tag:blogger.com,1999:blog-65141821494509330002024-03-18T22:41:44.064-07:00In the Land of JazzJazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.comBlogger68125tag:blogger.com,1999:blog-6514182149450933000.post-80839530836699473642013-08-21T18:18:00.003-07:002013-08-21T18:18:49.822-07:00New Link!<span style="color: lime;">New link for Lou Blackburn - The Complete Imperial Sessions. Find it in the original comment. Enjoy while is up!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3tag:blogger.com,1999:blog-6514182149450933000.post-54837248410231207202013-03-31T10:26:00.000-07:002013-03-31T10:26:50.448-07:00New Link!<span style="color: lime;">Dave Pike - Manhattan Latin: The Sensuous Rhythms of Spanish Harlem has been replaced as requested. You'll find it in the original comment. Enjoy!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com2tag:blogger.com,1999:blog-6514182149450933000.post-10457157166697602382013-03-31T10:13:00.000-07:002013-03-31T10:13:51.302-07:00Jimmy Woods - Conflict (1963)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7veH-vKNmq8etglV3bfvYwgGnRg9VSnV8lI1gfzjgIHxWECXukddLjGj8wrDgUsoQwRAvwPTZltoEIBpU35nWWmxxV1V8c3HbA6YwROLlkzfJ6UHoz4oUWJ1wKALRlVHhQj35PHO89f01/s1600/MI0002795869.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7veH-vKNmq8etglV3bfvYwgGnRg9VSnV8lI1gfzjgIHxWECXukddLjGj8wrDgUsoQwRAvwPTZltoEIBpU35nWWmxxV1V8c3HbA6YwROLlkzfJ6UHoz4oUWJ1wKALRlVHhQj35PHO89f01/s400/MI0002795869.jpg" width="400" /></a></div>
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It's hard to understand why Jimmy Woods recorded so little
before evidently retiring from jazz. His entire recorded legacy includes just a
pair of dates as a sideman and two albums for Contemporary. Woods' final date
as a leader is a memorable affair, with an all-star cast of musicians,
including trumpeter Carmell Jones, tenor saxophonist Harold Land, pianist
Andrew Hill, bassist George Tucker, and drummer Elvin Jones, all of whom
(except Tucker) recorded as leaders before the decade was over. The program is
made of six originals, including the tense, bluesy march "Conflict";
the turbulent "Aim"; and the tricky (and well-named) "Apart
Together." His one ballad of the date is the unusually structured
"Look to Your Heart." While all of the soloists are impressive and
Jones' powerful drumming fuels the horn players, the leader's adventurous alto
sax is not to be missed. Review by Ken Dryden</div>
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<span style="font-size: 9.0pt; line-height: 115%;">http://www.allmusic.com/album/conflict-mw0000028623<o:p></o:p></span></div>
Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com4tag:blogger.com,1999:blog-6514182149450933000.post-26779876226598528062013-03-31T09:55:00.000-07:002013-03-31T10:08:02.146-07:00Ike Quebec - Bossa Nova Soul Samba (1962)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszh4F-6mmeKtYO8DioGkgpn5_ZmEzGtHm76PACQR5yNCKR_QzAr7EiJM9UMWYQWucIT7cZbQrH0IqHwFKal4i8uCRQCqCjDANvCZz_gbAVwbsnCHfIJMhStejyKhmD-qEte3hvR512uVG/s1600/MI0001867873.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszh4F-6mmeKtYO8DioGkgpn5_ZmEzGtHm76PACQR5yNCKR_QzAr7EiJM9UMWYQWucIT7cZbQrH0IqHwFKal4i8uCRQCqCjDANvCZz_gbAVwbsnCHfIJMhStejyKhmD-qEte3hvR512uVG/s400/MI0001867873.jpg" width="400" /></a></div>
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With his thick, engaging sound and elegant romanticism, it
only made sense for Ike Quebec to try his hand at the bossa nova boom Stan Getz
kick-started in 1962, and that's what he did with Soul Samba. However, Quebec
makes the session much more than mere bandwagon-jumping. He takes some chances
with the repertoire and consciously adds a heavy blues inflection that makes
Soul Samba one of the more unique interpretations of the bossa nova style. It's
also one of the more sensuous, thanks in part to the combination of Quebec's
natural tendencies and the soft, light style itself, but even more so with the
extra bit of meat added via the blues. The music is warm and danceable, yet
with a late-evening hush that's more suggestive of winding down and getting
cozy with someone. Quebec's choices of material are never obvious -- the
Brazilian selections do not include any Jobim standards, for one thing, and
both Quebec and guitarist Kenny Burrell (absolutely stellar in support)
contribute original material that ranks among the album's best performances
(particularly Quebec's "Blue Samba" and Burrell's "Loie").
What's more, Quebec adapts some unlikely sources -- the traditional standard
"Liebestraum" and the Dvorak theme "Goin' Home" -- into
surprisingly effective samba pieces. The whole project is thoughtfully
conceived and beautifully executed, treating bossa nova as a new means of
personal expression, not just a fad to be cashed in on. Sadly, Soul Samba was
Quebec's final album, but at least his career ended on a high note. Review by Steve Huey<br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">http://www.allmusic.com/album/soul-samba-mw0000073875</span></div>
Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com6tag:blogger.com,1999:blog-6514182149450933000.post-20935453994551214592013-02-07T19:38:00.000-08:002013-02-07T19:38:06.777-08:00New Links!<span style="color: lime;">Find updated links in the relative comments</span><br />
<span style="color: lime;">Mal Waldron - Mal 4; </span><span style="color: lime;">Cal Tjader & Eddie Palmieri - Bamboleate; </span><span style="color: lime;">Sonny Clark - Dial "S" for Sonny</span><br />
<br />Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com0tag:blogger.com,1999:blog-6514182149450933000.post-28942713822187444602012-12-29T13:35:00.001-08:002012-12-29T13:35:34.486-08:00New reup!<span style="color: lime;">Link for Lou Blackburn's Complete Imperial Sessions have been replaced, as requested. You'll find it in the original comment! Enjoy!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com2tag:blogger.com,1999:blog-6514182149450933000.post-63291945058233121542012-12-28T18:15:00.000-08:002012-12-28T18:16:47.918-08:00Mosaic Box Sets New links!<span style="color: lime;">Links for Curtis Amy and Bennie Green wonderful Mosaic Box Sets have been replaced wih fresh ones. You'll find them in the original comments! Be sure to get them while they last!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com2tag:blogger.com,1999:blog-6514182149450933000.post-24383227564180615152012-12-19T15:30:00.002-08:002012-12-19T15:31:34.710-08:00Joe Gordon - Looking Good! (1961)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVpgCJzUsgVkwSpzwlQSt1KAs8pIxiVbkYDMGL23seBu40Vw94_kFvD-m-vS3KbB-77762ptdMLyXsC94HhCXApKGWpyP9vEz9whKuj7vHBIG_C59LUNcssfY8iTiQEg5imtqr4KOiZ0sV/s1600/joe+gordon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVpgCJzUsgVkwSpzwlQSt1KAs8pIxiVbkYDMGL23seBu40Vw94_kFvD-m-vS3KbB-77762ptdMLyXsC94HhCXApKGWpyP9vEz9whKuj7vHBIG_C59LUNcssfY8iTiQEg5imtqr4KOiZ0sV/s400/joe+gordon.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">Joe Gordon did not live long, only making it to 35. His second of two recordings as a leader (originally released by Contemporary) finds him on the verge of leading his own group. Gordon wrote all eight of the selections and is joined by adventurous but obscure altoist Jimmy Woods, pianist Dick Whittington, bassist Jimmy Bond, and drummer Milt Turner. Although the solos are generally more memorable than the tunes, this is an excellent effort that hints at what might have been had Joe Gordon lived.</span></div>
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Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3tag:blogger.com,1999:blog-6514182149450933000.post-68126505872358574222012-11-10T17:47:00.000-08:002012-11-10T17:56:09.880-08:00Yusef Lateef - The Centaur and the Phoenix (1961)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Irm4asxEoh441XrU0pYzVvJdmqiPaIptpB7kOuL41oRYWuPW026z3U5NfPVMB2AHpabTUjBWHec3r26O9FyjwLtFYclMZvan8stpLzw-qs2vkQzgO9YZin5JkJRhjbDiasZu-aEIpnuf/s1600/ylateef.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Irm4asxEoh441XrU0pYzVvJdmqiPaIptpB7kOuL41oRYWuPW026z3U5NfPVMB2AHpabTUjBWHec3r26O9FyjwLtFYclMZvan8stpLzw-qs2vkQzgO9YZin5JkJRhjbDiasZu-aEIpnuf/s400/ylateef.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">From his first explosion of recordings in the mid-'50s,
Yusef Lateef was a player who was always gently stretching the boundaries of
his music to absorb techniques, new rhythms, and new influences from Africa,
the Middle East and Asia. The Centaur and the Phoenix, however, takes the risks
and the innovations that Lateef was known for, and expands them in a number of
different directions all at once, leading to an album that bursts with new
ideas and textures, while remaining accessible, and above all, beautiful.
Lateef seems eager here to take the next step musically by breaking the mold of
his previous albums. While he is a gifted composer, only a third of the songs
featured here are his work: the rhythm-driven flute showcase
"Apathy," the gentle, nocturnal tribute to his daughter
"Iqbal" and the tone poem "The Philanthropist." The best of
the rest come from Kenny Barron, who was only 17 at the time, and Charles Mills,
a contemporary classical composer who drew the album's self-titled highlight
from two of his symphonies, the first paying tribute to Crazy Horse and the
other to Charlie Parker. Providing the structure and textures needed for these
intricate compositions was Lateef's largest ensemble to date. Accustomed to
working in a small-group format, he makes managing a band of nine sidemen seem
easy. Several Lateef regulars are here, including Barry Harris, Richard
Williams, and Ernie Farrow, but the inclusion of forward-thinking musicians
like Joe Zawinul also help take this album to a higher level. The greatest
miracle of this recording, however, is the balance that Lateef achieves with
this large group -- they are always an asset, never a distraction, and even as
they come on strong and powerful on songs like "Apathy," or Barron's
arrangement of "Ev'ry Day (I Fall in Love)" he remains in charge,
somehow making his delicate flute (or oboe, tenor sax or argol) rise above it
all, spilling out brightness, grace and joy.</span></div>
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<span style="font-family: inherit;">Review byStacia Proefrock</span></div>
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<span style="font-size: x-small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: x-small;">http://www.allmusic.com/album/the-centaur-and-the-phoenix-mw0000085902</span></div>
Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3tag:blogger.com,1999:blog-6514182149450933000.post-4825431771462289172012-10-24T20:01:00.002-07:002012-10-26T18:49:50.840-07:00Fresh new links...again!<span style="color: lime;">Just posted fresh new links for anyone interested in these two great albums! Please let us know about any other dead links and i will try to re-post them as soon as i possibly can!</span><br />
<span style="color: lime;"><br /></span>
<span style="color: lime;">Thanks Genre Slur for letting me know!</span><br />
<span style="color: lime;"><br /></span>
<span style="color: lime;">* Ben Webster & Joe Zawinul - Soulmates</span><br />
<span style="color: lime;">* Bobby Timmons - This is here!</span><br />
<span style="color: lime;"><br /></span>
<span style="color: lime;">Links in respective comments...</span><br />
<span style="color: lime;"><br /></span>
<span style="color: lime;">Enjoy!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3tag:blogger.com,1999:blog-6514182149450933000.post-20802958466002623502012-10-21T08:23:00.002-07:002012-10-21T11:12:08.660-07:00New links<span style="color: red;">Hi there, </span><br />
<span style="color: red;">i've re-posted the following couple of new link as requested in relative comments.</span><br />
<span style="color: red;"><br /></span>
<span style="color: red;">* Eddie Costa -The House of Blue Lights</span><br />
<span style="color: red;">* Cal Tjader & Eddie Palmieri - Bamboleate </span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com0tag:blogger.com,1999:blog-6514182149450933000.post-74279583940346013722012-10-20T17:45:00.000-07:002012-10-20T17:57:54.888-07:00Ben Webster and Joe Zawinul . Soulmates (1963)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2mq8yskGppYLzV9CWsBoItgroME3oX8jQW6PdFT2HScFIc6lG6skz_zApJQYbgqqn9912ZXMdwHSeVZdpmkhrjAcM4B-sPohL-lPnPHyo5YEY9qNhNnXBqK0eSwe2N3cCGJ6IEfEDELV/s1600/soulmates.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2mq8yskGppYLzV9CWsBoItgroME3oX8jQW6PdFT2HScFIc6lG6skz_zApJQYbgqqn9912ZXMdwHSeVZdpmkhrjAcM4B-sPohL-lPnPHyo5YEY9qNhNnXBqK0eSwe2N3cCGJ6IEfEDELV/s400/soulmates.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">What initially seems like an unlikely pairing for this
session delivers on its unique pedigree with performances that do full justice
to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul.
Recorded in 1963 while the pianist was a member of the Cannonball Adderley
Sextet, the session came about as a result of Webster's and Zawinul's sharing a
New York apartment for several months. It's actually billed as Zawinul's first
session as leader and Webster's last in the U.S. before his move to Europe. The
tunes generally keep to mid-tempos, a pace that affords Webster the opportunity
to wield the gentler side of his legendary sound. His rich, nuanced tone and
magnificent phrasing are superbly in evidence. Listeners only familiar with
Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer
work with Weather Report may be surprised at his eloquent playing here in a
classic style right out of Tommy Flanagan or Red Garland. The presence of Thad
Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With
a rhythm section rounded out by the slightly lesser legends of drummer Philly
Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't
one false step on this set. It may tend to the mellower side of things, but
that simply means there's more opportunity to luxuriate in Webster's peerless
sound. </span></div>
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<span style="font-family: inherit;">Review by Jim Todd</span></div>
<div class="MsoNormal">
<span style="font-size: 9.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">http://www.allmusic.com/album/soulmates-mw0000674693<o:p></o:p></span></div>
Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com8tag:blogger.com,1999:blog-6514182149450933000.post-87241945215046238792012-10-14T18:29:00.000-07:002012-10-20T18:37:06.676-07:00Eddie Costa - The House of Blue Lights (1959)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhib9ITp7LhTcpPXPBod7XzwX6OBBkdS3mjIzt933Jit5iQydO-BykHFRczEayf5gJr7RRzBuoNaU76E1Kh64N93NPrV7knQmGlTUNzRgsNe28p6ryaFotjmguNMbxSbAwj6xFqcJkl1sJ/s1600/The+House+of+Blue+Lights+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhib9ITp7LhTcpPXPBod7XzwX6OBBkdS3mjIzt933Jit5iQydO-BykHFRczEayf5gJr7RRzBuoNaU76E1Kh64N93NPrV7knQmGlTUNzRgsNe28p6ryaFotjmguNMbxSbAwj6xFqcJkl1sJ/s400/The+House+of+Blue+Lights+1.jpg" width="400" /></a></div>
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<span style="font-size: 11pt; line-height: 115%;"><span style="font-family: inherit;">Eddie
Costa was probably better known for his work as a vibraphonist than as a
pianist during his all too brief career, which ended suddenly after a fatal car
crash in 1962. He sticks exclusively to piano on his final album as a leader,
joined by bassist Wendell Marshall and drummer Paul Motian. His interpretation
of Gigi Gryce's "The House of Blue Lights" has a dark tone overall,
very percussive at times and often incorporating fast runs. Likewise, his take
of "My Funny Valentine" is rather moody, as if a breakup between
lovers is imminent. "Diane" finally lightens the mood with some
mid-tempo breezy bop. Costa's two originals include the upbeat cooker
"Annabelle" and the rambling, almost avant-gardish "What's It to
Ya." Marshall and Motian provide great support for Costa throughout these
experimental sessions. It is a pity that Eddie Costa died at such a young age
before he had an opportunity to expand upon the work heard in this valuable
date.</span></span><br />
<span style="font-size: 15px; line-height: 17px;"><span style="font-family: inherit;">Reviewed by Kenny Dryden</span></span><br />
<span style="font-size: x-small;">http://www.allmusic.com/album/the-house-of-blue-lights-mw0000699431</span><br />
<span style="font-size: x-small;"><br /></span><span style="color: red;">
New link in comments. Any probs, please let me know. Thank you!</span>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com9tag:blogger.com,1999:blog-6514182149450933000.post-43419827284386953562012-09-10T22:41:00.000-07:002013-02-07T19:29:09.032-08:00Sonny Clark - Dial "S" for Sonny (1957)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqjhSTluOopA8RbcBlWyGyeaMnTvgO-Ic6Dvs4ECSW8LjZOEpFBR1y-mTm26mW8BBs6kpuDU8eNmGCf2eBerFsgBHERzduGGefOHu9xMrsYl8rERkHdXujxCiSTonh8zOTJQmniqZvgcC/s1600/sonny+clark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqjhSTluOopA8RbcBlWyGyeaMnTvgO-Ic6Dvs4ECSW8LjZOEpFBR1y-mTm26mW8BBs6kpuDU8eNmGCf2eBerFsgBHERzduGGefOHu9xMrsYl8rERkHdXujxCiSTonh8zOTJQmniqZvgcC/s400/sonny+clark.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">Dial "S" for Sonny, Sonny Clark's first session
for Blue Note Records and his first session as a leader, is a terrific set of
laidback bop, highlighted by Clark's liquid, swinging solos. Clark leads a
first-rate group -- Art Farmer (trumpet), Curtis Fuller (trombone), Hank Mobley
(tenor sax), Wilbur Ware (bass), Louis Hayes (drums) -- through four originals
and two standards, balancing the selections between swinging bop and reflective
ballads. There are traces of Bud Powell in Clark's style, but he's beginning to
come into his own, developing a style that's alternately edgy and charmingly
relaxed. Mobley, Farmer and Fuller have their moments, but Clark steals the
show in this set of fine, straight-ahead bop.</span></div>
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</div>
<div class="MsoNormal">
by Stephen Thomas Erlewine<o:p></o:p></div>
<div class="MsoNormal">
<span style="font-size: x-small;">http://www.allmusic.com/album/dial-quot-s-quot-for-sonny-mw0000267905</span></div>
<br />Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com2tag:blogger.com,1999:blog-6514182149450933000.post-46751694675396511932012-08-11T17:27:00.000-07:002012-08-11T17:27:56.264-07:00Dave Pike - Manhattan Latin: The Sensuous Rhythms of Spanish Harlem (1964)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-5tGeQUbAqZUXAHZCTQtefp24Squrvtuww91uypenJCmZxEyfVYTdJY_7-dpYC-y7V1Kt9SkEStvsB1y4LNgweFW8iMXwuezVF4yenVbIqrqVCzw5fQn7jRogP6mO_A6NwVEDdk4Fjfxh/s1600/dave+pike.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-5tGeQUbAqZUXAHZCTQtefp24Squrvtuww91uypenJCmZxEyfVYTdJY_7-dpYC-y7V1Kt9SkEStvsB1y4LNgweFW8iMXwuezVF4yenVbIqrqVCzw5fQn7jRogP6mO_A6NwVEDdk4Fjfxh/s400/dave+pike.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">Manhattan Latin captures Dave Pike in flux between the
straight-ahead approach of his earlier sessions and the psychedelic pop-jazz of
his efforts for MPS: a playful yet methodical immersion into pure, sunkissed
groove, its artful assimilation of global rhythms and textures anticipates the
direction of Pike's most memorable work. Recorded with an impressive lineup
including flautist Hubert Laws, drummer Willie Bobo and then-unknown pianist
Chick Corea, the album largely eschews familiar Latin standards in favor of
Pike originals. What's impressive is that the end result seems completely
organic, living up to the album's title in terms of both sophistication and
flavor. Phenomenal cover, too. </span></div>
By Jason Ankeny<br />
<span style="font-size: x-small;">http://www.allmusic.com/album/manhattan-latin-mw0000738396</span>
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<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><br /></span></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com4tag:blogger.com,1999:blog-6514182149450933000.post-36495756653870284162012-07-22T16:52:00.000-07:002012-07-22T16:58:48.628-07:00Bill Smith Quartet - Folk Jazz (1961)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNWp-Ka2x7YjU01kpK5Clzxd0k3NRUulSXUHL6CvRpEQHUnxxl6JBl3Hi_43FEYgQtDjiCOYWCICdfr_5jQD8s1ia1ejCpeSPQWDURyeEbve9R7NSvRVh0nNCARxf1fbu7yrHiJb3OvjOM/s1600/folk+jazz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNWp-Ka2x7YjU01kpK5Clzxd0k3NRUulSXUHL6CvRpEQHUnxxl6JBl3Hi_43FEYgQtDjiCOYWCICdfr_5jQD8s1ia1ejCpeSPQWDURyeEbve9R7NSvRVh0nNCARxf1fbu7yrHiJb3OvjOM/s400/folk+jazz.jpg" width="400" /></a></div>
<br />
<span style="font-family: inherit;">A record that could only have been made in the late '50s, 1959's Folk Jazz is a meeting of the two great collegiate crazes of the period, post-bebop modern jazz and traditional folk music. Clarinetist Bill Smith and a low-key piano-less trio ? Jim Hall on guitar, Monty Budwig on bass and the great Shelly Manne on drums ? take 10 songs from the folk tradition, strip them down to the bare essentials of melody and chord progressions and turn them into a Kind of Blue-like experiment in cool-toned modal jazz. Familiar standards like "Black Is the Color of My True Love's Hair" (which opens with an extended unaccompanied solo by Smith that's a marvel of economy) are presented in entirely new and fresh settings. Perhaps the best of the lot is an extended meditation on the spiritual "Go Down Moses" that turns the song from a gospel shout to an intimate whisper. The 2003 CD reissue adds two tracks, alternate takes of "Reuben, Reuben" and "Nobody Knows the Trouble I've Seen."</span><br />
<span style="font-family: inherit;">By Stewart Mason</span><br />
<span style="font-size: x-small;">http://www.allmusic.com/album/folk-jazz-mw0000027934</span><br />
<div style="text-align: center;">
<br /></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3tag:blogger.com,1999:blog-6514182149450933000.post-13234923802248644332012-07-09T21:00:00.000-07:002012-07-09T21:02:33.227-07:00Cal Tjader & Eddie Palmieri - Bamboleate (1967)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCUK9bHTItLBOoo5gYdd4EWHhajwszRnHd2rVnXmB-U6kAYl5VmWuX7bOSwBMH4EI96dVmfdSXbMFvtts_It8kbBW87UEY53yNefWT0OhAIFYG3cN-ONr2_U-9lqmQnKR7JW2hi1wGaNzf/s1600/bamboleate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCUK9bHTItLBOoo5gYdd4EWHhajwszRnHd2rVnXmB-U6kAYl5VmWuX7bOSwBMH4EI96dVmfdSXbMFvtts_It8kbBW87UEY53yNefWT0OhAIFYG3cN-ONr2_U-9lqmQnKR7JW2hi1wGaNzf/s400/bamboleate.jpg" width="396" /></a></div>
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<span style="font-family: inherit;">The second album pairing Palmieri
and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective
territories of each artist. "Bamboleate" is the Latin cooker ones
expects from Palmieri but did not find on the more subdued El Sonido Nuevo.
"Semejanza" is an equally affecting jazz lilt led by Tjader. Framed
by a melody that could have come straight off the Vince Guaraldi Trio's Charlie
Brown Christmas album, it has an equally indelible, locomotive rhythm. Tjader's
samba, "Samba De Los Suenho," is a welcome departure from the
relative rigidity of El Sonido Nuevo. Also vital are the vocal tracks
(Palmieri's); the blatant channel-switching in "Guajira Candela" is
an abuse of stereo separation, however. (Use a second voice or instrument for
that.) "Pancho's Seis Por Ocho" is typical of the deep, mid-tempo,
Afro rhythm of Bamboleate and El Sonido Nuevo. Trombonist Mark Weinstein
contributes the closing "Ven Y Recibelo (Come an' Get It)," a
mod/soul cooker on a par with the best of Verve all-stars Tjader, Ogerman,
Winding, and Schifrin. Finally, the album was reissued in 1977 as Tico
LPS-88806 and distributed by Fania; the reissue at least features illustrations
of Tjader and Palmieri by Jose Vargas.</span></div>
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<span style="font-family: inherit;">Review - Tony Wilds</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: x-small;">http://www.allmusic.com/album/bambol%C3%A9ate-mw0000273328</span>
</div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com8tag:blogger.com,1999:blog-6514182149450933000.post-2802772832189744172012-05-14T19:07:00.000-07:002012-05-14T19:07:29.258-07:00Art Farmer & Benny Golson - Meet the Jazztet (1960)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiAlTHzNbx9ye1pqMg4k1enjbifMGCBmfou3O8WGPWLpHH__K_oLXpHASV20XdFtwtujdqjRlsXDLhsM6ii2QDcD1U6xClZSKXf5RZEpHW9tFqFLiZNxds1RqeRJ8Oqgkv1F0vqTVB-xhv/s1600/meet+the+jazztet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiAlTHzNbx9ye1pqMg4k1enjbifMGCBmfou3O8WGPWLpHH__K_oLXpHASV20XdFtwtujdqjRlsXDLhsM6ii2QDcD1U6xClZSKXf5RZEpHW9tFqFLiZNxds1RqeRJ8Oqgkv1F0vqTVB-xhv/s320/meet+the+jazztet.jpg" width="320" /></a></div>
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Although this CD has the same
program as the original LP, it gets the highest rating because it is a hard bop
classic. Not only does it include superior solos from trumpeter Art Farmer,
trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy
Tyner (who was making his recording debut) along with fine backup from bassist
Addison Farmer and drummer Lex Humphries, but it features the writing of
Golson. Highlights include the original version of "Killer Joe" along
with early renditions of "I Remember Clifford" and "Blues
March." This was Fuller and Tyner's only recording with the original
Jazztet, and all ten selections (which also include "Serenata,"
"It Ain't Necessarily So," "It's All Right With Me," and
"Easy Living") are quite memorable.</div>
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<span style="font-size: x-small;">Scott Yanow</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: x-small;">http://www.allmusic.com/album/meet-the-jazztet-r138558</span>
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1. Serenata</div>
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2. It Ain't Necessarely So</div>
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3, Avalon</div>
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4. I Remember Clifford</div>
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5. Blues March</div>
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6. It's All Right With Me</div>
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7. Park Avenue Petite</div>
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8. Mox Nix</div>
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9. Easy Living</div>
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10. Killer Joe</div>
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<span style="font-size: x-small;"><br /></span></div>
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Art Farmer (tp), Benny Golson (ts), Curtis Fuller (tb), McCoy Tyner (p), </div>
<div class="MsoNormal" style="text-align: center;">
Addison Farmer (b), Lex Humphries (d)</div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com4tag:blogger.com,1999:blog-6514182149450933000.post-90374594196652236302012-05-06T14:29:00.000-07:002012-05-06T14:41:57.396-07:00This Here Is Bobby Timmons - Bobby Timmons Trio (1960)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyO9QP9sVatXwIDyImkKUEl72jBhdRGScoMss_ke2K8CIZ0C7ERSBmtVJLO2AwGPyKge7XuigUFFAlpQ0Vxvvv16nvPoyu-9RGjkcJRASjzWNXHLbqlXgnNtoWkiDUbYZ7RQ9VN22MpZA4/s1600/bobby+timmons.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyO9QP9sVatXwIDyImkKUEl72jBhdRGScoMss_ke2K8CIZ0C7ERSBmtVJLO2AwGPyKge7XuigUFFAlpQ0Vxvvv16nvPoyu-9RGjkcJRASjzWNXHLbqlXgnNtoWkiDUbYZ7RQ9VN22MpZA4/s400/bobby+timmons.jpg" width="400" /></a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
1. This Here</div>
<div style="text-align: center;">
2. Moanin'</div>
<div style="text-align: center;">
3. Lush Life</div>
<div style="text-align: center;">
4. The Party's Over</div>
<div style="text-align: center;">
5. Prelude to A Kiss</div>
<div style="text-align: center;">
6. Dat Dare</div>
<div style="text-align: center;">
7. My Funny Valentine</div>
<div style="text-align: center;">
8. Come Rain Or Come Shine</div>
<div style="text-align: center;">
9. Joy Ride</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Bobby Timmons (p), Sam Jones (b) Jimmy Cobb (d)</div>
Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com8tag:blogger.com,1999:blog-6514182149450933000.post-36323511633237361162012-03-24T19:33:00.002-07:002012-03-24T19:33:57.770-07:00Bennie Green Mosaic Select Complete Blue Note Recordings 1958 - 1962<span style="background-color: white; color: #333333; font-family: 'Trebuchet MS', Arial, Helvetica, sans-serif; font-size: 13px; line-height: 20px;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2y39m6KhnLHnZssnmJgytRPrh4F0b2Lxmgs0mbaax-fTBQRWZlAJUYmLmk6D5y7bIc9L5oNwUPG-FOC6sSbdznFKM7pkIat9w_GFVpdc5u7mS8AZz2p0M1_Dndp9GwQLiH-njp199mJ5S/s1600/BGcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2y39m6KhnLHnZssnmJgytRPrh4F0b2Lxmgs0mbaax-fTBQRWZlAJUYmLmk6D5y7bIc9L5oNwUPG-FOC6sSbdznFKM7pkIat9w_GFVpdc5u7mS8AZz2p0M1_Dndp9GwQLiH-njp199mJ5S/s400/BGcover.jpg" width="400" /></a></div>
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<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">Trombonist Bennie Green's Blue Note albums were
almost completely overlooked until this Mosaic Select compilation appeared in
2003. The first session, originally issued as Back on the Scene, features
Charlie Rouse joining Green in the front line. Green's up-tempo "Bennie
Plays the Blues" is the best blowing vehicle, while he and Rouse both
contribute lyrical solos in Melba Liston's "Melba's Mood." Pianist
Gildo Mahones wrote three of the six tracks recorded for Walkin' & Talkin',
with Eddy Williams taking Rouse's place. The overall session isn't up to
Green's Blue Note debut, but his snappy blues "Walkin' and Talkin'"
contains some of his hottest playing within this boxed set. Williams is also on
hand for the ten selections first released in Japan as The 45 Sessions with
pianist Sonny Clark, bassist Paul Chambers, and drummer Jerry Segal. The solos
are consistently hot and the quintet never wraps things in a perfunctory manner
as one would expect with recordings made for jukeboxes. All of the
instrumentals rate high praise, especially the loping "On the Street Where
You Live" and the leader's "Ain't Nothin' But the Blues." The
addition of singer Babs Gonzales on the last three cuts mar some otherwise
excellent performances. Tenor saxophonists Gene Ammons and Billy Root are on
hand for the session which produced Soul Stirrin'. While the material on this
date is uneven, Green's interpretation of "That's All" is very
satisfying. Unfortunately, Gonzales appears for two more numbers. The last five
songs come from a date led by tenor saxophonist Ike Quebec (eventually issued
as Congo Lament), adding Stanley Turrentine, Milt Hinton, and Art Blakey to
join Green and Clark. Green's exotic "Congo Lament" and Turrentine's
upbeat "Cue's Pill" are impressive.<o:p></o:p></span></span><br />
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">Review: Ken Dryden</span></span><br />
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;"><span style="font-size: x-small;">http://www.allmusic.com/album/mosaic-select-bennie-green-r641454 </span></span></span></div>
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<br /></div>
<br />
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">Disc One<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">1. I Love You
(A) 6:02 (Cole Porter)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">2. Melba’s
Mood (A) 5:33 (Melba Liston)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">3. Just
Friends (A) 6:59 (S. Lewis-J. Klenner)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">4. You’re Mine
You (A) 5:15 (J. Green-E. Heyman)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">5. Bennie
Plays The Blues (A) 8:24 (Bennie Green)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">6. Green
Street (A) 5:08 (Melba Liston)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">7. The Shouter
(D) 4:57 (Gildo Mahones)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">8. Green
Leaves (D) 5:43 (Gildo Mahones)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">9. This Love
Of Mine (D) 6:45
(Parker-Sanicola-Sinatra)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">10. Walkin’
And Talkin’ (D) 8:57 (Bennie Green)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">11. All I Do
Is Dream Of You (D) 5:32 (A. Freed-N.H. Brown)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">12. Hoppin’
Johns (D) 5:29 (Gildo Mahones)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">Disc Two<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">1. It’s Groovy
(C) 3:41 (unknown)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">2. On The
Street Where You Live (C) 5:50 (A.
Lerner-F. Loewe)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">3. Can’t We Be
Friends (C) 5:32 (P.James-K.Swift)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">4. Ain’t
Nothin’ But The Blues (C) 5:13 (Bennie
Green)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">5. Bye Bye
Blackbird (C) 5:24 (R. Henderson-M.
Dixon)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">6. Minor
Revelation (C) 5:17 (Harold Ousley)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">7. Why Do I
Love You (C) 5:58 (J. Kern-O.
Hammerstein)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">8. Encore
(stereo LP take) (C) 4:16 (Babs
Gonzales)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">9. Encore
(mono 45 take) (C) 4:29 (Babs Gonzales)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">10. Soul
Stirrin' (mono take) (B) 6:44 (Babs
Gonzales)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">Disc Three<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">1. Soul
Stirrin’ (B) 6:49 (Babs Gonzales)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">2. We Wanna
Cook (B) 6:38 (Bennie Green)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">3. That’s All
(B) 6:25 (B. Haymes-A. Brandt)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">4. Lullaby Of
The Doomed (B) 6:00 (Babs Gonzales)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">5. B.G. Mambo
(B) 8:15 (Bennie Green)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">6. Black Pearl
(B) 5:45 (Billy Graham)<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">7. See See
Rider (E) 8:59 (Ma Rainey)<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">8. Congo
Lament (E) 6:50 (Bennie Green)<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">9. Que's Pill
(E) 5:37 (Stanley Turrrentine)<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">10. B.G.'s
Groove Two (E) 6:12 (Bennie Green)<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="line-height: 115%;"><span style="font-family: inherit;">11. I. Q.
Shuffle (E) 9:43 (Ike Quebec)</span><span style="font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span></div>
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<br />
Bennie Green, Charlie Rouse, Gildo Mahones, Eddie Williams, Sonny Clark, Paul Chambers, Jerry Segal, Babs Gonzales, Gene Ammons, Billy Root, Ike Quebec, Stanley Turrentine, Milt Hinton, Art Blakey.<br />
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</div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com14tag:blogger.com,1999:blog-6514182149450933000.post-9848242132343590082012-02-24T21:27:00.000-08:002012-02-24T21:27:30.266-08:00Ike Quebec The Complete Blue Note 45 Sessions<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrN6c8IohDmHq2t_kNLln7rA7TYsKrq5ElpUuiQaSszwmK8qpHJ_lpL9sRfogaKL_3SPNR4g6bcxEWjutErttIpwvHVODQAVhqb2mg0fI2oCBEfQIRUb0gJ2OmUmNdz0oNizdGVBW_C_p8/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrN6c8IohDmHq2t_kNLln7rA7TYsKrq5ElpUuiQaSszwmK8qpHJ_lpL9sRfogaKL_3SPNR4g6bcxEWjutErttIpwvHVODQAVhqb2mg0fI2oCBEfQIRUb0gJ2OmUmNdz0oNizdGVBW_C_p8/s400/cover.jpg" width="400" /></a></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">During his comeback
years (1959-62) after a decade mostly off the scene, tenor saxophonist Ike
Quebec recorded frequently for Blue Note. He started off with a session aimed
at the 45 jukebox market and, although he eventually made a few full-length
albums for the label, Quebec cut four 45 dates over a two-and-a-half-year
period. This double-disc set has all of the jukebox sessions. Most of the 26
selections clock in between four and seven minutes and have long melody
statements in addition to concise and soulful solos. Quebec, who was in
consistently prime form during his last period, is joined by groups featuring
either Skeeter Best or Willie Jones on guitar and Edwin Swanston, Sir Charles
Thompson, or Earl Van Dyke on organ. Fun, loose and highly enjoyable music. </span><span style="font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span></div>
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<span style="line-height: 18px;">Review by Scott Yanow</span></div>
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<span style="font-size: x-small;">http://www.allmusic.com/album/complete-blue-note-45-sessions-r145969</span>
</div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com12tag:blogger.com,1999:blog-6514182149450933000.post-63814257877232139872012-02-10T17:09:00.000-08:002012-02-10T17:12:20.554-08:00Caj Tjader & Eddie Palmieri - El Sonido Nuevo (1966)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV6aBHKfvJBzxB2psOG57A7Rmbpx6ANu6VmJw4amTCx0EN8S1XRWQ-f3ONxBOHtkmB4J6jMzIlb_adww5ekF36HUEZjk_ADMKZ1NARGJdz9CYx-_jEmuwK-G5TO1qDRCILsUKeX4Nz2kBm/s1600/El+Sonido+Nuevo+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV6aBHKfvJBzxB2psOG57A7Rmbpx6ANu6VmJw4amTCx0EN8S1XRWQ-f3ONxBOHtkmB4J6jMzIlb_adww5ekF36HUEZjk_ADMKZ1NARGJdz9CYx-_jEmuwK-G5TO1qDRCILsUKeX4Nz2kBm/s400/El+Sonido+Nuevo+1.jpg" width="398" /></a></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">This Verve CD reissues
the popular collaboration between vibraphonist Cal Tjader and pianist Eddie
Palmieri (who provided the arrangements) titled El Sonido Nuevo: The New Soul
Sound, along with six other songs taken from a pair of Tjader's other Verve albums.
Despite the claims of greatness expressed in the liners ("a landmark in
the history of Latin jazz"), much of the music is actually quite
lightweight although enjoyable enough, and the easy listening melodies and
accessible rhythms hold on to one's interest. Despite the changing personnel,
Tjader is generally the lead voice, and he is in fine form even if the overall
results are not all that memorable or unique.</span><span style="font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span><br />
<span style="line-height: 115%;"><span style="font-family: inherit;">Review - Scott Yanow</span></span><br />
<span style="line-height: 115%;"><span style="font-size: x-small;">http://www.allmusic.com/album/el-sonido-nuevo-the-new-soul-sound-r148939</span>
</span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span><br />
<span style="line-height: 115%;"><span style="font-family: inherit;">1. Los Jibaros</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">2. Guajira Azul</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">3. Ritmo Uni</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">4. Picadillo</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">5. Modesty (Theme from Modesty Blaise)</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">6. Unidos</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">7. On A Clear Day (You Can See Forever)</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">8. El Sonido Nuevo</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">9. Fuji</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">10. Black Orchid</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">11. Los Bandidos</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">12. Poinciana</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">13. Yellow Days</span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">14. Along Came Mary</span></span><span style="font-family: inherit; line-height: 115%;"> </span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com8tag:blogger.com,1999:blog-6514182149450933000.post-62188065578813353142012-01-05T17:55:00.000-08:002012-01-22T13:19:28.416-08:00Lonnie Liston Smith Cosmic Funk (1974)<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-gswbqgAfP9Q/TwZUZ__TCRI/AAAAAAAAAQQ/dl2JrWTbWyE/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-gswbqgAfP9Q/TwZUZ__TCRI/AAAAAAAAAQQ/dl2JrWTbWyE/s400/cover.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">A real gem from Lonnie Liston Smith's early years in the studio - and a record that's perhaps a bit more "cosmic" than it is "funk" <span style="line-height: 115%; text-align: justify;">– but that's why we like it so much! The session has Lonnie stretching
out a bit more than usual – borrowing some of the righteousness from his years
with Pharoah Sanders, and tripping out on tracks that revel in their own spacey
brilliance. Lonnie plays both acoustic and electric piano on the
record – stretching out on some Impulse-influenced grooves that feature some
great soprano sax and flute from the lesser-known George Barron. Titles include
the soulful "Beautiful Woman", the ethereal "Sais", and the
heavier groover "Cosmic Funk" – plus great versions of Wayne
Shorter's "Footprints" and John Coltrane's "Naima"</span></span></div>
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<span style="font-family: inherit;"><span style="line-height: 115%; text-align: justify;"><i>www.dustygroove.com</i></span></span></div>
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<span lang="ES-TRAD" style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: ES-TRAD;"><o:p></o:p></span></div>
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1. Cosmic Funk </div>
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2. Footprints</div>
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3. Beautiful Woman</div>
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4. Sais (Egypt)</div>
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5. Peaceful One</div>
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6. Naima</div>
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<br /></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com4tag:blogger.com,1999:blog-6514182149450933000.post-55304702099863076942012-01-05T17:43:00.000-08:002012-01-05T17:44:05.053-08:00Curtis Counce - You Get More Bounce With Courtis Counce (1957)<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-BzLP8HPrccs/TwZNNCqQbrI/AAAAAAAAAQE/thxq_I89C40/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-BzLP8HPrccs/TwZNNCqQbrI/AAAAAAAAAQE/thxq_I89C40/s400/cover.jpg" width="400" /></a></div>
<span style="font-family: inherit; line-height: 115%;"><br /></span><br />
<span style="font-family: inherit; line-height: 115%;">Although the title and even the cover photo have
been changed, this CD reissue has the same music as was earlier issued as </span><span style="font-family: inherit;">Counceltation</span><span style="font-family: inherit;">; the "bonus cut"
"Woody 'n You" has also been reissued on </span><span style="font-family: inherit;">Sonority</span><span style="font-family: inherit;">. In any case, the program
features the underrated but talented </span><span style="font-family: inherit;">Curtis Counce Quintet</span><span style="font-family: inherit;"> of 1956-1957, a group
consisting of the bassist/leader, trumpeter </span><span style="font-family: inherit;">Jack Sheldon</span><span style="font-family: inherit;">, tenor saxophonist </span><span style="font-family: inherit;">Harold Land</span><span style="font-family: inherit;">, pianist </span><span style="font-family: inherit;">Carl Perkins</span><span style="font-family: inherit;">, and drummer </span><span style="font-family: inherit;">Frank Butler</span><span style="font-family: inherit;">. </span><span style="font-family: inherit;">Counce</span><span style="font-family: inherit;"> contributed two originals but otherwise the band sticks
to jazz standards, with some of the best moments being on "Too Close for
Comfort," "Mean to Me," and</span><span style="font-family: inherit;"> Charlie Parker</span><span style="font-family: inherit;">'s "Big Foot."</span><br />
<span style="font-family: inherit;"><br /></span><br />
<div style="text-align: center;">
<span style="font-family: inherit;">1. Complete</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">2. How Deep Is The Ocean</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">3. Too Close For Comfort</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">4. Mean To Me</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">5. Stranger In Paradise</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">6. Counceltation</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">7. Big Foot</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">8. Woody 'n You</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">Curtis Counce (b) Carl Perkins (p) Harold Land (ts) Jack Sheldon (tp) Frank Butler (d)</span></div>
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<o:p></o:p></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com2tag:blogger.com,1999:blog-6514182149450933000.post-47533685128777440882011-12-20T21:10:00.000-08:002011-12-20T21:10:26.521-08:00Wynton Kelly Trio/Sextet - Kelly Blue (1960)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-UflnzOmZTIy6RO4UOKE6wjZa0egz0toIZXI2Rc3_C9jLFatWDcVqbeo5FR6h_OCvlGVyZTwMabvHO5ESY7pFx3udVadCTZbyGdLjWCMZYc5c006gBmnzHf4jIYnnVKuuDrCaDc1t9mro/s1600/Kelly+Blue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-UflnzOmZTIy6RO4UOKE6wjZa0egz0toIZXI2Rc3_C9jLFatWDcVqbeo5FR6h_OCvlGVyZTwMabvHO5ESY7pFx3udVadCTZbyGdLjWCMZYc5c006gBmnzHf4jIYnnVKuuDrCaDc1t9mro/s400/Kelly+Blue.jpg" width="400" /></a></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">Originally cut for Riverside, this set mostly
features the influential pianist <span style="text-decoration: none;">Wynton Kelly</span> in a trio
with his fellow rhythm section mates from the <span style="text-decoration: none;">Miles Davis</span> bands,
bassist <span style="text-decoration: none;">Paul Chambers</span> and drummer <span style="text-decoration: none;">Jimmy Cobb</span>. "Kelly
Blue" and "Keep It Moving" add cornetist <span style="text-decoration: none;">Nat Adderley</span>, flutist <span style="text-decoration: none;">Bobby Jaspar</span> and the tenor
of <span style="text-decoration: none;">Benny Golson</span> to the band
for some variety. The CD reissue augments the program with a previously
unreleased "Do Nothin' Till You Hear from Me" and the alternate take
of "Keep It Moving." <span style="text-decoration: none;">Kelly</span> was renowned
as an accompanist, but as he shows on a set including three of his originals
and four familiar standards (including "Softly, As in a Morning
Sunrise" and "Willow Weep for Me"), he was also a strong
bop-based soloist too. A fine example of his talents.</span> <span style="font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;">Review by Scott Yanow</span></span></div>
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<span style="font-size: x-small;">http://www.allmusic.com/album/kelly-blue-r142046</span>
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1. Kelly Blue</div>
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2. Softly, As In The Morning Sunrise</div>
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3. Do Nothing Until You Hear From Me</div>
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4. On Green Dolphin Street</div>
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5. Willow Weep For Me</div>
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6. Keep It Moving (take 4)</div>
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7. Keep It Moving (take 3) Bonus track</div>
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8. Old Clothes</div>
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Wynton Kelly (p) Nat Adderley (tp) Benny Golson (ts) Bobby Jaspar (fl) </div>
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Paul Chambers (b)</div>
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Jimmy Cobb (d)</div>
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<br /></div>Jazz Messengerhttp://www.blogger.com/profile/01179076934159615670noreply@blogger.com3