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

Kenny Drew Trio - If You Could See Me Now (1974)

Born in New York City in 1928, Drew first recorded with Howard McGhee in 1949, and over the next two years recorded with Buddy DeFranco, Coleman Hawkins, Milt Jackson, Charlie Parker, Buddy Rich, and Dinah Washington. He then led many recording sessions throughout the 1950s, and appeared on John Coltrane's album Blue Train.

Along with several other American jazz musicians who went to Europe, in 1961 he moved to Copenhagen, Denmark. While he sacrificed much of the interest of the American jazz audience, he gained a wide following across Europe. Kenny Drew was a well known figure on the Copenhagen jazz scene, recording many sessions with the Danish bassist Niels-Henning Ørsted Pedersen.

Kenny Drew and Dexter Gordon appeared onscreen in Ole Ege's theatrically released hardcore pornographic film Pornografi (1971), for which they composed and performed the score.

On his passing in 1993, Kenny Drew was interred in the Assistens Cemetery in Nørrebro, Copenhagen.

His son Kenny Drew, Jr. is also a jazz pianist.

If You Could See Me Now is the sequel album to Kenny Drew's most successful recording Dark Beauty (both for the Danish SteepleChase label). In fact, they were part of the same session as they were recorded a day apart (May 21 & 22 1974 respectively) and finds the trio in top form. Drew is expertly accompanied by Niels-Henning Ørsted Pedersen on bass and Albert "Tootie" Heath on drums.


Track Listing:

In Your Own Sweet Way
If You Could See Me Now
All Souls Here
I'm Old Fashioned
Prelude To A Kiss
This Is The Moment
Oleo

Roy Ayers Ubiquity - Red Black & Green (1973)

The words versatile and multi-talented seem to damn vibraphonist/bandleader Roy Ayers with faint praise, but summing up a musician of this quality without going over the moon is a tough task. Known to the hip-hop generation as Icon Man of acid jazz, Roy Ayers roots extend deep into bop. He started playing with West Coast jazz ensembles back in the early Sixties when he was 22 or so, working with the likes of Chico Hamilton, Gerald Wilson and Hampton Hawes, among others. In 1966, he hooked up with jazz flutist Herbie Mann, and performed and recorded him for four years, most notably on Mann's Concerto Grosso In D Blues and Memphis Underground albums. By 1970, he was ready to move on, which he did with Mann's blessing and assistance. He formed the Roy Ayers Ubiquity, with an ever-changing cast that included saxman Sonny Fortune (who appears on this disc) and percussionists Billy Cobham and Alphonse Mouzon (who don't). Red Black & Green came along in 1973, at about midpoint in Ayers' Polydor career. He manages to straddle the line between jazz and soul quite comfortably, but that was an era (think Grover Washington Jr. and George Benson's CTI-era recordings) when the borders were fluid. The disc went Top 5 on the Billboard jazz chart, though it contains versions of such soul classics as Papa Was A Rolling Stone and Ain't No Sunshine.

Tracklisting:
1 Ain't No Sunshine 6:20
Written-By - Bill Withers
2 Henceforth 3:53
Written-By - Roy Ayers
Written-By, Co-producer - Myrnaleah Williams
3 Day Dreaming 5:32
Written-By - Aretha Franklin
4 Red Black & Green 4:43
Written-By - Edwin Birdsong , Roselle Weaver , Roy Ayers
5 Cocoa Butter 4:50
Written-By - Roy Ayers
6 Rhythms Of Your Mind 3:08
Co-producer - Myrnaleah Williams
Written-By - Dennis Davis
7 Papa Was A Rolling Stone 5:32
Written-By - Barrett Strong , Norman Whitfield

Credits:
Arranged By [Strings], Conductor [Strings] - William S. Fischer
Backing Vocals - Carol Smiley , Claudia Moore , Laverne Seabrook , Tamara Richardson , Victoria Haspedale , Wayne Garfield
Bass - Clint Houston , Emir Ksasan
Congas, Percussion - Billy King , Daniel Benzebulon
Drums, Vocals, Arranged By - Dennis Davis
Electric Piano, Piano - Harry Whitaker
Engineer - Buzz Richmond
Engineer [Remix] - Eddie Kramer
Guitar - Billy Nichols , Bob Fusco , David Barron
Producer - Jerry Schoenbaum
Saxophone [Soprano] - Sonny Fortune
Strings - Alfred Brown , Charles McCracken , Emanuel Brown , Gene Orloff , Kermit Moore , Selwart Clarke
Trombone - Garnett Brown
Trumpet - Charles Tolliver
Vibraphone, Vocals, Piano, Organ, Arranged By - Roy Ayers

Recorded at Electric Lady Studio N.Y.C.

Bill Frisell - Music for the films of Buster Keaton - Go West

Amazon.com essential recording
Guitarist Bill Frisell's exploration of 20th-century Americana has led him to many places, but the films of silent-screen comedian Buster Keaton have been a special inspiration. What makes this "background" music so compelling is Frisell's ability to reimagine the particular landscape of Keaton's Wild West, its wide-open spaces and doomed humor. His compositional materials are almost minimalist. A few short melodies recur throughout, and the bass motif that appears with the brief "Box Car" appears again and again, in "Train," "Bullfight," "New Day," and "Cattle Drive," until it assumes the inexorable momentum of narrative. In his handling of these materials, Frisell is able to suggest a host of other musics (like the blues of "Card Game" and the dissonant near-flamenco of "Ambush") and a range of complex emotions. His then-regular partners make essential contributions: Kermit Driscoll provides rock-steady bass lines, while Joey Baron's creative use of percussion extends to using woodblocks for both humor and foreboding. Like Keaton, Frisell has the ability to take the expected, even the cliché, and make it resonate with subtle and sometimes disturbing dimensions. In the process, he has created a score that not only enriches the film but is able to stand on its own. For another Frisell take on Keaton, check out the shorter High Sign/One Week. --Stuart Broomer

For maximum enjoyment of this masterwork, one of course has to listen to the music while watching the film, he's in for an unforgettable trip, this 'soundtrack' works wonders on old Buster's antics carrying them to the late 20th century with aplomb -- kudos to these three master musicians then, and especially to Baron who propels the whole band.-- d3lta

Track listing

1. "Down on Luck" - 4:11
2. "Box Car" - 0:57
3. "Busy Street Scene" - 0:44
4. "Go West" - 1:00
5. "Train" - 3:06
6. "Brown Eyes" - 4:21
7. "Saddle Up!" - 2:41
8. "First Aid" - 0:51
9. "Bullfight" - 2:25
10. "Wolves" - 3:14
11. "New Day" - 5:27
12. "Branded" - 1:20
13. "Eats" - 1:13
14. "Splinter Scene" - 2:33
15. "Cattle Drive" - 4:36
16. "Card Game" - 5:03
17. "Ambush" - 4:02
18. "Passing Through Pasadena" - 1:52
19. "To The Streets" - 3:11
20. "Tap Dancer and Confusion" - 6:42
21. "Devil Suit" - 2:08
22. "Cops and Fireman" - 3:58
23. "That a Boy" - 1:31
24. "I Want Her" - 2:13

All compositions by Bill Frisell

* Recorded at Möbius Music, San Francisco 1995
Personnel

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

Label: Nonesuch

Tim Hagans & Marcus Printup - HubSongs - The Music of Freddie Hubbard

The Hub, of course, is Freddie Hubbard and although he doesn't play he's definitely at the center of this recording. Freddie picked and arranged the tunes, which are, save for one, all Hubbard originals. Hagans and Printup have both expressed their admiration for Hubbard's work and their delight in tackling his sometimes complex music is evident throughout. The bulk of the material is drawn from Hubbard's hard bop days at BlueNote and his jazz/funk output for the Atlantic label. Vincent Herring (alto), Javon Jackson (tenor), Benny Green (piano), Peter Washington (bass), and Kenny Washington (drums) provide the twin trumpeters with "all-star" support. Green is most effective in a duo role with Hagans and Printup while Jackson gets to strut his stuff on "Thermo", a bop classic that dates back to Hubbard's tenure with Art Blakey. Herring is best heard on an intense performance of "Life Flight". The real stars of this date are, of course, Tim and Marcus. I'm betting that Freddie was thrilled by their crackling interplay and inventive improvisations on this terrific "tribute" CD. ~ John Sharpe @ allaboutjazz.com


Tracklisting:
1. Backlash
2. Happy Times
3. Hub Cap
4. Lament For Booker
5. On the que-Tee
6. Crisis
7. Byrd Like
8. Thermo
9. Up Jumped Spring
10. Life Flight

Release Date: Jan. 13, 1998
Recorded at Avatar Studio C, New York, New York on August 1 & 2, 1997
Produced & arranged by Freddie Hubbard
High-rez recording mastered from 20-bit sources

The Gil Evans Orchestra - Little Wing (Live 1978)

Let's stick to the '70s for a bit and this gem of a recording featuring Gil Evans and his superb group of soloists in an outstanding live set from 1978 consisting of reworkings in the unique Evans style. Every conceivable style is thrown in for good measure, the highlight of course being the superb rendition of Jimi Hendrix's Little Wing clocking a staggering 25 minutes. Absolutely essential listening.

Tracklisting:
1. Dr. Jeckyl (Jackle) 16:12
2. The Meaning of the Blues 9:04
3. Little Wing 25:09
4. For Bob's Tuba 9:58

The Gil Evans Orchestra consisting of:
Lew Soloff: trumpet, piccolo trumpet
Terumasa Hino: trumpet
Gerry Niewood: alto saxophone
George Adams: tenor saxophone, flute, percussion
Bob Stewart: tuba
Gil Evans: electric piano
Pete Levin: synthesizer
Don Pate: electric bass
Rob Crowder: drums

Recorded live in Germany, October 19, 1978

Richard Davis - Now's the Time (1972)

Let's move into more adventurous musical territory: Chicago-born Davis (1930 - ) spent 23 years in New York City establishing himself as one of the world's premier bass players. Downbeat International Critics Poll named him Best Bassist from 1967-74. He has recorded a dozen albums as a leader and 2000 recordings/jingles as a sideman. Some of his performance/recording credits include Sarah Vaughan, Eric Dolphy, Frank Sinatra, Barbra Streisand, Miles Davis Thad Jones/Mel Lewis Band, Dexter Gordon, Ahmad Jamal and a host of other notables. Davis is equally at home in the world of classical music, having played under the batons of George Szell, Leopold Stokowski, Igor Stravinsky, Pierre Boulez, Gunther Schuller, and Leonard Bernstein. His great versatility as a bassist keeps him in constant demand for worldwide concert appearances.

Now's the Time originally consisted of two side-long avant-garde jams on bebop standards in its LP form("Now's the Time" and "Epistrophy" which both clock in at over 22 minutes apiece), this live session was expanded upon its CD reissue with the inclusion of a version of Clifford Jordan's "Highest Mountain." Although tenor saxophonist Jordan, pianist Joe Bonner, drummer Freddie Waits and bassist Richard Davis were on the date, trumpeter Marvin "Hannibal" Peterson is the most dominant force, both as a player and in his conception of opening up the music. These very unpredictable renditions reward repeated listenings.

Dizzy Gillespie, Joe Pass, Ray Brown, Mickey Roker

In the autumnal phase of his recording career, Dizzy Gillespie was reunited with Jazz At The Philharmonic producer Norman Granz for a series of finely crafted recordings on his Pablo label (so named because Granz financed the label by selling off some of his valuable Picassos).

These later recordings are often mistakenly undervalued by critics, despite their superb production values, dynamic acoustic sound, and generally provocative mix of players and musical materials. DIZZY'S BIG 4 is one of the very best, featuring a dream team rhythm section that responds to all of Gillespie's virtuoso challenges, and then some. Ray Brown is one of the all-time greats, who startled the jazz world when he first emerged as Dizzy's bassist while still in his teens; drummer Mickey Roker is a commanding percussionist and long-time Gillespie collaborator, while guitarist Joe Pass is a stellar virtuoso, with a series of excellent recitals of his own on Pablo.

Gillespie is in a particularly puckish mood on these sessions. Where the youthful Gillespie might have ordinarily opted for more of the bravura pyrotechnics, represented herein by the relentlessly uptempo changes of "Be Bop (Dizzy's Fingers)," DIZZY'S BIG 4 is distinguished by the ballads "Hurry Home," "Russian Lullaby" and "September Song." Here the trumpeter's rich timbral shadings plumb deep new meaning from these familiar melodies. Most impressive is Dizzy's depth and range as a blues player, which further enlivens his improvisations on Fats Waller's "Jitterbug Waltz," his own latin styled funk on "Frelimo" and the hard bopping "Birks Works."

Tracklisting:
1.Frelimo 8:06 (Gillespie)
2.Hurry Home 6:20 (Meyer/Emmerich/Bernier)
3.Russian Lullaby 6:46 (I. Berlin)
4.Be Bop (Dizzy's Fingers) 4:26 (Gillespie)
5.Birks Works 8:48 (Dizzy Gillespie)
6.September Song 2:45 (M. Anderson/K. Weill)
7.Jitterbug Waltz 6:49 (Fats Waller)

Personnel:
Dizzy Gillespie t
Joe Pass g
Ray Brown b
Mickey Roker d

Recorded at Cherokee Recording Studios, Hollywood, California on September 17 & 19, 1974. Originally released on Pablo (2310-719). Produced by Norman Granz.Includes liner notes by Benny Green.
Digitally remastered by Phil De Lancie (Fantasy Studios, Berkeley, California).

Count Basie and Dizzy Gillespie

Amazon.com essential recording
This 1977 date joins two jazz giants with contrasting approaches: Gillespie's explosive bop trumpet virtuosity and Basie's laconic piano style. The bare-bones quartet format--with the sterling rhythm team of bassist Ray Brown and drummer Mickey Roker--does nothing to conceal the differences, but it sets up a comfortable middle ground that accommodates swing and bop nuances alike. Differences apart, the co-leaders share infectious warmth, a deep feeling for the blues, and an absolute compulsion to swing. Basie's understatement triggers some of Gillespie's most thoughtful playing of his later career, developing long, intricate solos that combine harmonic exploration and direct, speechlike inflections, often with the distinctive burr of a harmon mute. The settings--two Gillespie tunes, the ancient "St. James Infirmary," and a series of impromptu collaborations--are casual, doing nothing to encumber the musicians in a session they're clearly enjoying. --Stuart Broomer

Tracklisting
1.Back To The Land 7:20
2.Constantinople 8:28
3.You Got It 5:21
4.St. James Infirmary 6:54
5.Follow The Leader 6:24
6.Ow 6:18

Personnel:
Count Basie p
Dizzy Gillespie t
Ray Brown b
Mickey Roker d

Recorded at Las Vegas Recording Studio, Las Vegas, NV; February 3, 1977 for Pablo Records. Produced by Norman Granz. Remastering 1996 - Phil De Lancie.

Thelonious Monk Live at the It Club 1964

A lost Thelonious Monk treasure from the 60s -- a really open-ended live set recorded in LA in 1964, but not issued by Columbia until the early 80s -- making the package a wonderful re-discover of Monk's genius during these years! The tunes are much more freewheeling than some of the studio work cut by Monk's quartet at the time -- stretched out takes on Monkish favorites, played by Thelonious on piano, Charlie Rouse on tenor, Larry Gales on bass, and Ben Riley on drums -- all with plenty of room for extended solos. This wonderful 2CD package brings together the complete recordings from the show -- offering up many tracks in their full recorded versions, and adding in a few unreleased tracks too -- titles that include "Bemsha Swing", "Blue Monk", "Well You Needn't", "Misterioso", "Gallops Gallop", "Teo", "I'm Getting Sentimental Over You", "All The Things You Are", "Blues Five Spot", "Evidence", "Bright Mississippi", and "Nutty". Dusty Groove America

Recorded over two evenings in Los Angeles in 1964 and arranged in order, this recording presents the great Thelonious Monk at the peak of his considerable talents--and with his most enduring sidemen, including saxophonist Charlie Rouse and drummer Ben Riley. This version also restores 11 (!) cuts to their entirety (previous versions edited or offered shortened bass and drum solos). Aside from the now-complete versions of the set's songs, this It Club also offers three previously unreleased songs ("Teo," "Bright Mississippi," and "Just You, Just Me") and 20-bit digital remastering. The result is perhaps as close as we can come to a great-sounding complete show by one of the most fertile minds in the history of jazz. While not one of Monk's wilder live sessions, this set nonetheless effortlessly communicates the pianist's offbeat genius. From the first note, the sound (which thanks to the remaster, begs for high volume) is classic Monk: inquisitive right-hand chord exploration, thundering left-hand exclamations, and intoxicating runs up and down the keyboard fly from his fingers while the band gives him enough room so that every thought, strategy, and wild hare is allowed to range free. Highlights include an exquisitely gorgeous "I'm getting Sentimental over You", a spicy "Rhythm-A-Ning," and an uptempo "Bright Mississippi." With excellent liner notes by Bob Blumenthal and some new photos, this package rates as a must-buy for all Monkophiles. amazon.com

...Very little of his recorded legacy has more of the feeling of spontaneity and joy at music-making than this set, recorded in 1964.... Never before released in its entirety, the set contains 27 minutes of previously unreleased titles plus original tracks restored to their full length for the first time. BBC magazine

Tracklisting
Disc 1: Blue Monk; Well, You Needn’t; ‘Round Midnight; Rhythm-a-Ning; Blues Five Spot; Beshma Swing; Evidence; Nutty; Epistrophy (Theme).

Disc 2: Straight, No Chaser; Teo; I’m Getting Sentimental Over You; Misterioso; Gallop’s Gallop; Ba-Lue Bolivar Ba-Lues-are; Bright Mississippi; Just You, Just Me; All The Things You Are; Epistrophy

Personnel
Thelonious Monk (piano)
Charlie Rouse (tenor sax)
Larry Gales (bass)
Ben Riley (drums)

Recorded live at the “It” Club, Los Angeles CA, on October 31st and November 1st 1964.