Paul Chambers & Tommy Flanagan - Motor City Scene

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

Carmen McRae - Birds of a Feather ft. Ben Webster (Decca 1958)

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).

Director: Ralph Burns.

Arrangers: Milt Gabler; Ralph Burns.

Dr. John performing the music of Duke Ellington - Duke Elegant (1999)

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.

Professor Longhair (featuring Dr. John) - Crawfish Fiesta (1980 Alligator Records)

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 - Funky Town (1969)

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.

track listing

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 )

personnel:

Lloyd Glenn (kbs), Mel London (g), Ron Brown (b), Paul Humphrey (d), horn section (uncredited)

produced by Bob Thiele for abc/Bluesway, 1969

Stan Hope feat. Houston Person - Put on a Happy Face

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?

track listing

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)

Duke Jordan Trio - Flight to Denmark (1973)

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

track listing

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)

personnel

Duke Jordan
Mads Vinding
Ed Thigpen

Jazz on a Summer's Day (1960)

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)

Kenny Drew Trio - Dark Beauty (1974)

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"). ”


Track listing:

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

Personnel

Kenny Drew (piano)
Niels-Henning Ørsted Pedersen (bass)
Albert "Tootie" Heath (drums)

Recorded in Copenhagen, May 21 & 22, 1974. Originally released by SteepleChase Records in 1974. This reissue CD -- special limited paper sleeve edition -- released in Japan on March 19, 2008.

Nikos Skalkottas - Mayday Spell, Concerto for Double Bass & Orchestra, 3 Greek Dances

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.

Track listing

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

personnel

Þóra Einarsdóttir, soprano
Vassilis Papavassiliou, double bass
Iceland Symphony Orchestra, orchestra
Nikos Christodoulou, conductor