Wednesday, July 30, 2014

New York Objects & Noise Willisau / CH Festhalle Jazzfestival Radio DRS II FM 31 Aug. 1984

David Moss - perc, voc
Arto Lindsay - g, voc
John Zorn - as, cl, animal calls
Christian Marclay - turntables
George Lewis - trombone

1 Radio Intro
2 - 11 Improvisations

total time: 37:22

original cassette recording from FM radio
-> wav (by terratec phono preamp studio)
-> flac

from original cassette by a friend, 
transfer by nadir_53 (December 2013)

Jean-Luc Ponty Quintet - Richard Galliano & Michel Portal - 1998-09-19, Viersen, Germany 77.23 FM MC

Jean-Luc Ponty Quintet - Richard Galliano & Michel Portal - 1998-09-19, Viersen, Germany 77.23 FM MC

2 Live concerts:
12. Jazzfestival Viersen
18. - 19. September 1998
Date: Saturday, 1998 09 19
Location: Viersen, Germany, Festhalle
WDR broadcast series: "Full House"
Moderator: Ali Haurand and Dieter Hens
German TV-Station: WDR
Broadcast date: Unknown

Jean-Luc Ponty Quintet:
Jean-Luc Ponty - Violin
Jean Pierre Como - Keyboard
Guy N' Sangué - Bass
Thierry Arpino - Drums
Moustapha Cissé - Percussion
Richard Galliano - Akkordeon
Michel Portal - Akkordeon, Saxophone, Clarinet
01 "WDR Full House" intro [00:21]
Setlist Jean-Luc Ponty Quintet:
02 Rhythms Of Hope [07:50]
03 Interview excerpt with Jean-Luc Ponty & Ali Haurand [01:23]
04 Jig [08:22]
05 After The Storm [07:03]
06 Pastoral Harmony [08:27]
07 Caracas [10:12]
08 Talk with Ali Haurand & Dieter Hens [00:37]
Setlist Richard Galliano & Michel Portal:
09 Giselle [05:26]
10 Tango Pour Claude [04:14]
11 Libertango [08:38]
12 Mozambique [07:04]
13 Oblivion [04:46]
14 Chorhino Fra Été [03:00]
Total time 77.23 min 
"Aufgezeichnet in der Festhalle Viersen
im Rahmen des 12. Jazzfestivals'98
Eine Veranstaltung der Stadt Viersen"
Full program:
Friday, 1998 09 18, Start: 19:00 (GMT +01:00):
Nils Wogram Quartet, D / B / GUS
Carla Cook & Friends, USA
hr Big Band, feat. Lee Konitz
Chano Dominguez & Band, E
Courtney Pine – The Underground Project, GB
Saturday, 1998 09 19, Start: 19:00 (GMT +01:00):
Interception, D / NL / USA
Carla Cook & Friends, USA
International Vibes Summit (Milt Jackson, Mike Mainieri,
Dave Samuels, Wolfgang Lackerschmid a.o.), USA / D
Richard Galliano & Michel Portal Duo, F
Jean-Luc Ponty Quintet, F / CAM / SN
Lineage:  Lineage recording (1998, Bernhard):
-> VHS cassette: Fuji 300 HQ+ (PAL)
-> Unknown equipment

Lineage digitization (2014 07 03, Pittylabelle):
-> VHS cassette: Fuji 300 HQ+ (PAL)
-> VHS player: Panasonic NV-HS1000
-> Recording software: Sound Forge Pro 10.0
-> WAV-File 16 Bit / 44.1 kHz

Lineage production (2014 07 04, Pittylabelle):
-> Editing: Sound Forge Pro 10.0 (just track editing)
-> Coding: FLAC Frontend (Level 8): WAV to FLAC
 To preserve the sound of the original recording as well as possible:
NO fade-in or -out, NO track normalisation, No soundfilter!
 In short: There is no music left out!
 VHS provided by Bernhard
 Seeded by Pittylabelle, for / 2014 07 04
 Brought to you by Bernhard & Pittylabelle - Enjoy!

Wednesday, July 23, 2014

Sun Ra Arkestra Session 2014-06-18 FM FLAC

Sun Ra Arkestra - BBC Session
Livingston Studios London
Recorded: 18th June 2014
Broadcast: 30th June 2014

BBC 'Jazz on 3' > 320k AAC > i-Sound recorder (44.1k wav) > 
Edit > TLH (flac 6 + SBE / Decode check) > Tag & Rename (flac tags) 

Nice Fastone artworks included (thanks !!) 

Quality: EX as always 

A wonderful quality recording and performance, interspersed apparently by poems / quotes recorded some time ago
by the BBC of Sun Ra himself, nice touch as it is celebrating his birth 100 years ago !!

Also most gratifying, there is much more music and less talk  than usual (as there was with the recent Loose Tubes
broadcast), so if you like this, please Email that you like this kind of program editing.

TomP post on Dime, July 2014...Enjoy !!

Marshall Allen – alto sax and EVI
Tara Middleton – vocals and violin
Knoel Scott – alto sax and percussion
Charles Davis – tenor sax
Shabaka Hutchings – tenor sax and bass clarinet
Danny Ray Thompson – baritone sax and percussion
Cecil Brooks – trumpet
Vincent Chancey – French horn
Dave Davis – trombone
Farid Barron – piano
Dave Hotep – guitar
Tylor Mitchell – bass
Elson Nascimento – percussion
Stanley Morgan – percussion
Wayne Smith Jnr – drums

00 - Interview + Intro
01 - Queer Notions (6.02)
02 - Space Chord (3.59)
03 - Wish Upon A Star (8.10)
04 - Saturn (6.35)
05 - Love in Outer Space (9.26)
06 - Dancing Shadows (8.11)
07 - Swirling (9.29)
08 - Discipline 27b (6.32)
09 - Angels And Demons At Play (11.52)
10 - Enlightenment (6.09)

Total Music = 76:25 (without track 00)

Edit details (Nero 8 unless stated)
Fixed transmission break about 1:40 on track 04
Removed most of the announcer
Normalised volume
Added flac tags (Tag&Rename)

Monday, July 21, 2014

arild andersen quintet theater muenster, germany 05. jan 2014 mp2

source: dvb-s > techno trend tt-premium s2-6400 twin hd > hdd > nero wave editor > flac
(mpeg1 layer 2/320 kbps) [radio station - wdr 3]

arild andersen – b
tommy smith – sax
tore johansen – tp
marcin wasilewski – p
patrice héral - dr

01. reparate (andersen) 08:27
02. the fox (andersen) 10:11
03. announcement arild andersen 00:55
04. jona [bass intro] (andersen) 02:18
05. lucia (andersen) 08:26
06. science (andersen) 11:48
07. bygone (andersen) 07:25
08. Saturday (andersen) 17:49
09. farmer girl (andersen)  11:35

Thursday, July 17, 2014

Charlie Haden's Music Liberation Orchestra 1987-08-17 Bremen mp2 RIP Charlie Haden

22:05Nordwestradio in concert
Charlie Haden's Liberation Music Orchestra (USA)
Konzertmitschnitt vom 17. August 1987, Sendesaal, Bremen
Aus aktuellem, traurigen Anlass haben wir unser Programm für heute geändert. Am 11. Juli starb einer der bedeutendsten Kontrabassisten des zeitgenössischen Jazz: Charlie Haden. Über Jahrzehnte hatte der US-Amerikaner mit markantem Spiel und voluminösem Ton seinen Beitrag zu wichtigen Formationen geleistet, angefangen bei dem klassischen, wegweisenden Quartett um Saxophonist und Komponist Ornette Coleman. Später gehörte Haden unter anderem den Gruppen von Pianist Keith Jarrett an. Außerdem spielte er ? meist in kammermusikalischen Besetzungen - mit Pat Metheny, Joe Henderson, Egberto Gismonti, Hank Jones (um nur Einige zu nennen). Über die Jahre leitete der Bassist, der mit Country- und Bluegrass-Traditionen aufgewachsen war, vor allem zwei Formationen: das "Quartet West" und das "Liberation Music Orchestra". Letzteres hatte Haden erstmals Ende der sechziger Jahre zusammengerufen, um politische Lieder zwischen Revolutionsbewegungen und Arbeiterkampf zu interpretieren. Seit den Achtzigern brachte er in loser Folge neue Ausgaben des Orchesters auf den Weg. Der Gruppe, die im Sommer 1987 auf Europatournee war, gehörten auch Drummer Paul Motian und Saxophonist Dewey Redman aus der Urbesetzung an. Außerdem dabei: Pianistin Geri Allen, Gitarrist Mick Goodrick, Saxophonist Joe Lovano, Tubist Bob Stewart und andere.


Monday, July 7, 2014

Clifford Brown - The Complete Paris Sessions, vol 3 - 1953

1 - (Venez Donc) Chez Moi
2 - All Weird (master)
3 - All Weird (alt 2)
4 - All Weird (alt 3)
5 - Blue and Brown
6 - I Can Dream, Can't I (master)
7 - I Can Dream, Can't I (alt 2)
8 - I Can Dream, Can't I (alt 3)
9 - The Song is You (master)
10 - The Song is You (alt 2)
11 - Come Rain or Come Shine (master)
12 - Come Rain or Come Shine (alt 2)
13 - It Might As Well Be Spring (master)
14 - It Might As Well Be Spring (alt 2)
15 - You're a Lucky Guy (master)
16 - You're a Lucky Guy (alt 2)
17 - You're a Lucky Guy (alt 3)

track 1:  Gigi Gryce - Clifford Brown Octet

Clifford Brown, trumpet - Gigi Gryce, alto sax - Jimmy Cleveland, trombone
Clifford Solomon, tenor sax - Henri Renaud, piano - Jimmy Gourley, guitar
Pierre Michelot, bass - Jean Louis Viale, drums.
Recorded in Paris on October 10, 1953

2 to 4:  Gigi Gryce - Clifford Brown Octet

same as before except Quincy Jones and Marcel Dutrieux replace Renaud and Michelot;
Anthony Ortega (alto sax) and William Boucaya (bar. sax) added; Jimmy Gourley out.
Recorded in Paris on October 11, 1953

5 to 17:   Clifford Brown Quartet

Brown; Henri Renaud, piano - Pierre Michelot, bass - Benny Bennet, drums
Recorded in Paris on October 15, 1953

This tracks features the great trumpeter with a quiet rhythm section consisting of pianist Henri Renaud, bassist Pierre Michelot and drummer Benny Bennett. There are six songs and six alternate takes (including three versions apiece of "I Can Dream, Can't I" and "You're a Lucky Guy") but each of Brownie's solos are different and his tone is so warm that every performance is well worth hearing. Ironically the finest solo, a classic version of "It Might as Well Be Spring," was improvised in one take. 

1953 Vogue - 1998 BMG France  743214573020   flac + scans

Sunday, July 6, 2014

Clifford Brown - The Complete Paris Sessions, vol 2 - 1953

1 - Minority (master)
2 - Minority (alt 2)
3 - Minority (alt 3)
4 - Salute to the Band Box (master)
5 - Salute to the Band Box (alt)
6 - Strictly Romantic
7 - Baby (master)
8 - Baby (alt)
9 - Quick Step (master)
10 - Quick Step (alt 2)
11 - Quick Step (alt 3)
12 - Bum's Rush (master)
13 - Bum's Rush (alt 2)
14 - Bum's Rush (alt 3)
15 - No Start, No End

1 to 8:  Gigi Gryce - Clifford Brown Sextet:
                Clifford Brown, trumpet - Gigi Gryce, alto sax
        Henri Renaud, piano - Jimmy Gourley, guitar
Pierre Michelot, bass - Jean-Louis Viale, drums
6, 7, 8 Gourley out
Recorded in Paris on October 8, 1953

9 to 14:  Gigi Gryce and His Orchestra:
Clifford Brown, Art Farmer, Walter Williams, trumpet - Quincy Jones, tr. & arranger
Jimmy Cleveland, Al Hayse, Benny Vasseur, trombone
Gigi Gryce, Anthony Ortega, alto sax
Clifford Solomon, André Dabonneville, tenor sax
William Boucaya, baritone sax - Henri Renaud, piano
Pierre Michelot, bass - Jean-Louis Viale, drums
Recorded in Paris on October 9, 1953

15 :  Gigi Gryce - Clifford Brown Octet:
Clifford Brown, trumpet - Jimmy Cleveland, trombone - Gigi Gryce, alto sax
Clifford Solomon, tenor sax - Henri Renaud, piano - Jimmy Gourley, guitar
Pierre Michelot, bass - Jean-Louis Viale, drums
Recorded in Paris on October 10, 1953

  What's amazing about all of these 1953 sessions is that you can hear clearly the contributions and influences of each artist.
You can hear the emergence of Brown's confident trumpet style as well as the fluttering runs that would become a hallmark of his sound. You can hear Quincy Jones' early wide-body arranging skills. You can hear Gigi Gryce's bold, sensual songwriting and arranging style in Minority, Salute to the Band Box, Strictly Romantic, Quick Step and many others. And you can hear Tadd's catchy songs and powdery charts that would reach full flower three years later on the album Fontainebleau.
   And Brown is in the thick of all these talents—his jazz sensibilities and soul being marinated by some of the most innovative young composers and arrangers of the day.
   I like to think of these sessions as Birth of the Hard Bop—Brown's, Dameron's, Gryce's and Jones' response to Miles Davis'  Birth of the Cool.

    Each song is a gem and way ahead of its time, especially when you consider that in the summer of 1953 Charlie Parker was recording sides that would eventually fill out the Verve album Now's the Time. Hardly a bad album by Bird but not nearly as ahead of the curve as these Clifford Brown sides.
   A significant change was occurring in jazz in 1953. Fortunately the shift was captured on these Clifford Brown sessions.                                                                                                                                                                                                                  Marc Myers

1954 Vogue - 1997 BMG France  74321457292     flac + scans

(to be continued)

Saturday, July 5, 2014

Clifford Brown - The Complete Paris Sessions, vol 1 - 1953

1 - Brown Skins (alt)
2 - Brown Skins (master)
3 - Deltitnu
4 - Keeping Up With Jonesy (master)
5 - Keeping Up With Jonesy (alt)
6 - Conception (master)
7 - Conception (alt)
8 - All The Things You Are (master)
9 - All The Things You Are (alt)
10 - I Cover The Waterfront
11 - Goofin' With Me

1 to 9:  Gigi Gryce and His Orchestra:

Clifford Brown, Art Farmer, Quincy Jones, Walter Williams, Fernand Verstraete, Fred Gérard - trumpet
Al Hayse, Jimmy Cleveland, Bill Tamper - trombone
Gigi Gryce, Anthony Ortega - alto sax
Clifford Solomon, Henry Bernard - tenor saxophone
Henri Jouot, baritone sax - Henri Renaud, piano - Pierre Michelot, bass - Alan Dawson, drums
Recorded in Paris on September 28, 1953
3: Fred Gérard, out.

6 to 11:  Gigi Gryce - Clifford Brown Sextet:

Clifford Brown, trumpet - Gigi Gryce, alto sax
Henri Renaud, piano - Jimmy Gourley, guitar
Pierre Michelot, bass - Jean-Louis Viale, drums
Recorded in Paris on September 29, 1953

  In the fall of 1953, Brown—now a member of Lionel Hampton's band—left for a tour of Europe and North Africa. Before they left, Hampton reminded the band of his rule against making records on the side. The practice was common among musicians in big bands who wanted to earn extra cash and a name for themselves during their down time. The problem for band leaders, of course, was the risk of losing their biggest stars if the sideline records became hits.
  Despite Hampton's firm directive, Brown, Jones, Farmer, Gryce, trombonist Jimmy Cleveland and alto saxophonist Anthony Ortega slipped out of hotels in Stockholm and Paris to record with local jazz musicians. The recordings turned up on European labels—Metronome and Vogue—and the new sound made them all instant stars.

    According to a 2002 obituary of Lionel Hampton in The Independent of London:
"[Hampton's] 1953 band came to Europe, and it included the young trumpeter Clifford Brown, by then a jazz phenomenon, although Hampton seemed not to notice. Under the iron fist of Gladys Hampton, the musicians were instructed that they were not allowed to record unless under Lionel's leadership. A guard was placed in the lobby of their Paris hotel to prevent any recalcitrant sidemen from escaping.
  In the middle of one night, Clifford Brown and Quincy Jones left by a rear bedroom window and went to a studio where Brown cut a batch of recordings which were to change the face of jazz trumpet playing. Presumably they also supplemented the measly number of dollars which had escaped from Gladys's fist as salary."                Marc Myers

1954 Vogue - 1997 BMG France  74321457282    flac + scans

(to be continued)

Thursday, July 3, 2014

Clifford Brown - The Beginning and the End

1 - I Come From Jamaica  OKEH 6900 (CCO 5323)
2 - Ida Red  OKEH 6875 (CCO 5322)


Clifford Brown, trumpet - Vance Willson, alto and tenor sax - Duke Wells, piano - Eddie Lambert, guitar - James Johnson, bass - Osie Johnson, drums - Chris Powell, vocal, percussion
(Recorded Chicago, March 21, 1952)


Clifford Brown, trumpet - Ziggy Vines, Billy Root, tenor saxes - Sam Dockery, piano - Ace Tisone, bass - Ellis Tollin, drums
(Recorded Philadelphia, June 25, 1956)

CBS S65749

On March 21, 1952 a young trumpeter named Clifford Brown made his first records. He'd just Joined Chris Powell and the Blue Flames a group from Philadelphia. They cut four sides: two ballad vocals and two jump tunes with solos by Clifford.
Not many people (at least not many who cared) heard those first recorded glimpses of a new voice ; Chris Powell sides were not sought out by jazz people. But those who'd heard him live, musicians and listeners, already knew about Brownie. Among them was Charlie Parker, with whom Clifford played a short gig in Philly in the summer of 1951.
"Bird helped my morale a great deal", Brownie said three years later."One night he took me in a corner and said, 'I don't believe it. I hear what you're saying but I don't believe it". And when Art Blakey told Bird he was taking a group to Philadelphia, Bird said not bother bringing a trumpet player if Brownie was in town. Soon, the message spread ; Brownie himself carried it to Europe in Lionel Hampton's band. And then...
On june 25, 1956 the 25-year-old- coleader of the Clifford Brown-Max Roach Quintet, widely held as the most brilliant young voice in jazz, was the featured guest star at a Monday evening jam session in Philadelphia.The scene was Music City, an instrument shop run by drummer Ellis Tollin and Bill Welch. Jams bringing some noted visitor together with the local cats were regular events there for a period of some three years in the mid-to-late 1960's Tollin who still runs the store (it has since moved to bigger quarters) recalls that Bud Powell, Sonny Stitt. Art Blakey and Buddy Rich among the guests, while the up-and-coming locals included a Clifford Brown fan named: Lee Morgan. Usually a tape recorder would be in action ; in this case it was manned by Fred Miles.The session was not Clifford's first at Music City, but it generated a warmth unusual even for visits by him. You can hear it in the music, and then in Clifford's moving little speech at the end. It was homecoming of sorts though Wilmington. Delaware was his birthplace, Philadelphia was his musical hometown.
"He was perfect all the way around," said Sonny Rollins, his front line partner in the Brown-Roach Quintet. Roach said Clifford was "one of the rare complete individuals ever born...a sweet, beautiful individual." And Dizzy Gillespie said, "jazz was dealt a lethal Blow by the death of Clifford Brown." Dizzy, of course, is a trumpet player, the father of all modern jazz trumpet players. He had lost his natural heir, and to him the» blow seemed lethal. The music has survived, as Clifford would have wanted.
And the music of Clifford Brown has survived.In the four short years he was granted to fashion his recorded legacy, he created enough beauty to insure immortality of that special kind time grants only to great artists.
Here is the beginning and the end of this remarkable recorded legacy of beauty. We know that Clifford must have been happy to record for the first time - a moment of joy any young musician - and now we can also know that the last message he was able to leave us was one of happiness and affirmation. Long live Clifford Brown!
Dan Morgenstern Editor, down beat

Clifford Brown Memorial - 1953

1 - Stockholm Sweetnin'
2 - 'Scuse these Blues
3 - Falling in Love with Love
4 - Lover Come Back to Me
5 - Philly J.
6 - Dial "B" for Beauty
7 - Theme of No Repeat
8 - Choose Now (#1)
9 - Choose Now (#2)

Additional tracks, from an LP rip:

2a - 'Scuse these Blues (alt take)
4a - Lover Come Back to Me (alt take)

(not to be confused with the Blue Note album with the same title)

Tracks 1 to 4:  Clifford Brown - Art Farmer With the Swedish All-Stars: Clifford Brown, Art Farmer, trumpet                                               Arne Domnérus, alto sax - Lars Gullin, baritone sax - Ake Persson, trombone - Bengt Hallberg, piano                                                         Gunnar Johnson, bass - Jack Norén, drums. Quincy Jones, arranger, director.                                                                                                       Stockholm, Sweden, September 15, 1953.

Tracks 5 to 9:  Tadd Dameron's Big Ten: Clifford Brown, Idries Sulieman, trumpet -     Gigi Gryce, alto sax                                                             Benny Golson, tenor sax - Oscar Estelle, baritone sax - Herb Mullins, trombone - Tadd Dameron, piano, arranger                                       Percy Heath, bass - Philly Joe Jones, drums. NYC, June 11, 1953.

Clifford Brown: 1953

Trumpeter Clifford Brown is best remembered for the groundbreaking hard-bop albums he made with Max Roach for EmArcy Records starting in August 1954 and ending with his tragic death in June 1956.
Often overlooked, however, are the recordings Brown made as a sideman during the summer and fall of 1953. Like the EmArcy dates, these sessions are dynamic and cutting-edge—but for very different reasons.
Over the course of four months—between June 11 and October 15, 1953- Brown recorded with different bands under the direction or influence of Tadd Dameron, Gigi Gryce and Quincy Jones.

                       Brown and Gryce in Paris, 1953

At the time, all three jazz musicians - Dameron, Gryce and Jones - were pioneering a new sophisticated harmonic sound influenced by Miles Davis' Birth of the Cool recordings.
 But their version of cool was much tougher than the laid-back, West Coast interpretation being advanced by Gerry Mulligan and Chet Baker.
The East Coast leveraging of cool was more melodically complex and musically urgent than the Hollywood approach, which relied on contrapuntal minimalism. All you have to do is listen to Gigi Gryce's staggeringly pretty "Keeping Up With Jonesy" (to be posted soon), from 1953, to hear the sizable changes taking place. In Brown's hands, East Coast cool would become hard bop within a year.
In the summer of 1953, Brownie was at the right place at the right time after extensive healing following a horrible college auto accident in 1950. The crash left Brown with two broken legs, and he was in a full-body cast for months while undergoing skin and bone grafts. Released in May 1951, Brown spent the next year trying to regain his trumpet playing skills.
In 1953 Brown joined Tadd Dameron's group, which featured  Idrees Sulieman on trumpet, Herb Mullins on trombone, Gigi Gryce on alto saxophone, Benny Golson on tenor, Oscar Estelle on baritone,  Dameron on piano, Percy Heath on bass and Philly Joe Jones on drums. The band recorded four beautiful Dameron originals for Prestige on June 11—Philly J.J., Choose Now, Dial B for Beauty and Theme of No Repeat.
Later that summer, Quincy Jones, who was playing trumpet in Lionel Hampton's band, slipped away with Art Farmer and other musicians in New Jersey to jam with members of Dameron's group. After the session, he convinced Hampton to hire Brown, Gryce and Golson away from Dameron, which Hampton did.

In a 1961 interview by Barbara Gardener for Down Beat magazine, Art Farmer recalled the summer of 1953:
" '[Clifford Brown] was in Atlantic City with Tadd Dameron and I was in Wildwood, N.J., with Hamp. One night Quincy Jones, Jimmy Cleveland, and some of the fellows from Hamp's band drove over to Atlantic City after work.
We ended up having a session at the Club Harlem which lasted until 9 or 10 in the morning. No one played but the rhythm section and, I guess, almost all the trumpet players in that area. There were at least six of us, and Brownie was really pushing. You can't imagine what an experience that was.'
This was only the beginning of the Farmer vs. Brown relationship. Farmer remembers the fall of '53 wryly: 'Brownie, along with Benny Golson, came into Hamp's band. Hamp goes for battles, so this was his chance for a never-ending trumpet battle between Brownie and me. Although I felt that Brownie was the better player, I couldn't just be content to let him make a foil of me.'

Then Farmer added, with steely eye and a brief, reluctant smile, 'So I think there were some very interesting nights. In fact, every night was very interesting.' "                                                         Marc Myers

OJC20 017-2 (20-bit remastering of Prestige P-7055)   flac + scans

(to be continued)

Sunday, June 29, 2014

Stan Getz Gold...'Happy 50th Stan...'

A1 Morning Star 12:50
A2 Lady Sings The Blues 7:57
B1 Cancao Do So 8:48
B2 Lush Life 4:35
B3 Stan`s Blues 8:05
C1 Infant Eyes 6:38
C2 Lester Left Town 13:30
D1 Elderdown 12:25
D2 Blues For Dorte 8:20

Niels-Henning Orsted Pedersen - Billy Hart - Joanne Brackeen - Stan Getz

Recorded at Jazzhus Montmartre
January 28, 29 & 30, 1977.
Inner City Records  IC 1040

This session finds tenor saxophonist Stan Getz in superb form. Recorded for his 50th birthday in 1977 with his modern quartet (featuring pianist Joanne Brackeen, bassist Niels Pedersen, and drummer Billy Hart), Getz is heard live at Copenhagen's Montmartre, celebrating with some brilliant playing. The emphasis is mostly on standards but there have been few versions of such songs as "Lady Sings the Blues," "Lush Life," "Lester Left Town," and "Eiderdown" that could compare with the lyricism and creativity of these renditions. This is essential music featuring a master at his best.
Review by Scott Yanow

Saturday, June 28, 2014

Curtis Fuller - All-star Sextets

01 - It's All Right With Me
02 - Arabia
03 - I'll Walk Alone
04 - Judy's Dilemma
05 - Wheatleigh Hall

01 - Kachin
02 - Bang Bang
03 - Imagination
04 - Blues De Funk
05 - Lido Road

Rec.: August 25, 1959 & December 17, 1959  Rudy Van Gelder
Savoy SJL 2239

Combos led by trombonist Fuller, members of The Jazztet and Coltrane ensembles. Essential jazz/post-bop. Seminal material from a brilliant trombonist. Features Lee Morgan (tpt), Wynton Kelly (p), McCoy Tyner (p), Benny Golson, Paul Chambers, Thad Jones.