Ken Burns Jazz: The Story of America's Music [ 5 CD soundtrack to documentary series, 2000/FLAC]

 
In conjunction with documentary filmmaker Ken Burns' ten-part 2000 PBS special, Columbia/Legacy and Verve teamed up to issue a special series of reissues covering much of the history of 20th century jazz. The central release of this program is the five-CD box set Ken Burns Jazz: The Story of America's Music, its 94 selections covering the history of 20th century jazz, from 1917 to the mid-'90s. Chronologically, the set is very skewed toward the first 50 years of that time span; there is only just under a CD's worth of music dating from after the mid-'60s. What's here is a very good range of classic jazz from throughout the decades, touching upon performances, many acknowledged classics, from many of the music's giants: Louis Armstrong, Duke Ellington, Benny Goodman, Billie Holiday, Dizzy Gillespie, Charlie Parker, Thelonious Monk, John Coltrane, Miles Davis, Ornette Coleman, and up to Wynton Marsalis and Cassandra Wilson. There are just a few dubious inclusions (Grover Washington, Jr.'s "Mister Magic," for instance), and as music it's nearly wall-to-wall excellence. As far as core classics of the jazz repertoire, there are quite a few: Armstrong's "West End Blues," Goodman's "Sing, Sing, Sing (With a Swing)," Count Basie's "Lester Leaps In," Holiday's "Strange Fruit," Ellington's "Take the 'A' Train," Gillespie's "Salt Peanuts," Monk's "Straight, No Chaser," Davis' "So What," Dave Brubeck's "Take Five," Coltrane's "Giant Steps," Weather Report's "Birdland," and Hancock's "Rockit." As education, if you didn't know much about jazz before hearing this box, you'll have been exposed to a good deal of its major touchstones after digesting it. Just don't be under the impression that it covers all of the main mileposts, or even that it gives you all of the key launching pads from which to explore further.




 

David Liebman, Randy Brecker, Richie Beirach, Frank Tusa & Al Foster - Mosaic Select 32: Pendulum - Live At The Village Vanguard (3 CD, 2008/FLAC)

 David Liebman's transitional album Pendulum, his first live-performance recorded effort on the Ornette Coleman-directed, John Snyder-produced Artists House label, was logically an extension of the Open Sky trio and Lookout Farm recordings he did in the earlier part of the 1970s. This three-CD set is a departure for the Mosaic Select series, in that they include the complete 1979 issued Pendulum recording, and add two further full-length, previously unissued offerings done at the Village Vanguard. The original complement of Liebman, pianist Richie Beirach, and bassist Frank Tusa had been expanded to include trumpeter Randy Brecker, and drummer Al Foster replacing Bob Moses. While mainly a blowing session on standards and removed from the improvisationally inclined smaller combos, the recording reflects Liebman's still devout lineage derived from the tenor sax of John Coltrane, while also exploring possibilities on the soprano sax that he took up, abandoned for a time, and brought back to his heart in a more enduring manner. 

  • David Liebman - saxophone
  • Randy Brecker - trumpet
  • Richie Beirach - piano
  • Frank Tusa - bass
  • Al Foster - drums






1-1 Pendulum
1-2 Picadilly Lilly
1-3 Footprints

2-1 There Is No Greater Love
2-2 Solar
2-3 Picadilly Lilly
2-4 Night And Day

3-1 Blue Bossa
3-2 Well You Needn't
3-3 Bonnie's Blue
3-4 Impressions 

Erroll Garner - Chronogical Classics 1944-1954 (17 CD)

 Erroll Louis Garner (June 15, 1923 – January 2, 1977) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad "Misty", has become a jazz standard.

Garner's first recordings were made in late 1944 at the apartment of Timme Rosenkrantz; these were subsequently issued as the five-volume Overture to Dawn series on Blue Note Records. His recording career advanced in the late 1940s when several sides such as "Fine and Dandy" and "Sweet 'n' Lovely" were cut. However, his 1955 live album Concert by the Sea was a best-selling jazz album in its day and features Eddie Calhoun on bass and Denzil Best on drums. This recording of a performance at the Sunset Center, a former church in Carmel-by-the-Sea, California, that was to be shared with Korean War veterans at a nearby army base, was made using relatively primitive sound equipment, but for George Avakian the decision to release the recording was easy. Other works include 1951's Long Ago and Far Away and 1974's Magician, both of which see Garner perform a number of classic standards. Often the trio was expanded to add Latin percussion, usually a conga.

In 1964, Garner appeared in the UK on the music series Jazz 625 broadcast on the BBC's new second channel. The programme was hosted by Steve Race, who introduced Garner's trio with Eddie Calhoun on bass and Kelly Martin on drums.

Since Garner could not write down his musical ideas, he used to record them on tape, to be later transcribed by others.





Erroll Garner - 1944 {The Chronological Classics, 802} [77:36]
Erroll Garner - 1944, Vol. 2 {The Chronological Classics, 818} [72:01]
Erroll Garner - 1944, Vol. 3 {The Chronological Classics, 850} [69:54]
Erroll Garner - 1944-1945 {The Chronological Classics, 873} [70:53]
Erroll Garner - 1945-1946 {The Chronological Classics, 924} [56:53]
Erroll Garner - 1946-1947 {The Chronological Classics, 1004} [66:11]
Erroll Garner - 1947-1949 {The Chronological Classics, 1109} [68:58]
Erroll Garner - 1949 {The Chronological Classics, 1138} [67:43]
Erroll Garner - 1949, Vol. 2 {The Chronological Classics, 1182} [64:03]
Erroll Garner - 1949-1950 {The Chronological Classics, 1205} [70:09]
Erroll Garner - 1950 {The Chronological Classics, 1240} [72:50]
Erroll Garner - 1950-1951 {The Chronological Classics, 1310} [71:31]
Erroll Garner - 1951-1952 {The Chronological Classics, 1341} [65:51]
Erroll Garner - 1952-1953 {The Chronological Classics, 1370} [76:00]
Erroll Garner - 1953 {The Chronological Classics, 1391} [73:55]
Erroll Garner - 1953-1954 {The Chronological Classics, 1423} [72:25]
Erroll Garner - 1954 {The Chronological Classics, 1447} [76:13]

VA - Hans Mantel : Blue Note Highlights: A Groove Selection (8 CD, 2009/FLAC)

 

The impact of 1960s hard bop (a late descendent of bebop with more explicit blues, gospel and R&B connections) is highlighted in this eight-CD addition to the famous Blue Note label's 70th anniversary celebrations. It is a collection of often hard-grooving music chosen by the Dutch bassist and Blue Note buff Hans Mantel.

1 - Saxophone #1:
2 - Saxophone #2
3 - Trumpet
4 - Piano
5 - Organ
6 - Bands & Leaders #1
7 - Bands & Leaders #2
8 - Extra Vocal




 

Stan Getz - The Lost Recordings - Live at the Berlin Jazz Festival 1966 (2 CD, 2021/FLAC)

 

The Lost Recordings found the master tapes of this double recital in the Berlin radio archives. How can one not be transported by this concert, which delivers a previously unreleased version of the tracks from the legendary 1964 album on Verve? The label is offering the world premiere of this concert recorded at the Berlin Philharmonic, as part of the 1966 Berliner Jazztage. The 19 tracks of this now unforgettable concert are added to the collection with, as always, an unequalled sound quality, thanks to the Phoenix Mastering® process

The concert given by Stan Getz's quartet with Astrud Gilberto on November 4, 1966, was a sort of contretemps. In these crazy years when everything is rushing, things have indeed changed in the lives and careers of the two main protagonists who, after a fleeting romance, have each regained their personal and artistic independence. 

After a brief romantic idyll together, each one returned to their private lives and resumed their independence as artists. Verve had brought out a series of albums by Astrud Gilberto where seductive easy listening intermingled with cool jazz, sentimental pop and languid Brazilian groove. She was at the very pinnacle of her fame, while Getz had made a remarkable comeback to jazz. Once again, he worked with arranger Eddie Sauter, this time on the soundtrack of Arthur Penn’s Mickey One. Even more noteworthy was his discovery of vibraphonist Gary Burton, barely twenty years old, the ideal musician with whom to form a regular jazz quartet with Gene Cherico on bass and Joe Hunt on drums. It was an ensemble that was receptive to new sounds and harmonic ventures. 







CD 1

  1.     On Green Dolphin Street (06:48)
  2.     Introduction by Stan Getz (00:52)
  3.     The Singing Song (03:12)
  4.     The Shadow of Your Smile (05:10)
  5.     O Grande Amor (06:41)
  6.     Blues Walk (06:37)
  7.     Once Upon a Summertime (06:42)
  8.     Edelweiss (04:16)
  9.     Medley: Desafinado / Chega De Saudade (06:50)

CD 2

  1.     Samba De Uma Nota So (03:43)
  2.     The Shadow of Your Smile (03:04)
  3.     Voce E Eu (Eu E Voce) (02:40)
  4.     Corcovado (04:26)
  5.     The Telephone Song (02:00)
  6.     It Might As Well Be Spring (04:14)
  7.     The Girl from Ipanema (04:11)
  8.     Announcement by Stan Getz (00:38)
  9.     Jive Hoot (09:04)
  10.     Goodbye by Stan Getz (00:57)

Toshiko Akiyoshi-Lew Tabackin Big Band - Mosaic Select 33 (3 CD, 2008/FLAC)


 The Toshiko Akiyoshi-Lew Tabackin Big Band was the premier recording and touring ensemble of its time in the mid- to late '70s, recording five albums for the RCA Victor label, and stunning audiences with sheer virtuosity and the charts of the Japanese born pianist. A symmetry between Asian culture and American bop made this orchestra most unique, exciting, and above all, highly original.

 This three-CD set contains the quintuple RCA studio recordings that set a high bar for all others to follow, and gave stiff competition to people like Gil Evans. Akiyoshi wrote music well suited to her rising stars and established veterans, while Tabackin was given more than ample opportunity to express himself on tenor sax, and especially his vibrant flute. This band also grew talent that would go on to become leaders, including Bobby Shew and Gary Foster, those who developed into section leaders like Phil Teele, Bill Reichenbach, and Dick Spencer, and trusted veterans Britt Woodman, Bill Perkins, Don Rader, and King Errison.

If you do not already own these recordings and are a progressive big-band fan, it is in your interest to search for this quintessential collection. Mosaic Select has hit a grand slam with this reissue, featuring a band in their early years that has hit on all cylinders since its inception, and never lets off the gas. It comes with an absolute highest recommendation.




Freddie Redd - The Complete Blue Note Recordings Of Freddie Redd (2 CD, 1989/FLAC)

 

Available in a box set as either three LPs or two CDs, this limited-edition release has all of the music recorded at pianist Freddie Redd's three Blue Note sessions. In addition to the selections originally included on the LPs Music From the Connection and Shades of Redd, there is a completely unissued date that adds to the fairly slim Freddie Redd discography. Altoist Jackie McLean (who is on all three sets) and tenor saxophonist Tina Brooks (a key soloist on two) co-star with the pianist; trumpeter Benny Bailey is also heard from the later date. The music is comprised mostly of Redd's originals (including seven songs written for the stage play The Connection) and fits into the style of the mainstream hard bop of the day, although with a few personal touches. Straight-ahead fans and Blue Note collectors can consider this set to be essential. 

 


Disc I

01. Who Killed Cock Robin (5:22)
02. Wigglin' (5:59)
03. Music Forever (5:57)
04. Time To Smile (6:25)
05. Them For Sister Salvation (4:46)
06. Jim Dunn's Dilemma (5:39)
07. O.D. (4:47)
08. The Thespian (7:00)
09. Blues, Blues, Blues (5:59)
10. Shadows (7:26)
11. Melanie (Alt. Tk) (5:25)

Disc II

01. Melanie (5:05)
02. Swift (4:01)
03. Just A Ballad For My Baby (4:13)
04. Ole (6:29)
05. Ole (Alt. Tk) (7:41)
06. Now (7:14)
07. Cute Doot (6:17)
08. Old Spice (7:05)
09. Blues For Betsy (5:02)
10. Somewhere (5:56)
11. Love Lost (7:10)

Blue Note Works 4000-4100 series [4031-4040]

 

...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###


 



BN.4031- Hank Mobley- 1960- Soul Station {RVG Remaster}
BN.4032- Sonny Red- 1960- Out Of The Blue
BN.4033- Dizzy Reece- 1960- Soundin' Off {RVG Remaster}
BN.4034- Lee Morgan- 1960- Lee-Way {RVG Remaster}
BN.4035- Duke Pearson- 1959- Tender Feelin's {RVG Remaster}
BN.4036- Lou Donaldson- 1960- Sunny Side Up
BN.4037- Horace Parlan- 1960- Us Three
BN.4038- Jackie McLean- 1960- Capuchin Swing {RVG Remaster}
BN.4039- Stanley Turrentine- 1960- Look Out! {RVG Remaster}
BN.4040- Freddie Hubbard- 1960- Open Sesame {RVG Remaster}

Michal Urbaniak discography [1970-2009]

 

Michał Urbaniak (born January 22, 1943) is a Polish jazz musician and composer born in Warsaw, Poland, playing mainly the violin, lyricon and saxophone during concerts and recordings. He played a central role in the development of jazz fusion in the 1970s and 1980s, and has introduced elements of folk, R&B, hip hop, and symphonic music to jazz.

Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched Violectra, and the Lyricon (the first popular, if now largely under-utilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady."

Urbaniak began playing the violin at age six, followed by studies on the soprano and then tenor saxophones. His interests in jazz developed chronologically from Dixieland to swing to bop as he grew up, and he studied at the Academy of Music in Warsaw while working in various Polish jazz bands and playing classical violin. In 1965, he formed his own band in Scandinavia with singer Urszula Dudziak (later his wife), returning to Poland in 1969 to found Constellation, which included pianist Adam Makowicz. Having won a scholarship to the Berklee College of Music upon being voted Best Soloist at the 1971 Montreux Jazz Festival, Urbaniak made the U.S. his home in 1973. He soon formed a popular jazz-rock group called Fusion, recording for Columbia and Arista in a Mahavishnu Orchestra/Ponty fashion, with Dudziak adding darting, slippery scat vocals. This group lasted until 1977, and Urbaniak's profile would never be as high again, although he performed with Larry Coryell in 1982-1983, led the new electric group Urbanator in the 1990s, and has performed and recorded in other styles ranging from bop to free jazz into the 21st century.

 
Michal Urbaniak.1970- Paratyphus B
Michal Urbaniak.1971- Inactin
Michal Urbaniak.1971- Live Recordings (Polish Jazz)
Michal Urbaniak.1972- We'll Remember Komeda
Michal Urbaniak.1973- Constellation In Concert
Michal Urbaniak.1974- Atma
Michal Urbaniak.1974- Fusion
Michal Urbaniak.1975- Funk Factory
Michal Urbaniak.1975- Fusion III
Michal Urbaniak.1976- Body English
Michal Urbaniak.1977- Smiles Ahead
Michal Urbaniak.1977- Urbaniak
Michal Urbaniak.1978- Ecstasy
Michal Urbaniak.1978- Heritage
Michal Urbaniak.1980- Serenade For The City
Michal Urbaniak.1982- Solo's, Duo's & Trio's (w.Larry Corryel)
Michal Urbaniak.1984- Burning Circuits
Michal Urbaniak.1989- Songs For Poland
Michal Urbaniak.1990- Milky Way
Michal Urbaniak.1992- Manhattan Man
Michal Urbaniak.1993- Urbanator
Michal Urbaniak.1994- Some Other Blues
Michal Urbaniak.1996- Code Blue
Michal Urbaniak.1996- Live In Holy City
Michal Urbaniak.1996- My One And Only Love
Michal Urbaniak.1996- Urbanator II
Michal Urbaniak.2001- Sax, Love & Cinema
Michal Urbaniak.2005- Urbanator III
Michal Urbaniak.2007- Jazz Legends 2
Michal Urbaniak.2009- Miles Of Blue 2CD

Billy Eckstine – I Ain't Like That {Quadromania} [4 CD, 2005/FLAC]

 

William Clarence Eckstine (July 8, 1914 – March 8, 1993) was an American jazz and pop singer and a bandleader during the swing era. He was noted for his rich, almost operatic bass-baritone voice. His recording of "I Apologize" (MGM, 1948) was given the Grammy Hall of Fame Award in 1999. The New York Times described him as an "influential band leader" whose "suave bass-baritone" and "full-throated, sugary approach to popular songs inspired singers like Earl Coleman, Johnny Hartman, Joe Williams, Arthur Prysock and Lou Rawls." 

 


Andrew Hill - Solo : Mosaic Select 23 (3 CD, 2006/FLAC)


 Mosaic Select presents a limited edition containing all of the solo piano recordings made by Andrew Hill at the Fantasy studios in Berkeley, CA during August and October 1978. Only a fraction of this material -- the first two titles on the third disc -- had ever seen the light of day prior to this collection's release in the spring of 2007. Having operated throughout the '60s as an innovative composer, pianist and bandleader, Hill spent the first half of the following decade exercising his creativity by composing and instructing at Colgate University in Hamilton, NY, performing internationally, and making records for Freedom, East Wind and Steeplechase. In 1976 he moved to San Francisco with his wife, composer and organist Laverne Hill. The move was motivated by the fact that Laverne had recently learned that she was afflicted with an incurable ailment that would eventually deprive her of her life. Needing more peace and quiet than San Francisco offered, the Hills settled in Pittsburg, a small town east of Oakland. The music on this compilation is very personal, peaceful, ruminative and intimate. It was recorded during a time when Andrew Hill was performing regularly not too far from home, usually as a soloist in spaces better suited for the presentation of chamber music rather than in night clubs. "From California with Love" and "Reverend Du Bop" appeared on Artists House LP AH9, "From California with Love" was released in 1979. All of the rest of this music -- more than two hours of additional solo piano improvisations -- languished in Hawaii until the people behind Mosaic unearthed it and Michael Cuscuna produced this beautiful three-disc set. Readied for release during the summer of 2006, it was made available to the public in a limited edition only weeks after the passing of Andrew Hill in April 2007.

 


Disc I
01. Moonlit Monterey (16:03)
02. 17 Mile Drive (12:22)
03. Gone With The Wind (6:07)
04. I Remember Clifford (4:30)
05. Moonlit Monterey (alt take) (9:01)

Disc II
01. California Tinge (11:46)
02. Napa Valley Twilight (10:13)
03. Above Big Sur (15:59)
04. An Afternoon In Berkeley (12:15)
05. California Tinge (first version) (24:38)

Disc III
01. From California With Love (20:03)
02. Reverend Du Bop (18:43)
03. Pastoral Pittsburg (11:01)
04. Pittsburg Impasse (5:55)

VA - The Savory Collection 1935-1940 (6 CD, 2018/FLAC)


 Certain collections of music are so rich and deep that it feels like a listener could almost swim in them. This six-disc, 108-track set feels bottomless. It also represents one of the greatest provenance accounts in all of jazz. Someone ought to write a short story about it.

Bill Savory was a reticent New York recording engineer in the 1930s and 1940s who had a cool nocturnal habit: While transcribing radio broadcasts for foreign distribution, he liked to multitask, flipping on his recorders and capturing what was going out over the airwaves from live jazz-club performances that were only meant to be heard once. That is, if there had been no Bill Savory.

We could order a lot of beers and have a lot of passionate talks about what’s best and most valuable here. Here’s a whistle-wetter: a version of Coleman Hawkins’ “Body and Soul” cut seven months after its jazz epoch-shaping studio counterpart, and frankly better. At the earlier date, Hawkins had hit upon something, but now what was hit upon has been refined, sacrificing none of its immediacy as it extends its domain, roots plunging deeper into soil.

Given where jazz was played and where Savory was at, most of the recordings come from NYC, but there are others from the nightclub temples of Boston and Chicago. Fats Waller blazes at the charmingly billed The Yacht Club, as if a regatta were simultaneously unwinding outside. He had no idea this was being recorded, he’s playing only for the patrons of the evening, but his set selections underscore an epiphany central to the artistry of these men and women: The workaday gig is also the all-timer gig, the next entry in a progression of them. Nothing is throwaway, all can last. That is some doozy art.

Speaking of which: A WNEW jam session features Basie tenor sax stud Herschel Evans a mere month before his death, and when you hear the power coming through his horn, you wonder how the Reaper got up the balls to approach him. Rival/partner Lester Young, meanwhile, blows a blues so pure on “Lady Be Good” with the Basie band that you just about giggle that these two cats were somehow in the same unit. These players always belong to their moment entirely even as they transcend it, with Savory acting as recording scribe for a kind of jazz Bible.

Swing is the ostensible core of the collection, but what we’re hearing is jazz morphing, nightly. Drummer Chick Webb’s case as a sticksman and prime mover par excellence is furthered, Ella Fitzgerald is moving swing singing into an era of vocal Modernism, and if you don’t think the John Kirby sextet could hold its own in a battle of the bands versus Coltrane’s quartet or either Miles quintet, well, let’s line up these recordings with theirs and have everyone throw down. Thank you, Mr. Savory, for your hobby. You have provided a plunge into a lost sea of history. And you have done every corner of our human condition a massive solid.

 
 

Jack Teagarden - The Complete Roulette Sessions (4 CD, 2003/FLAC)

 

Jack Teagarden's output for Roulette between 1959-1961 had been out of print for decades until reissued in a lavishly packaged comprehensive box set by Mosaic in early 2003, half of which comes from a single night at the Roundtable. With trumpeter Don Goldie, pianist Don Ewell, clarinetist Henry Cuesta, bassist Stan Puls, and Ronnie Greb or Barrett Deems on drums, the trombonist leads his working sextet, with the added bonus of 25 previously unreleased tracks. Teagarden is in top form throughout every session. His matchless trombone seems effortless in chestnuts such as "That's a Plenty," "Basin Street Blues," and "St. James Infirmary"; he also plays euphonium on a record for the only time in his career during "Ol' Man River." His lyrical solos are matched by his vocals, especially the warm "One Hundred Years from Today" and the spirited "St. Louis Blues." Ewell, who plays consistently at the leader's level and also wrote the arrangements, is featured without the front line in swinging treatments of "Honeysuckle Rose" and "Atlanta Blues." Goldie is frequently an excellent soloist and ensemble player, though he falters by adding distracting codas to his ballad features. Puls and Greb are showcased in an unusual take of "Big Noise from Winnetka," where both musicians whistle in unison, as well as play their instruments, in this mostly visual crowd-pleasing favorite. Only two selections are duds; both the re-creation of Teagarden's classic duet with Louis Armstrong of "Rockin' Chair" and an overdone take of "When the Saints Go Marching In" are marred by Goldie's mimicry of Satchmo's gravelly vocals, which quickly gets tedious. But the beautifully remastered sound of these mostly exceptional performances, the detailed liner notes, and the rare photos make this limited-edition set an essential purchase.

 

 

McKinney's Cotton Pickers - Chronogical Classics 1928-1931 (3 CD)


William McKinney was a drummer who by 1923 had retired from playing in favor of conducting and managing a big band. In 1926 his outfit became known as McKinney's Cotton Pickers, and the following year they scored a major coup by hiring arranger/altoist/vocalist Don Redman away from Fletcher Henderson. As the band's musical director, Redman put together an outfit that competed successfully with Henderson and the up-and-coming Duke Ellington. The lineup of musicians by the time they started recording in 1928 included Langston Curl, Claude Jones, George Thomas, and Dave Wilborn, but it was the advanced arrangements, the tight ensembles, and the high musicianship of the orchestra on the whole that was most impressive. There were a few special all-star sessions with such players as Joe Smith, Sidney DeParis, Coleman Hawkins, Fats Waller, and Lonnie Johnson making appearances, and James P. Johnson sat in on one date. Among the more rewarding recordings overall were "Four or Five Times," "It's Tight like That," "It's a Precious Little Thing Called Love," and four future standards that Redman introduced: "Gee Baby Ain't I Good to You," "Baby Won't You Please Come Home," "I Want a Little Girl," and "Cherry."

It was a major blow in 1931 when Don Redman departed to form his own band. Benny Carter took over as musical director, but despite the presence of such fine players as Doc Cheatham, Hilton Jefferson, and holdovers Quentin Jackson, Rex Stewart, and Prince Robinson, there would only be one final recording session. The Depression eventually did the band in and after much turnover in 1934, the classic group broke up. McKinney organized later versions of the Cotton Pickers but without making an impression.

 
 

Bill Evans (sax) collection [1983-2016]

 

William D. "Bill" Evans (born February 8, 1958 in Clarendon Hills, Illinois) is an American jazz saxophonist who was a member of the Miles Davis group in the 1980s and the fusion band Elements. Evans plays tenor and soprano saxophones. He has recorded over 17 solo albums and received two Grammy Award nominations. He recorded an award-winning album called Bill Evans – Vans Joint with the WDR Big Band in 2009.

He has played a variety of music with his solo projects, including bluegrass, jazz, and funk. His style is influenced by Sonny Rollins, Joe Henderson, John Coltrane, Stan Getz, Steve Grossman, and Dave Liebman.

 


Bill Evans & WDR Big Band Cologne-(2010)- Vans Joint
Bill Evans, Randy Brecker-(2004)- Soul Bop Band Live (2 CD)
Bill Evans-(1983)- Living in the Crest of a Wave
Bill Evans-(1986)- The Alternative Man
Bill Evans-(1989)- Summertime
Bill Evans-(1994)- Push
Bill Evans-(1996)- Escape
Bill Evans-(1999)- Touch
Bill Evans-(2000)- Soul Insider
Bill Evans-(2007)- The Other Side Of Something
Bill Evans-(2012)- Dragonfly
Bill Evans-(2016)-Rise Above

Chucho Valdés & The Afro-Cuban Messengers - Border-Free (2013/FLAC)


 Border-Free is a companion piece and a doubling-down on Chucho Valdés’ magnificent Chucho’s Steps album from 2010. Valdés has retained most of his Afro-Cuban Messengers (although the drummer and bassist are new, the percussionist, vocalist/bata player and trumpeter return), pays tribute once again to family members and key historical musicians and cultures, and reprises the previous album’s virtuosic hopping and condensing of genres.

But where Chucho’s Steps included a dedication to Chucho’s son, Julian, Border-Free includes tributes to his grandmother (“Caridad Amaro,” which concludes with an excerpt from a Rachmaninoff concerto she liked); his mother (“Pilar,” which interpolates compositions from Bach and Miles Davis that she favored); and his famous, recently departed father, Bebo Valdés (“Bebo,” which, despite the small ensemble, evokes Bebo’s Sabor de Cuba Orchestra from the ’50s).

While Chucho’s Steps featured an overt tribute to the Marsalis family, Border-Free actually brings saxophonist Branford Marsalis onboard for three songs, an inspired addition that bears fruit within the ’50s Cuban ambiance of the Bebo homage and the Afro-Arabic gnawa music of “Abdel.” As its title implies, Border-Free also ups the ante in terms of genre hopping and swapping. Along with the aforementioned forays into Euro-classical, Arab, old-style Cuban and postbop stylings, the centerpiece of the record is the 12-minute “Afro-Comanche,” featuring percussion and chants and dedicated to the mixed heritage Cuban offspring of the Comanches who were deported to the island in the 19th century.

But above all, Border-Free, like Chucho’s Steps, is carried forth on the crests of Valdes’ piano. The notes pour out like a force of nature, conjuring the nightclub and the conservatory, bop and clave, concerto and danzón via heart, hands and soul. The opening number, “Congadanza,” is the musical equivalent of a waterfall kicking up a rainbow in its mist. At 71, he’s found another gear these past two records. --Britt Robson, JazzTimes

 

 
  • Chucho Valdés – piano
  • Reinaldo Melián Alvarez - trumpet
  • Dreiser Durruthy Bombalé - batás, lead vocals
  • Rodney Barreto Illarza - drums, vocals
  • Ángel Gastón Joya Perellada - double bass, vocals
  • Yaroldy Abreu Robles - percussion, vocals
  • Branford Marsalis - tenor sax on Tabú & Bebo - soprano sax on Abdel

Recorded: Abdala Studio, Havana, Cuba and in Comanche Recording Studio, Málaga, Spain, in December 2012

01. Congadanza (9:09)
02. Caridad Amaro (6:27)
03. Tabú (9:47)
04. Bebo (7:47)
05. Afro-Comanche (11:55)
06. Pilar (10:03)
07. Santa Cruz (6:23)
08. Abdel (9:06)

Randy Weston - Mosaic Select 4 (3 CD, 2003/FLAC)


 The three CDs that make up the Randy Weston Mosaic Select package comprise the complete sessions from six different albums, one of which was previously unreleased. Weston has had a long and varied career, and one that has established him in the consummate realm of piano soloists with his idiosyncratic, inclusive style. His deep jazz roots were accompanied, almost from the beginning, by the influences of Afro-Caribbean folk and the music of Asia, which he encountered during his tenure with the U.S. armed forces.

 As represented by this set, the only consistent thing in Weston's output from the years 1957-1963 is the high quality. Piano à la Mode was released on Jubilee with a trio that included Connie Kay and Peck Morrison; two big band albums, Uhuru Afrika and Highlife, were issued in 1960 and 1963, respectively; and there were three recordings in between: an unreleased date for Roulette, Little Niles, and Live at the Five Spot, the latter two for United Artists. Their personnel, producers, and material varied so widely that, if it weren't for Weston's telltale style in the middle register, we'd never know that the albums had the same bandleader. Little Niles, and Five Spot reflect the Weston we've come to know since 1989, creating a new pan-African classical music, structured outside of the Western cultural paradigm. How they came into being after the Five Spot date (the first of his recordings arranged by Melba Liston) -- which featured a band with Kenny Dorham, Coleman Hawkins, Roy Haynes, and Wilbur Little -- is a mystery. The late hard bop and bluesy swing from that date is nowhere in evidence on Uhuru or Highlife. But this set offers clues in the form of compositional development and the gradient incorporation of new ideas, rhythmic concepts, and contrapuntal strategies. As a bandleader, the gradual expansion from a trio to quintet to big band is also fascinating because Weston sounds more at home with each phase of his band. But at the time Highlife was issued, according to the music here, Weston sounded as if he had liked a big band playing trans-African music his entire life. These three CDs are nothing less than monumental in the revelation of Weston's musical thought and application. His interaction with small rhythm sections and various groups of soloists reveal his consummate status as one of the most generous bandleaders in history. This highly recommended package is indispensable not only because it fills the cracks in Weston's legacy, but for the merits of the music in it, as well.


 
 

John Coltrane & Friends - Sideman: Trane’s Blue Note Sessions (3 CD, 2014/FLAC-HD)


  A collection of the legendary saxophonist’s sideman sessions for Blue Note Records from 1956-1957, when Coltrane was a regular member of the Miles Davis Quintet and played with pianist Thelonious Monk. This set, conceived by former Blue Note Records president Bruce Lundvall, marks the first time Coltrane’s sideman sessions for Blue Note have been collected in one place; albums include recordings led by Paul Chambers (Chambers’ Music, a.k.a. High Step, and Whims of Chambers), Johnny Griffin (A Blowing Session) and Sonny Clark (Sonny’s Crib).

  • John Coltrane - saxophone
  • Paul Chambers - double bass
  • Sonny Clark - piano
  • Johnny Griffin - saxophone
 
 

Enrico Pieranunzi — The Complete Remastered Recordings On Black Saint & Soul Note (6 CD, 2010/FLAC)

 


Born in Rome in 1949, Pieranunzi grew up to become one of Europe's established masters of mainstream modern jazz. His six-CD set opens with the album Isis, which was recorded in February 1980. Pieranunzi shared the date with trumpeter Art Farmer (heard on flügelhorn) and alto saxophonist Massimo Urbani. A handful of compositions by Charlie Parker and Dizzy Gillespie bring extra warmth to an already substantial itinerary. Pieranunzi's next Soul Note album, Deep Down, was recorded in February 1986 with drummer Joey Baron and Marc Johnson, whose presence was significant as he was the last bassist to work with Pieranunzi's idol, Bill Evans. Those expecting to encounter the 1987 album Silence will not find it in this set, but rather in the Charlie Haden edition from the same series. Chronologically speaking, the next album in this box is No Man's Land, recorded in May 1989 with Johnson and drummer Steve Houghton. Flux & Change, which came together in August of 1992, is a suite of 23 studies (some of them quite brief) created in duet with percussionist Paul Motian. Seaward was recorded in March of 1994 with bassist Hein van de Geyn and drummer André Ceccarelli. Both players hailed from Dee Dee Bridgewater's backing band. This bundle of dependably enjoyable modern jazz closes with the album Ma l'Amore No. Recorded in February 1997, it features alto saxophonist Lee Konitz, trumpeter Enrico Rava, and vocalist Ada Montellanico. 

In later years Pieranunzi recorded a lot for the CAM Jazz label, variously collaborating with Charlie Haden, Paul Motian, and Kenny Wheeler; reuniting with Johnson and Baron; or devoting entire albums to reinterpretations of music by Domenico Scarlatti, George Frederick Handel, and Johann Sebastian Bach. Among denizens of North America, Pieranunzi's portion of the Soul Note reissue series may serve to increase awareness of his contributions to the inextinguishable, ever-changing braid of musical traditions called jazz. 

 


CD 1 • Enrico Pieranunzi Quartet & Quintet featuring Art Farmer – Isis (1980)
CD 2 • Enrico Pieranunzi, Marc Johnson, Joey Baron – Deep Down (1987)
CD 3 • Enrico Pieranunzi Trio With Marc Johnson And Steve Houghton – No Man's Land (1989)
CD 4 • Enrico Pieranunzi, Paul Motian – Flux And Change (1995)
CD 5 • Enrico Pieranunzi Trio With Hein Van de Geyn & André Ceccarelli – Seaward (1996)
CD 6 • Enrico Pieranunzi Trio & Ada Montellanico with Lee Konitz & Enrico Rava – Ma L'amore No (1997)

 

Blue Note Works 4000-4100 series [4017-4030]

 

...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###



 



BN.4017- Horace Silver- 1959- Blowin' the Blues Away {RVG Remaster}
BN.4018- Walter Davis Jr.- 1959- Davis Cup {RVG Remaster}
BN.4019- Donald Byrd- 1959- Byrd In Hand {RVG Remaster}
BN.4020- The Three Sounds- 1959- Good Deal
BN.4021- Kenny Burrell with Art Blakey- 1959- On View at the Five Spot Cafe
BN.4022- Duke Pearson- 1959- Profile {RVG Remaster}
BN.4023- Dizzy Reece- 1959- Star Bright
BN.4024- Jackie McLean- 1959- Swing, Swang, Swingin' {RVG Remaster}
BN.4025- Lou Donaldson- 1959- The Time Is Right
BN.4026- Donald Byrd- 1959- Fuego {RVG Remaster}
BN.4027- Freddie Redd Quartet with Jackie McLean- 1960- The Connection {RVG Remaster}
BN.4028- Horace Parlan- 1960- Movin' & Groovin'
BN.4029- Art Blakey & The Jazz Messengers- 1960- The Big Beat {RVG Remaster}
BN.4030- Jimmy Smith- 1960- Crazy! Baby

Rahsaan Roland Kirk - Complete Recordings 1956-1962 (4 CD, 2013/FLAC)


 Of the eight albums compiled on this Enlightenment box set, five of them belong under Roland Kirk's name as a leader. They include Triple Threat (1956, King), Introducing Roland Kirk (1960, Argo, with Ira Sullivan), Kirk's Work (1961, Prestige, with Jack McDuff), We Free Kings (Mercury, 1961), and Domino (Mercury, 1962). There are also three dates on which he is a featured soloist. Of these, Quincy Jones' Big Band Bossa Nova, while a fine recording, is completely unnecessary in this context. Better is the Roy Haynes Quartet's Out of the Afternoon from Impulse! Records in 1962, with pianist Tommy Flanagan and bassist Henry Grimes. But the best of these non-Kirk-led dates, however, is Tubby Hayes' Tubby's Back in Town, from 1962 on Smash. It placed Kirk in heavy duty company. The British saxophonist/leader plays tenor and vibes, James Moody (as "Jimmy Gloomy") also plays tenor, and the rhythm section features pianist Walter Bishop, Jr., bassist Sam Jones, and drummer Louis Hayes. Kirk plays not only tenor but also manzello, flute, and nose flute, and adds immeasurably to the force and texture of the record. There are 62 tracks on these four discs, and the sound is decent, but not remastered. The set is exceptionally cheap. One thing the consumer should be aware of, however, is that Enlightenment, being a British label, is not bound by the same copyright laws as the United States, and neither the artists nor their estates see compensation from this reissue. 

 

 

Tony Williams - Mosaic Select 24 (3 CD, 2008/FLAC)


 For the 24th Mosaic Select box set of reissues from the Blue Note vaults, series producer Michael Cuscuna has chosen five recordings in a seven-year span from 1985-1991 by drummer/bandleader Tony Williams. Note that this is not the complete Tony Williams on Blue Note, excluding his sessions after having left the Miles Davis Quintet, especially Life Time, Spring, and his sideman work with Jackie McLean, Eric Dolphy, and Sam Rivers. The complete latter-period group recordings included are Foreign Intrigue, Civilization, Angel Street, Native Heart, and The Story of Neptune. All are solidly in the modern mainstream post-bop mode, featuring the forceful, driving drumming of Williams, and all the sets feature the brilliant pianist Mulgrew Miller with Miles devotee trumpeter Wallace Roney. Tenor and soprano saxophonist Bill Pierce is paired on the sides except Foreign Intrigue. Ron Carter, Charnett Moffett, and Ira Coleman are the bassists, with Robert Hurst making a cameo on three tracks. These are individualistic, solid players, giving Williams the opportunity to not only jam with the best, but write music geared toward their personalized sounds and stances. Four of the five sessions were done in New York City; only Civilization was done elsewhere, in Los Angeles. Of the 38 selections, four are unaccompanied drum solos, and three are covers or standards. There are a few waltzes and no ballads as one might expect, though Miller's piano rhapsodically introduces two tracks. The remainder are original compositions of Williams. Give the drummer some credit, as a total musician and composer. The recordings are programmed in chronological order, starting with Foreign Intrigue, which likely is overall the best of the lot. Williams introduces some of these compositions and utilizes his acoustic kit with a drum machine and electronic drums. There are some classics on this one, like the title track, the hard bopper "Clearways," the cool bluesy "Takin' My Time," and the loping by-now standard "Sister Cheryl." Bobby Hutcherson's presence on vibes truly uplifts this session, as does Donald Harrison's alto sax, the only alto on the compilation. 

 

 

VA - The Black Box Of Jazz (4 CD, 1995/FLAC)


 An excellent four-CD compilation of top-flight performances by members of the upper tier of the jazz world. This collection is a mixture of studio and live performances focusing on musicians from bop and post-bop era, although there's a healthy presentation of swing and pre-bop musicians. Moreover, many of these tracks had not been released when this set was issued in 1995. In addition, a lot of the performances from the late '80s and early '90s. But there are some cuts from the 1950s as well, most notably "Off Minor" from a 1957 set with Thelonious Monk, John Coltrane, and Coleman Hawkins. With 50 tracks covering more than five hours of different styles of jazz music, this box set is a veritable jazz smorgasbord. Woody Herman typically limited his solo opportunities, passing them onto the preeminent jazz musicians who worked in his various aggregations, Herds, and otherwise. But this compilation includes a version of "Mood Indigo" with Herman's clarinet working with Lionel Hampton's vibes and Roland Hanna's piano that can be best described as breathtaking. Playing mostly in the middle and lower registers, his clarinet captures the sense of "blueness" which is conveyed with this Duke Ellington classic masterpiece. Hampton, in fact, appears several times throughout this set in a variety of scenarios as leader and sideman and with players representing a variety of styles from Gerry Mulligan to Charles Mingus. Hard bop master Art Blakey shows up with a 1980 version of "Moanin" with a Jazz Messengers iteration that includes Wynton Marsalis and Billy Pierce. It are Marsalis' trumpet and Peirce's tenor that are highlighted on this track. Another treat is Louis Bellson's dazzling drumming on "Caravan," on a 1987 Phil Woods track. There's a fine Freddie Hubbard Quintet track, "Bolivia," from a live 1991 performance at a jazz festival in Warsaw, Poland. 

 
 

Jack Teagarden - Chronogical Classics 1930-1947 (6 CD)

 

Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964), known as "Big T" and "The Swingin' Gate", was a jazz trombonist, bandleader, composer, and vocalist, regarded as the "Father of Jazz Trombone".

Teagarden's trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.

 

Paco de Lucía discography [1964-2016]

 

Francisco Gustavo Sánchez Gomez (21 December 1947 – 25 February 2014), known as Paco de Lucía [ˈpako ðe luˈθia], was a Spanish virtuoso flamenco guitarist, composer and producer. A leading proponent of the new flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists to have successfully crossed over into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as "one of history's greatest guitarists".