Tuesday, February 13, 2018

Sunday, March 26, 2017

Joe Pass & Herb Ellis - Two For The Road

This recording was the third and final matchup between guitarists Herb Ellis and Joe Pass and, unlike the first two (which were both made for Concord), this is a duo date rather than a quartet session. Pass was just beginning to gain recognition for his remarkable unaccompanied solos, but Ellis had not recorded in such a sparse setting before. They complement each other quite well on such tunes as "Love for Sale," "Seven Come Eleven," "Oh, Lady Be Good," "I've Found a New Baby," and two versions of "Cherokee." Highly recommended.
Scott Yanow

Source : http://www.allmusic.com/album/two-for-the-road-mw0000191770

Joe Pass
Herb Elis
Two for the Road


1 Love for Sale (Porter)  4:48
2 Carnival (Manha de Carnaval) (Bonfa, Maria)  3:27
3 Am I Blue (Akst, Clarke)  3:06
4 Seven Come Eleven (Christian, Goodman)  4:30
5 Guitar Blues (Ellis, Pass)  2:47
6 Oh, Lady Be Good (Gershwin, Gershwin)  3:56
7 Cherokee [Concept I] (Noble)  2:46
8 Cherokee [Concept II] (Noble)  4:04
9 Seulb (Ellis, Pass)  3:21
10 Gee, Baby Ain't I Good to You (Razaf, Redman)  2:24
11 Try a Little Tenderness (Campbell, Connelly, Woods)  2:14
12 I've Found a New Baby (Palmer, Williams)  3:58
13 Angel Eyes (Brent, Dennis)  2:52


Joe pass - g
Herb Ellis - g 

Recorded January 30, February 13 and 20, 1974

Horace Parlan - Up And Down

By adding guitarist Grant Green and tenor saxophonist Booker Ervin to his standard rhythm section of bassist George Tucker and drummer Al Harewood, pianist Horace Parlan opens up his sound and brings it closer to soul-jazz on Up and Down. Green's clean, graceful style meshes well with Parlan's relaxed technique, while Ervin's robust tone and virile attack provides a good contrast to the laid-back groove the rhythm section lays down. Stylistically, the music is balanced between hard bop and soul-jazz, which are tied together by the bluesy tint in the three soloists' playing. All of the six original compositions give the band room to stretch out and to not only show off their chops, but move the music somewhat away from generic conventions and find new territory. In other words, it finds Parlan at a peak, and in many ways, coming into his own as a pianist and a leader.
Stephen Thomas Erlewine

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

Horace Parlan
Up And Down


1 The Book's Beat (Ervin)  9:46
2 Up and Down (Parlan)  6:07
3 Fugee (Tucker)  7:02
4 The Other Part of Town (Green)  11:38
5 Lonely One (Gonzales)  4:03
6 Light Blue (Turrentine)  6:00
7 Fugee [alt. take] (Tucker)  7:00*

* bonus track
not part of original album


Horace Parlan - p
Booker Ervin - ts
Grant Green - g
George Tucker - b
Al Harewood - dr

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey ; June 18, 1961

Saturday, March 25, 2017

Charlie Parker - South of the Border

Verve gathers together all of the master takes of Charlie Parker's recordings with the swinging band of Afro-Cuban jazz pioneer Machito, along with ten other Latinized numbers that he cut in 1951-1952. Besides illustrating the willingness of producer Norman Granz to experiment and take Parker out of a small-group bebop straitjacket, this CD shows that Bird's improvisational style changed hardly at all in a Latin setting. He continued to run off his patented lightning bop licks over the congas and bongos and they just happened to interlock with the grooves quite snugly, although he did adapt his phrasing of the tunes themselves to suit their rhythmic lines. Included here is the spectacular "No Noise" that he cut as a guest with Machito and tenorman Flip Phillips in 1948, as well as Chico O'Farrill's epic Afro-Cuban Jazz Suite (also with Machito). For those who do not have the ten-CD The Complete Charlie Parker on Verve — where all 14 selections can be found — this is an inexpensive way to hear Parker in a refreshingly different context very nearly at the top of his form.
Richard S. Ginell

Source : http://www.allmusic.com/album/south-of-the-border-the-verve-latin-jazz-sides-mw0000644357

Charlie Parker
South of the Border


1 Mango Mangue (Sunshine, Valdes, Valdez)  2:54
2 Okiedoke (Hernández, Machito)  3:02
3 No Noise (Bartee)  5:52
4 My Little Suede Shoes (Parker)  3:04
5 Un Poquito de Tu Amor (Cugat, Freed, Unknown)  2:41
6 Why Do I Love You ? (Hammerstein II,  Kern)  3:06
7 Tico-Tico (Abreu, Abreu, Drake, Oliveira)  2:44
8 Fiesta (Brown, Serrat, Trad.)  2:49
9 La Cucaracha (Burgess, Trad.)  2:43
10 Mama Inez (Wolfe Gilbert, Grenet)  2:50
11 Estrellita (Picone, Venosa)  2:43
12 La Paloma (Trad., Yradier)  2:39
13 Begin the Beguine (Porter)  3:12
14 Afro-Cuban Jazz Suite (O'Farrill)  17:14
I. Introduction-Cancion. II. Mambo. III. Transition
IV. Introduction to 6/8. V. 6/8. VI. Transition and Jazz.
VII. Rhumba Abierta. VIII. Coda


[# 1-3]
Charlie Parker - as
Mario Bauza, Paquito Davilla, Bobby Woodlen - tp
Gene Johnson, Fred Skerritt - as
José Madera - ts
Leslie Johnakins - bs
René Hernandez - p
Roberto Rodriguez - b
José Mangual - bng
Luis Miranda - cng
Marchito - mrc
Ubaldo Nieto - tmb
Recorded in New York City ; December 20, 1948 [# 1 & 3] ; January 1949 [# 2]
[# 4-8]
Charlie Parker - as
Walter Bishop, Jr. - p
Teddy Kotick - b
José Mangual - bng
Luis Miranda - cng
Roy Haynes - dr
Recorded in New York City ; March 12, 1951
[# 9-13]
Same as above, except
Max Roach - dr, replaces Haynes
Benny Harris - tp
Recorded in New York City ; January 23, 1952
[# 14]
Charlie Parker - as
Mario Bauza - tp & cl
Paquito Davilla, Harry "Sweets" Edison, Al Stewart, Bobby Woodlen - tp
Unknown - tp
Gene Johnson, Fred Skerritt - as
José Madera, Flip Phillips, Sol Rabinowitz - ts
Leslie Johnakins - bs
René Hernandez - p
Marchito - mrc
José Mangual - bng
Luis Miranda, Chino Pozo - cng
Ubaldo Nieto - tmb
Buddy Rich - dr
Chico O'Farrill - arr. & cond.
Recorded in New York City ; December 21, 1950

Joe Pass - For Django

Alongside Tal Farlow and Wes Montgomery — Joe Pass is the most important jazz guitarist of the second half of the 20th century ! Known primarily for his solo guitar work — this album should be a revelation to those not familiar with his bebop chops — and his efortless single-line playing — which bears some similarity to Mr. Farlow. Pass plays the music of the Django cannon — without imitating Django (a mistake quite a few guitarists have made !) but embracing a new style within the same framework. For Django is also a song that deserves more attention — a possible jazz classic I'm surprised more artists don't play it — it has almost as many possibilities as John Lewis's 'Django'! Anyway, I believe this album to be a landmark in jazz guitar — listen for yourself.
Stalwart Kreinblaster

Source : https://www.amazon.com/Joe-Pass-Django/dp/B00000I44J

Joe Pass
For Django


1 Django (Lewis)  3:23
2 Rosetta (Hines, Woode)  3:07
3 Nuages (Reinhardt)  2:34
4 For Django (Pass)  2:54
5 Night and Day (Porter)  3:47
6 Fleur d'Ennui (Reinhardt)  2:57
7 Insensiblement (Misraki)  3:14
8 Cavalerie (Reinhardt)  4:26
9 Django's Castle (Reinhardt)  3:49
10 Limehouse Blues (Braham, Furber)  2:14


Joe Pass - g
John Pisano - rh g
Jim Hughart - b
Colin Bailey - dr

Recorded at Pacific Jazz Studios, Los Angeles, California ; September 2 & (probably) 18,1964

Chuck Wayne - String Fever [Bonus Tracks]

The re-mastering and release of Chuck Wayne’s String Fever should begin to focus attention on a musician who was not only a brilliant guitarist but also a subtle and significant composer/arranger. On this recording Wayne became the first jazz guitarist to front a big band. He is the main soloist. He also conducted and arranged all of the compositions. Wayne’s solo work, rising above an inspired band, is as good as jazz guitar has been caught on tape as he swings from be-bop to ballads to latin rhythms with a masterful grace and assurance. The extra treat is that the original album was beautifully recorded, and has been exquisitely re-mastered onto CD. At the age of 21 Chuck Wayne was a lead soloist for he Woody Herman band. Shortly after, he was Dizzy Gillespie’s choice as guitarist on some of the earliest classic recordings of be-bop. From the late 40s to the early 50s Wayne helped to fashion the elegant George Shearing Quintet sound of intertwining guitar, piano, and vibes voicing. Right before the recording of String Fever Wayne was Tony Bennett’s arranger and musical director which may help account for the beautifully framed instrumental solos on String Fever. In 1957, with the help of the generous backing of RCA (Vik), Wayne entered the studio with a well rehearsed band that included the likes of Gene Quill, Eddie Costa, and the lyrical trumpeter, Don Joseph, who only three months before had been a featured soloist on recordings with the Gerry Mulligan Orchestra. The final result is a mix of sextet and big band recordings chosen from three days of taping. Rarely has the guitar been so appreciatively recorded. Chuck Wayne’s solos are emotionally direct with a clarity of construction that only a master could touch. The performance of Don Joseph is also noteworthy. Here is a now obscure trumpeter playing solo after solo of soulful music in a traditional style that simply sings. The conception of the guitar and trumpet as main soloists is one of the many pleasures of this recording. Others include the piano and vibes work of the young Eddie Costa, the alto sax solos of Gene Quill, and a the tenor solos of the mysterious Caesar DiMauro. Throughout, the Costa led rhythm section swings with Clyde Lombardi on bass and Sonny Igoe (or Jimmy Campbell) on drums. This is a disc that sounds like everybody is thrilled to be playing, the chemistry is a delight. String Fever is simply great jazz, and will eventually find its place as a significant jazz recording of its era. BMG (Spain) should be commended for their foresight and for the quality of their reissue. This is an important release, perhaps the masterpiece of a great jazz guitarist. Hopefully, the time is approaching when the world of jazz (especially its historians and critics) will finally acknowledge one its unlauded multi-talented masters, Chuck Wayne.
Mike Neely

Source : http://www.allaboutjazz.com/php/article.php?id=5290

Chuck Wayne
String Fever
[Bonus Tracks]


1 Lullaby in Rhythm (Goodman, Hirsch, Profit, Sampson)  3:07
2 Embraceable You (Gershwin, Gershwin)  4:38
3 Love for Sale* (Porter)  5:09
4 Along With Me (Rome)  3:18
5 Carmel (Wayne)  3:16
6 Body and Soul (Eyton, Green, Heyman, Sour)  3:30
7 Snuggled on Your Shoulder (Lombardo, Young)  2:33
8 How About You (Freed, Lane, Nielsen, Zander)  3:48
9 Lover Man* (Davis, Hendrix, Ramirez, Sherman)  4:24
10 What a Diff'rence a Day Made (Adams, Grever)  3:26
11 Rockabye Bay (Curtis, Wood)  3:27
12 Lullaby in Rhythm [alt. take] (Goodman, Hirsch, Profit, Sampson)  3:09
13 Love for Sale* [alt. take] (Porter)  4:11
14 Carmel [alt. take] (Wayne)  3:17
15 Snuggled on Your Shoulder [alt. take] (Lombardo, Young)  2:41
16 How About You [alt. take] (Freed, Lane, Nielsen, Zander)  3:36


[# 1, 5, 7, 11, 12 & 14]
Chuck Wayne - g
Caesar DiMauro, Sol Schlinger, Sam Marowitz & Eddie Wasserman - ts
Sumner Clement Truitt - tb
Thomas Parker Allison, Donald Frederick Joseph & Alvin Goldbert - tp
Clyde Lombardi - b
Sonny Igoe - dr
[# 2-4, 6, 8-10, 13 & 16]
Chuck Wayne - g
Caesar DiMauro - ts
Gene Quill* - as
Don Joseph - tp
Eddie Costa - vb & p [out # 3, 9 & 13]
Clyde Lombardi - b
Jimmy Campbell or Sonny Igoe* - dr

Recorded in RCA Victor Studio "A", New York City ; July 22-24, 1957

Eileen Joyce - Parlophone & Columbia Solo Recordings (1933-1945)

Eileen Joyce (1912‑91) was an astonishing Australian child prodigy who was born in a tent, grew up in squalor and could not read or write until she was 12. Her story is the stuff of legend (it was even filmed under the title Wherever She Goes in 1951 starring Joyce as her older self). Glamorous and immensely popular, she would think nothing of playing three or even four concertos in one evening, wearing a different dress for each work. It was not for nothing that she was chosen to play Rachmaninov’s Second Piano Concerto for the soundtrack of Brief Encounter. She gave her last recital in 1960, burnt out and disillusioned.
Of course, these 87 pieces were never designed to be heard in (roughly) chronological composer order, as here, in five sequences each lasting well over an hour, but listening to Joyce is strangely addictive. One cannot wait, as it were, to read the next chapter. She shares with Kreisler and Tauber the same unteachable ability to elevate the second-rate to the first-rate, and to illuminate familiar masterpieces with a convincing and unmistakable voice.
This is such a cornucopia of good things it is hard to know where to start, what to mention, what to omit. Disc 1 begins with a rarity (on piano, at least) : Bach’s Fantasia and Fugue in A minor, BWV944. Apart from the typically unusual repertoire choice, one is immediately struck by an individual touch and sound, the kind of playing which might not suit all tastes but one to which one cannot listen with half an ear. Joyce’s deft, sparingly pedalled light touch, her nonchalant speed and fluency and a palpable enjoyment of the task in hand are characteristic of her approach as a whole, which serves well the dizzying pace of the Fugue in particular. It does, too, in Paradies’s Toccata, an elegantly paced account of Mozart’s Sonata facile and the Rondo in A major, K386, the latter conducted by Clarence Raybould in 1936 (her only other Parlophone recording with orchestra was Turina’s Rapsodia sinfonica with the same forces). Who else has taken up Mozart’s Suite, K399, and Schubert’s Andante in A major, D604 ? Not many. It is also uncommon to hear such unselfconscious repose as evinced by the two Chopin Nocturnes and Berceuse. Then there are the three Schumann pieces : in the last, ‘Stücklein’, N° 1 of Bunte Blätter, you’ll hear the nearest thing to a string portamento on the piano.
And that is a brief overview of just the first CD.
Disc 2 has eight pieces by Brahms, a rare example of a composer to whom Joyce seems unconnected, but they come after 11 by Liszt. These alone make the set worth buying and include ‘La leggierezza’, her first recording (June 1933), originally coupled with Paul de Schlözer’s staggeringly difficult Etude in A-Flat, Op. 1, n° 2. It is undeniably one of the greatest piano discs ever made.
Sometimes you wish that she would dig into the keyboard more, but then in Rachmaninov’s D-Flat Prelude, Op 32, n° 13, she overdoes it (frighteningly so) ; sometimes she simply plays too fast and her impeccable articulation disintegrates into a blur (the two Moszkowski pieces, d’Albert’s Scherzo). But the disappointments are few, vastly outweighed by such joyous and justly celebrated accounts of six of Grieg’s Lyric Pieces, Palmgren’s En route and Fauré’s Impromptu n° 2. Disc 5 and the last six tracks of disc 4 have her Columbia recordings. I cannot praise these too highly — I love the two exuberant Mozart sonatas – but it is Scriabin’s little E major Prelude and Chopin’s Etude in the same key that will persuade anyone who thinks of Joyce as a mere note-spinner of the fact that they are listening to a great artist.
The last time I enjoyed a set of CDs as much was one from the same label and was, by happy coincidence, devoted to Joyce’s compatriot Percy Grainger, who set her off on her fabulous career. Bryce Morrison, whose friend Eileen Joyce was, contributes an essay con amore; Mark Obert-Thorn is responsible for the superb transfers and compilation ; Mike Spring has produced. Full marks all round for an early Award contender.
Jeremy Nicholas

Source : https://www.gramophone.co.uk/review/eileen-joyce-complete-parlophone-columbia-solo-recordings-1933-45

Eileen Joyce
The Complete Parlophone & Columbia
Solo Recordings


Cd. 1

The Parlophone 78s

 Johann Sebastian Bach

1 Fantasia & Fugue n A Minor, BWV 844  5:27

Domenico Paradies

2 Toccata in A Major (from Sonata n° 6)  2:36

Wolfgang Amadeus Mozart

3 Rondo in A Major, K 386  7:29

Suite K 399
4 Allemande  1:54
5 Courante  2:18

Piano Sonata in C Major, K545
6 I. Allegro  4:34
7 II. Andante  6:46
8 III. Rondo  1:43

Franz Schubert

9 Andante in A Major, D 604  4:58
10 Impromptu in E-Flat Maor, D 899, n° 2  4:09
11 Impromptu in A-Flat Major, D 899, n° 4  7:34

Frédéric Chopin

12 Nocturne in E-Flat Major,Op. 9, n° 2  4:42
13 Nocturne in B Major, Op. 32, n° 1  4:30
14 Fantasy-Impromptu, Op. 66  4:43
15 Berceuse in D-Flat Major, Op. 57  4:20

Robert Schumann

16 Novelette in D Major, Op. 21, n° 2  4:37
17 Novelette in A Major, Op. 21, n° 6  4:37
19 Stücklein (Bunte Blätter, Op. 99, n° 1)  1:29


Cd. 2

The Parlophone 78s

1 Liebestraum, n° 3 S 541, n° 3  4:40
2 Waldesrauschen, S 145, n° 1  4:16
3 Valse oubliée, n° 1, S 215, n° 1  2:37
4 Au bord d'une source, S 160, n° 4  4:15
5 La Leggierezza, S 144, n° 2  4:17
6 Gnomenreigen, S 145, n° 2  2:46

Johann Sebastian Bach

7 Organ Prelude & Fugue in A Minor, BWV 543  8:20
(arr. Franz Liszt, S 462, n° 1)

Robert Schumann

8 Windmung (arr. Liszt, S 566)  3:28
9 Frühlingsnacht (arr. Liszt, S 568)  3:03

Richard Wagner

10 Spinning Chorus (arr. Liszt, S 440)  4:30

Charles Gounod

11 Faust Waltz (arr. Liszt, S 407)  4:11

Johann Brahms

12 Romance in F Major, Op. 118, n° 5  4:05
13 Intermezzo in C Major, Op. 119, n° 3  1:21
14 Capriccio in D Minor, OP. 116, n° 7  2:43
15 Intermezzo in A Major, Op. 76, n° 6  4:44
16 Rhapsody in E-Flat Major, Op. 119, n° 4  4:19
17 Intermezzo in B-Flat Minor, Op. 117, n° 2  4:24
18 Intermezzo in A Major, Op. 118, n° 2  4:43
19 Ballade in G Minor, Op. 118, n° 3  3:58


Cd. 3

The Parlophone 78s

Johann Nepomuk Hummel

1 Rondo in E-Flat Major, Op. 11  4:19

Adolph von Henselt

2 Were I a Bird (Si oiseau j'étais)  2:34
(Douze Etudes caractéristiques, Op. 2, n° 6)

Paul de Schlözer
(ca 1841-1898)

3 Etude in A-Flat Major, Op. 1, n° 2  3:19

Moritz Moszkowski

4 Waltz in E Major, Op. 34, n° 1  4:08
5 Caprice espagnol, Op. 37  4:43

Isaac Albéniz

6 Tango in D Major (España, Op. 165, n° 2)  3:24

Enrique Granados

7 Quejas o la Maja y el Ruiseñor (Goyescas, book 2, n° 4)  4:44

Christian Sinding

8 Rustle of Spring, Op. 32, n° 3  2:15

Edvard Grieg


9 Scherzo-Impromptu (Moods, Op. 73, n° 2)  2:21
10 Butterfly (Lyric Pieces, Op. 43, n° 1)  1:42
11 Melody (Lyric Pieces, Op. 47, n° 3)  2:49
12 Solitary Traveller (Lyric Pieces, Op. 43, n° 2)  2:20
13 Brooklet (Lyric Pieces, Op. 62, n° 4)  1:37
14 To the Spring (Lyric Pieces, Op. 43, n° 6)  2:10
15 Summer's Eve (Lyric Pieces, Op. 71, n° 2)  2:24

Jean Sibelius


16 Romance in D-Flat Major, Op. 24, n° 9  3:46

Bernhard Stavenhagen

17 Menuetto scherzando, Op. 5, n° 3  3:27

Selim Palmgren

18 En route, Op. 9  1:10

Ignaz Friedman


19 Viennese Dance n° 2 (after Gärtner)  3:26

Gabriel Fauré

20 Impromptu n° 2 in F Minor, Op. 31  4:21

Claude Debussy

21 Reflets dans l'eau (Images, book 1, n° 1)  4:01
22 Toccata (Pour le piano, n° 3)  4:04


Cd. 4

The Parlophone 78s
& The Bristish Columbias

Sergei Rachmaninov

1 Prelude in G Minor, Op. 23, n° 5  3:48
2 Prelude in E-Flat Major, Op. 23, n° 6  2:17
3 Prelude in C Minor, Op. 23, n° 7  2:08
4 Prelude in A-Flat Major, Op. 23, n° 8  2:56
5 Prelude in A Minor, Op. 32, n° 8  1:39
6 Prelude in D-Flat Major Op. 32, n° 13  4:39

Eugen D'Albert

7 Scherzo in F-Sharp Major, Op. 16, n° 2  3:54

Richard Strauss

8 Ständchen, Op. 17, n° 2  3:02
(arr. Gieseking)

Ernő Dohnányi

9 Rhapsody in C Major, Op. 11, n° 3  4:39

Stefan Bergman
(1901 ?- ?)

10 Polka Caprice, Op. 1, n° 3  2:56
11 Himmelgesang, Op. 2, n° 1  1:44

Cyrill Scott

12 Lotus Land, Op. 47, n° 1  2:58
13 Danse nègre, Op. 58, n° 5  1:31

Riccardo Pick-Mangiagalli

14 La Danse d'Olaf (Deux Lunaires, Op. 33, n° 2)  3:30

Harry Farjeon

15 Tarantella  3:44

Dmitri Shostakovich

16 Three Fantastic Dances, Op. 5  3:51

Maurice Ravel

17 Jeux d'eau  4:30

Alexander Scriabin

18 Prelude in E Major, Op. 11, n° 9  1:44
19 Prelude in C-Sharp Minor, Op. 11, n° 10  1:36

Felix Mendelssohn

20 Rondo capriccioso, Op. 14  6:15

Ludwig van Beethoven

21 Bagatelle in C Major, Op. 33, n° 2  3:18
22 Für Elise, WoO 59  3:17


Cd. 5

The Bristish Columbias

Wolfgang Amadeus Mozart

Sonata n° 12 in F Major, K 332
1 I. Allegro  4:45
2 II. Adagio  4:25
3 III. Allegro assai  4:42

Sonata n° 7 in D Major, K 576
4 I. Allegro  4:48
5 II. Adagio  5:08
6 III. Allegretto  4:06

7 Romance in A-Flat Major, K A205
8 Gigue in G Major, K 574  1:30
9 Minuet in D Major, K 355  2:16

Frédéric Chopin

10 Etude in E Major, Op. 10, n° 3  4:07
11 Ballade n° 1 in G Minor, Op. 23  9:24
12 Ballade n° 3 in A-Flat Major, Op. 47  7:35

Edvard Grieg

13 Ballade in G Minor, Op. 24  17:14


Eileen Joyce - p
Orchestra/Clarence Raybould - dir. [cd. 1, # 3]

Recorded between June 8, 1933 & April 29, 1945

See the complete artwork

Friday, March 24, 2017

Ron Affif - 52nd Street

The cool-toned guitarist Ron Affif recalls Kenny Burrell a bit in this outing with a pianoless trio also including bassist Essiet Essiet and drummer Jeff "Tain" Watts. Although the program is dedicated to 52nd Street, the opening number ("Bohemia After Dark") was not even written when Swing Street was functioning. The setting and Affif's improvising style recall Kenny Burrell in spots, but the guitarist does have a voice of his own. Highlights include "Stompin' at the Savoy," "Yardbird Suite" and "Steeplechase."
Scott Yanow

Source : http://www.allmusic.com/album/52nd-street-mw0000648032

Ron Affif
52nd Street


1 Bohemia After Dark (Pettiford)  6:37
2 Stompin' at the Savoy (Goodman, Razaf, Sampson, Webb)  5:24
3 Moonray (Madison / Artie Shaw)  5:57
4 A Nightingale Sang in Berkeley Square (Maschwitz, Sherwin)  5:52
5 I'll Be Seeing You (Fain, Kahal)  5:30
6 Yardbird Suite (Parker)  6:29
7 You Don't Know What Love Is (DePaul, Raye)  6:32
8 Steeplechase (Parker)  8:30
9 Tadd's Delight (Dameron)  3:54
10 Eric's Zinc Bar Blues (Affif)  7:22


Ron Affif - g
Essiet Essiet - b
Jeff "Tain" Watts - dr

Recorded at Fantasy Studios, Berkeley ; October 10/12, 1995

Thursday, March 23, 2017

Teddy Wilson - Chronological Classics (1942-1945)

From 1940 to 1944, Teddy Wilson fronted a sextet that included a number of oustanding musicians. This unit played mainly at both branches of Café Society, but did also undertake some occasional touring. Despite its fine reputation, this Wilson sextet had only few recording oportunities, not least because of the recording ban imposed by the Musician's Union in July 1942.
This volume of the recordings of Teddy Wilson, presented in chronological order, opens with an immaculate solo on the perenial standard "These Foolish Things". Of the following sextet session, only "You're my Favorite Memory" was issued at the time. Throughout 1943 and 1944, Wilson fronted his sextet, which, despite several changes in personnel, always maintained a high musical standard, as the occasional recordings from this period well illustrate. "How high the Moon" and "Russian Lullaby" were issued on one of the earliest V-Discs for the U.S. Army in October 1943. The second V-Disc actually issued featured Wilson's working combo, with Red Norvo as an added attraction. By October 1944, Teddy had given up his own band and rejoined his former employer, Benny Goodman. Besides recording with Benny, Teddy also made a series of fine sides for the Musicraft label, which had just inaugurated a series of fine jazz records. The label's owner, Albert Marx, was married to singer Helen Ward, who may have been the one to bring Teddy to his attention. Both quintet sessions rely on musicians from the Goodman band, plus trumpeter Charlie Shavers. Musically, the four sides by the sextet with Buck Clayton and Ben Webster prove superior. Clayton, then still with the U.S. Army, and free-lancing Ben Webster turn in some magnificient solos. The hot "Savoy" and Wilson's own "Blues Too" rank among the very best cuts on this CD, which includes numerous fine but little-known recordings by the incomparable Teddy Wilson. To be continued...
Anatol Schenker, August 1996, from the booklet

Teddy Wilson
Chronological Classics


1 These Foolish Things (Marvell, Strachey)  3:02
2 You're My Favorite Memory (Wilson, Johnson)  3:17
3 B Flat Swing (Wilson)  2:55
4 How High The Moon (Lewis, Hamilton)  4:24
5 Russian Lullaby (Berlin)  4:53
6 I Know That You Know (Youmans, O'Dea, Harbach)  2:41
7 Blues (unknown)  2:44
8 Stompin' At The Savoy (Goodman, Webb, Sampson)  2:27
9 Undecided (Robin, Shavers)  2:31
10 China Boy (Winfree, Boutelje)  2:16
11 Every Time We Say Goodbye (Porter)  3:07
12 Just You, Just Me (Greer, Klages)  3:02
13 Just For You Blues (Wilson)  3:19
14 This Heart Of Mine (Freed, Warren)  3:09
15 Bugle Call Rag (Schoebel, Meyers, Pettis)  2:51
16 Runnin' Wild (Gibbs, Grey, Wood)  2:59
17 I Surrender Dear (Clifford, Barris)  2:45
18 Memories Of You (Blake, Razaf)  3:03
19 If Dreams Come True (Mills, Sampson, Goodman)  3:00
20 I Can't Get Started (Gershwin, Duke)  3:08
21 Stompin' At The Savoy (Goodman, Webb, Sampson)  2:40
22 Blues Too (Wilson)  3:08


[# 1 & 6*] Teddy Wilson Solo
Teddy Wilson - p
Recorded in New York ; January 21, 1942 ; & March 1944*
[# 2 & 3] Teddy Wilson and his Orchestra
Emmett Berry - tp
Benny Morton - tb
Edmond Hall - cl
Teddy Wilson - p
Johnny Williams - b
J.C. Heard - dr
Helen Ward - vc
Recorded in New York ; July 31, 1942
[# 4 & 5]
Joe Thomas - tp
Benny Morton - tb
Edmond Hall - cl
Teddy Wilson - p
Johnny Williams - b
Sidney Catlett - dr
Recorded in New York ; August 13, 1943
[# 7-9]
Charlie Shaves - tp
Teddy Wilson - p
Red Norvo - vb
Remo Palmieri - g
Al Hall - b
Gordon "Specs" Powell - dr
Recorded in New York ; circa November, 1944
[# 10-12]
Charlie Shaves - tp
Teddy Wilson - p
Red Norvo - vb
Billy Taylor - b
Morey Feld - dr
Maxine Sullivan - vc
Recorded in New York ; December 18, 1944
[# 13-17]
Charlie Shaves - tp
Teddy Wilson - p
Red Norvo - vb
Al Hall - b
Gordon "Specs" Powell - dr
Maxine Sullivan - vc
Recorded in New York ; January 15, 1945
[# 18-21]
Buck Clayton - tp
Ben Webster - ts
Teddy Wilson - p
Al Casey - g
Al Hall - b
J.C. Heard - dr
Recorded in New York ; August 14, 1945

Wednesday, March 22, 2017

George Shearing & Jim Hall - First Edition

This tasteful set matches together pianist George Shearing and guitarist Jim Hall in a program of duets. The fresh material (two originals apiece by Shearing and Hall, the obscure "I See Nothing to Laugh About" and just three standards challenge the pair and their quiet and subtle styles match together well. The pianist's tributes to Antonio Carlos Jobim and Tommy Flanagan are among the more memorable pieces in this interesting and somewhat unexpected musical collaboration.
Scott Yanow

Source : http://www.allmusic.com/album/first-edition-mw0000076147

Jim Hall
George Shearing
First Edition


1 Street of Dreams (Lewis, Young)  4:06
2 To Antonio Carlos Jobim (Shearing)  3:15
3 Careful (Hall)  5:54
4 I See Nothing to Laugh About (Fisher)  5:09
5 Without Words (Hall)  5:03
6 I Hear a Rhapsody (Baker, Fragos, Gasparre)  3:41
7 To Tommy Flanagan (Shearing)  5:10
8 Emily (Mandel, Mercer)  5:52


George Shearing - p
Jim Hall - g

Recorded At Soundmixers, New York ; September, 1981

Tuesday, March 21, 2017

Duke Jordan & Bud Powell - New York & Paris

This highly enjoyable 1997 CD has some classic bebop from pianist Duke Jordan, who is joined by bassist Gene Ramey and drummer Lee Abrams during his first recording session as a leader. Jordan, who seven years earlier had been Charlie Parker's pianist in one of Bird's finest groups, reprises his famous introduction to "Embraceable You," introduces his most famous composition ("Jordu"), and swings his way through a variety of standards and two other originals ("Scotch Blues" and "Wait and See") that are worth reviving. The three alternate takes had been previously unreleased. This CD also has the four songs recorded during a session a 1960 in Paris by Bud Powell in a trio with bassist Pierre Michelot and drummer Kenny Clarke. The troubled pianist was fortunately having a good day, and is heard in near-prime form on such numbers as "John's Abbey" and "Crossin' the Channel." Recommended.
Scott Yanow

Source : http://www.allmusic.com/album/release/duke-jordan-new-york-bud-powell-paris-mr0001509004

Born in Brooklyn, New York, on April 1st 1922, Irving Sidney "Duke"Jordan earned his nickname because of his admiration for Duke Ellington. He began his professional career very young, and recorded in the 40's and 50's, with some of the best musicians at that time such as Charlie Parker, Miles Davis, Stan Getz, Oscar Pettiford... He then started his own trio.
Taking advantage of Henri Renaud's presence in New York to record musicians for the Vogue label, Duke Jordan recorded for his first time under his own name on January 28th 1954. Pianist with an original style and a dynamic nevertheless melodic playing, Duke Jordan was also a prolific composer. Amongst the height titles of this album, there are five standards and three personnal compositions, including the famour "Minor Encamp", better known as "Jordu". Efficiently assisted by bassist Gene Ramey and drummer Lee Abrams, Duke Jordan dispkays here his improvisation talent in favor of an idiom widely influenced by Bud Powell.
Daniel Dugard (1997), from the booklet

Duke Jordan
Bud Powell
New York/Paris


1 Just One of Those Things (Porter)  3:52
2 Embraceable You (Gershwin, Gershwin)  4:58
3 Minor Escamp (Jordu) (Jordan)  4:44
4 Scotch Blues (Jordan)  3:40
5 Confirmation (Parker)  3:15
6 Darn That Dream (DeLange, Van Heusen)  4:19
7 They Can't Take That Away from Me (Gershwin, Gershwin)  5:27
8 Wait and See (Jordan)  4:42
9 Just One of Those Things [alt. take] (Porter)  3:46
10 Embraceable You [alt. take] (Gershwin, Gershwin)  5:25
11 Darn That Dream [alt. take] (DeLange, Van Heusen)  4:05
12 Buttercup (Powell)  5:29
13 John's Abbey (Powell)  4:19
14 Sweet and Lovely (Arnheim, LeMare, Tobias)  3:30
15 Crossin' the Channel (Powell)  4:21


[# 1-11] Duke Jordan
Duke Jordan - p
Gene Ramey - b
Lee Abrams - dr
Recorded in New York City ; January 28, 1954
[# 12-15] Bud Powell Trio
Bud Powell - p
Pierre Michelot - b
Kenny Clarke - dr
Recorded at Théâtre des Champs Elysées, Paris ; October 14, 1960

Monday, March 20, 2017

Les Frères Ferret - Baro, Sarane & Matelo (1938-1956)

You're a good man, Charlie Brown... Long before Charlie came along, the good man/nice guy was Pierre-Jean “Matelo” Ferret (1918-1989). Everybody said so. He was a player all his life, and spent sixty years in the devoted service of the muse Euterpe. He played behind his brothers but, according to Michel-Claude Jalard, he was right at the forefront of the newly-blossoming jazz scene, which bathed in the splendour of a new sunrise over virgin land. The scene had Django Reinhardt, of course, an unavoidable sight, but also the guitarists of Parker and Gillespie, integrated into their groups and the bands of those who copied them, filled with enthusiasm for their leaders' revolutionary concepts: Remo Palmieri, Arvin Garrison, Barney Kessel, Billy Bauer, Barry Galbraith... they brought innovation to the way they accompanied musicians, encouraging them on the road to buried treasures. Pierre (the name on his birth certificate) Jean (the name that was convenient) “Matelo” (to his friends) Ferret was born in Rouen on December 1st 1918. For people called Ferret, everything that concerned music in general, and the guitar in particular, was family business. Bandurria, banjo, guitars Spanish or Russian, mandolin, all the instruments that use a plectrum, please stand up and be counted... Teenager Matelo did the same as his brothers and sought out the accordionists whose Saturday nights and Sunday matinees were delights for crowds of workers who didn't have work, and also those more used to taking things easy, layabouts and others allergic to or disgusted by hard work to the point where they made a living out of anything that came to hand and didn't show much shame for it. Life was like Becker's film "Casque d'Or", with easy money and a waltzing proletariat. Matelo later made his own regular contribution to the spruce orchestras led by renowned accordionists who swung both ways (meaning musette and jazz), mainly Gus Viseur and Jo Privat, but first Matelo showed his mettle on December 5th 1935 (for Gramophone) alongside Louis Richardet, an ace of the "piano with braces" who had many contacts in "hot jazz" circles. So, what with Richardet (sometimes Americanized as "Richard Day") wanting to certify his accordion as an instrument of virtue, he was keeping company with Michel Warlop (violin), the leader, Sarane and Matelo Ferret plus Jean Maille (guitars) and bassist Jean Storne. Matelo was barely 17 years old! Strange Harmony, Double Trouble (Ça me tracasse), Sérénade and the previously-unreleased Chasing Shadows (Mirage) were recorded. Thus did Matelo Ferret celebrate his official arrival in the Swing Era. In France he was one of its representative elements, but not only that; the young gypsy had other strings to his bow, or guitar, if you prefer. He lived in the same hotel as Reinhardt, and even if meeting Django did decide his future, Matelo had just been hired by the Rumanian violinist Ionel Bajâc, and he joined his Tsigane orchestra at the “Casanova”, where he was initiated into the treasures of central European folk music by dulcimer-virtuoso Nitza Codolban.
On December 15th, after a rude autumn, Matelo went to do his first record-session under his own name leading a “sixtette” in which the Gypsy Royal and the Monarch of Swing buttered up to one another. The content was Django (Reinhardt), whilst the form was Benny (Goodman). Out of torment was born a new Union: one Gypsy (Matelo), one Belgian (Martens), two Caribbeans (Siobud and Bourgarel), one Parisian (Duchossoir) and a man born on the Riviera (Fabre). Clarinet, vibraphone, solo guitar, rhythm guitar, contrabass, drums... Benny Goodman's famous sextet-records must have been heard by Matelo Ferret despite the embargo on discs “made in the USA” ! And yet this intriguing “sixtette” can be considered a deliberate extension, an electrified stretching, of the new shape taken on by the Quintette of the H.C.F., where the vibraphone, the latest fashionable instrument to be a synonym for progress, delivered its part of modernism to the centre of a well-established tradition. Jeannot-the-Gypsy didn't mind this kind of upheaval at all, as long as it swept out the dust of habit like a new broom. In December '43 Pierre-Jean Ferret and his “sixtette” paid tribute to Django Reinhardt playing two of his compositions, Swing Guitars and Swing 42 (Swing Rêverie), plus Vincent Scotto's La Vipère du Trottoir and also Le Rapide. Matelo Ferret dipped into jazz on many occasions. Pre-war, when the music of Harlem was swinging through Montmartre and Montparnasse at night, Matelo had already been spotted where it counted, at “Jimmy's” for example, a jazzy club that brightened Django up considerably; its “jams” burned like coals, with “hot” rhythms for dance-nuts where the “Frenchies” could measure up to visitors from America (still a provider of dreams), men whose names were Bill Coleman, Eddie South, Benny Carter... Michel Warlop had huge esteem for Matelo and took him on as a rhythm guitarist with his famous string septet, bolstered by Gaston Durand (Harmoniques, Kermesse, Aisément, Tempête sur les Cordes - Swing, 1941). Both these cronies met up again later with André Ekyan, in whose band they showed the same rhythmical verve (Standard Swing, Etude rythmique, Tcha-tcha, Ekyanologie - Odéon, 1942). Like his elder brother Baro before him in the years before the debacle, Matelo Ferret was one of the Q.H.C.F. when it reformed in 1947, after its two main protagonists fell into each other's arms again.
Matelo continued recording for EMI (under his Pierre-Jean Ferret identity) during the Fifties, and did so regularly later, though not always under the best conditions. Once again, jazz had to take turns with the hits of the day and, like those of his brother Sarane, most of the tunes originally released as 78's found their way onto “Ambiance” LPs with names like “Votre Dîner en Musique” (Columbia 33 FSX 105) or “Votre Thé en Musique” (Columbia 33 FSX 108), mixed up with performances from all sorts of trashy dance-bands so that the best parts went almost unnoticed by guitar-fans. This same series produced the indestructible Louise by Whiting & Robin, and Dors, dors, dors, ["Sleep, Sleep, Sleep"] — the kind of reaction you can justify after a turbulent night; and just when his son Jean-Jacques “Boulou” Ferret was being born, the series also produced a title written by his father, Boulou Boogie. There were other compositions by Matelo Ferret: Guitar Boogie (no relation to the Arthur Smith tune), smitten with freedom, is a model of a blues-improvisation; a Matelo's Guitar Blues at its virtual apogee; and Roule ta Bosse [literally, "Show someone you've been around"], a title with a lot of meaning for gypsy-travellers who could never stay still and longed to see what the other side of the fence had to offer. Who played with Matelo ? That's a good question and there's still no good answer, because there's no trace of them ; probably they included Lucien Gallopain on rhythm guitar, an old chum from the Occupation years, and also Jean Bonal, who'd arrived with the Parisian “nouvelle vague” of liberated jazzmen. Matelo Ferret recorded again on March 14th 1955 with a quartet : a few interesting improvisations on such imperishable jazz standards as l Surrender Dear, Out Of Nowhere and Pennies From Heaven, plus a lovely tune written by Matelo, Djoungalo ; most likely, the pianist here was Jacky Cnudde, a man who was quite disciplined alongside Alix Combelle and Jean Bonal (Quartet-Club de France), but who completely lost it when he discovered Thelonious Monk... the shock was enormous, and Jacky became one of Monk's premier disciples with the Jazz Modernisticks group (B. Monville, G. Rovère, C. Saudrais) that appeared at the “Riverside” in the Latin Quarter. There's some doubt over the other participants, but Ferret possibly brought in Pierre Michelot and J.L. Viale, both of them highly-appreciated studio-musicians.  At the risk of repeating myself, I say without hesitation that dreams are the most extraordinary adventures within Man's immediate reach, and that if the Ferret brothers have one major, cardinal virtue, then it is the ability to bring you dreams, as many as you like : their spellbinding fingers pluck notes of enchantment as if saying the rosary, and the magical strings of their Faerie guitars are a world of marvels, a legendary world with more life in it than the real one.
Captain Peter Smithy (Pierre Lafargue) Daybreak Gate (2004-2007)
English translation Martin Davies 
© 2009 Frémeaux & Associés

Source : http://www.fremeaux.com/index.php?option=com_virtuemart&page=shop.livrets&content_id=493

Les Frères Ferret
Baro, Sarane, Matelo
"Les Gitans de Paris"


Cd. 1

1 Ma Théo (Garcia)  3:02
2 Gin Gin (Reinhardt)  3:06
3 La Valse des Niglos (Malha)  3:10
4 Ti-pi-tin (Grever, Leveen)  2:41

5 Exactly Like You (Fields, McHugh)  2:39
6 Wind and Strings (Andalousie) (Ferret, Viseur)  2:40

7 Wind and Strings (Andalousie) (Ferret, Viseur)  3:12

8 Swing Valse (Ferret, Viseur)  2:31

9 Miami (Ferret)  2:37
10 Septembre (Ferret)  2:51
11 Blue Guitare (Ferret)  2:32
12 Swing Star (Ferret)  2:51
13 Swing 39 (Reinhardt)  2:54
14 Cocktail-Swing (Ferret)  2:43
15 Deux Guitares (trad.)  2:25
16 Tiger Rag (LaRocca)  2:20

17 Royal Blue (Ferret)  3:09
18 Surprise-Party (Ferret)  3:00
19 Daphné (Reinhardt)  2:37
20 Hungaria (Reinhardt)  2:52
21 Lucky (Ferret)  2:36


Cd. 2

1 Studio 28 (Ferret)  2:49
2 Folies-Bergère (Ferret)  3:05
3 Sex-Appeal (Ferret)  3:04

4 Standard Swing (Ekyan, Bazin)  2:22
5 Etude Rythmique (Ekyan)  2:52

6 Swing Guitare (Swing Guitars) (Reinhardt, Grappelli)  2:42
7 La Vipère du trottoir (Scotto)  2:31
8 Le Rapide (Ferret)  2:48
9 Swing 42 (Swing Rêverie) (Reinhardt)  2:50

10 J’en ai marre (Yvain, Arnould, Willemetz)  2:55
11 I Can’t Give You Anything But Love (Fields, McHugh)  3:02

12 Folie Douce (Erdan, arr. Ferret)  2:16
13 Swing 47 (Erdan, arr. Ferret)  2:22
14 Pacific Boogie (Erdan, arr. Ferret)  2:20
15 I Should Care (Cahn, Stordhal, Weston)  2:35

16 Panique (Ferret)  2:30
17 La Folle (Ferret)  2:09

18 Guitare Boogie (Ferret)  3:02

19 I Surrender Dear (Barris, Clifford)  2:56
20 Out of Nowhere (Green, Heyman)  2:56
21 Djoungalo (Ferret)  2:10
22 Pennies From Heaven (Johnston, Burke)  2:05


Cd. 3

1 Madam’s (Murena, Fontaine)  2:41
2 Tout n’est pas perdu (Richardet)  2:40
3 Avenir (Murena, Ferrari)  2:51
4 Pacific (Murena)  2:31

5 Tcha–Tcha (Ferret, Durand)  2:13

6 Dinalie Mineure (Ferret, Privat)  2:15
7 Turbulente Zoé (Ferret)  2:36

8 Roule ta bosse (Ferret)  2:59
9 Dors, dors, dors (Ferret)  2:46

10 Royal Blue (Ferret)  2:51
11 Au temps de la Cour (Mozart)  1:57
12 Nuages (Reinhardt)  2:58
13 Minor Swing (Reinhardt, Grappelli)  2:22
14 Viper Drink (Viper’s Dream) (Allen, Scott, Scott, Mann, Frye)  2:35
15 White Christmas (Berlin)  2:22
16 Mon Rancho (Verdu, Fuggi)  2:36
17 Nuits d’Italie (Privat, Ricard)  2:27

18 Le Rock ça chauffe (Gautier)  3:05
19 L’Homme du bar (Ulmer)  3:22
20 Studio 28 (Ferret)  2:18
21 Miami (Ferret)  2:54

22 Swing Cocktail (Viseur)  3:05

Bonus Track *


Featuring Pierre "Baro" Ferret, Jean "Matelo" Ferret, Etienne "Sarane" Ferret, Gus Viseur, Challain Ferret, André Ekyan, Jo Privat, Maurice Speilleux, Anndré Lluis, Pierre Fouad, Jean Maille, "Raton"..., Georges Effrosse, Lucien Simoëns, Jacques Montagne, etc. etc...

Recorded between September 28, 1938 & December 19, 1956

(See the complete artwork for all details, dates, musicians, sessions, etc.)

See also : http://www.fremeaux.com/index.php?