Tuesday, February 13, 2018

Friday, April 24, 2015

Bud Shank - Slippery When Wet

Until 1958 jazz scores in movies had been mostly confined to setting the moody backdrop for crime and delinquency. But that summer photographer-producer Bruce Brown shot a film about surfboarders cavorting in Hawaii and decided he wanted a jazz score to capture the outdoor, summery mood, full of movement and action.
He chose the Bud Shank Quartet to create the musical backdrop to the surfboarders and the waves, with Shank, alternating on alto sax and flute, fluidly confident and purposeful, mostly backed by the excellent pairing of the gifted Peacock and Flores, with Billy Bean’s guitar in support.
The music that resulted produced a fine, swinging selection of modern jazz that perfectly caught the feel of the subject.
From the booklet

Source : http://www.freshsoundrecords.com/slippery_when_wet_-_original_soundtrack-cd-5446.html

Bud Shank
Slippery When Wet
Original Soundtrack


1 Blues in the Surf [bonus track]  5:01
2 Mook’s Theme  4:32
3 Surf Pipers  3:32
4 The Surf and I  3:06
5 Up in Velseyland  3:23
6 Surf for Two  3:39
7 Slippery When Wet  2:36
8 Going My Wave  3:10
9 Old King Nep’s Tune  3:43
10 Walkin’ on the Water  4:42
11 Soupsville  3:34
12 Blues in the Distance [bonus track]  4:30

All tracks composed by Bud Shank

Bud Shank - as & fl
Billy Bean - g
Gary Peacock - b
Chuck Flores - dr

Recorded at World Pacific Studios, Hollywood, California, on April 18, 1959

[# 2-11] from the World Pacific album "Slippery When Wet" (ST-1265).
[# 1 & 12] are bonus tracks from the same session that were not in the original soundtrack :
'Blues in the Surf' [# 1] Taken from the Crown album "Bud Shank" (Crown CST-311).
'Blues in the Distance' [# 12] Taken from the World Pacific LP "The Blues Vol 3: Blowin' The Blues" (JWC-512 Stereo)

Thursday, April 23, 2015

Barney Kessel - Contemporary Latin Rhythm

A wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar ! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time ! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".
© 1996-2013, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/640412

Barney Kessel
Contemporary Latin
Rhythms !


1 Blues in the Night (Mercer, Arlen)  2:39
2 Days of Wine and Roses (Mercer, Mancini)  2:30
3 Latin Dance No. 1 (Kessel)  2:32
4 Lady Byrd (Dameron)  3:30
5 One Note Samba (Jobim, Mendonca, Hendricks)  4:15
6 The Peanut Vendor (Sunshine, Gilbert, Simons)  3:10
7 Quizas, Quizas, Quizas (Davis, Farre)  3:47
9 Love (Martin, Blane)  2:47
10 Twilight in Acapulco (Kessel)  2:23


Barney Kessel - g
Alton Hendrickson & Bill Pitman - g rhthm
Paul Horn - s & fl
Conte Candoli - tp
Victor Feldman - vb
Keith Mitchell - b
Stan Levey - dr
Edward Talamantes, Francisco Aguabella & Frank Capp - perc
Emil Richards - mrmb

Recorded January 1, 1961 ?

Dick Katz - Piano & Pen

A versatile pianist and arranger, Dick Katz has been responsible for many stimulating and memorable recordings through the years, often as an important sideman and/or producer. He studied at the Peabody Institute, the Manhattan School of Music, and Juilliard, in addition to taking piano lessons from Teddy Wilson. In the 1950s, he picked up important experience as a member of the house rhythm section of the Café Bohemia, with the groups of Ben Webster and Kenny Dorham, the Oscar Pettiford big band, and later with Carmen McRae. Katz was part of the popular J.J. Johnson/Kai Winding Quintet (1954-1955) and Orchestra USA and participated on Benny Carter's classic Further Definitions album. He has freelanced throughout much of his career and was a guiding force behind some of Helen Merrill's finest recordings. Katz, who played with Roy Eldridge and Lee Konitz starting in the late '60s, co-founded Milestone Records in 1966 with Orrin Keepnews. In the 1990s, Dick Katz worked both as a pianist and an arranger with the American Jazz Orchestra and Loren Schoenberg's big band. Unfortunately, he has not recorded all that frequently as a leader, cutting fairly obscure dates for Atlantic (1957 and 1959), BeeHive (1984), and Reservoir (1992), but the jazz world is well aware of his talents.
Scott Yanow

Source : http://www.allmusic.com/artist/dick-katz-mn0000821321/biography

Dick Katz
Piano & Pen


1 Timonium (Katz)  5:08
2 Aurora (Katz)  4:29
3 Duologue No. 1 (Katz)  4:32
4 Glad To Be Unhappy  (Rodgers, Hart)  4:44
5 Round Trip (Katz)  3:20
6 Afternoon In Paris (Lewis)  6:53
7 Ain't Misbehavin'  (Waller, Brooks, Razaf)  4:03
8 Scrapple From The Apple  (Parker)  4:34


[# 1, 3, 4 & 8]
Dick Katz - p & ldr
Chuck Wayne - g
Joe Benjamin - b
Connie Kay - dr
Recorded in New York City ; December 17, 1958
[# 2, 5-7]
Same as above ; except Jimmy Raney - g replaces Chuck Wayne
Recorded in New York City ; January 23, 1959 

See also

Milt Bernhart - The Horns

Milt Bernhart (1926-2004) grew up as a musician playing in the bands of Boyd Raeburn, Buddy Franklyn, Jimmy James and Teddy Powell. After that peculiar apprenticeship he joined Stan Kenton's band. The years with Kenton boosted Bernhart to considerable popularity with jazz followers, and his solos won him repeated high placings in Down Beat’s readers’ poll. After that, he was a graduate of the Kenton school of higher learning. But, for the most part, musicians are born, not made, and the notes Milt blew, the phrasing and imagination he so vividly demonstrated, could not have been easily picked up in any learned institution. With this particular group, nucleus of the West Coast school of jazz, he contributed more than his share to its new sounds and seemingly fantastic thought processes. This CD includes some of the most inspired trombone playing since the invention of that venerable instrument.

Source : http://www.freshsoundrecords.com/the_horns-cd-4318.html

Milt Bernhart
The Horns
His Octet and His Brass Ensemble


1 Scarf Dance (Giuffre)  3:33
2 Ballade (Giuffre)  2:43
3 Safari (Davis, Ramirez)  2:26
4 Lover Man (Giuffre)  3:10
5 The Horns (Giuffre)  3:04
6 Lavender (Giuffre)  3:05
7 Tangerine (Mercer, Schertzinger)  2:31
8 What Is There To Say (Harburg, Duke)  3:08
9 Lullaby of Birdland (Shearing)  2:13
10 London in July (Duke)  2:51
11 Save Your Chops (Candoli)  2:21
12 Amor Flamenco (Almeida)  3:29
13 It’s All Right With Me (Porter)  3:34
14 Looking For A Boy (Gershwin, Gershwin)  2:32
15 Southern Comfort (Candoli)  2:21
16 Hillside (Previn)  3:05
17 Hooray For Hollywood (Mercer, Whiting)  2:08


[# 1-4] Milt Bernhart and his Octet
Shorty Rogers - tp
Milt Bernhart - tb
Bud Shank - fl & as
Bob Cooper - ob & ts
Jimmy Giuffre - ts & bs
Pete Jolly - p
Curtis Counce - b
Irv Kluger - dr
Recorded in Hollywood, California ; September 14, 1954.
[# 5-8] Milt Bernhart and his Brass Ensemble
Shorty Rogers, Ray Linn - tp
Maynard Ferguson - euph
Milt Bernhart - tb
John Graas - frhrn
Ray Siegel - tb
Jack Marshall - g
Red Mitchell - b
Irv Kluger - dr
Recorded in Hollywood, California ; March 4, 1955.
[# 9-12]
Same personnel as above, except
Pete Candoli - tp, - replaces Ray Linn
Recorded in Hollywood, California ; March 6, 1955.
[# 13-17]
Same personnel but Ray Linn, Paul Sarmento and Irv Cottler replace Shorty Rogers, Ray Siegel and Irv Kluger
Recorded in Hollywood, California ; March 8, 1955

Arrangements by Jimmy Giuffre [# 1-6], Wes Hensel [# 7-8], Pete Candoli [# 9,10 & 15]
Pete Rugolo [# 11-12], Andre Previn [# 14 & 16] and Shorty Rogers [# 13 & 17]

Paul Horn - Plenty Of Horn

When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose mood music is often best used as background music for meditation. Horn started on piano when he was four and switched to alto at the age of 12. After a stint with the Sauter-Finegan Orchestra on tenor, Horn was Buddy Collette's replacement with the popular Chico Hamilton Quintet (1956-1958), playing alto, flute, and clarinet. He became a studio musician in Los Angeles, but also found time during 1957-1966 to record cool jazz albums for Dot (later reissued on Impulse), World Pacific, Hi Fi Jazz, Columbia, and RCA, and he participated in a memorable live session with Cal Tjader in 1959. In addition, in 1964, Horn recorded one of the first Jazz Masses, utilizing an orchestra arranged by Lalo Schifrin. In 1967, Paul Horn studied transcendental meditation in India and became a teacher. The following year, he recorded unaccompanied flute solos at the Taj Mahal (where he enjoyed interacting with the echoes), and would go on to record in the Great Pyramid, tour China (1979) and the Soviet Union, record using the sounds of killer whales as "accompaniment," and found his own label Golden Flute. Most of Paul Horn's work since the mid-'70s is focused on new age rather than jazz.
Scott Yanow

Source : http://www.allmusic.com/artist/paul-horn-mn0000100426/biography

Paul Horn
Plenty Of Horn


Cd. 1

1 A Soldier’s Dream (Ferguson)  3:42
2 Day By Day (Stordahl, Weston, Cahn)  4:28
3 To A Little Boy (Horn)  4:07
4 Siddartha (Katz)  5:46
5 Pony Tale (Horn)  2:55
6 House Of Horn (Horn)  3:30
7 Sunday, Monday Or Always (Burke, Van Heusen)  3:50
8 The Golden Princess (Katz)  3:31
9 Interlude (Rugolo)  4:38
10 Pony Tale (Horn)  2:50
11 Lover Man (Davis, Sherman, Ramirez)  4:35
12 Mood Improvisation (Horn)  3:49
13 Chloe (Kahn, Moret)  4:47
14 Romanze (Katz)  4:11
15 A Parable (Horn)  4:07


Cd. 2

1 Blues For Tom (Horn)  3:57
2 Yesterdays ( Kern, Harbach)  4:06
3 The Smith Family (Katz, Nordine)  2:42
4 Invitation (Kaper, Webster)  4:06
5 Tellin’ The Truth (Bean)  3:33

Moods For Horn
6 Effervescense (Ferguson)  2:24
7 Reminescense (Ferguson)  3:57
8 Exuberance (Ferguson)  2:07
9 Ebullience (Ferguson)  4:20

10 Give Me The Simple Life (Ruby, Bloom)  7:46
11 Willow Weep For Me (Ronell)  4:22
12 Jive At Five (Basie)  2:56
13 My Old Flame (Johnston, Coslow)  4:28
14 Swedish Pastry (Kessel)  2:50


[Cd. 1, # 1-9] from the album House of Horn, Dot DLP-3091 (1957)
[# 1-4]
Paul Horn - fl, pcl, cl & as
Larry Bunker - vb
Gerry Wiggins - p
David Frisina, Dane Lube - vl
David Sterkin - vla
Fred Katz - cl
John Pisano - g
Red Mitchell - b
Chico Hamilton - dr
Recorded at Radio Recorders, Hollywood, California ; September 27, 1957
[# 5-9]
Same as above, except
Frisina, Lube, Sterkin are out
Bill Marx - blls, is added
Recorded same place as above ; September 30, 1957
[Cd. 1, # 10-12] from the Stars of Jazz TV show, album Sessions Live, Calliope CAL 3018
Paul Horn - fl, cl & as
Calvin Jackson - p
Fred Katz - p
Hal Gaylor - b
Mel Lewis - dr
Recorded at ABC Studio, Hollywood ; March 10, 1958
[Cd. 1, # 13-15 ; Cd. 2, # 1-3 & 5-9] from the album "Plenty of Horn", Dot DLP-9002 (1958)
[Cd. 1, # 13-15 ; Cd. 2, # 1-5]
Paul Horn - fl, alt fl, pcl, cl & as [Cd. 2, # 1-5
Fred Katz - p
Ray Kramer - cl
Billy Bean - g
Red Mitchell - b
Shelly Manne - dr
Mongo Santamaria - cng
Larry Bunker - clv
Recorded at Radio Recorders, Hollywood ; April 10, 1958
[Cd. 2, # 6-9]
Paul Horn - fl, cl & as
Ed Leddy, Ken Bright & Stu Williamson - tp
Vince DeRosa & Dick Perissi - fr hrn
Red Callender - tb
Fred Katz - p
Larry Bunker - vb
Billy Bean - g
Red Mitchell - b
Shelly Manne - dr
Recorded at Radio Recorders, Hollywood ; April 23, 1958
[Cd. 2, # 10 & 11] from the albums "Down Beat Jazz Concert Vol. 1 & 2", Dot DLP 9003 / Dot DLP 3188
Paul Horn - fl
Dick Katz - p
Don Bagley - b
Osie Johnson - dr
Recorded in New York, Town Hall ; May 16, 1958
[Cd. 2, # 12 & 14] from the Stars of Jazz TV show
Paul Horn - fl, cl & as
Calvin Jackson - p
Fred Katz - cl
Don Payne - b
Gene Estes - dr
Recorded at ABC Studios, Hollywood, California ; September 15, 1958

Paul Horn — who, in Chico Hamilton’s words, was a “man of many reeds and woodwinds” — proves here that he was more concerned with playing music of differing emotional styles than he was in sticking to a certain, well-defined rut.
There is constant change in this set ; ebullience and restraint; soft, provocative swing and bucolic lushness. Everyone does extremely well, supporting and joining Horn in a variety of orchestral settings. Exceptional musicianship, fluidness, sensitivity and a thoughtful approach made these, Paul Horn’s first recordings as a leader, a showcase of the range and the technical prowess of his playing.

Source : http://www.freshsoundrecords.com/plenty_of_horn_double_cd-cd-5004.html

Eddie Costa & Vinnie Burke

A spare and sweet little set from the team of Eddie Costa and Vinnie Burke – one of the best of the east coast chamber jazz groups of the mid 50s! The pair's trio has Eddie on piano and vibes, Vinnie on bass, and Nick Stabulas on drums – all working together to craft light, rhythmic versions of tunes that really change them up rhythmically – working in the most playful mode of the time to freely create over the top of familiar numbers that include "Fascinating Rhythm", "It Could Happen To You", "Sweet & Lovely", "Yesterdays", and "Let's Do It". The set also features two nice originals – "Unison Blues" and "Pile Driver".
© 1996-2011, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=drpgysfkk7

Eddie Costa
with the
Vinnie Burke Trio


1 Fascinating Rhythm (Gershwin, Gershwin)  2:57
2 Unison Blues (Burke)  5:23
3 Sweet and Lovely (Arnheim, Daniels, Tobias)  3:17
4 Let's Do It (Let's Fall in Love) (Porter)  4:21
5 Yesterdays (Kern, Harbach)  3:46
6 Pile Driver (Costa)  5:08
7 It Could Happen to You (Burke, VanHeusen)  6:38
8 Get Happy (Arlen, Koehler)  4:13
9 Jeepers Creepers (Warre, Mercer)  2:32


Eddie Costa - p & vb
Vinnie Burke - b
Nick Stabulas - dr

Recorded in New York City ; September 29, 1956

Duke Ellington Trio - Money Jungle

Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingus and Max Roach. Not in a mood to simply rework older compositions, the bulk of the LP focused on music he wrote specifically for the session. "Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde. The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. "Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be quite catchy. Ellington also revisits "Warm Valley" (a lovely ballad indelibly associated with Johnny Hodges) and an almost meditative "Solitude." Thunderous percussion and wild basslines complement a wilder-than-usual approach to "Caravan." Every jazz fan should own a copy of this sensational recording session.
Ken Dryden

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

Duke Ellington
Charlie Mingus

Max Roach
Money Jungle


1 Very Special (Ellington)  4:27
2 A Little Max (Ellington)  2:58
3 A Little Max [alternate take] (Ellington)  2:56
4 Fleurette Africaine (Ellington)  3:37
5 Rem Blues [#] (Ellington)  4:17
6 Wig Wise (Ellington)  3:19
7 Switch Blade (Ellington)  5:25
8 Caravan (Ellington, Mills, Tizol)  4:14
9 Money Jungle (Ellington)  5:30
10 Solitude [alternate take] (DeLange, Ellington, Mills)  4:44
11 Solitude (DeLange, Ellington, Mills)  5:34
12 Warm Valley (Ellington)  3:34
13 Backward Country Boy Blues (Ellington)  6:20


Duke Ellington - p
Charles Mingus - b
Max Roach - dr

Recorded at Sound Makers, New York City ; September 17, 1962

Frank Wess - North, East, South...

This easygoing swing date is essentially a small group drawn from the Count Basie band of the day. The two tenors, Wess and Frank Foster, and two trombones, Bennie Powell and Henry Coker, all from the Count's band, keep the sound comfortably cruising near the middle register. Kenny Burrell is on the date as the only chordal instrument, contributing flowing chord selections when comping and clean, tasty choruses for his solos. Savoy house drummer Kenny Clarke and Basie bassist Eddie Jones complete rhythm section. On tenor, Wess and Foster are eminently capable, but, on these performances, there isn't a lot to differentiate one from the other. The same can be said for the trombonists. The best moments come when Wess switches to flute, the instrument on which he does have a distinctive and appealing musical personality. The other high points are Burrell's, both as accompanist and in his brief solo spots. Both he and the leader, however, can be heard together to better effect on other Savoy dates, notably Wess' bright and airy chamber jazz date Opus in Swing, and the Frank Foster-led No Count, which features the same group as on North, South, East...Wess.
Jim Todd

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:acfrxqqgld0e

Frank Wess
North, South, East...Wess


1 What'd Ya Say (Cadena)  9:41
2 Dill Pickles (Foster)  6:08
3 Dancing on the Ceiling (Hart, Rodgers)  3:45
4 Hard Sock Dance (Wess)  7:42
5 Salvation (Wess)  3:51
6 Lazy Sal (Coker)  6:10


Frank Wess - ts & fl
Frank Foster - ts
Bennie Powell - tb
Henry Coker - tb
Kenny Burrell - g
Eddie Jones - b
Kenny Clarke - dr

Recorded on March 7, 1956 [# 1, 5 & 6] & March 5, 1956 [# 2-4]

Gerry Mulligan '63

The most exciting news and, later, reality in the jazz world in 1960 was the formation in March of that year of The Concert Jazz Band. It seemed such a right thing for perennial poll-winner Gerry Mulligan to do. And the response from critics and audiences the world over has borne out Gerry's efforts.
In scoring the band's first album a full five stars, Down Beat reviewer Don DeMicheal noted, "It is an extension and expansion of Mulligan's concept as we've come to know it through his quartet and sextet: the combination of extremes - simplicity with complexity, cool intellectualism with hot-blooded emotion, sophistication with guts.
"Because of these many facets and of the variety of emotional experience the band offers, I feel this is the most important big band in jazz today."
In person and on records the band bore out DeMicheal's belief. The Concert Jazz Band played jazz superbly. It played arrangements by Gerry, Bob Brookmeyer, Johnny Carisi, John Mandel, Bill Holman, George Russell, and, best of all, it uncovered and encouraged new writing talents. Chief discovery was that of Gary McFarland, a talented young composer; arranger whose first big break came with two charts for the Mulligan band - Weep and Chuggin'.
The Concert Jazz Band appeared at the Newport Jazz Festival, in major jazz clubs across the country, and then made a historic world tour. The band enthralled a Newport audience during a drenching rainstorm at its concert. Videotaped by the United States Information Service for distribution overseas, its performance is still enthralling listeners the world over.
The band didn't blast or get into driving riff work among the sections. It achieved excitement through orchestral color, shading, dynamics, and through the often remarkable abilities of its chief soloists : Gerry on baritone sax, Bob Brookmeyer on valve trombone, Zoot Sims on tenor sax, and Gene Quill on clarinet. The sound of the band was always "down". The emphasis was on subtlety. The effect was of a controlled force just waiting to be unleashed, and the unleashing usually came in the solos.
This collection of material by The Concert Jazz Band has a decidedly Ellington-ish flavor to it. This is due, perhaps, to the wealth of soloing and the interesting colors the band creates behind the solos. Such sounds have come to be identified as Dukish, regardless of their source. The similarity ends there, however, because the band is unmistakeably Mulligan. His personality and his sound permeate the entire album.
The originals were written by Bob Brookmeyer ("Big City Blues" and "Big City Life"), Gary McFarland ("Bridgehampton Strut", "Bridgehampton South", and "Pretty Little Gypsy"), and Gerry ("Ballad"). Gerry, of course, is the baritone sax soloist, and is heard in one of his rare recorded appearances on clarinet in "Big City Blues" and "Pretty Little Gypsy". Bob Brookmeyer is heard on piano in "Big City Life" and "Big City Blues". Clark Terry's trumpet is spotted throughout the album. And another instrument debuts on this Concert Jazz Band album : the guitar of Jim Hall.
Although the selections were recorded in 1962, they were at a year-end session and certainly indicated what the sound of Gerry Mulligan '63 would be ...and is.
Dom Cerulli, from the Liner Notes

Gerry Mulligan
The Concert Jazz Band


1 Little Rock Getaway (Sigman, Sullivan)  3:01
2 Ballad (Mulligan)  4:11
3 Big City Life (Brookmeyer)  5:19
4 Big City Blues (Brookmeyer)  5:39
5 My Kind Of Love (Trent, Alter)  3:55
6 Pretty Little Gypsy (McFarland)  3:35
7 Bridgehampton South (McFarland)  5:09
8 Bridgehampton Strut (McFarland)  3:55


Gerry Mulligan - bs & p
Clark Terry, Nick Travis, Don Ferrara & Doc Severinsen - tp
Bob Enevoldsen, Willie Dennis & Tony Studd - tb
Gene Quill, Eddie Caine, Jim Reider & Gene Allen - s
Bob Brookmeyer - tb & p [# 3 & 4]
Jim Hall - g
Bill Crow - b
Gus Johnson - dr

Recorded in Webster Hall, New York City ; December 18, 19, 20 & 21, 1962

Art Farmer - Sing Me Softly of the Blues

A sublime little set — one of Art Farmer's seminal quartet recordings from the mid 60s, and a blend of modern lyricism with an ease and economy that's hardly ever been matched again! There's a careful, measured style here that's really tremendous — one that's never too sleepy or lazy with its approach, and which almost seems to carry on the modes of expression first begun by Jimmy Giuffre in the 50s — although in completely different ways ! The group features Pete LaRoca on drums, Steve Kuhn on piano, and Steve Swallow on bass — but it's Art's effortless trumpet solos that really make the album sparkle, as they drift over the top of the album's hip original tunes, written by Carla Bley and LaRoca.
© 1996-2013, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/640434/Art+Farmer:Sing+Me+Softly+Of+The+Blues

Art Farmer
Sing Me Softly of the Blues


1 Sing Me Softly of the Blues (Bley)  6:44
2 Ad Infinitum (Bley)  6:21
3 Petite Belle* (trad.)  4:08
4 Tears (LaRoca)  5:45
5 I Waited for You (Fuller)  5:55
6 One for Majid* (LaRoca)  5:57

Art Farmer - flgh
Steve Kuhn - p
Steve Swallow - b
Pete LaRoca - dr 

Recorded in New York City ; April 12* & 16, 1965


Wednesday, April 22, 2015

Ortega for Old Buzzards, too !

Here is a man who has played with Lionel Hampton, Dizzy Gillespie, Maynard Ferguson, Paul Bley, Quincy Jones, Don Ellis, Dinah Washington, and Ella Fitzgerald. Here is a man whose alto saxophone playing has been compared to Charlie Parker's and Ornette Coleman's — both with just cause. Here is a man whose Sixties sessions, long out of print for the most part, are revered by collectors, who hunt them down assiduously — because there have been a few people all these years who knew what Anthony Ortega was doing, and couldn't stand the idea of missing him as he did it.
He was born in 1928 : before Sonny Rollins and Ornette Coleman (John Coltrane and Miles Davis were two). He joined Earle Spencer's Orchestra in 1947, and Hamp's in 1951. He led his own group. He went to Europe. He gigged in New York with some of the biggest names in the business. Recognition came to them, but not to him. Only they — Dizzy, Hamp, Maynard — knew he was in their league.
He kept working, along with his wife Mona Orbeck Ortega : composing and interpreting standards as only he can : approaching them lovingly and caressing them with care, and occasionally adding the hotfoot to the mix that makes his playing so outstandingly original and unexpected. He has a beautiful tone that serves as the foundation for his outrageous versatility and ability to invest an improvisation with firepower far beyond the ordinary. He bridges the "avant garde" and the "mainstream" : he plays melodies, gorgeously, but he finds possibilities in them that lesser players overlook, or don't dare to explore.
In the Fifties and Sixties he recorded as a leader : a string of legendary and elusive discs. Best known is New Dance ! (1966), which was re-released on CD in the Nineties on hat ART and will soon appear again, to hosannas from those who have waited this long, on hatOLOGY. But it remains to be seen whether these ever reappear : modest masterpieces like Anthony Ortega (1954), Jazz for Young Moderns (1958), Man and His Horn (1961), Permutations (1966), and the later Rain Dance (1978). On the French Evidence label there are a couple of Nineties-vintage easier-to-track-down discs : On Evidence and Neuf.
Through it all, the recognition that should have been his eluded him. Was it just ? Try this : get hold of an Ortega disc and play it right after a recent recording by any contemporary alto saxophonist you care to name. That's right : any one. See who comes out with more to say with his horn. (My money's on Anthony !)
Now there is Anthony's new Hat: Scattered Clouds. It's a welcome return to the scene for a man who has in fact never been away. It's not too late to make the acquaintance of this supreme altoman.
Robert Spencer

Source : http://www.allaboutjazz.com/artists/AOrtega.htm

Anthony Ortega
Jazz for Young Moderns
(And Old Buzzards, Too)


1 Just One of Those Things (Porter)  2:53
2 Bat Man's Blues (Ortega)  4:40
3 These Foolish Things (Link, Marvell, Strachey)  4:11
4 Tune for Mona (Ortega)  3:48
5 No Fi (Ortega)  3:36
6 Four to Four (Zieff)  3:18
7 I Can't Get Started (Duke, Gershwin)  2:59
8 Cinderella's Curfew (Zieff)  6:03
9 I Don't Stand a Ghost of a Chance With You (Crosby, Washington, Young)  3:37
10 Patting (Zieff)  5:43


[# 1-5] 
Anthony Ortega - as, ts, cl & fl
John Hafer - ts
Jay Cameron - bs
Jimmy Cleveland - tb
Ray Starling - tp & mel 
Bobby Timmons - p
Ed Thigpen - d
Nat Pierce - arr.
[# 6/10] 
Anthony Ortega - as, cl & fl
Art Farmer - tp
Jim Buffington - frh
Ray Tricarico - basn
John Hafer - bcl
Dick Wetmore - vln
Ahmed Abdul-Malik - b
Bob Zieff - arr.
Recorded in New York City ; 1958/59

See also

Herb Ellis - Midnight Roll (Complete Sessions)

Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge. The classic "Gravy Waltz" of Ray Brown is done here, as Bryant's deft chords with the sax and trumpets form a strolling, impenetrable front line — one of the very best, fully formed and realized versions of this great song. Ellis contributed the folkish "Poor Darlin' Nellie," derived from the story of banished African-American slave Nellie Gray, a light rural swing with no horns save Assunto's muted trumpet solo. "Roy Showed" is a bouncy bop blues punctuated by Tate's tenor as Ellis further accents with sharp strumming chords. Everybody plays together in sweet agreement on "Broadway," a stock jam tune that shows the band has no issues with grandstanding, egos, or finding enough space to play. The band strips down to a trio on the pristine ballad "Willow Weep for Me" and Tate presents a spare, spacious melody line during "It Makes No Difference Now." The balance of this group should duly receive high marks (especially since it was a one-shot). EU-only release containing the complete sessions from the outstanding album The Midnight Roll, featuring two All-Star small group formations. Included are Roy Eldridge or Dukes of Dixieland's Frank Assunto on trumpet, Buddy Tate on tenor sax, Ray Bryant on piano, and on some tracks, the ill-fated bassist Israel Crosby, who is best known for his work with the Ahmad Jamal Trio. Crosby died of a heart attack on August 11, 1962, less than two months after recording this date. All existing tracks from the sessions that were not included on the original LP have been added here as a bonus, as well as an earlier version of 'Gravy Waltz' taped by Ellis in a quartet format the previous year.

 Source : http://www.cduniverse.com/productinfo.asp?pid=8965216&style=music&fulldesc=T

Herb Ellis
The Midnight Roll
(Complete Sessions)


1 Broadway (Bird, McRae, Woode)  4:20
2 Gravy Waltz (Brown)  3:09
3 Poor Darlin’ Nellie (Ellis)  3:43
4 Old Folks (Hill, Robison)  3:35
5 Roy Showed (Ellis)  4:48
6 Things Ain’t What They Used To Be (Ellington, Parsons)  3:59
7 Willow Weep For Me (Ronell)  3:57
8 Symphony (Alstone)  3:23
9 It Make No Difference Now (Davis, Tillman)  4:02
10 It Don’t Mean A Thing (Ellington, Mills)  5:58
11 Harper’s Ferry [John Brown’s Body]* (Trad.)  5:08
12 Herb’s Here* (Ellis)  4:57
13 I Won’t Love You* (Unknown)  8:16
14 You’d Better Know It* (Unknown)  4:52
15 Too Bad* (Ellis, Assunto)  3:45
16 Alicia* (Ellis, Herbert)  4:40
17 Gravy Waltz [1961 Quartet Version] (Brown)  5:08

* From the same sessions, but not included on the original LP.

[# 3-4, 6-9 & 11-15]
Frank Assunto - tp
Buddy Tate - ts
Ray Bryant - p
Herb Ellis - g
Jimmy Rowser - b
Gus Johnson - dr
Recorded in New York ; June 12 & 13, 1962.
[# 1-2, 5, 10 & 16]
Roy Eldridge - tp
Buddy Tate - ts
Ray Bryant - p
Herb Ellis - g
Israel Crosby - b
Gus Johnson - dr
Recorded in New York ; June 14, 1962
[# 17] Bonus Track
Victor Feldman - vb
Herb Ellis - g
Leroy Vinnegar - b
Ronnie Zito - dr
Recorded in Los Angeles ; October 12, 1961.

Jo Privat, feat. Matelo Ferret

Though recorded in 1960, this is a vintage recording, because it contains the most essential collection of tunes for those interested in the gypsy-style, or Manouche, aspect of musette. If you are going to try to put together a swing-musette group, listen to this, learn all the tunes, and you are on the right path. Jo Privat is the ultimate Manouche accordionist, and accompanied by Matelo Ferret, a fine bassist, and an occaisional violin or clarinet, it's one of the swinginest waltz records ever. Musette waltzes are alternated with gypsy swing classics like Dark Eyes, Kalinka, Two Guitars, and Nuages, played by the folks who made them the classics they are today. 

Source : http://www.daddysqueeze.com/news_musette_discography.html

Jo Privat
feat. Matelo Ferret
Manouche Partie


1 Valse Des Niglos (Malha)  2:22
2 Les Yeux Noirs (Trad. arr. Privat)  2:56
3 Nuages (Reinhardt)  2:19
4 Songe d’automne (Joyce)*  2:36
5 Les Deux Guitares (Trad. arr. Aznavour)  2:53
6 Minor Swing (Reinhardt, Grappelli)  2:15
7 Chez Jacquet (Reinhardt)  2:18
8 Tamboo (Cavez)  2:51
9 Crépuscule (Reinhardt)*  2:39
10 Rêve Bohémien (Privat)  2:29
11 Rythmes Gitans (Privat)*  2:44
12 Java Manouche (Privat)  2:02
13 Kalinka (Trad. arr. Popp)  2:36
14 La Zingara (Privat)*  2:19


Jo Privat - ac
Jean "Matelot" Ferret - g
Jean Tordo - cl
Jacques Montagne - 2nd g [# 1-3, 5-8, 10, 12, 13]
Jo Privat Jr - 2nd g [# 4, 9, 11, 14]
René (?) Dubois - b
Baptiste "Mac Kak" Reilhes - dr [# 1-3, 5-8, 10, 12, 13]
René Motta - dr [# 4, 9, 11, 14]

Recorded at Pathé-Marconi studios, Boulogne, [# 1-3, 5-8, 10, 12, 13] November 3, 1960, originally released as 10" 33 r.p.m. album 10" album originally named "Manouche Partie", some subsequent editions named "Hommage à Django" ; [# 4, 9, 11, 14] December 16, 1966, originally released with other tracks as 12" 33 r.p.m. LP.
Manouche Party with accordeonist Jo Privat and Matelo Ferret is one of the best gypsy jazz and musette albums of all time. It’s near impossible to find this French CD in the USA, but Matelo’s daredevil solo on “Dark Eyes” would make an airplane ticket to Paris to buy the disc worthwhile.
Michael Dregni


Eddie Costa - Guys and Dolls Like Vibes

The reissue of Eddie Costa's Guys and Dolls Like Vibes once again makes available one of his few dates as a leader. A talented vibraphonist (and also pianist, though he doesn't play it on this 1958 session), Costa leads a sterling quartet with the legendary Bill Evans on piano (although he was just starting to get noticed by the jazz press at the time), Wendell Marshall on bass, and drummer Paul Motian, in a Frank Loesser songbook taken from the musical Guys and Dolls. Costa and Evans mesh beautifully throughout, and Costa's solos are well crafted, particularly his long feature on the up-tempo opener, "Guys and Dolls." The leader goes from a soft bell-like a cappella introduction to "If I Were a Bell" to a suddenly driving arrangement, in which Evans sits out the first full chorus before gradually working his way in. Liner note writer Dick Katz notes the rhythmic originality in Costa's approach to "Luck Be a Lady," while Evans' solo introduction adds to the shear beauty of the ballad "I've Never Been in Love Before," and this time it is Costa who delays his entrance. Costa's death in an automobile accident at the age of 31 was a tragic loss for jazz, and the reissue of classic dates such as this one has been long overdue.
Ken Dryden

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

Eddie Costa
Guys and Dolls Like Vibes


1 Guys and Dolls  6:45
2 Adelaide  8:29
3 If I Were a Bell  5:09
4 Luck Be a Lady  6:23
5 I've Never Been in Love Before  7:00
6 I'll Know  6:03

All selections composed by Frank Loesser

Eddie Costa - vb
Bill Evans - p
Wendell Marshall - b
Paul Motian - dr

Recorded January 1958 in New York City ; [# 1 & 6] on January 15 ; [# 4 & 5] on January 16 & [# 2 & 3] on January 17

Herb Ellis in Wonderland

In the midst of his tenure with the Oscar Peterson Trio, Herb Ellis had the chance to turn the tables on his boss and employ him as a sideman, though the keyboard virtuoso strangely reigns in his chops and pretty much stays in the background. This pair of sessions was first issued on a Norgran LP and finally reissued as a Verve CD in early 2006. The first four tracks add Jimmy Giuffre (alternating between baritone sax, tenor sax, and clarinet) and trumpeter Harry "Sweets" Edison, along with fellow Peterson sideman Ray Brown and drummer Alvin Stoller. Ellis' originals include the easygoing "Sweetheart Blues" and the cooking bop vehicle "Pogo," where both the leader and Edison eclipse Giuffre's efforts on sax. "It Could Happen to You" focuses exclusively on Ellis, with Peterson and Edison sitting out and Giuffre adding some background color on clarinet. Alto saxophonist Charlie Mariano is added for the latter date. The well-known "Detour Ahead" (jointly credited to Ellis and his former Soft Winds bandmates Lou Carter and Johnny Frigo, though Frigo has long maintained that it was his composition alone) has a chamber-like setting, with the band primarily providing background for Ellis, though Ray Brown gets in a snappy solo toward the end. The session picks up with the bubbly "Ellis in Wonderland" and a snappy rendition of "Have You Met Miss Jones ?" Giuffre's loping "A Simple Tune" reflects Ellis' Texas roots in a bluesy setting, with Peterson finally getting a chance to stretch out for a chorus. This early album by Herb Ellis is well worth acquiring.
Ken Dryden

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

Herb Ellis
Ellis in Wonderland


1 Sweetheart Blues (Ellis)  4:46
2 Somebody Loves Me (DeSylva, Gershwin, MacDonald)  4:55
3 It Could Happen to You (Ahlert, Burke, VanHeusen)  3:47
4 Pogo (Ellis)  4:45
5 Detour Ahead (Carter, Ellis, Frigo)  4:03
6 Ellis in Wonderland (Ellis)  3:52
7 Have You Met Miss Jones ? (Hart, Rodgers)  6:20
8 A Simple Tune (Giuffre)  4:11


[# 1-4]
Herb Ellis - g
Harry "Sweets" Edison - tp
Jimmy Giuffre - ts, bs & cl
Oscar Peterson - p
Ray Brown - b
Alvin Stoller - dr
Recorded at Radio Recorders, Hollywood ; December 28, 1955
[# 5-8]
Herb Ellis - g
Harry "Sweets" Edison - tp
Jimmy Giuffre - ts, bs & cl
Charlie Mariano - as
Oscar Peterson - p
Ray Brown - b
Alvin Stoller - dr
Recorded at Capitol Studios, Hollywood ; January 3, 1956