Tuesday, February 13, 2018

Friday, January 20, 2017

Hal McKusick - The Jazz Workshop

The cool-toned altoist Hal McKusick was a flexible, if not all that distinctive soloist. He is heard in four settings on this British LP, ranging from a pianoless quartet to a quintet and an octet. Among the supporting cast are trumpeter Art Farmer, guitarist Barry Galbraith, and trombonist Jimmy Cleveland. George Russell (who plays drums on one number) contributed three songs, and the other composers are a who's who of the era : Johnny Mandel, Gil Evans (a version of "Blues for Pablo" that predates Miles Davis' from Miles Ahead), Jimmy Giuffre, Manny Albam, and Al Cohn. Fine modern mainstream music from the mid-'50s, although this album may be difficult to find.
Scott Yanow

Source : http://www.allmusic.com/album/the-jazz-workshop-mw0000226453

Hal McKusick
The Jazz Workshop


1 Tommy Hawk (Mandel)  2:53
2 Lydian Lullaby (Russell)  4:52
3 Blues for Pablo (Evans)  4:50
4 Just Leave it Alone (Giuffre)  4:18
5 Miss Clara (Russell)  4:03
6 Alto Cumulus (Albam)  2:57
7 The Day John Brown was Hanged (Russell)  7:51
8 On Score and Eight Horns Ago (Giuffre)  3:23
9 Ain't Nothin' but a Memory Now (Cohn)  3:27
10 Jambangle (Evans)  4:05
11 The Blues Train (Giuffre)  4:15


[# 2, 7 & 9] Hal McKusick Quartet
Hal McKusick - as
Barry Galbraith - g
Milt Hinton - b
Osie Johnson - dr
Recorded in New York City ; March 3, 1956
[# 3*, 6 & 10] Hal McKusick Octet
Art Farmer - tp
Jimmy Cleveland - tb
Hal McKusick - as
Gene Allen - bs
Barry Galbraith - g
Jimmy Raney - rh. g
Milt Hinton - b
Osie Johnson - dr
George Russell - tbr*
Recorded in New York City ; April 3, 1956
[# 1, 5 & 8] Hal McKusick Septet
Art Farmer - tp
Jimmy Cleveland - tb
Hal McKusick - as
Sol Schlinger - bs
Barry Galbraith - g
Milt Hinton - b
Osie Johnson - dr
Recorded in New York City ; April 4, 1956
[# 1, 5 & 8] Hal McKusick Quintet
Art Farmer - tp
Hal McKusick - as
Barry Galbraith - g
Teddy Kotick - b
Osie Johnson - dr
Recorded in New York City ; December 31, 1956

Thursday, January 19, 2017

Flip Phillips - Complete 1947-1951 Verve Master Takes

Born Joseph Edward Filippelli in 1915 in New York, tenor saxophonist Flip Phillips began his career in 1934 as a professional musician playing clarinet in a restaurant band. ln 1940 he joined Frankie Newton's band and performed alongside Benny Goodman, Wingy Manone and Red Norvo. Phillips made his initial breakthrough in 1944 when Woody Herman invited him to replace Vido Musso in the First Herd. Even if the saxophonist was at first reluctant to give up the security of his job with the Russ Morgan orchestra, Herman was persuasive enough and Phillips went on to spend two years in the Herman organization, where he became a frequently featured soloist, both in the big band and in The Woodchoppers (Herman's smaller recording group). Phillips’ raw, exciting style soon earned him a reputation as a performer to watch. In his playing, Phillips displayed a warm sound most influenced by Ben Webster and performed in a fierce, honking style related to the Rhythm ‘n’ Blues tradition, in a manner not dissimilar to that of other demonstrative tenormen of the day, men such as Charlie Ventura or Illinois Jacquet. After producer Norman Granz hired him for an early lazz at the Philharmonic tour in 1946, Phillips became a stalwart of JATP for almost a dozen years, being completely at home in the showy, hard-blowing environment characteristic of the Granz revue. Frequently featured against such distinguished competitors as Charlie Parker or Lester Young, Phillips’ most famous feature usually was his honking, extroverted solo on Perdido (the 1947 JATP waxing of that Ellington number being the best known example of his style). Even if critics often disdained Phillips’ sensational, crowd-pleasing onstage antics, it is a fact that studio recordings of that era feature him as an extraordinary ballad performer. Away from the somewhat rarefied atmosphere of JATP, Phillips proved capable of sensitive, reflective playing, particularly in small group settings alongside musicians such as trombonist Bill Harris (his close musical associate for years), trumpeter Howard “Maggie” McGhee, pianist Hank Jones or bassist Ray Brown...


This Definitive edition gathers the complete studio recordings waxed by Flip Phillips for Norman Granz’ Verve label during 1947-I951. At a time when Phillips had already become a star of the JATP revue, these recordings showcase him in an entirely different environment, playing in small to medium group settings while frequently displaying his little-publicized talent for the ballads and mid-tempos. Aided by top-rank performers such as trumpeter Howard McGhee, trombonists Kai Winding or Bennie Green, pianist Hank Jones, bassist Ray Brown and drummers Shelly Manne, Max Roach or lo Jones, Flip sounded better than ever in these crucial studio dates.
Antonio Padilla, from the booklet

Flip Phillips
Verve Master Takes


Cd. 1

1 Cake (McGhee)  3:02
2 Znarg Blues (Phillips)  3:02
3 My Old Flame (Johnston, Coslow)  2:56
4 Cool Listen (McGhee)  2:50
5 Put That Back (Phillips)  3:35
6 Lazy River (Carmichael, Arodin)  3:08
7 Flip's Idea (Phillips)  2:42
8 This Can't Be Love (Rodgers, Hart)  2:54
9 Cookie (Phillips)  2:55
10 Two By Four (Turk)  3:19
11 Bye Bye Blues (Hamm, Bennett, Lown, Gray)  2:45
12 Encore (Turk)  3:07
13 The Beat (Turk)  3:38
14 Drowsy (Phillips)  3:19
15 Vortex (Phillips)  2:51
16 Milano (Phillips)  3:36
17 But Beautiful (Burke, VanHeusen)  3:32
18 Lover (Rodgers, Hart)  3:15


Cd. 2

1 Don't Take Your Love From Me (Nemo)  3:32
2 Flip's Boogie (Phillips)  3:40
3 Flippin' The Blues (Phillips)  3:51
4 Lover Come Back To Me (Hammerstein, Romberg)  3:18
5 Blue Room (Rodgers, Hart)  2:39
6 Be Be (Phillips)  3:07
7 Dream A Little Dream Of Me (Andre, Jahn, Schwandt)  3:28
8 Bright Blues (Phillips)  2:59
9 Cheek To Cheek (Berlin)  3:25
10 Funky Blues (Hodges)  3:08
11 I've Got My Love To Keep Me Warm (Berlin)  3:04
12 Indiana (Hanley, MacDonald)  3:02
13 Broadway (Wood, McRay, Bird)  2:48
14 Sojoro (Phillips)  3:26
15 Apple Honey (Herman)  2:53
16 Wrap Your Troubles Up in Dreams (Barrs, Koehler, Moll)  2:53
17 Long Island Boogie (Phillips)  3:01
18 Stardust (Carmichael, Parish)  3:06


[Cd. 1, # 1-4] Flip Phillips/Howard McGhee Boptet
Howard McGhee - tp [except # 3]
Flip Phillips - ts
Hank Jones - p
Ray Brown - b
J.C. Heard - dr
Recorded in New York City ; September/October 1947
[Cd. 1, # 5-7] Flip Phillips & His Orchestra
John D'Agostino, Buddy Morrow, Tommy Turk, Kai Winding - tb
Sonny Criss - as [except # 6]
Flip Phillips - ts
Mickey Crane - p
Ray Brown - b
Shelly Manne - dr
Recorded in New York City ; February, 1949
[Cd. 1, # 8-9]
Billy Butterfield - tp
Bennie Green - tb
Pete Mondello - as
Flip Phillips - ts
Mickey Crane - p
Sam Bruno - b
Max Roach - dr
Recorded in New York City ; August 28, 1949
[Cd. 1, # 10-13] Tommy Turk & His Orchestra
Leonard Hawkins - tp
Tommy Turk - tp
Frank Rosolino - tb
Flip Phillips - ts
Cecil Payne - bs
Mickey Crane - p
Ray Brown - b
Buddy Rich - dr
Recorded in New York City ; December 1, 1949
[Cd. 1, # 14-17] Flip Phillips Quartet
Flip Phillips - ts
Mickey Crane - p
Ray Brown - b
Jo Jones - dr
Recorded in New York City ; December 5, 1949
[Cd. 1, # 18 ; Cd. 2, # 1-5]
Flip Phillips - ts
Hank Jones - p
Ray Brown - b
Buddy Rich - dr
Recorded in New York City ; prob. March, 1950
[Cd. 2, # 6-8] Flip Phillips & His Orchestra
Same as above, except
Harry Edison - tp
Bill Harris - tb
Billy Bauer - g
are added
Recorded in New York City ; July 1, 1950
[Cd. 2, # 9-12] Flip Phillips Quintet
Bill Harris - tb
Flip Phillips - ts
Dick Hyman - p
Gene Ramey - b
Jo Jones - dr
Recorded in New York City ; March, 1951
[Cd. 2, # 13-18]
Bill Harris - tb
Flip Phillips - ts
Lou Levy - p
Jimmy Woode - b & vcl [# 16]
Joe McDonald - dr
Recorded in Los Angeles ; August 9, 1951

Sunday, January 15, 2017

Lyle "Spud" Murphy - New Orbits in Sound

Lyle (Spud) Murphy (1908-2005) the veteran arranger of the swing era began attracting attention in 1955 with his self-devised 12-tone scale system of composition and arranging. It was something completely different — an organized sound in a fresh and new harmonic concept. To achieve this result Murphy used the unique instrumentation of soprano, alto, tenor and baritone saxophones giving the full tonal range to the section captured in his first 10 record for the Gene Norman Presents label. The musicianship of the performers is first rate. In addition to the superb section work, which features Benny Carter, the solos played by Buddy Collette, Bob Gordon are outstanding, and especially striking is Frank Morgan, who emerged here as one of the most exciting West Coast altoists. The second record on which Murphy applied his musical system, was produced Lester Koenigs Contemporary, on which five woodwinds play collectively with a rhythm section made up by Andre Previn and Shelly Manne, in a horizontal, or contrapuntal, design. On the last four selections, two trombones were added to the first instrumentation for additional tonal effect. The execution of the orchestral parts is flawless and the imagination and technique displayed by the soloists a still-exciting experience.

Source : http://www.freshsoundrecords.com/lyle-murphy-albums/5376-new-orbits-in-sound-2-lps-on-1-cd.html

Lyle "Spud" Murphy
And His 12-Tone System
New Orbits in Sound


1 Tone Poem (Murphy)  2:57
2 I Only Have Eyes for You (Warren, Dublin)  3:01
3 Frantastic (Murphy)  2:48
4 Caleta (Murphy, Laguna)  2:52
5 Lost in Fugue (Murphy)  2:43
6 Frankly Speaking (Murphy)  2:55
07 Illusion (Murphy)  3:13
8 Crazy Quilt (Murphy)  2:51
9 Fourth Dimension (Murphy)  4:18
10 Sophisticated Lady (Ellington)  4:05
11 Poly-Doodle (Murphy)  3:14
12 Dizzy Dialogue (Murphy)  3:00
13 Seismograph (Murphy)  3:27
14 Triton (Murphy)  3:27
15 Perdido (Tizol)  2:59
16 Blue Moon (Rodgers, Hart)  2:58
17 These Foolish Things (Marvell, Strachey, Link)  4:28
18 Pemba 3 (Murphy)  3:46
19 Orbit (Murphy)  1:57
20 Misty Rose (Murphy)  3:23
21 Slightly Off Center (Murphy)  2:14
22 Daily Double (Murphy)  2:40


[# 1-8] from the Gene Norman Presents 10" LP "Four Saxophone in Twelve Tones" (GNP-9)
Frank Morgan - as
Benny Carter - as
Russ Cheever - cl, ss & as
Buddy Collette - ts
Bob Gordon - bs
Lyle Murphy - clst
Buddy Clark - b
Chico Hamilton or Richie Frost [# 5-8] - dr
Recorded at Capitol Studios, Hollywood ; November 3 & December 3 [# 5-8], 1954
[# 9-18] from the Contemporary 12" LP "12-Tone Compositions & Arrangements by Lyle Murphy" (C3506), later reissued as "Gone with the Woodwinds !" with the same catalog number
Buddy Collette - fl, cl, as & ts
Abe Most - fl, cl & as
Russ Cheever - cl, ss & as
Jack Dumont - cl & as
Chuck Gentry - b-cl & bs
André Previn -p
Curtis Counce - b
Shelly Manne  -dr
Recorded at Capitol Studios, Hollywood ; August 16 & October 11 & [# 14-18], 1955
[# 19-22] from Gene Norman Presents 12" LP "New Orbits in Sound" (GNP-33)
Milt Bernhart & Dick Nash - tb
Russ Cheever - ss
Buddy Collette - as & ts
Morrie Crawford - ts
Bill Ulyate - bs
Curtis Counce -b
Larry Bunker -dr
Recorded at Audio Arts Studio ; Hollywood ; September 30, 1957

Saturday, January 14, 2017

Joe Henderson - In 'N Out

This album is part of two great series of recordings on the Blue Note label — those with Joe Henderson as leader, and those on which Henderson performs in the company of Kenny Dorham. The trumpeter, whose own career with the label dates back to the 1947 Art Blakey (pre-Jazz Messengers) session, and who released his first Blue Note album as a leader (Afro-Cuban) in the closing days of the ten-inch LP era, had been Henderson’s mentor/sponsor when the saxophonist first arrived in New York. It was Dorham who brought the saxophonist to Alfred Lion’s attention, gave Henderson his first recording opportunity (on Dorham’s Una Mas), and not only played on but also wrote the notes for Henderson’s debut as a leader, Page One. ln a period of 18 months, Henderson and Dorham cut five quintet albums under one or the other’s name, of which this is the fourth, and also appeared together on Andrew Hill’s Point of Departure, recorded three weeks before this album ; yet they continued to work together in a cooperative quintet, and to colead a rehearsal big band, for at least two years more...
The album’s true compositional gems, and its most covered titles, are Henderson’s remaining two contributions. “Punjab” is a kaleidoscope of moods over an unusual 18-bar structure that can be broken down as 6-4-8, and that is retained throughout the solos. “Serenity,” which has become a true standard on the order of the saxophonist’s “Recorda Me” and “lnner Urge” in recent years, sounds like something that Benny Golson might have created. It begins like a blues, and then meanders into a different direction, ending up as a 14-bar chorus that again is preserved for the improvising. While covers of both tunes are too numerous to mention, it is worth noting that Jones recorded both again on the same 1968 Pepper Adams date, Encounter ! (available on a Fantasy/OJC reissue), where Adams is paired with Zoot Sims.      
Bob Blumenthal, from the booklet (2003)

Joe Henderson
In 'N Out


1 In 'N Out (Henderson)  10:21
2 Punjab (Henderson)  9:05
3 Serenity (Henderson)  6:13
4 Short Story (Dorham)  7:08
5 Brown's Town (Dorham)  6:20
6 In 'N Out [alt. take] (Henderson)  9:50


Joe Henderson - ts
Kenny Dorham - tp
McCoy Tyner - p
Richard Davis - b
Elvin Jones - dr

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; April 10, 1964

Friday, January 13, 2017

Edmond Hall - Flyin' High

A pair of formerly very rare LPs are reissued on this CD that features the distinctive clarinetist Edmond Hall. The last eight selections are chosen from the dozen originally issued by the New Hampshire Library of Traditional Jazz, taken from a 1949 radio broadcast. Teamed with trumpeter Johnny Windhurst and trombonist Vic Dickenson in a sextet, Hall not only performs Dixieland and swing standards but offbeat choices in "Robbins Nest," Duke Ellington's "Jack the Bear," and Mary Lou Williams' "Lonely Moments." Dickenson on "Carry Me Back to Old Virginny" is a particular delight, as is the largely forgotten but talented Windhurst, who recalls Bobby Hackett in spots. The first ten numbers, a reissue of the very obscure LP Rumpus on Rampart Street (put out by the long defunct Rae-Cox label) has Hall in the spotlight, whether with a quintet or a septet with background harmonies provided by fellow clarinetists Omer Simeon and Herbert Hall (Edmond's brother). Although it is a pity that the three clarinetists never get to trade off, Edmond Hall is heard throughout in excellent form, performing seven of his standards (a few deserve to be revived), "Lover," "Hallelujah," and Charlie Shavers' atmospheric "Dawn on the Desert." Recommended.
Scott Yanow

Source : http://www.allmusic.com/album/flyin-high-1949-1959-mw0000442121

Edmond Hall
Flyin' High


1 Rumpus on Rampart Street (Hall)  3:04
2 Neighbors (Hall)  2:42
3 Rose in Her Window (Hall)  3:11
4 Flyin' High (Hall)  3:34
5 African Tempo (Hall)  2:24
6 Swingin' (Hall)  2:44
7 Hallelujah (Youmans, Robin, Grey)  2:45
8 Dawn on the Desert (Shavers)  2:44
9 Lover (Rodgers, Hart)  4:16
10 African Fu-Fu (Hall)  3:59
11 Singin' the Blues (Robinson, Conrad)  6:54
12 Carry me back to Old Virginny (Bland)  3:36
13 Robbins Nest (Thompson, Jacquet)  4:42
14 St. Louis Blues (Handy)  5:06
15 Jack the Bear (Ellington)  3:30
16 Lonely Moments (Williams)  3:24
17 I Get the Blues when it Rains (Stoddard, Klauber)  5:42
18 Panama (Tyers, Sigman)  5:13


[# 1-10]
Edmond Hall - cl
Omer Simeon - cl
Herbert Hall - cl
Jimmy Raney - g
Dick Vary - p
Al Hall - b
Jimmy Crawford - dr
Recorded at Nola Penthouse Studio, New York ; June 25/26, 1959
[# 11-18]
Johnny Windhurst - tp
Edmond Hall - cl
Vic Dickenson - tb
Kenny Kersey - p
John Field - b
Jimmy Crawford - dr
Recorded at Savoy Café, Boston (WMEX radio broadcast) ; May 1949

Thursday, January 12, 2017

Charlie Parker - Story on Dial

John Dankworth's observation that symphonies are the novels of music and jazz the journalism has more than a grain of usefulness to it — even though he came to revise it later, since it implied an aesthetic pecking order he hadn't intended. Pre-1950s jazz economics — particularly the composing of music for informal night-club settings and the running-time of the 78rpm record rather than the concert-hall recital — was the context in which this evolution took place.
But if much impromptu jazz has the unfinished and sometimes downright ragged quality of journalism, the best of it also has that genre's urgency, freshness, lack of pomposity, and passion.
The Kansas City alto saxophonist Charlie Parker, who was to post-second-world-war jazz what Louis Armstrong had been to its first wave, is as likely to be remembered today for his heroin habit and early death than for his exquisite and melodically stunning improvising. If that era's jazz is like journalism, Parker was its acutely observant war reporter, who kept coming back from the front of his own exploding world with new stories to tell.
The famous Dial sessions, made between 1946 and 1948 for a small West Coast label run by Parker's eventual biographer Ross Russell, catch Parker closer to the edge of that immediacy than anything else he recorded. Much of the material features Parker at his peak of his inventiveness — some of it is all too imperfectly human, but it's all evocatively expressive.
The famously tortured account of Loverman is here — Parker was barely able to stand when he recorded it, but the fragmented, sporadically explosive way he played on it is dramatically eloquent.
Parker's blues-playing, too, is astonishing, notably on Cool Blues (with a surprisingly apposite Errol Garner on piano). Relaxin' at Camarillo, a sweepingly confident and lyrically inventive piece (the title is an ironic reference to its creator's stay in the Camarillo mental hospital) is also a remarkable example of Parker's genius. As with Louis Armstrong's Hot Fives, jazz changed after these recordings — everybody wanted to sound like Bird, whether they were saxophonists, trumpeters, pianists or even composers.
John Fordham

Source : https://www.theguardian.com/culture/2001/jul/20/jazz

Charlie Parker
Story on Dial
vol. 1 & 2


Cd. 1

West Coast

1 Diggin' Diz (Gillespie)  2:55
2 Moose the Moche (Parker)  3:05
3 Yardbird Suite (Parker)  2:41
4 Ornithology (Parker, Harris)  3:01
5 The Famous Alto Break [A Night in Tunisia] (Gillespie, Paprelli)  0:50
6 Night in Tunisia [aka "Interlude"] (Gillespie, Paparelli)  3:04
7 Max is Making Wax [aka "Chance It"] (Parker)  2:32
8 Loverman (Davis, Ramirez, Sherman)  3:21
9 The Gypsy (Reid)  3:04
10 Be-Bop (Gillespie)  2:55
11 This is Always (Coleman)  3:13
12 Dark Shadows (Coleman)  3:08
13 Bird's nest (Parker)  2:45
14 Hot Blues [Cool Blues] (Parker)  2:01
15 Cool Blues [Hot Blues] (Parker)  3:11
16 Relaxing at Camarillo (Parker)  3:08
17 Cheers (McGhee)  3:07
18 Carvin' the Bird (McGhee)  2:47
19 Stupendous (McGhee)  2:53


Cd. 2

East Coast

1 Dexterity (Parker)  3:02
2 Bongo Bop (Parker)  2:48
3 Dewey Square [aka "Prezology"] (Parker)  3:32
4 The Hymn [aka "Superman"] (Parker)  2:30
5 Bird of Paradise (Parker)  3:14
6 Embraceable You (Gershwin)  3:50
7 Bird Feathers (Parker)  2:54
8 Klact-oveeseds-tene (Parker)  3:08
9 Scrapple from the Apple (Parker)  2:42
10 My Old Flame (Johnson, Coslow)  3:17
11 Out of Nowhere (Green, Hayman)  4:06
12 Don't Blame Me (McHugh, Fields)  2:50
13 Drifting on a Reed (Parker)  2:54
14 Quasimado (Parker)  2:55
15 Charlie's Wig (Parker)  2:44
16 Bongo Beep (Parker)  3:00
17 Crazeology (Harris)  3:00
18 How Deep is the Ocean (Berlin)  3:24


[Cd. 1, # 1] Dizzy Gillespie Jazzmen
Dizzy Gillespie - tp
Charlie Parker - as
Lucky Thompson - ts
George Handy - p
Arvin Garrison - g
Ray Brown - b
Stan Levey - dr
Recorded at Electro Broadcast Studios, Hollywood ; February 5, 1946
[Cd. 1, # 2-6] Charlie Parker Septet
Miles Davis - tp
Charlie Parker - as
Lucky Thompson - ts
Dodo Marmarosa - p
Arvin Garrison - g
Vic McMillan - b
Roy Porter - dr
Recorded at C. P. MacGregor Studios, Hollywood ; March 28, 1946
[Cd. 1, # 7-9] Charlie Parker Quintet
Howard McGhee - tp
Charlie Parker - as
Jimmy Bunn - p
Bob Kesterson - b
Roy Porter - dr
Recorded same place as above ; July 29, 1946
[Cd. 1, # 10-14] Charlie Parker Quartet
Charlie Parker - as
Erroll Garner - p
George "Red" Callender - b
Harold "Doc" Wst - dr
Earl Coleman - vcl
Recorded same place as above ; February 19, 1947
[Cd. 1, # 15-18] Charlie Parker All Stars
Howard McGhee - tp
Charlie Parker - as
Wardell Gray - ts
Dodo Marmarosa - p
Barney Kessel - g
George "Red" Callender - b
Don Lamond - dr
Recorded same place as above ; February 26, 1947
[Cd. 2, # 1-6] Charlie Parker Quintet
Miles Davis - tp
Charlie Parker - as
Duke Jordan - p
Tommy Potter - b
Max Roach - dr
Recorded at WOR Studios, Broadway/38th., New York City ; October 28, 1947
[Cd. 2, # 7-12] Charlie Parker Quintet
Same as above
Recorded same place as above ; November 4, 1947
[Cd. 2, # 13-18] Charlie Parker Sextet
Same as above, except
J. J. Johnson - tb, is added
Recorded same place as above ; December 17, 1947

Wednesday, January 11, 2017

Buddy Collette - Cool, Calm, and Collette

In the summer of 1956, Buddy Collette left Chico Hamiltons successful quintet to begin his own career as a leader. His first quartet stayed together for three months. Then, along with John Goodman, still on bass, Buddy found in pianist Dick Shreve, and drummer Bill Dolney, his ideal rhythm section. With such an outstanding group, Collette, on alto, tenor, clarinet and flute, developed a concept full of beauty, taste and strength, played with warmth and great feeling.
Dick Shreve, too, proves in these sessions that he was not only a talented and underrated pianist in a gentle and reflective manner, but also a fine composer. On the last date of this set, Eugene Wright and Bill Richmond, replacing Goodman and Dolney, sustain the mood just as impressively.

Buddy Collette
Cool, Calm, and Collette


1 Makin Whoopee (Donaldson, Kahn)  2:36
2 Fall Winds (Collette)  5:18
3 Minor Deviation (Shreve)  4:38
4 Change It (Collette)  3:15
5 Ill Remember April (Ray, DdePaul Johnston)  3:05
6 Winston Walks (Goodman)  2:58
7 If She Had Stayed (Shreve)  3:38
8 They Cant Take That Away From Me (Gershwin)  3:54
9 Undecided (Shavers, Robin)  3:22
10 Flute in "D" (Collette)  4:55
11 The Continental (Conrad, Magidson)  3:10
12 Three And One (Collette)  3:34
13 Night in Tunisia (Gillespie Paparelli)  4:12
14 Johnny Walks (Collette)  6:25
15 Perfidia (Dominguez)  2:55
16 Morning Jazz (Shreve)  3:46
17 Orlando Blues (Collette)  4:37
18 Soft Touch (Collette)  3:46
19 Old School (Wright)  4:46
20 Debbie (Shreve)  3:57


[# 1-16]
Buddy Collette - fl, cl, as & ts
Dick Shreve - p
John Goodman - b
Bill Dolney - dr
Recorded at ABC Studios ; November 19 & 29, 1956 [# 1-5] ; & January 24, 1957 [# 6-16]
[# 1 & 2] from "Stars of Jazz" TV Show
[# 3-5] from "Nice Day with Buddy Collette" (Contemporary C 3531)
[# 6-16] from "Calm, Cool and Collette" (ABC Paramount ABC 179)
[# 17-20] from "Everybody's Buddy" (Challenge CHL-603)
Buddy Collette - fl, cl, as & ts
Dick Shreve - p
Eugene Wright - b
Bill Richmond - dr
Recorded in Hollywood ; May 14, 1957

Evgeni Koroliov Plays Prokofiev

Born in 1949, Evgeni Koroliov is another fine pianist from that seemingly inexhaustible pool of talent nurtured in the old Soviet hothouse by Heinrich Neuhaus, Lev Oborin and the rest. Less publicised than many of his contemporaries, he has made a speciality of the music of Bach, winning the admiration of no less a figure than Gyorgy Ligeti for his performances of The Art of Fugue ; our own reviewer, the late Lionel Salter, was similarly impressed (Tacet, 1/00). Like so many Russian executants of his generation, Koroliov has an iron-clad technique, but he is unusual in that he would seem to favour a relatively narrow, contained sonority that you may (or may not) find a refreshing change in this repertoire.
In the innovative, acerbic Sarcasms, Koroliov eschews flamboyant gestures in the interests of exceptional clarity of articulation. His Visions fugitives are just as finely chiselled, unstable only in so far as he is eager to point up their fleeting, transient nature. Pianists like Emil Gilels — there are eight superb Visions from him included in the Great Pianists of the 20th Century series (Philips, 6/99) — have tended to ‘firm up’ these exquisite miniatures, imparting a luminous depth and solidity you won’t find here. The concluding selection of gavottes, including transcriptions drawn from the Classical Symphony and the Cinderella ballet score, is presumably designed to help the present disc feel more like a live recital. As such, the programme may cut across the planning of the more organised collector. Nevertheless, it is instructive to hear a lucid alternative to the racy, big-boned tendency in works like the (revised) Fifth Piano Sonata. Boris Berman is no slouch there either, and his account of its bluesy second movement is only marginally slower than Koroliov’s. So it is in part the quality of the sound that makes the difference. Tacet’s house style is more sharply focused than we are used to these days. Listening through headphones, my initial impression was that the microphones were placed a little close. I now feel that the results are faithful, and not, after all, without a certain warmth.'
David Gutman

Source : http://www.gramophone.co.uk/review/prokofiev-piano-works-1

Evgeni Koroliov
Serguei Prokofiev


Sarcasmes, Op. 17
1 I. Tempestoso  2:10
2 II. Allegro rubato  1:39
3 III. Allegro precipitato  1:56
4 IV. Smanioso  2:18
5 V. Precipitosissimo  3:34

6 Visions fugitives, Op. 22  23:02
N° 1. Lentamente - N° 2. Andante - N° 3. Allegretto - N° 4. Animato - Più sostento
N° 5. Molto giocoso - N° 6. Con eleganza - N° 7. "Arpa" Pittoresco - N° 8. Commodo - Meno mosso
N° 9. Allegretto tranquillo - N° 10. Ridicolosamente - N° 11. Con vivacità - N° 12. Assai moderato
N° 13. Allegretto - N° 14. Feroce - N° 15. Inquieto - N° 16. Dolente - N° 17. Poetico
N° 18. Con una dolce lentezza - N° 19. Presto agitatissimo e molto accentuato - N° 20. Lento

Piano Sonata n° 5, Op. 38/135
7 I. Allegro tranquillo  5:59
8 II. Andantino  4:28
9 III. Un poco allegretto  4:57

10 Dance, Op. 32, n° 1 (from Four Pieces)  2:39
11 Gavotte, Op. 32, n° 3 (from Four Pieces)  1:28
12 Gavotte, Op. 25 (from Classical Symphony)  1:24
13 Gavotte (from Three Pieces, Op. 95)  2:28


Evgeni Koroliov -p

Recorded at Festeburgkirche, Frankfurt ; 1992

Monday, January 9, 2017

The Return of Art Pepper (Complete Aladdin Rec., vol. 1)

Blue Note's The Return of Art Pepper: The Complete Art Pepper Aladdin Recordings compiles the 13 final masters that the alto saxophonist recorded for Aladdin between August 1956 and January 1957. These are titled The Return of Art Pepper, since they were recorded shortly after he completed a jail sentence in 1956. As a result, Pepper's chops are a little rusty, but you can hear that he still has a passion for playing, and he does improve over the course of these tracks. For serious Pepper fans, it's worth a listen, but for less dedicated fans, there are better places to become acquainted with his work.
Stephen Thomas Erlewine

Source : http://www.allmusic.com/album/the-return-of-art-pepper-the-complete-art-pepper-aladdin-recordings-mw0000652175

The Return of
Art Pepper
(The Complete Aladdin Recordings, vol. 1)


1 Pepper Returns (Pepper)  4:26
2 Broadway (Brown, DeSylva, Henderson)  4:56
3 You Go to My Head (Coots, Gillespie)  4:15
4 Angel Wings (Pepper)  4:40
5 Funny Blues (Pepper)  4:36
6 Five More (Pepper)  4:37
7 Minority (Pepper)  4:17
8 Patricia (Pepper)  3:33
9 Mambo de la Pinta (Pepper)  4:15
10 Walkin' Out Blues (Pepper)  5:52
11 Pepper Steak (Pepper)  3:47
12 You're Driving Me Crazy (Donaldson)  5:05
13 Tenor Blooz (Pepper)  4:55
14 Yardbird Suite (Parker)  5:44
15 Straight Life (Pepper)  3:24


[# 1-10]
Art Pepper - as
Jack Sheldon - tp
Russ Freeman - p
Leroy Vinnegar - b
Shelly Manne - dr
Recorded at Capitol Studios, Los Angeles ; August, 1956
[# 11-15]
Art Pepper - as & ts
Red Norvo - vb
Gerald Wiggins - p
Ben Tucker - b
Joe Morello - dr
Recorded at Western Recorders, Los Angeles ; January 3, 1957

Sunday, January 8, 2017

The fabulous Fats Navarro, Vol. 2 (1948)

Picking up some of the slack from the first volume, The Fabulous Fats Navarro, Vol. 2 takes in two fine 1948 sessions featuring the bebop trumpeter. The first three cuts come from a Tadd Dameron-led date featuring top players like Dexter Gordon, Cecil Payne, Kai Winding, Sahib Shihab, and Kenny Clarke. The group avails itself nicely on Dameron originals like the mercurial Latin cut "Jahbero" (including congas and bongos), the classic "Lady Bird," and the predictably complex "Symphonette." Navarro runs the gamut here, turning in both high-flying solos and gracefully cool statements. And with enough in the way of engaging solo work, the alternate takes of all three of these tracks prove to be more than just filler. The remainder is culled from a session Navarro co-led with trumpeter Howard McGhee, and includes collaborative numbers like "The Skunk," "Boperation," and an alternate take of "Double Talk." The group also features Ernie Henry, Milt Jackson, Curly Russell, and Kenny Clarke. Now, plaudits aside, these two volumes of Blue Note Navarro recordings are not only hard to find (they've primarily been available only as an import), but seem to have come out with varying track listings over time. So, the best option is to pick up Blue Note's very welcome Fats Navarro and Tadd Dameron : The Complete Blue Note and Capitol Recordings, which not only has all the Fabulous material, but includes a Dameron date with Miles Davis, as well as a cover of Fats Waller's "Stealin' Apples" featuring Navarro, Benny Goodman, and Wardell Gray.
Stephen Cook

Source : http://www.allmusic.com/album/the-fabulous-fats-navarro-vol-2-r144564/review

The Fabulous
Fats Navarro
vol. 2


1 The Skunk [LP master] (McGhee, Navarro)  2:54
2 Boperation (Navarro)  3:09
3 The Skunk [78 master] (McGhee, Navarro)   3:06
4 Double Talk (McGhee, Navarro)  5:30
5 Double Talk [alt. take] (McGhee, Navarro) 5:19
6 Jahbero [alt. take] (Dameron)  2:59
7 Jahbero (Dameron)  2:52
8 Lady Bird  (Dameron) 2:49
9 Lady Bird [alt. take] (Dameron)  2:49
10 Symphonette [alt. master] (Dameron) 3:04
11 Symphonette (Dameron) 3:06
12 I Think I'll Go Away (Dameron)  3:06
13  I Think I'll Go Away [alt. take] (Dameron)  3:15


[# 1-5]
Howard McGhee - tp & p [# 2]
Fats Navarro - tp
Ernie Henry - as
Milt Jackson - p & vb [# 2]
Curly Russell - b
Kenny Clarke - dr
Recorded at the Harry Smith Studio, New York ; October 11, 1948
[# 6-13]
Fats Navarro - tp
Allen Eager - ts
Wardell Gray - ts
Tadd Dameron - p
Curly Russell - b
Kenny Clarke - dr
Chano Pozo - bng [# 6 & 7]
Recorded at WOR Studios, New York City ; September 13, 1948

Saturday, January 7, 2017

Les Paul - California Melodies (1944-1945)

Les Paul was a guitar innovator before Chet Atkins learned his first three chords, but somehow, he never could match Mr. Guitar's publicity. California Melodies travels back to the mid-'40s when Paul and his trio appeared on a radio program of the same name with Frank DeVol & His Orchestra. The introductions to each song on these radio transcriptions are a bit cheesy ("Maybe swing is a whole lot older than we think it is"), and the orchestra - when it chimes in - pretty much turns the quartet's music into easy listening. But when Paul, rhythm guitarist Cal Gooden, bassist Clint Nordquist, and pianist Tommy Todd are left on their own, they do swing. The song selection is smart, including now accepted standards like "All of Me," "Oh, Lady Be Good," and "Ain't Misbehavin'." There are also interesting oddities like Tchaikovsky's "Andante Cantible" and Duke Ellington's "Caravan." Paul's a nifty guitarist who fits comfortably within the electric school of jazz following Charlie Christian's innovations in the late '30s and early '40s. California Melodies also includes four bonus cuts that were taken from various radio shows - the Bing Crosby's Kraft Music Hall, the Andy Russell Show - in 1945. For jazz guitar buffs and anyone addicted to the great standards of '30s and '40s jazz, California Melodies is a fun romp.
Ronnie D. Lankford, Jr.

Source : http://www.allmusic.com/album/california-melodies-mw0000321569

Les Paul
California Melodies


1 Begin the Beguine (Porter)  3:33
2 All of Me (Simons, Marks)  2:33
3 Andante Cantabile (Tchaikovsky, arr. Paul)  3:48
4 Oh, Lady Be Good (Gershwin, Gershwin)  2:50
5 Brazil (Russell, Barroso)  2:47
6 I Never Knew (Pitts, Egan, Marsh)  2:24
7 For You (Dubin, Burke)  2:45
8 Limehouse Blues (Lawrence, Hobbs, Leslie)  2:21
9 Song of the Islands (King)  2:24
10 Forty Days and Forty Nights (Paul)  3:37
11 Way Down Yonder in New Orleans (Creamer, Layton)  2:26
12 Out of Nowhere (Heyman, Green)  2:52
13 I've Been Working on the Railroad (Trad.)  2:37
14 It Had to Be You (Kahn, Jones)  3:09
15 Ain't Misbehavin' (Waller, Razaf, Brooks)  2:36
16 Caravan (Tizol, Ellington)  3:10
17 Way Down Yonder in New Orleans (Creamer, Layton)  3:07
18 Danger, Men at Work (Paul)  3:00
19 Blue Skies (Berlin)  2:28
20 Back Home in Indiana (MacDonald, Hanley)  2:36


Les Paul - g
Cal Gooden - g
Tommy Todd - p
Clint Nordquist - b
Frank DeVol
And his Orchestra [# 1-16]

Recorded at CBS Radio, Hollywood (?) ; between June & October, 1944 [# 1-16] ; & between December 25 & May 5, 1945 [# 17-20]

Joe Pass - Eximious

Joe Pass took time off from his solo guitar projects to record this excellent trio set with bassist Niels-Henning Ørsted Pedersen and drummer Martin Drew. Pass swings hard throughout, is consistently inventive within the bebop tradition, and indulges in close interplay with Pedersen. Together, these musicians make the wondrous seem effortless. Among the highlights are "We'll Be Together Again" (the one unaccompanied guitar showcase on the program), "Robbins Nest," "Lush Life," "Night and Day," and "Speak Low."
Scott Yanow

Source : http://www.blogger.com/post-create.g?blogID=1698175558508888075

Joe Pass


1 A Foxy Chick and a Cool Cat (Pass)  5:29
2 Robbins Nest (Jacquet, Thompson)  4:07
3 Lush Life (Strayhorn)  2:47
4 Serenata (Anderson, Parish)  3:24
5 Love for Sale (Porter)  7:29
6 Night and Day (Porter)  5:34
7 We'll Be Together Again (Fischer, Fishcer, Laine)  5:32
8 Ev'rything I Love (Porter)  5:01
9 Ev'rything I've Got (Hart, Rodgers)  3:01
10 Speak Low (Nash, Weill)  5:08


Joe Pass - g
Niels-Henning Ørsted Pedersen - b
Martin Drew - dr

Recorded at Group IV Studios, Hollywood, California ; May 25 & July 8, 1982

Friday, January 6, 2017

Artie Shaw & His Gramercy Five - I Can't Get Started

A surprisingly wonderful album from Artie Shaw — one that takes his older groove and nicely strips it down for the 50s, and which features some especially great guitar work from Tal Farlow ! Other players in the group include Hank Jones on piano, Joe Roland on vibes, Tommy Potter on bass, and Irv Kluger on drums — coming together in a loosely swinging mode that has lots of interplay on the longer-than-usual tracks on the set. Titles include the originals "When The Quail Come Back To Town", "Lugubrious", "The Grabtown Grapple", and "Lyric".
© 1996-2017, Dusty Groove, Inc.

Source : https://www.dustygroove.com/item/799415

Artie Shaw
His Gramercy Five
I Can't Get Started


1 The Grabtown Grapple (Shaw)  10:47
2 Lugubrious (Shaw)  3:06
3 I've Got A Crush On You (Gershwin, Gershwin)  3:50
4 Tenderly (Lawrence, Gross)  4:43
5 I Can't Get Started (Gershwin, Duke)  2:56
6 Lyric (Shaw)  2:59
7 Imagination (Burke, VanHeusen)  4:43
8 Sunny Side Up (Shaw)  6:35
9 When The Quail Come Back To San Quentin (Shaw)  5:51


Artie Shaw - cl
Joe Roland - vb
Tal Farlow - g
Hank Jones - p
Tommy Potter - b
Irv Kluger - dr

Recorded at Fine Sound Studios, New York City ; September 1953 & February 1954