Tuesday, February 13, 2018

Friday, December 2, 2016

René Thomas - Guitar Genius

Regarded by Sonny Rollins, Stan Getz, Lee Konitz, Kenny Clarke... as one of the first soloists in the world, recognized by Jim Hall, Philip Catherine, Larry Coryell or John Mc Laughlin as a major and influential guitarist, René Thomas (Liège 1927-1975), gipsy and genius, has only left us with a few sides, valuable but too scarce for him to secure at least a posthumous recognition. So, do his fans welcome with passion the least resuscitated note, the least phrase rescued from the entropy. This CD produced by The Belgian Radio Television at the request of Florence Thomas, René's daughter, will fulfil René's fans' desires especially as the recordings it offers are of a very good quality. The extracts of the concerts selecled for this compilation are taking us across Europe from 1964 to 1974, the ten lost years of René's too short life. Track by track, the music carries us from Utrecht to Liège, from Wilhelmshaven to Comblain-la-Tour where was "chased" in 64 the most beautiful version of "Deep Purple" which appears on this CD. And one has to admit that when compared to the radiant flights of "All The Things You Are", the most fabulous techno-what's-its-name feats that today's stars eruct, suddenly seem to be sloppy and empty ! As empty and tasteless as looks the most unctuous musical syrup when compared to the touching ballads here performed by René at the pinnacle of his art : "Body and Soul", "‘Round Midnight", vehicles by means of which exploses the lyric and passionate art of this guitarist who better than any other was able to insufflate to the harmonies and sophisticated rhythms of modern jazz the vital warmth passed on to our sad world by this other gipsy whose name was Django Reinhardt. This masterly mixing between the Old and the New, this love match between the Fire and the Concept, here is undoubtedby the major characteristic of the playing and of the inimitable sound of Thomas, and what makes him different — right from the very first notes — from his colleagues and particularly from Jimmy Raney to whom he was so often compared. Django, René, gipsies. Strangers. Incredibly present and incredibly elsewhere at the same time.
S[even]teen years already that René has — gently — left this "bastringue" of stupidity and indifference, as did before him his friend Bobby Jaspar, then his Father and Master the Liège native saxophonist Raoul Faisant.
S[even]teen years and still, when listening again and again to this CD, ten thousand kids are going to learn, in these days of wine and rose, the most vivid of all lessons. Guitar lesson, of course, music lesson, life lesson, all lessons which time will never have hold on. Jazz !
Jean-Pol Schroeder Editor of the monthly magazine "Jazz in Time", from the booklet

René Thomas 
Guitar Genius


1 All The Things You Are (Kern, Hammerstein II)  9:12
2 Body And Soul (Green)  13:50
3 Deep Purple (DeRose)  6:43
4 You Go To My Head (Coots, Gillespie)  9:09
5 Just Friends (Lewis, Klenner)  9:46
6 B Like Bud (Thomas)  13:44
7 'Round Midnight (Monk)  6:53


[# 1, 2 & 7]
René Thomas - g
Henk Haverhoek - b
Eric Ineke - dr
Recorded in Utrecht ; 1972
[# 3]
René Thomas - g
Jacques Pelzer - fl
Benoit Quersin - b
Jacques Thollot - dr
Recorded at Combalin-la-Tour ; 1964
[# 4 & 6*]
Robert Jeanne* - ts
René Thomas - g
Léo Fléchet - p
Jean Lerusse - b
Felix Simtaine - dr
Recorded in Liège ; October 10, 1968
[# 5]
René Thomas - g
Rein De Graaf - p
Henk Haverhoek - b
Eric Ineke - dr
Recorded in Wilhelmshaven ; January 1974

Horace Silver Trio

This CD reissue has pianist Horace Silver's first sessions as a leader, trios with drummer Art Blakey and either Gene Ramey, Curly Russell or Percy Heath on bass. Silver already had his funky style pretty well together by 1952 (two years after being discovered by Stan Getz), and the program is most notable for introducing his compositions "Ecaroh" and "Opus De Funk." In addition, there are two percussion features : a drum solo by Blakey on "Nothing But Soul" and "Message From Kenya," a duet by the drummer with the percussion and vocals of Sabu Martinez.
Scott Yanow

Source : http://www.bluenote.com/artists/horace-silver/horace-silver-trio-rudy-van-gelder-edition

Horace Silver
Horace Silver


1 Safari (Silver))  2:48
2 Ecaroh (Silver)  3:09
3 Prelude to a Kiss (Ellignton) 2:47
4 Thou Swell (Rodgers, Hart)  2:52
5 Quicksilver (Silver)  2:59
6 Horoscope (Silver)  3:46
7 Yeah (Silver)  2:47
8 Knowledge Box (Silver)  2:47
9 How About You (Lane, Freed)  3:40
10 I Remember You (Schwertzinger, Mercer)  3:52
11 Silverware (Silver)  2:34
12 Message from Kenya (Blakey)  4:33
13 Opus de Funk (SIlver)  3:25
14 Nothing but the Soul (Blakey)  4:07
15 Buhaina (Silver)  3:04
16 Day in, Day out (Bloom, Mercer)  3:00


[# 1, 4, & 6]
Horace Silver - p
Gene Ramey - b
Art Blakey - dr
[# 2, 3, 5, 7 & 8]
Same as above, except
Curly Russell - b, replaces Ramey
[# 9-11, 13, 15 & 16]
Same as above, except
Percy Heath - b, replaces Russell
[# 12 & 14]
Art Blakey - dr
Sabu Martinez -  cng & vc [# 12]

Recorded at WOR Studios, New York City ; October 9, 1952 [# 1, 4, & 6] ; October 20, 1952 [# 2, 3, 5, 7 & 8] ; & November 23, 1953, all others

Thursday, December 1, 2016

Cathexis - Denny Zeitlin '64

Zeitlin has one of the more unusual "day gigs" for a jazz musician: he's a psychiatrist. Zeitlin's parents were involved in both music and medicine. They started him on the piano at age two; he continued to study classical music while in elementary school, then began playing jazz in high school. Zeitlin began playing professionally in and around his hometown of Chicago as a teenager. In college, he studied composition and theory with George Russell, Alexander Tcherepnin, and Robert Muczynski while simultaneously pursuing studies in medicine. While a student at Columbia University in New York City, Zeitlin auditioned for the legendary producer/talent scout John Hammond; Hammond was sufficiently impressed to produce several records by Zeitlin in the '60s.
After receiving his M.D. from Johns Hopkins University in 1964, Zeitlin relocated to the San Francisco Bay Area, where he worked as both a psychiatrist and musician; one of his trios in the mid-'60s included the bassist Charlie Haden. Zeitlin began experimenting with the prepared piano in the late '60s, which led to an interest in electronic keyboards. He quit playing in public for a time while developing his music further, re-emerging in the '70s playing a style that combined electronics with elements of jazz, classical, and rock. Zeitlin would go on to compose for film and television. His most notable soundtrack was written for director Philip Kaufman's 1978 remake of the sci-fi classic, Invasion of the Body Snatchers; he's also written original music for the children's program Sesame Street. Zeitlin has played with a great many prominent musicians, including Herbie Hancock, Pat Metheny, David Grisman, Paul Winter, and Joe Henderson. Zeitlin has recorded for Concord Records as part of their Live at Maybeck Recital Hall series of solo and duo performances. His albums are also available on the Intuition and Summit labels. Zeitlin has combined his professional interests in the form of a lecture-demonstration entitled "Unlocking the Creative Impulse : the Psychology of Improvisation," which he's presented across the U.S. and Europe.
Chris Kelsey

Source : http://www.allmusic.com/artist/denny-zeitlin-p140859/biography

Denny Zeitlin


1 Repeat (Zeitlin)  3:17
2 I-Thou (Zeitlin)  5:55
3 Stonehenge (Zeitlin)  5:15
4 Soon (Gershwin, Gershwin)  5:12
5 Nica's Tempo (Gryce)  5:55
6 Cathexis (Zeitlin)  2:25
7 'Round Midnight (Hanighen, Monk, Williams)  5:35
8 Little Children don't go near that House (Zeitlin)  4:02
9 Blue Phoenix (Zeitlin)  15:26


Denny Zeitlin - p
Cecil McBee - b
Frederick Waits - dr

Recorded in New York City ; [# 1, 3, 4 & 9] March 6 & February 19, [# 2, 5, 6, 7 & 8] 1964

Sergei Podobedov Plays Boris Goltz

Boris Goltz was one of the most promising students at the Leningrad Conservatory in the 1930s ; Vladimir Sofronitsky was one of Goltz's classmates in Leonid Nikolayev's piano course and also made the first recording of Goltz's music in about 1938. With the outbreak of Operation Barbarossa, Goltz conscripted into the Soviet military and fell during the siege of Leningrad in March 1942, aged only 28. Heretofore, the historical Sofronitsky performance appears to have been the only piano work of Goltz to appear on record; pianist Sergei Podobedov brings us the rest of this slight feast in Music & Arts' Boris Goltz : Complete Works for Solo Piano.
"Complete" means Goltz' Scherzo in E minor and his set of 24 Preludes, Op. 2 — the Preludes date from 1934-1935, and the Scherzo anywhere from between 1934 and 1940. In a general sense, his work can be seen as an extension of the post-romantic tradition exemplified by Rachmaninoff and Medtner though in the specifics there are plenty of connections to contemporary trends ; Scriabin, Prokofiev, and Shostakovich all figure in the mix, and Goltz seems to have been aware of the then discredited theory of modal rhythm of Boleslav Yavorsky. All of these influences wind their way through this music, and as "preludes" these are only tangentially so ; really they are character pieces and genre studies of various kinds. Often Goltz skillfully weaves one genre into another, and as genre itself is a kind of contract between the creator and listener, Goltz clearly wrote these highly evocative miniatures knowing that their clashes of content would evoke certain responses from his auditors. Most of us are not equipped with the set of conditions a Soviet listener in 1935 would have had, but nevertheless, these little pieces are "evocative." It's a pity Goltz did not live to create more than just the 24 of them, but in a way, all are crystalline and perfect.
Podobedov is obviously devoted to making this music available for the first time and the cause of this composer. It is a mystery why he decided to fill out Goltz' exquisite surviving 35 minutes of piano music with 20 more of familiar Chopin fare that practically every pianist plays. Certainly, some appropriate music could have been pressed into service; Tikhon Khrennikov was also born, like Goltz, in 1913 ; perhaps he has piano music? Why not works of Stanchinsky or Protopopov, other Russians with significant yet small outputs for piano ? The Chopin here is dutiful and adequate, but nothing special — if one elects to give Goltz a try — and there is every reason to suggest that one should do so — then chances are the last 20 minutes will be the part of this disc you will never listen to.
Uncle Dave Lewis

Source : http://www.allmusic.com/album/boris-goltz-complete-works-for-solo-piano-mw0001428068

Sergei Podobedov
Boris Goltz


1 Scherzo in E Minor  4:02

24 Preludes, Op. 2
2 N° 1. Moderato semplice  0:46
3 N° 2. Un poco andante  1:33
4 N° 3. Allegro  0:48
5 N° 4. Andante con anima  3:04
6 N° 5. Allegretto  0:50
7 N° 6. Prestissimo - Meno mosso  1:19
8 N° 7. Allegretto  0:48
9 N° 8. Andante  2:33
10 N° 9. Allegro  0:18
11 N° 10. Lento  1:55
12 N° 11. Andante  1:30
13 N° 12. Allegretto  0:35
14 N° 13. Andante maestoso  1:20
15 N° 14. Andante grazioso  0:55
16 N° 15. Allegro  1:03
17 N° 16. Andantino  1:23
18 N° 17. Allegretto scherzando  0:46
19 N° 18. Allegro vivo  1:00
20 N° 19. Andantino  2:11
21 N° 20. Allegro con fuoco  1:08
22 N° 21. Allegretto  1:06
23 N° 22. Lento  2:09
24 N° 23. Allegro vivo  1:17
25 N° 24. Allegro  1:08


Frédéric Chopin

Selected Works

26 Nocturne in F Major, Op. 15, n° 1  3:56
27 Waltz in B Minor, Op. 69, n° 2  2:23
28 Nocturne in D-Flat Major, Op. 27, n° 2  5:12
29 Polonaise n° 6, in A-Flat Major "Héroïque", Op. 53  6:26


Sergei Podobedov - p

Recorded at Pavel Slobodkin Center, Moscow ; April 2007

Joe Puma - East Coast Jazz/3

One of the best records ever from guitarist Joe Puma — a player who offered his talents as a sideman on many great sessions of the 50s, but who really shines here as a leader on his own ! Puma's got a clean, clear, careful touch on the strings — one that reminds us a lot of Tal Farlow on his best Verve albums of the 50s — but with a sound that's even more focused, and which is often awash in these amazing harmonics ! The record features a bit of extra rhythm guitar from Barry Galbraith — playing in a mode that's got a softer swing than a piano, which might get in the way of Puma — plus vibes from Don Elliott, bass from Vinnie Burke, and drums from Ted Sommer. The mix of vibes and two guitars is about as heavenly as you can imagine — light and fluid, but still with plenty of sharper notes on Puma's solos — and tracks include the originals "Loris", "A Little Rainy", and "Pumatic" — plus "What Is There To Say" and "Liza"...
© 1996-2014, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/680298

Joe Puma
East Coast Jazz/3
(Bethlehem BCP 1012)


1 Loris (Puma)  4:16
2 A Little Rainy (Puma)  3:12
3 What Is There To Say (Duke, Harburg)  2:52
4 Hallelujah (Youmans, Robin, Grey)  3:28
5 How About You ? (Lane, Freed)  3:31
6 Pumatic (Puma)  4:12
7 Liza (Gershwin, Gershwin)  3:11
8 Moon Song (Johnston, Coslow)  3:11


Joe Puma - g
Don Elliott - vb
Barry Galbraith - g
Vinnie Burke - b
Teddy Sommer - dr

Recorded in New York City ; November 30, 1954

See also

Wednesday, November 30, 2016

Don Elliott - Mellophone

They're not lying with the title of this great little set — as Don Elliott blows his unique horn with a very mellow tone ! The instrument is kind of a bigger version of a flugelhorn — and is used by Don in a laidback combo that also features trombone from Billy Byers, trumpet from Howie Reich, and baritone sax from Danny Bank — all deep sounds that set up a bank of color for Elliott to work with in his most vivid way. Other players include Hal McKusick on alto and flute — but working without as much of the sharper, cutting tones of other 50s albums — and rhythm is from Barry Galbraith on guitar, Milt Hinton on bass, and Mel Zelnick on drums.
© 1996-2013, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/680289

Don Elliott


1 Spring is Here (Rodgers, Hart)  2:46
2 S'Posin' (Denniker, Razaf)  3:19
3 With the Wind and the Rain in Your Hair (Lawrence, Edwards)  3:38
4 Summer Setting (Albam)  4:10
5 Fascinating Rhythm (Gershwin, Gershwin)  3:42
6 Almost Like Being in Love (Loewe, Lerner)  4:00
7 Deep Purple (Parish, DeRose)  3:39
8 The Lamp is Low (Parish, DeRose)  3:53
9 My Reverie (Clinton)  3:48
10 Mellophone Mambo (Elliott)  4:08


Don Elliott - tp, mllphn & vb
Billy Byers - tb
Hal McKusick - fl & as
Al Cohn - ts
Danny Bank - bs
Barry Galbraith - g
Milt Hinton - b
Mel Zelnick - dr

Recorded in New York City ; January 19 & February 22, 1955

See also

Tuesday, November 29, 2016

Ralph Sharon Sextet - Mr. And Mrs. Jazz

Mr & Mrs Jazz — and their cool cousins too – given that the combo also features some sublime tenor sax from JR Monterose, in addition to vocals from Sue and piano from Ralph! The set's a much harder-edged date than you might guess from the cover — and Sharon's approach to arrangements is a bit more dynamic than later work with Tony Bennett — swinging in a cool Bethlehem way, but given a great punch from the instrumentation — which also includes vibes from Eddie Costa and guitar from Joe Puma ! Sue Sharon's a pretty nice singer, and appears on about half the tracks the others are instrumentals...

Source : http://www.dustygroove.com/item/652054/Sue+%26+Ralph+Sharon:Mr+%26+Mrs+Jazz

Ralph Sharon
Sue Ryan
Mr. And Mrs. Jazz


1 It Don't Mean A Thing (Ellington, Mills)  4:12
2 A Nightingale Can Sing The Blues (Marks, Charles)  5:36
3 A Fine Romance (Kern, Fields)  3:05
4 Huguette Waltz (Friml, Hooker)  2:11
5 I Could Have Told You (Sigman, Williams)  4:23
6 A Trout, No Doubt (Sharon)  3:14
7 Mynah Lament (Sharon)  5:59
8 With The Wind And The Rain In Your Hair (Lawrence, Edwards)  2:58
9 Just You, Just Me (Greer, Klages)  5:08
10 Nothing At All (Frigo)  4:46
11 That Goldblatt Magic (Sharon)  4:44


J.R. Monterose - ts
Eddie Costa - vb
Ralph Sharon - p
Joe Puma - g
Milt Hinton - b
Jo Jones - dr
Sue Ryan - vc [# 2, 4, 6, 8 & 10]

Recorded in New York City ; November, 1956

See also

Mr. Teddy Wilson and Mr. Gershwin

Teddy Wilson covers a dozen songs by George Gershwin on this date with bassist Arvell Shaw and drummer Bert Dahlander. All of the music had been in Wilson's repertoire for some time at this point in his career, so his playing seems effortless. The sequencing is a bit unusual, in that all of the faster numbers, including a very brisk "Liza" and "Oh, Lady be Good" (powered by Dahlander's brushwork), are on the first side, while all of the ballads, including a lush "Summertime" and an inventive "Bess, You is My Woman Now," are heard on the second half. Wilson is in top form with his typically eloquent yet swinging style. Shaw is given a number of solo opportunities, displaying his superb arco bass technique in "Nice Work If You Can Get It" and "Love Is Here to Stay." This 1992 reissue contains three alternate takes...
Ken Dryden

Source : http://www.allmusic.com/search/album/mr.+wilson+%26+mr.+gershwin

Teddy Wilson Trio
Mr. Wilson
Mr. Gershwin


1 Liza (All the Clouds'll Roll Away) (Gershwin, Gershwin, Kahn)  2:59
2 Nice Work If You Can Get It* (Gershwin, Gershwin)  3:25
3 Oh, Lady Be Good* (Gershwin, Gershwin)  2:36
4 Somebody Loves Me (DeSylva, Gershwin, MacDonald)  3:14
5 But Not for Me (Gershwin, Gershwin)  2:36
6 I Got Rhythm* (Gershwin, Gershwin)  2:13
7 The Man I Love (Gershwin, Gershwin)  3:06
8 Bess, You Is My Woman Now* (Gershwin, Gershwin, Heyward)  2:31
9 Embraceable You (Gershwin, Gershwin)  2:30
10 Our Love Is Here to Stay (Gershwin, Gershwin)  2:24
11 I've Got a Crush on You (Gershwin, Gershwin)  3:14
12 Summertime* (Gershwin, Gershwin, Heyward)  3:18
13 Our Love Is Here to Stay [alt. take] (Gershwin, Gershwin)  3:04
14 But Not for Me [alt. take] (Gershwin, Gershwin)  2:41
15 Liza (All the Clouds'll Roll Away) [alt. take] (Gershwin, Gershwin, Kahn)  3:02


Teddy Wilson - p
Arvell Shaw - b
Bert Dahlander - dr

Recorded at Columbia Records 30th Street Studios, New York City ; January 19* & 21, 1959

The Birdlanders, vol. 1

In 1954, Henri Renaud was highly regarded in jazz circles. The French pianist/producer had played with his share of American heavyweights, who ranged from Lester Young to Clifford Brown to Sarah Vaughan. So when Renaud visited New York in 1954 and launched an all-star project that he called the Birdlanders, he had no problem attracting a lot of first-class beboppers. In order to be a Birdlander, one needed to be a regular at Birdland — thus, what you hear on The Birdlanders, vol. 1 (one of the two Birdlanders CDs that Fantasy assembled in 2000) isn't unlike what was being played at Birdland in 1954 (although all of the material was recorded in a New York studio). This 77-minute reissue focuses on two of the Birdlanders' sessions that Renaud produced in 1954. The first took place on January 28, when pianist Duke Jordan formed a trio with bassist Gene Ramey and drummer Lee Abrams. The piano trio is as engaging on a ballad (the Gershwin standard "Embraceable You") as it is on Jordan's "Jordu" and Charlie Parker's "Confirmation." The other session is from March 7 and has different personnel ; this time, Renaud himself is on piano, and he is joined by an impressive cast that includes vibist Milt Jackson, trombonists J.J. Johnson and Kai Winding, tenor saxman Al Cohn, bassist Percy Heath, and drummer Charlie Smith. Not surprisingly, plenty of inspired soloing takes place on familiar standards like "I'll Remember April" and "If I Had You." An interesting surprise comes on "Lullaby of the Leaves," which finds Renaud laying out and letting Jackson make a rare appearance on piano. Bebop enthusiasts should make a point of obtaining this excellent reissue.
Alex Henderson

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

The Birdlanders
vol. 1


1 I'll Remember April (DePaul, Johnston, Johnston)  8:55
2 Jerry's Old Man (Renaud)  5:48
3 Jay Jay's Blues (Johnson)  7:57
4 There's No You (Adair, Hopper)  8:35
5 Out of Nowhere (Green, Heyman)  8:37
6 Lullaby of the Leaves (Petkere, Young)  2:52
7 If I Had You (Campbell, Connelly, Shapiro)  10:18
8 (Back Home Again In) Indiana (Hanley, MacDonald)  3:51
9 Just One of Those Things (Porter)  3:53
10 Embraceable You (Gershwin, Gershwin)  5:01
11 Minor Escamp (Jordu) (Jordan)  4:46
12 Scotch Blues (Jordan)  3:42
13 Confirmation (Parker)  3:16


[# 1-8]
Milt Jackson - vb & p [# 6 only]
J. J. Johnson - tb
Kai Winding - tb
Al Cohn - ts [# 1, 3, 5 & 7]
Henri Renaud - p
Percy Heath - b
Charlie Smith - dr
[# 9-13]
Duke Jordan - p
Gene Ramey - b
Lee Abrams - dr

Recorded in New York City ; March 7 [# 1-8] & January 28 [# 9-13], 1954

Aaron Sachs Sextet

Sachs started as a young swing "protégé" of Benny Goodman, and later eased into bebop music, playing with Earl Fatha Hines. He then formed his own bands, with some success recording and touring. He married singer Helen Merrill in 1948, a union which lasted only a few years. Their only child was their son, Allan P Sachs, professionally known as Alan Merrill born in 1951. In the 1960s, Aaron Sachs went into Latin music, playing with the greats of that genre, including Machito, Tito Puente, and Tito Rodriguez. Aaron Sachs has written a hit song for Tito Rodriguez, titled "El Mundo De Las Locas" and also composed for drum legend Louis Bellson, with the mainstay tune "Blast off". He also co-wrote a popular song for bandleader Machito with Henry Glover during the twist dance craze titled "Twist Changa" (parts one and two) a double a-sided single in 1959, on Roulette records.

Source : http://en.wikipedia.org/wiki/Aaron_Sachs

Aaron Sachs
(Bethlehem BCP 1008)


1 One Track (Sachs, Johnson)  2:43
2 King Fish (Jones)  3:34
3 Helen (Sachs, Johnson)  3:46
4 Conversation (Sachs, Galbraith)  3:06
5 If You're But A Dream (Jones)  3:30
6 The Bullfrog (Jones)  3:47


Aaron Sachs - cl & ts
Urbie Green - tb
Danny Bank - bs
Barry Galbraith - g
Clyde Lombardi - b
Osie Johnson - dr

Recorded in New York City ; November, 1954

See also

Monday, November 28, 2016

Moura Lympany Plays Rachmaninov

Listeners curious about Moura Lympany’s 1951 Rachmaninov Preludes cycle for Decca (expertly refurbished by Testament) should not expect the kind of thunder, thrust, or surface flash often associated with pianists who tackle this repertoire (“tackle” being the operative word !). She’s essentially a lyrical artist who commands a liquid legato and ravishing portfolio of colors. Never does she make an ugly sound. Listen to how gorgeously Lympany shades the composer’s trademark whirling arpeggios in the Op. 23, n° 2, 7, and 8 preludes, arching rather than hammering out the long-limbed melodies, juggling these textural components with unforced ease. Passages requiring drive and stamina, such as Op. 23, n° 2’s massive chords or Op. 32, n° 3’s unrelenting toccata-like patterns, don’t measure up to today’s super-virtuoso norm. On the other hand, Lympany makes a convincing case for playing the introspective Op. 23, n° 4, Op. 32, n° 2 and 10, as well as the volatile Op. 32, n° 1 pieces with as little rubato as possible.
The sonics haven’t dated well, and louder moments occasionally overload the source tape. While Vladimir Ashkenazy’s integral 1972 cycle for Decca remains the most artistcally and pianistically consistent version (not to mention its attractive mid-price), Lympany’s best work still deserves the ear of any card-carrying pianophile. Perhaps we can prevail upon Pearl or Dutton to remaster Lympany’s early-1940s shellac Rachmaninov Preludes, or hope that Warner Classics might reissue her stereo Erato remakes.
Jed Distler

Source : http://www.classicstoday.com/review/review-10624/

Moura Lympany


1 Prelude in C-Sharp minor, Op. 32, n° 2  4:17

10 Preludes, Op. 23
2 N° 1 in F-Sharp minor. Largo  3:26
3 N° 2 in B-Flat major. Maestoso  3:41
4 N° 3 in D minor. Tempo di minuetto  3:29
5 N° 4 in D major. Andante cantabile  4:51
6 N° 5 in G minor. Alla marcia  3:57
7 N° 6 in E-Flat major. Andante  3:03
8 N° 7 in C minor. Allegro  2:26
9 N° 8 in A-Flat major. Allegro vivace  2:51
10 N° 9 in E-Flat minor. Presto  1:48
11 N° 10 in G-Flat major. Largo  3:23

13 Preludes, Op. 32
12 N° 1 in C major. Allegro vivace  1:07
13 N° 2 in B-Flat minor. Allegretto  3:50
14 N° 3 in E major. Allegro vivace  2:29
15 N° 4 in E minor. Allegro con brio  4:57
16 N° 5 in G major. Moderato  2:56
17 N° 6 in F minor. Allegro appassionato  1:19
18 N° 7 in F major. Moderato  2:19
19 N° 8 in A minor. Vivo  1:40
20 N° 9 in A major. Allegro moderato  3:15
21 N° 10 in B minor. Lento  4:57
22 N° 11 in B major. Allegretto  2:24
23 N° 12 in G-Sharp minor. Allegro  2:19
24 N° 13 in D-Flat major. Grave  4:35


Moura Lympany - p

Recorded at Decca Studios, Broadhurst Gardens, West Hampstead, London ; January 9 & 11, 1951

In a Mellow Mood with Buddy DeFranco

The album may be laidback, but it's hardly mellow at all – thanks to the presence of Sonny Clark on piano! The session's one of those great 50s pairings of Clark's piano and the clarinet of Buddy DeFranco – proof not only that Buddy could sound pretty darn soulful when he wanted, but also that he was always willing to grow and bring in some new ideas to his music. And the pairing with Clark is one of the best ideas that Buddy ever had – a mode that makes his instrument sound even more soulful than ever, almost like a soprano sax at times. Rhythm is rounded out by bass from Gene Wright and drums from Bobby White – who give the album a nicely easygoing groove – on tunes that include "Sonny's Idea", "The Bright One", "Minor Incident", and "I'll Remember April".
© 1996-2014, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/612239

Buddy DeFranco
In a Mellow Mood


1 The Bright One (Drew, DeFranco)  9:18
2 Sonny's Idea (Clark)  4:03
3 Laura (Mercer, Raskin)  4:04
4 Everything Happens to Me (Adair, Dennis)  4:13
5 I'll Remember April (Raye, DePaul, Johnson)  5:16
6 Willow Weep for Me (Ronell)  7:52
7 Minor Incident (DeFranco)  3:25
8 A Foggy Day (Gershwin, Gershwin)  5:12


Buddy DeFranco - cl
Sonny Clark - p
Gene Wright - b
Bobby White - dr

Recorded in Los Angeles, California ; August 10, 1954 [# 1-6] ; & September 1, 1954 [# 7-8]

Sunday, November 27, 2016

Don Elliott Octet & Sextette

Although this is probably not what Harold Arlen had in mind when he wrote the music for his Broadway hit Jamaica, the astounding arrangements Gil Evans did in 1957 for the octet of multi-instrumentalist Don Elliott, are a welcome surprise. His unique jazz approach and the solo talents of Elliott on trumpet, mellophone, vibraphone, marimba and bongos breathe new life into a classic. All the musicians involved perform superbly, with Candido giving excellent support on conga, but the real glory belongs to Evans, whose kaleidoscopic arrangements dominate the album.
About A Musical Offering, recorded the previous year with a sextet, Elliott said he was searching for “the sound of beautiful simplicity.” With that in mind, he had commissioned a young and skilled arranger, Quincy Jones, to write clear-cut, modern arrangements for twelve tunes that, in Quincy’s own words, were “without the complexity of ‘Bird’ and without the dissonance of Kenton. Polite, nonchalant pleasing music. You may call them ‘daylight arrangements’.” They all feature fine soloing by great jazzmen.

Source : http://www.freshsoundrecords.com/don_elliott_octet_&_sextette_-_arrangements_by_gil_evans_&_quincy_jones_2_lps_on_1_cd-cd-5430.html

Don Elliott
Octet & Sextette
Arrangements By Gil Evans & Quincy Jones


1 Push de Button (Arlen, Harburg)  5:52
2 Cocoanut Sweet (Arlen, Harburg)  4:07
3 Little Biscuit (Arlen, Harburg)  3:50
4 Savanna (Arlen, Harburg)  3:53
5 Pretty to Walk With (Arlen, Harburg)  3:42
6 Ain't It the Truth ? (Arlen, Harburg)  4:16
7 Napoleon (Arlen, Harburg)  4:58
8 What Good Does It Do ? (Arlen, Harburg)  4:41
9 Soon (Gershwin, Gershwin)  2:45
10 Catana (Newman, DeLange)  2:26
11 Rough Ridin' (Fitzgerald, Jones)  3:29
12 Straits of McClellan (Elliott)  2:53
13 Cry Me a River (Hamilton)  2:34
14 It's You or No One (Styne, Cahn)  2:51
15 Our Love (Clinton, Bernier, Emmerich)  2:52
16 Jazz Me Blues (Delaney)  2:20
17 Azure Te' (Davis)  3:12
18 Miss Wiss-Key (Elliott)  2:30
19 Mood Indigo (Bigard, Mills, Ellington)  2:35
20 Don't You Know I Care (Ellington, David)  2:50


[# 1-8] from the 12" LP "Jamaica Jazz" (ABC Paramount ABC-228)
Don Elliott Octet - Arrangements by Gil Evans
[# 2, 3 & 8]
Don Elliott - tp, mllphn, mrmb & vb
Frank Rehak - tb
Jimmy Buffington, Willie Ruff - fhrn
Hal McKusick - fl, as & b-cl
Dave Kurtzer - bssn
Paul Chambers - b
Art Taylor - dr
Candido Camero - cng
[# 1, 4, 5, 6 & 7]
Don Elliott - tp, mllphn, mrmb & bng
Don Ashworth, Phil Bodner, Romeo Penque - fl, ob & egh
Al Klink - b-cl & ts
Barry Galbraith - g
Ernie Furtado - b
Art Taylor - dr
Candido Camero - cng [# 4 & 6]
Recorded in New York City ; November 26 & December 23, 1957.
[# 9-20] from the 12" LP "A Musical Offering" (ABC Paramount ABC-106)
Don Elliott Sextette - Arrangements by Quincy Jones
Don Elliott - mllphn & vb
Herbie Mann - fl & ts
Al Cohn - bs, replaced by Sol Schlinger [# 10, 11, 17, 18 & 20]
Joe Puma - g
Vinnie Burke - b
Osie Johnson - dr
Recorded in Newark, New Jersey ; June 29 & 30, 1956.

Jazz From America On Disques Vogue [Part. III]

At that time, a common feature of record shops (which were legion in the fifties) was the stacks of small advertising catalogues at the end of the counter. On such catalogue, with its elongated and colourful note encapsulating the name of "Vogue productions", was especially eye-catching. It showcased the label's new releases, and was a lifeline for jazz aficionados unsettled by the technological upheavals of the time.
Indeed, the French jazz-lovers' bible, Jazz Hot, had recently published the following notice at the end of its "Records" section :

Good news for the lucky owners of a multi-speed record player : the first 33-rpm microgroove long-playing jazz records have finally arrived in France. This daring innovation is brought to you by Jazz-Disques, which sells its prized vinylite disks in France sheathed in the label's characteristic sleeves.

Wave goodbye to the 78 rpm and its limited playing time, and say hello to long plays ! Hugues Panassié was nonetheless somewhat circumpsect as regards this revolution, warning readers of the October 1952 edition of Bulletin du Hot Club de France. "Beware the 33 rpm !". But this did little to diminish the enthusiasm of jazz fans for the wondrous new gift from Vogue, a branch of Jazz-Disques — a label that burst onto the record scene in January 1949 with Bechet/Spanier Big Four's Lazy River and That's a Plenty in its "Jazz Sélection" series.
The label's three trailblazer albums (Sidney Becht/Claude Luther, Dizzy Gillespie with Strings, Duke Ellington/Billy Strayhorn) were released in June 1951, with a further twenty titles following suit just a few months later.
The vinyl disks were encased in stiff cardboard sleeves opening at the top, which did not go unnoticed :

Of all the French labels, it is unquestionably Jazz-Disques that has made the greatest efforts in this new field. The presentation of its records rivals the designs of the top American artists (no common feat), revealing in particular the talent of Pierre Merlin, already known to us as the cornet player in Luther's first band. There are some true gems, infused with plenty of humour, such as this drawing of Stan Getz playong the tenor sax whilst nonchalantly reclining on a daybed, as cool as could be.
                                                                                           [September 1951 edition of Jazz Hot]

As early as with LD 002, Dizzy Gillespie with Strings, the style became a trademark. The Vogue sleeves stood out on the French market thanks to their graphic designs. The label's main competitor, Blue Star, had initially contented themselves with simply adapting their 78 rpm packaging...
Alain Tercinet, from the booklet (translation by Pamela Barnby)

Jazz From America
Disques Vogue
[part. III]


Cd. 11

1 Every Time I Feel The Spirit (Malone)  2:39
2 Sign Of The Judgment (Steele)  3:00
3 The World Prayer (Farber, Flora, Kanter)  3:02
4 Every Day And Every Hour (trad.)  4:04
5 I'll Go (Wells)  3:10
6 God's Got His Eyes On You (Bledsoe)  2:46
7 Jesus, Jesus (Bernard, Singer, Steele)  2:27
8 Calvary (Corbin)  3:02
9 The Day Is Passed And Gone (Malone)  3:03
10 On The Battlefield (Malone)  3:05
11 He Never Left Me Alone (Malone)  2:54
12 Blessed Are The Dead (Malone)  3:11
13 Lord Jesus [Pt. 1 & 2] (Carr)  6:47
14 Moaning Blues (Hooker)  3:00
15 Stomp Boogie (Hooker)  3:10


[# 1-4] The Spirit of Memphis Quartet
Willmer Broadnax, Robert Reed - tnr
Jethroe Bledsoe, Silas Steele, James Darling - bar
Earl Malone - b
Recorded in Cincinnati, Ohio ; May 5, 1951
[# 5-6]
Same as above, except
James Keele - b, replaces Malone
Recorded same place as above ; December 9, 1950
[# 7, 9-12]
Same as [# 1-4]
Recorded same place as above ; December 12, 1949
[# 8]
Same as above
Recorded same place as above ; May 10, 1950
[# 13]
Same as above, except
Fred Howard - bar, is added
Bledsoe & Darling are out
[# 14]
John Lee Hooker - vc & g
Recorded in Detroit, Michigan ; August 1949
[# 15] Texas Slim [John Lee Hooker]
John Lee Hooker - vc & g
Recorded same place as above ; December 1, 1948


Cd. 12

1 Bloodshot Eyes (Hensley, Hank)  2:42
2 Luscious Woman (Glover, Nathan)  2:51
3 Teardrops From My Eyes (Toombs)  2:48
4 Oh Babe ! (Kabak, Prima)  2:51
5 Mr. Blues Is Coming To Town (Glover, Nix)  3:00
6 Here Comes The Night (Glover)  2:35
7 Just Like Two Drops Of Water (Greene)  2:35
8 Good Rockin' Tonight (Brown)  2:47
9 Slim Gaillard S Boogie (Gaillard)  2:45
10 Voot Orenee (Gaillard)  3:05
11 I'm A Hi-Ballin Daddy (Bradshaw, Jones, Nathan)  1:59
12 Brad's Blues (Bradshaw, Robinson)  2:59
13 Ring-A-Ding-Doo (Thompson)  2:55
14 Ramblin Blues (Darnell, Otis)  2:32
15 That S What You Re Doing To Me (Marks, Ward)  2:24
16 Have Mercy Baby (Ward)  2:23
17 Flamingo (Anderson, Grouya)  2:41
18 Sleep (Burtnett, Liebig, Geibel)  3:10
19 I M Getting Sentimental Over You (Bassman, Washington)  2:54
20 Moonglow (DeLange, Hudson, Mills)  2:40
21 Ain't Misbehavin (Brooks, Razaf, Waller)  2:27
22 Linger Awhile (Owens, Rose, Whiteman)  3:07
23 Lover Come Back To Me (Romberg, Hammerstein II)  2:26
24 Seven Steps (Bostic)  2:38


Featuring [collective personnel]
Little Esther, Al Casey, Donald Johnson, Ben Webster, Wilbur Campbell, Jimmy Cobb, Slim Gaillard, Wynonie Harris, Jimmy Robinson, Earl Warren, George Washington, Pete Lewis, Billy Ward, John Coltrane, Pinky Williams, Joe Lamont, Ike Isaacs, Specs Wright, Gene Redd, Joe Knight, Tiny Bradshaw, Earl Bostic, etc.

Recorded in different locations ; between October, 1945 & April 7, 1952


Cd. 13

1 Mamie's Blues (Morton)  2:46
2 Michigan Water Blues (Williams)  3:05
3 Buddy Bolden's Blues (Morton)  2:48
4 Winin' Boy Blues (Morton)  2:57
5 Don't You Leave Me Here (Morton)  2:52
6 Original Rag (Joplin)  2:50
7 The Naked Dance (Morton)  2:53
8 The Crave (Morton)  3:06
9 Mister Joe (Morton)  2:51
10 King Porter Stomp (Morton)  2:53
11 Sweet Substitute ()  2:54
12 Panama (Tyers)  2:31
13 Good Old New York (Morton)  2:45
14 Big Lip Blues (Morton)  3:12
15 Dirty, Dirty, Dirty (Morton)  2:52
16 Swinging The Elks (Morton)  2:53
17 Get The Bucket (Morton)  2:52
18 Shake It (Morton)  2:51
19 Mama's Got A Baby (Morton)  2:40
20 My Home Is In A Southern Town (Morton)  2:46
21 Why ? (Morton, Werac)  2:51
22 If You Knew (Morton, Werac)  2:51


[# 1-10]
Jelly Roll Morton - p & vcl [# 1-5]
Recorded at Reves Studios, New York City ; December 14, 1939 [# 4, 6, 8 & 10] ; December 16, 1939 [# 1, 3, 5 & 7] ; & December 18, 1939 [# 2]
[# 11-14]
Henry "Red" Allen - ts
Joe Britton - tb
Albert Nicholas - cl
Eddie Williams - as
Jelly Roll Morton - p & vcl [# 11, 13 & 14]
Wellman Braud - b
Zutty Singleton - dr
Recorded same place as above ; January 4, 1940
[# 15, 16, 19 & 20]
Same as above, except
Claude John - tb, replaces Britton
Recorded same place as above ; January 30, 1940
[# 17, 18, 21 & 22]
Same as above, except
Claude John - tb, is out
Recorded same place as above ; January 23, 1940


Cd. 14

1 Somebody Loves Me (DeSylva, Gershwin, MacDonald)  3:20
2 Crazy Chris (Brubeck, Desmond)  3:22
3 A Foggy Day (Gershwin, Gershwin)  3:09
4 Lyon's Busy (Brubeck)  3:15
5 Mam'selle (Gordo, Goulding)  2:50
6 Me And My Shadow (Dreyer, Jolson, Rose)  2:29
7 At A Perfume Counter (Burke, Leslie)  2:54
8 Frenesi (Dominguez, Whitcup)  2:36
9 This Can T Be Love (Hart, Rodgers)  4:08
10 Look For The Silver Lining (DeSylva, Kern)  3:44
11 My Romance (Hart, Rodgers)  2:38
12 Just One Of Those Things (Porter)  3:14
13 Star Dust (Carmichael, Parish)  3:03
14 Lulu's Back In Town (Dubin, Warren)  2:22
15 Alice In Wonderland (Hilliard, Fain)  3:36
16 All The Things You Are (Hammerstein, Kern)  3:20
17 I May Be Wrong (Ruskin, Sullivan)  2:51
18 My Heart Stood Still (Hart, Rodgers)  3:24
19 Let's Fall In Love (Hammerstein, Kern)  7:17


[# 1-4]
Paul Desmond - as
Dave Brubeck - p
Fred Dutton - b & bssn [# 1 & 3]
Herb Barman - dr
Recorded in San Francisco, California ; August 1951
[# 5-8]
Same as above, except
Wyatt Ruther - b, replaces Dutton
Recorded same place as above ; November 1951
[# 9-10]
Same as above
Recorded at the Surf, Los Angeles, California ; October 1952
[# 11]
Dave Brubeck - p
Recorded in San Francisco, California ; September 1952
[# 12-17]
Same as [# 9-10], except
Lloyd Davis - dr, replaces Baman
Recorded same place as above ; September 1952
[# 18]
Dave Brubeck - p
Recorded at Bill Bates home studio, Los Angeles, California ; December 1953
[# 19]
Same as [# 12-17], except
Ron Crotty - b, replaces Ruther
Recorded at the Surf, Los Angeles, California ; February 153


Cd. 15

1 Dear Old Stockholm (trad.)  4:13
2 Woody 'n' You (Gillespie)  3:25
3 Yesterdays (Kern, Harbach)  3:45
4 Chance It (Pettiford)  3:03
5 Donna (McLan)  3:14
6 How Deep Is The Ocean (Berlin)  4:41
7 Tempus Fugit (Powell)  3:50
8 Enigma (Johnson)  3:23
9 Ray's Idea (Fuller, Brown)  3:44
10 Kelo (Johnson)  3:18
11 I Waited For You (Fuller, Gillespie)  3:30
12 C.T.A (Heath)  3:33
13 Bouncing With Bud (Fuller, Powell)  3:03
14 Wail (Powell)  3:05
15 52nd Street Theme (Monk)  2:49
16 Dance Of The Infidels (Powell)  2:53
17 Humph (Monk)  2:54
18 Misterioso (Monk)  3:22
19 'Round Midnight (Hanigen, Monk, Williams)  3:12
20 Well, You Needn't (Monk)  2:59


[# 1-6] Miles Davis Sextet
Miles Davis - tp
J.J. Johnson -tb
Jackie McLean - as
Gil Coggins - p
Oscar Pettiford - b
Kenny Clarke - dr
Recorded at WOR Studios, New York City ; May 9, 1952
[# 7-12] Miles Davis Sextet
Miles Davis - tp
J.J. Johnson -tb
Jimmy Heath - ts
Gil Cogins - p
Percy Heath - b
Art Blakey - dr
Recorded same place as above ; April 20, 1953
[# 13-16] Bud Powell's Modernists
Fats Navarro - tp
Sonny Rollins - ts
Bud Powell - p
Tommy Potter - b
Roy Haynes - dr
Recorded same place as above ; August 9, 1949
[# 17] Thelonious Monk Sextet
Idrees Sulieman - tp
Dany Quebec West - as
Billy Smith - ts
Thelonious Monk - p
Gene Ramey - b
Art Blakey - d
Recorded same place as above ; October 15, 1947
[# 18] Thelonious Monk Quartet
Milt Jackson - vb
Thelonious Monk - p
John Simmons - b
Shadow Wilson - dr
Recorded at Apex Studios, New York City ; Juky 2, 1948
[# 19] Thelonious Monk Quintet
Thelonious Monk - p
Sahib Shihab - as
George Taitt - tp
Bob Paige - b
Art Blakey - dr
Recorded at WOR Studios, New York City ; November 21, 1947
[# 20] Thelonious Monk Trio
Thelonious Monk - p
Gene Ramey - b
Art Blakey - dr
Recorded same place as above ; October 24, 1947