Tuesday, February 13, 2018

Saturday, February 18, 2017

Kenny Burrell (Prestige 7088)

Guitarist Kenny Burrell, 25 at the time, is heard during one of his earlier sessions playing in his already recognizable straight-ahead style with a quintet that also features the underrated baritonist Cecil Payne, pianist Tommy Flanagan, bassist Doug Watkins and drummer Elvin Jones. This album is a bit brief in time (just over 36 minutes) but contains plenty of fine swinging on tunes such as "Don't Cry Baby," "Drum Boogie," "All of You" and Bud Powell's "Strictly Confidential." It's enjoyable music.
Scott Yanow

Source :  http://www.allmusic.com/album/kenny-burrell-mw0000744615

Kenny Burrell
Kenny Burrell


1 Don't Cry Baby (Bernie, Johnson, Unger)  8:20
2 Drum Boogie (Eldridge, Krupa)  9:14
3 Strictly Confidential (Powell)  6:25
4 All of You (Porter)  6:17
5 Perception (Green)  6:05


Kenny Burrell - g
Cecil Payne - bs [except # 4]
Tommy Flanagan - p
Doug Watkins - b
Elvin Jones - dr

Recorded in Hackensack, New Jersey ; February 1, 1957

Clark Terry - What Makes Sammy Swing ?

First published in 1941, What Makes Sammy Run ? was originally a novel by Budd Schulberg. It is a rags to riches story chronicling the rise and fall of Sammy Glick, a Jewish boy born in New York's Lower East Side who makes up his mind early in life to escape the ghetto and climb the ladder of success. It was later made into a successful Broadway show with music by Ervin Drake and in 1963, Clark Terry and an all-star group of musicians were called to make a record with jazz versions of some of the musicals songs, with arrangements by Pat Williams.
As Clark Terry himself was quoted on the original liner notes, none of the musicians had the least knowledge about the music or the arrangements before entering the studio. The results, however, are highly interesting as they present a distinguished septet reacting to unfamiliar music. Clark Terry, as usual, alternates between trumpet and flugelhorn, while Seldon Powell switches between tenor sax, baritone sax and bass clarinet.
The most unusual element of these recordings, however, is hearing Phil Woods soloing on clarinet and flute.
The bonus album, Paris 1960, comprises three 1960 small group sessions recorded in France featuring Quentin Jackson (singing on two tracks) and French pianist Martial Solal.

Source : http://www.freshsoundrecords.com/clark-terry-albums/5168-what-makes-sammy-swing-paris-1960-2-lp-on-1-cd.html

Clark Terry
What Makes Sammy Swing ?


1 A Room Without Windows (Drake)  2:38
2 You're No Good (Drake)  3:26
3 My Home Town (Drake)  2:36
4 A New Pair of Shoes (Drake)  2:22
5 The Friendliest Thing (Drake)  3:17
6 Humble (Drake)  3:07
7 Maybe Some Other Time (Drake)  2:57
8 Something to Live For (Drake)  4:06
9 Bachelor Gal (Drake)  2:23
10 Some Days Everything Goes Wrong (Drake)  3:31
11 No Problem (Jordan)  5:09
12 Don't Ever Leave Me (Jones)  2:50
13 Et tu me regardes [And You Look at Me)] (Holmes)  2:30
14 In A Mellow Tone (Ellington)  2:28
15 Don't Worry About Me (Bloom, Koehler)  3:16
16 Ol' Zulu (Jackson)  2:15
17 Travelin' All ALone (Johnson)  3:33
18 Clark's Blues (Solal)  3:08
19 Char à voile (Solal)  1:54
20 Radio Terry (Solal)  0:59
21 Dancing (Solal)  2:49
22 Pin-Up (Solal)  2:27


[# 1-10]
Clark Terry - tp & flgh
Phil Woods - as, cl & fl
Urbie Green - tb
Seldon Powell - ts, bs & cl
Dave McKenna - p
George Duvivier - b
Mel Lewis - dr
Recorded in New York ; August, 1963
[# 11-13]
Clark Terry - tp
Eric Dixon - fl & ts
Art Simmons - p
Elek Bacsik - g
Michel Gaudry - b
Kenny Clarke - dr
Billie Poole - vc [# 12 only... thankfully !]
Recorded at Studio Thorens, Paris ; January, 1960
[# 14-17]
Same as above, except
Quentin Jackson - tb & vcl [# 15 & 17] is added
Recorded same place as above ; February, 1960
[# 18-22]
Clark Terry - tp
Fernand Verstraete - tp
Charles Vestraete - tb
Pierre Gossez - as & bs
Martial Solal - p
Benoit Quersin - b
Armand Molinetti - dr
Recorded at Studios Pathé-Marconi, Paris ; April 17, 1960

Friday, February 17, 2017

Al Caiola - High Strung & Cleopatra and All That Jazz

Al Caiola’s mastery of the guitar was always abundantly clear, both in his recordings as a studio musician and in his stage performances, and it is just as self-evident in these two albums and in his relationship with the two solid jazz groups that accompany him on them. High Strung was recorded in 1959, and without climbing way out on a limb, Al and his supporting cast of guitars — George Barnes, Al Cassamenti, Don Arnone, John Pizzarelli, and Billy Bauer — set new ideas to a solid swinging beat in “electrifying” up-tempo evergreens and a couple of his own compositions, backed by an excellent rhythm section.
As for Cleopatra and All That Jazz, Al Caiola and his Nile River Boys introduced two fine renditions from the Alex North film score, plus nine standards and an original by Caiola. This septet, featuring such top soloists as Dick Hyman, Clark Terry, Phil Bodner, and Barry Galbraith, performed the leader’s arrangements — ranging from the humorous to the wistful. Each man is consistently brilliant and together they run the gamut of popular jazz forms, from swing to bossa nova.

Source : http://www.freshsoundrecords.com/al-caiola-albums/6460-high-strung-cleopatra-and-all-that-jazz-2-lp-on-1-cd-digipack.html

Al Caiola
High Strung
Cleopatra & All That Jazz


1 Sweet Georgia Brown (Bernie, Pinkard, Casey)  2:30
2 Dipsy Doodle (Clinton)  2:39
3 It’s a Sin to Tell a Lie (Mayhew)  1:51
4 Tumbling Tumbleweeds (Nolan)  1:59
5 Strait Ahead (Caiola)  2:08
6 Cherry (Redman, Gilbert)  2:22
7 Hindustan (Wallace, Weeks)  2:04
8 Sandy (Caiola)  2:24
9 Idaho (Stone)  2:24
10 I Love You (Thompson, Archer)  2:15
11 Rosetta (Hines, Woods)  2:18
12 Undecided (Shavers, Robin)  2:08
13 Antony and Cleopatra Theme (North)  2:50
14 Temptation (Freed, Brown)  2:56
15 Love for Sale (Porter)  3:14
16 Mad About the Boy (Coward)  2:21
17 Body and Soul (Green, Eyton, Sour, Heyman)  2:57
18 Cleo Baby (Caiola)  2:59
19 Caesar and Cleopatra Theme (North)  2:40
20 Lover Man (Sherman, Davis, Ramírez)  2:38
21 I Can’t Give You Anything but Love Baby (McHugh, Fields)  3:24
22 Under a Blanket of Blue (Simmons, Marks)  3:05
23 All of Me (Simmons, Marks)  2:37
24 Be Mine Tonight (Lara, Skylar)  2:06


[# 1-12] from the LP “High Strung” (RCA Victor LSP-2031)
Al Caiola - g solo
George Barnes, Al Cassamenti, Don Arnone, John Pizzarelli & Billy Bauer - g
Sandy Block - b
Phil Kraus or Eddie Costa - vb
Don Lamond - dr
Recorded at RCA Victor Studio A, New York City ; August 12, 20 & 22, 1957
[# 13-24] from the LP “Cleopatra and All That Jazz” (United Artists UAS 6299)
Al Caiola - g & arr.
Clark Terry - tp & flhg
Tony Studd - b tb
Phil Bodner - as, bs & fl
Dick Hyman - p & hrpsch
Barry Galbraith - g
George Duvivier - b
Osie Johnson - dr
Recorded at Mayfair Studios, New York City ; 1962 & 1963

Gerry Mulligan - The Original Sextet

This two-disc, 28-track compilation gathers all of Gerry Mulligan's sides recorded with a short-lived sextet lineup in 1955 and 1956. Originally released as three LPs on the Emarcy and Mercury labels — 1955's Presenting the Gerry Mulligan Sextet and A Profile of Gerry Mulligan and 1956's Mainstream of Jazz — this material was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his star-making Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the Birth of the Cool sessions in 1949. As on those sides, Mulligan's primary musical sparring partner is a trombonist, Bob Brookmeyer, and the unusual pairing of Mulligan's baritone and Brookmeyer's trombone takes precedence over the more conventional trumpet (Jon Eardley and Don Ferrara) and tenor (Zoot Sims) parts. The primary difference here is in the rhythm section (drummer Dave Bailey and either Peck Morrison or Bill Crow on bass, with both Mulligan and Brookmeyer doubling on piano when necessary), which gooses the tempos in a way that Mulligan's more languid early groups rarely managed. Furthermore, unlike the earlier recordings, which had to be edited for 78 rpm play, this group is allowed to stretch out, leading to longer and more daring solos. The sextet never became the hot group of the moment in the way that the Mulligan and Baker lineup did, but this set beautifully showcases their gifts. As an added gift, the second disc includes eight rare and unissued alternate takes, including both sides of a 1955 single pairing greatly reduced versions of "Sweet and Lovely" and "Bernie's Tune."
Stewart Mason

Source : http://www.allmusic.com/album/the-original-sextet-complete-studio-master-takes-mw0001170379

Gerry Mulligan
The Original Sextet
(Complete Studio Master Takes)


Cd. 1

1 Mud Bug (Lloyd)  5:07
2 Sweet and Lovely (Arnheim, LeMare, Tobias)  5:07
3 Apple Core (Mulligan)  5:29
4 Nights at the Turntable (Mulligan)  4:39
5 Broadway (Woode, McRae, Bird)  6:39
6 Everything Happens to Me (Adair, Dennis)  5:25
7 The Lady is a Tramp (Rodgers, Hart)  5:13
8 Bernie's Tune (Leiber, Stoller, Mulligan)  6:46
9 Makin' Whoopee (Donaldson, Kahn)  4:06
10 Demanton (Eardley)  5:43
11 Duke Ellington Medley : Moon Mist/In a Sentimental Mood (Ellington)  4:29
12 Westward Walk (Aka Westwood Walk) (Mulligan)  4:26
13 La Plus Que Lente (Debussy)  3:30
14 Blues (Mulligan)  8:17


Cd. 2

1 Elevation (Mulligan, Lawrence)  6:51
2 Mainstream (Mulligan)  6:49
3 Ain't it the Truth (Basie, Harding, Palmer)  5:24
4 Igloo (Lloyd)  6:58
5 Blues at the Roots (Mulligan)  5:43
6 Lollypop (Hamilton, Wiggins)  5:53
7 Blues (Mulligan)  7:01
8 The Lady is a Tramp (Rodgers, Hart)  5:42
9 Demanton (Eardley)  5:41
10 Broadway (Woode, McRae, Bird)  6:37
11 Sweet and Lovely (Arnheim, LeMare, Tobias)  2:46
12 Bernie's Tune [short version] (Miller, Leiber, Stoller)  2:40
13 Westwood Walk (Mulligan)  5:22
14 La Plus Que Lente (Debussy)  3:39


[Cd 1, # 1, 8 & 11 - Cd. 2, # 7-9]
Jon Eardley - tp
Bob Brookmeyer - tb & p [# Cd. 1, # 6]
Peck Morrison - b
Dave Bailey - dr
Recorded in New York City ; September 21, 1955
[Cd 1, # 2, 3, 12 & 14 - Cd. 5, # 10-12]
Same as above
Recorded in New York City ; September 22, 1955
[Cd 1, # 4-7 & 10]
Same as above
Recorded in New York City ; October 31, 1955
[Cd 2, # 2, 3, 13 & 14]
Jon Eardley - tp
Bob Brookmeyer - tb
Zoot Sims - ts
Gerry Mulligan - bs
Bill Crow - b
Dave Bailey - dr
Recorded in New York City ; January 25, 1956
[Cd 1, # 9 & 13 - Cd. 2, # 1, 4 & 6]
Don Ferrara - tp
Bob Brookmeyer - tb
Zoot Sims - ts
Gerry Mulligan - bs
Bill Crow - b
Dave Bailey - dr
Recorded in New York City ; September 26, 1956

Thursday, February 16, 2017

Johnnie Pate At the Blue Note

Jazz bassist, rhythm and blues arranger John W. Pate, Sr., “Johnny Pate,” was born December 5, 1923 in blue collar Chicago Heights, Illinois. Pate took an interest in the family’s upright piano and learned from the church organist who boarded with them. He attended Lincoln Elementary School, Washington Junior High and graduated from Bloom Township High School in 1942. Drafted into the United States Army, Pate joined the 218th AGF Army Band where he took up the tuba and played the upright bass in the jazz orchestra. In 1946, after his tour of service, Pate moved to New York City where bassist Oscar Pettiford helped him get started.
Pate played with the Red Allen — J.C. Higginbotham Combo and jazz violinists Stuff Smith and Eddie South. Returning to Chicago, he arranged musical numbers at the Regal Theatre with Red Saunders. Pate studied at the Midwest Conservatory of Music from 1950 to 1953 and continued to perform in the 50s with Dorothy Donegan, Sarah Vaughan, Joe Williams, Count Basie and Ahmad Jamal. Forming the Johnny Pate Trio and Combo in 1957, he was also “house bassist” for Chicago’s Blue Note. Johnny Pate’s bass solo on “Satin Doll” is featured on the album Duke Ellington Live At The Blue Note (1959). Pate continued to perform, and appeared on albums featuring James Moody, Phil Woods, Shirley Horn, Wes Montgomery, Stan Getz, Kenny Burrell, Jimmy Smith and Monty Alexander as producer and arranger.
Contacted by Carl Davis of Chicago’s Okeh Records, Pate arranged a Curtis Mayfield song, “Monkey Time,” which was a big hit for Major Lance in 1963. Pate’s collaboration with Curtis Mayfield produced most of the well-known Impressions tracks including “Amen,” “We’re A Winner” and “Keep On Pushin.” He produced B.B. King : Live at the Regal and also arranged for Betty Everett, Gene Chandler and Jerry Butler. In the1970s Pate orchestrated and arranged Shaft In Africa, Brother on the Run, Bucktown, Bustin Loose and others. He continued to arrange in the 1980s for Peabo Bryson and Natalie Cole. Retiring to Las Vegas in the 1990s, Pate was honored in 2003 as the “Unsung Hero of Popular Music”. Pate’s son is well known bassist, Don Pate and his cousin is saxophonist, Johnny Griffin.

Source : http://www.thehistorymakers.com/biography/johnny-pate-40

Johnnie Pate
& Friends
At the Blue Note


1 Dancing on the Ceiling (Hart, Rodgers)  2:24
2 What a Difference a Day Made (Adams, Grever)  2:53
3 It Might as Well Be Spring (Hammerstein II, Rodgers)  2:34
4 Falling in Love With Love (Hart, Rodgers)  3:37
5 All the Time (Pate)  2:37
6 Old Devil Moon (Harburg, Lane)  3:19
7 I Surrender Dear (Barris, Clifford)  2:40
8 Yvonne (Pate)  2:17
9 Tea for Two (Caesar, Youmans)  2:14
10 Pennies from Heaven (Burke, Johnston)  2:34
11 Carmen's Chaser (Pate)  2:03
12 Slaughter on Tenth Avenue (Rodgers)  5:18


Floyd Morris - p
Wilbur Wynne - g
Johnnie Pate - b
Johnny Whited - dr

Recorded at The Blue Note, Chicago ; January, 1957

See also

Tuesday, February 14, 2017

Joe Diorio - It's About Time

Recorded live in the studio, It's About Time features guitar legend Joe Diorio in all his splendor. Joe has long been known throughout the jazz world as one of the true innovators and masters of jazz guitar. With the tape running non-stop for two full days, all the musicians in close proximity, no over dubs, and NO rehearsal, the results are nothing less than stunning. Joe Diorio lays it all out there for us to hear ; his beautiful and sensitive touch, his incredible chord voicings, unbelievable chops, very deep melodic development, and of course, a swing feel to die for. As Joe told us, "It's All About Time."
Joe is supported in this session by drummer Dom Moio and bassist Jim Stinnett. In recent years, Dom and Jim have developed a groove and rapport that borders on magic. With very sensitive ears, this magic brought out the best in Joe.
Joined by long time friends and students Bill Moio and then Sid Jacobs, the trio becomes a quartet, and finally a trio again featuring the three outstanding guitarists.
The love for music and power of a soul displayed on this recording is a testament to Joe Diorio's legacy. Joe's influence on all who hear his playing is profound and long-lasting.

Source : http://www.stinnettmusicbookstore.com/stinnett_music_book_store/its_about_time.html

Joe Diorio
It's About Time


1 Solar (Davis) 
2 My Funny Valentine (Rogers, Hart)  5:38
3 All Of You (Porter)  9:17
4 Unchanged Rhythm (Stinnett, Louke)  10:25
5 Bye Bye Blackbird (Dixon, Henderson)  10:24
6 Stella By Starlight (Young, Washington)  9:59


Joe Diorio - g
Sid Jacobs - g
Bill Moio - g
Jim Stinnett - b
Dom Moio - dr

Recorded in 2005

Ruby Braff & George Barnes - Live at the New School

Digby Fairweather called this group "a dazzling quartet, one of the great small groups in jazz." I wouldn't argue with that, in fact if I rated my own collection in order of gratification this CD would be in the top three. Sadly the group lasted only from 1973 to 1975; this recording being made live in 1974. The group consisted of two gifted virtuosos and two modest rhythm men, Michael Moore (bass) and Wayne Wright (guitar), who, during the whole of the 20 tracks never take a solo. They simply provide the finest of backgrounds for Ruby Braff (trumpet) and George Barnes (guitar) to create masterful patterns. Musically, the empathy of these co-equal accompanists provides jazz in the mainstream form of the highest integrity. The more you hear this music the more you appreciate it. Without doubt this is a very special recording made by the New School Audio Engineering Class and as stated the music is recorded very satisfactorily however there were no voice mics. So, much of the verbal crossfire is lost. But there again one buys these CDs for the music.
Mike Powell

Source : http://www.amazon.co.uk/product-reviews/B000003H8N/

Ruby Braff
George Barnes
Live at the
New School
(The Complete Concert)


1 This Can't Be Love (Hart, Rodgers)  3:54
2 With me for Love (Braff, Wilson)  3:31
3 There Will Never Be Another You (Gordon, Warren)  3:50
4 Solitude (DeLange, Ellington, Mills)  2:28
5 Struttin' With Some Barbecue (Armstrong, Raye)  3:32
6 On the Sunny Side of the Street (Fields, McHugh)  3:09
7 Thou Swell (Hart, Rodgers)  4:19
8 Body and Soul (Eyton, Green, Heyman, Sour)  4:01
9 Squeeze Me (Waller, Williams)  3:38
10 It Don't Mean a Thing (If it Ain't Got That Swing) (Ellington, Mills)  3:36
11 Rockin' in Rhythm (Carney, Ellington, Mills)  2:30
12 Sugar (Alexander, Mitchell, Pinkard)  4:45
13 Liza (All the Clouds'll Roll Away) (Gershwin, Gershwin, Kahn)  3:48
14 You're a Lucky Guy (Cahn, Chaplin)  3:35
15 Don't Blame Me (Fields, McHugh, Raksin, Wess)  3:01
16 Cheek to Cheek Berlin)  2:38
17 Mean to Me (Ahlert, Turk)  4:09
18 Here, There and Everywhere (Lennon, McCartney)  2:07
19 Goose Pimples (Henderson, Trent)  4:08
20 No One Else But You (Redman)  4:35


Ruby Braff - crnt
George Barnes - g sl
Wayne Wright - rhth g
Michael Moore - b

Recorded live at The New School, New York, New York ; April 22, 1974

Eileen Joyce - Pearl Gemm 9022

An aura of romance surrounded the life of Eileen Joyce, and it was there right from the start — whenever that may have been. Since her birth took place in a leaking tent at Zeehan, in the outback of Tasmania, under the most primitive of conditions, it is hardly surprising that her impoverished parents told her they had lost count of time — so the actual date of her entry into the world cannot be vouched for with any accuracy ; 21 November 1912 is, however, that which is most generally accepted. Equally open to question are the details of her early years, for the two main sources of biographical data (Lady Abrahall's Prelude and a chapter in Donald Brook's Masters of the Keyboard) are at some variance. This is probably because Joyce's memory changed over a period of time. When we learn however that Lady Abrahall, as she herself stated, had found it necessary to invent a few fictitious characters with whom to surround her subject, it becomes apparent that we are in a rather grey — or perhaps one should say purple — area.
All sources however seem to agree that she was born to a father of Irish origin and a mother of Spanish descent. As to where her musical aptitude came from there are few clues apart from references to her parents singing to themselves. Lady Abrahall's narrative says that Eileen was introduced to the harmonica in a splendidly romantic fashion ! When she was a small girl her pet was a tame kangaroo which her father had found. The latter soon departed for Western Australia, in the hope of finding gold and making his fortune; Eileen and her mother were to follow when he sent the money for the journey. One day she wandered off with her kangaroo, and in the process was nearly bitten by a lethal snake. Just as the snake was about to strike a kookaburra attacked the snake and Eileen was safe, but petrified. At this point a hermit found her and carried her back to his hut where he talked and then played his harmonica, whilst the kangaroo sat quietly with them. Seeing she was interested he handed her a second harmonica and told her to imitate him. To his surprise the child followed his instruction and copied him in John Peel, almost exactly. Eileen was not satisfied, and insisted on getting it absolutely right. This is very revealing in view of later events ; her musical interest had been awoken...
Alan Vicat, 1992, from the booklet

Eileen Joyce
Pearl Gemm 9022


Johann Sebastian Bach

1 Prelude & Fugue in A minor, BWV 543  8:25
(arr. Liszt)

Wolfgang Amadeus Mozart

Piano Sonata n° 12 in F Major, K. 332
2 I. Allegro  4:46
3 II. Adagio  4:31
4 III. Allegro assai  4:42

Frédéric Chopin

5 Berceuse in D-Flat Major, Op. 57  4:17
6 Fantaisie-Impromptu in C-Sharp Minor, Op. 66  4:41

Robert Schumann

7 Novelette in D Major, Op. 21, n° 2  4:34
Ausserst rasch und mit Bravour

Franz Liszt

8 Etude de Concert in F Minor "La Leggierezza", G. 57, n° 2  4:17

Johannes Brahms

9 Intermezzo in A Major, Op. 76, n° 6  4:42
10 Intermezzo in B-Flat Minor, Op. 117, n° 2  4:23

Edvard Grieg

11 Melody in A Minor, Op. 47, n° 3  2:47

Claude Debussy

12 Toccata (Pour le piano, n° 3)  4:02

Richard Strauss

13 Ständchen, Op. 17, n° 2  2:56
(arr. Gieseking)

Eugen d'Albert

14 Scherzo, Op. 16, n° 2  3:54

Serge Rachmaninov

15 Prelude in E-Flat Major, Op. 23, n° 6  2:21

Dmitri Shostakovich

16 Three Fantastic Dances, Op. 5  3:51

Cyrill Scott

17 Danse nègre, Op. 58, n° 5  1:28


Eileen Joyce - p

Recorded between 1933 & 1940

See the complete artwork

Monday, February 13, 2017

Clark Terry & Bob Brookmeyer's Complete live Recordings (1962-1965)

One of my favourite albums is The Power of Positive Swinging, a 1965 LP featuring a quintet led by Clark Terry and Bob Brookmeyer. They formed the group in 1961, when Brookmeyer was asked to assemble a band to play at the Half Note club in New York. Bob wanted to use Clark Terry, but Clarks contract with NBC forbade him to play outside engagements unless he was the leader, so the quintet was formed with his name first. Brookmeyer wouldnt have minded, because he and Terry were close friends, as their playing on these sessions reflects.
Their instruments combine mellifluously together, and their styles were similar. Both men could play quietly and smoothly as well as more powerfully with the occasional growl, and they could both (especially Clark) bend notes as if there was a glissando button on their instruments. They also shared a sense of humour, which may be detected in the curves of "Just An Old Manuscript". On this track Terry plays a duet with himself, andIncoherent Blues is very like Clarks famous Mumbles parody of the blues. He even adds a comical vocal to the second version of "Things Aint What They Used To Be", with bluesy lyrics of his own devising.
These live recordings date from 1962 and 1965, and all were recorded at the Half Note, except for tracks 5 to 11 on the first CD which come from a Jazz 625 programme recorded by the BBC in London with a local rhythm section. The London tracks disprove the ancient belief that British rhythm sections of the period couldnt swing, although a few of Allan Ganleys drum breaks are awkward.
The quintets repertoire was a tasty mixture of jazz standards and originals by Terry or Brookmeyer. "Stolen Moments" is a good example of what the sleeve-note calls Clark Terrys characteristic dancing figures, which make a neat contrast to Brookmeyers more earthy improvising.
I marginally prefer the second of the two CDs because it uses a more adventurous rhythm section : the same one as that on The Power of Positive Swinging. It is interesting to compare the version of "Straight, No Chaser" here with the interpretation on the first CD, which illustrate the groups adaptability. The second one is almost twice as long as the first. While the first one ends with a series of staccato notes, the second one begins with these. Roger Kellaways piano is consistently fascinating but here he excels himself, while Bill Crow and Dave Bailey keep things moving.
The recording quality varies throughout the various sessions, with the sound sometimes muddy or mingled with audience chatter. But the musicianship is continuously first-class."
Tony Augarde

Source : http://www.musicweb-international.com/jazz/2014/Clark_Terry_FSRCD800.htm

Clark Terry
Bob Brookmeyer
Complete Live Recordings


cd. 1

1 Simple Waltz (Terry)  10:00
2 Things Aint What They Used to Be (Mercer Ellington)  8:32
3 Just an Old Manuscript (Redman-Razaf)  10:14
4 Stolen Moments (Nelson)  9:20
5 Hymn (Parker)  0:37
6 Straight, No Chaser (Monk)  6:00
7 Pretty Girl (Brookmeyer)  3:55
8 Hum (Brookmeyer)  5:52
9 Things Aint What They Used to Be (Mercer Ellington)  6:03
10 Tete-a-Tete (Terry)  5:46
11 Hymn (Parker)  0:58


cd. 2

1 Sometime Ago (Brookmeyer)  6:31
2 Incoherent Blues (Terry)  5:47
3 Straight, No Chaser (Monk)  11:10
4 Weep (McFarland)  7:40
5 Hum (Brookmeyer)  5:57
6 Pretty Girl (Brookmeyer)  7:19
7 On the Alamo (Jones-Kahn)  10:45
8 The King (Basie)  7:15


[Cd. 1, # 1-4]
Clark Terry - tp & flh
Bob Brookmeyer - tb
Eddie Costa - p
Joe Benjamin - b
Osie Johnson - dr
Recorded live at the Half Note, New York ; 1962
[Cd. 1, # 5-11]
Clark Terry - tp, flh & vcl
Bob Brookmeyer - tb
Laurie Holloway - p
Rick Laird - b
Allan Ganley - dr
Recorded live at the BBC, Jazz 625, London ; February 1965
[Cd. 2]
Clark Terry - tp, flh & vcl [# 1-6]
Zoot Sims - ts [# 7-8]
Bob Brookmeyer - tb
Roger Kellaway - p
Bill Crow - b
Dave Bailey - dr
Recorded live at the Half Note, New York ; December 3 [# 1-2], 10 [# 3-4], June 18 [# 5-6], & November 26 [# 7-8], 1965

Saturday, February 11, 2017

Dave Bailey - One Foot in the Gutter

Dave Bailey's One Foot in the Gutter is the first of several dates which originally appeared on Epic in the early 1960s but has been hard to find until this CD reissue came out. The veteran drummer literally leads a blowing session in the studio without any prepared arrangements or set list, inspired by an invited audience of friends and jazz fans. The musicians include the outstanding front line of Clark Terry, Junior Cook and Curtis Fuller, along with Horace Parlan and Peck Morrison joining the leader in the rhythm section. The music is consistently loose, fresh and very inspired ; egos have been checked at the door as everyone aspires to work together to produce the best results. Clark Terry's sauntering bluesy "One Foot in the Gutter" gets things off on the right foot, followed by a burning interpretation of Thelonious Monk's "Well You Needn't," featuring Terry's almost conversational fluegelhorn, as well as an intense, well-paced tenor sax solo by Cook and an inventive turn in the spotlight by Parlan. The finale is an extended workout of Clifford Brown's "Sandu" which pushes everyone to a peak. The results were so successful that additional sessions (Gettin' Into Something and Two Feet in the Gutter soon followed ; this release is strong proof that talented musicians don't have to meticulously plan out their set to produce timeless music.
Ken Dryden

Source : http://www.allmusic.com/album/one-foot-in-the-gutter-mw0000586674

Dave Bailey
One Foot In The Gutter
A Treasury of Soul


1 One Foot in the Gutter (Terry)  10:49
2 Well, You Needn't (Monk)  11:50
3 Sandu (Brown)  20:57
4 Brownie Speaks (Brown)  4:43


Curtis Fuller - tb
Clark Terry - tp & flghrn
Junior Cook - ts
Horace Parlan - p
Peck Morrison - b
Dave Bailey - dr

Recorded in New York City ; July 19 & 20, 1960

Paul Bley & Dave Pike

In 1957, 24-year-old Canadian-born pianist Paul Bley was quite an adept bebop player while also adopting the cerebral and cool California style that would identify and propel Dave Brubeck to stardom. The title Solemn Meditation is a bit misleading in that there's little chamber-styled jazz here, but these Hollywood sessions for the GNP Crescendo label do signify Bley's progressive modus operandi as being both for and ahead of the times. This CD contains the recording Solemn Meditation with an outstanding combo of young vibraphonist Dave Pike, a new bassist on the scene named Charlie Haden, and a talented drummer in Lenny McBrowne, who would become a staple on the mainstream and soul-jazz front. Of the interpretations, Dizzy Gillespie's "Birk Works" is a loose version featuring some jungle drumming, "Porgy" sounds calculated yet is rendered bluesy, and the lesser-known Bill Harris song "Everywhere" is a discriminating ballad with Pike's vibes shimmering with every phrase. Carla Borg (before marrying Paul Bley) penned "O Plus One," a darkly hued, introspective piece, while Paul Bley contributes the bouncy McBrowne feature "Drum Two" and the witty "Beau Didley," a tongue-in-cheek blues. Pike's "Persian Village" has the stamp of early world music in its relaxed swing and palpable interplay. This CD also contains the long out of print Gene Norman production on the Whippet label, The Jazz Couriers, an LP featuring Pike and pianist Eugene Russell in a quartet setting. This recording more fully lives up to the "Solemn Meditation" tag, sounding much like the Modern Jazz Quartet. Of the ten selections, Pike again delves into ethnic overtones during the facile Latin/Asian amalgams of "Polynesia" and a wonderful take on "I'll Remember April." The controlled California cool of "Lullaby of the Leaves" and "Pike's Peak" perfectly reflects the mood of the era, while the quaint "Triangle" and cute "Goody Speaks" display the muted chamber techniques welded onto inspired swing that were the domain of the MJQ. More riff-oriented, "For the Love of Pike" cuts the rhythm team of bassist John Goodman and drummer Reed Vaughan loose a bit, while the Sonny Rollins number "Valse Hot" is turned down considerably in a polite reading. These sessions with the Jazz Couriers precede Pike's work with Paul Bley by about nine months, both recordings giving the listener an opportunity to hear the vibraphonist in a developmental stage. Not even out of his teens after having left his native Detroit for the West Coast, Dave Pike is heard in his salad days as an already mature performer, though still standing in the shadows of fellow Motowner Milt Jackson. This valuable document for Pike primarily and Bley secondarily will bring great, long-lasting, and repeated pleasurable listenings of solid modern jazz that moves away from conventional wisdom while also sticking with solidly proven tradition.
Michael G. Nastos

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fxfrxz9aldhe

Paul Bley
 Dave Pike
Solemn Meditation
[Bonus Tracks]


1 Birk's Works (Gillespie)  6:03
2 O Plus One (Borg)  3:17
3 Porgy (Gershwin)  3:40
4 Solemn Meditation (Gill)  3:34
5 I Remember Harlem (Astor, Eldridge, Williams)  3:42
6 Drum Two (Bley)  3:06
7 Everywhere (Harris)  4:04
8 Beau Didley (Bley)  5:33
9 Persian Village (Pike)  3:28


Gene Norman Presents
The Jazz


10 Triangle (Goodman, Pike, Russell)  3:25
11 Valse Hot (Rollins)  4:20
12 Lullaby of the Leaves (Petkere)  4:36
13 You Go to My Head (Coots, Gillespie)  5:07
14 For the Love of Pike (Pike)  3:33
15 Goody Speaks (Goodman)  3:47
16 Polynesia (Pike)  3:29
17 I'll Remember April (DePaul, Johnston, Ray)  5:27
18 Willow Weep for Me (Ronell)  3:53
19 Pike's Peak (Pike)  5:45


Personnel [# 1-9] from the album "Solemn Meditation" (GNP Crescendo GNP-31)
Paul Bley - p
Dave Pike - vb
Charlie Haden - b
Lennie McBrowne - dr
Recorded at Audio Art Studios, Hollywood, Claifornia ; August 21, 1957
[# 10-19] from the album "The Jazz Courier" (Whippet WLP-700)
Eugene Russell - p
Dave Pike - vb
John Goodman - b
Reed Vaughan- dr
Recorded at Eccles Sound Studios, Hollywood, California ; November 2 & 13, 1956

Herbie Mann - Brazil, Bossa Nova & Blues

This gentle and warm blend of jazz and bossa nova was inspired by flautist Herbie Mann’s 1961 Brazilian tour. A well-chosen, simpatico group invests these attractive compositions with warmth while slipping deftly into the blend of relaxation and lyricism the idiom calls for.
As leader, Mann generally takes on the theme statements, but his unpretentious — yet always melodic — playing works well in this context. A major benefit to the sessions is Billy Bean, a superb guitarist with a great gift for improvisation, whose versatility adds considerably more orchestral colour and texture to Mann’s group. Vibist Haygood Hardy’s rhythmically sinuous and serpentine solos are also consistently well constructed, while the rhythm section, which carries the soloists along irresistibly, yet always with restraint, is one of the best Mann ever had.

Source : http://www.freshsoundrecords.com/brazil,_bossa_nova_&_blues_+_right_now__2_lps_on_1_cd-cd-5827.html

Herbie Mann
Brazil, Bossa Nova & Blues


1 Brazil (Barroso)  4:35
2 Copacabana (Mann)  6:54
3 Minha de Saudade (Gilberto, Donato)  5:13
4 B.N. Blues (Mann)  2:52
5 One Note Samba (Jobim, Mendonça)  4:29
6 Me Faz Recordar (Salter)  7:58


Herbie Mann - fl
Haygood Hardy - vb
Dave Pike - mrmb
Billy Bean - g
Bill Salter - b
Carlos (Patato) Valdez - cng
Willie Bobo - dr
Carmen Costa - mrcs
Jose De Paula - tmbr

Recorded in New York City ; early 1962

Thursday, February 9, 2017

Tjader Plays Tjazz

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album.
Scott Yanow

Source : http://www.allmusic.com/album/tjader-plays-tjazz-mw0000600577

Cal Tjader
Plays Tjazz


1 Moten Swing (Moten)  4:02
2 I've Never Been in Love Before (Loesser)  2:33
3 There Will Never Be Another You (Gordon, Warren)  5:04
4 How About You ? (Freed, Lane)  3:04
5 Jeepers Creepers (Mercer, Warren)  3:17
6 A Minor Goof (Moore)  3:56
7 My One and Only Love (Mellin, Wood)  2:47
8 Imagination (Burke, VanHeusen)  3:18
9 I'll Know (Loesser)  2:59
10 Brew's Blues (Moore)  3:29


[# 2, 4, 7 & 9] THE CAL TJADER QUARTET
Cal Tjader - dr
Bob Collins - tb
Eddie Duran - g
Al McKibbon - b
Recorded at the Marines Memorial Theater, San Francisco, California ; December 4, 1954
[Others selections] THE CAL TJADER QUINTET
Cal Tjader - vb
Brew Moore - ts
Sonny Clark - p
Eugene Wright - b
Bobby White - dr
Recorded at the Berkeley (CA) Little Theater ; June 6, 1955

Tuesday, February 7, 2017

Barney Kessel - Jellybeans

On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings.
Scott Yanow

Source : http://www.allmusic.com/album/jellybeans-mw0000648205

Barney Kessel


1 Jellybeans (Kessel)  4:08
2 Stella by Starlight (Washington, Young)  5:46
3 Mermaid (Kessel)  4:27
4 My Foolish Heart (Washington, Young)  4:34
5 Juarez After Dark (Kessel)  4:26
6 I've Never Been in Love Before (Loesser)  5:19
7 St. Thomas (Rollins)  4:45
8 Shiny Stockings (Foster)  5:14


Barney Kessel - g

Bob Maize - b
Jimmie Smith - dr

Recorded at Coast Recorders Inc., San Francisco, California ; April 1981