What Are You Listening To?
- Thread starter Rope
- Start date
Dennie
Well-Known Member
Yeah, it's on his site for $20.43.
Here is the link....
https://petergabriel.com/audio/626/scratch-my-back-and-ill-scratch-yours/
I think I'll wait for my used music dealer, for now.
Thanks Botch,
Dennie
Here is the link....
https://petergabriel.com/audio/626/scratch-my-back-and-ill-scratch-yours/
I think I'll wait for my used music dealer, for now.
Thanks Botch,
Dennie
Dennie
Well-Known Member
Plays George Gershwin's Porgy and Bess - Remastered CD
The Modern Jazz Quartet
1965/2004 Atlantic Records
The Modern Jazz Quartet was renowned for their fierce intelligence, technical prowess, serious demeanor, and fine original compositions. While the latter clearly is not part of PLAYS GEORGE GERSHWIN'S PORGY AND BESS, the other characteristics are firmly in place. The MJQ bring the full range of their brilliance to interpreting Gershwin's masterpiece, filtering the score through the lens of post-bop with progressive, tasteful, and adventurous flair. This is musical theater performed as chamber jazz.Special mention goes to "Summertime" and "It Ain't Necessarily So," both of which have the Quartet elaborating on the sultry themes with precise attention to phrasing and mood. (Pianist John Lewis shines in the former, and vibraphonist Milt Jackson dominates the latter.) Bassist Percy Heath and drummer Connie Kay keep things simmering on up-tempo swingers "Bess, You Is My Woman" and "There's a Boat Dat's Leavin' Soon for New York," while they manage changing meters and taut syncopations elsewhere. The combination of stately sophistication and advanced playing that typifies most MJQ outings is here, fueling (and fueled by) Gershwin's timeless melodies. This set will delight fans of both the group and the musical.
All compositions by George Gershwin
"Summertime" - 5:38
"Bess, You Is My Woman Now" - 5:37
"My Man's Gone Now" - 7:20
"I Loves You, Porgy" - 3:21
"It Ain't Necessarily So" - 6:23
"Oh Bess, O Where's My Bess" - 4:14
"There's a Boat Dat's Leavin' Soon for New York" - 4:18
The Modern Jazz Quartet: John Lewis (piano); Percy Heath (double bass); Connie Kay, Milt Jackson (vibraphone).Liner Note Author: John Tynan.Recording information: 07/23/1964-07/26/1964.
Dennie
Well-Known Member
A Garland of Red -- CD
The Red Garland Trio
1956/1991 Prestige/OJC Records
Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers also in Davis's group and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" during which he shows that he could sound relaxed at the fastest tempos and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. - Scott Yanow
"A Foggy Day" (George Gershwin, Ira Gershwin) - 4:51
"My Romance" (Lorenz Hart, Richard Rodgers) - 6:51
"What Is This Thing Called Love?" (Cole Porter) - 4:53
"Makin' Whoopee" (Walter Donaldson, Gus Kahn) - 4:15
"September in the Rain" (Al Dubin, Harry Warren) - 4:48
"Little Girl Blue" (Hart, Rodgers) - 5:07
"Constellation" (Charlie Parker) - 3:31
"Blue Red" (Red Garland) - 7:40
Personnel:
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums
Dennie
Well-Known Member
Cannonball Adderley and The Poll Winners -- 20Bit Remastered CD
Cannonball Adderley, Wes Montgomery, Ray Brown
1960/1999 Capitol Jazz
The "Poll-Winners" at the time of this recording were Adderley, guitarist Wes Montgomery and bassist Ray Brown; together with Victor Feldman doubling on piano and vibes and drummer Louis Hayes they cut this excellent quintet date. This was the only meeting on records by Adderley and Montgomery and, although not quite a classic encounter, the music (highlighted by "The Chant," "Never Will I Marry" and two takes of "Au Privave") swings hard and is quite enjoyable. ~ Scott Yanow
Track Listing
1. The Chant
2. Lolita
3. Azule Serape
4. Privave, Au
5. Yours Is My Heart Alone
6. Never Will I Marry
7. Privave, Au - (alternate take)
Personnel: Cannonball Adderley (alto saxophone); Victor Feldman (vibraphone, piano); Wes Montgomery (guitar); Ray Brown (acoustic bass); Louis Hayes (drums).Producers: Orrin Keepnews, Cannonball Adderly.Reissue producers: Orrin Keepnews, Michael Cuscuna.Recorded at Fugazi Hall, San Francisco, California on May 21, 1960; United Recording Studios, Los Angeles, California on June 5, 1960. Originally released on Riverside (9355). Includes liner notes by Orrin Keepnews.Digitally remastered using 20-bit technology by Ron McMaster.
Dennie
Well-Known Member
Duke Ellington Meets Coleman Hawkins -- Remastered CD
1952/1995 Impulse/MCA-GRP Records
Surprisingly, this Impulse album is the only recorded meeting between these two swing giants. Born just five years apart, Ellington and Hawkins led parallel lives through the swing era, but somehow never ended up in a recording studio together until this 1962 session. The pairing is certainly a good one that should have been repeated more often. Hawkins' famously robust tenor sax fits in seamlessly with Ellington and a small group of his top sidemen including Johnny Hodges, Harry Carney, and Ray Nance. These old pros work smoothly through a relaxed set of new and old Ellington compositions.
Track Listing
1. Limbo Jazz
2. Mood Indigo
3. Ray Charles' Place
4. Wanderlust
5. You Dirty Dog
6. Self-Portrait (Of the Bean)
7. The Jeep Is Jumpin'
8. The Ricitic
9. Solitude
Personnel: Duke Ellington (piano); Coleman Hawkins (tenor saxophone); Johnny Hodges (alto saxophone); Harry Carney (baritone saxophone, bass clarinet); Ray Nance (cornet, violin); Lawrence Brown (trombone); Aaron Bell (bass); Sam Woodyard (drums).Reissue producer: Michael Cuscuna.Recorded at the Rudy Van Gelder Studios, Englewood Cliffs, New Jersey on August 18, 1962. Includes liner notes by Stanley Dance and Michael Cuscuna.Digitally remastered by Erick Labson (MCA Music).All songs written or co-written by Duke Ellington.
Dennie
Well-Known Member
This one's a Two-fer.....
It looks like this...
The Duo Sessions -- RemasteredCD
Ray Brown - Jimmy Rowles
1978 & 1980/2000 Concord Jazz
"As good as it gets - even better than 5 stars" October 25, 2000
By J. Lovins HALL OF FAMETOP 1000 REVIEWERVINE VOICE
Everybody knows Ray Brown (bassist), is a legend just by himself, but when you get another veteran like Jimmy Rowles (pianist), who is a musicians musician, well something great is bound to happen. Within the world of jazz this duo is universally admired, so when you get the two together...look out, Concord Jazz knows this all too well - "As Good As It Gets" (1978) and "Tasty!" (1980), now two classic albums in one unique specially priced 2-CD package, simply called "THE DUO SESSIONS", such a deal!
Jazz fans, these intimate, tasty and swinging jazz dialogs by the late master pianist Rowles and jazz bass legend Brown, well they're nothing less than consummate jazz artistry.
The partnership between these two wonderful human beings is truly refreshing, with selections of Ellington, Gershwin, Porter, Arlen, Van Heusen, Kaempfert and even one composed by Jimmy Rowles.
Concord Jazz, you've done it again...delicious, rhythmic, lazily lilting, airy styles of both musicians, compatible beyond all words...so "jazz lovers", it's all here...sit back and ENJOY!
Total Time: Disc One 43:43 on 10 Tracks & Disc Two 37:37 on 8 Tracks... ...
Track Listing
DISC 1: AS GOOD AS IT GETS:
1. Sophisticated Lady
2. That's All
3. Like Someone in Love
4. Looking Back
5. Honey
6. Love
7. Alone Together
8. Rosalie
9. Manha de Carnaval
10. Who Cares?
DISC 2: TASTY!:
1. A Sleepin' Bee
2. I'm Gonna Sit Right Down (And Write Myself a Letter)
3. The Night Is Young and You're So Beautiful
4. My Ideal
5. Come Sunday
6. Close Your Eyes
7. Nancy (With the Laughing Face)
8. Smile
AS GOOD AS IT GETS
ersonnel: Ray Brown (bass); Jimmy Rowles (piano).Recorded at Coast Recorders, San Francisco, California in December 1977. Originally released on Concord (4066).TASTY!ersonnel: Ray Brown (bass); Jimmy Rowles (piano).Recorded at Coast Recorders, San Francisco, California on October 22, 1979. Originally released on Concord (4122).
It looks like this...
The Duo Sessions -- RemasteredCD
Ray Brown - Jimmy Rowles
1978 & 1980/2000 Concord Jazz
"As good as it gets - even better than 5 stars" October 25, 2000
By J. Lovins HALL OF FAMETOP 1000 REVIEWERVINE VOICE
Everybody knows Ray Brown (bassist), is a legend just by himself, but when you get another veteran like Jimmy Rowles (pianist), who is a musicians musician, well something great is bound to happen. Within the world of jazz this duo is universally admired, so when you get the two together...look out, Concord Jazz knows this all too well - "As Good As It Gets" (1978) and "Tasty!" (1980), now two classic albums in one unique specially priced 2-CD package, simply called "THE DUO SESSIONS", such a deal!
Jazz fans, these intimate, tasty and swinging jazz dialogs by the late master pianist Rowles and jazz bass legend Brown, well they're nothing less than consummate jazz artistry.
The partnership between these two wonderful human beings is truly refreshing, with selections of Ellington, Gershwin, Porter, Arlen, Van Heusen, Kaempfert and even one composed by Jimmy Rowles.
Concord Jazz, you've done it again...delicious, rhythmic, lazily lilting, airy styles of both musicians, compatible beyond all words...so "jazz lovers", it's all here...sit back and ENJOY!
Total Time: Disc One 43:43 on 10 Tracks & Disc Two 37:37 on 8 Tracks... ...
Track Listing
DISC 1: AS GOOD AS IT GETS:
1. Sophisticated Lady
2. That's All
3. Like Someone in Love
4. Looking Back
5. Honey
6. Love
7. Alone Together
8. Rosalie
9. Manha de Carnaval
10. Who Cares?
DISC 2: TASTY!:
1. A Sleepin' Bee
2. I'm Gonna Sit Right Down (And Write Myself a Letter)
3. The Night Is Young and You're So Beautiful
4. My Ideal
5. Come Sunday
6. Close Your Eyes
7. Nancy (With the Laughing Face)
8. Smile
AS GOOD AS IT GETS
ersonnel: Ray Brown (bass); Jimmy Rowles (piano).Recorded at Coast Recorders, San Francisco, California in December 1977. Originally released on Concord (4066).TASTY!ersonnel: Ray Brown (bass); Jimmy Rowles (piano).Recorded at Coast Recorders, San Francisco, California on October 22, 1979. Originally released on Concord (4122).
Dennie
Well-Known Member
Collaboration -- Remastered CD
The Modern Jazz Quartet with Laurindo Almeida
1964/2008 Atlantic Records
One of the finest recordings ever made. September 18, 2001
By Ron Kransler
Format:Audio CD
My vinyl copy of this recording has endured over thirty-six+ years of playing and can finally be retired. After having waited for this album to be re-released on CD, the event has happened. It was and remains one of the finest albums in recorded music. MJQ and Laurindo Almeida are at their masterful best -- it is pure magic and always has been -- their version of Rodrigo's "Concierto De Aranjuez" is worth the price alone, it should be required listening. Each piece on this recording seems to have been so carefully selected that they build on one another -- the result is an awesome experience, something that makes your life better.
All compositions by John Lewis except as indicated
"Silver" - 3:40
"Trieste" - 5:22
"Valeria" - 5:47
"Fugue in A Minor" (Johann Sebastian Bach) - 3:46
"One Note Samba" (Antonio Carlos Jobim, Newton Mendonça) - 5:06
"Foi A Saudade" (Djalma Ferreira) - 2:34
"Concierto de Aranjuez" (Joaquín Rodrigo) - 11:45
Laurindo Almeida - guitar
Milt Jackson - vibraphone
John Lewis - piano
Percy Heath - bass
Connie Kay - drums
Dennie
Well-Known Member
Happy Sunday everyone.... :banana-dance:
Black, Brown and Beige -- Remastered CD
Duke Ellington and his Orchestra Featuring Mahalia Jackson
1958/1999 Columbia/Legacy
Amazon.com
As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long-form piece, Black, Brown and Beige, in 1943 (available on the stunning Carnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalist Mahalia Jackson on board for all the suite's vocal parts. On this expanded reissue, Columbia has added an alternate take of the entire piece as well as two unrelated tracks recorded during the Black, Brown sessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. After all, it showed a lot of what he held in high esteem: history, musical meditations on culture, and a full, colorful use of a band that Ellington held together for an amazingly long time. If only for Mahalia Jackson's takes on "Come Sunday," by now an acknowledged standard, this set is awesome. --Andrew Bartlett
All tracks by Duke Ellington
"Part I" – 8:17
"Part II" – 6:14
"Part III" (aka Light) – 6:26
"Part IV" (aka Come Sunday) – 7:58
"Part V" (aka Come Sunday) – 3:46
"Part VI" (23rd Psalm) – 3:01 Bonus tracks on re-releases
"Track 360" (aka Trains) (alternative take) - 2:02
"Blues in Orbit" (aka Tender) (alternative take) - 2:36
"Part I" (alternative take) – 6:49
"Part II" (alternative take) – 6:38
"Part III" (alternative take) – 3:08
"Part IV" (alternative take) – 2:23
"Part V" (alternative take) – 5:51
"Part VI" (alternative take) – 1:59
"Studio conversation" (Mahalia Swears) – 0:07
"Come Sunday" (a cappella) – 5:47
"(Pause track)" – 0:06
-------
Duke Ellington — piano
William "Cat" Anderson — trumpet
Harold Shorty Baker — trumpet
Clark Terry — trumpet
Ray Nance — trumpet, violin
John Sanders — valve trombone
Quentin Jackson — trombone
Britt Woodman — trombone
Paul Gonsalves — tenor saxophone
Bill Graham — alto saxophone
Harry Carney — baritone saxophone
Jimmy Woode — bass
Sam Woodyard — drums
Mahalia Jackson — vocals
Black, Brown and Beige -- Remastered CD
Duke Ellington and his Orchestra Featuring Mahalia Jackson
1958/1999 Columbia/Legacy
Amazon.com
As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long-form piece, Black, Brown and Beige, in 1943 (available on the stunning Carnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalist Mahalia Jackson on board for all the suite's vocal parts. On this expanded reissue, Columbia has added an alternate take of the entire piece as well as two unrelated tracks recorded during the Black, Brown sessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. After all, it showed a lot of what he held in high esteem: history, musical meditations on culture, and a full, colorful use of a band that Ellington held together for an amazingly long time. If only for Mahalia Jackson's takes on "Come Sunday," by now an acknowledged standard, this set is awesome. --Andrew Bartlett
All tracks by Duke Ellington
"Part I" – 8:17
"Part II" – 6:14
"Part III" (aka Light) – 6:26
"Part IV" (aka Come Sunday) – 7:58
"Part V" (aka Come Sunday) – 3:46
"Part VI" (23rd Psalm) – 3:01 Bonus tracks on re-releases
"Track 360" (aka Trains) (alternative take) - 2:02
"Blues in Orbit" (aka Tender) (alternative take) - 2:36
"Part I" (alternative take) – 6:49
"Part II" (alternative take) – 6:38
"Part III" (alternative take) – 3:08
"Part IV" (alternative take) – 2:23
"Part V" (alternative take) – 5:51
"Part VI" (alternative take) – 1:59
"Studio conversation" (Mahalia Swears) – 0:07
"Come Sunday" (a cappella) – 5:47
"(Pause track)" – 0:06
-------
Duke Ellington — piano
William "Cat" Anderson — trumpet
Harold Shorty Baker — trumpet
Clark Terry — trumpet
Ray Nance — trumpet, violin
John Sanders — valve trombone
Quentin Jackson — trombone
Britt Woodman — trombone
Paul Gonsalves — tenor saxophone
Bill Graham — alto saxophone
Harry Carney — baritone saxophone
Jimmy Woode — bass
Sam Woodyard — drums
Mahalia Jackson — vocals
Dennie
Well-Known Member
Dennie said:
Collaboration -- Remastered CD
The Modern Jazz Quartet with Laurindo Almeida
1964/2008 Atlantic Records
One of the finest recordings ever made. September 18, 2001
By Ron Kransler
Format:Audio CD
My vinyl copy of this recording has endured over thirty-six+ years of playing and can finally be retired. After having waited for this album to be re-released on CD, the event has happened. It was and remains one of the finest albums in recorded music. MJQ and Laurindo Almeida are at their masterful best -- it is pure magic and always has been -- their version of Rodrigo's "Concierto De Aranjuez" is worth the price alone, it should be required listening. Each piece on this recording seems to have been so carefully selected that they build on one another -- the result is an awesome experience, something that makes your life better.
All compositions by John Lewis except as indicated
"Silver" - 3:40
"Trieste" - 5:22
"Valeria" - 5:47
"Fugue in A Minor" (Johann Sebastian Bach) - 3:46
"One Note Samba" (Antonio Carlos Jobim, Newton Mendonça) - 5:06
"Foi A Saudade" (Djalma Ferreira) - 2:34
"Concierto de Aranjuez" (Joaquín Rodrigo) - 11:45
Laurindo Almeida - guitar
Milt Jackson - vibraphone
John Lewis - piano
Percy Heath - bass
Connie Kay - drums
I'm giving this one a second spin... :bow-blue:
Dennie :banana-rock:
Dennie
Well-Known Member
The Best of..... -- Remastered CD
Miles Davis & Gil Evans
1997 Columbia Legacy
Despite the daunting prospect of editing the six-CD collection of the complete 1957-63 studio works of Davis and Evans into a one-hour sampler, the compilers chose wisely. Nine of the 12 selections are familiar master takes of classic Davis-Evans works. Five are from the duo's biggest popular success, 1958's PORGY AND BESS, three are orchestral tracks from 1957's MILES AHEAD and the stunning 16-minute interpretation of the Adagio movement of Joaquin Rodrigo's "Concierto de Aranjuez" from 1960's SKETCHES OF SPAIN sparkles like a jewel.These well-known pieces sound brand new, thanks to a brilliant remastering job. The last three cuts whet the appetites of those intrigued by the box set's hours of outtakes and rarities: alternate takes of "Wait Till You See Her" and "Corcovado" from 1962's QUIET NIGHTS, as well as an excerpt from Davis and Evans' masterful but rarely-heard score for the 1963 play "The Time of the Barracudas." This is essential music.
Track Listing
1. My Ship
2. Miles Ahead
3. Blues for Pablo
4. Gone
5. My Man's Gone Now
6. It Ain't Necessarily So
7. Summertime
8. Porgy I Loves You
9. Concierto de Aranjuez (Adagio)
10. Wait Till You See Her
11. Corcovado
12. Time of the Barracudas - (excerpt)
All tracks on this album come from the six-CD MILES DAVIS & GIL EVANS: THE COMPLETE COLUMBIA STUDIO RECORDINGS box set on Columbia (67397).
Personnel includes: Miles Davis (trumpet, flugelhorn); Gil Evans (arranger, conductor); Steve Lacy (soprano saxophone); Lee Konitz, Cannonball Adderley (alto saxophone); Bernie Glow, Ernie Royal, Louis Mucci, Taft Jordan, Johnny Carisi, Johnny Coles (trumpet); Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone); Tom Mitchell, Dick Hixon (bass trombone); Willie Ruff, Tony Miranda, Julius Watkins, Gunther Schuller, Earl Chapin (French horn); Bill Barber (tuba); Romeo Penque, Phil Bodner, Jerome Richardson, Sid Cooper, Eddie Caine, Danny Bank, Jack Knitzer, Bob Tricarico, Garvin Bushell (woodwinds); Janet Putnam (harp); Wynton Kelly, Herbie Hancock (piano); Paul Chambers (bass); Arthur Taylor, Philly Joe Jones, Jimmy Cobb (drums); Elvin Jones (percussion).Producers: George Avakian, Cal Lampley, Teo Macero, Irving Townsend.Compilation producer: Michael Cuscuna.Engineers: Harold Chapman, Fred Plaut, Frank Laico, R.G.Recorded at 30th Street Studio, New York, New York and Columbia Stuios, Hollywood, California between May 1957 and October 1963. Includes liner notes by Bill Kirchner.
Dennie
Well-Known Member
The Roar of '74 -- CD
Buddy Rich
1974/2006 LRC Records
Absolutely Groovy, April 1, 2005
By funkybass (los angeles) - See all my reviews
This review is from: The Roar Of '74 (Audio CD)
This is my 5th Buddy Rich CD...probably my favorite thus far. If there are any words I could use to compare this album to the others I've heard, I would use "thick" and "heavy". This album not only showcases Buddy's brilliant horn section recruits, but there are some groovy sounds emanated by the accompanied lead electric guitar (Joe Beck), organ (Buddy Budson), and added percussion (Sam Woodyard) to give it kind of a "Starsky & Hutch" classic 70's wa-wa sound. This ensemble infuses jazz with a rock/funk sound on several tracks (Kilimanjaro Cookout & Big Mac) but still swings harder and louder than anything else I've heard (Nuttville & Time Check). I bought this CD for the latter two tracks mentioned and worth more than what I paid for it alone. I don't have to say much about Buddy's playing because it's nothing short of stellar and I hope that most people understand that anything recorded of this drumming monster goes without saying. This is an essential CD for all Buddy Rich fanatics. Stop wasting time and just buy this album.
LP side A
"Nuttville" (Horace Silver) – 4:47
"Kilimanjaro Cookout" (Manny Albam) – 6:14
"Big Mac" (Ernie Wilkins) – 5:54
"Backwoods Sideman" (John La Barbera) – 4:29
LP side B
"Time Check" (Don Menza) – 3:45
"Prelude to a Kiss" (Duke Ellington, Mack Gordon, Irving Mills) – 3:32
"Waltz of the Mushroom Hunters" (Greg Hopkins) – 7:16
"Senator Sam" (Wilkins) – 4:40
Dennie
Well-Known Member
Another Two-fer.....
Looks like this....
That Good Feelin' -- Remastered CD
Johnny "Hammond" Smith
1959 & 1959/1996 Prestige Records
A standards-heavy set from 1959, Johnny "Hammond" Smith's That Good Feelin' is indicative of his early style. Recorded in a simple quartet setting with guitarist Thornel Schwartz (best known for his earlier work with Jimmy Smith), bassist George Tucker, and drummer Leo Stevens, all of whom provide understated but effective support -- Schwartz in particular throws in a few concise and swinging solos in the style of early Wes Montgomery -- these seven tracks are surprisingly close to the cool, cerebral style of pianists like Bill Evans or Lennie Tristano, far afield from the funky, blues-based styles of most jazz organists of the time. Part of that feel comes from the song selection, weighted toward ballads like "Autumn Leaves" (a Bill Evans favorite as well), "I'll Remember April," and the evergreen "My Funny Valentine." Smith's playing is typically excellent, though he throws some unexpected curves like a herky-jerky solo in "I'll Remember April" that sounds more like the futuristic whirrs and bleeps of a '50s science-fiction movie soundtrack than a "Brother" Jack McDuff workout. This is good to great stuff, and a welcome change from the soul-jazz clichés that would overtake organ jazz in the '60s. [The 1996 CD reissue of That Good Feelin' starts off with seven tracks originally released as Smith's All Soul LP, also from 1959. by Stewart Mason
1. Goin' Places 6:49
2. Sweet Cookies 6:34
3. (I'm Afraid) The Masquerade Is Over 4:45
4. Pennies From Heaven 4:38
5. Easy Like 7:30
6. Secret Love 4:33
7. All Soul 4:19
8. That Good Feelin' 5:36
9. Bye, Bye Blackbird 4:32
10. Autumn Leaves 4:28
11. I'll Remember April 4:40
12. Billie's Bounce 5:35
13. My Funny Valentine 4:36
14. Puddin' 5:13
Johnny "Hammond" Smith - organ
Thornel Schwartz - guitar
George Tucker - bass
Leo Stevens - drums
Looks like this....
That Good Feelin' -- Remastered CD
Johnny "Hammond" Smith
1959 & 1959/1996 Prestige Records
A standards-heavy set from 1959, Johnny "Hammond" Smith's That Good Feelin' is indicative of his early style. Recorded in a simple quartet setting with guitarist Thornel Schwartz (best known for his earlier work with Jimmy Smith), bassist George Tucker, and drummer Leo Stevens, all of whom provide understated but effective support -- Schwartz in particular throws in a few concise and swinging solos in the style of early Wes Montgomery -- these seven tracks are surprisingly close to the cool, cerebral style of pianists like Bill Evans or Lennie Tristano, far afield from the funky, blues-based styles of most jazz organists of the time. Part of that feel comes from the song selection, weighted toward ballads like "Autumn Leaves" (a Bill Evans favorite as well), "I'll Remember April," and the evergreen "My Funny Valentine." Smith's playing is typically excellent, though he throws some unexpected curves like a herky-jerky solo in "I'll Remember April" that sounds more like the futuristic whirrs and bleeps of a '50s science-fiction movie soundtrack than a "Brother" Jack McDuff workout. This is good to great stuff, and a welcome change from the soul-jazz clichés that would overtake organ jazz in the '60s. [The 1996 CD reissue of That Good Feelin' starts off with seven tracks originally released as Smith's All Soul LP, also from 1959. by Stewart Mason
1. Goin' Places 6:49
2. Sweet Cookies 6:34
3. (I'm Afraid) The Masquerade Is Over 4:45
4. Pennies From Heaven 4:38
5. Easy Like 7:30
6. Secret Love 4:33
7. All Soul 4:19
8. That Good Feelin' 5:36
9. Bye, Bye Blackbird 4:32
10. Autumn Leaves 4:28
11. I'll Remember April 4:40
12. Billie's Bounce 5:35
13. My Funny Valentine 4:36
14. Puddin' 5:13
Johnny "Hammond" Smith - organ
Thornel Schwartz - guitar
George Tucker - bass
Leo Stevens - drums
Dennie
Well-Known Member
Idle Moments -- RVG Edition Remastered CD
Grant Green
1964/1999 Blue Note Records
This is part of the Blue Note Rudy Van Gelder Editions series.It was always a part of Blue Note's development and marketing to introduce new artists as sidemen on more well-known leaders' projects before giving them dates of their own. The system worked pretty well, and the irony is that a release like 1963's IDLE MOMENTS looks likes more of an all-star session in retrospect. Sure, we get to hear Grant Green stretching out. But we also get Bobby Hutcherson and Joe Henderson, who were just winning their first Downbeat polls at the time.Green himself had come through this system, appearing with organ combos and on other hard bop sessions, before graduating to his own Blue Note dates. IDLE MOMENTS may be one of his finest dates in the studio, simply on the strength of the elegant melancholy of the title cut and the deep groove the band settles into on "Django." Green's playing has much in common with that of such labelmates as saxophonist Stanley Turrentine and pianist Gene Harris. He manages to bring solid bebop sensibilities to a spare, down-home approach and delivers it all with an oaken tone at once dry, dark, and full of character.
"Idle Moments" (Pearson) – 14:56
"Jean De Fleur" (Green) – 6:49
"Django" (John Lewis) – 8:44
"Nomad" (Pearson) – 12:16
Bonus tracks on CD reissue:
"Jean De Fleur" [Alternate Take] - 8:09
"Django" [Alternate Take] - 13:12
Recorded on November 4 (#1, 4-6)and November 15 (#2-3), 1963.
The Rudy Van Gelder Edition of IDLE MOMENTS includes an essay by Bob Blumenthal.Personnel: Grant Green (guitar); Joe Henderson (tenor saxophone); Bobby Hutcherson (vibraphone); Duke Pearson (piano); Bob Cranshaw (bass); Al Harewood (drums).Producer: Alfred Lion.Reissue producer: Michael Cuscuna.Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on November 4 & 11, 1963. Includes liner notes by Duke Pearson and Bob Blumenthal.Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey).
Dennie
Well-Known Member
Forever -- 2 CD Set
Chick Corea, Stanley Clark & Lenny White
2011 Concord Records
Album Notes
This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out "Señor Mouse," "Space Circus," and "After the Rain," all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers. ~ Thom Jurek
Track Listing
DISC 1:
1. On Green Dolphin Street
2. Waltz for Debby
3. Bud Powell
4. La Canción de Sophia, La
5. Windows
6. Hackensack
7. No Mystery
8. Señor Mouse
DISC 2:
1. Captain Marvel
2. Señor Mouse
3. Crescent
4. Armando's Rhumba
5. Renaissance
6. High Wire - The Aerialist
7. I Loves You Porgy
8. After the Cosmic Rain
9. Space Circus
10. 500 Miles High
(Rounder Records ~ 1992)
with guests John Sebastian, John Hall, Brendan Croker, Mark Knopfler
1 Silver Wings
2 Faithless World
3 Sisters
4 Ain't I A Woman
5 Come On In My Kitchen
6 Rolling Log
7 Maggie Campbell
8 Never Called Your Name
9 Road To Mexico
10 Cool Drink Of Water
11 Walk In Jerusalem
Dennie
Well-Known Member
Summer Wind: Live at The LOA -- SACD
The Ray Brown Trio
1990/2003 Concord Jazz
Ray Brown has many great contributions to jazz as a leader and a sideman, but one additional way in which he helped jazz was his encouraging Gene Harris to give up his early retirement and go back out on the road. The pianist was a part of Brown's groups for several years before he formed a working quartet and became a leader for good once again. This 1988 concert at a since-defunct Santa Monica night club (co-owned by Brown) finds the two, along with drummer Jeff Hamilton, at the top of their game. A phone ringing in the background distracts momentarily from Brown's opening solo in his composition "The Real Blues," during which Harris repeats a bluesy tremolo, which may be an inside joke about the early distraction. Harris take a blues-drenched approach to "Mona Lisa" before giving way to the leader's solo, while his lyrical approach to "Can't Help Lovin' Dat Man" is shimmering. Hamilton's soft brushes are prominent in "Little Darlin'," but his explosive playing provides a powerful pulse to the very unusual strutting take of "It Don't Mean a Thing." This extremely satisfying CD is warmly recommended. ~ Ken Dryden
Track Listing
1. Summer Wind
2. The Real Blues
3. Li'l Darlin'
4. It Don't Mean a Thing (If It Ain't Got That Swing)
5. Mona Lisa
6. Buhaina Buhaina
7. Can't Help Lovin' Dat Man
8. Bluesology
Ray Brown Trio: Ray Brown (acoustic bass); Gene Harris (piano); Jeff Hamilton (drums).Recorded live at The Loa, Santa Monica, California in July 1988. Includes liner notes by Chip Deffaa and Leonard Feather.
Dennie
Well-Known Member
Raising Sand -- CD
Robert Plant & Alison Krauss
2007 Rounder Records
Amazon.com
Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash
1. "Rich Woman" Dorothy LaBostrie, McKinley Millet 4:04
2. "Killing the Blues" Roly Jon Salley 4:16
3. "Sister Rosetta Goes Before Us" Sam Phillips 3:26
4. "Polly Come Home" Gene Clark 5:36
5. "Gone Gone Gone (Done Moved On)" Don Everly, Phil Everly 3:33
6. "Through the Morning, Through the Night" Gene Clark 4:01
7. "Please Read the Letter" Charlie Jones, Michael Lee, Jimmy Page, Robert Plant 5:53
8. "Trampled Rose" Kathleen Brennan, Tom Waits 5:34
9. "Fortune Teller" Naomi Neville 4:30
10. "Stick With Me Baby" Mel Tillis 2:50
11. "Nothin'" Townes Van Zandt 5:33
12. "Let Your Loss Be Your Lesson" Milton Campbell 4:02
13. "Your Long Journey" Doc Watson, Rosa Lee Watson 3:55