaf, Waller)  2:57

BENNY GOODMAN SEXTET
8 Seven Come Eleven (Christian, Goodman)  2:39
9 AC/DC Current (Christian, Goodman, Hampton)  2:24
10 Dinah (Akst, Lewis, Young)  3:03
11 Shivers [not complete] (Christian, Hampton)  2:27
12 Shivers (Christian, Hampton)  2:40
13 AC/DC Current (Christian, Goodman, Hampton)  2:43
14 I'm Confessin' (That I Love You) (Daugherty, Neiburg, Reynolds)  2:53
15 Flying Home (Goodman, Hampton, Robin)  3:12
16 Memories of You (Blake, Razaf)  3:02
17 Honeysuckle Rose (Razaf, Waller)  3:52

KANSAS CITY SIX
18 Pagin' the Devil (Page)  3:58
19 Good Morning Blues (Basie, Durham, Rushing)  3:44
20 Way Down Yonder in New Orleans (Creamer, Layton)  2:29

JAM SESSIONS
21 Oh, Lady Be Good (Gershwin, Gershwin)  9:30

*

Cd. 3
(Dec. 1939-June 1940)

BENNY GOODMAN SEXTET
1 AC/DC Current (Christian, Goodman, Hampton)  2:19
2 Pick-A-Rib (Goodman)  3:08
3 Till Tom Special (Goodman, Hampton)  2:33

METRONOME ALL STAR NINE
4 All Star Strut [breakdown] (Mergentroid)  1:18
5 All Star Strut [master take] (Mergentroid)  3:06
6 All Star Strut [take 3] (Mergentroid)  3:08

BENNY GOODMAN SEXTET
7 Till Tom Special (Goodman, Hampton)  3:05
8 Gone with "What" Wind [take 1] (Basie, Goodman)  3:13
9 Gone with "What" Wind [take 2 - master] (Basie, Goodman)  3:23
10 Gone with "What" Wind (Basie, Goodman)  3:36
11 The Sheik of Araby (Smith, Snyder, Wheeler)  3:16
12 Poor Butterfly (Golden, Hubbell)  2:51
13 Gone with "What" Wind (Basie, Goodman)  3:25
14 I Surrender, Dear (Barris, Clifford)  3:00
15 Boy Meets Goy (Grand Slam) (Goodman)  2:50
16 The Sheik of Araby (Smith, Snyder, Wheeler)  3:56
17 Soft Winds (Goodman, Henderson)  2:18
18 The Sheik of Araby (Smith, Snyder, Wheeler)  2:22
19 Seven Come Eleven (Christian, Goodman)  3:16
20 Six Appeal (My Daddy Rocks Me) (Goodman)  4:14

*

Cd. 4
(June-Nov. 1940)

BENNY GOODMAN SEXTET
1 Six Appeal (My Daddy Rocks Me) (Goodman)  3:17
2 These Foolish Things (Link, Marvell, Strachey)  3:10
3 Good Enough to Keep (Air Mail Special) (Christian, Goodman, Mundy)  2:54
4 Honeysuckle Rose (Razaf, Waller)  2:35
5 Six Appeal (My Daddy Rocks Me) (Goodman)  2:39
6 AC/DC Current (Christian, Goodman, Hampton)  2:24

EDDY HOWARD
7 Stardust (Carmichael, Parish)  2:51
8 Wrap Your Troubles in Dreams (And Dream Your Troubles Away)
(Barris, Koehler, Moll)  3:21

BENNY GOODMAN SEPTET
9 Ad Lib Blues (Traditional)  3:44
10 I Never Knew I Could Love Anybody (Like I'm Loving You)
(Egan, Marsh, Pitts)  3:01
11 Charlie's Dream (Basie, Young)  3:15
12 Wholly Cats (Goodman)  3:19
13 Lester's Dream (Basie, Young)  3:19

BENNY GOODMAN QUINTET
14 Gone with "What" Wind (Basie, Goodman) 3:14

BENNY GOODMAN AND HIS SEXTET
FEATURING COUNT BASIE
15 Wholly Cats [take 1] (Goodman)  2:59
16 Wholly Cats [take 2] (Goodman)  3:05
17 Wholly Cats [take 3] (Goodman)  3:02
18 Wholly Cats [take 4 - master] (Goodman)  3:03
19 Wholly Cats [take 5] (Goodman)  3:02

*

________
On November 7 and December 19, 1940, the Benny Goodman Sextet made a series of records for Columbia that featured electrically amplified guitarist Charlie Christian. In 1994, the Masters of Jazz label raided the archives for every known take; many of these appear on 1940, Vol. 5, which is recommended for those who want to surrender to the wonderment of works in progress. With so many multiple takes including rehearsals and breakdowns, this is quite different from the standard issue Best of Benny Goodman collection. Tracks one through nine document the proceedings of November 7, the day on which Goodman and Christian, together with trumpeter Cootie Williams, tenor saxophonist Georgie Auld (who had obviously been listening to Ben Webster), bassist Artie Bernstein, and drummer Harry Jaeger collaborated with pianist Count Basie. (On December 19, the same group would whip up multiple versions of the "Breakfast Feud" with Ken Kersey at the piano instead of Basie.) Those who wish to adopt the perspective of a fly on the wall should choose track number six, a rehearsal of "Benny's Bugle" that lasts a little over 14 minutes. The November session's five takes of "Wholly Cats" may be found at the end of the previous installment in the series, Charlie Christian 1940, Vol. 4. Recorded on the Make Believe Ballroom radio program on December 19, tracks nine through eleven ("Benny's Bugle," "Wholly Cats," and a jumpin' treatment of Fats Waller's "Honeysuckle Rose"), add extra spontaneity to this already unusually free-spirited Charlie Christian/Benny Goodman retrospective.
arwulf arwulf

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

*

Cd. 5
(Nov.-Dec. 1940)

Tracks

BENNY GOODMAN AND HIS SEXTET
FEATURING COUNT BASIE
1 Royal Garden Blues [take 1] (Williams, Williams)  2:46
2 Royal Garden Blues [take 2] (Williams, Williams)  3:02
3 Royal Garden Blues [take 3 - master] (Williams, Williams)  3:16
4 As Long as I Live [take 1 - master] (Arlen, Koehler)  3:16
5 As Long as I Live [take 2] (Arlen, Koehler)  3:21
6 Benny's Bugle (Goodman)  14:16
7 Benny's Bugle (Goodman)  2:28
8 Benny's Bugle [master take] (Goodman)  3:05
9 Benny's Bugle (Goodman)  3:38
10 Wholly Cats (Goodman)  3:37
11 Honeysuckle Rose (Razaf, Waller)  4:56

BENNY GOODMAN AND HIS SEXTET
12 Breakfast Feud [take 1] (Goodman)  3:53
13 Breakfast Feud [take 2] (Goodman)  3:15
14 Breakfast Feud [take 3 - incomplete] (Goodman)  1:10
15 Breakfast Feud [take 4] (Goodman)  3:09
16 Breakfast Feud [take 5] (Goodman)  3:06

*

________
Packed with multiple takes that might scare away the timid, this is volume six in the complete recordings of guitarist Charlie Christian as compiled and released during the '90s by the Masters of Jazz label. It traces his path through various sessions which took place between December 19, 1940 and February 5, 1941, involving the Benny Goodman Sextet (with and without Count Basie), the Metronome All Star Band (see "One O'Clock Jump"), and lastly, Edmond Hall's Celeste Quartet. This little Blue Note band combined the musical personalities of Charlie Christian, clarinetist Edmond Hall, string bassist Israel Crosby, and boogie-woogie master Meade "Lux" Lewis, who knocked the stuffing out of the celeste, a keyboard instrument that mimics a glockenspiel but might sound to some ears like a well-tuned toy piano. (Fats Waller used the celeste to augment his regular 88s on numerous recordings made during the '30s and early '40s.) One special thing about this intimate session is the fact that Christian operates a guitar without the use of electrical amplification. This enables him to engage in some wonderful interplay with the other three musicians, especially Israel Crosby, whose bass viol seems at times to engage in easy conversation with what has since come to be called an "acoustic" guitar.
arwulf arwulf


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

*

Cd. 6
(Dec. 1940-Feb.1941)

Tracks

BENNY GOODMAN AND HIS SEXTET
1 I Can't Give You Anything But Love [take 1] (Fields, McHugh)  3:24
2 I Can't Give You Anything But Love [take 2] (Fields, McHugh)  3:35
3 I Can't Give You Anything But Love [take 3 - master] (Fields, McHugh)  3:22
4 Gone with "What" Draft [take 1] (Goodman)  2:38
5 Gone with "What" Draft [take 2] (Goodman)  2:36
6 Gone with "What" Draft [take 3] (Goodman)  2:38

BENNY GOODMAN AND HIS SEXTET
FEATURING COUNT BASIE
7 Breakfast Feud [take 1] (Goodman)  3:07
8 Breakfast Feud [take 2 -master] (Goodman)  3:06
9 Breakfast Feud [take 3] (Goodman)  0:35
10 Breakfast Feud [take 4] (Goodman)  2:25
11 On the Alamo (Jones, Kahn)  3:27
12 I Found a New Baby [take 1 - master] (Palmer, Williams)  2:57
13 I Found a New Baby [take 2] (Palmer, Williams)  3:03
14 Gone With What Draft (Gilly) [take 1 - master] (Goodman)  2:45
15 Gone with "What" Draft (Gilly) [take 2] (Goodman)  2:46
16 Gone with "What" Draft (Gilly) [take 3] (Goodman)  2:44

METRONOME ALL STAR BAND
17 One O'Clock Jump (Basie)  3:28

EDMOND HALL CELESTE QUARTET
18 Jammin' in Four (Lewis)  4:17
19 Edmond Hall Blues (Lewis)  4:12
20 Profoundly Blue [take 1 - master] (Lewis)  4:03
21 Profoundly Blue [take 2] (Lewis)  4:13
22 Celestial Express (Lewis)  3:50

*

Cd. 7
(Feb.-March 1941)

BENNY GOODMAN AND HIS SEXTET
1 Wholly Cats (Goodman)  2:41
2 Gone With What Draft (Goodman)  2:24
3 Breakfast Feud (Goodman)  2:04
4 Gone With What Draft (Goodman)  2:41
5 Six Appeal (My Daddy Rocks Me) (Goodman)  2:17

BENNY GOODMAN AND HIS ORCHESTRA
6 Chonk, Charlie, Chonk (Solo Flight) (Christian, Goodman, Mundy)  1:51
7 Solo Flight [take 1 - master] (Christian, Goodman, Mundy)  2:51
8 Solo Flight [take 2] (Christian, Goodman, Mundy)  2:50

BENNY GOODMAN AND HIS SEXTET
9 Flying Home (Hampton, Goodman, DeLange)  3:12
10 Smo-O-O-Oth One (Wainting For Benny)   21:09
I Can't Believe That You're in Love with Me (McHugh, Gaskill) -
Rose Room (Hickman, Williams) - I Hadn't Anyone 'Till You (Noble) -
Blues in B (Guarnieri, Christian)
11 Smo-o-o-oth One [take 1] (Goodman)  3:23
12 Smo-o-o-oth One [take 2 - master] (Goodman)  3:20
13 Smo-o-o-oth One [take 3] (Goodman)  3:17

*

Cd. 8
(March-June ? 1941)

BENNY GOODMAN AND HIS SEXTET
1 Good Enough To Keep (Air Mail Special) [take 1 - master] (Goodman, Mundy, Christian)  3:25
2 Good Enough To Keep (Air Mail Special[take 2] (Goodman, Mundy, Christian)  3:30
3 Good Enough To Keep (Air Mail Special) (Goodman, Mundy, Christian)  3:04
4 Wholly Cats (Goodman)  2:14
5 Breakfast Feud (Goodman)  2:57
6 Ida, Sweet As Apple Cider (Munson, Leonard)  2:43
7 Flying Home (Hampton, Goodman, DeLange)  3:37
8 Songs Of The Islands (King)  3:04

BENNY GOODMAN SEXTET
9 Flying Home (King)  3:09

JAM SESSIONS
10 Topsy (Charlies Choice) (Swing To Bop) (Durham, Battle)  8:47
11 Stompin' At The Savoy (Sampson, Webb, Goodman, Razaf)  8:30
12 Honeysuckle Rose (Gershwin, Gershwin) (Waller, Razaf)  6:14
13 I Got Rhythm (Down On Teddy's Hill) (Gershwin, Gershwin)  3:11
14 I Got Rhythm (Guy's Got To Go) (Lips Flips) (Gershwin, Gershwin)  2:29
15 Stompin' At The Savoy (On With Charlie Christian)
(Sampson, Webb, Goodman, Razaf)  5:00

BENNY GOODMAN AND HIS SEXTET
16 Benny's Bugle (Goodman)  3:20
17 Rose Room (Hickman, Williams)  2:22

BENNY GOODMAN AND HIS ORCHESTRA
18 Solo Flight (Christian, Goodman, Munfy)  2:41

*

Cd. 9
[Complements - 1939-1941]

1 Stardust (Carmichael, Parish)  2:28
2 Flying Home (Hampton, Goodman, DeLange)  3:23
3 I Got Rhythm (Gershwin, Gershwin)  3:39
4 I Got Rhythm (Gershwin, Gershwin)  3:39
5 Tea For Two (Youmans, Caesar)  5:02
6 Rose Room (Hickman, Williams)  3:38
7 South Of The Border (Carr, Kennedy)  3:34
8 Oh, Lady Be Good (Gershwin, Gershwin)  10:42
9 Poor Butterfly [incomplete take](Hubbel, Golden)  1:15
10 Just Like Taking Candy From A Baby (Astaire)  2:50
11 Li'l Boy Love (Losser, Hollander)  3:03
12 Benny's Bugle [rehearsal & master] (Goodman)  13:29
13 Gone With What Draft (Gilly) [breakdown take] (Goodman)  1:34
14 Breakfast Feud (Goodman)  3:15
15 Breakfast Feud (Goodman)  3:08
16 Stompin' at The Savoy (Sampson, Webb, Goodman, Razaf)  10:23
17 Stompin' at The Savoy [incomplete take] (Sampson, Webb, Goodman, Razaf)  1:45


*

Personnel
Feat. Benny Goodman, Teddy Wilson, Cootie Williams, Count Basie, Don Byas, Jo Jones, Johnny Guarnieri, Fred Astaire, Lionel Hampton, Fletcher Henderson, Oscar Pettiford, Freddie Green, Lester Young, etc...

See the complete artwork for all details (musicians, sessions, places, etc)

________
It can be said without exaggeration that virtually every jazz guitarist that emerged during 1940-65 sounded like a relative of Charlie Christian. The first important electric guitarist, Christian played his instrument with the fluidity, confidence, and swing of a saxophonist. Although technically a swing stylist, his musical vocabulary was studied and emulated by the bop players, and when one listens to players ranging from Tiny Grimes, Barney Kessel, and Herb Ellis, to Wes Montgomery and George Benson, the dominant influence of Christian is obvious.Charlie Christian's time in the spotlight was terribly brief. He played piano locally in Oklahoma, and began to utilize an amplified guitar in 1937, after becoming a student of Eddie Durham, a jazz guitarist who invented the amplified guitar. John Hammond, the masterful talent scout and producer, heard about Christian (possibly from Mary Lou Williams), was impressed by what he saw, and arranged for the guitarist to travel to Los Angeles in August 1939 and try out with Benny Goodman. Although the clarinetist was initially put off by Christian's primitive wardrobe, as soon as they started jamming on "Rose Room," Christian's talents were obvious. For the next two years, he would be well-featured with Benny Goodman's Sextet; there were two solos (including the showcase "Solo Flight") with the full orchestra; and the guitarist had the opportunity to jam at Minton's Playhouse with such up-and-coming players as Thelonious Monk, Kenny Clarke, and Dizzy Gillespie. All of the guitarist's recordings (including guest spots and radio broadcasts) are currently available on CD. Tragically, he contracted tuberculosis in 1941, and died at the age of 25 on March 2, 1942. It would be 25 years before jazz guitarists finally moved beyond Charlie Christian.
Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll

Saturday, January 13, 2018

Portfolio of Ahmad Jamal

As an LP, this recording represented a huge step in packaging. It was a beautiful, all white double disc album with Jamal's profile and name appearing in copper color. The music is from Jamal's "Spotlight Club" recordings, which are available in more complete form on other CDs. The bottom line - this is the music of the Ahmad Jamal Trio, composed of one of America's greatest jazz pianists, with Israel Crosby on bass and Vernell Fournier on drums. These recordings were made in the late 1950s and were part of Jamal's Argo recordings. Argo, of course, was Chess Records' jazz label. Jamal's only rival on the label was the even more popular (because he recorded more "popular" songs such as "In Crowd" and "Hang on Sloopy") Ramsey Lewis. If you want truly subtle, beautifully phrased and intimate jazz piano music, Ahmad Jamal is the artist you will want to listen to for hours on end...
Paul Thielmann

Source : https://www.amazon.com/Portfolio-Ahmad-Jamal/dp/B001BPXXTS

Portfolio
of
Ahmad Jamal

Tracks

1 This Can't Be Love (Hart, Rodgers)  5:04
2 Autumn Leaves (Kosma, Mercer, Prévert)  7:49
3 Ahmad's Blues (Jamal)  4:03
4 Old Devil Moon (Harburg, Lane)  3:55
5 Serelitus (Jamal)  3:13
6 It Could Happen to You (Burke, Van Heusen)  4:13
7 Ivy (Carmichael)  2:58
8 Tater Pie (Ashby)  3:20
9 Let's Fall in Love (Arlen, Koehler)  5:03
10 Aki and Ukthay (Brother & Sister)  (Jamal)  3:16
11 You Don't Know What Love is (Raye, DePaul)  3:30
12 I Didn't Know What Time it Was (Hart, Rodgers)  4:34
13 So Beats My Heart for You (Ballard, Henderson, Waring)  3:39
14 Gal in Calico (Robin, Schwartz)  4:44
15 Our Delight (Dameron)  3:03

*

Personnel
Ahmad Jamal - p
Israel Crosby - b
Vernell Fournier - dr

Recorded at Spotlite Club, Washington ; September 5 & 6, 1958

Benno Moiseiwitsch (BBC Broadcasts)

Moiseiwitsch’s sizeable commercial discography has been well-served on CD, but his relatively few preserved live concerts haven’t had the same circulation. Devotees of this distinguished pianist will heartily welcome this 3 CD set of previously unpublished material. All the musical items derive from the BBC archives, with the interviews taken from the BBC and other sources.
Like Emil Gilels, Nathan Milstein and David Oistrakh, Benno Moiseiwitsch (1890-1963) hailed from Odessa, the third largest city in the Ukraine. He was a pupil of Theodor Leschetizky, whose students included Paderewski, Schnabel, Horszowski and Brailowsky. Leschetizky, himself, had been a pupil of Carl Czerny. Moiseiwitsch’s repertoire centred on the nineteenth century Romantics, and he became particularly noted for his interpretations of Chopin, Schumann and Rachmaninov. He took British citizenship shortly before the Second World War.
From 1958 we have a broadcast recording of the ‘Waldstein’ Sonata. It’s certainly one of the finest interpretations I’ve ever heard, informed by aristocratic elegance and a sense of structure. Astutely paced, everything seems just right — tempo, phrasing and dynamics. The "Prestissimo" third movement is technically secure, with some stunning fingerwork. The pianist follows it with a glowing performance of the Andante favori, aptly chosen as it was Beethoven’s original intention for it to be the second of the three movements of the Op. 53.
On two occasions in the interviews on CD 3, the pianist discusses his special relationship with the music of Schumann and what the composer’s music means to him. The qualities he finds in it are sincerity, depth, feeling and integrity. I was pleased that we have one example of that composer’s music in the shape of Kreisleriana, a broadcast from 1961. The performance is an intoxicating blend of lyricism and passionate intensity. You feel that here is a pianist who gets to the emotional core of the music. It’s a probing account, contrasting Schumann’s dual personality — the poetic sensibilities of n° 5 (sehr lebhaft) with the feverish passion in n° 7 (sehr rasch).
I’ve always rated Moiseiwitsch’s 1945 HMV recording of Mussorgsky’s Pictures at an Exhibition very highly, and am grateful for the inclusion of this alternative take. It has an innate feeling of spontaneity and freshness, and there’s certainly no vestige of routine. Whilst achieving a unified conception, he brings atmosphere and character to the individual tableaux, capturing the bustling evocation of "The Market at Limoges", the capriciousness of "The Ballet of the Unhatched Chicks", and the splendid nobility of "The Great Gate of Kiev".
Beethoven’s ‘Emperor’ was taped at the 8,000 seat open-air Lewisohn Stadium, with the Stadium Symphony Orchestra of New York, in fact the New York Philharmonic, under Josef Krips. Despite having an unfavourable reputation for its acoustics, especially as far as classical concerts were concerned, the performance here is sonically acceptable, though a little lacking in special depth. In the first movement Krips sets an energetic pace in the tutti. The Adagio is steeped in lyricism and is raptly intense, with a robust, spirited finale setting the seal on a compelling reading. The performance was part of a three-concert Beethoven Festival. The day prior, Michael Rabin had played the Violin Concerto. After the concert, Moiseiwitsch took the concerto to the Hollywood Bowl, another open-air venue on the West coast.
If there was one work more closely associated with the pianist than any other during his concert career it was the Paganini Rhapsody by Rachmaninov. In 1935, a year after its composition, Moiseiwitsch performed it at the Proms in London. It went down very well with the audience, and he was asked to play it for the next six seasons. In this performance with Boult and the BBC Symphony you sense a rapport between conductor and soloist ; after all, they had collaborated together on many occasions during the war. Interpretively similar to the commercial recording the pianist made in December 1938 there are some instances, as in the famous eighteenth variation, where Basil Cameron and the Liverpool Philharmonic give it more of a romantic sweep.
The included interviews offer us a hint of the character and personality of the pianist. In them he shares his thoughts on subjects such as repertoire, other pianists and colleagues and his practice methods. In the final extract from Words and Music with Jack Payne, he plays Chopin’s Ballade n° 3, dedicating it to Sir Winston Churchill and his wife who were, at that time, celebrating their golden wedding anniversary. He relates the story of how the Churchills had the piece played at their wedding. Apparently, Sir Winston always called it ‘the galloping horse’, referring to the rhythm of the second theme.
The set offers the listener a representative cross-section of the Moiseiwitsch repertoire, with these valuable live airings complementing the commercial discography. Sound quality is more than acceptable throughout. Jonathan Summers' liner contribution offers some informative insights.
Stephen Greenbank

Source : http://www.musicweb-international.com/classrev/2015/Aug/Moiseiwitsch_SBT31509.htm

Benno Moiseiwitsch
Plays
Beethoven
Schumann
Mussorgsky
Rachmaninov
Chopin

Tracks

Cd. 1

Ludwig van Beethoven
(1770-1827)

Piano Sonata n° 21 in C Majpr, Op.53 ‘Waldstein’
1 I. Allegro con brio  7:54
2 II. Introduzione. Adagio molto -  3:27
3 III. Rondo. Allegro moderato - Prestissimo  8:42

4 Andante favori in F Major, WoO57  8:04

Robert Schumann
(1810-1856)

Kreisleriana, Op. 16
8 Fantasies for piano
5 I. Äußert bewegt  2:11
6 II. Sehr innig nicht zu rasch - Intermezzo I. Sehr lebhaft -  8:02
Intermezzo II. Etwas bewegter - Langsamer (erstes Tempo)
7 III. Sehr aufgeregt  3:03
8 IV. Sehr langsam  3:18
9 V. Sehr lebhaft  3:06
10 VI. Sehr langsam  3:17
11 VII. Sehr rasch  2:06
12 VIII. Schnell und spielend  3:21

Modest Mussorgsky
(1839-1881)

Pictures at an Exhibition
13 Promenade (B-Flat major)  1:24
14 N° 1. Gnomus (E-Flat minor)  2:09
15 [Untitled] (Interlude, Promenade theme) (A-Flat major)  0:47
16 N° 2. Il vecchio castello (G-Sharp minor)  2:40
17 [Untitled] (Interlude, Promenade theme) (B major)  0:27
18 N° 3. Tuileries. Dispute d'enfants après jeux (B major)  0:48
19 N° 4. Bydło (G-Sharp minor)  1:59
20 [Untitled] (Interlude, Promenade theme) (D minor)  0:38
21 N° 5. Балет невылупившихся птенцов (F major)  1:09
22 N° 6. Samuel Goldenberg and Schmuÿle (B-Flat major)  2:16
23 N° 7. Limoges, le marché (La grande nouvelle) (E-Flat major)  1:34
24 N° 8. Catacombæ (Sepulcrum romanum)  1:05
25 Con mortuis in lingua mortua (B minor)  1:39
26 N° 9. Избушка на курьих ножках (Баба-Яга) (C minor)  1:09
27 N° 10. The Great Gate of Kiev (E-Flat major)  3:49

*

Recorded at the BBC Home Service (Broadcast, October 5 & 7) ; August 18, 1958 [# 1-4] ; (Broadcast, July 2, 1961) ; June26,  1961 [# 8-27]

*

Cd. 2

Ludwig van Beethoven
(1770-1827)

Piano Concerto n° 5 in E-flat Major, Op. 73 'Emperor'
1 I. Allegro  19:58
2 II. Adagio un poco mosso  7:20
3 III. Rondo. Allegro  10:08

Sergei Rachmaninov
(1873-1943)

4 Rhapsody on a Theme of Paganini, Op. 43

*

BBC Symphony Orchestra/Sir Adrian Boult - dir [# 4]
Recorded at Lewisohn Stadium, New York City ; July 19, 1961 [# 1-3] ; Royal Albert Hall, London (Broadcast live on the BBC Light Programme) ; July 14, 1946 [# 4]

*

Cd. 3

Moiseiwitsch in Interview

1 WKCR New York in the late 1950s  12:22
2 New York 1958  19:16
3 Extract from a BBC interview in the late 1950s or early 60s  2:27
4 Frankly Speaking : a BBC interview with John Freeman, Philip Hope-Wallace and George Scott  33:52
(Broadcast May 13, 1959, BBC Home Service)
5 Extract from Words and Music with Jack Payne  3:57

Frederic Chopin
(1810-1849)

6 Ballade n° 3 in A-Flat Major, Op. 47

*

Recorded September 11, 1958

Friday, January 12, 2018

Jonah Jones At The Embers

In 1956, Jonah Jones started to become an unlikely commercial success. A veteran swing trumpeter not known to the general public despite being an exciting player, Jones caught on playing frequently muted solos with a quartet at the Embers in New York. His music often featured a shuffle rhythm and mixed Dixieland, swing and show tunes. This first recording by the quartet (also including pianist George Rhodes, bassist John Browne and drummer Harold Austin) was popular, although it would soon be dwarfed by Jones' successes for Capitol. Highlights of the date, which was also released by Groove and Victor, include "It's All Right With Me," "All of You," "High Society" and "At Sundown."
Scott Yanow

Source : https://www.allmusic.com/album/jonah-jones-at-the-embers-mw0000867088

Jonah Jones
At The Embers

Tracks

1 It's All Right with Me (Porter)  4:32
2 From This Moment On (Porter)  4:08
3 Learnin' the Blues (Jones)  3:37
4 Something's Gotta Give (Mercer)  2:38
5 All of You (Porter)  3:59
6 Lullaby of Birdland (Shearing)  4:18
7 Basin Street Blues (Williams)  4:08
8 High Society (Jones)  4:32
9 Tin Roof Blues (Jones)  5:52
10 Muskrat Ramble (Ory)  3:50
11 At Sundown (Donaldson)  4:28

*

Personnel
Jonah Jones - tp
George Rhodes - p
John Browne - b
Harold Austin - dr

Recorded in New York ; February 14 [# 1, 3-5] ; February 22 [# 2, 7, 8 & 10] ; & February 29 [# 6, 9 & 11], 1956

Thursday, January 11, 2018

Oscar Peterson Plays The Duke Ellington Songbook

Twice in the 1950s, pianist Oscar Peterson recorded an extensive series of songbooks devoted to one composer. From 1952-53, Peterson, guitarist Barney Kessel and bassist Ray Brown were extensively documented ; in 1959, the pianist joined up with Brown and drummer Ed Thigpen to repeat many of the programs (since the group had changed and the music could now be cut in stereo) plus additional songbooks. This 1999 CD brings together both of Peterson's Duke Ellington tributes ; the same dozen songs were recorded with each of the two groups. The Duke Ellington-associated material — which includes two songs by Mercer Ellington and Billy Strayhorn's "Take the 'A' Train" — mostly consist of familiar songs, except for Mercer Ellington's "John Hardy's Wife." While the earlier session has a fair amount of variety in tempo and mood, with Kessel offering a competing and complementary solo voice to the pianist, the 1959 album was obviously put together very quickly during a two-month period when Peterson was being recorded constantly. Most of the latter songs are taken at slower and more relaxed tempos that make the playing close to easy listening background music. A comparison of the different versions of most of the songs shows the difference. However, due to the generosity of this reissue (24 concise selections that almost total 73-minutes) and the former rarity of the material (especially the Kessel date), Peterson fans will want to acquire this.
Scott Yanow

Source : https://www.allmusic.com/album/oscar-peterson-plays-the-duke-ellington-song-book-compilation-mw0000048310

Oscar Peterson
Plays
The Duke Ellington Songbook

Tracks

1 John Hardy's Wife (Ellington)  3:24
2 Sophisticated Lady (Ellington, Mills, Parish)  3:01
3 Things Ain't What They Used to Be (Ellington, Persons)  3:16
4 Just A-Sittin' and A-Rockin' (Ellington, Gaines, Strayhorn)  3:45
5 In a Mellow Tone (Ellington, Gabler)  3:09
6 I Got It Bad (And That Ain't Good) (Ellington, Webster)  3:17
7 Prelude to a Kiss (Ellington, Gordon, Mills)  3:19
8 Cotton Tail (Ellington)  3:53
9 Don't Get Around Much Anymore (Ellington, Russell)  4:00
10 Take the "A" Train (Ellington, Strayhorn)  3:19
11 Rockin' in Rhythm (Carney, Ellington, Mills)  2:56
12 Do Nothin' Till You Hear From Me (Ellington, Russell)  3:01
13 Don't Get Around Much Anymore (Ellington, Russell)  2:33
14 Sophisticated Lady (Ellington, Mills, Parish)  2:26
15 Rockin' in Rhythm (Carney, Ellington, Mills)  2:16
16 Prelude to a Kiss (Ellington, Gordon, Mills)  2:32
17 In a Mellow Tone (Ellington, Gabler)  3:43
18 Cotton Tail (Ellington)  2:26
19 Just A-Sittin' and A-Rockin' (Ellington, Gaines, Strayhorn)  2:58
20 Things Ain't What They Used to Be (Ellington, Persons)  3:07
21 Take the "A" Train (Ellington, Strayhorn)  3:05
22 I Got It Bad (And That Ain't Good) (Ellington, Webster)  3:14
23 Do Nothin' Till You Hear From Me (Ellington, Russell)  2:17
24 John Hardy's Wife (Ellington)  2:34

*

Personnel
[# 1-12]
Oscar Peterson - p
Barney Kessel - g
Ray Brown - b
Recorded at Radio Recorders, Hollywood ; probably early December 1952
[# 13-24]
Oscar Peterson - p
Ray Brown - b
Ed Thigpen - dr
Recorded at Universal Recording Studios, Chicago ; July 14 & August 9, 1959

Wednesday, January 10, 2018

Benny Goodman Featuring Charlie Christian

Over the course of Benny Goodman's career, the stars often lined up right and he found himself working in tandem with someone every bit as talented as he, whether it was Bunny Berigan, Fletcher Henderson, Harry James, Gene Krupa, Lionel Hampton or Teddy Wilson. For a brief period after most of the above had left his employ, Goodman hooked up with guitarist Charlie Christian and the jazz world was never the same. Christian played in the big band and his "Solo Flight" was one of the first big-band staples built around the then new electric guitar, but his best work came with a handful of finely wrought gems as a member of Goodman's sextet. Sharing solo space with Goodman and Hampton, Christian gave the electric guitar a place in the music on sides like "Flying Home," "Air Mail Special," "Stardust" and "AC-DC Current," where his instrument seems to be bursting with ideas and ceaseless invention. Along with sides by Eddie Lang and Django Reinhardt's Hot Club of France, these are the recordings that made jazz guitar history.
Cub Koda

Source : https://www.allmusic.com/album/benny-goodman-sextet-featuring-charlie-christian-mw0000087885

Benny Goodman
Sextet
Featuring
Charlie Christian
(1939-1941)

Tracks

1 Flying Home (Goodman, Hampton)  3:14
2 Stardust (Carmichael, Parish)  3:15
3 Memories of You (Razaf, Blake)  3:10
4 Soft Winds (Goodman, Henderson)  2:28
5 Shivers (Charistian, Hampton)  2:49
6 AC/DC Current (Christian, Hampton, Goodman)  2:48
7 I'm Confessin' (That I Love You) (Neiburg, Daughtery, Reynolds)  2:57
8 The Sheik of Araby (Smith, Wheeler, Snyder)  3:15
9 Poor Butterfley (Golden, Hubbell)  2:50
10 I Surrender, Dear (Clifford, Harris)  2:59
11 These Foolish Things (Marvell, Strachey, Christian)  2:53
12 Good Enough to Keep (Goodman, Mundy, Christian)  2:53
13 Breakfast Feud (Goodman)  3:14
14 I Can't Give You Anything But Love, Baby (Fields, McHugh)  3:23
15 Gilly (Goodman)  2:34
16 On the Alamo (Kahn, Jones)  3:30
17 Gone with What Draft (Goodman)  2:42
18 A Smo-o-o-oth One (Goodman)  3:17

*

Personnel
[# 1-4]
Benny Goodman - cl
Lionel Hampton - vb
Fletcher Henderson - p
Charlie Christian - g
Artie Bernstein - b
Nick Fatool - dr
Recorded in New York City ; October 2, 1939 & November 22, 1939 [# 3 & 4]
[# 5-10]
Same as above, except
Johnny Guarnieri - p, replaces Henderson
Recorded in New York ; December 20, 1939 [# 5-7] ; in Los Angeles ; April 10 [# 8 & 9] & 16 [# 10], 1940
[# 11 & 12]
Same as above, except
Dudley Brooks - p, replaces Guarnieri
Recorded in Los Angeles ; June 20, 1940
[# 13-15]
Benny Goodman - cl
Cootie Williams - tp
Georgie Auld - ts
Charlie Christian - g
Kenny Kersey - p
Artie Bernstein - b
Harry Jaeger - dr
Recorded in New York ; December 19, 1940
[# 16 & 17]
Same as above, except
Count Basie - p, replaces Kersey
Jo Jones - dr, replaces Jaeger
Recorded in New York ; January 15, 1941
[# 18]
Benny Goodman - cl
Cootie Williams - tp
Georgie Auld - ts
Charlie Christian - g
Johnny Guarnieri - p
Artie Bernstein - b
Dave Tough - dr
Recorded in New York ; March 13, 1941

Monday, January 8, 2018

Wes Montgomery - Guitar on the Go

The chronologically last Riverside album from Wes Montgomery picks up, mostly, where Portrait of Wes left off : a final few rounds with his beloved guitar-organ-drums trio format. Now, there are two ways to take this set, aside from the cool flame that seeps from every note sounded by the master and his longtime organist Mel Rhyne : 1) Take it on its own, and don't hold it against a collapsing company, changing ownership and lifestyle, that they repeat-released a pair of blues jewels from Montgomery's own pen, the early (as in, 1959) "Missile Blues" and the latter-day "Fried Pies"; or, 2) bypass those two numbers and put the rest onto a single disc with the Portrait of Wes material, if you really want to be prickly about it.
For me, I don't mind the repeat-released "Missile Blues" and (especially) "Fried Pies" (where Jimmy Cobb, the incandescent drummer with whom Montgomery would work again on the Half Note sessions with the Wynton Kelly Trio, joins Montgomery and Rhyne), if only because I had the habit of playing them repeatedly on their original album releases. Nor do I mind getting two takes of "The Way You Look Tonight," the shorter alternate take as lovely and lyrical as the nine-minute romantic monster that was issued originally. The "Unidentified Solo Guitar," not part of the original album, would be remade in due course (as "Mi Cosa," on "Bumpin'"), during Montgomery's Verve period, with a nicely arrayed string section, but taken here on its own it is just as embracing and would probably have been a perfect fit on the original release.
The more you hear of them, the more you come to wish Wes Montgomery had been able to bring at least Mel Rhyne along to his Verve years ; Rhyne is attuned to Montgomery's gently fiery style in ways that even the great Jimmy Smith (cutting two magnificent Verve albums with Montgomery) couldn't quite lock in. Montgomery and Rhyne play as though completing each other's statements and knowing what the other man thinks and feels before it's expressed, so seamless are both the shifts from one to the other soloist and the knit of one or the other's accompaniment. Regular drummer George Brown was as painterly a drummer as Montgomery ever worked with.
You hear music like this and you're not in the least surprised that, whatever he did before or afterward, Wes Montgomery never felt as much at home as when working this trio format. And they make you feel right at home with them, even now. The Wes Montgomery Trio even in 2004 makes most of what has passed for jazz in their time and beyond sound somewhere between self-congratulatory and shiftless. It would be no disgrace if Fantasy, which controls the Riverside catalogue, should produce a box set composed strictly of the complete Wes Montgomery Trio recordings. This group, almost as much as its guitarist and leader, was a blessing upon jazz.
BluesDuke

Source : https://www.amazon.com/Guitar-Go-Vinyl-Wes-Montgomery/dp/B000000YRC

Wes Montgomery
Guitar on the Go
(VICJ-23659)

Tracks

1 The Way You Look Tonight (Kern, Fields)  9:09
2 Dreamsville (Mancini)  3:49
3 Geno (Montgomery)  2:54
4 Missile Blues (Montgomery)  5:02
5 For All We Know (Coots, Lewis)  4:31
6 Fried Pies (Montgomery)  6:41
7 The Way You Look Tonight [take 2] (Kern, Fields)  5:50
8 Unidentified Solo Guitar (Montgomery)  3:41

*

Personnel
[# 4]
Wes Montgomery - g
Mel Rhyne - org
Paul Parker - dr
Recorded at Reeves Sound Studios, New York City ; October 5, 1959
[# 6]
Same as above, except
Jimmy Cobb - dr, replaces Parker
Recorded at Plaza Sound Studios, New York City ; April 22, 1963
[other selections]
Same as above, except
George Brown - dr, replaces Cobb
Recorded same place as above ; October 10 & 27 [# 3 & 7], 1963

Monday, January 1, 2018

The Complete Bud Powell on Verve (1949-1956)

As a document on the life and music of one of the towering figures in modern jazz, this five-CD set, with 150-page booklet, is superb. Pianist Bud Powell, who would have been 70 this year, was a modern jazz archetype : intense, brilliant, but broken down by alcoholism and mental illness until his death in 1966. His distinctive, horn-like playing, steely yet passionate, has influenced generations of instrumentalists since he first hit the 52nd Street scene in the mid-Forties, at the same time as Parker, Gillespie and Monk. Some of his strongest performances from 1949 to 1956 are here, all in favourite trio settings. False starts, alternative takes and even studio talk are all included in over five hours' playing time. Accompanying biographical detail and recollections from friends and peers put the music in context. There are omissions, notably the Powell classics 'Un Poco Loco' and 'Glass Enclosure', and these can be found on a newly released four-CD Blue Note boxed set (CDP 8300832). But if the Verve collection seems an indulgent purchase for anyone who already has the major works, it is still — with all its minutiae — an absorbing Christmas gift for any fan of modern jazz.
Garry Booth

Source : http://www.classical-music.com/review/complete-bud-powell-verve

The Complete
Bud Powell
on Verve
 (1949-1956)

Tracks

Cd. 1

1 Tempus Fugue-it [Tempus Fugit] (Powell)  2:25
2 Celia (Powell)  2:57
3 Cherokee (Noble)  3:37
4 I'll Keep Loving You (Powell)  2:40
5 Strictly Confidential (Powell)  3:08
6 All God's Chillun Got Rhythm (Kaper, Kahn)  2:59
7 So Sorry Please (Powell)  3:14
8 Get Happy (Arlen, Koehler)  2:51
9 Sometimes I'm Happy (Youmans, Robin, Grey, Caesar)  3:36
10 Sweet Georgia Brown (Bernie, Casey, Pinkard)  2:48
11 Yesterdays (Kern, Harbach)  2:49
12 April in Paris (Duke, Harburg)  3:08
13 Body and soul (Green, Heyman, Sour, Eyton)  3:20
14 Hallelujah ! (Youmans, Robin, Grey)  2:58
15 Tea for Two [compilation take] (Youmans, Caesar)  4:13
16 Tea for Two [common take] (Youmans, Caesar)  3:29
17 Tea for Two [78 take] (Youmans, Caesar)  3:46
18 Parisian Thoroughfare (Powell)  2:28
19 Oblivion (Powell)  2:08
20 Dusky 'n' Sandy [Dusk in Sandi] (Powell)  2:13
21 Hallucinations (Powell)  2:25
(aka "Budo")
22 The Fruit (Powell)  3:16
23 A Nightingale Sang in Berkeley Square (Sherwin, Maschwitz)  3:41
24 Just One of those Things (Porter)  3:50
25 The Last Time I Saw Paris (Kern, Hammerstein II)  3:16

*



Cd. 2

1 Moonlight in Vermont (Suessdorf, Backburn)  3:35
2 Spring is Herre (Rodgers, Hart)  3:27
3 Buttercup (Powell)  2:59
4 Fantasy in Blue (Powell)  3:04
5 It Never Entered My Mind (Rodgers, Hart)  2:56
6 A Foggy Day (Gershwin, Gershwin)  3:45
7 Time Was (Prado, Luna, Russell)  4:17
8 My Funny Valentine (Rodgers, Hart)  2:53
9 Like Someone in Love [incomplete takes] (Burke, VanHeusen)  1:39
10 Like Someone in Love [master take] (Burke, VanHeusen)  2:00
11 Deep Night [master take] (Henderson, Vallee)  3:45
12 That Old Black Magic [breakdown] (Arlen, Mercer)  0:55
13 That Old Black Magic [complete take] (Arlen, Mercer)  2:27
14 That Old Black Magic [master take] (Arlen, Mercer)  2:21
15 That Old Black Magic [complete take] (Arlen, Mercer)  2:54
16 'Round Midnight (Monk, Wailliams, Hanighen)  5:08

*



Cd. 3

1 Thou Swell [warm up - compl. take] (Rodgers, Hart)  4:06
2 Thou Swell [master take] (Rodgers, Hart)  4:29
3 Someone to Watch over Me (Gershwin, Gershwin)  2:33
4 Bean and the Boys (Hawkins)  3:38
(previously issued as "Lover, Come Back to Me")
5 Tenderly [warm up & false start] (Gross, Lawrence)  0:23
6 Tenderly [master take] (Gross, Lawrence)  3:20
7 How High the Moon ? (Morgan, Hamilton)  4:23
8 I Get a Kick out of You [breakdown] (Porter)  0:35
9 I Get a Kick out of You [master take]  4:26
10 I Get a Kick out of You [complete take]  3:58
11 The Best Thing for You [breakdown] (Berlin)  1:29
12 You Go to My Head (Coots, Gillespie)  4:11
13 The Best Thing for You [The Best] [master take] (Berlin)  2:41
14 Mediocre (Powell)  2:55
15 All the Things You Are (Kern, Hammerstein II)  3:30
16 Epistrophy (Monk, Clarke, Williams)  3:00
17 Dance of the Infidels (Powell)  2:16
18 Salt Peanuts (Gillespie, Clarke)  2:19
19 Sweet Georgia Brown ([Hey George]  3:25

*



Cd. 4

1 Conception [false start] (Shearing)  0:09
2 Conception [inst. & master take] (Shearing)  3:45
3 Bean and the Boys [false start] (Hawkins)  0:28
4 Bean and the boys [instr. & master take] (Hawkins)  4:04
5 Heart and Soul [complete take] (Carmichael, Loesser)  2:52
6 Heart and Soul [complete take] (Carmichael, Loesser)  2:31
7 Heart and Soul [master take] (Carmichael, Loesser)  3:22
8 Willow Grove [instr. & complete] (Powell)  3:17
9 Willow Grove [Willow Groove] [master take] (Powell)  4:27
10 Crazy Rhythm (Meyer, Kahn, Caesar)  3:32
11 Willow Weep for Me (Ronell)  4:40
12 Bean and the Boys [warm up & remarke master] (Hawkins)  5:24
13 East of the Sun (and West of the Moon) [complete take] (Bowman)  3:48
14 East of the Sun (and West of the Moon) [false start & warm up] (Bowman)  0:30
15 East of the Sun (and West of the Moon) [master take] (Bowman)  3:58
16 Lady Bird [complete take] (Dameron)  3:11
17 Lady Bird [false start] (Dameron)  0:18
18 Lady Bird [complete take] (Dameron)  3:38
19 Starway to the Stars [instr. & warm up] (Malneck, Signorelli, Parish)  0:05
20 Starway to the Stars [instr. & warm up] (Malneck, Signorelli, Parish)  5:01
21 Lady Bird [master take] (Dameron)  4:49

*



Cd. 5

1 Lullaby in Rhythm [warm up & false start] (Goodman, Hirsch, Profit, Sampson)  0:28
2 Lullaby in Rhythm [master take] (Goodman, Hirsch, Profit, Sampson)  4:03
3 Star Eyes [false start & breakdown] (Raye, DePaul)  3:18
4 Star Eyes [complete take] (Raye, DePaul)  3:14
5 Star Eyes [warm up & complete take] (Raye, DePaul)  3:55
6 Star Eyes [false starts] (Raye, DePaul)  0:20
7 Star Eyes [complete take] (Raye, DePaul)  3:58
8 Star Eyes [master take] (Raye, DePaul)  3:38
9 Confirmation (Parker)  4:20
10 When I Fall in Love (Young, Heyman)  1:39
11 My Heart Stood Still (Rodgers, Hart)  3:29
12 Blues in the Closet (Pettiford)  3:01
(aka "Collard Greens and Black Eyed Peas")
13 Swingin' Till the Girls Come Home (Pettiford)  3:21
14 I Know that You Know (Youmans, Caldwell)  2:23
15 Elegy [Elogie] (Powell)  2:56
16 Woody 'n' You (Gillespie)  3:52
17 I Should Care (Cahn, Stordahl, Weston)  3:38
18 Now's the Time (Parker)  4:32
19 I Didn't Know What Time it Was (Rodgers, Hart)  3:58
20 Bebop (Gillespie)  2:23
21 52nd Street Theme (Monk)  2:23

*


Personnel
[Cd. 1, # 1-6]
Bud Powell - p
Ray Brown - b
Max Roach - dr
Recorded in New York City ; January or February or Spring 1949
[Cd. 1, # 7-13]
Bud Powell - p
Curly Russell - b
Max Roach - dr
Recorded in New York City ; February 1950
[Cd. 1, # 14-17]
Bud Powell - p
Ray Brown - b
Buddy Rich - dr
Recorded in New York City ; June or July 1, 1950
[Cd. 1, # 18-25]
Bud Powell - p
Recorded in New York City ; February 1951
[Cd. 2, # 1-4]
Bud Powell - p
George Duvivier - b
Art Taylor - dr
Recorded at Fine Sound Studio, New York ; June 2, 1954
[Cd. 2, # 5-8]
Bud Powell - p
Percy Heath - b
Art Taylor - dr
Recorded same place as above ; June 8, 1954
[Cd. 2, # 9-16]
Same as above, except
Max Roach - dr, replaces Taylor
Recorded same place as above ; December 16, 1954
[Cd. 3, # 1-13]
Bud Powell - p
Lloyd Trotman - b
Art Blakey - dr
Recorded at Fine Sound Studio, New York City ; January 11, 1955
[Cd. 3, # 14-19]
Bud Powell - p
Percy Heath - b
Kenny Clarke - dr
Recorded same place as above ; January 13, 1955
[Cd. 4 & cd. 5, # 1-9]
Bud Powell - p
George Duvivier - b
Art Taylor - dr
Recorded at Fine Sound Studio, New York City ; April 25 & 27, 1955
[Cd. 5, # 10-21]
Bud Powell - p
Ray Brown - b
Osie Johnson - dr
Recorded same place as above ; September 13, 1956