Friday, April 18, 2014

SWR2 NOWJazz Session 2 x 2 = QUAT Sendung vom Freitag, 10.1. | 23.03 Uhr | SWR2 Els Vandeweyer, Fred Van Hove, Paul Lovens und Martin Blume im September 2013 im KULT in Niederstetten MP2

Am Mikrofon: Julia Neupert
Ungewöhnliche instrumentale Konstellationen gehören in der zeitgenössischen Improvisationsmusik schon lange zum Alltag. Denn da, wo das Interesse an der ständigen Infragestellung formaler Konventionen oder Spielroutinen eine große Rolle spielt, da experimentiert man naturgemäß auch gerne mit extravaganten Ensemble-Besetzungen. Insofern ist es vielleicht weniger eine Überraschung, dass in QUAT zwei Schlagzeuger, eine Vibraphonistin und ein Pianisten spielen. Aber die Namen derer, die hier aufeinandertreffen, versprechen ein außergewöhnliches Konzert: QUAT ist ein deutsch-belgisches Mehrgenerationen-Quartett, dabei sind: Fred van Hove, einer der Altmeister der europäischen Jazzemanzipation, Paul Lovens, der Pionier des freien Schlagzeugspiels in Deutschland, außerdem sein Kollege Martin Blume, der visionäre Klangforscher und Els Vanderweyer, eine der bemerkenswertesten Musikerinnen der jüngeren Szene.

Martin Blume:
Extension Nr. 2 
Paul Lovens, Schlagzeug 
Martin Blume, Schlagzeug 
Els Vandeweyer, Vibraphon 
Fred Van Hove, Piano

Paul Lovens:
Queen Mum' s Daughter 
Paul Lovens, Schlagzeug 
Martin Blume, Schlagzeug 
Els Vandeweyer, Vibraphon 
Fred Van Hove, Piano

Els Vandeweyer:
A Gogo Of All Accepting 
Paul Lovens, Schlagzeug 
Martin Blume, Schlagzeug 
Els Vandeweyer, Vibraphon 
Fred Van Hove, Piano

Martin Blume:
Extension Nr. 2 
Paul Lovens, Schlagzeug 
Martin Blume, Schlagzeug 
Els Vandeweyer, Vibraphon 
Fred Van Hove, Piano

Thursday, April 17, 2014

MIKE STERN - VICTOR WOOTEN BAND feat. B. Franceschini & D. Watson Mendrisio, Switzerland 2013-June-29 MP2

Lineage: DVB-S>raw data to HDD>ProjextX>mp3DirectCut>mp2
256 Kbps, 48kHz, original broadcast
broadcasted by the Radio Station "SSR-Rete Tre"

The annoying radio-DJ between the tracks is cut out as good as possible ...........

Mike Stern: guitar
Bob Franceschini: sax
Victor Wooten: el. bass, vocals
Derico Watson: drums, vocals


1. Aida
2. My Life
3. Wishing Well
4. Guitar solo
5. What might have been
6. Bass Solo
7. Big Neighborhood

Duration: 1:13:33

Enjoy !

 Lineage: DVB-S>raw data to HDD>ProjextX>mp3DirectCut>mp2
256 Kbps, 48kHz, original broadcast
broadcasted by the Radio Station "SSR-Rete Tre" 

Courtesy of joe2005 on DIME

Monday, April 14, 2014

Ben Webster and Associates - 1959

   The Tenor Giants, Part II:

1 - In a Mellow Tone
2 - De-Dar
3 - Young Bean
4 - Time After Time
5 - Budd Johnson

This second part contains a 1959 recording of Ben Webster, Coleman Hawkins, & Budd Johnson on tenor sax, Roy Eldridge on trumpet, Jimmy Jones on piano, Les Spann on guitar, Ray Brown on bass, & Jo Jones on drums

Ben Webster and Associates is a session that took full advantage of the long-playing LP format. Highlighted by the 20-minute version of Ellington's "In a Mellow Tone" in which tenor giants Ben Webster, Coleman Hawkins, and Budd Johnson plus trumpeter Roy Eldridge stretch out, not so much in a cutting contest as a laid-back jam session amongst friends. This summit meeting turned out to be a tribute to another tenor master of the same generation, Lester Young, who had died less than four weeks before this session. The chosen rhythm section of Jimmy Jones on piano, Less Spann on guitar, Ray Brown on bass, and Jo Jones on drums equally matches the performance of the featured horns. Also tackled for this session were three Webster originals: "De-Dar," "Young Bean," and "Budd Johnson" and the standard "Time After Time." Unfortunately no bonus tracks are included (if they even exist) but the excellent sound restoration more than makes up for it.                        Al Campbell

Recorded in New York City on April 9, 1959 

with thanks to flattedfifth                    flac + scans

Saturday, April 12, 2014

Coleman Hawkins encounters Ben Webster, The Complete Session - 1957

The Tenor Giants, Part I:

Two albums  with two different sessions of Ben Webster playing with Coleman Hawkins in the late 1950s.

The first album contains a 1957 recording of Ben Webster & Coleman Hawkins on tenor sax with Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, & Alvin Stoller on drums -
(In fact this session produced music used by the record company in two previously posted albums, here at Moha's: Confreres & Coleman Hawkins encounters Ben Webster; the links are longtime dead. So this can be considered - partly - a re-post):

It Never Entered My Mind
You'd Be So Nice To Come Home To
La Rosita
                                                                                                            Blues For Yolande
                                                                                                                 Cocktails For Two
                                                                                                                 Shine On Harvest Moon
                                                                                                                 Prisoner of Love

  Los Angeles, October 16, 1957. "Maria" and "Cocktails for Two" were included in the Confreres album; the other seven tracks were in the original Encounters album. To which here were added as bonus tracks:

10 - Blues for Yolande (mono version)
11 - La Rosita (short alternative take)
12 - Shine on, Harvest Moon (short alternative take)
13 - My Melancholy Baby
14 - Where Are You
15 - Ill Wind (Coleman Hawkins)
16 - Ill Wind (Ben Webster)
17 - Blues for Yolande (incomplete takes)

13 & 15 - same personnel, place and date but omit Ben Webster
14 & 16 - same personnel and place but omit Coleman Hawkins and Stan Levey replaces Stoller. L.A., October 15, 1957

One of the great studio sessions of the 1950's (and part of a series by the producer to pair pianist Oscar Peterson’s trio with great horn players), Coleman Hawkins Encounters Ben Webster remains a jazz masterpiece. Musicians back then would often show up and call tunes instead of bringing original compositions to recording sessions. The concept may have been simple, but the performances by Hawkins and Webster, two of the greatest tenor saxophone players in jazz, are incredibly deep. The renditions of certain jazz standards on this classic album some of the most beautiful versions ever put on record.
First is the raunchy “Blues for Yolande,” where the two tenors battle it out through a 6/8 shuffle. Coleman Hawkins proves that he's still the man, honking through the blues with a gruff verve that was emulated by the young rock sax players of the day like King Curtis and Boots Randolph. Listen for the part where Hawkins is literally screaming through his horn, a technique that would later be heavily adopted by free players such Albert Ayler, Archie Shepp, and Dewey Redman. Webster answers with his typically smooth and plaintive moan, but soon proves that he can growl with the best of them.

 This album also features some of the most beautiful ballad playing of both saxophonists career. “It Never Entered my Mind” and “Prisoner of Love” demonstrate both Hawkins' and Webster's distinct but equally gorgeous breathy sounds. Hawkins, the rougher of the two, places a harder inflection and heavier vibrato on every note, while Webster creamily scoops and bends his way into each phrase. It’s as though Hawkins is rising from the earth itself while Webster floats above the proceedings in a cloud.

  With the exception of the Latin-tinged groove that drives “La Rosita,” most of this album swings incredibly hard. Tracks like “You'd be So Nice to Come Home To” and “Tangerine” have the kind of feel that just make you just want to tap your foot along with it. While there are very few solos from the rhythm section (indeed the only person to take a solo aside from Webster or Hawkins is Oscar Peterson), so much of the success of this album hinges upon Peterson, Ray Brown on bass, Herb Ellis on guitar, and Alvin Stoller on drums. They prove why they were one of the top call rhythm sections of the 1950's.
 Overall, this is a beautifully melodic and sensitive record. Its relaxed pace (it never gets faster than a medium swing) allows the masterful saxophonists to showcase their greatest strengths, namely their deep and distinctive tones and heartfelt interpretations of the melodies. While the album is a saxophone feature all around, the rhythm section provides the rhythmic depth to make the record all the more satisfying. Coleman Hawkins encounters Ben Webster displays a warmth and lyricism that is often lost in modern jazz in favour of complicated rhythms and harmonies.                Ron Wynn

Recorded:  October 16, 1957 in Hollywood, Los Angeles        flac + scans

with thanks to flattedfifth

Wednesday, April 9, 2014

Dexter Gordon/Al Cohn - Silver Blue - 1976

1 - On the Trail
2 - Allen's Alley
3 - Silver's Blues

Blue Mitchell, Sam Noto (tp - 3) Al Cohn, Dexter Gordon (ts) Barry Harris (p - 2,3) Sam Jones (b -2,3) Louis Hayes (d - 2,3)

NYC, October 22, 1976

 Recorded at the same session as True Blue, this Xanadu LP gets the edge due to a remarkable version of  "On the Trail"  that is a fascinating unaccompanied duet by tenors Al Cohn and Dexter Gordon. Cohn and Gordon are joined by pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes for a heated and competitive version of  "Allen's Alley" and then the group becomes a septet with the addition of trumpeters Blue Mitchell and Sam Noto for a sidelong 19½-minute  "Silver Blue," a slow blues.

LP rip Xanadu 137   flac + cover.  A rather difficult to find album, as far as I know never released as CD. All the thanks must go to Gene Harris Fanatic, original uploader at the Xanadu site, and to Wouter, the Dutch Gaucho.

Tuesday, April 8, 2014

Chet Baker - At the Forum Theater - 1956

1 - Extra Mild
2 - Chippyin'
3 - Tabu
4 - A Night on Bop Mountain
5 - Jumpin' off a Clef
6 - I Can't Get Started
7 - Down
8 - Pawnee Junction
9 - Music To Dance To

Recorded at Forum Theater of Los Angeles: 
#2, 5: July 24th 1956 
#1: July 25th 1956 
#3, 4, 6 to 8: July 31st 1956

 "Recording on-the-spot jazz performances is, of course, far from new. From the first Norman Granz Jazz at The Philarmonic records release, in 1944, there's been a steady increasing trend in the jazz record business to set the tapes rolling at concerts and in the night clubs so as to capture the excitement of artists communicating witha responsive audience. The very significance of the Forum Theater sessions, however, lies in the fact that while recording in an auditorium with a small quantity of wives, friends et al invariably in attendance, these sessions are essentially studio dates produced in an atmosphere conducive to relaxation and freer blowing"      John Tynan, 1956

Thursday, April 3, 2014

vienna art orchestra 'the reunion of the original vienna art orchestra' generations festival frauenfeld, switzerland 06. oct 2012 flac

source: dvb-s > techno trend tt-premium s2-6400 twin hd > hdd > nero wave editor > flac
(mpeg1 layer 2/256 kbps)

mathias rüegg - conductor, composer, arranger, piano & fender rhodes
lauren newton - vocal
juraj bartos - trumpet & flugelhorn
thomas gansch - trumpet & flugelhorn
herbert joos - trumpet & flugelhorn
wolfgang puschnig - alto sax & flute
harry sokal - tenor sax & soprano sax
roman schwaller - tenor sax
christian radovan - trombone
jon sass - tuba
woody schabata - vibraphone & marimba
heiri känzig - bass
joris dudli - drums
wolfgang reisinger - percussion
erich dorfinger - sound 

disc 1

01. perpetuum mobile 10:59
02. announcement mathias rüegg 01:14
03. variations about a liberate proposal 04:37
04. announcement mathias rüegg 00:31
05. seven changes 08:42
06. announcement mathias rüegg 00:39
07. melancholie 07:10
08. announcement mathias rüegg 02:45
09. lauren newton solo 06:28
10. announcement mathias rüegg 00:20
11. meditation 03:07
12. announcement mathias rüegg 00:38
13. reflections on gnossienne no. 1 05:40

disc 2

01. announcement mathias rüegg 00:21
02. share your money and read fairy tales 09:08
03. announcement mathias rüegg 02:33
04. unknown title 08:36
05. announcement mathias rüegg 00:31
06. romana 04:54
07. h.m. blues 06:12
08. announcement mathias rüegg 01:06
09. tango from obango 11:09
10. innocense of cliches 05:17

“Listen To Evan” all sets recorded at Chiostro Delle Clarisse, Noci (BA), Italy Evan Parker: tenor and soprano saxophones FM FLAC

tonight's programme is an anthology of Evan Parker's appearances along different days in april at Noci's festival, in southern italy, to him dedicated. These are purely improvisations, first solo and then with local musicians, except for the last piece, titled Not Before, which was purposely written by Gianni Lenoci, and here is featured in a radio-edited form. Also included in the folder, marked as track 00, a radio introduction in ITALIAN with bio notes and commentaries - this intro runs for 7'11", you can skip downloading it if you don't understand italian. And I then left short inbetween-tracks radio introductions

(00 radio introduction by Pino Saulo)  7.11
01-solo (A), recorded on 15 April 2013  [9.12]
02-solo (B), recorded on 15 April 2013  [21.23]
03-radio intros  [1.11]
04-duo with Gianni Lenoci (piano), recorded on 16 April 2013  [14.39]
05-radio intros  [1.17]
06-quartet with Vittorino Curci (tenore and alto saxophone), Gianni Lenoci (piano and keys), Marcello Magliocchi (drums and percussion), recorded on 16 April 2013  [13.16]
07-radio intros  [1.53]
08-Not Before, with “Il Tempo Sospeso” Ensemble, recorded on 17 April 2013  [23.33]
Evan Parker (soprano and tenor), Vittorino Curci (tenore and alto saxophone), Gianni Lenoci (piano and keys), Vittorio Gallo (soprano sax and objects), Pablo Montagne (guitar), Pasquale Gadaleta (bass), Marcello Magliocchi (drums and percussion)

complete running time 93'34" (including ALL intros)
WITHOUT intros it would be 82'03"

FM radio broadcast by "Il Cartellone - Radio Tre Suite Jazz", Radio 3 RAI [third channel of Italian national radio], on tuesday 21 January 2014, 20:40 hours CET.

Lineage (FM > wav > flacs > web):
Sony ST-S370 tuner > Sony PCM-D50 linear PCM recorder > 44.100khz/16bit wav > usb > Audacity 1.3.5 Beta (editing and track splitting) > 44.100khz/16bit flac's (level 8) > webtorrenting 

firstly upped by survivor69 on, 21-January-2014 (dimeupload #1077)

Charlie Ventura - Here's Charlie - 1953

Another contribution from our friend Cvllos:

Charlie Ventura - tenor sax except indicated

A1 - The Great Lie
A2 - Julie - CV, baritone sax
A3 - The Honey Jump - CV, baritone sax
A4 - How Deep is the Ocean
A5 - I Love  You - CV, bass sax

B1 - Turnpike
B2 - My One and Only Love
B3 - Between the Devil and the Deep Blue Sea
B4 - Intermezzo - CV, alto sax
B5 - Over the Rainbow
B6 - Pagan Love Song

A1, A3, B1 - Roy Kral, piano and vocal; Jackie Cain (vcl);  Max Bennett, bass;  Sonny Igoe, drums - May 5, 1953.

A2, A5, B2, B4  Ventura with George Williams Orchestra - October 12, 1953.

A4, B3, B5, B6  Ventura with Dave McKenna, piano; Bob Carter, bass; and Sonny Igoe, drums. Exact date unknown (between 1953 and 1956)

Brazilian LP Coral CLP 11542 - Originally Brunswick 54025 USA
LP rip                 flac + scans

Tuesday, April 1, 2014

Don Byas - Amoureusement Votre - 1962

A contribution from Cvllos

A1 - Laura
A2 - Portrait of Jennie
A3 - The Way You Look Tonight
A4 - Misty
A5 - I Remember Clifford
A6 - Autumn in New York

B1 - 'Round About Midnight
B2 - Smoke Gets into Your Eyes
B3 - My Funny Valentine
B4 - April in Paris
B5 - Moonlight in Vermont
B6 - Don't Blame Me

Don Byas, tenor sax with Jacques Denjean et son grand orchestre: A1, A2, A5, A6 - B3 to B6 - Recorded in Paris on May 2, 3 and 4, 1962. The musicians were, among others: Ivan Jullien, trumpet; Nat Peck, trombone; Raymond Guiot, flute; J Denjean, piano; Dominique Chanson, alto sax.

Don Byas, tenor sax with Georges Arvanitas, piano; Christian Garros, drums; Pierre Sim, bass - the remnant four tracks.
From the Brazilian edition "Um Sax na Madrugada"
French edition - Polydor 46125               LP rip     flac

Monday, March 31, 2014

Anthony Braxton Diamond Curtain Wall Quintet, 2013.08.16, Antwerp (Belgium) Park den Brandt, Jazz Middelheim Festival Antwerp, Belgium 16 August 2013 FLAC

source: KLARA FM Radio > HDD > Audacity (tracking) > Flac 8
sound quality: A

Anthony Braxton - alto-, soprano-, sopranino saxophone, electronics
Taylor Ho Bynum - cornet, flugelhorn
James Fei - alto-, soprano-, sopranino saxophone, bass clarinet
Dan Peck - tuba
Erica Dicker - violin, viola

1. intro  01:03
2. Comp. 363D - 57:39
3. encore 01:31

total time 60:21 - complete!

Thursday, March 27, 2014

The Gerry Mulligan Quartet - Paris 1954 Los Angeles 1953

1953-1954 The Gerry Mulligan Quartet Paris 1954 Los Angeles1953  [Vogue]

#1-8:  Bob Brookmeyer (valve trombone); Gerry Mulligan (baritone sax) ; Red Mitchell (bass) ; Frank Isola (drums).
Paris, Salle Pleyel, 1/5 Juin 1954

#9-14 : Chet Baker (trumpet) ; Gerry Mulligan (baritone sax); Carson Smith (bass) ; Larry Bunker (drums).
Los Angeles, 7 May 1953

01 - Soft Shoes
02 - Five Brothers
03 - Lullabye of the Leaves
04 - Limelight
05 - Come out Wherever You are
06 - Motel
07 - My Funny Valentine
08 - Turnstile

09 - Speak Low
10 - Lady Bird
11 - Love me or Leave me
12 - Swing House
13 - Varsity Drag
14 - Half Nelson

 Happy those who listen to this music for the first time. When I did it I immediately believed it was one of the greatest musical achievements of any kind; and I keep on thinking so, each time I listen to it again when it's still, at least a little bit, a first time.

 "Mulligan fashioned a music in which all aspects of jazz commingle, from Dixieland two-beats and polyphony to foxtrot swing to modern harmonies, yet he remained something of an outsider, set apart by his devotion to certain not always fashionable musical principles, including lyricism and civility.
 He was an overnight phenomenon, a star. Line for Lyons, My Funny Valentine, Turnstile, Swing House, among several others, were hugely popular records. As cool jazz became increasingly associated with the West Coast, Mulligan was often the standard by which West Coast jazz was defined. The idea that a movement had taken root was largely a fabrication of the press and entrepreneurs eager to cash in on the first sign of a salable musical commodity. The exacting development of a style that took place at Minton's (the bebop) or at Gil Evans's flat in planning the Miles Davis Nonet simply didn't occur in this instance. Yet the sudden flurry of activity in a community that had been off the musical map for several years (Los Angeles was notoriously inhospitable to bop until Kenton boosted it with pop and pomp) could hardly escape notice."                Gary Giddins, Visions of Jazz

flac + cover