Wednesday, September 17, 2064

Friday, August 18, 2017

The Music of Bob Enevoldsen - Smorgasbord

A longtime giant of the West Coast jazz landscape, Bob Enevoldsen trailed only Bob Brookmeyer as his generation's foremost practictioner of the valve trombone. Enevoldsen was born September 11, 1920, in Billings, MT. His Danish-born father was a professional violinist who conducted the orchestra at their local silent movie theater, and at age five Bob took up the instrument as well before moving to trombone several years later. Recurring lip troubles forced him to switch to clarinet and tenor saxophone while a student at the University of Montana, and he also adopted the double bass prior to joining the U.S. Air Force in 1942. Stationed in Utah, Enevoldsen settled in Salt Lake City following his 1946 military discharge, working as a tenor saxophonist until a colleague lent him a valve trombone. He found the fingering remarkably similar to the trumpet, but the instrument remained on the periphery of his vision after he joined the Utah Symphony as a clarinetist. On the advice of arranger Gene Roland, Enevoldsen relocated to Los Angeles in 1951, and began sitting in at local jazz clubs. As a skilled multi-instrumentalist, his fellow musicians embraced him with open arms and he soon signed on as the regular bassist with pianist Marty Paich's trio. Stints supporting Art Pepper and Shorty Rogers followed, and over time Enevoldsen made the valve trombone his instrument of choice, alternating between tenor sax during a lengthy run behind Shelly Manne at the legendary L.A. nightclub the Lighthouse. In 1954 Enevoldsen cut his first session as a bandleader for a self-titled LP on the Nocturne label. He later headlined dates for Tampa and Liberty as well, and even appeared in a pair of feature films, 1958's The Form of Jazz and the much-maligned 1960 adaptation of the Jack Kerouac novel The Subterraneans. By the time of the latter's release Enevoldsen was living in Las Vegas, working in nightclubs there. He returned to L.A. in 1962 as a staff arranger and studio musician for television star Steve Allen, and spent the remainder of the decade focused almost exclusively on session work. During the 1970s he finally returned to live performance, replacing Brookmeyer in Gerry Mulligan's band before rejoining Paich in support of singer Mel Tormé. He also played in big bands led by Bill Holman and Roger Neumann, and continued performing in small-group settings until just weeks prior to his death from circulation problems on November 19, 2005.
Jason Ankeny

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difixqu5ld0e

The Music of
Bob Enevoldsen
 Smorgasbord

Tracks

1 Iron Works (Enevoldsen)  3:55
2 Loaded with Bass (Enevoldsen)  5:01
3 Topsy (Berlin)  5:25
4 Blues & Rhythm (Enevoldsen)  8:28
5 Don't Be That Way (Goodman, Sampson, Parrish)  5:36
6 Ding Dong, The Witch is Dead (Arlen, Harburg)  2:38
7 Swingin' on a Star (Van Heusen, Burke)  2:16
8 Swinger's Dream (Mc Dougald)  3:20
9 My Ideal (Robin, Whiting, Chase)  2:47
10 How Low the Tune (Troup, Enevoldsen)  2:28
11 John's Jumble (Enevoldsen)  2:40
12 You're in Love (Troup)  2:1
13 Thinking of You (Kalmar, Ruby)  2:50
14 No Time for Love (Davidson)  2:19
15 Mr. Know-it-All (Troup)  2:35
16 Oh, Look at Me Now (Bushkin, DeVries)  2:51
17 Bob's Boy (Gordon)  3:01


*

Personnel 
[# 1-5]
Bob Enevoldsen - ts & tb
Marty Paich - ac & p
Larry Bunker - vb & dr
Red Mitchell - b & p
Don Heath - dr
Recorded in Hollywood, California ; August 8, 1955
[# 6-17]
Bob Enevoldsen - ts, tb & b
Marty Paich - piano, acc & org
Howard Roberts - g
Red Mitchell - b & p
Don Heath - dr
Recorded in Hollywood, California ; November 25 & 29, 1955

Pete Jolly Trio - Little Bird

This LP reissue of a release from the obsolete Ava label brings back a hit record. Pianist Pete Jolly, his trio (with bassist Chuck Berghofer and drummer Larry Bunker) and guests (guitarist Howard Roberts and percussionist Kenny Hume) play mostly standards, but it is Jolly's version of the catchy "Little Bird" that caught on. This is a fine all-around straight-ahead session (highlighted by "Never Never Land," "Spring Can Really Hang You Up the Most" and "Falling in Love With Love") that deserves to be reissued on CD eventually.
Scott Yanow

Source : http://www.allmusic.com/album/little-bird-mw0000866942

Pete Jolly
Little Bird

Tracks

1 Little Bird (Grove, Jolly, Wolf)  2:22
2 Three Four Five (Jolly)  2:42
3 Never Never Land (Styne, Comden, Green)  6:33
4 Alone Together (Dietz, Schwartz)  8:01
5 To Kill a Mockingbird (Bernstein, David)  2:30
6 Spring Can Really Hang You Up the Most (Landsman, Wolf)  2:59
7 My Favorite Things (Hammerstein, Rofgers)  4:22
8 Toot, Toot, Tootsie (Erdman, Kahn, Russo, Fiorito)  5:10
9 Falling in Love with Love (Rodgers, Hart)  2:26

*

Personnel
Pete Jolly - p
Chuck Berghofer - b
Larry Bunker - dr
Howard Roberts - g
Kenny Hume - perc

Recorded at Conway Recording Studios, Hollywood, California ; November, 1962 & January, 1963

The Jimmy Giuffre 3 - Trav'lin' Light

The incorporation of Bob Brookmeyer into the Jimmy Giuffre 3 makes this unit even more intriguing, both in its present capacity to work tri-linear subtle sorcery on the listener and in its indications for the future to other jazz players.
There is, for example, no bass, drums and piano in this ensemble — to the initial shock of a number of musicians who had become accustomed to pianoless and even drumless combos but began to mumble, Saroyan-fashion, "There's no foundation all along the line" when informed of the new instrumentation of the Jimmy Giuffre 3. Those who heard the group's debut, however, at New York's Village Vanguard soon forgot the absence of the traditional rhythm section because the group swung more fully than it ever had before. Even some musicians don't wholly remember that the ability to swing must first reside in the musician. If he depends on a rhythm section, no matter how infectious that section may be, to swing him, then he is in the position of the rejected suitor who cannot understand that one must be able to give love to receive it...
Nat Hentoff, From the booklet

The Jimmy Giuffre 3
Trav'lin' Light
(Atlantic LP 1282)

Tracks

1 Trav'lin' Light (Mercer, Mundy, Young)  4:26
2 The Swamp People (Giuffre)  5:36
3 The Green Country (New England Mood) (Giuffre)  3:07
4 Forty-Second Street (Dubin, Warren)  6:17
5 Pickin' 'Em Up And Layin' 'Em Down (Giuffre)  5:44
6 The Lonely Time (Giuffre)  3:56
7 Show Me The Way To Go Home (Campbell, Connelly)  4:41
8 California, Here I Come (DeSylva, Jolson, Meyer)  2:41

*

Personnel
Bob Brookmeyer - tb
Jimmy Giuffre - cl, ts & bs
Jim Hall - g

Recorded in New York City ;  January 20, [# 3 & 5] ; January 21 [#1, 4 & 6] ; & January 23, 1958 [# 2, 7 & 8]

See also
http://www.jazzdisco.org/atlantic-records/discography-1958/

Jim Hall - Circles

Most of the music on this date (which emphasizes group originals) features guitarist Jim Hall, bassist Don Thompson and drummer Terry Clarke. The versatile Thompson switches to piano for a duet with Hall on "Circles" and on a quartet version (with Rufus Reid on bass) of "My Heart Sings." Nothing all that exciting or unexpected occurs during the CD reissue (which adds an additional song to the original LP), but virtually all of Hall's recordings (which tend to be harmonically sophisticated and quietly subtle) are worth acquiring.
Scott Yanow

http://www.allmusic.com/album/circles-mw0000611947

Jim Hall
Circles

Tracks

1 (All of a Sudden) My Heart Sings (Blanvillain, Herpin, Rome)  6:10
2 Love Letters (Heyman, Young)  7:00
3 Down from Antigua (Hall)  6:38
4 Echo (Hall)  3:26
5 I Can't Get Started (Duke, Gershwin)  4:41
6 T.C. Blues (Clarke)  4:04
7 Circles (Thompson)  6:43
8 Aruba (Hall)  6:08

*

Personnel
Jim Hall - g
Don Thompson - p & b
Terry Clarke - dr
Rufus Reid - b [# 1 only]

Recorded at Soundmixers, New York City ; March 1981

Lou Mecca Trio - Bridging the Gap

Perhaps apart from moving men or gymnasts, no segment of the population complains as much about back problems as musicians. Jazz guitarist Lou Mecca is already somewhat ahead of many of his peers as a player, but as a liscensed chiropractor, he is way ahead in terms of being able to deal with back complaints. In addition, he can always pick up some extra doolah by treating sidemen, such as drummers or bassists, who may have strained themselves hauling equipment around. Despite his talents in the spine-tuning chiropractic arena, it is really as a guitarist that this man has received the most recognition, including being selected outstanding jazz guitarist of the year by the Canadian Broadcasting Corporation and receiving the "new star" category in jazz guitar from Down Beat magazine. It all began with trumpet studies at the age of eight under the watchful eye and earplug-laden ears of his father. The boy changed to guitar a year later. In his senior year, he quit high school to become a professional musician. He took a position at a music school in New Jersey and played the bars and clubs at night, setting a standard of double-duty that would become a lifestyle. In 1947, he befriended jazz guitarist and educator Johnny Smith who, along with Tal Farlow and Joe Pass, are Mecca's greatest influences on his instrument. In 1955, he recorded for Blue Note as a leader of his own quartet, featuring Jack Hitchcock on vibes, Vinnie Burke on bass, and Jimmy Campbell on drums. Mecca has also performed and recorded with Ella Fitzgerald, Bill Evans, Teddy Charles, Gil Melle, Eddie Costa, Al Cohn, and Chris Conners. He has also worked as an accompanist for Julius La Rosa and on Broadway shows such as The Unsinkable Molly Brown. He also works regularly with orchestras, including the Ron Metcalf Orchestra at the World's Fair in New York City, the Vincent Lopez & His Orchestra, and many others...

Lou Mecca
Bridging the Gap

Tracks

1 Stompin at the Savoy (Razaf, Goodman)  5:15
2 Nuages (Reinhardt)  6:25
3 Black Orpheus (Maria, Bonfa)  4:14
4 Body & Soul (Eyton, Green)  5:21
5 Lullaby of the Leaves (Young, Petkere)  4:09
6 Whats New ? (Burke, Haggart)  5:45
7 Yesterdays (Harbach, Kern)  2:46
8 Angel Eyes (Brent, Dennis)  5:32
9 Green Dolphin Street (Washington, Kaper)  3:30
10 Tenderly (Lawrence, Gross)  4:15
11 Wave (Jobim)  6:37
12 Moonlight in Vermont (Blackhorn, Swessdorf)  4:03
13 Days of Wine & Roses (Mercer, Mancini)  5:03

*

Personnel
Lou Mecca - g
Mickey Golizio - b
Nat Garratano - dr

Recorded at Contemporary Studios, Freehold, New Jersey ; March 21, 1999
________
...His work as a chiropractor ran concurrently with his busy music schedule, basically out of a desire to balance his bank account. He attended the Chiropractic Institute of New York for six years at night while teaching guitar students in the day. When his classes were over, he would hit the stage at a nightclub, unless a better-paying private function had given him a call. After his graduation in 1967, Mecca worked for the next 25 years as a so-called back-breaker in New Jersey, the developing of this medical practice definitely cutting into the time alloted for playing guitar. Eventually, he retired from his practice and relocated to the New Jersey shore. During a sabbatical in Florida, he started to perform again at concerts and festivals with a new intensity and headed back to his New Jersey stomping grounds. Various venues in this state, as well as New York, began hoasting Mecca's combo projects, including duos, trios, quartets, and a quintet. His fellow players include guitarists Andy MacKenzie and Adrian Ingram, bassist Mickey Golizio, and drummer Nat Garratano. As an instructor, Mecca developed the first guitar department at Fairleigh Dickinson University in Rutherford, NJ, where he held a position as adjunct professor of guitar for seven years. He continues to teach at clinics and workshops and worked on a book of guitar technique.
Eugene Chadbourne

Source : http://www.allmusic.com/artist/lou-mecca-p11167/biography

Bobby Jaspar & His All Stars - Memory of Dick

Bobby Jaspar is in top form in this pair of sessions previously released in the 1980s on this Emarcy CD entitled Memory of Dick. The tenor saxophonist is joined by pianist René Urtreger, guitarist Sacha Distel, bassist Benoît Quersin, and drummer Jean-Louis Viale for this bop-oriented disc, which includes a sauntering take of Milt Jackson's "Bag's Groove," a revival of "Milestones" (an early gem by Miles Davis from his days with Charlie Parker), and a delightful romp through "You Stepped Out of a Dream." The Belgian leader puts his own stamp on a frenetic but brief arrangement of "A Night in Tunisia," but the most memorable track is "I'll Remember April," featuring his haunting flute in a captivating piano-less setting, which also has fine solos by Distel and Quersin. Jaspar's premature death in 1963 robbed the jazz world of a promising talent ; this disc is among his best efforts as a leader.
Ken Dryden

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hzfpxqy0ldde

Bobby Jaspar
Memory of Dick

Tracks

1 Bags' Groove (Jackson)  4:46
2 Memory of Dick (Jaspar)  5:37
3 Milestones (Davis)  5:55
4 Minor Drops (Doppieters)  5:01
5 I'll Remember April (DePaul, Johnston, Raye)  5:46
6 You Stepped Out of a Dream (Brown, Kahn)  3:37
7 I Can't Get Started (Duke, Gershwin)  6:06
8 A Night in Tunisia (Gillespie, Paparelli)  4:06

*

Personnel
Bobby Jaspar - fl [# 5] & ts
René Urtreger - p [# 6 & 5 out]
Sacha Distel - g [# 2 out]
Benoit Quersin - b
Jean-Louis Viale - dr

Recorded at Studio Pathé Magellan, Paris ; December 27 & 29, 1955
________
One of two Bobby Jaspar LPs put out on 1988 CDs, this set finds Jaspar playing in France shortly before he moved to the United States. Teamed with guitarist Sacha Distel, pianist René Urtreger, bassist Benoit Quersin and drummer Jean-Louis Viale, Jaspar (who plays flute on two songs) swings his way through six jazz standards, an obscurity and his own "Memory of Dick" (for the recently deceased pianist Dick Twardzik). The music is essentially straight-ahead bebop, the modern mainstream of the period.
Scott Yanow

Source : http://www.allmusic.com/album/memory-of-dick-r141507

Duke Ellington & John Coltrane

For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs ; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of "In a Sentimental Mood" is a high point, and such numbers as "Take the Coltrane," "Big Nick," and "My Little Brown Book" are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.
Scott Yanow

Source: http://www.allmusic.com/album/duke-ellington-john-coltrane-mw0000416142

Duke Ellington
John Coltrane
Duke Ellington & John Coltrane

Tracks

1 In a Sentimental Mood (Ellington, Kurtz, Mills)  4:12
2 Take the Coltrane (Ellington)  4:40
3 Big Nick (Coltrane)  4:25
4 Stevie (Ellington)  4:20
5 My Little Brown Book (Strayhorn)  5:20
6 Angelica (Ellington)  5:56
7 The Feeling of Jazz (Ellington, Simon, Troup)  5:30


*

Personnel
John Coltrane - ts & ss
Duke Ellington - p
Jimmy Garrison - b [# 2, 3 & 6]
Aaron Bell - b [# 1, 4, 5 & 7]
Elvin Jones - dr [# 1, 2, 3 & 6]
Sam Woodyard - dr [# 4, 5 & 7]

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; September 26, 1962.

Michel Petrucciani - Power of Three

This is an all-star summit that works quite well. Pianist Michel Petrucciani, a major jazz musician who had already led 11 record dates by this time (despite still being only 23), teams up with guitarist Jim Hall at the 1986 Montreux Jazz Festival for two lyrical duets : the altered blues "Careful," in which they comp exquisitely behind each other's solos, and "In a Sentimental Mood." Petrucciani and Hall are joined by Wayne Shorter on soprano and tenor for "Limbo," "Morning Blues," and the calypso "Bimini," and these songs feature some of Shorter's finest jazz playing of the era. Highly recommended. [A video/DVD was also released.]
Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:anftxqy5ld6e

Michel Petrucciani
Power Of Three

Tracks

1 Limbo (Shorter)  7:57
2 Careful (Hall)  6:49
3 Morning Blues (Petrucciani)  8:15
4 Waltz New (Hall)  5:30
5 Beautiful Love (Gillespie, King, VanAlstyne)  7:19
6 In a Sentimental Mood (Ellington, Kurtz, Mills)  12:18
7 Bimini (J S. Hall)  10:05

*

Personnel
Michel Petrucciani - p
Jim Hall - g
Wayne Shorter - ts

Recorded live at The Montreux Jazz Festival ; July 14, 1986

Zoot Sims & Dick Nash Octet - Compatability

Chicago’s Delmark imprint maintains a stellar track record of rescuing forgotten music from oblivion. The varied output of easily a dozen long-defunct regional labels comprises its deep reissue catalog. The latest acquisition to that number is the tiny Jump label and the first release is the complete output of a 1955 session by obscure California-based trumpeter Hall Daniels that was originally released in truncated 10" form. Saxophonist Zoot Sims, a far more recognizable name in jazz circles, understandably gets top billing on the reissue, which adds as many as three alternate takes of each of the session’s original four tunes. Daniels’ role as leader is evident in composing and arranging duties, which make cogent use of each of the men and use the disc’s title as operating credo.
Sims’ longevity and popularity resulted in dozens of dates spanning the ensuing several decades. That sustained activity created something of surfeit of his crushed velvet sound on record that suggests (at least initially) a certain superfluousness to this reissue. The music is very much rooted in the modern unruffled swing that was the parlance for purveyors of the West Coast “Cool” scene. At septet-size, the band has the girth and tonal diversity to dig into Daniels’ arrangements, and while nothing is that out of the ordinary it’s still exemplary of the prevailing jazz style of specific time and place. Sims was perfectly at home in this sort of setting through his superlative stints as both section player and soloist with Woody Herman’s Herd and the Gerry Mulligan Sextet, the second bearing a strong resemblance to the instrumentation here. He cruises through Daniels’ ordered charts with indefatigable ease.
While none approached his stature, Sims’ colleagues on the album, save one, went on to various careers as studio session men, film composers, teachers and the like. That exception was baritonist Bob Gordon, who died in a car accident shortly after the session was waxed. His presence, arguably even more so than Sims’, makes the date a valuable one. Gordon’s sound mixed the graceful agility of Mulligan with the brawny heft of Pepper Adams. His solos, which vary appreciably between takes, regularly supply the music with added weight and register as several-chorus capsule studies in why his compatriots held him in such esteem.
It also helps that the iterations of the tunes are individual enough to sustain interest. Two versions of “The Way You Look Tonight” feature Sims as sole soloist, while the third includes Gordon in the rotation to even greater success. The rhythm section of Paul Atkerson, Rolly Bundock and Jack Sperling does a serviceable job throughout, but also illustrates why none in its number are well known today. Daniels and guitarist Tony Rizzi aren’t that far removed in terms of relative anonymity, although the former does turn in a cleanly muted solo on the title piece. Still around, trombonist Dick Nash has profile a tier or two beneath that of Sims, again thanks mainly to longevity. His fluid ensemble fills and lubricious solos, particularly on “You Don’t Know What Love Is,” keep the sextet consistently on an even keel.
Hardly a highpoint in Sims’ storied career, this set still scores points for being strongly evocative of its vintage and an enjoyable listen for the duration.
Derek Taylor

Source : http://www.dustedmagazine.com/reviews/7704

Zoot Sims
Dick Nash Octet
Compatability

Tracks

1 The Way You Look Tonight (Kern, Fields)  5:06
2 Nash-Ville (Daniels)  3:57
3 You Don't Know What Love Is (Raye, DePaul)  4:03
4 Compatibility (Daniels)  5:12
5 The Way You Look Tonight (Doy, Kern, Fields)  5:04
6 Nash-Ville (Daniels)  3:55
7 You Don't Know What Love Is (Raye, DePaul)  4:09
8 Compatability (Daniels)  5:22
9 The Way You Look Tonight (Doy, Kern, Fields)  5:32
10 Nash-Ville (Daniels)  3:53
11 Studio Chatter 0:17
12 Compatability [take 1 ?] (Daniels)  5:27
13 Nash-Ville (Daniels)  4:05


*

Personnel
Zoot Sims - ts
Hall Daniels - tp & arr.
Dick Nash - tb
Bob Gordon - bs
Tony Rizzi - g
Paul Atkerson - p
Rollie Bundock - b
Jack Sperling - dr

Recorded in Hollywood, California ; February 14, 1955

See also
http://www.jazzdisco.org/zoot-sims/discography/
&
http://www.jazzwax.com/2011/06/zoot-sims-and-dick-nash.html

Thursday, August 17, 2017

Charlie Parker - Complete Studio Recordings on Savoy

This [four japanese]-CD box set contains all of the recordings Charlie Parker made for the Savoy label and it is overflowing with gems and an almost countless number of alternate takes. Bird was one of the most important jazzmen of all time and nearly every note he recorded (in the studios if not live) is well worth hearing. This box starts off with his sideman date with Tiny Grimes in 1944, contains Parker's famous "Ko Ko" session of 1945 (with a young Miles Davis on trumpet and highlighted by "Now's the Time" and "Billie's Bounce"), and continues through his 1947-1948 quintet sessions with a more mature Miles Davis; either Bud Powell, John Lewis, or Duke Jordan on piano ; bassists Tommy Potter, Curly Russell, or Nelson Boyd ; and drummer Max Roach. Together they recorded such classics as "Donna Lee," "Chasin' the Bird," "Milestones," and "Parker's Mood." Every scrap that the great altoist cut for Savoy is in this box.
Scott Yanow

Source : http://www.allmusic.com/album/the-complete-savoy-sessions-r164939

Charlie Parker
Complete Studio Recordings
on Savoy Years

[1944-1948]

Tracks

Cd. 1

Tiny Grimes Quintet

1 Tiny's Tempo [take 1] (Grimes)  3:00
2 Tiny's Tempo [take 2] (Grimes)  3:00
3 Tiny's Tempo [take 3 (master)] (Grimes)  2:53
4 I'll Always Love You Just the Same [take 1] (unkwow)  2:57
5 I'll Always Love You Just the Same [take 2 (master)] (unkwow)  2:58
6 Romance Without Finance [take 1] (Grimes)  3:05
7 Romance Without Finance [take 2 (inc.)] (Grimes)  1:00
8 Romance Without Finance [take 3] (Grimes)  3:07
9 Romance Without Finance [take 4 (inc.)] (Grimes)  0:43
10 Romance Without Finance [take 5 (master)] (Grimes)  3:01
11 Red Cross [take 1] (Parker)  3:15
12 Red Cross [take 2 (master)] (Parker)  3:06


Charlie Parker
Rebeboppers

13 Warming up a Riff [Cherokee] [inc.] (Gillespie, Paker)  2:34
14 Billie's Bounce [take 1] (Parker)  2:40
15 Billie's Bounce [take 2 (incomplete)] (Parker)  1:42
16 Billie's Bounce [take 3] (Parker)  3:04
17 Billie's Bounce [take 4 (incomplete)] (Parker)  1:37
18 Billie's Bounce [take 5 (master)] (Parker)  3:07
19 Now's the Time [take 1 (false start)] (Parker)  0:19
20 Now's the Time [take 2 (false start)] (Parker)  0:36
21 Now's the Time [take 3] (Parker)  3:06
22 Now's the Time [take 4 (master)] (Parker)  3:14
23 Thriving From a Riff [Anthropology] [take 1] (Gillespie, Paker)  2:58
24 Thriving From a Riff [Anthropology] [take 2 (inc.)] (Gillespie, Paker)  0:22
25 Thriving From a Riff [Anthropology] [take 3 (master)] (Gillespie, Paker)  2:54
26 Meandering [Embraceable You] [inc.] (Davis)  3:16
27 Koko [take 1 (false start)] (Parker)  0:38
28 Koko [take 2 (master)] (Parker)  2:53

*

Personnel
[# 1-12] Tiny Grimes Quintet
Charlie Parker - as
Clayde Hart - p
Tiny Grimes - g & voc
Jimmy Butts - b
Doc West - dr
Recorded at WOR Studios, New York City ; September 14, 1944
[# 13-28] Charlie Parker Rebeboppers
Miles Davis - tp
Dizzy Gillespie - tp
Charlie Parker - as
Argonne Thorton [Sadik Hakim] - p
Cureley Russell - b
Max Roach - dr
Recorded at WOR Studios, New York City ; November 26, 1945

*

Cd. 2

Dizzy Gillespie Sextet
[1945]
[Guild Session]

1 Groovin' High (Gillespie, Paparelli) 2:43
2 All the Things You Are (Kern, Hammerstein) 2:47
3 Dizzy Atmosphere (Gillespie, Parker) 2:47

Dizzy Gillespie All stars Quintet
[1945]
[Guild Session]

4 Salt Peanuts (Gillespie, Clarke)  3:16
5 Shaw 'Nuff (Gillespie, Parker)  3:01
6 Lover Man (Davis, Ramirez, Sherman)  3:23
7 Hot House (Dameron)  3:10

Slim Gaillard and his Orchestra
[1945]
[Bel-Tone Session]

8 Dizzy's Boogie [take 2 (master)] (Gillespie)  3:07
9 Dizzy's Boogie [take 1] (Gillespie)  3:13
10 Flat Foot Floogie [take 2 (master)] (Gaillard, Stewart, Root)  2:30
11 Flat Foot Floogie [take 1] (Gaillard, Stewart, Root)  2:44
12 Poppity Pop (Gaillard)  2:55
13 Slim's Jam (Gaillard)  3:13

Charlie Parker All Stars
[1947]

14 Donna Lee [take 1 (false start)] (Davis)  0:14
15 Donna Lee [take 2] (Davis)  2:58
16 Donna Lee [take 3] (Davis)  2:30
17 Donna Lee [take 4] (Davis)  2:34
18 Donna Lee [take 5 (master)] (Davis)  2:31
19 Chasin' the Bird [take 1] (Parker)  2:54
20 Chasin' the Bird [take 2 (false start)] (Parker)  0:18
21 Chasin' the Bird [take 3] (Parker)  2:55
22 Chasin' the Bird [take 4 (master)] (Parker)  2:44
23 Cheryl [take 1] (Parker)  0:04
24 Cheryl [take 2 (master)] (Parker)  2:57
25 Buzzy [take 1] (Parker)  2:53
26 Buzzy [take 2 (inc.)] (Parker)  0:34
27 Buzzy [take 3] (Parker)  2:36
28 Buzzy [take 4 (inc.)] (Parker)  0:17
29 Buzzy [take 5 (master)] (Parker)  2:29


*

Personnel
[# 1-3] Dizzy Gillespie Sextet
Dizzy Gillespie - tp
Charlie Parker - as
Clyde Hart - p
Remo Palmieri - g
Slam Stewart - b
Cozy Cole - dr
Recorded in New York ; February 28, 1945
[# 4-7] Dizzy Gillespie All stars Quintet
Dizzy Gillespie - tp & voc
Charlie Parker - as
Al Haig - p
Curley Russell - b
Sid Catlett - dr
Sarah Vaughan - voc
Recorded in New York ; May 11, 1945
[# 8-13] Slim Gaillard and his Orchestra
Dizzy Gillespie - tp
Charlie Parker - as
Jack McVea - ts
Dodo Marmarosa - p
Slim Gaillard - g & voc
Slam Brown - b
Zutty Singleton - dr
Recorded in Hollywood, Los Angeles ; December 29, 1945
[# 14-29] Charlie Parker All Stars
Miles Davis - tp
Charlie Parker - as
Bud Powell - p
Tommy Potter - b
Max Roach - dr
Recorded at Harry Smith Studios, New York City ; May 8, 1947

*

Cd. 3

Miles Davis' All Stars 
[1947]

1 Milestones [take 1 (false start)] (Davis)  0:07
2 Milestones [take 2 (master)] (Davis)  2:34
3 Milestones [take 3] (Davis)  2:43
4 Little Willie Leaps [take 1 (inc.)] (Davis)  0:34
5 Little Willie Leaps [take 2] (Davis)  3:07
6 Little Willie Leaps [take 3 (master)] (Davis)  2:49
7 Half Nelson [take 1] (Davis)  2:49
8 Half Nelson [take 2 (master)] (Davis)  2:42
9 Sippin' at Bell's [take 1 (inc.)] (Davis)  0:55
10 Sippin' at Bell's [take 2 (master)] (Davis)  2:21
11 Sippin' at Bell's [take 3 (false start)] (Davis)  0:04
12 Sippin' at Bell's [take 4] (Davis)  2:26

Charlie Parker's All Stars
[1947]

13 Another Hair-Do [take 1 (inc.)] (Parker)  0:14
14 Another Hair-Do [take 2 (inc.)] (Parker)  0:44
15 Another Hair-Do [take 3 (inc.)] (Parker)  1:04
16 Another Hair-Do [take 4 (master)] (Parker)  2:37
17 Bluebird [take 1] (Parker)  2:53
18 Bluebird [take 2] (Parker)  0:03
19 Bluebird [take 3 (master)] (Parker)  2:49
20 Klaunstance [The Way You Look Tonight] (Parker)  2:41
21 Bird Gets the Worm [Lover Come Back to Me] [take 1] (Parker)  3:00
22 Bird Gets the Worm [Lover Come Back to Me] [take 2 (inc.)] (Parker)  0:09
23 Bird Gets the Worm [Lover Come Back to Me] [take 3 (master)] (Parker)  2:34

*

Personnel
[# 1-12] Miles Davis' All Stars
Mailes Davis - tp
Charlie Parker - ts
John Lewis - p
Nelson Boyd - b
Max Roach - dr
Recorded at Harry Smith Studios, New York City ; August 14, 1947
[# 13-23] Charlie Parker's All stars
Miles Davis - tp
Charlie Parker - as
Duke Jordan - p
Tommy Potter - b
Max Roach - dr
Recorded at United Studios, Detroit, Michigan ; December 21, 1947

*

Cd. 4

Charlie Parker All Stars
[1948]

1 Barbados [take 1] (Parker)  2:35
2 Barbados [take 2 (inc.)] (Parker)  0:43
3 Barbados [take 3] (Parker)  2:33
4 Barbados [take 4 (master)] (Parker)  2:26
5 Au-Leu-Cha [take 1 (inc.)] (Parker)  0:36
6 Au-Leu-Cha [take 2 (master)] (Parker)  2:52
7 Constellation [take 1 (inc.)] (Parker)  0:23
8 Constellation [take 2] (Parker)  2:30
9 Constellation [take 3 (inc.)] (Parker)  2:05
10 Constellation [take 4 (inc.)] (Parker)  0:21
11 Constellation [take 5 (master)] (Parker)  2:26
12 Parker's Mood [take 1 (false start)] (Parker)  0:04
13 Parker's Mood [take 2] (Parker)  3:23
14 Parker's Mood [take 3 (false start)] (Parker)  0:11
15 Parker's Mood [take 4 (inc.)] (Parker)  2:12
16 Parker's Mood [take 5 (master)] (Parker)  3:01

Charlie Parker All Stars
[1948]

17 Perhaps [take 1] (Parker)  2:01
18 Perhaps [take 2 (inc.)] (Parker)  0:28
19 Perhaps [take 3] (Parker)  2:09
20 Perhaps [take 4 (inc.)] (Parker)  0:18
21 Perhaps [take 5 (inc.)] (Parker)  0:39
22 Perhaps [take 6] (Parker)  2:16
23 Perhaps [take 7 (master)] (Parker)  2:31
24 Marmaduke [take 1 (false start)] (Parker)  0:04
25 Marmaduke [take 2 (inc.)] (Parker)  1:14
26 Marmaduke [take 3 (inc.)] (Parker)   0:51
27 Marmaduke [take 4 (false start)] (Parker)  0:05
28 Marmaduke [take 5] (Parker)  2:55
29 Marmaduke [take 6 (false start)] (Parker)  0:06
30 Marmaduke [take 7 (inc.)] (Parker)  0:57
31 Marmaduke [take 8/9 (8: false start)] (Parker)  3:09
32 Marmaduke [take 10 (inc.)] (Parker)  0:34
33 Marmaduke [take 11 (inc.)] (Parker)  0:47
34 Marmaduke [take 12 (master)] (Parker)  2:41
35 Steeplechase [take 1 (false start)] (Parker)  0:06
36 Steeplechase [master] (Parker)  3:03
37 Merry Go Round [take 1] (Parker)  2:22
38 Merry Go Round [take 2 (master)] (Parker)  2:23

*

Personnel
[# 1-16] Charlie Parker All Stars
Miles Davis - tp
Charlie Parker - as
John Lewis - p
Curley Russell - b
Max Roach - dr
Recorded at Harry Smith Studios, New York City ; September 18, 1948
[# 17-38] Charlie Parker All Stars
Same as above ; same place ; September 24, 1948

see also
http://murayama-hideki.com/CharlieParker/SessionIndex.html

Django Reinhardt 1949 (1) - Intégrale, vol. 17

To resume the last few chapters : As from the late thirties, Django Reinhardt enjoyed great renown among both French and foreign musicians and enthousiasts, more so than average jazzman. During the war and Occupation, this renown became pure popularity, turning the pround Gypsy guitarist into a star in his own rights, in the same manner as Edith Piaf, Charles Trénet or Tino Rossi. Liberation saw the return of American jazz musicians and the arrival of new style called be-bop, distincly modifying the course of matters. Naturally, from 1945 to 1947, work did not slatcken off, what with the GI's fascination ans Stéphane Grappelli' return, international tours, wich could again be organised, Django's contract with Duke Ellington and there was an abundance of recording sessions and radio slots. And yet Django began to show signs of discontentement...
Adapted by Laure WRIGHT from the French text of Daniel NEVERS
© FRÉMEAUX & ASSOCIES, 2003

Django Reinhardt
La Mer
The Complete Django Reinhardt, vol 17
(1949)

Tracks

Cd. 1

ROME SESSIONS
(1949)

1 Djangology (Reinhardt) 2’43
2 Liza (Gershwin)
3 (I love you) for Sentimental Reasons (Best) 3’24
4 Daphné (Reinhardt) 2’21
5 La Mer (Trénet) 2’31
6 Sweet Georgia Brown (Bernie, Pinkard, Casey) 4’15
7 Lover man (Ramirez, Davies, Sherman) 3’08
8 Marie (Berlin) 2’50
9 Stormy Weather (Arlen, Koehler) 3’27
10 Minor Swing (Reinhardt, Grappelli) 2’36
11 To Each his Own (Livingstone, Evans) 3’42
12 What is this Thing Called Love ? (Porter) 3’49
13 Où es-tu mon amour ? (Stern)
14 Undecided (Shavers) 2’58
15 Improvisation n° 4 (sic) (Reinhardt) 2’07
16 Swing 42 (Reinhardt) 2’25
17 I Surrender Dear (Barris, Clifford, Crosby) 3’40
18 After You’ve Gone (Creamet, Layton) 3’00
19 I Got Rhythm (Gershwin) 2’42
20 I Saw Stars (Sigler, Goodhart, Hoffman) 3’33

*

Cd. 2

ROME SESSIONS
(1949)

1 Artillerie lourde (Reinhardt) 3’40
2 It’s only a Paper Moon (Arlen, Rose, Harburg) 2’47
3 Time on My Hands (Youmans, Adamson, Gordon) 2’44
4 Bricktop (Reinhardt, Grappelli) 3’43
5 Improvisation sur l’andante de la symphonie n° 6 de Tchaikovsky (Tchaikovsky) 3’39
6 My Blue Heaven (Whiting, Donaldson) 3’28
7 Ménilmontant (Trenet) 3’02
8 Swing Guitars (Reinhardt, Grappelli) 2’50
9 My Melancholy Baby (Burnett, Norton, Bergman) 3’29
10 Webster (Reinhardt) 1’57
11 Micro (Mike) [version 1] (Reinhardt) 2’15
12 Micro (Mike) [version 2] (Reinhardt) 2’19
13 Dream of You (Lunceford, Oliver) 4’05
14 Begin the Beguine (Porter) 3’43
15 How High the Moon (Lewis, Hamilton) 3’38
16 Nuages [version 1] (Reinhardt) 3’25
17 I can’t Get Started (Duke, Gershwin) 3’50
18 I Can’t Give you Anything but Love (McHugh, Fields) 3’38
19 Manoir de mes Rêves (Reinhardt) 3’24
20 The Man I Love (Gershwin) 3’15


*

Personnel
Django Reinhardt - g
Stéphane Grappelli - vl
Gianni Safred - p
Carlo Pecori - b
Aurelio de Carolis - dr

Recorded in Rome in the National Italian Radio Studio (RAI) ; between January & February 1949

John Coltrane - Coltrane (Deluxe Edition)

With the success that Blue Note has had in eliciting the services of the legendary recording engineer Rudy Van Gelder in remastering the past glories of one of the most revered record labels in all of jazz, it’s no surprise that Impulse would eventually follow suit and ask Van Gelder to do the same handiwork for releases from that label’s archives. So the story goes, producer Bob Thiele would often have Van Gelder run extra copies of Coltrane recording sessions of which Thiele later maintained possession. Just recently these tapes in their pure unadulterated form were turned over to Van Gelder to use in remastering and reexamining the contents of two Coltrane classics, Ballads and Coltrane.
Of the two sets, the additional material brought to light on Coltrane seems to be of the greatest value. Disc one preserves the original five album tracks, all of which are now rendered in fabulous 24-bit sound. “Out of This World” swings ferociously and is one of the best of Coltrane’s many extended modal jams. But then, “Tunji,” and “Miles’ Mode” also rank up there pretty highly among the all-time gems.
For the tandem disc seven previously unissued performances are heard for the very first time. “Not Yet” is a churchy amen number by Tyner that was never covered elsewhere to my knowledge and an alternate of “Miles’ Mode” speaks with just as much fire, if not more, than the original leading one to wonder how the decision for the master take was ever arrived upon. A bit more disappointing are four tries at “Tunji,” none of which command the authority of the originally released version. Rounding things out though we have two studio versions of “Impressions,” “Big Nick,” and “Up ‘Gainst the Wall.” As a buddy of mine often advises me, you’ll want to throw out your old copy and get your hands on this new one. It’s the pick of the litter.
C. Andrew Hovan

Source : http://www.allaboutjazz.com/coltrane-deluxe-edition-john-coltrane-impulse-review-by-c-andrew-hovan.php#.VATEyWPrWuY

John Coltrane
Coltrane
(Deluxe Edition)

Tracks

Cd. 1

1 Out of This World (Arlen, Mercer)  14:02
2 Soul Eyes (Waldron)  5:23
3 The Inch Worm (Loesser)  6:14
4 Tunji (Coltrane)  6:31
5 Miles' Mode (Coltrane)  7:30

*

Cd. 2

1 Not Yet (Tyner)  6:12
2 Miles' Mode [alt. take] (Coltrane)  7:06
3 Tunji [alt. take] (Coltrane)  10:39
4 Tunji [alt. take] (Coltrane)  7:52
5 Tunji [alt. take] (Coltrane)  7:14
6 Tunji [alt. take] (Coltrane)  7:46
7 Impressions [alt. take] (Coltrane)  6:30
8 Impressions [alt. take] (Coltrane)  4:31
9 Big Nick (Coltrane)  4:26
10 Up 'Gainst the Wall (Coltrane)  3:13

*

Personnel
John Coltrane - ts & ss
McCoy Tyner - p
Jimmy Garrison - b
Elvin Jones - dr

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey ; April 11 [Cd. 1, # 3 & Cd. 2, # 9], 1962 ; June 19 [Cd. 1, # 1 & 2], 1962 ; June 20 [Cd. 1, # 5 & Cd. 2, # 1-8] ; June 29 [Cd. 1, # 4], 1962 ; & September 18 [Cd. 2, # 10], 1962

See also
http://www.amazon.com/review/R2XJYGH47Y7TF0/ref=cm_cr_dp_title?ie=UTF8&ASIN=B00006316U&channel=detail-glance&nodeID=5174&store=music