Tuesday, February 13, 2018

Tuesday, September 27, 2016

Maria Tipo Plays Domenico Scarlatti

Of those composers whose virtuosity embraced improvisation and performance as well as composition, few have written music that has proved capable of surviving the disappearance of the instrument for which they wrote. What would become of Chopin if the piano were to fall into disfavour ? Where was Couperin without the harpsichord ? Yet Rameau wrote for the latter instrument, and his idiom, his restless harmonies and even his ornamentation translate to the modern piano though its qualities are quite distinct from those of the harpsichord. The same argument has been made for the music of Domenico Scarlatti. Could anyone play the harpsichord better than he ? Apparently not : in Venice he fought a musical 'due' with Handel (both composers were of course born in that annus mirabilis for European music) : though Handel had the ascendancy as far as the organ was concerned, Scarlatti was proclaimed king of the harpsichord. This was no mean achievement for the son of Alessandro Scarlatti : he had eschewed vocal and operatic forms — where applause tends to be as ephemeral as it is enthusiastic — despite this being the field in which his father excelled. And as his fame grew, he gradually ceased to be known as 'Scarlatti the Younger' and became plain Scarlatti. His compositions are his legacy to us, and they transcend the fragile limitations of the instrument for which they were written. As we know, the harpsichord fell into disuse, eclipsed by instruments with a greater dynamic range and capable of more startling effects. The term pianoforte itself heralds dynamic excitement, impetuosity and richness of tone. The young Mozart was awakened to the potential of the instrument for which he would eventually write so many concertos when he heard a new Stein piano from Augsburg. That instrument was, in a sense, to become his voice. Scarlatti is unlikely to have a similar experience ; if by any chance he did, he nonetheless remained faithful toan instrument that offered no such possibilities...
André Tubeuf, from the booklet (translated by Mark Valencia)

Maria Tipo
Domenico Scarlatti


1 Sonata in E major, K. 495 (L. 426)  4:14
2 Sonata in E major, K. 381 (L. 225)  4:29
3 Sonata in E major, K. 20 (L. 375) 'Capriccio'  3:08
4 Sonata in E minor, K. 394 (L. 275)  5:10
5 Sonata in G major, K. 454 (L. 184)  4:48
6 Sonata in G major, K. 425 (L. 333)  2:45
7 Sonata in D major, K. 491 (L. 164)  5:50
8 Sonata in D minor, K. 32 (L. 423)  2:27
9 Sonata in A major, K. 342 (L. 191)  2:05
10 Sonata in A minor, K. 109 (L. 138)  5:06
11 Sonata in A major, K. 39 (L. 391)  2:47
12 Sonata in G major, K. 125 (L. 487)  2:22
13 Sonata in G major, K. 470 (L. 304)  4:49
14 Sonata in G major, K. 124 (L. 232)  5:16
15 Sonata in G major, K. 79 (L. 80)  2:17
16 Sonata in G major, K. 547 (L. S28)  4:16
17 Sonata in B-Flat major, K. 551 (L. 396)  5:04
18 Sonata in B-Flat minor, K. 128 (L. 296)  7:15


Maria Tipo - p

Recorded at Salle Wagram, Paris ; November 27 & 28, 1987

Alfred Cortot Plays Chopin

Alfred Cortot’s Chopin abounds with ecstasy, risk, idiosyncratic rubato, soaring melodic projection, and boundless nuance. A brilliant but erratic technician, Cortot was infamous for wrong notes but less celebrated for how he always nailed the perfect tempo for a particular piece. Like most pianists of his generation, Cortot pulls inner voices out of the woodwork, adds bass octaves at will, and doesn’t always synchronize his hands, yet he employs these devices toward specific coloristic and expressive ends.
EMI’s newly re-released 1991 six-disc Cortot/Chopin anthology stands out for the inclusion of otherwise hard-to-find rarities, such as the pianist’s 1943 French HMV Etudes, Preludes, and Waltzes. Generally these sets are inferior to their better-known 1933/34 counterparts, notwithstanding individual flights of fancy not replicated elsewhere (the Op. 10 n° 2 Etude’s highlighted tenor voice, the Op. 18 Waltz’s dynamic surges).
Cortot’s 1933/34 Etudes are reproduced intact, yet only four selections represent the 1934 Waltzes, together with a handful of Preludes from Cortot’s 1926 cycle and a previously unissued 1928 take of the 12th Prelude. As for other cycles, those in charge rightly opted for Cortot’s 1933 Ballades, 1931 B minor sonata, 1933 B-Flat minor sonata, and 1929 E-Flat Nocturne Op. 9 n° 2 over other Cortot versions, plus the classic, impassioned 1933 recordings of the Tarantella, the Barcarolle, and the F minor Fantasy. But I don’t share annotator Guthrie Luke’s justifications for omitting the 1933 Fantasie-Impromptu. True, it’s not Cortot at his best, but it’s far from his worst.
The thrice-familiar A-Flat Polonaise conveys sweeping élan, albeit without the poise and polish of other 78-era interpretations (Rubinstein, Lhevinne, and Horowitz, for example), but the F minor concerto’s classic stature needs no qualification. And Disc 1 offers a choice selection from Cortot’s acoustic and early electrical Chopin 78s.


Charles Levin’s transfers more than hold their own alongside competing restorations by Ward Marston and Seth Winner, although the 1949-51 Nocturnes, C-Sharp minor Prelude Op. 45, and Nouvelles Etudes boast less surface noise and more mid-range emphasis via APR’s late Cortot reissue series. Thanks to Arkivmusic.com’s on-demand reprint program for making this fascinating collection available again.
Jed Distler

Source : http://www.classicstoday.com/review/review-15297/

Alfred Cortot
Frédéric Chopin


Cd. 1

1 Berceuse in D-Flat major, Op. 57  4:28
 2 Chant Polonais n° 12 - 'Moja Piesczotka'  3:27
3 Etude in G-Flat Major, Op. 10 n° 5  1:32
4 Etude in G-Flat Major, Op. 25 n° 9  0:58
5 Etude in A Minor, Op. 25 n° 11  3:24
6 Impromptu n° 1 in A-Flat Major Op. 29  3:38
7 Impromptu n° 2 in F-Sharp Major, Op. 36  4:34
8 Etude in A-Flat Major, Op. 25 n° 1  2:03
9 Valse in C-Sharp Minor, Op. 64 n° 2  2:59
10 Berceuse in D-Flat major, Op. 57  4:14
11 Ballade n° 1 in G Minor, Op. 23  8:23
12 Prelude in C major, Op. 28 n° 1. Agitato  0:35
13 Prelude in E minor, Op. 28 n° 4. Largo  1:54
14 Prelude in F-Sharp minor, Op. 28 n° 8. Molto agitato  1:38
15 Prelude in G-Sharp minor, Op. 28 n° 12. Presto  1:04
16 Prelude in A-Flat major, Op. 28 n° 17. Allegretto  2:47
17 Prelude in E-Flat major, Op. 28 n° 19. Vivace  1:08
18 Prelude in D minor, Op. 28 n° 24. Allegro appassionato  2:28

Piano Sonata n° 3 in B Minor, Op. 5
19 I. Allegro maestoso  8:28
20 II. Scherzo (molto vivace)  2:34
21 III. Largo  7:03
22 IV. Finale - Presto, ma non tanto  5:04


Cd. 2

1 Prelude in G-Sharp Minor, Op. 28 n° 12  1:06
2 Nocturne in E-Flat Major, Op. 9 n° 2  4:14

Piano Sonata n° 2 in B-Flat Minor, Op. 35
3 I. Grave - Doppio movimento  4:52
4. II. Scherzo  4:27
5 III. Marche Funèbre (Lento)  6:25
6 IV. Finale (Presto)  1:25

7 Polonaise n° 6 in A-Flat, Op. 53  6:23

4 Ballades
8 N° 1 in G Minor, Op. 23  8:36
9 N° 2 in F Major, Op. 38  6:46
10 N° 3 in A-Flat Major, Op. 47  6:35
11 N° 4 in F Minor, Op. 52  9:23

12 Fantasie in F Minor, Op. 49  11:29
13 Tarentelle in A-Flat, Op. 43  3:00


Cd. 3

1 Barcarolle in F-Sharp Major,  Op. 60  7:52

12 Etudes, Op. 10
2 N° 1 in C Major  1:57
3 N° 2 in A Minor  1:22
4 N° 3 in E Major  3:54
5 N° 4 in C-Sharp Minor  2:00
6 N° 5 in G-Flat Major  1:54
7 N° 6 in E-Flat Minor  3:05
8 N° 7 in C Major  1:29
9 N° 8 in F Major  2:20
10 N° 9 in F Minor  2:17
11 N° 10 in A-Flat Major  1:54
12 N° 11 in E-Flat Major  1:47
13 N° 12 in C Minor  2:34

12 Etudes, Op. 25
14 N° 1 in A-Flat Major  2:06
15 N° 2 in F Minor  1:23
16 N° 3 in F Major  1:43
17 N° 4 in A Minor  1:37
18 N° 5 in E Minor  2:43
19 N° 6 in G-Sharp Minor  1:53
20 N° 7 in C-Sharp Minor  4:47
21 N° 8 in D-Flat Major  1:05
22 N° 9 in G-Flat Major  1:00
23 N° 10 in B Minor  3:05
24 N° 11 in A Minor  3:30
25 N° 12 in C Minor  2:39

26 Valse n° 1 in E-Flat, Op. 18  4:31
27 Valse n° 5 in A-Flat, Op. 42  3:38
28 Valse n° 10 in B Minor, Op. 69 n° 2  2:49
29 Valse n° 14 in E Minor, Op. posth.  2:14


Cd. 4

Piano Concerto n° 2 in F Minor, Op. 2
1 I. Allegro  13:37
2 II. Larghetto  8:50
3 III. Allegro Vivace  8:13

4 Impromptu n° 3 in G-Flat Major, Op. 51  4:22

14 Valses
5 N° 1 in E-Flat Major, Op. 18 'Grande Valse brillante' 4:33
6 N° 2 in A-Flat Major, Op. 34 n° 1 ''Valse brillante'  4:28
7 N° 3 in A Minor, Op. 34 n° 2  4:04
8 N° 4 in F Major, Op. 34 n° 3  2:01
9 N° 5 in A-Flat Major, Grande Valse, Op. 42  3:37
10 N° 6 in D-Flat Major, Op. 64 n° 1  1:29
11 N° 7 in C-Sharp Minor, Op. 64 n° 2  3:01
12 N° 8 in A-Flat Major, Op. 64 n° 3  2:51
13 N° 9 in A-Flat Major, Op. 69 n° 1  3:13
14 N° 10 in B Minor, Op. 69 n° 2  2:50
15 N° 11 in G-Flat Major, Op. 70 n° 1  2:53
16 N° 12 in F Minor, Op. 70 n° 2  2:10
17 N° 13 in D-Flat Major, Op. 70 n° 3  1:51
18 N° 14 in E Minor, Op. posth.  2:36


Cd. 5

24 Preludes, Op. 28
1 N° 1 in C major, Agitato  2:01
2 N° 2 in A minor, Lento  0:35
3 N° 3 in G major, Vivace  0:59
4 N° 4 in E minor, Largo  1:35
5 N° 5 in D major, Molto allegro  0:35
6 N° 6 in B minor, Lento assai  1:34
7 N° 7 in A major, Andantino  0:35
8 N° 8 in F-sharp minor, Molto agitato  1:41
9 N° 9 in E major, Largo  1:13
10 N° 10 in C-sharp minor, Molto allegro  0:31
11 N° 11 in B major, Vivace  0:35
12 N° 12 in G-sharp minor, Presto  1:10
13 N° 13 in F-sharp major, Lento  2:42
14 N° 14 in E-flat minor, Allegro  0:34
15 N° 15 in D-flat major ('Raindrop Prelude'), Sostenuto  4:35
16 N° 16 in B-flat minor, Presto con fuoco  1:08
17 N° 17 in A-flat major, Allegretto  2:46
18 N° 18 in F minor, Molto allegro  0:51
19 N° 19 in E-flat major, Vivace  1:16
20 N° 20 in C minor, Largo  1:25
21 N° 21 in B-flat major, Cantabile  1:35
22 N° 22 in G minor, Molto agitato  0:44
23 N° 23 in F major, Moderato  0:41
24 N° 24 in D minor, Allegro appassionato  2:24

12 Etudes, Op. 10
25 N° 1 in C Major  2:01
26 N° 2 in A Minor  1:24
27 N° 3 in E Major  3:56
28 N° 4 in C-Sharp Minor  2:04
29 N° 5 in G-Flat Major  1:36
30 N° 6 in E-Flat Minor  2:50
31 N° 7 in C Major  1:32
32 N° 8 in F Major  2:24
33 N° 9 in F Minor  2:07
34 N° 10 in A-Flat Major  1:55
35 N° 11 in E-Flat Major  1:46
36 N° 12 in C Minor  2:39


Cd. 6

12 Etudes, Op. 25
1 N° 1 in A-Flat Major  2:03
2 N° 2 in F Minor  1:24
3 N° 3 in F Major  1:44
4 N° 4 in A Minor  1:32
5 N° 5 in E Minor  2:46
6 N° 6 in G-Sharp Minor  1:58
7 N° 7 in C-Sharp Minor  4:29
8 N° 8 in D-Flat Major  1:04
9 N° 9 in G-Flat Major  1:00
10 N° 10 in B Minor  3:04
11 N° 11 in A Minor  3:34
12 N° 12 in C Minor  2:43

 13 Chant polonais, Op. 74 n° 1 - Printemps  2:22
14 Chant polonais, Op. 74 n° 2 - L'Anneau  1:59
15 Nocturne n° 4 in F major, Op. 15 n° 1  4:25
16 Nocturne n° 5 in F-Sharp major, Op. 15 n° 2  3:11
17 Nocturne n° 7 in C-Sharp minor, Op. 27 n° 1  4:33
18 Nocturne n° 15 in F minor, Op. 55 n° 2  4:23
19 Nocturne n° 16 in E-Flat major, Op. 55 n° 2  4:24

3 Nouvelle Etudes
20 N° 1 in F minor  1:49
21 N° 2 in D-Flat major  1:39
22 N° 3 in A-Flat major  1:47

23 Prelude Op. 45 in C-Sharp minor  4:01


Alfred Cortot - p
[anonymous orchestra], John Barbirolli - cond.

Recorded between January 27, 1920 & October 17, 1951

See the complete artwork

Alfred Cortot Plays Chopin - Préludes, Op. 28 (1933)

Chopin's 24 Preludes, Op. 28, are a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and her children to escape the damp Paris weather. In Majorca, Chopin had a copy of Bach's The Well-Tempered Clavier, and as in each of Bach's two sets of Preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering. The autograph manuscript, which Chopin carefully prepared for publication, carries a dedication to the German pianist and composer Joseph Christoph Kessler. The French edition was dedicated to the piano-maker and publisher Camille Pleyel, who had commissioned the work for 2,000 francs (equivalent to nearly $30,000 in present day). The German edition was dedicated to Kessler, who ten years earlier had dedicated his own set of 24 Preludes, Op. 31, to Chopin.
Whereas the term "prelude" had hitherto been used to describe an introductory piece, Chopin's pieces stand as self-contained units, each conveying a specific idea or emotion. He thus imparted new meaning to a genre title that at the time was often associated with improvisatory "preluding". In publishing the 24 preludes together as a single opus, comprising miniatures that could either be used to introduce other music or as self-standing works, Chopin challenged contemporary attitudes regarding the worth of small musical forms. Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones, Chopin's chosen key sequence is a circle of fifths, with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor etc.). Since this sequence of related keys is much closer to common harmonic practice, it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works. Chopin himself never played more than four of the preludes at any single public performance. Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Alfred Cortot in 1926.
As with his other works, Chopin did not himself attach names or descriptions to any of the Op. 28 preludes, in contrast to many of Robert Schumann's and Franz Liszt's pieces.

Source : https://en.wikipedia.org/wiki/Preludes_%28Chopin%29

Alfred Cortot
Frédéric Chopin


Preludes op. 28
1 N° 1 in C major, Agitato  0:39
2 N° 2 in A minor, Lento  2:16
3 N° 3 in G major, Vivace  0:59
4 N° 4 in E minor, Largo  1:48
5 N° 5 in D major, Molto allegro  0:36
6 N° 6 in B minor, Lento assai  1:50
7 N° 7 in A major, Andantino  0:37
8 N° 8 in F-sharp minor, Molto agitato  1:41
9 N° 9 in E major, Largo  1:13
10 N° 10 in C-Sharp minor, Molto allegro  0:31
11 N° 11 in B major, Vivace  0:30
12 N° 12 in G-Sharp minor, Presto  1:07
13 N° 13 in F-Sharp major, Lento  2:33
14 N° 14 in E-Flat minor, Allegro   0:32
15 N° 15 in D-Flat major ("Raindrop Prelude"), Sostenuto  4:45
16 N° 16 in B-Flat minor, Presto con fuoco  1:02
17 N° 17 in A-Flat major, Allegretto  2:37
18 N° 18 in F minor, Molto allegro  0:46
19 N° 19 in E-flat major, Vivace  1:15
20 N° 20 in C minor, Largo  1:24
21 N° 21 in B-Flat major, Cantabile  1:38
22 N° 22 in G minor, Molto agitato  0:45
23 N° 23 in F major, Moderato  0:42
24 N° 24 in D minor, Allegro appassionato   2:29

25 Prelude in C-Sharp minor, Op. 45  4:06
26 Berceuse in D-Flat major, Op. 57  4:07
27 Impromptu in A-Flat major, Op. 29  3:42
28 Impromptu in F-Sharp Major, Op. 36  4:52
29 Impromptu in G-Flat Major, Op. 51  4:23 
30 Fantasy-Impromptu in C-Sharp minor, Op. 66  4:31
31 Barcarolle in F-Sharp major, Op. 60  7:52


Alfred Cortot - p

Recorded at N° 3 Studio, Abbey Road, London ; July 5, 1933 & June 2, 1934 [# 1-24] ; November 4, 1949 [# 25 & 26] ; July 5, 1933 [# 27-30] ; & July 5, 1933 [# 31]

Sunday, September 25, 2016

The Modest Jazz Trio - Good Friday Blues

A really unusual trio outing from Jim Hall – almost overlooked, and with a really unusual feel overall – quite airy at times, but with a bluesy undercurrent too ! There's a bit more bite here than on some of Jim's other records – a harder-edged, bluesier way of hitting the guitar that's almost much more Kenny Burrell than the usual sound from Hall – although Jim still manages a nice nimble touch at times too. The group features Red Mitchell on... piano and Red Kelly on bass – which keeps things very open and intimate – almost improvisatory at times. Titles include "Bill Not Phil", "When I Have You", "Willow Weep For Me", and "Good Friday Blues".
© 1996-2012, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=kzh4k34yc6

Jazz Trio
Good Friday Blues


1 Good Friday Blues (Mitchell)  5:57
2 Willow Weep for Me (Ronell)  6:21
3 I Remember You (Mercer, Schertzinger)  7:27
4 Bill Not Phil (Harris)  7:10
5 When I Have You (Mitchell)  6:31
6 I Was Doing All Right (Gershwin, Gershwin)  4:43


Jim Hall - g
Red Mitchell - p
Red Kelly - b

Recorded in Los Angeles ; April 8, 1960.

Wes Montgomery - Boss Guitar

Wes Montgomery recorded Boss Guitar at age 38, near the end of his acclaimed Riverside years and just five years before his death. While the records that followed would give him some radio hits (and lose him some fans), the 1963 session was a time when he really could make the bold claim of the album’s title. The previous year, Montgomery had placed fourth in the then influential Playboy Jazz Poll among reader ballots, and had been named “All-Stars’ All-Star Guitar” among voting musicians (an electorate that included Cannonball Adderley, Miles Davis, John Coltrane, Paul Desmond, Duke Ellington, Stan Getz, Dizzy Gillespie, Oscar Peterson and Frank Sinatra, among others).
The “musician’s musician” status might be explained by his associations. He had already played with Coltrane and Lionel Hampton at the time, but most of the guitar boss’s career was spent as boss, leading bands and primarily — as on this release — leading organ trios. His finishing behind Chet Atkins, Barney Kessel and Charlie Byrd in the reader’s poll, on the other hand, might be explained by his keeping his home in Indianapolis, rather than moving to one of the coastal hotbeds.
The role of boss carries through to the way he worked with his trio. Montgomery had often employed Mel Rhyne’s organ for his sessions. Drummer Jimmy Cobb had worked with Adderley, Coltrane, Davis, Getz, Gillespie and Billie Holiday. But both were primarily backing musicians, and scarcely solo throughout the eight tracks cut for the album. It is Boss Guitar, front and center. Which isn’t too much of a good thing. Montgomery was a naturally lyrical player, hopping octaves with ease, never sounding out of place but never predictable. He sashays through “Besame Mucho” and strolls along “Days of Wine and Roses.” And while the trio mostly plays popular songs of the day, the two Montgomery compositions here stand out among the rest. “The Trick Bag” is a simmering workout with great interplay among the organ and drums, and “Fried Pies” is an infectious roll.
This issue is newly remastered (with the latest bit of logo-worthy technology) and includes the original liner notes as well as the notes from the 1989 reissue. Two bonus tracks (also on the 1989 version) don’t stray far from the original versions, but do keep the party going a little longer.
Kurt Gottschalk

Source : http://www.allaboutjazz.com/boss-guitar-wes-montgomery-fantasy-jazz-review-by-kurt-gottschalk.php

Wes Montgomery
Boss Guitar


1 Besame Mucho (Skylar, Velázquez)  6:32
2 Dearly Beloved (Kern, Mercer)  4:52
3 Days of Wine and Roses (Mancini, Mercer)  3:48
4 The Trick Bag (Montgomery)  4:28
5 Canadian Sunset (Gimbel, Heywood)  5:07
6 Fried Pies (Montgomery)  6:46
7 The Breeze and I (Lecuona, Stillman)  4:11
8 For Heaven's Sake (Bretton, Edwards, Meyer)  4:39
9 Besame Mucho [Take 2 -  Alt.] (Skylar, Velázquez)  6:27
10 The Trick Bag [Take 6 -  Alt.] (Montgomery)  5:06
11 Fried Pies [Take 1- Alt.] (Montgomery)  6:35


Wes Montgomery - g
Mel Rhyne - org
Jimmy Cobb - dr

Recorded at Plaza Sound Studios, New York City ; April 22, 1963

Jimmy Raney - Jazz Guitar Rarities (LXXVII)

In 1946 Jimmy worked for a time as guitarist with the Max Miller Quartet at Elmer’s in Chicago, his first paying gig. Raney also worked in the Artie Shaw Orchestra and collaborated with Woody Herman for nine months in 1948. He also collaborated and recorded with Buddy DeFranco, Al Haig and later on with Bob Brookmeyer. In 1967 alcoholism and other professional difficulties led him to leave New York City and return to his native Louisville. He resurfaced in the 1970s and also did work with his son Doug, who is also a guitarist. Raney suffered for thirty years from Meniere’s Disease, a degenerative condition that eventually led to near complete deafness in both ears. Fortunately, his playing remained unaffected. Raney died of heart failure,in Louisville Ky. on May 10th of 1995, just short of his 68th birthday. An obituary in the New York Times referred to Jimmy Raney as 'one of the most gifted and influential postwar jazz guitarists in the world'.

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

Jimmy Raney
Jazz Guitar


1 Pardon My Bop (Getz)  2:31
2 As I Live and I Bop (Getz)  2:59
3 Interlude In Bebop (Getz)  2:44
4 Diaper Pin (Getz)  2:36
5 In A Little Spanish Town (Wayne, Louis, Young)  2:35
6 Always (Berlin)  2:24
7 Bopelbaby (Haig)  2:39
8 Take A Little Bop (Haig)  2:56
9 Medicine Man (Steward)  2:37
10 Passeport To Pimlico (Steward)  2:36
11 T’Ain’t No Use (Steward)  2:52
12 Sinbad the Sailor (Steward)  2:46
13 Gone with the Wind (Magidson, Wrubel)  3:26
14. Scholar’s Mate (Raney)  3:54
15 Yesterdays (Kern, Harbach)  4:25
16 Two Drams of Soma (Raney)  3:46


Stan Getz - ts
Jimmy Raney - g
Al Haig - p
Clyde Lombardi - b
Charlie Perry - dr
Recorded in New York ; Summer 1948
Terry Swope - vc
Jimmy Raney - g & vc
Al Haig - p
Don Russo- b
Charlie Perry - dr
Recorded in New York ; late 1948
Herbie Steward - ts
Jimmy Raney - g
Al Haig - p
Curly Russell - b
Roy Haynes - dr
Recorded in New York ; January 17, 1950
John Wilson - tp
Jimmy Raney - g
Hal Overton - p
Teddy Kotick - b
Nick Stabulas - dr
Recorded in New York ; May 4, 1956

Saturday, September 24, 2016

Mick Goodrick & Joe Diorio - Rare Birds

This is a remarkable album of duets with fellow jazz guitar virtuoso and educator, Mick Goodrick. There are six standards and six originals which, the producer's liner notes say, 'were all improvised and composed at the very moment I was pushing the record button on my tape machine.' Joe and Mick sound destined to play together, so well do they combine on this album ; the two players weave around each other in a way that I find captivating. They push the boundaries with free improvisations and play the standards as well — but in a fresh way. One of the originals ("Romantic Carnival") is so remarkable that it deserves to become a standard in its own right. It is one of the most beautiful pieces of music I have ever heard, yet it was improvised on the spot, with only the chord structure planned. At times on this album, the two players abandon the convention of one player comping and the other soloing and instead, play in counterpoint — weaving single lines around each other — eg. "Counterpoint Carnival/Manha de Carnival" and the gripping "Rare Birds". On the other hand, in "Blue in Green", the tune is not stated until the end. This is an album of surprise and innovation, virtuosity and serenity. It's probably essential listening for any jazz guitarist and one of the classics in the jazz guitar catalogue. I am entranced whenever I listen to it.
Richard Smallfield

Source : http://www.amazon.com/Rare-Birds-Mick-Goodrick/product-reviews/B0000019DS/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1

Mick Goodrick
Joe Diorio
Rare Birds


1 On Green Dolphin Street (Kaper, Washington)  6:44
2 My Funny Valentine (Rodgers)  6:48
3 Out of Nowhere, (You Came Along From) (Green, Hart)  7:17
4 Well, You Needn't (Monk, Ferro)  4:47
6 Blue in Green (Davis, Evans)  5:58
7 A Child is Born (Jones)  6:01
8 Counterpoint Carnival (Diorio, Goodrick)  3:25
9 Rare Birds (Diorio, Goodrick)  8:43
10 Uncork the Bottle (Diorio, Goodrick) 6:40
11 Romantic Carnival (Diorio, Goodrick) 4:20
12 Space Walk (Diorio, Goodrick) 3:50


Mick Goodrick - g
Joe Diorio - g

Recorded at MM Recording Lab, Parma, Italy ; April 12 & 13, 1993

The Genius of Bud Powell

In 1951, Bud Powell was still at the height of his considerable powers. Included here are two sessions from that year : a trio with Ray Brown and Buddy Rich (three takes of "Tea for Two" and a super-fast "Hallelujah") and eight solo piano tunes from a different date. On "Tea for Two," Rich's drumming brings out the charming show-off in Powell, and on "Hallelujah," Powell plays with a hysterical clarity. "Oblivion" and "Hallucinations" are the most masterful of the eight solo cuts. Here Powell swings effortlessly and seems to be speaking his own, true language. The elegance of another era pervades the Gershwinesque "Parisian Thoroughfare" and "Dusk in Sandi." And one can imagine a young Bill Evans listening to "A Nightingale Sang in Berkeley Square" and taking note of the rich, logical voicings coupled with a wonderful singing tone.

Source : http://www.allmusic.com/album/the-genius-of-bud-powell-mw0000651735

The Genius
Bud Powell


1 Tea for Two [take 5] (Caesar, Youmans)  3:28
2 Tea for Two [take 6] (Caesar, Youmans)  4:13
3 Tea for Two [take 10] (Caesar, Youmans)  3:47
4 Hallelujah (Grey, Robin, Youmans)  2:59
5 Parisian Thoroughfare song review (Powell)  2:28
6 Oblivion (Powell)  2:28
7 Dusk in Sandi (Powell)  2:13
8 Hallucinations (Powell)  2:25
9 The Fruit (Powell)  3:17
10 A Nightingale Sang in Berkeley Square (Maschwitz, Sherwin)  3:41
11 Just One of Those Things (Porter)  3:50
12 The Last Time I Saw Paris (Hammerstein II, Kern)  3:16


[# 1-4]
Bud Powell - p
Ray Brown - b
Buddy Rich - dr
Recorded in New York ; July, 1950
[# 5-12]
Bud Powell - p
Recorded in New York ; February, 1951

Buddy Collette - Soft Touch

An important force in the Los Angeles jazz community, Buddy Collette was an early pioneer at playing jazz on the flute. Collette started on piano as a child and then gradually learned all of the woodwinds. He played with Les Hite in 1942 ; led a dance band while in the Navy during World War II ; and then freelanced in the L.A. area with such bands as the Stars of Swing (1946), Edgar Hayes, Louis Jordan, Benny Carter, and Gerald Wilson (1949-1950). An early teacher of Charles Mingus, Collette became the first black musician to get a permanent spot in a West Coast studio band (1951-1955). He gained his greatest recognition as an important member of the Chico Hamilton Quintet (1955-1956), and he recorded several albums as a leader in the mid- to late '50s for Contemporary. Otherwise, he mostly stuck to the L.A. area, freelancing, working in the studios, playing in clubs, teaching, and inspiring younger musicians.
Although a fine tenor player and a good clarinetist, Collette's most distinctive voice is on flute; he recorded an album with one of his former students, the great James Newton (1989). In addition, Collette participated in a reunion of the Chico Hamilton Quintet, and recorded a two-disc "talking record" for the Issues label in 1994, in which he discussed some of what he had seen and experienced through the years. 
Scott Yanow

Source : http://www.allmusic.com/artist/buddy-collette-mn0000641450/biography

Buddy Collette
Soft Touch


1 Soft Touch (Collette)  3:42
2 Orlando Blues (Collette)  5:18
3 It's You (Collette)  5:05
4 My Funny Valentine (Rodgers, Hart)  4:51
5 The Cute Monster (Collette)  4:48
6 Walkin' Willie (Middlebrooks)  2:58
7 Changes (Collette)  4:36
8 Blue Sands (Collette)  8:43
9 Soft Touch [alt. take] (Collette)  3:30
10 Moonlight in Vermont (Sueddedorf, Blackburn)  3:58
11 It's You (Collette)  2:36
12 Soft Touch (Collette)  2:59


[# 1-9]
Gerald Wilson - tp
Buddy Collette - as, ets, cl & fl
Al Viola - g
Wilfred Middlebrooks - b
Earl Palmer - dr
Recorded at Master Recorders in Hollywood ; February 17, 1958.
[# 10-12]
Same as above
Recorded at the "Stars of Jazz" TV Show in Hollywood ; July 7, 1958.

Chuck Wayne - Tasty Pudding

Chuck Wayne's participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing-oriented guitar collides with the "new music" being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are "innocuous," "pleasant," "nice background music." These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on "While My Lady Sleeps," "Side Walks of Cuba" and "Uncus." One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, "Stella by Starlight," where John Mehegan's piano and Wayne's guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it's regrettable they were not offered more interesting or challenging music to perform.
Dave Nathan

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

Chuck Wayne
Tasty Pudding
(aka Jazz Guitarist)


1 You Brought a New Kind of Love to Me (Fain, Kahal, Norman)  3:03
2 S.S. Cool (Wayne)  2:44
3 Mary Ann (Wayne)   2:31
4 Butterfingers (Wayne)  3:29
5 Taking a Chance on Love (Duke, Fetter, Latouche)  2:47
6 Sirod (Mehegan, Miles)  3:00
7 While My Lady Sleeps* (Kahn)   2:34
8 Tasty Pudding* (Cohn)  3:22
9 Prospecting* (Wayne)  2:33
10 Sidewalks of Cuba* (Wayne)  2:56
11 Uncus (Mehegan)  2:21
12 Stella by Starlight (Washington, Young)  3:28


[# 1, 2, 3, 4, 7, 8, 9, 10]
Chuck Wayne - g
Brew Moore or Zoot Sims* - ts
Harvey Leonard - p
George Duvivier - b
Ed Shaugnessy - dr
Recorded in New York City ; April 13, 1953
[# 5, 6, 11 & 12] Johnny Mehegan Quartet
Chuck Wayne - g
John Mehegan - p
Vinnie Burke - b
Joe Morello - dr
Recorded in New York City ; June 10, 1954

The Many Angles of John Letman

Never a household name, John Letman nevertheless had a long and frequently productive career as a solid and swinging trumpeter [sadly, a bit too vociferous, in my opinion]. He worked with Gerald Valentine in Illinois, Scat Man Crothers and Jimmy Raschelle in Columbus, OH, and then spent time playing in Chicago with Delbert Bright, Bob Tinsley, Johnny Lang, Nat King Cole (1938), Horace Henderson (1941-1942), Red Saunders (1942), and other local players. After a period living in Detroit (where he worked with Teddy Buckner and John Kirby), Letman settled in New York in 1944 and played with many groups including the Phil Moore Four, Lucky Millinder (1945), Cab Calloway (1947-1949), Milt Buckner, and the Count Basie Orchestra (1951). Letman spent the '50s and '60s mostly working in the studios, on television, and in Broadway shows although he also headed his own combo and recorded occasionally in jazz settings including (during 1958-1960) with Joe Thomas, Stuff Smith, Chubby Jackson, and Panama Francis. Letman freelanced for years, playing with Sam "The Man" Taylor, Eddie Condon, Wilbur De Paris, Claude Hopkins, and many others. He visited Paris in 1968 and made a few recordings (including with Tiny Grimes and Milt Buckner). Letman stayed busy in the '70s, recording (in 1977) with Lionel Hampton, Cozy Cole, and Earl Hines. His New Orleans Blues Serenaders toured Europe during 1985-1986. Letman recorded as a leader in 1959 (four titles with a quartet that includes pianist Dick Wellstood), 1960 (a quintet album for Bethlehem) and Black & Blue (1968 with Hal Singer and Milt Buckner) in addition to participating on many dates as a sideman.
Scott Yanow

Source : http://www.allmusic.com/artist/john-letman-mn0001343372

The Many Angles
John Letman


1 Mabel's Dream (Smith)  4:32
2 Tina (Wellstood)  4:23
3 This Time the Drink's on Me (Letman)  2:27
4 The Room Upstairs (Letman, Wellstood)  3:40
5 Moanin' Low (Rainger, Dietz)  3:06
6 Violets & Violins (Laparc, Lawrence)  4:19
7 Say Si Si (Lecuona, Stillman)  4:27
8 Sittin' Alone Countin' my Tears (Feather)  4:19
9 Get Out of My Sight (Palmer, Hedgers)  2:44


John Letman - tp
Dick Wellstood - p
Kenny Burrell - g
Peck Morrison - b
Panama Francis - dr

Recorded in New York City ; June 10, 1960

See also

Franco Cerri & His European All Stars

A gem of a session from Italian guitarist Franco Cerri — recording here at the end of the 50s with a well-titled batch of European jazz stars ! The groups shift slightly throughout the set, and players include Lars Gullin on baritone sax, Flavio Ambrosetti on alto, George Gruntz on piano, and Pierre Favre on drums ! The album features one trio track, three quartet numbers, three quintet tunes, and one sextet cut — all of them with Cerri's illuminating single-line work on guitar — sounding especially nice next to the horns. Ambrosetti is a real treat here — a sharp-edged player we'd never heard before, working with a strong undercurrent of soul that we really appreciate. Titles include "Flavio's Blues", "Foxology", "Felixin", "General Riff", and "Runnin Wild".
© 1996-2011, Dusty Groove America, Inc.


Franco Cerri
His European All Stars


1 Foxology (Cerri)  3:53
2 East of the Sun (Books, Browman)  3:53
3 Felixin (Gruntz)  4:11
4 General Riff (Cerri)  3:36
5 Falvio's Blues (Ambrosetti)  4:07
6 Just One of those Things (Porter)  3:20
7 Pennies drom Heaven (Johnston)  3:03
8 Runnin' Wild (Gibbs, Grey, Wood)  5:07


Franco Cerri - g
Flavio Ambrosetti - as [# except # 1-3]
Lars Gullin - bs [# 1, 5 & 8]
George Gruntz - p [except # 3, 6 & 7]
Michael Geier - b [except # 3 & 5]
Pierre Favre - dr

Recorded in Italy ; December 19, 1959

Arnold Ross Trio (Vogue '52)

Arnold Ross will always be best-remembered for the brilliant chorus he took on the Jazz at the Philharmonic version of "Lady Be Good" that directly preceded Charlie Parker's classic solo in 1946. Ross has had a strangely episodic career, sounding at his best in swing-to-bop transitional settings. Early on, Ross played clarinet, saxophone, and violin before settling on piano. He worked for a time in South America, was in a cruise ship orchestra that traveled to the West Indies, and then in the U.S. played Hammond organ with Frank Dailey between 1938 and 1939. Back on piano, Ross had stints with Jack Jenney (1939), Vaughan Monroe (1940-1942), Glenn Miller's Army Air Force Band and, after his military stint ended, the very popular Harry James Orchestra (1944-1947). Ross, who recorded four numbers as a leader for EmArcy in 1946 (using a quintet that included Benny Carter), also appeared on records led by Harry "Sweets" Edison, Charlie Ventura, and Charlie Parker (1947). He settled in Los Angeles where he freelanced, worked in the studios, and toured as Lena Horne's accompanist in 1952, visiting Europe and recording that year as a leader for Vogue, Melodisc, and the Swedish Modern Music label. Ross worked on the Bob Crosby (1954-1956) and Spike Jones (1957-1958) television shows, appeared on some records as a sideman in the '50s, and led his own trio, but became a heroin addict for a time. In the '60s he kicked drugs at Synanon. Ross has largely been in obscurity ever since, working in an anonymous role as Nelson Riddle's pianist, leading a trio album for Jazz Chronicles (1976), and playing regularly with Conrad Janis' Beverly Hills Unlisted Dixieland Band, where his harmonic sophistication and lyrical interpretations of Bud Powell's style are well buried.
Scott Yanow

Source : http://www.allmusic.com/artist/arnold-ross-p9561/biography

Arnold Ross
(Piano & Rhythm)


1 Jeepers Creepers (Warren)  3:26
2 Lalou (Ross)  2:53
3 Can I Dream (Clarke)  3:15
4 Arbijo (Ross)  3:29
5 As Time Goes By (Hupfeld)  2:57
6 Kee Moe (Ross)  2:41
7 Easy To Remember (Warren, Dubin)  3:03
8 Being In Love (Clarke)  3:47


Arnold Ross - p
Joe Benjamin - b
Bill Clarke - dr

Recorded in Paris, France ; April 1, 1952

Dave Cliff - Sipping at Bells

David John “Dave” Cliff was born in Hexham, Northumberland. He began his career playing rhythm and blues in the Newcastle area. In 1967, he moved to Leeds and gained a diploma in jazz studies from Leeds College of Music while studying with bassist Peter Ind and Bernie Cash. In 1971, after moving to London Cliff became established on the local scene. During 1976-1977 he toured Holland, Denmark, Italy and the UK with the Lee Konitz - Warne Marsh Quintet. The following year Cliff toured the UK with Soprano Summit (Kenny Davern and Bob Wilber). He worked increasingly as a freelance from the 1980s on. His first album under his own name, The Right Time, was recorded in 1987. It featured Geoff Simkins on alto, and was the first of a number of albums with Simkins, with whom Cliff has collaborated extensively. Cliff has appeared frequently at Ronnie Scott's Jazz Club in varied settings including Georgie Fame's Blue Flames, Mike Carr Trio, Irene Reid, the Dick Pearce Sextet and the Bruce Adams Quartet. He has worked extensively with visiting American musicians, including Slide Hampton, Nina Simone, Kenny Davern, George Masso, Spike Robinson, Herb Geller, Lanny Morgan, Harry Allen, Buddy Childers, Lew Tabackin, Mundell Lowe, Bucky Pizzarelli, Jack McDuff, Eddie "Lockjaw" Davis, Richie Cole, and Ken Peplowski. In 1998 Cliff won the BT Jazz Awards in the guitar category. Cliff’s influences on guitar include Charlie Christian and Wes Montgomery, and he has also been extensively influenced by the Lennie Tristano school, whose influence he encountered when working and studying with Peter Ind. Cliff is involved in Jazz education, teaching jazz guitar at London Trinity College of Music, The Royal Welsh College of Music and Drama & Birmingham Conservatoire. Cliff also teaches at the Glamorgan Summer jazz school, the Jamie Aebersold Summer School in London and at the Christiansand jazz course in Norway.

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

Dave Cliff
Sipping at Bells
(Duo & Quartet)


1 Bock to Bock (Montgomery)  7:37
2 Sal's Line (Mosca)  3:46
3 How Deep Is the Ocean (Berlin)  6:49
4 Easy to Love (Porter)  4:02
5 Nobody Knows the Trouble I've Caused (Simkins)  2:15
6 I Guess I'll Hang My Tears out to Dry (Kahn, Styne)  5:41
7 A Nightingale Sang in Berkeley Square (Sherwin, Maschwitz)  5:16
8 Lester's Blues (Young)  3:48
9 Indian Summer (Herbert, Dublin)  3:51
10 That Old Feeling (Brooks, Bowman)  4:08
11 The Touch of Your Lips (Noble)  5:39
12 Once I Loved (Jobim, DeMoraes, Gilbert)  5:55
13 Conception (Shearing)  5:04
14 Sipping at Bells (Davis)  3:57


Dave Cliff - g
Geoff Simkins - as
Simon Woolf - b
Mark Taylor - dr

Recorded at Red Gables Studios, Greenford ; Sunday, January 23, 1994

Barney Wilen - Jazz Sur Seine

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting with Milt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively as a pianist, as his playing is a bit more reserved than on vibes. The leader digs into his rhythm section's element with his original "B.B.B. (Bag's Barney Blues)," giving them a full chorus before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Wilen easily holds his own on his first major meeting on a record date with major American jazz stars. This excellent CD is part of Verve International's affordable midline Jazz in Paris reissue series.
Ken Dryden

Source : http://www.allmusic.com/album/jazz-in-paris-jazz-sur-seine-mw0000662008

Barney Wilen
Jazz sur Seine


1 Swing 39 (Reinhardt)  4:29
2 Vamp (Reinhardt)  4:20
3 Ménilmontant (Trénet)  3:35
4 John's Groove (Fol)  3:40
5 B.B.B. (Bag's Barney Blues) (Wilen)  6:38
6 Swingin' Parisian Rhythm (Jazz Sur Seine) (Wilen)  4:29
7 J'ai ta main (Trénet)  2:21
8 Nuages (Reinhardt)  5:52
9 La Route Enchantée (Trénet)  3:06
10 Que reste-t-il de nos amours ? (Trénet)  2:47
11 Minor Swing (Grappelli, Reinhardt) 3:48
12 Epistrophy (Clarke, Monk)  2:45


Barney Wilen - ts
Milt Jackson - p
Percy Heath - b
Kenny Clarke - dr
Gana M'Bow - prc [# 1 & 11]

Recorded in Paris ; February 13 & 14, 1958

Herb Ellis - Thank You, Charlie Christian

Thank You Charlie Christian pays homage to the legendary jazz guitarist in a manner most appropriate to an innovator of his stature — rather than merely imitate that which is inimitable, Herb Ellis channels the imagination and expressiveness of his hero to create a lean, mean sound far more forward-thinking than nostalgic. Like Christian, Ellis favors feeling over flash and economy over excess — paired here with pianist Frank Strazzari, bassist Chuck Berghofer, cellist Harry Babasin and drummer Kenny Hume, he creates a series of compact and determinedly contemporary bop snapshots in vivid Technicolor, not the black-and-white of a bygone era. A beautiful and heartfelt record that draws from the past but refuses to live in it.
Jason Ankeny

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

 Herb Ellis
Thank You, Charlie Christian


1 Pickly Wickley (Ellis)  3:17
2 I Told Ya I Love Ya, Now Get Out (Carter, Ellis, Frigo)  2:52
3 Cook One (Ellis)  2:54
4 Karin (Ellis)  4:41
5 Cherry Kijafa (Ellis, Thomas)  4:17
6 Thank You Charlie Christian (Ellis)  7:38
7 Alexander's Ragtime Band (Berlin)  2:52
8 Lemon Twist (Troup)  2:48
9 Everything's Pat (Ellis)  3:35
10 Workin' with the Truth (Ellis)  1:58


Herb Ellis - g
Harry Babasin - cel
Frank Strazzari - p
Chuck Berghofer - b
Kenny Hume - dr

Recorded on July 1 & 2, 1960