Have fun and enjoy the music. This effort is made purely out of love for the music, and as jazz lends itself to discussion so nicely don't forget to drop a line; don't be afraid of the keyboard, it won't bite you. Your thoughts, suggestions & contributions are welcome.
Jazz great Lou Donaldson in action (pic by yours truly)
Tuesday, October 1, 2013
Extremely rare footage featuring the Cannonball Adderley Sextet appearing in London on May 12, 1964 for the now legendary BBC show Jazz 625 hosted by the great Steve Race. This is high-octane jazz of the take-no-prisoners variety. Enjoy
1. I Introduction
2. Work Song 00:58
3. The Song My Lady Sings 08:11
4. Poor Butterfly 16:06
5. Jive Samba 20:50
6. Unit Seven (outro) 28:08
2. The Weaver 01:11
3. Bohemia After Dark 09:29
4. Come Sunday 15:12
5. Sweet Georgia Bright 21:39
6. Unit Seven (outro) 26:43
Julian 'Cannonball' Adderley (alto sax)
Nat Adderley (cornet)
Charles Lloyd (flute, tenor sax)
Joe Zawinul (piano)
Sam Jones (bass)
Louis Hayes (drums),
Steve Race (host).
Friday, September 27, 2013
The Club Date program was produced and directed by Paul Marshall for KPBS-TV, San Diego, in the late 1980s. Featuring some of the most noted jazz ensembles, the goal was to re-create for the television audience the traditional jazz set -- a short concert performed in an intimate nightclub setting -- using stereo sound, intimate camera shots and a live audience.
Buddy Collette fl,ts,cl
Larry Nash p
Richard Reid b
Mel Lee d
2. Someone I've never known 06:07
3. Emilyn 11:13
4. Maggie Lee 19:02
5. Andre 23:40
Tuesday, August 13, 2013
Here's a little music video featuring Wes Montgomery on Thelonious Monk's perennial classic 'Round About Midnight in the company of Melvin Rhyne on organ and Paul Parker on drums. Originally included in Riverside 1156 LP, this is a rip of 45rpm Riverside REP 3 212 using high quality equipment. Results speak for themselves, so much more musical information is retained inside those 45rpm grooves. Enjoy
Monday, December 10, 2012
Teddy Wilson's 100th birthday was on November 24th. Frequently noted as the most significant pianist of the swing era, Wilson is perhaps best known in the jazz canon for becoming one of the first black musicians to publicly and prominently appear with white musicians -- in this case, with the Benny Goodman Trio (with drummer Gene Krupa) in 1935.
Drawing from influences Earl “Fatha” Hines and Fats Waller, Wilson began his career in Detroit with bandleaders Bob Cruset, Speed Webb, and Milt Senior (of McKinney’s Cotton Pickers, whose performances Wilson attended in Detroit deeply influenced his decision to pursue a career as a jazz pianist), later making his way to Chicago to play in the big bands of Louis Armstrong, Erskine Tate, and Jimmie Noone.
Wilson’s career truly kicked off after music producer and talent scout John Hammond serendipitously heard Wilson late at night on the radio in New York (as, at the time, Chicago radio stations ran their programming well after the New York programs concluded) and recommended him to bandleader Benny Carter, who drove out to Chicago to hear Wilson and asked him to join his band, which prompted Wilson to move to New York in 1933.
Hammond also introduced Wilson to a second musician that would influence his career -- vocalist Billie Holiday, with whom he recorded a series for Brunswick under his own name (Teddy Wilson and his Orchestra) between 1935 and 1939, which included mass of jazz heavyweights including Johnny Hodges, Ben Webster, Lester Young, Roy Eldridge, Charlie Shavers, Benny Goodman, Gene Krupa, and Pee Wee Russell, among others.
The latter half of Wilson’s career found him as an instructor at the Juilliard School of Music (where he taught Dick Hyman, among others) in the 1950s, several reunion tours with Benny Goodman (including a trip to the USSR in 1962), and recording abroad in Stockholm, the Netherlands, Switzerland, France, and Japan.
This anthology of Teddy Wilson recordings made under his own name in the 1930s and 1940s is superb. There are contributions from most of the major soloists of the era including the trumpets of Roy Eldridge, Bill Coleman, Buck Clayton, Harry James, Charlie Shavers and Bobby Hackett; the saxophones of Ben Webster, Lester Young, Johnny Hodges and Benny Carter; the xylophone of Red Norvo; the clarinet of Benny Goodman and the drums of Jo Jones and Cozy Cole. In addition to all this talent, there are vocals by Billie Holiday, Ella Fitzgerald, Mildred Bailey, Lena Horne, Helen Ward, Maxine Sullivan and Sarah Vaughan.
Sadly, as with all Membran issues, no discographical details are included. However the music is magnificent and arranged in roughly chronological order. It can be divided as follows:
Firstly, there are a number of piano solos from both the 30s and 40s. All are excellent, technically proficient, have a splendid swing and great delicacy of construction. Wilson was one of the great piano stylists of the swing era and these solo tracks are among his finest.
Secondly are his great 'swing-sing' pick-up bands from the late 30's. All the famous, and superb, tracks with Billie Holiday are included. As well as some purely instrumental sides like 'Just a Mood' (which contains what is probably Harry James's finest solo on record), 'Blues in C Sharp Minor' and (with superb Bobby Hackett and Johnny Hodges) 'Jungle Love', there are also some with vocalists other than Billie which are all excellent. These tracks have often been overlooked and it is delightful to have them here.
Thirdly, are some recordings of Teddy Wilson's short-lived big band. The major soloists were Ben Webster and the leader and the arrangements (mainly by Buster Harding) are first class. Another excellent group of recordings - well worth hearing.
Finally, there is a group of recordings from the mid 1940s. These include a small-group with Charlie Shavers and Red Norvo and various pick-up bands.
Friday, December 7, 2012
The mighty Art Blakey's Jazz Messengers caught live in Paris during their 1958 sojourn at the City of Light. You will be hard-pressed to find a more satisfying live hard bop set than this one.
1. Just By Myself (Golson)
2. I Remember Clifford (Golson)
3. Are You Real(Golson)
4. Moanin' Timmons)
6. Blues March(Golson)
7. Whisper Not(Golson)
Lee Morgan tp
Benny Golson ts
Bobby Timmons p
Jymie Merritt b
Art Blakey d
Recorded at "L'Olympia", Paris, France, November 22, 1958 (Tracks 1, 2, 3) and December 17, 1958 (Tracks 4, 5, 6, 7)
Originally released by Fontana (F) 608 202 (LP) and Fontana 460 642 (EP)
Thursday, December 6, 2012
1. Big Chief 3:16
2. Her Mind Is Gone 4:24
3. Something On Your Mind 4:13
4. You're Driving Me Crazy 2:36
5. Red Beans aka I Got My Mojo Working 4:12
6. Willie Fugal's Blues 2:06
8. In The Wee Wee Hours 3:24
9. Cry To Me 3:38
10. Bald Head 3:00
11. Whole Lotta Loving 3:48
12. Crawfish Fiesta
Recorded at Sea-Saint Studios, New Orleans, in 1979, only months before the good Professor's death in January 1980
Personnel: Professor Longhair (piano, vocals); Dr. John (guitar); Andy Kaslow, Tony Dagradi (tenor saxophones); Jim Moore (baritone saxophone); David Lee Watson (bass); John Vidacovich (drums); Alfred "Uganda" Roberts (congas)
Sunday, December 2, 2012
An outstanding performance by the Paul Smith Quartet on the Discwasher label and one of the very first digital recordings. Ripped from the original vinyl to 24-96. You won't believe your ears sonic and musicwise.
Paul Smith p
Barney Kessel g
Monty Budwig b
Frank Capp d
1. Boppo For J.J. (Paul Smith)
2. I Hadn't Anyone 'Til You (Ray Noble)
3. Madame Butterfly (Frank W. Harling)
4. Someday My Prince Will Come (Frank Churchill, Larry Morey)
5. What I Did For Love (Marvin Hamlisch, Edward Kleban)
6. Good Life, The (Sacha Distel, Jack Reardon)
7. Perdido (Irvin Drake, Hans Lengsfelder, JuanTizol)
8. Here's That Rainy Day (Bareto Morales, Simon Napier-Bill)
9. Fourth Way, The (Barney Kessel)
10.Send In The Clowns (Stephen Sondheim)
Tuesday, September 18, 2012
Barney Kessel - Club Date (Live TV 80s)
The "Club Date" program was produced and directed by Paul Marshall for KPBS-TV, San Diego, in the late 1980s. Featuring some of the most noted jazz ensembles, the goal was to re-create for the television audience the traditional jazz set -- a short concert performed in an intimate nightclub setting -- using stereo sound, intimate camera shots and a live audience.
Barney Kessel g
Bob Magnuson b
Sherman Ferguson d
2, I've Grown Accustomed To Her Face 05:53
3. Brazil/Manha De Carnaval medley 12:12
4. Body and Soul ft Herb Ellis 21:02
Thursday, September 13, 2012
Legendary jazz vocalist Anita O'Day (1919-2006) performs with, among others, her life-long musical partner, John Poole on drums. Acknowledged by many as the world's most inventive jazz singer, she performs a number of classics such as "On Green Dolphin Street," "My Funny Valentine" and "They Can't Take That Away from Me."
You'd Be So Nice To Come Home To
On Green Dolphin Street
I Can't Get Started
It Don't Mean a Thing
The Street of Dreams
They Can't Take That Away from Me
Is You Is or Is You Ain't My Baby
My Funny Valentine
I Cried for You