A misnomer, this is not the Eddie Davis Trio featuring Shirley Scott Complete Recordings as the CD title wants us to believe. It's actually the other way around i.e. the Shirley Scott Trio, consisting of Scott on organ (who was 24 when these recordings were made), George Duvivier on bass and Arthur Edgehill on drums, serving as a solid foundation for Jaws to blow his magic. And of course this is by no means a 'complete recordings' reissue. To be precise, this CD includes 2 LPs, Roulette R 52019, SR 52019 and Roost RLP 2227 in their entirety. This is very common in jazz releases, as in so many sessions there is no 'leader' per se, and for marketing purposes record labels issued the same session under a different leader. Add to this the reissue craze of the last 25 years or so and you are stumped! These are an archivist's rantings you might say and you would be right, the music is always what counts and the music presented here is priceless. For inquiring minds a complete Shirley Scott discography can be found here.
1. Close Your Eyes 2:31
2. Canadian Sunset 4:15
3. Just One More Chance 2:58
4. Night And Day 3:26
5. Snowfall 2:18
6. Afternoon In A Doghouse 3:21
7. A Gal In Calico 3:39
8.(Where Are You) Now That I Need You 2:36
9. This Time The Dream's On Me 3:01
10. There Is No Greater Love 2:51
11. What Is There To Say 2:28
12. Fine And Dandy 3:11
13. Day By Day 4:04
14. Do Nothing Till You Hear From Me 3:50
15. I Remember You 4:12
16. Land Of Dreams 4:14
17. Scotty 3:46
18. On The Street Where You Live 3:34
19. Dee Dee's Dance 3:00
20. Don't Get Around Much Anymore 2:45
21. Everything I Have Is Yours 3:47
22. Don't Worry 'Bout Me 4:07
23. Autumn In New York 3:15
24. Penthouse Serenade 2:46
Eddie Davis (ts)
Shirley Scott (org)
George Duvivier (b)
Arthur Edgehill (d)
recorded in NY March 1958 (tracks 1-12) & May 1958 (tracks 13-24)
PS Johnny-come-latelies can watch the Jaws performing his magic on video here. Happy 2011 all.
On June 25th, 1961, Bill Evans and his trio made jazz history over the course of five sets at the Village Vanguard. Selections from those performances were released on two full-length LPs, Waltz for Debby and Sunday at the Village Vanguard, both of which went on to become landmark jazz albums from the era. This three-disc set provides a valuable service by presenting all five sets in their complete and original sequence, with crisp remastered sound, a previously unissued take (Scott LaFaro's "Gloria's Step"), and snippets of on-stage patter.
Much has been made of the chemistry between Evans, bassist LaFaro, and drummer Paul Motian, and little of it has been overblown. The three make intuitive, shape-shifting music that breaks new ground with its subtle, sophisticated rhythmic interplay and achingly lyrical beauty. Evans's playing, informed by a Chopin-esque delicacy as much as by post-bop dynamism, is a case study of the jazz ideal achieved. The music, the improved sound, and the chance to have the complete date under one cover make this set a must. ”
This is the remastered set that features 20 bit k2 super coding. It is the complete days worth of recording of this legendary session, warts and all. One of the warts is a 3 second power outage during the first part of disc one-- it's not a defect in the ripping or the the cd itself, just part of the recording.
DISC 1: 1. Spoken Introduction 2. Gloria's Step - (take 1, interrupted) 3. Alice in Wonderland - (take 1) 4. My Foolish Heart 5. All of You - (take 1) 6. Announcement and Intermission 7. My Romance - (take 1) 8. Some Other Time 9. Solar
DISC 2: 1. Gloria's Step - (take 2) 2. My Man's Gone Now 3. All of You - (take 2) 4. Detour Ahead - (take 1) 5. Discussing Repertoire 6. Waltz For Debby - (take 1) 7. Alice in Wonderland - (take 2) 8. Porgy (I Loves You, Porgy) 9. My Romance - (take 2) 10. Milestones
DISC 3: 1. Detour Ahead - (take 2) 2. Gloria's Step - (take 3) 3. Waltz For Debby - (take 2) 4. All of You - (take 3) 5. Jade Visions - (take 1) 6. Jade Visions - (take 2) 7. ... A Few Final Bars
Bill Evans, p Scott LaFaro, b Paul Motian, d
Recorded June 25th, 1961 at the Village Vanguard, New York
An album recorded in Paris on June 22nd, 1970 with wife Linda plus Ben Guerin (bass) and Jacques Thollot (drums). Sonny Sharrock was one of the top avant-garde guitarists and his playing was intense and ferocious. He mixed together Jimi Hendrix and Pharoah Sanders. "Sharrock was the first guitarist to really embrace fire music. He wanted his playing to mirror the emotional scream of the tenor saxophone' (Thurston Moore and Byron Coley)".
1. 27th Day 17:01 Written BySonny Sharrock 2. Soon 7:59 Written By Linda Sharrock 3. Monkey-Pockie-Boo 9:00 Written By Linda Sharrock
Bass - Beb Guérin Drums - Jacques Thollot Engineer - Daniel Vallencien Guitar, Whistle [Slide], Vocals - Warren «Sonny» Sharrock Photography, Coordinator [Coordination] - Jacques Bisceglia Producer - Jean Georgakarakos , Jean-Luc Young Vocals - Linda Sharrock Recorded June 22, 1970 at Studio Saravah, Paris.
Sony Masterworks and Zenph Studios announce the third release in an ongoing collaboration to breathe new life into legendary performances that have been marred by the poor recording quality of past times. Rachmaninoff Plays Rachmaninoff follows upon the success of Zenph Studios' productions of Glenn Gould's 1955 recording of Bach's Goldberg Variations (2007) and Art Tatum's Piano Starts Here (2008). This new compilation of re-performances is made from original masters that the colossal Russian composer and pianist recorded during his lifetime. Available on September 22nd, 2009, the release celebrates the 100th anniversary of Rachmaninoff's United States debut recital, which took place at Smith College in Northampton, Massachusetts. The recording features Rachmaninoff playing five of his own compositions, including the Prelude in C-sharp Minor, the Etudes Tableaux in C- and E-flat Major, Op. 33, his piano transcription of the song "Daisies and Moment Musicaux in E-flat Minor, Op. 16. It also includes Rachmaninoff's renditions of Kreisler's Liebesleid and Liebesfreud, Rimsky-Korsakov's Flight of the Bumblebee, Mendelssohn's "Scherzo" from A Midsummer Night's Dream, Tchaikovsky's Lullaby, and the Prelude, Gavotte and Gigue from Bach's Violin Partita No. 3, BWV 1006.
Sony Masterworks has newly recorded—in crystaline stereo sound—performances originally recorded by Rachmaninoff between 1921 and 1942. The production team selected and customized an instrument that Rachmaninoff likely performed on during his lifetrime, a 1909 Steinway D concert grand piano. This CD release allows the listener to experience his performances without the hissing or popping that were once considered as much a part of those monaural 78s as the music itself. Zenph Studios eliminates the need for such compromise, returing Rachmaninoff's performances to their original luster, like a team of artists restoring the painting of an old master.
Rachmaninoff was well known for his exacting standards during his recording sessions; biographer Max Harrison relates that he used a hammer to smash the 78s for takes he deemed unsatisfactory. The team of Zenph Studios has pride in restoring the brilliance of these marvelous artifacts of musical genius.
All 13 tracks are presented twice on the CD, once in regular stereo, and again for headphones. For the second version, the "dummy head" was positioned where Rachmaninoff's head would have been during the recording process, so listeners hear the music as Rachmaninoff himself might have heard it when he was positioned at the piano. ”
•Krelsier/Rachmaninoff: Liebeslied (r. 1921) •Rachmaninoff: Prelude in C-sharp Minor, Op. 3/2 (r. 1928 •Rimsky-Korsakov/Rachmaninoff: The Flight of the Bumblebee (r. 1929) •Mendelssohn/Rachmaninoff: Scherzo from A Midsummer Night's Dream (r. 1935) •Rachmaninoff: Etude Tableau in C Major, Op. 33/2 (r. 1940) •Rachmaninoff: Etude Tableau in E-flat Major, Op. 33/7 (r. 1940) •Rachmaninoff: MOment Musicaux, Op. 16/2 (r. 1940) •Rachmaninoff: "Daisies," Op. 38/3 (r. 1940) •Tchaikovsky/Rachmaninoff: Lullaby, Op. 16/1 (r. 1942) •Bach/Rachmaninoff: Violin Partita No. 3: Prelude, Gavotte, and Gigue (r.1942) •Kreisler/Rachmaninoff: Liebesfreud (r. 1942)
As the title suggests, this album is Jimmy Raney all by himself, the genuine article if you will, as Raney chose to accompany himself using overdubbing like Bill Evans did on his famous "Conversations with Myself" string of recordings. Raney said in an interview that he doesn't think of the guitar in guitar terms, but rather as a means of making music. Nowhere is this more evident than on this album where he lays his artistry bare to the listener and everything falls into place magnificently. My favorite Raney recording. ”
Jimmy Raney - guitar
1. The Fugue 2. New Signal 3. How Deep is the Ocean 4. The Way You Look Tonight 5. Wait Till You See Her 6. Smoke Gets In Your Eyes 7. Blues Variations 8. Suzanne 9. The End of a Love Affair
Stan Getz said of this historic meeting with the Oscar Peterson Trio, "This is one of the most enjoyable recordings I ever made. How refreshing it is to play with these pros." ...Here, for the first time - in one collection - is the complete session.
1 I Want to Be Happy 2 Pennies from Heaven 3 Ballad Medley 4 I'm Glad There Is You 5 Tour's End 6 I Was Doing All Right 7 Bronx Blues 8 Three Little Words 9 Detour Ahead 10 Sunday 11 Blues for Herky
Stan Getz Oscar Peterson Herb Ellis Ray Brown
Original session produced by Norman Granz. Recorded October 10, 1957 at Capitol Studios in Los Angeles in mono.
Outstanding duo session featuring two very adventurous guitarists. Skopelitis generally plays a supporting role on various guitars and guitar-like instruments while Sharrock soars. Sharrock had already made a great solo album ("Guitar", 1986) and this one is on the same high level. CMP (Creative Music Production) was started by Kurt Renker in 1977 and specialized a traditional and modern Avant-Garde Jazz, Experimental Rock and World Music. Almost all of CMP Records albums have an identifiable CMP Records sound, much like ECM, courtesy of recording engineer Walter Quintus. His production work gave CMP recordings uniquely spacious and detailed sound. After CMP records became defunct the label name and catalog was acquired by Silva Screen Records and almost the entire CMP catalog has been resurrected.
1 Who Are You 5:27 2 Becoming 2:34 3 Mescalito 3:28 4 Venus 5:48 (Pharoah Sanders) 5 In The Flesh 3:05 6 Sacrifice 4:43 7 First Of Equals 5:11 8 The Pyre 6:06 9 Uncle Herbie's Dance 2:55
Sonny Sharrock - electric guitar
Nicky Skopelitis - electric guitar, Acoustic Guitar, Baglama, Baglama [Saz], Sitar [Coral], Bass, Tar (lute)
Produced by Bill Laswell , Nicky Skopelitis
tracks 1 to 3, 5 to 8 composed by Nicky Skopelitis, tracks 1 to 3 & 6 to 9 by Sonny Sharrock
Tommy Flanagan on piano, Keter Bets on bass and Bobby Durham on drums in an outstanding all-Ellington/Strayhorn set. Fantastic JVC K2 sound. Enough said.
1. All Day Long 2. U.M.M.G. (Upper Manhattan Medical Group) 3. Something to Live For 4. Main Stem 5. Day Dream 6. The Intimacy of the Blues 7. Caravan 8. Chelsea Bridge 9. Take the "A" Train Personnel: Tommy Flanagan (piano); Keter Betts (bass); Bobby Durham (drums)
The Prestige Moodsville series was a series of LPs intended to provide a a compilation of performances where "imporant names in jazz can just relax and play the tunes they like" and where the "emphasis will be on relaxed, thoughtful and expressive jazz, after hours music if you will". Tommy Flanagan must have been an obvious choice. He is aided in this set by Tommy Potter on bass and Roy Hanes on drums. Rudy van Gelder captured the exquisite sound in his usual manner by setting up a couple of high-fidelity microphones and letting the players and room speak for themselves. Sound even bettered and brought up to modern standards by JVC's renown K2 remastering process.
1. 2257 You Go To My Head 2. 2258 In The Blue Of The Evening 3. 2259 Velvet Moon 4. 2260 Come Sunday 5. 2261 Jes' Fine 6. 2262 Born To Be Blue 7. 2263 In A Sentimental Mood
Tommy Flanagan (p) Tommy Potter (b -1/3,5/7) Roy Haynes (d -1/3,5/7)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 18, 1960
This Stan Hope recording combines bold confidence with a polished elegance reminiscent of Erroll Garner, his early influence. Hope's playing sparkles like Garner's, but is not as fanciful or as ornate. Hope doesn't engage in those long, twisting runs Garner is noted for, but he certainly swings and plays in an unabashedly romantic manner. His renditions of 4 Garner charts have the same spare yet melodic selectivity as that of his idol. While this album is primarily a piano trio set, long-time sidecick Houston Person shows up with his swinging soulful tenor saxophone on three cuts. Drummond and Washington are their usual excellent selves and sonics are plush in trademark Savant manner.
1. Be Anything 2. Summer Serenade 3. Moment's Delight 4. That's My Kick 5. A Flower Is A Lovesome Thing / Forest Flower 6. Hopeful Blues 7. Pastels 8. Nightwind 9. Indiana 10. Cottage For Sale / Everything I Have Is Yours / I'm Falling For You
Personnel: Stan Hope (piano); Houston Person (tenor saxophone); Ray Drummond (bass); Kenny Washington (drums)
Recorded at M & I Studios, New York, New York on November 17, 1999.
Collected recordings of two excellent hard bop units consisting of musicians solely from Detroit, the first led by Thad Jones and Billy Mitchell and the second by Donald Byrd and Pepper Adams that not only stand out as two of the rarest of the Bethlehem jazz recordings, but which are also two of the best records made by the teams of these venerable Detroiters. Lone Hill Jazz chose to market this CD under the names of Flanagan and Chambers which were present on both sessions. Both combos groove very nicely here and who dares not to in the presence of hard bop royalty such as Kenny Burrell, Thad Jones, Al Grey, Pepper Adams, Donald Byrd, Tommy Flanagan, Paul Chambers, "Hey" Lewis (a Louis Hayes alias) and Elvin Jones. The bands are very tight and the tracks are long enough that everybody gets in some good licks on the solos. 9 numbers in all: "Let's Play One", "Minor on Top", "Like Old Times", "No Refill", "Stardust", "Trio", "Philson", "Libeccio", and "Bitty Ditty". Originally released as Motor City Scene (#1-4) and Stradust (#5-9) on the Bethlehem label this CD puts the 2 sessions together for the first time. Way harder than most of the west coast sessions on Bethlehem, and two essential hard bop classics that's nigh on impossible to find on wax.
1. Let's Play One 2. Minor on Top 3. Like Old Times 4. No Refill 5. Stardust 6. Trio 7. Philson 8. Libeccio 9. Bitty Ditty
1-4 (Motor City Scene): Thad Jones (cnt, flhrn), Al Gery (tb), Billy Mitchell (ts), Tommy flanagan (p), Paul Chambers (b), Elvin Jones (d) New York October 24 & 32, 1959
5-9 (Stardust): Donald Byrd (tp), Pepper Adams (bar), Tommy Flanagan (p), Kenny Burrell (g), Paul Chambers (b), Louis Hayes (d) New York, 1960
Yes, there's a concept on the loose here -- all the songs are about birds. Fortunately, there are plenty of good songs on the subject, and it's not so narrow that all the focus hinges on birds themselves. Add horn men Ben Webster and Al Cohn to McRae's enigmatic, dark contralto voice and you get the general idea.
1. Skylark 2. Bob White (Whatcha Gonna Swing Tonight?) 3. Nightingale Sang in Berkeley Square, A 4. Mister Meadowlark 5. Bye Bye Blackbird 6. Flamingo 7. The Eagle and Me 8. Baltimore Oriole 9. When the Red, Red Robin Comes Bob, Bob, Bobbin' Along 10. Chicken Today and Feathers Tomorrow 11. When the Swallows Come Back to Capistrano 12. His Eye Is on the Sparrow
Personnel: Carmen McRae (vocals); Barry Galbraith, Mundell Lowe (guitar); Al Cohn, Ben Webster (tenor saxophone); Irwin "Marky" Markowitz (trumpet); Dick Berg, Fred Klein, Donald Corrado (French horn); Don Abney (piano); Don Lamond, Todd Sommer, Nick Stabulas (drums).
Liner Note Author: Burt Korall.
Recording information: New York, NY (08/04/1958-08/08/1958).
Dr. John (a.k.a. Mac Rebennack) may have been a couple of months late in releasing this Duke Ellington centennial tribute, but his execution of these legendary numbers is still a delight. Rather than handling each classic as if it were a delicate museum piece to be treated with kid gloves, Rebennack instead infuses them with his signature style, which leans more toward New Orleans R&B. Songs such as "I'm Gonna Go Fishin" and "It Don't Mean a Thing (If It Ain't Got That Swing)" are given light funk workouts dominated by chugging grooves and popping bass. The album constantly shifts gears, as Dr. John turns "Satin Doll" into a latin shuffle, hops on the organ to inject some Jimmy Smith-flavored phrasing into "Perdido," and transforms "Things Ain't What They Used to Be" into a Meters-like workout. Dr. John's brightest moments come on "Don't Get Around Much Anymore" and "Flaming Sword." Rebennack transforms the former from wistful ballad into an upbeat declaration of freedom while on the latter, his piano breezily dances along the top of a syncopated rhythm in a manner reminiscent of his late friend James Booker. So in a nutshell the Duke gets pure fonk-i-fied by the good Dr.
1. On the Wrong Side of the Railroad Tracks 2. I'm Gonna Go Fishin' 3. It Don't Mean a Thing (If It Ain't Got That Swing) 4. Perdido Street Blues 5. Don't Get Around Much Anymore 6. Solitude 7. Satin Doll 8. Mood Indigo 9. Do Nothin' Till You Hear from Me 10. Things Ain't What They Used to Be 11. Caravan 12. The Flaming Sword
Personnel: Dr. John (vocals, piano, Hammond B-3 organ); Bobby Broom (guitar, background vocals); Ronnie Cuber (saxophone); David Barard (bass, background vocals); Herman Ernest III (drums, background vocals); Cyro Baptista (percussion).
Recorded at RPM Sound Studios, New York, New York. Includes liner notes by Dr. John.
New Orleans is said to be a city where having a party has been elevated from a casual pastime to a way of life. Nobody understood this better than Professor Longhair, one of the pioneers of New Orleans rhythm & blues. His influence can be heard in Fats Domino, Allen Toussaint and Dr. John, among many others. Known for his unique mix of blues, jazz, calypso, ragtime, and zydeco, "Fess" (as he was known) defined and captured the essence of New Orleans in his music. This is his best album and unfortunately it was his last. Professor Longhair is the very essence of New Orleans blues. He was Dr. John's mentor, who also was Professor Longhair's studio guitarist, before he dedicated himself to the piano and led a career of his own.
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. Includes liner notes by Tad Jones and Mindy Giles.
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)
T-Bone Walker's legacy casts a giant shadow over modern blues. He exerted a major influence on many artists, including B.B. King, Pee Wee Crayton and Chuck Berry. T-Bone combined superlative guitar playing with a fine singing voice. Although the forties and fifties were his heyday, he never stopped touring. Bob Thiele, an experienced producer for abc/Impulse (jazz) and abc/Bluesway, recorded him in the late sixties (as he did with B.B. KIng, Earl Hooker, Charlie Brown, etc) producing two LPs "Stormy Monday Blues" (1967) and "Funky Town" (1969). On these recordings, he is perfectly backed by veteran virtuoso Lloyd Glenn - who originally accompanied Walker on his 1947 blues mega-hit Stormy Monday Blues - on keyboards and by three other excellent younger musical hotshots: Mel London (gtr), Ron Brown(bs) and Paul Humphrey (dms). As usual for T-Bone, a good horn section is featured as well. These are, actually, the last true jewels that T-Bone recorded before passing away in 1975. Here, he reprises some of his best known numbers but also proves able to modernize his blues, making it sound - indeed - funkier. He achieves this by using faster tempos and by giving a lot of room to his accompanists (particularly to Mel Brown's hard edged guitar sound). His voice, now huskier than before, perfectly complements the musical stew. This compilation provides an interesting contrast to his previous, smoother and more sophisticated sides. However, the latter qualities have not been thrown overboard. The jazzy tinge of his earlier work remains apparent but does not dominate as much as before. As could be expected, the sound quality on this Bob Thiele production is certainly way more dynamic than the one found on his early 78's from the forties and early fifties. An album to (re)discover without hesitation.
1 Going to funky town 2 Party girl 3 Why my baby ( keep on bothering me ) 4 Jealous woman 5 Going to build me a playhouse 6 Long skirt baby blues 7 Struggling blues 8 I'm in an awful mood 9 I wish my baby ( would come home at night )
Lloyd Glenn (kbs), Mel London (g), Ron Brown (b), Paul Humphrey (d), horn section (uncredited)
Killer session featuring the great Stan Hope on piano, a player who has been active for seven (!) decades as an active jazz pianist and a long-time sidekick of great tenor sax man Houston Person who participates on three numbers. Stalwarts Ray Drummond and Kenny Washington on bass and drums respectively provide the rhythmic foundation and superb sound is guaranteed by the great Rudy Van Gelder, what more could a jazz lover ask for?
1. R.D.'s Blues 2. Then I'll Be Tired of You 3. My Ship 4. Easy to Love 5. Put on a Happy Face 6. They Can't Take That Away from Me 7. I'm Afraid the Masquerade Is Over 8. Somewhere in the Night 9. Medley: I'll Never Stop Loving You/The Island: I'll Never Stop Loving You / The Island 10. K.W. Groove
personnel & info
Audio Mixer: Rudy Van Gelder.
Liner Note Author: David Jaye.
Recording information: Van Gelder Studios, Englewood Cliffs, NJ (12/22/2004).
Personnel: Stan Hope (piano); Stan Hope; Houston Person (tenor saxophone); Ray Drummond (bass guitar); Kenny Washington (drums).
Additional personnel: Houston Person (on tracks 1, 2 & 7)
Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist. [Originally released in 1973, Flight to Denmark was reissued as an import-only Japanese CD in 2002.] ~ Michael G. Nastos, All Music Guide
No Problem (6:46) Here's That Rainy Day (7:27) Everything Happens to Me (5:44) Glad I Met Pat [Take 3] (5:45) Glad I Met Pat [Take 4] (5:29) How Deep Is the Ocean? (7:25) On Green Dolphin Street (8:24) If I Did - Would You? [Take 1] (3:43) If I Did - Would You? [Take 2] (3:52) Flight to Denmark (5:48) No Problem [Take 2] (7:14) Jordu [Take 1] (4:54)
Hailed by critics to be the best jazz film ever, famous photographer's Bert Stern's Jazz On A Summer's Day lives up to its reputation today.
Shot in Newport, RI during the 1958 Newport Jazz Festival and the America's Cup trials of the same year, initially intended as a full length motion picture, it was downsized to a concert documentary due to lack of funds. We have to thank our good luck for this, as this film broke new ground on how a live music performance should be captured. It literally wrote the book.
Shot in lush color instead of the grim black and white used until then, including scenes in broad daylight, interleaving performances with the sailing races going on simultaneously, it made people look at jazz from an entirely different perspective.
This was half a century ago and it really shows. People hit it off very differently back then, as the amazing crowd scenes attest to. With rock 'n roll just around the corner ready to take the popular music scene by storm, these were merrier, more innocent times.
Cast (in credits order)
Jimmy Giuffre ... Himself Thelonious Monk ... Himself Henry Grimes ... Himself Sonny Stitt ... Himself Sal Salvador ... Himself Anita O'Day ... Herself George Shearing ... Himself Dinah Washington ... Herself Gerry Mulligan ... Himself Big Maybelle ... Herself Chuck Berry ... Himself Chico Hamilton ... Himself
Louis Armstrong ... Himself Jack Teagarden ... Himself Mahalia Jackson ... Herself
rest of cast (listed alphabetically):
David Baily ... Himself Danny Barcelona ... Himself Bob Brookmeyer ... Himself Buck Clayton ... Himself Willis Conover ... Interviewer Gergory Corso ... Himself Bill Crow ... Himself Eric Dolphy ... Himself Eli's Chosen Six ... Themselves Art Farmer ... Himself Harold Gaylon ... Himself Nathan Gershman ... Himself Terry Gibbs ... Himself Urbie Green ... Himself Jim Hall ... Himself Peanuts Hucko ... Himself Jo Jones ... Himself Ray Mosca ... Himself Armando Peraza ... Himself Max Roach ... Himself Rudy Rutherford ... Himself Martin Williams ... Jazz Critic in Audience Patricia Bosworth... Disgruntled redhead in audience (uncredited)
Dark Beauty, recorded in 1974 with Niels-Henning Ørsted Pedersen and Albert "Tootie" Heath, became a break-out hit that helped advance Drew's acclaim. On this album he displays tremendous pianistic skills, intelligent and advanced harmonic sensibilities and driving sense of swing. Pedersen is featured throughout, and his solos demonstrate awe-inspiring technique and imagination. This CD edition contains three bonus tracks which did not appear in the original LP ("A Felicidade," "In Your Own Sweet Way" and "A Stranger In Paradise"). ”
1. Run Away 2. Dark Beauty 3. Summer Night 4. All Blues 5. A Felicidade 6. It Could Happen To You 7. Love Letters 8. Silk Bossa 9. Blues Inn 10. In Your Own Sweet Way 11. Stranger In Paradise
Nikos Skalkottas (1904-1949) was versatile, inventive and prolific. To that effect, this CD works as a nice sampler of the composer's qualities. Two of the works (Mayday spell and the three Greek dances) are tonal, both employ Greek folk music motives, arranged in a neo-classical form and orchestrated in Skalkottas' unique manner. Christodoulou's interpretation is somewhat technical, yet still captures the magic of Skalkottas writing. The Concerto for Double Bass and Orchestra is atonal and will most certainly appeal to hardened/converted fans. Expertly crafted music from an obscure genius deserving wider recognition.
Mayday Spell - A Fairy Drama, Symphonic Suite (1944-49) 1. I. Overture 8'08 2. II. Fairy Tale 7'14 3. III. Ballet - Dance of the Faires 3'29 4. IV. Love scene 1'19 5. V. Argyro´s Song 0'59 6. VI. Little Dance Song 0'55 7. VII. Folk-song 4'29 8. VIII. Short folk dance 0'43 9. IX. Prelude 0'58 10. X. The mother´s lament 4'27
Concerto for Double Bass and Orchestra (1942) 11. I. Andante - Allegro 7'32 12. II. Andantino 4'30 13. III. Allegro vivo e molto ritmato 5'21
Three Greek Dances for strings (1936) 14. Nissiotikos 4'57 15. Tsamikos 2'10 16. Mazochtos 1'54
Second volume of legendary solo piano recording of the blind Catalan pianist Tete Montoliu recorded on March 17, 1980, at the Alfred Morse Auditorium on the Boston University campus in Boston, Massachusetts. The late Montoliu demonstrates what separates the men from the boys as far as jazz piano is concerned.
Track listing 1. Airegin 2. Lush Life 3. Giant Steps 4. When I Fall In Love 5. A Child Is Born 6. Confirmation 7. Apartment 512 8. Oleo/Come Sunday/Oleo Personnel: Tete Montoliu, piano
First volume of legendary solo piano recording of the blind Catalan pianist Tete Montoliu recorded on March 17, 1980, at the Alfred Morse Auditorium on the Boston University campus in Boston, Massachusetts. The late Montoliu demonstrates what separates the men from the boys as far as jazz piano is concerned. Unmissable.
Track listing 1. Introduction 2. New England Blues 3. I Guess I'll Hang My Tears Out To Dry 4. Have You Met Miss Jones? 5. Catalan Suite 6. Hot House
Gary Burton spent a great deal of his professional life juggling his duo careers as a bandleader and jazz educator. So it came as no surprise to see him form a brand new group of talented up and coming players in 2004, the eighth such new unit by his count. Burton's skill on vibes is a given, but his ability to find four impressive young men able to jump right in and perform at a high level also deserves kudos. The leader first heard guitarist Julian Lage on the 2000 Grammy Awards at the tender age of 12; he was just 16 at the time of these sessions and had already appeared with Burton on the earlier CD Generations. Lage, who shows incredible chops without overdoing it, also contributed the easygoing, infectious strut "Walkin' in Music" and "Clarity," a playful duet with Burton. Vadim Neselovskyi not only is a surprising pianist but a thoughtful composer whose works (including the intricate "Prelude for Vibes" and the tense, rapid fire "Get Up and Go") belie his age. Bassist Luques Curtis, in addition to solidly anchoring the rhythm section with the gifted drummer James Williams, penned the funky Latin "Ques Sez." The leader's liner notes don't specifically credit anyone with the wild arrangement of 20th century composer Samuel Barber's Fuga or the jaunty, somewhat angular rendition of the standard "My Romance" (possibly because they were a group effort), but they also merit high praise. This meeting of a jazz master and four prodigies is well worth acquiring. ~ Ken Dryden
Track listing 1.Prelude for Vibes 2.My Romance 3.'Ques Sez 4.Get Up and Go 5.B & G 6.A Dance for Most of You 7.Walkin' In Music 8.Summer Band Camp 9.Fuga 10.Clarity
Personnel: Gary Burton: vibraphone; Julian Lage: guitar; Vadim Neselovski: piano; Luques Curtis: double-bass; James Williams: drums.
Recording information: Fantasy Studios, Studio D, Berkeley, CA (11/08/2004/11/10/2004).
Tete Montoliu's fourth LP for SteepleChase is primarily a fun-filled trio date with bassist Niels-Henning Ørsted Pedersen and drummer Albert "Tootie" Heath, frequent collaborators with the blind pianist. The influence of Art Tatum and Oscar Peterson is evident in his rollicking take of "What's New?", "We'll be Together Again" follows with some tour de force solo features for the great pianist and finally the 20-minute "Catalan Suite", a medley of five traditional folk songs from Montoliu's homeland, giving ample space to the trio to stretch out; it's a shame one can't hear the words that accompany these joyous melodies. This is essential listening for fans of this late genius of contemporary jazz piano. ”
Track Listing A1 What's New (Haggart - Burke) 11:08 A2 We'll Be Together Again (Fischer-Lane) 09:10 B1 Catalan Suite (T. Montoliu) 20:01
It is well known that jazz giant Dexter Gordon spent 15 years in Europe, between 1962 and 1977, mostly in Paris and Copenhagen. In the early 1960s Gordon played often in the famed Jazzhus Montmartre with Catalonian pianist Tete Montoliu and local bassist Niels-Henning Ørsted Pedersen. In addition, superbly talented drummer Billy Higgins happened to be in town and was available for this legendary recording. Throughout this one day session, this international all-star group was totally inspired. While the main attraction here is clearly Gordon whose tenor sax sounds as good as ever, the fiery solos by Montoliu, the lithe and limber drumming by Higgins and the authentic bass played by Pedersen contribute to elevate their collective performance to a higher plane. There is not a single weak moment in this exciting record. Recorded in Copenhagen on September 14, 1975. Originally released in 1976 by SteepleChase Records. This reissue CD -- special limited paper sleeve edition -- released in Japan by Videoarts Music on March 19, 2008. ”
Track Listing 1. Billie's Bounce 2. Easy Living 3. Benji's Bounce 4. Catalonian Nights 5. Four 6. Easy Living [take 1]
Personnel Dexter Gordon (tenor sax) Tete Montoliu (piano) Niels-Henning Ørsted Pedersen (bass) Billy Higgins (drums)
Recorded in Copenhagen on September 14, 1975. Originally released in 1976 by SteepleChase Records. This reissue CD -- special limited paper sleeve edition -- released in Japan in 2008.
Kenny Drew's debut as a leader in the more than able company of Messrs. Curly Russel on bass and Ard Blakey on drums, where we get to hear what a great pianist Drew was from the very beginning and the influence Bud Powell had on him. Other than his "Gloria" and the basic "Drew's Blues," all of the music is standards including "Be My Love," "Yesterdays" and a surprisingly heated rendition of "It Might As Well Be Spring. Sparkling mono sound from this mint 1999 reissue limited edition lovingly pressed by Toshiba EMI Japan in 1999.
Track listing A1 Yesterdays A2 Stella By Starlight A3 Gloria A4 Be My Love B1 Lover, Come Back To Me B2 Everything Happens To Me B3 Spring Will Be A Little Late B4 Drew's Blues
Personnel Kenny Drew (p) Curly Russell (b) Art Blakey (d)
Recorded at Rudy Van Gelder Studio, Hackensack, NJ, April 16, 1953
Turn every stone in jazz, soul, pop, rock and whatnot since the 70s and chances are that you'll bump into drum wunderkind Steve Gadd. Steve's talent has graced albums of Paul McCartney, Paul Simon, Steely Dan, Al Jarreau, Joe Cocker, Stuff, Bob James, Chick Corea, Eric Clapton, James Taylor, Jim Croce, Eddie Gomez, The Manhattan Transfer, Michal Urbaniak, Steps Ahead, Al Di Meola, Manhattan Jazz Quintet, Richard Tee, Jon Bon Jovi, Bee Gees to name but a few. As Chick Corea said ""Every drummer wants to play like Gadd because he plays perfect ... He has brought orchestral and compositional thinking to the drum kit while at the same time having a great imagination and a great ability to swing" (Duke's Lullaby from this LP proves that in spades). Gadd has collaborated since the 70s with ace session men Cornell Dupree, Richard Tee and Eddie Gomez with the group Staff. Bari sax legend Ronnie Cuber was added to the roster during the 80s and the Gadd Gang was born. This is feel-good music, these seasoned veterans sound like having a heck of a time playing it scoring high marks in the trouser flapping department, great, groovy stuff. Tracklisting 1 Watching The River Flow 6:36 Composed By - Bob Dylan
2 Strength 4:28 Composed By - R. McDonald* , S. Gadd* , W. Salter*
3 Way Back Home 6:57 Composed By - Wilton Felder
4 Morning Love 4:20 Arranged By - Richard Tee Composed By - Eddie Gomez
5 Duke's Lullaby 3:59 Composed By - Steve Gadd
6 Everything You Do 3:47 Composed By - Richard Tee
7 Honky Tonk / I Can't Stop Loving You 6:53 Arranged By [Horns] - David Matthews* Composed By - B. Doggett* , B. Butler* , C. Scott* , D. Gibson* , E. Grover* , S. Shepard* Saxophone [Tenor] - George Young (2) , Michael Brecker Trombone - Barry Rogers , David Taylor Trumpet - Jon Faddis , Lew Soloff
The gang Richard Tee keyboards Cornell Dupree guitar Eddie Gomez bass Steve Gadd drums Ronnie Cuber baritone sax (on #1,3,& 7)
Recorded and mixed at Record Plant Studios, NYC in June and August, 1986 by using SONY 3324 Digital Recorder.
Hugely talented pianist Kenny Drew performed and recorded during the 1950s with Lester Young, Coleman Hawkins, Miles Davis, Charlie Parker, John Coltrane, Sonny Rollins, Johnny Griffin, Art Blakey and Charlie Mingus before moving to Europe in 1961. In 1964 he settled down in Copenhagen as the house pianist of the famous jazz club called Jazzhus Montmartre. Hugely talented bassist Niels-Henning Ørsted Pedersen was still in his twenties when he recorded this classic album with Drew in 1973, but he was already considered to be the best bassist in Europe. He had become the house bassist at Jazzhus Montmartre in 1964, and had been playing with Drew in that context for almost a decade before the two went into the studio.
The eclectic program consists of Danish traditional melodies ("Once A Saturday Night," "In The Stil Of The Woods"), original compositions by the two, Antonio Carlos Jobim's "Wave" in which Drew plays both acoustic and electric piano. Guitarist Ole Molin joins the duo on "Do You Know What It Means To Miss New Orleans." This is a must-own item for fans of Drew and Pedersen. Recorded in Copenhagen on April 2, 1973. Originally released by SteepleChase Records in 1973 on LP and 1988 on CD . This reissue CD -- special limited paper sleeve edition -- released in Japan by Videoarts Music on March 19, 2008. ”
Track Listing 1. In The Still Of The Woods [take 2] 2. Come Summer 3. Lullaby 4. Kristine 5. Serenity 6. Once A Saturday Night 7. Do You Know What It Means To Miss New Orleans 8. Wave 9. Duo Trip 10. Hush-A-Bye 11. In The Still Of The Woods [take 1] Personnel Kenny Drew (electric piano,piano) Niels-Henning Ørsted Pedersen (bass) Ole Molin (guitar)
This CD is part of SteeplaChase's Limited Edition Series available only in Japan. This series consists of only 10 choice CDs from the extensive SteepleChase catalog, are meticulously produced and sonically on a par with JVC's XRCDs.
In so many ways, the piano trio is really one of the most perfect combinations in jazz. In the right hands, the impression of a much larger group is possible and various combinations of each instrument allow for freshness and variety. Knowing a good thing when they heard one, the magic of the piano trio was not lost on Columbia Records when they decided to launch a series of “Piano Moods” back in 1948. It was really a combination of ideas and technology, however. First of all, these records would be among the earliest examples of the long-playing 33 1/3-rpm format. Secondly, the 20 albums eventually issued would ultimately take in some of the more popular styles in addition to obvious jazz sensibilities. As an added source of inimitability, many of the original records were produced with no pauses between tracks, giving the side of a record album the feel of having someone performing for you right there in your own living room. This 10" LP documents Columbia Records' first attempt at niche marketing with the Piano Moods series. Born out an impromptu marketing plan by a small Columbia Records staff in 1950, the Piano Moods series was hatched from the marketing discovery that there were more pianos than phonographs (that's record players for all you kids who don't remember vinyl LPs) in the homes of postwar America. The 12" LP had been launched a scant two years before and few titles were available. The Piano Moods series linked 20 albums of the same general type, all of them produced and sequenced by George Avakian, who had created the jazz and pop catalog on LP for Columbia beginning in 1948 -- though they were originally released 33 rpm 10" discs to keep the folks with all those 10" 78 rpm discs happy when it came to storage. The sides were cut -- usually -- with no spirals (spaces) between tunes, giving the side a longer feel than its 17 minutes because the music was continuous. Most pianists preset their sequences and prepared introductions of the key of the preceding tune that modulated into the key of the next one. Some would cut the modes later and have Avakian splice them or, in the case of Teddy Wilson, he would play it straight through(as can clearly be heard on this LP), and if he felt he flubbed anything, would re-record a tune and have Avakian work the tape magic. The series was wildly successful as a whole, and most homes had at least a few of these sides and some had many or all. The interesting comment here is that many of these pianists had little or nothing in common with one another. They ranged from the jazzers like Wilson, Art Tatum, Errol Garner, and Ahmad Jamal (whose album was released as a 12" LP) to stride cats like Ralph Sutton and Joe Sullivan -- who plays Fats Waller here -- to swingers like Earl "Fatha" Hines, Joe Bushkin (of Tommy Dorsey fame), and Jess Stacy. There are more than a few unknown jazzers as well, like Buddy Weed, Max Miller, Eddie Heywood, and Bill Clifton. Last but not least is the man who could -- and did -- play everything, concert virtuoso Stan Freeman.
Track listing A1 Just One Of Those Things A2 Just Like A Butterfly A3 Runnin' Wild A4 I've Got The World On A String A5 Fine & Dandy A6 I Don't A Stand A Ghost Of A Chance A7 Honeysuckle Rose B1 Between The Devil & The Deep Blue Sea B2 Bess, You Is My Woman B3 I Can't Give You Anything But Love Baby B4 After You've Gone
Personnel Teddy Wilson, piano with:
Orville Shaw bass J. C. Heard drums on side A
Carl Fields bass Al McKibbon drums on side B
N.B. Sides A and B are left intact to preserve the original feeling, attentive listeners will notice that in essence this LP consists of two long tracks.
10" LPRip @ 24bit-96khz | FLAC | 257 MB (3% recov) | 25:06 | Full Artwork Classic Jazz / Philips Minigroove B07625R / Original 1950s 10" LP pressing made in Holland (mono)
Altoist/flutist Bud Shank and Brazilian acoustic guitarist Laurindo Almeida first teamed up in the 1950s to create music that predated but strongly hinted at bossa nova. In 1974, they reunited to form the L.A. Four with bassist Ray Brown and drummer Chuck Flores. With Shelly Manne and later Jeff Hamilton replacing Flores on drums, the L.A. Four recorded eight albums for Concord through 1982, breaking up shortly afterward. Their mixture of cool-toned bop, Brazilian-oriented music, and ballads was quite attractive. ~ Scott Yanow, All Music Guide
While not of Kind of Blue stature this excellent live recording delivers the goods in spades, these hardened veterans play their hearts out and sonics are top-notch easily transferring the listener to the Montreux Auditorium ~itsartolie ”
Track Listing 1. I Love You 9:17 2. Hammertones 7:37 3. Just in Time 6:55 4. Return of Captain Gallo 9:23 5. Duke's Mélange: I Let a Song Go Out of My Heart/Caravan/Take the 'A' Train/Rockin' in Rhythm 14:59
Personnel Bud Shank Laurindo Almeida Ray Brown Jeff Hamilton
Two cuts ('Round about Midnight and Missile Blues) from Wes Montgomery's meteoric entrance into the jazz world with his first LP as a leader (The Wes Montgomery Trio - A Dynamic New Sound) released in 1959 on this rare 7 inch EP from Riverside's Extended Play series. Montgomery is in the company of Melvin Rhyne on B-3 organ and Paul Parker on drums.
This 45rpm EP sounds much better than the OJC LP and CD.
1. 'Round About Midnight (T. Monk) 4:49 2. Missile Blues (W. Montgomery) 5:57
Wes Montgomery, guitar Melvin Rhyne, organ Paul Parker, drums
Every jazz lover and his dog knows this one, it is easily the most recognizable Blue Note album, and understandably so. The groove is low down (and dirty sometimes), the interplay between these top-notch musicians is exemplary, a perfect companion for those relaxing, late-night sessions with the proverbial scotch at hand. Even the late Stevie Ray Vaughan covered the famous Chitlins con Carne (albeit not very successfully). Here's your chance to taste the real thing the way it was supposed to be heard in its original 1963 monophonic version from my private collection (complete with surface noise here and there, perfect for evoking that all-important time capsule effect)...
1. Chitlins con Carne 2. Mule 3. Soul Lament 4. Midnight Blue
5. Wavy Gravy 6. Gee Baby, Ain't I Good to You 7. Saturday Night Blues
Kenny Burrell – guitar Stanley Turrentine – tenor saxophone Major Holley – bass Billy Gene English – drums Ray Barretto – conga
Rudy van Gelder - engineer Alfred Lion - producer Reid Miles – cover design, typography Francis Wolff – photography, cover photo
Recorded on Jan. 7, 1963, Blue Note BLP 4123
*NB - This is an LP rip of the original 47-year old LP in 24bit-96khz high resolution
One of the most lyrical works of this most original of contemporary jazz pianists lovingly recorded by the audiophile Danish SteepleChase label.
Track Listing 1. I'm Glad There Is You 2. Santa Claus Is Coming To Town 3. Lover Man 4. All The Things You Are 5. Long Ago And Far Away 6. Black And Blue 7. How Long Has This Been Going On 8. A.R.B. 9. Blues Waltz 10. I Wish I Knew 11. If I'm Lucky 12. You'd Be So Nice To Come Home To 13. I Can't Get Started 14. The Theme 15. Becky 16. Bolivar Blues 17. Goodbye
Personnel Billy Hart (drums); Jesper Lundgaard (bass); Paul Bley (piano)
Recorded at Sound Track Studios, Copenhagen, December 8, 1985
This extraordinary Brazilian guitarist, composer, and arranger was introduced to music by his mother, a concert pianist who gave him his first lessons. Like his sister, however, he would eventually choose the guitar as his primary instrument. As a teenager, Almeida witnessed, and participated in, a great deal of civil unrest; the experience galvanized him and fueled a lifelong passion for the politics of his native country. At age 19, he became a performer aboard the Brazilian ocean liner Cuyaba, which enabled him to travel to Europe, hear the legendary Django Reinhardt in Paris, and experience a great deal of foreign culture.
In Brazil, he formed a guitar duo named Cordas Quentes with Garoto, who he met at Radio Mayrink Veiga in Rio de Janeiro. In 1947, he went on tour with singer and actress Carmen Miranda's band. This led him to Hollywood, where he performed on film soundtracks and appeared in concerts with violinist Elizabeth Waldo; he also composed the first of his more than 800 scores for movies and television series. He was to win Oscars for his soundtracks to The Old Man and the Sea (1958) and The Magic Pear Tree (1970). He soon joined the innovative Stan Kenton Orchestra and became a featured soloist. After three years, he established permanent residence in Los Angeles and began an astonishingly prolific recording career that was to earn him ten Grammy awards.
Almeida's palette of stylistic and emotional expression was wide-ranging. His early '50s Brazilliance albums with Bud Shank helped establish the bossa nova style in the States several years before the craze hit. He also recorded and toured with the Modern Jazz Quartet and was equally at home with classical and modern concert music, such as Gnattali's Concerto de Copacabana and the Guitar Concerto of Villa-Lobos. ~ "Blue Gene" Tyranny, All Music Guide
About the Recording
Virtuoso Guitar is a very rare 1977 US 4-track limited edition 'Supercut' direct to disc 45RPM audiophile LP recorded live directly to the master lacquer & pressed on high quality vinyl, silvered embossed pasted picture sleeve. Fabulous sound quality and "there"-ness. Laurindo Almeida interprets classics such as Yesterday and also delves into more comptempory music blending in and creating a soundscape so effortless whatever the tune. And oh, the sound quality is simply astonishing, makes you really just sit and listen.
Track Listing: 1. Yesterday 2. Jazz-Tuno At The Mission 3. Late Last Night 4, 5, 6. Sonata For Guitar & Cello In Three Movements by Radames Gnattali
One of the most successful Japanese piano trio recordings of the 70s -- a super-session performed by a a trio of Americans that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way -- and a genuine surprise to hear how strong his work is in such a format.
Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too -- making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene and a tight swinging sound that's very much in the soul jazz tradition of the LA scene that spawned all three players.
Personnel: Joe Sample - Piano Ray Brown - Bass Shelly Manne - Drums
Track listing: 1 Yearnin' 2 On Green Dolphin Street 3 Satin Doll 4 Mañha de Carnaval 5 'Round About Midnight 6 Funky Blues
Vinyl rip in 24-bit/96kHz | FLAC | East Wind 10001 Nippon Phonogram Tokyo Direct-to-disc recording
The attitude of the gallant Six Hundred which so aroused Lord Tennyson's admiration arose from the fact that the least disposition to ask the reason why was discouraged by tricing the would-be inquirer to the triangle and flogging him into insensibility.
Advance to Barbarism
(Mitre Press, 1968).
Music posted here is for information purposes only. I don't subscribe to the notion that record companies are ripped off by the proliferation of blogs like this one. It is my firm belief that quite the contrary happens i.e. by bringing awareness to hitherto virtually unknown artists to the general public the music benefits greatly and a new level of interest is created.
Listeners are therefore kindly requested to buy the original music and support artists if they fancy what they hear - remember: if you like it, buy it!