Tuesday, February 13, 2018

Thursday, February 11, 2016

Teddy Wilson Complete Piano Solos (1934-1941)

Wilson was born in Austin, Texas, on November 24, 1912. He studied piano and violin at Tuskegee Institute in Tuskegee, Alabama. After working in the Lawrence "Speed" Webb band, with Louis Armstrong, and also understudying Earl Hines in Hines's Grand Terrace Cafe Orchestra, Wilson joined Benny Carter's Chocolate Dandies in 1933. In 1935, he joined the Benny Goodman Trio (which consisted of Goodman, Wilson and drummer Gene Krupa, later expanded to the Benny Goodman Quartet with the addition of Lionel Hampton). The trio performed during the big band's intermissions. By joining the trio, Wilson became the first black musician to perform in public with a previously all-white jazz group.
Noted jazz producer and writer John Hammond was instrumental in getting Wilson a contract with Brunswick, starting in 1935, to record hot swing arrangements of the popular songs of the day, with the growing jukebox trade in mind. He recorded fifty hit records with various singers such as Lena Horne, Helen Ward and Billie Holiday, including many of Holiday's greatest successes. During these years, he also took part in many highly regarded sessions with a wide range of important swing musicians such as Lester Young, Roy Eldridge, Charlie Shavers, Red Norvo, Buck Clayton, and Ben Webster.
Wilson formed his own short-lived big band in 1939, then led a sextet at Café Society from 1940 to 1944. He was dubbed the "Marxist Mozart" by Howard "Stretch" Johnson due to his support for left-wing causes (he performed in benefit concerts for The New Masses journal and for Russian War Relief and chaired the Artists' Committee to elect Benjamin J. Davis). In the 1950s, he taught at the Juilliard School. Wilson can be seen appearing as himself in the 1955 motion picture The Benny Goodman Story. He was also the music director for the Dick Cavett Show.
Wilson lived quietly in suburban Hillsdale, New Jersey, in the 1960s and 1970s. He performed as a soloist and with pick-up groups until the final years of his life.
Wilson died in Hillsdale, on July 31, 1986; he was 73. He is buried at Fairview Cemetery in New Britain, Connecticut.

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

Teddy Wilson
Complete Piano Solos
(1934-1941)


Tracks

Cd. 1

1 Somebody Loves Me (DeSylva, Gershwin)  3:05
2 Somebody Loves Me (DeSylva, Gershwin)  2:54
3 Sweet And Simple (Henderson, Caesar, Yellen)  3:21
4 Sweet And Simple (Henderson, Caesar, Yellen)  3:24
5 Liza (Gershwin, Gershwin)  3:06
6 Liza (Gershwin, Gershwin)  3:02
7 Rosetta (Hines, Woode)  3:07
8 Liza (Gershwin, Gershwin)  2:37
9 Every Now And Then (Lewis, Sherman, Silver)  3:17
10 It Never Dawned On Me (Coots, Lewis)  3:10
11 Liza (Gershwin, Gershwin)  2:53
12 Rosetta (Hines, Woode)  2:57
13 I Found A Dream (Garney, Hartman)  3:07
14 On Treasure Island (Burke, Leslie)  2:52
15 I Feel Like A Feather In The Breeze (Gordon, Revel)  3:15
16 Breaking In A Pair Of Shoes (Franklin, Stept, Washington)  3:07
17 Don't Blame Me (Fields, McHugh)  2:59
18 Don't Blame Me (Fields, McHugh)  2:57
19 Between The Devil And The Deep Blue Sea (Koehler, Arlen)  2:37
20 Between The Devil And The Deep Blue Sea (Koehler, Arlen)  2:52
21 Smoke Gets In Your Eyes (Harbach, Kern)  3:15


*


Cd. 2

1 Rosetta (Hines, Woode) 2:49
2 Rosetta (Hines, Woode) 2:32
3 Rosetta (Hines, Woode) 2:35
4 Rosetta (Hines, Woode) 2:46
5 I Know That You Know (Youmans, O'Dea, Harbach)  2:24
6 I Know That You Know (Youmans, O'Dea, Harbach)  2:27
7 Them There Eyes (Pinkard, Tauber, Tracey)  2:56
8 Them There Eyes (Pinkard, Tauber, Tracey)  2:18
9 Them There Eyes (Pinkard, Tauber, Tracey)  2:46
10 China Boy (Winfree, Boutelje)  2:40
11 China Boy (Winfree, Boutelje)  2:40
12 China Boy (Winfree, Boutelje)  2:45
13 China Boy (Winfree, Boutelje)  2:40
14 China Boy (Winfree, Boutelje)  2:16
15 China Boy (Winfree, Boutelje)  2:16
16 China Boy (Winfree, Boutelje)  2:56
17 I Surrender Dear (Barris, Clifford)  3:05
18 Body And Soul (Green, Jeyman, Sour)  3:13
19 I Can't Get Started (Gershwin, Duke)  3:00
20 I Can't Get Started (Gershwin, Duke)  3:21
21 These Foolish Things (Link, Strachey, Marschwitz)  3:00
22 These Foolish Things (Link, Strachey, Marschwitz)  3:03
23 Teddy Wilson "Original" (Scarlatti* public domain)  3:26
24 Studio Doodling (public domain)  2:46


*

Personnel
Teddy Wilson - p
J.C. Heard - b [# 1-16, cd. 2]
All Hall - dr [# 1-16, cd. 2]


* Teddy plays a few bars from Scarlatti, Sonata in D (K. 9)

Recorded in New York & Chicago ; between May 22, 1934 & April 11, 1941 (or January 21, 1942)

See the complete artwork

See also
http://www.jazzdisco.org/teddy-wilson/discography/

Wednesday, February 10, 2016

Django Reinhardt 1949 (2)-1950 (1) - Intégrale, vol. 18

I'll never be the same... It was time to part. And this was a particularly crucial parting as Django Reinhardt and Stéphane Grappelli were never to play together again, at least on disc or on the radio. Perhaps they still had the odd musical get together for nostalgia's sake, but if this were the case, it must have been on the sly. Of course, if the jaws of death hadn't snapped up Django so early, indeed it is now fifty years back, if Django had enjoyed the same longevity as Stéphane, the chances are high that they would have teamed up again before the public, the mikes or on a TV set. In 1952, however, the guitarist was not ready for reconciliation. Or was it in 1951 (the violonist always muddled his dates) when Stéphane returned from London expressly to ask his ex-accomplice if he would care to join him in an extensive US tour ? As the story goes, Django refused categorically and showed him the dorr ! This was their ultimate encounter, Stéphane Grappelli's last recollection of Django Reinhardt...
Adapted by Laure WRIGHT from the French text of Daniel NEVERS
© FRÉMEAUX & ASSOCIES, 2003

Django Reinhardt
I'll Never Be The Same
The Complete Django Reinhardt, vol. 18
(1949-1950)

Tracks

Cd. 1

DJANGO REINHARDT & STÉPHANE GRAPPELLI
(Rome Sessions - 1949)
1 Just a Gigolo (Caesar, Casucci)  3:28
2 El Manisero (Peanuts-Vendor) (Simons)  3:55
3 Troublant Boléro (Reinhardt)  3:38
4 Rosetta (Hines, Woods)  2:58
5 Blue Skies (Berlin)  4:08
6 It might as Well be Spring (Rodger, Hammerstein II)  4:02
7 Blue Lou (Sampson)  3:12
8 I’ll Never be the Same (Malneck, Signorelli)  4:03
9 Brazil (Barroso)  2:52
10 What a Difference a Day Made (Grover, Adams)  3:34
11 Pigalle (Ulmer, Roger)  2:44

“THIS PARIS”
(Maurice Chevalier Radio Show - 1949)
12 Annonce / Night and Day (Porter) / désannonce  5:10

DJANGO REINHARDT & Son Quintette
(Radio - 1949)
13 Nuages (Reinhardt)  4:06
14 Black Night (diminishing) (Reinhardt)  4:06
15 Danse norvégienne n°2 (Grieg - arr. Reinhardt) 2:46
16 Micro (mike) (Reinhardt)  2:31
17 Dream of You (Lunceford, Oliver, Moran)  2:39
18 Place de Brouckère (Reinhardt)  3:13
19 Manoir de mes Rêves (Reinhardt)  3:30
20 C Jam Blues  2:34

*

Cd. 2

DJANGO REINHARDT & LE QUINTETTE DU HOT CLUB DE FRANCE
(Rome Sessions - 1950)
1 Anniversary Song (Ivanovici, Jolson, Chaplin)  4:20
2 Stormy Weather (Arlen, Koehler)  4:09
3 Two Russian Melodies (Trad.)  4:09
4 Jerzey bounce (Wright, Plater, Mills)  4:02
5 Dinette (dinah) (Akst - arr. Reinhardt)  2:56
6 Sophisticated Lady (Ellington, Parrish, Mills)  4:02
7 Micro (mike) (Reinhardt)  2:37
8 Dream of You (Lunceford, Oliver, Moran)  2:55
9 Nuages (Reinhardt)  4:02
10 The darktown Strutters’ ball (Brooks)  2:47
11 Danse norvégienne n°2 (Grieg - arr. Reinhardt)  3:07
12 A-tisket A-tasket (Feldman, Fitzgerald)  3:03
13 Manoir de mes rêves (Reinhardt)  3:17
14 Place de Bouckère (Reinhardt)  2:53
15 September song (Weill, Anderson)  2:53
16 Royal garden blues (Williams)  2:36
17 Saint Louis blues (Handy)  4:03
18 Sweet Georgia Brown (Pinkard, Bernie, Casey)  3:51
19 Minor swing (Reinhardt, Grappelli)  2:23
20 Double scotch (double whisky) (Reinhardt)  2:51

*


Personnel
Featuring Django Reinhardt, Stéphane Grappelli, Aurelio de Carolis, Gianni Safred, Carlo Pecori, Maurice Chevalier, André Ekyan, François Vermeille, Jean Bouchety, Ralph Schécroun, Roger Paraboschi, etc...

Recorded between January 1949 & April and/or May 1950

(See the complete artwork)

Tuesday, February 9, 2016

Joe Diorio - More Than Friends

Joe Diorio combines adventurous ways with solid mainstream jazz on his fifth album for the Italian label Ram. This recording session took place at the 13th Central Pennsylvania Jazz Festival, where Diorio was reunited with two playing partners, noted bass player Steve LaSpina and drummer Steve Bagby. On the adventurous side is "Drums Solo," which for about three minutes features Bagby's imaginative drum wizardry. Three minutes are the outside boundary of these solos before weary repetition sets in. Another out-of-the-ordinary piece is Diorio's "The Owl and the Bridge," with stark, sharp lines coming from the guitar over Bagby's flashing drums and cymbals. "O Grande Amor" better represents the performances this fine CD offers. Diorio states the melody with his clean-lined, non-smeary guitar technique, followed by a quite amazing display of LaSpina's ability to create strong melodic lines on the bass. The two take the last chorus as Diorio restates the melody with LaSpina providing the bottom. Bagby does his rhythm thing with the drums. There are, of course, variations of this approach on other cuts. But this is the basic line followed by the group and it's very listenable. Diorio's paean to one of his major influences, Jim Hall, is a testimonial not only to the guitarist's composing prowess, but the collaborative improvisational instincts shown by each member of the group as they work through this piece. "Just Friends" is the CD's swinger, again with LaSpina taking honors with his lyrical way with the bass. This is an unusual format for a guitar trio in that there is no leader with the two members in support. Each member gets the same billing and about equal amount of time to show off their talents in solo.
Dave Nathan

Source : http://www.allmusic.com/album/more-than-friends-mw0000060121

Joe Diorio
More Than Friends

Tracks

1 Just Friends (Klenner, Lewis)  6:58
2 Blues for Jim Hall (Diorio)  5:30
3 These Foolish Things (Link, Marvell, Strachey)  4:54
4 The Owl and the Bridge (Diorio)  5:30
5 Eclipse (La Spina)  3:53
6 Drums Solo (Bagby)  3:03
7 Lovely Afternoon (Diorio)  3:59
8 The Man I Love (Gershwin, Gershwin)  6:47
9 O Grande Amor (Jobim)  8:27
10 I Love You Too ! (Diorio)  8:13

*

Personnel
Joe Diorio - g
Steve La Spina - b
Steve Bagby - dr

Recorded at Bill Wray's Skyline Studio in Mechanisburg (Pa) ; June 8, 1993.

Monday, February 8, 2016

Aaron Sachs (Feat. Jimmy Raney)

Aaron Sachs (born July 4, 1923 in New York City), is a well known jazz saxophone and clarinet player. Sachs started as a young swing protege 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". Sachs recorded several solo albums and has also recorded with Stan Getz, Sarah Vaughn, Chet Baker, Billie Holliday, Red Norvo, Gene Krupa, Anita O'Day, Cozy Cole, and many other significant artists in the jazz field.

Source : http://www.worthpoint.com/worthopedia/aaron-sachs-clarinet-co-1957-jazz-cd-151364966

Aaron Sachs
Clarinet and Co.

Tracks

1 Rondo Blues (Sunkel)  4:40
2 Gorme has her Day (Sachs)  3:06
3 Just Sick Blues (Ver Planck)  2:40
4 I Can't Belive (Sachs)  2:57
5 Blue Sophisticate(Golson)  3:58
6 Conversation (Sachs)  2:36
7 Mona's Kimono (Pierce)  4:03
8 Hall's Loft (Sachs)  2:45
9 Countryfield (Sunkel)  3:45
10 Nancy (With The Laughing Face) (Hausen, Silvers)  3:13
11 Wiggins (Ver Planck)  3:25

*

Personnel
[# 2, 4, 8 & 10]
Aaron Sachs - cl & ts
Jimmy Raney - g
Hall Overton - p
Aaron Bell - b
Osie Johnson - dr
Recorded in New York City ; March 4, 1957
All other selections
Aaron Sachs - cl
Gene Allen - bs
Bernie Glow, Phil Sunkel - tp
Frank Rehak - tb
Nat Pierce - p
Aaron Bell - b
Osie Johnson - dr
Recorded in New York City ; February 18 & 20, 1957

First issue on
Rama LP 12": RLP 1004 — Clarinet And Co. (1957)


See also http://www.jazzdiscography.com/Leaders/SachsAaron-ldr.php

Billy Butler - Legends of Acid Jazz

A greatly in-demand studio player throughout his life, guitarist Billy Butler fortunately had opportunities to lead four albums for Prestige along with a couple of slightly later European records. Butler was a versatile musician who, on ballads in particular displayed a very interesting sound, sometimes sliding between notes as if he were playing a steel guitar. This 1998 CD reissues all of the music from Butler's first This Is Billy Butler and fourth Night Life Prestige records. Despite the generic title and a few grooving tracks, the music doesn't have much to do with acid jazz and is generally in the soul jazz vein. Butler performs some standards (including "Work Song," "Wave," "In a Mellow Tone" and a memorable rendition of "Cherry") along with some basic originals. His sidemen include either Houston Person or Jesse Powell on tenors, Ernie Hayes or Johnny "Hammond" Smith on keyboards (electric piano or organ), electric bassist Bob Bushnell, and Rudy Collins or Jimmy Johnson on drums. This is the definitive Billy Butler release and is highly recommended, particularly to listeners not familiar with his rather distinctive sound.
Scott Yanow

Source : http://www.allmusic.com/album/legends-of-acid-jazz-mw0000598911

Billy Butler
Legends of Acid Jazz

Tracks

1 The Twang Thang (Butler)  5:17
2 Cherry (Redman)  6:45
3 Work Song (Adderley, Brown, Jr.)  5:55
4 The Soul Roll (Butler)  4:42
5 She Is My Inspiration (Butler)  5:14
6 Bass-IC Blues (Butler)  5:26
7 Night Life (Breeland, Buskirk, Nelson)  5:58
8 Wave (Jobim)  5:53
9 Watch What Happens (Demy, Gimbel, Le Grand, Legrand)  5:06
10 Peacock Alley (Butler, Doggett)  4:10
11 Prelude to a Kiss (Ellington, Gordon, Mills)  5:08
12 In a Mellow Tone (Ellington, Gabler)  9:43

*

Personnel
[# 1-6] This is Billy Butler (Prestige 7622)
Billy Butler - g & bs g [# 6]
Houston Person - ts
Ernie Hayes - p & org
Bob Bushnell - el b
Rudy Collins - dr
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; December 16, 1968
[# 7-12] Night Life (Prestige 7854)
Billy Butler - g
Jesse Powell - ts
Houston Person - ts [# 9]
Johnny "Hammond" Smith - org & el p [# 9]
Bob Bushnell - el b
Jimmy Johnson - dr
Recorded same place as above ; December 21, 1970

Bobby Jaspar Featuring Dave Amram

Paris in the 50's : so many jazzmen in the capital ! Visitors also come from Belgium. Benoît Quersin and Fats Sadi were Belgian. Maurice Vander's grandfather was Flemish. His real name was Vanderschueren. But Bobby Jaspar was the most talented of them all. His jazz seemed to come from the West Coast of America. In Paris more than a few people appeciated "cool jazz", the new relaxed method of jazz playing. The "Brothers" set the example with the Woody Herman orchestra. The mellow intimacy of the language of Stan Getz, Zoot Sims, Al Cohn, and Jimmy Giuffre could not help but create a following on the other side of the Atlantic. It was only natural for the Old Country jazzmen, as the movement was essentially a West Coast revival of the classic European music forms. On the first six tracks, Bobby Jaspar meets the saxophone player Don Rendell in Paris. The Englishman, who had made a name for himself with John Dankworth, had his own sextet across the Channel. The two players practice counterpoint and two-voice improvisation. Both expose mellow, tender phrases as their partners on the Coast do. A third person plays French horn, an unusual instrument in jazz. Claude Thornhill introduced it to his orchestra in the '40's. Along with Julius Watkins and John Graas, Dave Amram was the expert. He would later write for theater and cinema, compose serious works, cantatas, symphonic pieces. For the time being, he was playing jazz, bringing in some of his own melodies and adding an inimitable color to the sessions. A few weeks later, Bobby Jaspar went back into the studio...
Pierre de Chocqueuse (November, 1998), translation Victoria Rummler, from the booklet

Bobby Jaspar
Featuring
Dave Amram
(1955)

Tracks

1 Pot Luck (Mandel)  5:48
2 Olympia (Chevalier)  5:16
3 Dave's Blues (Amram)  3:58
4 King Fish (Holman)  3:26
5 Thou Swell (Gershwin)  3:50
6 A Long Way from Home (Amram)  4:12
7 The Nearness of You (Carmichael)  3:53
8 Lover Man (Ramirez)  2:07
9 What's New ? (Haggart, Burke)  2:57
10 Teanga (Jaspar)  3:53
11 I Married an Angel (Rodgers, Hart)  3:19
12 Bed Time Story (Amram)  2:52
13 Hess Goes West (Amram)  3:17
14 Rue Mazarine (Amram)  3:02
15 Bird of Montparnasse (Amram)  2:47
16 Plays this Lowe with Me (Amram)  3:29
17 The Way You Look Tonight (Kern, Fields)  4:19
18 Occasion (Amram)  2:50

*

Personnel
[# 1-6] Bobby Jaspar & Don Rendell - Recontre à Paris
Dave Amram -fr hrn
Bobby Jaspar - ts
Don Rendell - ts
Sacha Distel - g
Maurice Vander - p
Guy Pedersen - b
"Mac Kac" Reilles - dr
Recorded in Paris ; March 17, 1955
[# 7-10] Bobby Jaspar Plays "Gone with the Wind"
Dave Amram - fr hrn
Raymond Lefèvre - fl
Jean-Louis Chautemps - cl
Claude Foray - ob
Emile Debru - bsn
Bobby Jaspar - ts
Benoit Quersin - b
Jacques David - dr
Recorded in Paris ; June 6, 1955
[# 11, 13, 14, 16 & 18] Dave Amram & Bobby Jaspar Quintet
Dave Amram - fr hrn
Bobby Jaspar - fl & ts
Maurice Vander - p
Eddie de Haas - b
Jacques David - dr
Recorded in Paris ; July 4, 1955
[# 12, 15 & 17] Dave Amram & Bobby Jaspar Quintet
Same as above, except
Maurice Vander - hrpchrd [# 12 & 15]
Recorded in Paris ; July 5, 1955

Sunday, February 7, 2016

Teddy Wilson - Chronological Classics (1938)

Teddy Wilson must have had a very busy schedule at the time of these recordings : He was frequently seen in recording-studios fronting his own groups or Billie Holiday's and was equally busy working with Benny Goodman who had just reached the height of his success after the first lengendary Carnegie Hall Concert in January 1938. Our leader also seems to have been involved in a short-lived enterprise called "Teddy Wilson School for Pianists" wich published a number of outstanding solo-records that are partly included in this CD.
Volume 6 of Teddy Wilson's chronomogical recordings opens with the two remaining sides from April 29, 1938 and includes all other sides made under his name to the end of the year. The few tracks that Nan Wynn could make with an excellent sextet featuring Benny Carter and Ben Webster should be much better known ! This is beautiful music although some of the songs are rather sub-standard. The pair of solos that are sandwiched between Ms. Wynn's singing and all others that follow were made specially for the "Teddy Wilson School for Pianists" mentioned above. These extremely rare records were only obteinable by mail order at the time — but listen how lovely they are : "Alice Blues Gown" must be among Teddy's best solos of the decade ! The two sessions with Billie Holiday that follow are not as famous as some of the earlier ones : They are a little bit different in as much as some written arrangements were used and solos are fewer. This, however, did not hinder Billie's magnificent singing : "You're so Desirable" and "Hello my Darling" are two incredibly impressive performances and prime examples for jazz as the end of the thirties ! To be continued...
Anatol Schenker, October 1990, from the booklet

Teddy Wilson
Chronological Classics
(1938)

Tracks

1 I'll Dream Tonight (Mercer, Whiting)  3:11
2 Jungle Love (Rainger, Robin)  2:51
3 That Old Feeling (Brown, Fain)  2:40
4 My Blue Heaven (Donaldson, Whiting)  2:12
5 Now It Can Be Told (Berlin)  3:14
6 Laugh and Call It Love (Burke, Monaco)  2:58
7 On the Bumpy Road to Love (Hoffman, Lewis, Mencher)  2:45
8 A-Tisket, A-Tasket (Alexander, Fitzgerald)  2:50
9 Loch Lomond (Trad.)  2:43
10 Tiger Rag (Da Costa, Edwards, LaRocca, Ragas, Sbarbaro, Shields)  2:09
11 I'll See You In My Dreams (Jones, Kahn)  2:17
12 Alice Blue Gown (McCarthy, Tierney)  2:48
13 Everybody's Laughing (Lerner, Oakland)  3:04
14 Here It Is Tomorrow Again (Ringwald)  2:44
15 Say It with a Kiss (Mercer, Warren)  2:36
16 April in My Heart (Carmichael, Meinardi)  3:09
17 I'll Never Fail You (Mizzy, Taylor)  3:00
18 They Say (Heyman, Mann, Weiss)  3:13
19 You're So Desirable (Noble)  2:54
20 You're Gonna See a Lot of Me (Goodhart, Hoffman, Kurtz)  3:01
21 Hello, My Darling (Loesser)  2:46
22 Let's Dream In the Moonlight (Walsh, Malneck)  2:54

*

Personnel
[# 1-4]
Bobby Hackett - cl
Pee Wee Russell - cl
Johnny Hodges (or Buster Bailey or Jerry Blake ?) - as
Teddy Wilson - p
Allan Reuss - g
Al Hall - b
Johnny Blowers - dr
Nan Wynn - vcl
Recorded in New York ; April 28, 1938
[# 5-8]
Jonah Jones - tp
Benny Carter - as
Ben Webster - ts
Teddy Wilson - p
John Kirby - b
Cozy Cole - dr
Nan Wynn - vc
Recorded in New York ; July 29, 1938
[# 9-12]
Teddy Wilson - p
Recorded in New York ; August 11, 1938
[# 13-14]
Harry James - tp
Benny Morton - tb
Edgar Sampson, Benny Carter - as
Lester Young , Herschel Evans - ts
Teddy Wilson - p
Albert Casey - g
Walter Page - b
Joe Jones - dr
Billie Holiday - vcl
Recorded in New York ; October 31, 1938
[# 15-18]
Same as above
Recorded in New York ; November 9, 1938
[# 19-22]
Bobby Hackett - cl
Trummy Young - tb
Toots Mondello, Ted Buckner - as
Bud Freeman, Chu Berry - ts
Teddy Wilson - p
Albert Casey - g
Milt[on] Hinton - b
Cozy Cole - dr
Billie Holiday - vcl
Recorded in New York ; November 28, 1938

Cantando the Bossa Nova

One of the few albums ever cut by singer Vi Velasco and a great vocal follow-up to the Zoot Sims bossa albums on Colpix ! Zoot plays tenor on this record too mixing his solos with Vi's vocals in a style that's like the interplay between Stan Getz and Astrud Gilberto with a similar blend of American jazz and Brazilian roots ! Arrangements are by Al Cohn and Manny Albam and the players also include Marky Markowitz on trumpet and Jim Hall on guitar who brings in some nice Brazilian flavors on his instrument. Titles include "Recado", "Tu E Eu", "Sem Saudades De Voce", "Exactamente Como Tu", "Nao Branques Com O Amor", and "Tenho Ritmo" many of which are bossa versions of familiar tunes.
© 1996-2013, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/579610/Vi+Velasco+with+Zoot+Sims:Cantanto+Bossa+Nova

Vi Velasco
Cantando Bossa Nova
(with Zoot Sims and His Orchestra)

Tracks

1 I Got Rhythm (Tenho Ritmo) (Gershwin, Gershwin)  4:07
2 Recado Bossa Nova (The Mesage)  (Webster, Antonio, Ferreira)  2:10
3 I Got Plenty O' Nuttin' (Eu Tenho Bastante de Nada)  (Gershwin, Gershwin, Heyward)  2:44
4 Zing Went the Strings of my Heart (As Coedas do Meu Coracao Slaram Zing)  (Henley)  2:35
5 Cheek to Cheek (Face Com Face) (Berlin)  3:30
6 And the Angles Sing (E Os Anjos Cantam) (Mercer, Elman)  2:21
7 Don't Fool with Love (Nao Branques ComO Amor) (Lehmann, Lebowsky)  2:12
8 You and I (Tu E Eu) (Wilson)  2:48
9 Don't Call Joe (Sem Saudades de Voce) Lehmann, Barbosa)  2:47
10 Exactly Like You (Exactamente Como Tu) (Fields, McHugh)  4:31

*

Personnel
Vi Velasco - vc
Marky Markowitz - tp
Zoot Sims - ts
Jim Hall - g
Manny Albam & Al Cohn - arr
Rest unknown

Recorded at Columbia's 30th Street studio, New York City ; October 1 & 2, 1962

Zoot Sims's Choice

Choices it’s called, choices you get — 1954 and 1959 — two different recording dates with two different groups, one track selection from each side. Both share Zoot’s muscular tenor, and uncompromising belief in how he wanted to play. Zoot’s output was prodigious, playing in big bands in the Forties, a solo artists in the Fifties, and playing and recording right up to his death in 1985. This is early Zoot, but given lots of space to play it his way — melodic, perfectly paced, with rich tenor voice and treading an inventive path between old and new.  Bob Brookmeyer forsakes his customary valve trombone for piano here.

Source : http://londonjazzcollector.wordpress.com/2012/02/07/zoot-sims-choice-1954-1959/

Zoot Sims
Choice

Tracks

1 I'll Remember April (DePaul, Johnston, Raye)  4:24
2 Flamingo (Anderson, Grouya)  2:31
3 There Will Never Be Another You (Gordon, Warren)  5:04
4 Red Door (Mulligan, Sims)  7:21
5 You're Driving Me Crazy* (Donaldson)  4:51
6 Brushes (Freeman, Lewis)  5:42
7 Choice Blues (Freeman)  4:25

*

Personnel
[# 1-4]
Zoot Sims - ts
Gerry Mulligan - bs [# 2 & 4] & p [# 3]
Jon Eardley - tp [# 2]
Bob Brookmeyer - p & tb [# 3]
Red Mitchell - b
Larry Bunker - dr
Recorded live in San Diego, California ; December, 1954
[# 5-7]
Zoot Sims - ts
Russ Freeman - p
Billy Bean* or Jim Hall - g
Monte Budwig - b
Mel Lewis - dr
Recorded in Hollywood, California ; March, 1959

Dave Pell Octet - Swingin’ School Songs

The smooth sound of the Dave Pell Octet and the general feeling of their presentations, though an essential contributing factor to the unit’s success, have moved certain jazz critics to categorize Pell’s music as jazz. The major portion of the octet’s work were dances, and over 95 percent of them were for high schools and colleges. “Almost every time we play a college or high school, there are requests for the school song,” said Pell. “When our baritone sax man suggested we make jazz arrangements on the best known college songs... I took the idea immediately. Utilizing the great arrangers available — Marty Paich, Bill Holman, John Williams — to us, the project was carried out.”

Source : http://www.freshsoundrecords.com/swingino_school_songs-cd-5491.html

Dave Pell
Octet
Swingin’ School Songs

Tracks

1 On Wisconsin (Purdy, Beck)  2:22
2 The Victors (University of Michigan)  1:56
3 Rambling Wreck from Georgia Tech  4:43
4 Fight On (University of Southern California) (Sweet, Grant)  2:16
5 Far Above Cayuga’s Waters  2:48
6 Iowa Corn Song (Lockard, Riley)  2:28
7 Indiana, Our Indiana (King, Harker)  2:27
8 Navy Blue and Gold (Crosley)  2:23
9 The Eves of Texas  2:34
10 Hail Purdue (Morrison, Wotawa)  2:37
11 Minnesota Rouser (Hutsell)  2:26
12 Wave the Flag (University of Chicago)  2:22
13 Go U Northwestern (Etten)  2:23
14 Illinois Loyalty  1:58
15 Sweetheart of Sigma Chi (Stokes, Vernor)  2:34 (*)
16 Notre Dame Victory March (Trad.)  2:45

(*) A national fraternity song not associated with any particular college,
but generally known and played at colleges
throughout the country
 


*

Personnel
Don Fagerquist - tp
Bob Enevoldsen - tb
Dave Pell - ts
Marty Berman - bs
Marty Paich - p
Tony Rizzi - g
Buddy Clark - b
Frank Capp - dr

Recorded in Los Angeles, August 8 [# 1, 8, 10, 12 & 16] ; 11 [# 6, 7, 13, 14 & 15] ; & 13 [# 2, 3, 4, 5, 9 & 11], 1958

Arrangers
Bill Holman [# 1, 8, 10 & 12] ; Marty Paich [# 2, 3, 5 & 9] ; John T. Williams [# 4 & 6]
Med Flory [# 7,13 & 14] ; & Bob Enevoldsen [# 11, 15 & 16]

First issued as 12" LP Coral CRL 757248

________
For this project by the Dave Pell Octet, the group performs 16 songs that were either college tunes or favorites of fraternities. Although the concept is not too promising and the interpretations are quite concise (often around three minutes apiece), the music is more rewarding than expected. Such tunes as "On Wisconsin," "Iowa Corn Song," "Hail Purdue," and "Sweetheart of Sigma Chi" have rarely sounded better since the arrangements of Bill Holman, Marty Paich, John Williams, Med Flory, and Bob Enevoldsen uplift the songs and are full of little surprises. This was trumpeter Don Fagerquist's last album with Pell's octet; also heard from are Pell on tenor, valve trombonist Bob Enevoldsen, baritonist Marty Berman, and a four-piece rhythm section led by pianist Marty Paich.
Scott Yanow

Source : http://www.allmusic.com/album/swingin-school-songs-r155829

Saturday, February 6, 2016

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

Tracks

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

*

Personnel
[# 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
http://www.jazzdiscography.com/Leaders/KatzDick-ldr.php

Teddy Wilson - Chronological Classics (1946)

All tracks on this CD were made for the Musicraft label whose producer, Albert Marx, had been a close friend of Teddy Wilson for many years. Married to Benny Goodman's singer Helen Ward, Marx and Wilson often met back in the thirties. When the producer joined the recently founded Musicraft Company, he signed up Wilson in late 1944. Over the next three years, the pianist recorded exclusively for the label as a soloist and with various small bands.
This volume of the recordings of Teddy Wilson presented in Chronological order, opens with a series of little-known yet very charming piano solos. Both "Sunny Morning" and "You're My Favorite Memory" are Wilson's own compositions. He rarely wrote but When he did, the result was impressive ! Teddy's up tempo interpretation of "Hallelujah" shows how his playing had influenced Art Tatum's — and vice versa! Two of the tracks by Teddy's octet feature perennial vocals by Sarah Vaughan, subtle performances arranged by Wilson who also arranged the two instrumentals from this date. Don Byas and Buck Clayton turn in very substantial solos. Teddy Wilson's next solo session focuses on well known standards, played in the manner so aptly described by Frank Driggs : "The overall mood on this group of recordings is one of quiet contemplation, of laying out a song for the whole world to hear, with Teddy Wilson’s strong sense of melody and perfect timing." The closing session by Teddy's quartet with Charlie Ventura on top form provides another highlight of the present CD, the subtle accompaniment of the leader on both tracks revealing an astonishing complicity between himself and Sarah Vaughan. The magic of Sassy's voice has rarely been preserved so charmingly on records as on "Time After Time" and Kurt Weill's "September Song". These tracks from a rather neglected period in Teddy Wilson's career certainly add to his renown ! To be continued...
Anatol Schenker, August 1996, from the booklet

Teddy Wilson
Chronological Classics
(1946)

Tracks

1 Cheek to Cheek (Berlin)  2:23
2 Sunny Morning (Wilson)  2:13
3 Why Shouldn't I ? (Porter)  2:39
4 Strange Interlude (Baker, Bernie, Hirsch)  2:54
5 All of Me (Marks, Simons)  2:29
6 Hallelujah (Grey, Robin, oumans)  2:53
7 You're My Favorite Memory (Johnson, Wilson)  2:36
8 Long Ago (And Far Away) (Gershwin, Kern)  2:23
9 Penthouse Serenade (When We're Alone) (Burton, Jason)  3:10
10 Don't Worry 'Bout Me (Bloom, Koehler)  2:56
11 I Want to Be Happy (Caesar, Youmans)  2:38
12 Just One of Those Things (Porter)  2:35
13 Fine and Dandy (James, Swift)  2:19
14 I've Got the World on a String (Arlen, Koehler)  2:35
15 Ain't Misbehavin' (Brooks, Razaf, Waller)  2:31
16 You Took Advantage of Me (Hart, Rodgers)  2:33
17 Living in Dreams (Green)  2:33
18 I'm Yours (Green, Harburg)  2:36
19 Time After Time (Cahn, Styne)  3:03
20 Moon Faced, Starry Eyed (Hughes, Weill)  2:19
21 September Song (Anderson, Weill)  3:01
22 Moonlight on the Ganges (Myers, Wallace)  2:40

*

Personnel
[# 1-8]
Teddy Wilson - p
Recorded in New York ; May 1, [# 1-4] & 2, [# 5-8] 1946
[# 9-12]
Buck Clayton - tp
Scoville Browne - as
Don Byas - ts
George James - bs
Remo Palmieri - g
Teddy Wilson - p
Billy Taylor - b
J. C. Heard - dr
Sarah Vaughan - vc [# 9 & 10]
Recorded in New York ; August 19, 1946
[# 13-18]
Teddy Wilson - p
Recorded in New York ; end. Oct./begin. Nov., 1946
[# 19-22]
Charlie Ventura - ts
Remo Palmieri - g
Teddy Wilson - p
Billy Taylor - b
Sarah Vaughan - vc [# 19 & 21]
Recorded in New York ; November 19, 1946

Wilhelm Kempff Plays Franz Liszt

The most unusual thing about Wilhelm Kempff is that there is, indeed, nothing usual about him. He is very much my kind of pianist – no rush, no banging, no cheap show-off, music always comes first – and it is not surprising that more or less all my encounters with his recordings have consistently range from delightful to unforgettable. Kempff's gentleness, some think, doesn't suit Beethoven's music, full of angst and passion, but I think his complete recordings of the sonatas and the concerti are some of the most satisfying in my admittedly limited listening experience. Kempff's Schumann I treasure even more, albeit with a few exceptions such as the C major Fantasie, and of Brahms' deceptively simple late opuses I have yet to hear a finer performances than Kempff's. As for the Schubert's Sonatas and Impromptus, though I have lots of affection for Bolet, Horowitz, Ciccolini or Joao Pires in certain pieces, for sheer quantity coupled with quality Kempff is my first choice, hugely preferable to Brendel.
So when I came to this CD – my first experience of Kempff on a Lisztian scale – I naturally had high expectations. Yet they were surpassed. It is a little difficult to believe that these recordings were made in 1974 and released in 1975, namely when Wilhelm Kempff was 79-80 years old. He had lost but little of his formidable technique and none of his magical ability to discover things that other pianists pass unnoticed.
The pieces here, indeed, are carefully chosen as not to require any pyrotechnics, but musicianship of a very high order all of them do require. And Kempff delivers splendidly. ''Sposalizio'' and ''Il Penseroso'' are as mystical and spooky, respectively, as anything, and without an ounce of exaggeration. ''Gondoliera'' demonstrates that Kempff still had very deft fingers, but this is something many pianists have; the peculiar rocking quality of the melody that makes you feel as you are lying in a gondola somewhere among the Venetian canals – now this is very rare, and Kempff has it. Similarly, he brings forward the jauntiness of ''Canzonetta'' so well that Salvator Rossa himself would probably have been mightily pleased. Too bad Kempff didn't record at least the ''Canzone'' from Venezia e Napoli; surely it was up to his fingers even in those late years and I am sure he would have done marvellous things with that ominous left hand and that constant tremolo in the right one that so enraged Louis Kentner (but that's another story).
By far the most idiosyncratic – to be read ''controversial'' – performances are the Petrarch Sonnets. The famous 104th is pretty fast – one of the fastest on record, actually (5:31) – and I shudder to think what will happen today with some innocent youth who ventures to offer similar performance at a piano competition. He'll probably be ostracized and his future career will be impossible. The other two sonnets are not quite so strange, but they are very different than anything you are likely to hear in the concert hall today, or on record for that matter. But before judging Kempff too harshly, we should remember that this man was born as early as 1895 and his formative years as an artist happened to be in times vastly different than our own. That said, the rather fast tempi and weird accents work surprisingly well in his hands. They remind me that Petrarch's sonnets are full-blooded pieces of poetry, torn asunder by love passions almost violent in nature. Though Kempff's recordings certainly don't erase memories of Bolet's extraordinarily poetic renditions, they are singularly convincing alternatives.
For me the greatest performances on the disc are the two Legendes, some of Liszt's most explicitly programmatic and most original works. Kempff evokes the singing of birds in the First Legende as few others do, suavely and with great subtlety. He builds the transition after the introduction with awesome power, pretty much like Arcadi Volodos in his recent recording for Sony. Only in the ''storm'' of the Second Legende does Kempff's advanced age show but slightly and insignificantly; it's a powerful performance with a superb sensitivity to the haunting main theme. As a set, the two Legendes easily withstand competition with far more virtuoso performances such as those of Howard or Ciccolini – who probably were twice younger when they recorded them.
The sound is surprisingly fine for DG. Though in no way exceptional, it is way better than the brittle stuff they provided for Lazar Berman when he recorded the complete cycle a few years later. The dynamic range here is not particularly impressive, but neither do the pieces require it, nor were great dynamic contrasts Kempff's cup of tea anyway. Still, the sonority of the piano is well captured, with beautifully deep bass and only slight harshness in the great climax of the Second Legende.
The booklet contains an appallingly purple essay by Jeremy Siepmann who describes Kempff's playing with a prose more flowery than Gibbon's in The Decline and Fall. Very much unlike Gibbon's, however, Siepmann's prose hardly makes any sense at all. Amidst lots of nonsense, he has little of any importance to say (such as reminding us that Kempff was also a prolific composer and fine organist) and he makes at least one stupendous historical mistake. Liszt spent that winter in Rome with his mistress, Marie d'Agoult, when some of the works on this disc were composed (at least their first versions) in 1839, that is not after the end of his stupefying virtuoso career but before that. Liszt's Glanzzeit did not start in the earnest until 1841.
Just grab the CD and enjoy piano playing of rare eloquence. The total timing is dismayingly short (less than 60 minutes) but with such artistry at such price this is of no consequence whatsoever.
Alexander

Source : http://alexander-arsov.blogspot.fr/2013/05/franz-liszt-1811-1886-annees-de.html

Wilhelm Kempff
Plays
Franz Liszt

Tracks

Années de pèlerinage
2ème année: Italie, S.161
(Excerpts)

1 I. Sposalizio  7:39
Andante — Andante queto — Più lento
2 II. Il Penseroso  3:59
Lento
3 III. Canzonetta del Salvator Rosa  2:51
Andante marziale
4 IV. Sonetto del Petrarca n° 47  5:54
Preludio con moto — Sempre mosso, con intenso sentimento
5 V. Sonetto del Petrarca n° 104  5:31
Agitato assai — Adagio
6 VI. Sonetto del Petrarca n° 123  6:23
Lento placido — Sempre lento — Più lento

*

Venezia e Napoli, S.162 (rev. version 1859)
Supplement to Années de Pelerinage, 2ème année: Italie (S.161)
7 I1. Gondoliera  5:24
Quasi Allegretto — (La biondina in gondoletta. Conzone del Cavaliere Peruchini)

*

Deux Légendes S 175
8 N° 1 Saint François d'Assise  10:07
La Prédication aux oiseaux
9 N° 2 Saint François de Paule marchant sur les eaux  8:52

*


Wilhelm Kempff - p

Recorded at Beethovensaal, Hanover ; September 1974