Wes Montgomery - Round About Midnight

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.

Track Listing

1. 'Round About Midnight (T. Monk) 4:49
2. Missile Blues (W. Montgomery) 5:57

Personnel

Wes Montgomery, guitar
Melvin Rhyne, organ
Paul Parker, drums

Rec. Oct 1959 in NYC



N.B. EPrip @ 24-bit-96khz | WAV | 145 MB | Full artwork

Kenny Burell - Midnight Blue (1963)

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)...

Track listing

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

Personnel

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

Paul Bley Trio - My Standard

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

Laurindo Almeida - Virtuoso Guitar (1977)

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

Year: 1977
Label: Crystal Clear Records CCS 8001
Style: Acoustic Jazz, Guitar
Audio: 24bit-96kHz Vinyl rip, FLAC
Size: 498 MB

Joe Sample, Ray Brown, Shelly Manne - The Three (1975)

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

Ella Fitzgerald - Ella in Hollywood (1961)

Ella in Hollywood is a live 1961 album by Ella Fitzgerald, with a jazz trio led by Lou Levy, recorded in Hollywood, Los Angeles. This album features Ella at the height of her vocal powers, one month before the recording of her most critically acclaimed studio album, Clap Hands, Here Comes Charlie!. Ella in Hollywood features several songs that serve as starting points for Ella's seemingly effortless scat solos ("Take the 'A' Train" is considered one of her best scat performances on record), and a selection of beautiful ballads balance out the album. For many years, the album was only available on CD as a Japanese import, but in April 2009 Verve finally gave it a worldwide CD release.

There’s nothing rare about a joyous Ella Fitzgerald recording; the woman exuded joy in nearly every note she sang. Yet the level on these sessions soared higher and plumbed deeper. Gary Giddins, the veteran critic and author of “Jazz,” agrees. “This ranks on the top shelf of her live recordings,” he said. “It’s about as good as it gets.” The 1961 Crescendo gig, which took place from May 11 to 21 (with one night off), was booked as an afterthought to begin with, a time filler between a European tour that Fitzgerald and her quartet had begun in February and a monthlong stay at the Basin Street East in New York that June. Norman Granz took the unusual step of taping every set. But in the next year alone he and Fitzgerald recorded six studio albums, most of them with large orchestras, including two of her eight heavily promoted songbook albums, each devoted to standards by a prominent American composer. In this context it’s not so surprising that the Crescendo tapes received short shrift. “My guess,” Mr. Seidel said in a phone interview, “would be that Norman Granz was just recording Ella so much at the time, and was probably focused much more on her big studio projects.” Granz did pull 12 tracks from the roughly 14 hours of material recorded at the Crescendo and released them that year as an LP called “Ella in Hollywood.” But the album didn’t do well, perhaps because it sounded so strange. In between the songs, for reasons now unknown, someone spliced in loud applause that had been recorded in a large concert hall, making the whole album seem artificial. (The Crescendo was a nightclub of 200 seats). Whatever the reasons for the flat reviews and scant sales, the executives of Verve — which Granz had sold to MGM in 1960 — put the Crescendo tapes in the vault, where they were forgotten for the next 27 years (this refers to the 4-CD boxset also released by Verve in 2009).

Track listing:
1. "This Could Be the Start of Something Big" (Steve Allen) – 2:33
2. "I've Got the World on a String" (Harold Arlen, Ted Koehler) – 3:44
3. "You're Driving Me Crazy" (Walter Donaldson) – 3:23
4. "Just in Time" (Betty Comden, Adolph Green, Jule Styne) – 1:56
5. "It Might as Well Be Spring" (Oscar Hammerstein II, Richard Rodgers) – 3:07
6. "Take the "A" Train" (Billy Strayhorn) – 9:04
7. "Stairway to the Stars" (Matty Malneck, Mitchell Parish, Frank Signorelli) – 3:56
8. "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)" (Sam Coslow) – 4:05
9. "Satin Doll" (Duke Ellington, Johnny Mercer, Strayhorn) – 2:53
10. "Blue Moon" (Richard Rodgers, Lorenz Hart) – 3:17
11. "Baby, Won't You Please Come Home?" (Charles Warfield, Clarence Williams) – 3:41
12. "Air Mail Special" (Charlie Christian, Benny Goodman, Jimmy Mundy) – 5:26

Personnel:
* Ella Fitzgerald - Vocals
* Wilfred Middlebrooks - Bass
* Lou Levy - Piano
* Gus Johnson - Drums
* Herb Ellis - Guitar

Recorded live, May 11- May 21, 1961, Hollywood, Los Angeles

Bill Frisell - Music for the Film of Buster Keaton - The High Sign ; One Week {Elektra Nonesuch 1995}

“The most inventive and compelling guitarist to emerge in more than a decade” (Oakland Tribune), composer/guitarist/bandleader Bill Frisell trains his unique compositional lens on the silent film works of 1920s comedic phenom Buster Keaton, forging Music for the Films of Buster Keaton: Go West and The High Sign / One Week, two remarkable recordings representing the sixth and seventh additions to Frisell's Nonesuch catalog.

Music for the Films of Buster Keaton provides a deeper look at Frisell’s longstanding fascination with Americana (also explored in his earlier Nonesuch releases This Land and Have a Little Faith). In a musical storytelling of the rises, falls and comedic/tragic mishaps of Buster Keaton’s most memorable screen personae, the voice of Frisell’s signature guitar presides conversing, pondering, scheming over vignettes of fluctuating rhythms, tempos and moods, weaving the particular atmosphere of placid tumult so intrinsic to Keaton’s work and life. After a New York City performance accompanying the films, the New York Times said, “Mr. Frisell’s scores perfectly balance the need to be abstract and the need to be literal ... [He has] recurring motifs that suggest the new American possibility of the time, motifs redolent of the sort of optimism heard in some country music, blues and jazz.”

Both Go West and The High Sign / One Week feature the Bill Frisell band, a tightly knit trio in which longtime collaborators Kermit Driscoll (bass) and Joey Baron (drums) flank Frisell’s inimitable fretwork, exhibiting a level of communication for which Frisell’s ensembles are renowned. Formed in 1986, the band often conspired with such notable talents as clarinetist Don Byron, trombonist Curtis Fowlkes, and accordionist Guy Klucevsek, among others. ”


Track Listing:
1 Introduction 0:37
2 The High Sign Theme / Help Wanted 0:42
3 Target Practice 1:16
4 The Blinking Buzzards 1:06
5 Good Shot / Swearing In / Shooting Gallery 2:30
6 Chase / Cop 5:45
7 The High Sign Theme / At the Home of August Nickel 1:10
8 Chase / Caught 3:21
9 The High Sign Theme 1:56
10 One Week Theme / The Wedding 0:27
11 Reckless Driving 1:39
12 Construction 0:49
13 Oh, Well / The Piano 3:12
14 Fight 2:05
15 Oh, Well / Bath Scene 1:42
16 Housewarming Party and Storm 2:32
17 One Week Theme / Aftermath 2:19
18 Here Comes the Train 0:44
19 Oh, Well 0:49

Personnel:
Bill Frisell, acoustic and electric guitars
Kermit Driscoll, acoustic and electric basses
Joey Baron, drums and percussion

Nikos Skalkottas (1904-49) Music For Violin And Piano

Nikos Skalkottas produced his abundant compositional legacy in virtual obscurity. Even some of his close colleagues and family members had no idea he was a composer. A half century after Skalkottas' early death, the Greek composer is finally getting his due. Gunther Schuller's Margun Music has published a significant handful of scores, while BIS continues what hopes to be an ongoing survey of his music. In certain respects, it's a miracle that the music has survived at all. Much of Skalkottas' prolific output only exists in manuscript; tracking it all down amounts to a detective job from hell. For instance, only the second movement survives from Skallkotas' first of four Violin Sonatinas recorded here. It's a three-minute curio that aptly can be described as "Schoenberg meets Samba".

Much of Skalkottas' music, in fact, evokes the lilting, cosmopolitan sound world of the composers who made up "Les Six", yet the grammar is thoroughly rooted in Schoenberg's gritty, uncompromising 12-tone lexicon. Hints of catchy melodies flicker in and out of thorny chordal bushes and spiky rhythmic cells. Skalkottas is fond of abrupt endings. Each of Sonata for Solo Violin's four movements, for example, concludes in midthought, as if the composer simply decided to stop in his tracks and give his feverish pen a rest.

While it makes programming and marketing sense to build a CD release around all the Skalkottas violin music, it's best to absorb these dense, quirky works in small doses. Start with the oddly engaging Little Chorale and Fugue, then proceed to the larger-scaled Fourth Sonatina. Then choose an encore from any of the five concluding miniatures at the end of the disc. Georgios Demertzis and Maria Asteriadou dive head first into this strange, insidiously original music, playing with ferocity and musicianly abandon. Powerful stuff. ~Jed Distler, ClassicsToday.com

Track listing:

Sonata for Solo Violin (1925)
1. I. Allegro furioso, quasi Presto 2'33
2. II. Adagietto 2'42
3. III. Allegro ritmato 1'41
4. IV. Adagio - Allegro molto Moderato 5'40

Sonatina No.1 for Violin and Piano (1929)
5. II. Andantino 2'50

Sonatina No.2 for Violin and Piano (1929)
6. I. Allegro 2'13
7. II. Andante 2'20
8. III. Allegro vivace 2'01

Sonatina No.3 for Violin and Piano (1935)
9. I. Allegro giusto 2'55
10. II. Andante 5'06
11. III. Maestoso - Vivace 3'17

Sonatina No.4 for Violin and Piano (1935)
12. I. Moderato 3'26
13. II. Adagio 6'49
14. III. Allegro moderato 2'51

Little Chorale and Fugue (c.1936/37?)
15. Adagio 1'16
16. Moderato 1'40

17. March of the Little Soldiers (c. 1936/37?) 0'50

18. Nocturne (c. 1936/37?) 4'53

19. Rondo (c. 1936/37?) 1'18

20. Gavotte (1939) 1'36

21. Scherzo (c. 1940?) 2'22

22. Menuetto Cantato (c. 1940?) 2'14

personnel:

Georgios Demertzis, violin
Maria Asteriadou, piano

BIS CD-1024, 1999

ClassicsToday.com 10/10

Stan Getz & Gerry Mulligan - Getz Meets Mulligan in Hi-Fi (1957){DCC GZS-1074 1995}

"This is the least satisfying of Gerry Mulligan's celebrated sax duet albums for Verve, but that's mainly because Getz and Mulligan switch instruments on the second half (a lame idea considering that Stan's sound on the tenor was as rare and unique as Mulligan's fluidity on the baritone). Thankfully, the CD reissue adds bonus cuts of them playing their respective horns..." sez a Mr. Nick Dedina reviewing this CD for Rhapsody.com.

Of course, we know better (or do we?) and will cherish this wonderful album for two reasons, the first one being playing the guess-who's-playing-the-bari-on-this-number and a more obvious one, i.e. the cracking enjoyment of listening to two of the greatest horn men in jazz at the peak of their artistic powers, happy holidays all...

Track Listing:
1. Let's Fall in Love
2. Anything Goes
3. Too Close for Comfort
4. That Old Feeling
5. This Can't Be Love
6. A Ballad
7. Scrapple from the Apple (bonus track)
8. I Didn't Know What Time It Was (bonus track)

Personnel:
Gerry Mulligan (tenor saxophone, baritone saxophone); Stan Getz (tenor saxophone, baritone saxophone); Lou Levy (piano); Ron Carter (bass); Stan Levy (drums)

Recorded Oct. 12, 1957 for Verve Records (monaural)

Johnny Hodges & Wild Bill Davis

This is a selection of some of the most memorable tracks from the many fast-selling LPs that Johnny Hodges and the organist Wild Bill Davis made together back in the good 'ole 1960's. Most of the material was written down by Hodges himself, sometimes in collaboration with one or another of his long-time associates in Duke Ellington's band and in two cases, "Hodge Podge" and "Harmony in Harlem", with the master himself. Several classics of easy-listening music such as Hash Brown and Wings and Things are included.

The latter, the longest track here, typifies the sort of performance that made the original releases so popular. Just as simple and direct is the more relaxed A&R Blues and in all cases the rapport between these masters is obvious. Davis sometimes uses his instrument with restraint, but he more often cuts loose, as in those many pieces where Hodges lays familiar blues phrases end to end with Davis blasting away behind him. Neither of them is afraid to repeat the same idea over and again, and on all tracks barring the ballads the rhythm sections keep up a heavy, absolutely unvarying beat, really driving things to the ground.

As should be expected there are no signs of hesitancy or inhibition in these performances, and that tells us a great deal about Hodges in the sense that he sounds completely different here from in the many sophisticated vehicles the Duke provided him with. The same goes for distinguished trombonist Lawrence Brown who plays along on several tracks. But it really is all down to Hodges and Davis who manage to make these pieces their own. Having heard these two play them, nobody would want to hear them played by anyone else.

Track listing:

1. Blue Hodge
2. Hodge Podge
3. Knuckles
4. Jones
5. I Cried for You
6. A&R Blues
7. Wings and Things
8. Peg o' my Heart
9. Spotted Dog
10.Blues for Madeleine
11.Rabbit Out of the Hat
12.Hash Brown
13.Harmony in Harlem
14.Blues o' Mighty

Various personnel, recorded between 1961-66, Verve 1988