29 April, 2011


Vince Guaraldi & Bola Sete - Vince & Bola (1963&66)

Vince Guaraldi & Bola Sete - Vince & Bola (1963&66)
V Guaraldi/B Sete & Friends; V Guaraldi & B Sete Live at El Matador
jazz | 2lp on 1cd | eac-flac-cue-log-cover | 430MB
Fantasy | rem: 2000
The first and third of the three albums Vince Guaraldi and Bola Sete made together -- Vince Guaraldi/Bola Sete & Friends (1963) and Vince Guaraldi & Bola Sete Live at El Matador (1966) -- are combined onto one disc on this CD reissue. Actually, Sete only plays on two of the seven songs ("More" and "O Morro Nao Tem Vez") on the latter album, but no matter. Their collaboration could not be pegged as a peak in either man's careers, and did not particularly inspire either to forms or feelings they didn't achieve on their own. Nevertheless, they made pleasant, lightly swinging music together, often with a jazz-samba lilt, though at an easy enough pace that the music could fit comfortably into lounges. Vince Guaraldi/Bola Sete & Friends is certainly the more samba-oriented of the pair, not only because Sete is aboard for every cut, but also because the arrangements have more of a Brazilian feel. On Vince Guaraldi & Bola Sete Live at El Matador, an unusual highlight is Guaraldi's Sete-less interpretation of the Beatles' "I'm a Loser" -- surely one of the more unusual Beatles covers of the time, and quite possibly the most unusual cover of "I'm a Loser" itself, which wasn't one of Lennon-McCartney's more frequently interpreted compositions.

-01. "Casaba" - Guaraldi, Guarldi - 7:55
-02. "Mambossa" - Castro, DeCastro - 8:39
-03. "Star Song" - Guaraldi, Siden - 4:47
-04. "Moon Rays" - Silver - 7:02
-05. "Days of Wine and Roses" - Mancini, Mercer - 5:25
-06. "El Matador" - Guaraldi - 4:36
-07. "I'm a Loser" - Lennon, McCartney - 2:40
-08. "Nobody Else" - Guaraldi - 2:27
-09. "More" - Oliviero, Ortolani, Ortolani - 4:38
-10. "O Morro Nao Tem Vez (Somewhere in the Hills)" - De Moraes, Demoraes, Jobim - 8:54
-11. "Black Orpheus Suite" - Bonfa, Creatore, Jobim, Maria… - 10:56
-12. "People" - Merrill, Styne - 3:54

*Vince Guaraldi (piano)
*Bola Sete (guitar)
*Fred Marshall (bass)
*Jerry Granelli (drums)

27 April, 2011


Modern Jazz Quartet - No Sun in Venice (1957) (eac-log-cover)

Modern Jazz Quartet - No Sun in Venice (1957)
jazz, soundtrack | 1cd | eac-flac-cue-log-cover | 210MB
This recording has six John Lewis compositions that were used in the French film No Sun in Venice. The music is quite complex and disciplined, making this set of lesser interest to fans who prefer to hear Milt Jackson playing bebop-oriented blues. However the versatile group was perfect for this type of music and these thought-provoking performances reward repeated listenings.

-1. "The Golden Striker" - Lewis - 3:41
-2. "One Never Knows" - Lewis - 9:12
-3. "The Rose Truc" - Lewis - 4:57
-4. "Cortege" - Lewis - 7:29
-5. "Venice" - Lewis - 4:28
-6. "Three Windows" - Lewis - 6:45

* Bass – Percy Heath
* Drums – Connie Kay
* Piano – John Lewis
* Vibraphone – Milt Jackson

21 April, 2011


Silver Apples - Silver Apples & Contact (1968 & 69) (eac-log-cover)

Silver Apples - Silver Apples & Contact (1968 & 69)
rock, electronic | 2lp on 1cd | eac-flac-cue-log-cover | 530MB
MCA 1997 reissue
Silver Apples:

The group's two '60s albums (Silver Apples and Contact) were previously combined as a two-fer a few years before this identical release, but as this is on a major label, it will find wider distribution. It also benefits from the addition of newly penned historical liner notes from Simeon and vintage photos of the band, along with a diagram of the Simeon (the instrument) and Danny Taylor's drum setup.
Aside from Simeon's use of a banjo on a couple of tracks, the music on Contact does not differ from that of their debut. One aspect improved upon was the lyrics; many possess the same "cosmic" element found on Silver Apples, but others are full of bitterness, pain, paranoia, and confusion. In turn, the lead oscillator is used to greater effect, reflecting this newfound intensity. Simeon, who composed the text for five of Contact's ten songs (he framed one song on Silver Apples, "Dancing Gods"), was largely responsible for this change. The record opens with "You and I," one of their best numbers, in which Simeon cuts out the hippie overtones present in the first album's lyrics and gets straight to the point. The text of "I Have Known Love," written by Simeon's girlfriend Eileen Lewellen, details love's all-encompassing power. "You're Not Foolin' Me" incorporates outside sound to drive home the written word, using a continuous, ringing telephone to illustrate the obsessive nature of love. "A Pox on You" and "Gypsy Love" further exploit the feelings one experiences once love is denied and the raw emotions that surface. "Confusion" features Simeon's banjo playing prominently. The playful, tossed-off script adds to its throwaway nature, although there is a line or two alluding to their pop leanings. The album closer, "Fantasies," involves Simeon guiding drummer Danny Taylor through the song and hints at the intuitive, trusting nature of their collaboration. This often hilarious track comes as a bit of a surprise, but works along with "Confusion" as a counterbalance to the darker lyrical content on Contact.


-01. "Oscillations" (Danny Taylor, Stanley Warren) 2:48
-02. "Seagreen Serenades" (Simeon, Warren) 2:55
-03. "Lovefingers" (Simeon, Warren) 4:11
-04. "Program" (Simeon, Warren) 4:07
-05. "Velvet Cave" (Simeon, Warren) 3:30
-06. "Whirly-Bird" (Simeon, Warren) 2:41
-07. "Dust" (Simeon, Warren) 3:40
-08. "Dancing Gods" (Navajo Indian Ceremonial) 5:57
-09. "Misty Mountain" (Eileen Lewellen, Simeon) 3:26
-10. "You and I" (Simeon Coxe III, Danny Taylor) – 3:24
-11. "Water" (Simeon, Taylor) – 4:18
-12. "Ruby" (Joy May Creasy, Simeon, Taylor) – 2:32
-13. "Gypsy Love" (Simeon, Stanley Warren, Taylor) – 5:36
-14. "You're Not Foolin' Me" (Simeon, Taylor) – 6:26
-15. "I Have Known Love" (Eileen Lewellen, Simeon, Taylor) – 3:53
-16. "A Pox on You" (Simeon, Taylor) – 5:11
-17. "Confusion" (Simeon, Taylor) – 3:34
-18. "Fantasies" (Simeon, Taylor) – 5:57

* Dan Taylor - Drums, percussion, vocals
* Simeon - Oscillators, vocals

20 April, 2011


Wayne Shorter - Juju (RVG) (1964) (eac-log-cover)

Wayne Shorter - Juju (1964)
jazz | 1cd | eac-flac-cue-log-cover | 410MB
Blue Note | RVG 24-bit remaster 1998
Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter's Ju Ju was the first really great showcase for both his performance and compositional gifts. Early in his career as a leader Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane's rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones' playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter's compositions. McCoy Tyner's role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be.
JuJu rests in the uphill portion of Shorter's creative peak. While the sidemen may have been an even better match for him than the ensembles he would put together for later albums, he was just beginning to find his footing as a leader. His performances were already showing evidence of great originality -- yes, they were influenced by Coltrane, but only in the way that they broke apart the structures of the bop sound to create a sound that had all of the variety and flexibility of the human voice. On later albums like Speak No Evil and The Soothsayer, however, Shorter would rise to an even higher level as a performer with more powerful, confident playing that reached farther afield in its exploration of melodic textures.
What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on "Mahjong," the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions.

-1. "JuJu" –8:30
-2. "Deluge" –6:49
-3. "House of Jade" –6:49
-4. "Mahjong" –7:39
-5. "Yes or No" –6.34
-6. "Twelve More Bars to Go" –5:26
-7. "JuJu" –7:48
-8. "House of Jade" –6:37
(All pieces written by Shorter)

* Wayne Shorter — tenor saxophone
* McCoy Tyner — piano
* Reggie Workman — bass
* Elvin Jones — drums

19 April, 2011


Red Garland - All Mornin' Long (1957) (eac-log-cover)

Red Garland - All Mornin' Long (1957)
jazz | 1cd | eac-flac-cue-log-cover | 180MB
On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set.

-1. "All Mornin' Long" (Red Garland) – 20:21
-2. "They Can't Take That Away from Me" (George Gershwin, Ira Gershwin) – 10:28
-3. "Our Delight" (Tadd Dameron) – 6:18

* Red Garland - piano
* John Coltrane - tenor sax
* Donald Byrd - trumpet
* George Joyner - double bass
* Art Taylor - drums

18 April, 2011


Oscar Peterson and Roy Eldridge (1974) (eac-log-cover)

Oscar Peterson and Roy Eldridge (1974)
jazz | 1cd | eac-flac-cue-log-cover | 255MB
Part of his five sessions that featured duets with different trumpeters, pianist Oscar Peterson's matchup with trumpeter Roy Eldridge (reissued on CD) has its strong moments. Eldridge did not quite have the range of his earlier years, but his competitive streak had not mellowed with age. Peterson pushes Eldridge to his limit and the music is generally quite exciting. Highlights include "Little Jazz," "Sunday," and "Between the Devil and the Deep Blue Sea."

-1. "Little Jazz" (Roy Eldridge, Buster Harding) – 4:45
-2. "She's Funny That Way" (Neil Moret, Richard Whiting) – 7:34
-3. "The Way You Look Tonight" (Dorothy Fields, Jerome Kern) – 6:22
-4. "Sunday" (Chester Conn, Benny Krueger, Ned Miller, Jule Styne) – 5:48
-5. "Bad Hat Blues" (Eldridge, Oscar Peterson) – 7:34
-6. "Between the Devil and the Deep Blue Sea" (Harold Arlen, Ted Koehler) – 5:16
-7. "Blues for Chu" (Eldridge, Peterson) – 5:46

* Roy Eldridge – trumpet
* Oscar Peterson – piano

16 April, 2011


Clifford Thornton New Art Ensemble - Freedom & Unity (1967)

Clifford Thornton New Art Ensemble - Freedom & Unity (1967)
jazz | 1cd | eac-flac-cue-log-cover | 510MB
Unheard Music Series/Atavistic | rel: 2001
For those who don't know better, the free jazz movement is considered a sharp break with the past heritage of the music. That really wasn't the case. As Albert Ayler and Archie Shepp hearkened back to field hollers and very basic folk forms, musicians like Clifford Thornton went in the opposite direction, building on the music of the sophisticates and expanding the possibilities for jazz. Listening to music with this much space in it, it might be hard for some listeners to hear the Mingus. But it's there. And because that's there, Ellington is here in heaping handfuls as well. Sure this stuff is rough in spots. But the myriad of tones this man uses to express himself keeps things interesting and alive -- the bright clarion of cornet and trumpet, the somber, thoughtful vibes, and a rhythm section that embraces two bass players to keep things rooted. The leader plays valve trombone, an enormously flexible instrument that allows him to meld with a variety of moods and produce music at once heartachingly simple and brain-twistingly complex. This reissue is an important acknowledgment of a long-ignored musician. For those with open ears -- and minds.

-01. "Free Huey" - 13:09
-02. "15th Floor" - 8:51
-03. "Miss Oula" - 4:48
-04. "Kevin (The Theme)" - 0:22
-05. "Exosphere" - 10:07
-06. "Uhuru" - 8:31
-07. "O.C.T." - 4:38
-08. "The Wake (Complete Version)" - 14:18
-09. "Babe's Dilemma" - 5:08
-10. "O.C.T. (Alternate Take)" - 4:25

* Bass – Don Moore (2), Jimmy Garrison (tracks: 7, 9, 10), Tyrone Crabb (tracks: 1, 8)
* Cornet – Edward Avent (tracks: 1, 8)
* Drums – Harold (Nunding) Avent
* Saxophone [Alto] – Sonny King
* Trombone [Valve] – Clifford Thornton
* Trumpet – Joe McPhee (tracks: 7, 9, 10)
* Vibraphone – Karl Berger

15 April, 2011


Captain Beefheart - Unconditionally Guaranteed (1974) (eac-log-cover)

Captain Beefheart - Unconditionally Guaranteed (1974)
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 210MB
The most reviled album of Captain Beefheart's entire career, 1974's ironically titled Unconditionally Guaranteed unfortunately largely deserves its negative reputation. Recorded in the U.K. as the first album of Captain Beefheart's contract with Virgin Records, it's also the last album that features any members of the Trout Mask Replica-era band, notably guitarists Zoot Horn Rollo and Alex St. Clair, plus former Mothers of Invention percussionist Art Tripp. Rather like Van Morrison's later album, A Period of Transition, Unconditionally Guaranteed is clearly a deliberate attempt by the Captain to restrain his more peculiar tendencies in search of a wider audience. As might be expected, the wider audience didn't show up, and his longtime fans were put off by the album's more commercial facets. It's not an entirely useless album, as the tunes do have some of the blues-rock punch that's at the root of Beefheart's work, and the lyrics, mostly declarations of love for his wife, Jan Van Vliet, who receives co-writing credit with producer Andy DiMartino on all ten tracks, seem heartfelt enough. The problem is that DiMartino's production and arrangements are flaccid and dull, and Beefheart (purposely) sings as if he's half asleep throughout. Even Captain Beefheart himself disowns this record.

-01. "Upon the My-O-My" – 2:43
-02. "Sugar Bowl" – 2:13
-03. "New Electric Ride" – 3:02
-04. "Magic Be" – 2:55
-05. "Happy Love Song" – 3:54
-06. "Full Moon, Hot Sun" – 2:19
-07. "I Got Love on My Mind" – 3:08
-08. "This Is the Day" – 4:51
-09. "Lazy Music" – 2:49
-10. "Peaches" – 3:20
All songs written by Don and Jan Van Vliet and Andy DiMartino.


Classical Jazz Quartet - Play Rachmaninov (2002) (eac-log-cover)

Classical Jazz Quartet - Play Rachmaninov (2002)
jazz, classical | 1cd | eac-flac-cue-log-cover | 400MB
Kind Of Blue | rel: 2006
One of a series of sessions featuring Bob Belden's arrangements for the Classical Jazz Quartet, this volume focuses exclusively on one piece, Sergei Rachmaninov's Piano Concerto No. 2 in C Minor. As a result, this is by far the most ambitious project tackled by the quartet, though Kenny Barron, Stefon Harris, Ron Carter and Lewis Nash are more than up to the task. Belden subdivides each movement into several parts. For example, the first movement is initially played in a fairly straight-ahead manner, followed by a brisk post-bop segment, a slow blues, a quiet ballad, and finally, a mid-tempo bop setting. The musicians never allow themselves to get stuck in a rut, thanks to their ability to flesh out Belden's conception. In any case, the crossover effect of this recording is more likely to get jazz fans not already familiar with Rachmaninov's original work to investigate it versus classical fans seeking out this extensive revision of his landmark piece.

Piano Concerto #2 in C minor
-1. "Movement 1. Part 1." - Rachmaninov - 0:54
-2. "Movement 1. Part 2." - Rachmaninov - 8:44
-3. "Movement 1. Part 3." - Rachmaninov - 6:41
-4. "Movement 1. Part 4." - Rachmaninov - 4:09
-5. "Movement 1. Part 5." - Rachmaninov - 4:47
-6. "Movement 2. Part 1." - Rachmaninov - 5:55
-7. "Movement 2. Part 2. Cadenza ver" - Rachmaninov - 5:38
-8. "Movement 3. Part 1." - Rachmaninov - 6:12
-9. "Movement 3. Part 2." - Rachmaninov - 6:09

*Kenny Barron - piano
*Ron Carter - bass
*Stefon Harris - vibes & marimba
*Lewis Nash - drums

14 April, 2011


Lennie Tristano Quartet - Live at the Confucius Restaurant 2cd (1955) (eac-log-cover)

Lennie Tristano Quartet - Live at the Confucius Restaurant (1955)
jazz | 2cd | eac-flac-cue-log-cover | 710MB
Gambit Records | 2007

This 2 CD collection includes the complete master takes of the Lennie Tristano Quartet with alto sax legend Lee Konitz at the Confucius Restaurant’s Sing Song Room in New York, on the night of June 11, 1955. The immaculate rhythm section was Gene Ramey, bass, and Art Taylor, drums. This is a much sought-after, long-unavailable recording.
As a bonus, Gambit have added a four-track studio session that was originally issued on LP with the first batch of Confucius material, recorded at Tristano’s home studio, New York, 1954-55, with the great pianist backed by Peter Ind (bass) and Jeff Morton (drums).

-01. "Sweet And Lovely" 5:28
-02. "background Music" 6:03
-03. "If I Had You" 6:31
-04. "317 e 32nd" 7:01
-05. "These Foolish Things" 5:42
-06. "‘s Wonderful" 5:02
-07. "You Go To My Head" 5:28
-08. "All The Things You Are" 6:17
-09. "Lennie-bird" 6:09
-10. "My Melancholy Baby" 8:10
-01. ""April" 8:14
-02. "Pennies In Minor" 6:17
-03. "Mean To Me" 7:42
-04. "Confucius Blues" 6:44
-05. "A Ghost Of A Chance" 6:08
-06. "Whispering" 4:17
-07. "There Will Never Be Another You" 7:34
-08. "Donna Lee" 6:35
-09. "East Thirty Second"* 4:32
-10. "Line Up"* 3:33
-11. "Turkish Mambo"* 3:40
-12. "Requiem"* 4:53
total: 60:51 + 70:09

*Lee Konitz - sax
*Gene Ramey - bass
*Art Taylor - drums
*Lennie Tristano - piano

13 April, 2011


David Murray & Mal Waldron - Silence (2001)

David Murray & Mal Waldron - Silence (2001)
jazz | 1cd | eac-flac-cue-log-cover | 410MB
Justin Time | rel: 2008
Before his passing, jazz piano legend Mal Waldron recorded these duets with tenor saxophonist and bass clarinetist David Murray at a studio in Belgium, finally issued some seven years later. The session has a somewhat hushed quality, considering the extroverted nature of Murray's playing. But he has always proved he is more than capable of nuanced, spirit-sensitive expressionism, and with the blue-green tinged style of Waldron, they fit beautifully together. It's a mix of standards, originals, familiar pieces from the Waldron book, and at least one choice that is off the beaten path. The centerpiece of any Waldron recording is his immortal composition "Soul Eyes," in this case 14 minutes of pure, unadulterated, genuine romance, with Murray on bass clarinet breezing through the pianist's languorous refrains. Another well-rendered ballad "I Should Care" is molasses thick, trickling slow, and extremely patient. It is a difficult chore not to rush the lugubrious tempo in the smallest increment for even the most skilled jazzmen. A third ballad "All Too Soon" has Murray leading out on tenor in his most restrained moments, and Waldron's solo is simply captivating. One of the more compelling pieces in Waldron's repertoire is "Hurray for Herbie," a dark, rumbling piece that is mysterious and delicious. Murray's melodic interpretation is thin and flattened out as Waldron's repeat modal framework is as foreboding as it is deliberate and unyielding. The anomaly is a version of the childlike Miles Davis tune "Jean-Pierre," as Waldron's piano goes deep into the gray spectrum of mixed colors and Murray doesn't play cute. It seems the first two pieces are reversed, as "Silence" is an upbeat and spastic reactionary bop piece, while "Free for C.T." is a quiet tune, contrasting lilting piano with scattershot and demonstrative but harnessed bass clarinet. Regardless, these two play as one marvelously, with all the depth and substance you could ever wish for. Listeners should be glad these sessions were unearthed, for they are welcome additions to the legacy of two great creative jazz icons.

-1. "Free for C.T". - Roach, Waldron - 10:47
-2. "Silence" - Murray - 3:34
-3. "Hurray for Herbie" - Waldron - 7:57
-4. "I Should Care" - Cahn, Stordahl, Weston - 12:40
-5. "Jean-Pierre" - Davis - 10:07
-6. "All Too Soon" - Ellington, Sigman - 7:12
-7. "Soul Eyes" - Waldron, Wolfe - 14:17

*Mal Waldron - piano
*David Murray - saxophone


Sarah Vaughan - After Hours at the London House (1958) (eac-log-cover)

Sarah Vaughan - After Hours at the London House (1958)
jazz | 1cd | eac-flac-cue-log-cover | 250MB
Mercury | rem: 2005
Seven months after Mercury recorded Sarah Vaughan in a live setting for the surprisingly successful At Mr. Kelly's, the label planned another date with the microphones for the night of March 7, 1958. This time, however, instead of setting up at Mr. Kelly's (although she was booked for three shows that night), the producers invited a small group of friends and well-wishers to another Chicago club, London House, for an after-hours session. Vaughan expanded her trio with a quartet of Count Basie titans, including trumpeter Thad Jones and tenor Frank Wess, and as if the settings weren't challenging enough already, decided to record a set that, in true after-hours fashion, was completely improvised. (The cover photo even shows her studying a sheet as she sings.) Although the results are certainly far looser and more relaxed than a studio date, Vaughan and the instrumentalists don't shine as expected. Vaughan in particular plays it safe with this material, drawing out her cozy ballads with interpretive ease, but never taking them as far as she could in a more stable setting. The format breaks down completely on the final song, "Thanks for the Memory," when Vaughan misreads a lyric, puzzles over it for a few seconds, restarts the number, flubs it again, starts over one more time, and finally wraps up after seven minutes by declaring the session -- while still singing, of course -- "the most craziest, upsettin', down-sided recording date I ever had in my life."


-1. "Like Someone in Love" (Johnny Burke, Jimmy Van Heusen) – 3:37
-2. "Detour Ahead" (Lou Carter, Herb Ellis, John Frigo) – 5:28
-3. "Three Little Words" (Bert Kalmar, Harry Ruby) – 3:40
-4. "I'll String Along with You" (Al Dubin, Harry Warren) – 5:15
-5. "You'd Be So Nice to Come Home To" (Cole Porter) – 4:00
-6. "Speak Low" (Ogden Nash, Kurt Weill) – 4:51
-7. "All of You" (Porter) – 4:15
-8. "Thanks for the Memory" (Ralph Rainger, Leo Robin) – 6:58
Recorded March 7, 1958, at The London House, Chicago, USA

* Sarah Vaughan – vocals
* Ronell Bright – piano
* Richard Davis – double bass
* Roy Haynes – drums
* Thad Jones – trumpet
* Wendell Culley
* Henry Corker – trombone
* Frank Wess – tenor saxophone
* Carmen Cavallaro – introduction voice

11 April, 2011


Oscar Pettiford - Complete Big Band Studio Recordings (1956-57) (eac-log-cover)

Oscar Pettiford - Complete Big Band Studio Recordings (1956-57)
 The Oscar Pettiford Orchestra in Hi-Fi vol 1 & 2
jazz | 2lp on 1cd | eac-flac-cue-log-cover | 510MB
Lone Hill Jazz 2005
(Deep Passion)
Two former LPs by big bands led by bassist Oscar Pettiford (who doubles on cello) are reissued in full on this single CD. The arrangements by Gigi Gryce, Lucky Thompson, and Benny Golson feature a lot of concise solos, an inventive use of the harp (either by Janet Putnam or Betty Glamann), and colorful ensembles. Among the many soloists are trumpeter Art Farmer, trombonists Jimmy Cleveland and Al Grey, the French horn of Julius Watkins, the tenors of Thompson or Golson, and the bassist-leader. This formerly rare music is highly recommended to straight-ahead jazz fans, for it is full of fresh material and subtle surprises.

-01. "Nica's Tempo" - Gryce - 3:50
-02. "Deep Passion" - Thompson - 3:44
-03. "Smoke Signal" - Gryce - 4:18
-04. "Sunrise-Sunset" - Pettiford - 4:00
-05. "Not So Sleepy" - Matthews - 4:55
-06. "Perdido" - Drake, Lengsfelder, Tizol - 4:05
-07. "Speculation" - Silver - 4:08
-08. "Two French Fries" - Gryce - 2:52
-09. "The Pendulum at Falcon's Lair" - Pettiford - 3:03
-10. "The Gentle Art of Love" - Pettiford - 3:38
-11. "Now See How You Are" - Harris, Pettiford - 5:14
-12. "I Remember Clifford" - Golson - 4:45
-13. "Aw! Come On" - Pettiford - 3:57
-14. "Somewhere" - Bernstein, Copeland - 4:03
-15. "Laura" - Mercer, Raksin - 3:44
-16. "Little Niles" - Weston - 4:44
-17. "Seabreeze" - Douglas - 2:57
bonus tracks
-18. "The Gentle Art of Love Theme" - Pettiford - 1:00
-19. "Aw! Come On" - Pettiford) - 4:09
-20. "I Remember Clifford" (Golson) - 4:00
Total time: 76:58 min.
This CD contains the Complete 1956-1957 ABC albums:
The Oscar Pettiford Orchestra in Hi-Fi
The Oscar Pettiford Orchestra in Hi-Fi Vol. 2

Personnel: Oscar Pettiford, Art Farmer, Kenny Dorham, Donald Byrd, Jimmy Cleveland, Tommy Flanagan, Lucky Thompson, Benny Golson, Osie Johnson, Gus Johnson and others.


Donald Byrd - Jazz in Paris: Byrd In Paris (1958) (eac-log-cover)

Donald Byrd - Jazz in Paris: Byrd In Paris (1958)
jazz | 1cd | eac-flac-cue-log-cover | 280MB
Gitanes | 24-bit remastered
Trumpeter Donald Byrd spent a few months in France during 1958. Byrd's quintet at the time included Bobby Jaspar (on tenor and flute), pianist Walter Davis, Jr., bassist Doug Watkins and drummer Art Taylor. Byrd was just beginning to find his own sound in the late '50s and he is in excellent form on "Dear Old Stockholm," Sonny Rollins' "Paul's Pal," Jaspar's "Flute Blues," "Ray's Idea" and "The Blues Walk." This is a fine all-around hard bop session that is equaled by the second CD.

-1 "Dear Old Stockholm" 12:24
-2 "Paul's Pal" 12:23
-3 "Flute Blues" 7:12
-4 "Ray's Idea" 7:26
-5 "The Blues Walk" 9:17


Double Bass - Doug Watkins
Drums - Art Taylor
Flute - Bobby Jaspar (tracks: 3)
Piano - Walter Davis Jr.
Saxophone [Tenor] - Bobby Jaspar (tracks: 1, 2, 4, 5)
Trumpet - Donald Byrd


Donald Byrd - Jazz in Paris: Parisian Thoroughfare (1958)

Donald Byrd  - Jazz in Paris: Parisian Thoroughfare (1958)
jazz | 1cd | eac-flac-cue-log-cover | 290MB
Gitanes | 24-bit remastered
The second of two CDs that document a Paris concert by trumpeter Donald Byrd also features Bobby Jaspar on tenor and flute, pianist Walter Davis, Jr., bassist Doug Watkins and drummer Art Taylor. Other than Byrd's "At This Time" and Davis' "Formidable," the quintet sticks to bop standards, many of which are quite concise and clock in around three minutes. Longer versions of "Parisian Thoroughfare" (a highpoint) and "52nd Street Theme" are exceptions. This spirited bop-oriented music is the equal of the first volume.

-1 "Salt Peanuts" 2:13
-2 "Parisian Thoroughfare" 9:05
-3 "Stardust" 3:19
-4 "52nd Street Theme" 6:42
-5 "At This Time" 10:03
-6 "Formidable" 9:28
-7 "Two-Bass Hit" 2:56
-8 "Salt Peanuts" 2:15

*Double Bass - Doug Watkins
*Drums - Art Taylor
*Piano - Walter Davis Jr.
*Saxophone [Tenor] - Bobby Jaspar
*Trumpet - Donald Byrd

08 April, 2011


Allison Brewster Franzetti - The Unknown Piazzolla (1999) (eac-log-cover)

Allison Brewster Franzetti - The Unknown Piazzolla (1999)
classical, contemporary | 1cd | eac-flac-cue-log-cover | 290MB

The name Astor Piazzolla may be forever linked with the tango, but the master composer/artist had another passion that is finally revealed on this release: chamber music. Written primarily in the 1940's, before Piazzolla developed New Tango, these pieces demonstrate his flair for serious classical composition. The influences of Alberto Ginastera (his Argentine teacher), Bartok and Hindemith clearly steered the impressionable Piazzolla in a different direction. In addition, several tango-flavored chamber pieces composed in the 1960s and 1970s complement this unique collection. Most of the works on here have never before been recorded. The album features noted pianist Allison Brewster Franzetti, violinist Hector Falcon, violist Nardo Poy and cellist Eugene Moye.

-01. Vayamos Al Diablo (piano solo) - 1:35
-02. Dos Piezas Breves - Tanguango (for viola and piano) - 3:33
-03. Dos Piezas Breves - Noche (for viola and piano) - 4:55
-04. Preludio 1953 (piano solo) - 3:04
-05. Milonga En Re (for violin and piano) - 4:24
-06. Suite Op. 2 - Preludio (piano solo) - 2:03
-07. Suite Op. 2 - Siciliana (piano solo) - 3:24
-08. Suite Op. 2 - Toccata (piano solo) - 2:26
-09. Milongo Sin Palabras (for treble instrument/voice and piano) - 5:52
-10. Preludio No. 1 (for violin and piano) - 5:47
-11. Suite No. 2 - Nocturno (piano solo) - 2:16
-12. Suite No. 2 - Miniatura (piano solo) - 0:37
-13. Suite No. 2 - Vals (piano solo) - 1:55
-14. Suite No. 2 - Danza Criolla (piano solo) - 1:29
-15. Tres Piezas Breves - Pastoral (for cello and piano) - 2:53
-16. Tres Piezas Breves - Serenade (for cello and piano) - 2:42
-17. Tres Piezas Breves - Siciliana (for cello and piano) - 2:31
-18. Sonata No. 1 Op. 7 - Presto (piano solo) - 3:02
-19. Sonata No. 1 Op. 7 - Coral con Variaciones (piano solo) - 6:02
-20. Sonata No. 1 Op. 7 - Rondo (piano solo) - 4:41

*Allison Brewster Franzetti - piano
*Hector Falcon - violin
*Nardo Poy - viola
*Eugene Moye - cello

07 April, 2011


Art Farmer & Gigi Gryce - When Farmer Met Gryce (1955) (eac-log-cover)

Art Farmer & Gigi Gryce - When Farmer Met Gryce (1955)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
When Farmer Met Gryce features trumpeter Art Farmer, altoist Gigi Gryce and two rhythm sections with either Horace Silver or Freddie Redd on piano, Percy Heath or Addison Farmer on bass, and Kenny Clarke or Art Taylor on drums. The early hard bop music is highlighted by "Social Call" (one of Gryce's best-known compositions), "Capri," "A Night at Tony's" and "Blue Concept" but all eight numbers will easily be enjoyed by straight-ahead jazz fans.

-1. "A Night at Tony's" - Gryce - 5:06
-2. "Blue Concept" - Gryce - 4:56
-3. "Stupendous-Lee" - Farmer - 5:47
-4. "Deltitnu" - Gryce - 4:18
-5. "Social Call" - Gryce - 6:04
-6. "Capri" - Gryce - 5:01
-7. "Blue Lights" - Gryce - 5:19
-8. "The Infant's Song" - Farmer - 5:15
*[1-4] Recorded on May 19, 1954
*[5-8] Recorded on May 26, 1955

*Art Farmer, trumpet;
*Gigi Gryce, alto sax;
*Freddie Redd, piano;
*Horace Silver, piano;
*Addison Farmer, bass;
*Percy Heath, bass;
*Arthur Taylor, drums;
*Kenny Clarke, drums.

06 April, 2011


Miles Davis - Dark Magus: Live At Carnegie Hall (1974) (20-bit SBM) (eac-log-cover)

Miles Davis - Dark Magus: Live At Carnegie Hall (1974)
jazz | 2cd | eac-flac-cue-log-cover | 790MB
Columbia/Legacy | 20-bit SBM
Dark Magus is a live recording of a very specific 1974 Carnegie Hall date that included most, but not all, of the members who recorded the classics Agharta and Pangaea. While drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, and guitarists Pete Cosey and Reggie Lucas were all present, the key element of Sonny Fortune was not yet in the band. Saxophonists David Liebman and Azar Lawrence were doubling in the saxophone chairs, while Dominique Gaumont, with his Jimi Hendrix-styled effects and riffs, was the band's third guitarist. The deep voodoo funk that gelled on the aforementioned recordings hadn't yet come together on this night at Carnegie, near the end of a tour. Featuring four titles, all of them Swahili names for the numbers one through four, Dark Magus is a jam record. In his liner notes to the CD issue, Liebman explains that this wasn't the band at its best -- perhaps he was referring to his playing, which is certainly unimaginative compared to what the rest of the band is laying down chromatically. By this point, Miles was no longer really rehearsing his bands; they showed up and caught a whiff of what he wanted and went with it. Rhythms, colors, keys -- all of them would shift and change on a whim from Davis. There were no melodies outside of a three-note vamp on "Wili" and a few riff-oriented melodics on "Tatu" -- the rest is all deep rhythm-based funk and dark groove. Greasy, mysterious, and full of menacing energy, Dark Magus shows a band at the end of its rope, desperate to change because the story has torn itself out of the book, but not knowing where to go, turning in on itself. These dynamics have the feel of unresolved, boiling tension. Gaumont's effects-laden guitar playing overshadows the real guitarists in the band: Cosey and his partner, the rhythmically inventive Lucas. Gaumont doesn't fit naturally, so he tries to dazzle his way in -- check the way Miles cuts his solos off so abruptly while letting the others dovetail and segue. Ultimately, Dark Magus is an over-the-top ride into the fragmented mind of Miles and his 1974 band; its rhythm section is the most compelling of any jazz-rock band in history, but the front lines, while captivating, are too loose and uneven to sustain the listener for the entire ride.


-1. "Moja, Pt. 1" – 12:28
-2. "Moja, Pt. 2" – 12:40
-3. "Wili, Pt. 1" – 14:20
-4. "Wili, Pt. 2" – 10:44
-1. "Tatu, Pt. 1" – 18:47
-2. "Tatu, Pt. 2" – 6:29
-3. "Nne, Pt. 1 " – 15:19
-4. "Nne, Pt. 2 " – 10:11

* Miles Davis – organ, electric trumpet with Wah Wah
* Dave Liebman – flute, soprano saxophone, tenor saxophone
* Azar Lawrence – tenor saxophone
* Pete Cosey – electric guitar, Synthesizer
* Reggie Lucas – electric guitar
* Dominique Gaumont – electric guitar
* Michael Henderson – electric bass
* Al Foster – drums
* James Mtume – percussion


Can - Soundtracks (1970) (SACD) (eac-log-cover)

Can - Soundtracks (1970)
rock, soundtrack | 1cd | eac-flac-cue-log-cover | 250MB
Spoon | SACD | 2004 remaster
Malcolm Mooney passes the baton to Damo Suzuki for Soundtracks, a collection of film music featuring contributions from both vocalists. The dichotomy between the two singers is readily apparent: Suzuki's odd, strangulated vocals fit far more comfortably into the group's increasingly intricate and subtle sound, allowing for greater variation than that allowed by Mooney's stream-of-consciousness discourse.
Soundtracks is a soundtrack album by the Krautrock group Can. It was first released in 1970 and consists of tracks written for various films. The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, to be replaced by new member Damo Suzuki. Stylistically, the record also documents the transition from the psychedelia-inspired jams of their first recordings (i.e., Monster Movie and Delay 1968) to the more meditative, electronic, and experimental mode of the studio albums that followed (such as Tago Mago and Ege Bamyasi).
"She Brings the Rain" was later featured in Wim Wenders' 1994 film Lisbon Story, the 2000 Oskar Roehler film Die Unberührbare and Tran Anh Hung's film Norwegian Wood, released in 2010.
"Don't Turn the Light On, Leave Me Alone" features Damo Suzuki's first recorded performance with Can.
In March 2005, Q magazine placed "Mother Sky" at number 48 in its list of the 100 Greatest Guitar Tracks.

-1. "Deadlock" – 3:27 (from the film [[Deadlock, 1970, dir. Roland Klick)
-2. "Tango Whiskyman" – 4:04 (from the film Deadlock, 1970, dir. Roland Klick)
-3. "Deadlock (Titelmusik)" – 1:40 (from the film Deadlock, 1970, dir. Roland Klick)
-4. "Don't Turn the Light On, Leave Me Alone" – 3:42 (from the film Cream)
-5. "Soul Desert" – 3:48 (from the film Mädchen... nur mit Gewalt, 1970, dir. Roger Fritz. Cited on album sleeve as "Mädchen mit Gewalt")
-6. "Mother Sky" – 14:31 (from the film Deep End, 1971, dir. Jerzy Skolimowski)
-7. "She Brings the Rain" – 4:04 (from the film Bottom - Ein großer graublauer Vogel 1971, dir. Thomas Schamoni)

* Holger Czukay – bass, double bass
* Michael Karoli – guitar, violin
* Jaki Liebezeit – drums, percussion, flute
* Malcolm Mooney – vocals on "Soul Desert" and "She Brings the Rain"
* Irmin Schmidt – keyboards, synthesizers
* Damo Suzuki – vocals on "Deadlock", "Tango Whiskyman", "Don't Turn the Light On, Leave Me Alone" and "Mother Sky"; percussion

04 April, 2011


Ella Fitzgerald & Count Basie - A Classy Pair (1979) (eac-log-cover)

Ella Fitzgerald & Count Basie - A Classy Pair (1979)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
This studio album matches together Ella Fitzgerald and the Count Basie Orchestra 16 years after they first recorded together. Basie's sidemen are unfortunately restricted in the Benny Carter arrangements to backup work but Basie has a few piano solos and Fitzgerald is in good voice and in typically swinging form. Highlights include "Just a Sittin' and a Rockin'," "Teach Me Tonight" and "Honeysuckle Rose."

-1. "Honeysuckle Rose" - Andy Razaf, Fats Waller - 5:58
-2. "My Kind of Trouble Is You" - Benny Carter, Paul Vandervoort - 4:35
-3. "Teach Me Tonight" - Sammy Cahn, Gene de Paul - 3:15
-4. "Organ Grinder's Swing" - Will Hudson, Irving Mills, Mitchell Parish - 5:56
-5. "Don't Worry 'Bout Me" - Rube Bloom, Ted Koehler - 3:30
-6. "I'm Getting Sentimental Over You" - George Bassman, Ned Washington - 2:52
-7. "Ain't Misbehavin'" - Harry Brooks, Razaf, Waller - 4:00
-8. "Just A-Sittin' and A-Rockin'" - D Ellington, Lee Gaines, Billy Strayhorn - 4:42
-9. "Sweet Lorraine" - Cliff Burwell, Parish - 4:23

* Ella Fitzgerald - vocals
* John Clayton - double bass
* Ray Brown, Pete Minger, Sonny Cohn, Nolan Andrew Smith - trumpets
* Bobby Plater, Danny Turner, Kenny Hing, Eric Dixon, Charlie Fowlkes - saxophones
* Bill Hughes, Mel Wanzo, Dennis Wilson, Mitchell 'Booty' Wood - trombone
* Freddie Green - guitar
* Butch Miles - drums
* Count Basie - piano

01 April, 2011


Dexter Gordon - XXL: Live At The Left Bank (1969) (eac-log-cover)

Dexter Gordon - XXL: Live At The Left Bank (1969)
jazz | 1cd | eac-flac-cue-log-cover | 210MB
Prestige | rel: 2002
Ready for a 24-minute rendition of Thelonious Monk's "Rhythm-a-ning"? You don't think so? Well, give it a shot -- you might be pleasantly surprised. Material from Dexter Gordon's May 1969 concert at the Famous Ballroom in Baltimore has already appeared on another live album (L.T.D., also on Prestige), but the three long tracks presented here are not cold leftovers. Opening with that 24-minute version of "Rhythm-a-ning," Gordon shows himself to be in peak form, improvising for a solid seven minutes without doing anything boring. Pianist Bobby Timmons is playing well too (though he's a bit hard to hear in the slightly unbalanced mix; bassist Victor Gaskin is, unfortunately, practically inaudible). And on this track, Percy Brice delivers one of what may be only two or three truly interesting drum solos in the history of jazz. The second tune is a version of "Misty" that comes across as surprisingly robust and rhythmically driven, despite its slow tempo and balladic melody; here, again, Gordon shines on an unusually long performance. The program culminates with a 22-minute rendition of "Love for Sale," which is given a gently propulsive and faintly Latin-tinged arrangement. Whether this can be considered an essential Dexter Gordon document is open to debate, but for those with a particular interest in the artist, it can be recommended without reservation.


-1. "Rhythm-A-Ning" - Monk - 24:12
-2. "Misty" - Burke, Garner - 10:14
-3. "Love for Sale" - Porter - 21:58

*Dexter Gordon: tenor sax
*Bobby Timmons: piano
*Victor Gaskin: bass
*Percy Brice: drums


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