What Are You Listening To?
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Dennie
Well-Known Member
Happy Sunday everyone... :banana-dance:
Never Before Released Recordings 1965-1972 -- CD
Duke Ellington
1991 Jazz Heritage Society
Whenever there was "down time" for Ellington and his band, he'd get them into the studio to rework older pieces or design prototypes for new ones in order to keep the band's edge intact. This happened frequently enough, and the great jazz composer/bandleader was so prolific a composer, that throughout his long career there accumulated what Ellington would refer to as "the stockpile." Taken from the "stockpile," this set contains works recorded in Los Angeles, NY, Chicago, San Francisco and Milan, Italy.Earlier styles (as his group's '20s/'30s sound) were "revisited" in the shimmering "Swamp Goo." "Charpoy" is an interesting bit of India-inspired exotica. "Girdle Hurdle" swings like a dance tune from the height of the Swing Era, with Jimmy Hamilton's virtuoso clarinet playing in the spotlight (is there a bit of klezmer music in that solo?). A fine collection with lots of variety for Ellington fans to savor.
Track Listing
1. The Old Circus Train Turn-Around Blues - (previously unreleased)
2. Swamp Goo - (previously unreleased)
3. Trombone Buster - (previously unreleased)
4. Bourbon Street Jingling Jollies - (previously unreleased)
5. Mellow Ditty - (previously unreleased)
6. To Know You Is to Love You - (previously unreleased)
7. Naidni Remmus - (previously unreleased)
8. The - (previously unreleased) Prowling Cat
9. Maiera - (previously unreleased)
10. Thanks for the Beautiful Land - (previously unreleased)
11. Charpoy - (previously unreleased)
12. Portrait of Louis Armstrong - (previously unreleased)
13. Girdle Hurdle - (previously unreleased)
14. Sans Snyphelle - (previously unreleased)
15. Woods - (previously unreleased)
Personnel: Duke Ellington (piano); Tony Watkins (vocals); Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton, Harry Carney, Norris Tunny, Harold Ashby, Buddy Pearson, Harold Minerve (reeds); Cat Anderson, Cootie Williams, Ray Nance, Herbie Jones, Mercer Ellington, Nat Adderley, Allen Smith, Fred Stone, Nelson Williams, Money Johnson, Al Rubin, Richard Williams, Eddie Preston (trumpet); Lawrence Brown, Buster Cooper, Chuck Connors, Booty Wood, Malcolm Taylor (trombone); Jimmy Jones (piano); Wild Bill Davis (organ); John Lamb, Joe Benjamin (bass); Sam Woodyard, Louie Bellson, Chris Columbus, Rufus Jones (drums).Includes liner notes by Stanley Dance.
Never Before Released Recordings 1965-1972 -- CD
Duke Ellington
1991 Jazz Heritage Society
Whenever there was "down time" for Ellington and his band, he'd get them into the studio to rework older pieces or design prototypes for new ones in order to keep the band's edge intact. This happened frequently enough, and the great jazz composer/bandleader was so prolific a composer, that throughout his long career there accumulated what Ellington would refer to as "the stockpile." Taken from the "stockpile," this set contains works recorded in Los Angeles, NY, Chicago, San Francisco and Milan, Italy.Earlier styles (as his group's '20s/'30s sound) were "revisited" in the shimmering "Swamp Goo." "Charpoy" is an interesting bit of India-inspired exotica. "Girdle Hurdle" swings like a dance tune from the height of the Swing Era, with Jimmy Hamilton's virtuoso clarinet playing in the spotlight (is there a bit of klezmer music in that solo?). A fine collection with lots of variety for Ellington fans to savor.
Track Listing
1. The Old Circus Train Turn-Around Blues - (previously unreleased)
2. Swamp Goo - (previously unreleased)
3. Trombone Buster - (previously unreleased)
4. Bourbon Street Jingling Jollies - (previously unreleased)
5. Mellow Ditty - (previously unreleased)
6. To Know You Is to Love You - (previously unreleased)
7. Naidni Remmus - (previously unreleased)
8. The - (previously unreleased) Prowling Cat
9. Maiera - (previously unreleased)
10. Thanks for the Beautiful Land - (previously unreleased)
11. Charpoy - (previously unreleased)
12. Portrait of Louis Armstrong - (previously unreleased)
13. Girdle Hurdle - (previously unreleased)
14. Sans Snyphelle - (previously unreleased)
15. Woods - (previously unreleased)
Personnel: Duke Ellington (piano); Tony Watkins (vocals); Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton, Harry Carney, Norris Tunny, Harold Ashby, Buddy Pearson, Harold Minerve (reeds); Cat Anderson, Cootie Williams, Ray Nance, Herbie Jones, Mercer Ellington, Nat Adderley, Allen Smith, Fred Stone, Nelson Williams, Money Johnson, Al Rubin, Richard Williams, Eddie Preston (trumpet); Lawrence Brown, Buster Cooper, Chuck Connors, Booty Wood, Malcolm Taylor (trombone); Jimmy Jones (piano); Wild Bill Davis (organ); John Lamb, Joe Benjamin (bass); Sam Woodyard, Louie Bellson, Chris Columbus, Rufus Jones (drums).Includes liner notes by Stanley Dance.
Dennie
Well-Known Member
Monk -- Remastered CD
Thelonious Monk with Sonny Rollins and Frank Foster
1954/1982 Prestige/OJC Records
Thelonious Monk and Sonny Rollins, Plus a French Horn November 25, 2011
By karlojazz
Format:Audio CD|Amazon Verified Purchase
There are a total of seven tracks on this CD, three recorded on November 13, 1953 with Sonny Rollins playing tenor sax with Thelonious Monk on piano and four recorded on May 11, 1954 with Frank Foster playing tenor sax with Monk on the piano. Because trumpet player Ray Copeland was unavailable for the 1953 session, Julius Watkins substituted for him on French horn. Copeland does play trumpet on the 1954 session, however. Other differences between the two sessions worth noting: on the earlier session Percy Heath plays bass and Willie Jones plays drums; on the later session Curly Russell is on bass and the great Art Blakey plays drums. Except for track 2, which is a well-known standard, all compositions are by Thelonious Monk.
The track listing is as follows:
1.We See (5:13)
2.Smoke Gets In Your Eyes (4:30)
3.Locomotive (6:20)
4.Hackensack (5:10)
5.Let's Call This (4:58)
6.Think of One (take 2) (5:40)
7.Think of One (take 1) (5:36)
Tracks 5-7 are from the November 1953 session; all other tracks were recorded in May 1954.
According to jazz critic Peter Niklas Wilson, despite the last-minute participation of Watkins, the Friday the 13th session "... produced worthy material. An ensemble sound as unusual as it is enjoyable is gained through the use of the French horn, which binds the unweildly sounds of Monk and Rollins into a homogenous whole. Julius Watkins is a gem of a soloist. In 'Think of One,' Rollins is clearly trying to heed Monk's challenge to derive his improvisation from the theme; this is probably one of the roots of the 'thematic improvisation' that became a hall mark of his solos."
Although Frank Foster is certainly not as widely known or praised as Sonny Rollins, his performance on tenor sax is a welcome addition to the 1954 ensemble's renditions of three tunes by Monk as well as the standard, Smoke Gets In Your Eyes.
This is a thoroughly enjoyable CD with the playing of Watkins an unusual bonus feature. Highly recommended for all fans of both Thelonious Monk and Sonny Rollins.
Dennie
Well-Known Member
Discovery - Live At The Five Spot -- CD
The Thelonious Monk Quartet featuring John Coltrane
1957/1993 Blue Note/Capitol Records
This recording made by Coltrane's first wife Naima, can hardly be classified as hi-fi, but it captures the incredible energy and power of Coltrane and Monk almost at the moment of inception for the young tenor innovator, who seems to be discovering his voice for the first time on the bandstand. The sound of joy and surprise is evident in his voluminous solos, and in Monk's more minimalist, rhythmically complex gestures, as the band (featuring the legendary drummer Roy Haynes) tears through five Monk standards in a manner which more than makes up for the aural deficiencies of the recording. A historic find that will thrill fans and scholars alike.
Track Listing
1. Tinkle Trinkle
2. In Walked Bud
3. I Mean You
4. Epistrophy
5. Crepuscule With Nellie
Full performer name: The Thelonious Monk Quartet featuring John Coltrane.Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass); Roy Haynes (drums).Recorded live at the Five Spot, New York in the summer of 1957. Includes liner notes by Lewis Porter.
Dennie
Well-Known Member
The Rumproller -- Remastered CD
Lee Morgan
1965/1999 Blue Note Records
Amazon.com
Lee Morgan's brassy, declarative trumpet playing often gave rise to comparisons with Clifford Brown, but Morgan had a voice of his own, highlighted by a playful, insinuating way with the beat. Those sly, rhythmic inflections may have contributed much to his hit "Sidewinder," a combination of taut, hard bop and infectious, funky R&B backbeat that has found renewed life in recent years among turntable artists. The Rumproller, written by pianist Andrew Hill, combines the same elements for comparable effect and is held together by the groove developed by Morgan and Billy Higgins, whose sparkling drum work contributed to the success of many Blue Note recordings of the period. The rest of the session is exemplary hard bop, with strong tunes by Morgan and Wayne Shorter and vigorous solos by tenor saxophonist Joe Henderson and pianist Ronnie Matthews, as well as Morgan. The touching ballad "The Lady" features Morgan blowing a muted trumpet and revealing an introspective side that seldom surfaced in his music. --Stuart Broomer
All compositions by Lee Morgan except as indicated
"The Rumproller" (Hill) - 10:29
"Desert Moonlight" - 9:26
"Eclipso" - 6:56
"Edda" (Shorter) - 7:23
"The Lady" (Marshall) - 7:34
Bonus track on CD reissue:
"Venus di Mildrew" (Shorter) - 6:26
Lee Morgan - trumpet
Joe Henderson - tenor saxophone
Ronnie Mathews - piano
Victor Sproles - bass
Billy Higgins - drums
Dennie
Well-Known Member
The Great Summit - Complete Sessions - Deluxe 2CD (24/96) Edition
Louis Armstrong & Duke Ellington
1961/2000 Roulette/Capitol (EU Import)
One of the most historic jazz records ever recorded, THE COMPLETE SESSIONS brings together, for the first and only time, the two most influential figures in jazz. Living up to the expectations placed upon such a meeting would, of course, be impossible, but this album is wonderful by any standard. The format is an interesting one in that basically Duke Ellington assumed Billy Kyle's piano chair in the 1961 version of Armstrong's All Stars band. Rather than performing Armstrong's usual repertoire, however, the two giants chose to record a selection of Ellington's best compositions.The resulting album allowed Duke to play some of his most sensitive, relaxed jazz piano on record and gave Satchmo a chance to stretch out on some unfamiliar material, which he does with his usual flair and inventiveness. High points include Armstrong's boisterous solos, amazing improvised scatting and extra lyrics on a high-energy version of "Cottontail" and Ellington's lean, supple lines on "Duke's Place." The seemingly infallible trombonist Trummy Young contributes swinging, bluesy solos throughout and clarinetist Barney Bigard plays with an air of sophistication that well suits the Ellington vibe.
Track Listing
DISC 1: THE MASTER TAKES:
(Together for the first time)
1. Duke's Place - (previously unreleased)
2. I'm Just a Lucky So and So - (previously unreleased)
3. Cotton Tail - (previously unreleased)
4. Mood Indigo - (previously unreleased)
5. Do Nothin' Till You Hear from Me - (previously unreleased)
6. The - (previously unreleased) Beautiful American
7. Black and Tan Fantasy - (previously unreleased)
8. Drop Me off in Harlem - (previously unreleased)
9. The - (previously unreleased) Mooche
10. In a Mellow Tone - (previously unreleased)
(The Great Reunion of..)
11. It Don't Mean a Thing (If It Ain't Got That Swing) - (previously unreleased)
12. Solitude - (previously unreleased)
13. Don't Get Around Much Anymore - (previously unreleased)
14. I'm Beginning to See the Light - (previously unreleased)
15. Just Squeeze Me (But Don't Tease Me) - (previously unreleased)
16. I Got It Bad (And That Ain't Good) - (previously unreleased)
17. Azalea - (previously unreleased)
DISC 2: THE MAKING OF THE GREAT SUMMIT:
1. In a Mellow Tone: Warm Up / Complete Take (Take 1) - (Warm-up/Take One-Complete Take#)
2. I'm Beginning to See the Light: False Start (Take 1) / Two False Starts (Take 4) / Complete Take (Take 5) / Conversation/False Start (Take 6) / Long False Start (Take 7) - (Take 1-False Start/Take 4-2 False Sta)
3. Working Out Arrang) Do Nothin' Till You Hear from Me: Rehearsal/Working Out Arrangement (Take 1) / Discussion/Complete Take (Take 2) / False Start (Take 3) - (Take 1-Rehearsal
4. Don't Get Around Much Anymore: Breakdown (Take 2) / Breakdown (Take 3) / Discussion/False Start (Take 4) / Complete Take (Take 5) / Discussion/Rehearsal Of Ending - (Take 2-Breakdown/Take 3-Breakdown/Take)
5. Take 5/Luckey Roberts Intro/Complete Take) Duke's Place - (previously unreleased
6. Take 2-Complete Take) Drop Me off in Harlem - (previously unreleased
7. I'm Just a Lucky So and So: Conversation / False Start (Take 1) / Complete Take/Discussion (Take 2) - (Conversation/Take 1-False Start/Take 2-Com)
8. False Start/Take 9-False Start) Azalea: Discussion/False Start (Take 8) / False Start (Take 9) / Complete In Two Sections (Take 10) - (#Take 8-Discussion
9. Take 3-False Start/Conversation Leading to Take) Black and Tan Fantasy: False Start (Take 3) / Conversation Leading To Take Four / False Start (Take 5) / Complete Take (Take 6) - (previously unreleased
10. Band Discussion on Cottontail - (previously unreleased)
THE GREAT REUNION was recorded April 3, 1961. Includes liner notes by Stanley Dance.THE GREAT SUMMIT: THE MASTER TAKES was originally released as THE COMPLETE LOUIS ARMSTRONG & DUKE ELLINGTON SESSIONS.Personnel: Louis Armstrong (vocals, trumpet); Duke Ellington (piano); Trummy Young (trombone); Barney Bigard (clarinet); Mort Herbert (bass); Danny Barcelona (drums).Producer: Bob Thiele.Reissue producer: Michael Cuscuna.Recorded at RCA Studios, New York, New York on April 3 & 4, 1961. Includes liner notes by Dan Morgenstern.Digitally remastered by Ron McMaster using 24-bit technology.Disc 1 is the previously released THE COMPLETE LOUIS ARMSTRONG & DUKE ELLINGTON SESSIONS. Disc 2 is a bonus CD of conversations, false starts and outtakes from the same sessions.
Dennie
Well-Known Member
Loverly -- CD
Cassandra Wilson
2008 Blue Note Records
Amazon.com
Cassandra Wilson's Loverly is something more than just her unique spin on songs from long ago. For this set, she has assembled an impressive core group of musicians to accompany her: Jason Moran on piano, Lonnie Plaxico on acoustic upright bass, and Marvin Sewell on guitar. Her low and hypnotic contralto glides so knowingly through each song that they would seem to be of her own creation--but aren't. To be sure, each of the 12 songs found on Loverly are stamped with her trademark Delta-baby, bluesy style (most noticeably on "Dust My Broom"). But Wilson and company have taken it one step further by turning tear-jerkers such as "Til There Was You" and "The Very Thought of You" into sultry bubblers that invite ballads into the bedroom. Throw in the moody "Black Orpheus" and her funky, down-to-business take on "St. James Infirmary," and it doesn't take long to realize that Loverly is a complete attempt to satisfy the soul; a sexy mesh that dares rival anything Cassandra Wilson has released before it. --Eric C.P. Martin
"Lover, Come Back to Me" (Sigmund Romberg, Oscar Hammerstein II) – 4:16
"A Day in the Life of a Fool" (Luiz Bonfá, Antonio Maria) – 4:58
"Wouldn't It Be Loverly" (Alan Jay Lerner, Frederick Loewe) – 5:02
"Gone With the Wind" (Herb Magidson, Allie Wrubel) – 5:51
"Caravan" (Duke Ellington, Juan Tizol, Irving Mills) – 4:23
"'Til There Was You" (Meredith Willson) – 6:42
"Spring Can Really Hang You Up the Most" (Fran Landesman, Tommy Wolf) – 5:01
"Arere" (Babalola, Moran, Plaxico, Riley, Sewell, Wilson) – 5:42
"St. James Infirmary" (Irving Mills) – 4:40
"Dust My Broom" (Elmore James, Robert Johnson) – 4:46
"The Very Thought of You" (Ray Noble) – 4:47
"A Sleepin' Bee" (Harold Arlen, Truman Capote) – 4:35
Dennie
Well-Known Member
Billy Highstreet Samba -- CD
Stan Getz
1990 Phonogram France
Getz leading "Fusion" effort August 9, 2004
By rash67 VINE™ VOICE
Format:Audio CD
Stan Getz European road manager was Bill Hoogstraten. One day Stan said, "Let's see, Hoogstraten, doesn't that mean 'High Street'"? Stan thought this was quite amusing, being often on High Street himself, so Stan collaborated on a Samba named for him. But 'Billy Highstreet Samba' is not really a samba, more nearly Rock Fusion.
Stan participated in a number of forgetable Fusion efforts in the 70's, to show he could play anything au courant, before his comeback in the 80's. Then, on his next Concord albums, he decided to change and play only what he was good at - his own straight-ahead mainstream style of Jazz, more involved versions of the same type of music he'd played in the '50's. Of all of his Fusion flounderings, this is the most listenable.
The better Getz pieces on this CD are, as usual, the slower, introspective ones like Chuck Loeb's "Be There Then", "Dirge" and the standard "Body and Soul". But, overall, there is also too much Fusion here; the sidemen meander, do their own thing, oblivious, while Stan tries to look for a place to make his statement in his idiom.
This will not replace Getz Cool, aloof work in the '40's thru '60's in anyone's heart. Nor will it replace his marvelous Cool (with emotions) comeback in the '80's, but it it the best album of the lost Fusion years.
Track Listing
1. Hospitality Creek
2. Anytime Tomorrow
3. Be There Then
4. Billy Highstreet Samba
5. Dirge, The
6. Page Two
7. Body and Soul
8. Tuesday Next - (bonus track)
Bass – Mark Egan
Drums – Victor Lewis
Executive Producer – Jean-Philippe Allard
Guitar – Chuck Loeb
Keyboards – Mitchel Forman
Mixed By [Digitally] – Phil Edwards
Percussion – Bobby Thomas Jr.
Photography By – Christian Rose, Jean-Pierre Larcher
Producer – Stan Getz
Dennie
Well-Known Member
Happy Monday everyone... :doh:
Rocket Science -- CD
Bela Fleck & The Flecktones
2011 e-one Records
Amazon.com
Bela Fleck is the only musician to be nominated for Grammys® in jazz, bluegrass, pop, country, spoken word, christian, composition and world music categories. His total count is 11 Grammys® won, and 27 total nominations. Groundbreaking banjoist/composer/bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ drumitarist Roy Futureman Wooten.
Far from being a wistful trip back in time, the album sees the Grammy® Award-winning quartet creating some of the most forward thinking music of their long, storied career. While all manner of genres come into play from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances the result is an impossible to pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. Simply put, it is The Flecktones, the music made only when these four individuals come together.
I didn t want to just get together to play the old music, Fleck says. That's not what the Flecktones are about. Everybody s full of life and ideas and creativity. I was intrigued by what we could do that we had never done before. Visionary and vibrant as anything in their already rich canon, Rocket Science feels more like a new beginning than simply the culmination of an early chapter. The band now embarks on an extensive tour, and there s no telling how this new music will further develop in performance. We're going to have to have this experience together and see how everybody likes it, Fleck says. I know that we haven't even come close to exhausting the possibilities with this record, but we sure went deeper than we ever had before.
"Gravity Lane" (Béla Fleck) - 5:58
"Prickly Pear" (Fleck) - 3:49
"Joyful Spring" (Howard Levy) - 2:39
"Life In Eleven" (Levy, Fleck) - 5:25
"Falling Forward" (Fleck) - 5:08
"Storm Warning" (Fleck) - 7:57
"Like Water" (Victor Lemonte Wooten, Fleck) - 4:42
"Earthling Parade" (Fleck) - 7:58
"The Secret Drawer" (Future Man) - 2:12
"Sweet Pomegranates" (Levy) - 5:55
"Falani" (Fleck) - 6:50
"Bottle Rocket" (Fleck) - 5:53
Rocket Science -- CD
Bela Fleck & The Flecktones
2011 e-one Records
Amazon.com
Bela Fleck is the only musician to be nominated for Grammys® in jazz, bluegrass, pop, country, spoken word, christian, composition and world music categories. His total count is 11 Grammys® won, and 27 total nominations. Groundbreaking banjoist/composer/bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ drumitarist Roy Futureman Wooten.
Far from being a wistful trip back in time, the album sees the Grammy® Award-winning quartet creating some of the most forward thinking music of their long, storied career. While all manner of genres come into play from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances the result is an impossible to pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. Simply put, it is The Flecktones, the music made only when these four individuals come together.
I didn t want to just get together to play the old music, Fleck says. That's not what the Flecktones are about. Everybody s full of life and ideas and creativity. I was intrigued by what we could do that we had never done before. Visionary and vibrant as anything in their already rich canon, Rocket Science feels more like a new beginning than simply the culmination of an early chapter. The band now embarks on an extensive tour, and there s no telling how this new music will further develop in performance. We're going to have to have this experience together and see how everybody likes it, Fleck says. I know that we haven't even come close to exhausting the possibilities with this record, but we sure went deeper than we ever had before.
"Gravity Lane" (Béla Fleck) - 5:58
"Prickly Pear" (Fleck) - 3:49
"Joyful Spring" (Howard Levy) - 2:39
"Life In Eleven" (Levy, Fleck) - 5:25
"Falling Forward" (Fleck) - 5:08
"Storm Warning" (Fleck) - 7:57
"Like Water" (Victor Lemonte Wooten, Fleck) - 4:42
"Earthling Parade" (Fleck) - 7:58
"The Secret Drawer" (Future Man) - 2:12
"Sweet Pomegranates" (Levy) - 5:55
"Falani" (Fleck) - 6:50
"Bottle Rocket" (Fleck) - 5:53
Dennie
Well-Known Member
Good Pickin's -- CD
Howard Roberts
1959/2006 Verve Originals
Issued in 1959, Howard Roberts' Good Pickin's was his second album for Verve as a leader. It is as straight-up a blowing date as you're likely to find, though it has wonderful harmonic invention thanks to the two arrangers on the date -- Bill Holman, who also plays tenor, and Marty Paich. The rest of the date is rounded out by pianist Pete Jolly, bassist Red Mitchell, and drummer Stan Levey. The tunes range from standards like "All the Things You Are" and "Between the Devil and the Deep Blue Sea" to straight-up bebop in Charlie Parker's "Relaxin' at Camarillo" and George Wallington's "Godchild." The lone original on the set, which closes the album, is Roberts' "Terpsichore." It is also the longest on the platter. It's a slow blues that's unimaginative but allows everyone in the band to blow. The tenor/guitar heads on these tunes work well thanks to tight, colorful arrangements that accent the sharpness in the chosen songs. The straight-up soloing works because it is reined in tightly, keeping the melodic invention at the forefront. This is a solid date and should be checked out by anyone interested in jazz guitar. Review by Thom Jurek
Track Listing
1. Will You Still Be Mine?
2. When the Sun Comes Out
3. All the Things You Are
4. Lover Man
5. Relaxin' at Camarillo
6. Godchild
7. Easy Living
8. Between the Devil and the Deep Blue Sea
9. The More I See You
10. Terpsichore
Personnel: Howard Roberts (guitar); Red Mitchell (bass guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Stan Levey (drums). Recording information: Los Angeles, CA (03/1959).Arrangers: Bill Holman; Marty Paich.
Dennie
Well-Known Member
Today's work truck music...
In The Dark -- CD
Grateful Dead
1987 Arista Records
Amazon.com essential recording
Hardcore Deadheads always equate this 1987 comeback record with commercial acceptance and a watered-down fan base, but while those assertions are indeed accurate, step back and you'll hear an album full of strong material and equally solid, live-in-the-studio performances. It's more than coincidence that songs such as "Touch of Grey" (the band's only top 10 hit), "Hell in a Bucket," "West L.A. Fadeaway," and "Throwing Stones" all became staples of the Dead's last decade of touring. While longtime fans will probably have no use (or desire) for this release (especially since the CD version omits the brilliant "Brother Esau"), it remains one of the band's most successful studio forays and the quintessential icebreaker for newcomers. --Marc Greilsamer
Side one
"Touch of Grey" (Garcia, Hunter) – 5:47
"Hell in a Bucket" (Barlow, Weir) – 5:35
"When Push Comes to Shove" (Garcia, Hunter) – 4:05
"West L.A. Fadeaway" (Garcia, Hunter) – 6:39
Side two
"Tons of Steel" (Mydland) – 5:15
"Throwing Stones" (Barlow, Weir) – 7:18
"Black Muddy River" (Garcia, Hunter) – 5:58
"My Brother Esau" (Barlow, Weir) - 4:20
"My Brother Esau" was omitted from the LP and CD releases of In the Dark, but was included on the cassette and on international releases.
In The Dark -- CD
Grateful Dead
1987 Arista Records
Amazon.com essential recording
Hardcore Deadheads always equate this 1987 comeback record with commercial acceptance and a watered-down fan base, but while those assertions are indeed accurate, step back and you'll hear an album full of strong material and equally solid, live-in-the-studio performances. It's more than coincidence that songs such as "Touch of Grey" (the band's only top 10 hit), "Hell in a Bucket," "West L.A. Fadeaway," and "Throwing Stones" all became staples of the Dead's last decade of touring. While longtime fans will probably have no use (or desire) for this release (especially since the CD version omits the brilliant "Brother Esau"), it remains one of the band's most successful studio forays and the quintessential icebreaker for newcomers. --Marc Greilsamer
Side one
"Touch of Grey" (Garcia, Hunter) – 5:47
"Hell in a Bucket" (Barlow, Weir) – 5:35
"When Push Comes to Shove" (Garcia, Hunter) – 4:05
"West L.A. Fadeaway" (Garcia, Hunter) – 6:39
Side two
"Tons of Steel" (Mydland) – 5:15
"Throwing Stones" (Barlow, Weir) – 7:18
"Black Muddy River" (Garcia, Hunter) – 5:58
"My Brother Esau" (Barlow, Weir) - 4:20
"My Brother Esau" was omitted from the LP and CD releases of In the Dark, but was included on the cassette and on international releases.
Botch said:
Ry Cooder somehow got into Cuba in 1997 and recorded this album with some of the best Cuban musicians and singers. This is a group sitting in one room, a few overhead mics, one-take/no overdubs, a real band playing together. The recording quality isn't the best, the piano needs a tuneup (sounds like an old upright), but the playing, and the music, are great! :music-listening:
Listening to this now, very interesting! I like it a lot. And EXTENSIVE liner notes on each song, still working my way through all that. But this a unique, on-location set for music/musicians that would otherwise be very hard to have access too. Quite cool.
Thanks for the pointer, Botch!
Dennie
Well-Known Member
Da Girl -- CD
Bill Heid
2003 Savant Records
Organist Bill Heid has been around since the 1970s, but, although the sound he gets on his instrument hints at Jimmy Smith, he manages to largely escape that potentially dominant influence by coming up with fresh ideas, even when he plays a blues. His music swings, but sounds fairly individual. Heid is strongly assisted by the solo work of tenor saxophonist Scott Peterson and trumpeter Randy Magnarelli, with drummer Randy Gelespie and occasionally one of two percussionists giving stimulating support. Overall, this is a romping and spirited soul-jazz date from an organist who deserves to be much better known. ~ Scott Yanow
Track Listing
1. Soldiering On
2. Da Girl
3. Peach Cobbler
4. Sneaky Waltz
5. Blues For Margie
6. Good Clean Fun
7. Spirit of Newark
8. Eatin' and Boppin'
Personnel: Bill Heid (organ); Scott "E Dog" Petersen (tenor saxophone); Joe Magnarelli (trumpet, flugelhorn); Randy Gilespie (drums); George Jones (congas); George Heid (percussion).Recorded at D.O.D. Studios, Detroit, Michican on September 2, 2000
Dennie
Well-Known Member
Today's work truck music....
Low Spark of High Heeled Boys -- CD
Traffic
1971/1990 Island Records
Amazon.com
Despite not even charting in the band's native England, this album became a platinum-selling American hit on the basis of three enduring FM radio staples--the expansive, jazzy impressionism of the near-12 minute title track, and the more straightforward funk of the R&B charmers "Light Up or Leave Me Alone" and "Rock & Roll Stew." Those disparate tracks perfectly underscore Traffic's rich musical appeal and its restless, sometimes problematic creative and interpersonal relationships. With now thrice-departed Dave Mason out of the mix and percussionists Jim Gordon and Reebop Kwaku Baah participating in the studio for the first time, the band's innate musicality truly takes wing. Winwood's familiar vocal phrasings nearly take a backseat to his fluid, dramatic guitar work on "Rock & Roll Stew Roll" and "Many a Mile to Freedom," while the Tull-ish, folk-madrigal sensibilities of "Hidden Treasure" and "Rainmaker" are further punctuated by Chris Wood's deft flute and woodwind flourishes. Compared with the more organic John Barleycorn album, the contrast is all the more remarkable. While many contemporary bands were experimenting with various attempts at fusion, few achieved this collection's rock-jazz-folk-R&B range or level of often subtle sophistication. Digitally remastered, this edition also contains the six-minute-plus U.S. single version of "Rock & Roll Stew, Parts 1 & 2" as a bonus track. --Jerry McCulley
"Hidden Treasure" – 4:16
"The Low Spark of High Heeled Boys" – 11:35
"Light Up or Leave Me Alone" (Jim Capaldi) – 4:55
"Rock & Roll Stew" (Ric Grech, Jim Gordon) – 4:29
"Many a Mile to Freedom" (Steve Winwood, Anna Capaldi[1]) – 7:26
"Rainmaker" – 7:39
Low Spark of High Heeled Boys -- CD
Traffic
1971/1990 Island Records
Amazon.com
Despite not even charting in the band's native England, this album became a platinum-selling American hit on the basis of three enduring FM radio staples--the expansive, jazzy impressionism of the near-12 minute title track, and the more straightforward funk of the R&B charmers "Light Up or Leave Me Alone" and "Rock & Roll Stew." Those disparate tracks perfectly underscore Traffic's rich musical appeal and its restless, sometimes problematic creative and interpersonal relationships. With now thrice-departed Dave Mason out of the mix and percussionists Jim Gordon and Reebop Kwaku Baah participating in the studio for the first time, the band's innate musicality truly takes wing. Winwood's familiar vocal phrasings nearly take a backseat to his fluid, dramatic guitar work on "Rock & Roll Stew Roll" and "Many a Mile to Freedom," while the Tull-ish, folk-madrigal sensibilities of "Hidden Treasure" and "Rainmaker" are further punctuated by Chris Wood's deft flute and woodwind flourishes. Compared with the more organic John Barleycorn album, the contrast is all the more remarkable. While many contemporary bands were experimenting with various attempts at fusion, few achieved this collection's rock-jazz-folk-R&B range or level of often subtle sophistication. Digitally remastered, this edition also contains the six-minute-plus U.S. single version of "Rock & Roll Stew, Parts 1 & 2" as a bonus track. --Jerry McCulley
"Hidden Treasure" – 4:16
"The Low Spark of High Heeled Boys" – 11:35
"Light Up or Leave Me Alone" (Jim Capaldi) – 4:55
"Rock & Roll Stew" (Ric Grech, Jim Gordon) – 4:29
"Many a Mile to Freedom" (Steve Winwood, Anna Capaldi[1]) – 7:26
"Rainmaker" – 7:39
Dennie
Well-Known Member
Getz Meets Mulligan In HI-Fi -- Remastered CD
Stan Getz - Gerry Mulligan
1957/1991 Verve Records
Our Delight July 31, 2006
By Jazzcat
Format:Audio CD
Jazz is our delight brother cats. Life is so boring sometimes that you and I, my jazz friends, deserve to take a pause and enjoy the marvel of music to lift us up. You can't find a more delightful listening experience than this encounter between Getz and Jeru. It is fantastic believe me. This record is something that when I turn back to it, it makes me discover again why I love jazz. It has been one of the first jazz albums I did buy, something like 15 years ago ... it's still refreshing after all these years. It is light, funny, swinging, splendid ... it is simply one of the best examples of Jazz you can find out there. Jazz the fifties way of course, not that thing that today some people call jazz that is unbelievably boring. This is Jazz. And you can't stop to stomp your feet. You have a fantastic rhythmn section, Stan Levey and Ray Brown, MEN, so the swing is garanteed =)))))). Lou Levey played the piano (one of the best in the west coast movement). Than you have a couple of the best soloists that EVER graced the history of Jazz music, Stan Getz and Gerry Mulligan (THE man who plays the bari, nothing more to add here). The program begins with the splendid "Let's fall in love" and it's all there. They're all swingers except for the wonderful tune "A ballad" which is, of course, a ballad. You evena have a Charlie Parker number, Scrapple. The joy of swing, a music that these guys plays perfectly, light as butterflies, deep as oceans. THEY'RE TRUE MASTER!!! Every tune is a master interpretations. Than Stan and Jeru change horns and demonstrate to us (if necessary) how good thay could play with another type of instrument. It is simply a perfect album, jazzcats, if you don't own it... YOU SHOULD. YOU SHOULD.
Track Listing
1. Let's Fall in Love
2. Anything Goes
3. Too Close for Comfort
4. That Old Feeling
5. This Can't Be Love
6. A Ballad
7. Scrapple from the Apple - (bonus track)
8. I Didn't Know What Time It Was - (bonus track)
Personnel: Gerry Mulligan (tenor saxophone, baritone saxophone); Stan Getz (tenor saxophone, baritone saxophone); Lou Levy (piano); Stan Levey (drums).Audio Remasterer: Andrew Nicholas.Liner Note Authors: Norman Granz; Bob Blumenthal.Recording information: 10/10/1957/10/12/1957.Editor: Andrew Nicholas.