Sunday, September 28, 2014

Dudás Lajos - Encore

01 - For Gabor
02 - Pals
03 - But I...
04 - Vehicle
05 - Out of Nowwhere
06 - Cool Getz
07 - Walk in the City
08 - Did I ever tell you
09 - St. Thomas
10 - Un poco presto

Lajos Dudás - cl
Philipp van Endert - g,
Vitold Rek - b,
Kurt Billker - dr,
Janos Szudy - perc

Rillophon DEU 11596

Lajos Dudas was born in Budapest/Hungary and studied there at the Bela Bartok Conservatory and the Franz Liszt Academy of Music (1958-1963), laying the foundations for his successful career not only as jazz and pop/rock musician but also on the classical side (Strawinsky: Three Solopieces, Weber: Clarinet Quintet, Glazunow: Concerto for Altosax). He is thus brilliant at interweaving bop nuances, folk music, contemporary classical and the avant-garde, to create an unique sound in wich he rings the changes, either swinging “free and easy” or improvising in shimmering tone colours. Joachim-Ernst Berendt writes in his THE GREAT JAZZ BOOK : “Dudas is a stylist highly regarded in Europe for the tenderness and lightness of his free-tonal playing.”

”Lajos Dudas is obviously a first-rate clarinetists, the level of his playing is extremely high” — ARTIE SHAW
“He is sensitiv, inventiv and can really Swing” — CADENCE / New York

“His earthiness, his sharp-edged originality, the warm sound and the heart-felt blues - in short, the magnificent fusion of feeling and technique: all contribute to his pre-eminence in the field” — JAZZ PODIUM / Germany

“Dudas is among the best contemporary jazz clarinetists” — JAZZ, THE MAGAZINE / London

Wednesday, September 24, 2014

Gato Barbieri - New York Meeting - 2010

1 - Equinox ( J Coltrane)
2 - It's Over (Barbieri)
3 - Prepárense (Get Ready) (Astor Piazzolla)
4 - Straight, No Chaser (Monk)
5 - Blue in Green (Davis - Evans)
6 - Someday My Prince Will Come (Churchill-Morey)
7 - So What (M Davis)

Gato Barbieri - tenor sax;   Carlos Franzetti -piano
David Finck - bass;    Néstor Astarita - drums

Recorded in NYC, February 2010

This is the meeting of three Pampean Jazz musicians who have lived and worked for many years quite apart  one from the other... Astarita, in Buenos Aires, Gato in New York and Franzetti somewhere between California and the rest of the world...

.... the absence of his sound in the streets of Buenos Aires is lasting by now almost 50 years. Even today we feel like Gato is still missing to wear a Newell's Old Boys shirt (his beloved football team from Rosario).
His life philosophy was, day and night, that of a Jazz Musician, and the vacuum its absence left on our cultural life is as deep as the one left by his music. The Sixties were a time of everyday, unending jam sessions.
 One of the legendary places was the Jamaica, where we played every night up to 4 am with the unforgettable friend Baby López Furst, and his Trio. Other performers were Astor Piazzolla, Salgán-De Lío and Sergio Mihanovich. The place was so small that frequently the musicians outnumbered the public. Then came Tucumán 676, Mogador, the old Jazz & Pop, and Mr. Jazz. In those places we shared jam sessions with, among others, Lionel Hampton, Ella Fitzgerald, Harry James, Jim Hall, Hermeto Pascoal, Michel Legrand, Coleman Hawkins, Eddie Gomez, Marc Johnson, Stan Getz, Kenny Dorham, Zoot Sims, Cat Anderson.....    Néstor Astarita

CD Melopea CDMSE 5187    flac + scans

Sunday, September 14, 2014

James Blood Ulmer with Pierre Dorge & New Jungle Orchestra live at Inntöne 2014 mp2

mit Herbert Uhlir. Mario Roms Interzone / James Blood Ulmer with Pierre Dorge & New Jungle Orchestra live at Inntöne 2014

7 Tage starten Musik

Beim heurigen Inntöne Festival gab es eigentlich nur Höhepunkte. Zwei davon gleich zum Auftakt am 6. Juni. Der Trompeter Mario Rom spielte mit dem Bassisten Lukas Kranzelbinder und dem Schlagzeuger Herbert Pirker.

Zuvor begeisterten der Gitarrist und Sänger James Blood Ulmer und das New Jungle Orchestra unter der Leitung von Pierre Dorge das Publikum auf dem Buchmannhof in Diersbach im Innviertel. Die Höhepunkte der beiden Konzerte werden von Herbert Uhlir präsentiert.


    James Blood Ulmer - git, voc
    Pierre Dørge - git, conductor
    Gunnar Halle - tr
    Morten Carlsen - ts, taragot
    Jacob Mygind - ss, ts
    Anders Anke - cl, bcl
    Kenneth Agerholm - tb
    Irene Becker - p
    Thommy Andersson - b
    Martin Andersen - dr

Hampton Hawes Quartet - All Night Session ! Vol.1

01 - Jordu
02 - Groovin' High
03 - Takin' Care
04 - Broadway
05 - Hampton's Pulpit

Contemporary Records LAC 12161

On the night of November 12 and into the morning of November 13, 1956, a quartet led by pianist Hampton Hawes recorded enough material to fill three long-playing phonograph record albums. This studio session contained many elements associated with a live gig: the work took place during regular nightclub performing hours, the improvisations were mostly extended, and there were no alternate takes. A remarkable freshness and spontaneity prevailed throughout the session. Although controversy continues regarding the original sequence of titles, Duke Jordan's "Jordu" and Dizzy Gillespie's "Groovin' High" are superb openers for this first of three volumes. In addition to an invigorating run down "Broadway," Hawes improvised two original themes: "Takin' Care" and a bluesy walk entitled "Hampton's Pulpit" that stretched out for more than 11 minutes, making it the longest track of the entire all-night session. Collaborating with the pianist on this historic date were guitarist Jim Hall, bassist Red Mitchell, and drummer Eldridge "Bruz" Freeman. The interplay between these four men is marvelous, particularly when heard with headphones or through a sound system allowing for a full appreciation of the stereophonic balance achieved by the recording engineers. In 2007, the complete All Night Session! was issued in a deluxe edition by Definitive Records.
Review by arwulf arwulf  [-]

Hampton Hawes Quartet - All Night Session ! Vol.2

01 - I'll Remember April
02 - I Should Care
03 - Woody 'n You
04 - Two Bass Hit
05 - Will You Still Be Mine?
06 - April in Paris
07 - Blue 'n' Boogie

Contemporary Records S7546

This is the second of three albums that came about as the result of an all-night recording session that took place in Los Angeles on November 12 and 13, 1956. Although Hampton Hawes spontaneously created five original tunes at this extraordinarily inspired date, everything on Vol. 2 comes directly out of the standard bop musician's working repertoire. The quartet, with bassist Red Mitchell, guitarist Jim Hall, and drummer Eldridge "Bruz" Freeman, collectively improvise their way through four attractive standards ("I Should Care" turned out to be the only slow ballad of the entire session) and three of Dizzy Gillespie's most refreshing creations. In 1958 Hawes was quoted as saying "It's hard to put into words how good it feels to play jazz when it's really swinging...I've reached a point where the music fills you up so much emotionally that you feel like shouting hallelujah -- like people do in church when they're converted to God. That's the way I was feeling the night we recorded All Night Session!" The complete All Night Session! was reissued in its entirety with one previously unreleased track by the Definitive label in 2007.
Review by arwulf arwulf  [-]

Hampton Hawes Quartet - All Night Session ! Vol.3

01 - Do Nothin' Till You Hear from Me
02 - Blues, No. 3
03 - Between the Devil and the Deep Blue Sea
04 - Blues, No. 4
05 - Blues of a Sort

Contemporary Records S 7547 (OJC 640)

Vol. 3 of the Hampton Hawes Quartet's All Night Session contains three spontaneously improvised variations on the blues, one very cool extended rendition of Duke Ellington's "Do Nothin' 'Till You Hear from Me" and a strikingly handsome treatment of Harold Arlen's "Between the Devil and the Deep Blue Sea." The briskly paced "Blues #4" is especially progressive and exciting. Apparently "Blues of a Sort" was a warm-up performance, as voices are audible (discussing a football game!) in the background during the bass solo. For this one-take marathon late-night session of November 12 and 13, 1956, Hawes chose to share the studio with guitarist Jim Hall, bassist Red Mitchell and drummer Eldridge "Bruz" Freeman, who had replaced Chuck Thompson following that musician's sudden inability to continue touring with the group earlier that year. "We gave Chuck what money we could and left him sitting on a hospital cot in a white bathrobe." This grim image, like much of Hawes' autobiography Raise Up Off Me, paints a stark picture of the narcotics epidemic among jazz musicians during the '50s. Although this was the first peak of his career, Hawes later admitted that "during the fall of 1956 I was messing up consistently -- showing late on gigs or missing them altogether." He had lots of offers for work, including the possibility of providing music for a film soundtrack: "Wanted to do it, would have paid good, but at the time I didn't even have the bread to get high enough to get to the studio to see what they had in mind." One of the great incongruities of bop is the fact that Charlie Parker and the musicians who were most directly influenced by him were able to be so creative and prolific while grappling with addictions that confounded, immobilized, and eventually slew them. All of these insights quietly swarm beneath the surface of what added up to more than two hours of exceptionally fine quartet jazz. The complete All Night Session was issued in 2007 by the Definitive label and is emphatically recommended for listeners of every persuasion.
review by arwulf arwulf  [-]

Tuesday, September 9, 2014

Concierto UER: El guitarrista americano Bill Frisell acompañado por la NDR Big Band de Hamburgo en Octubre de 2013, durante el Ueberjazz Festival mp2

08 de septiembre de 2014

    Parrilla programación mensual

Lunes 8

00.00 Jazz porque sí
Concierto UER: El guitarrista americano Bill Frisell acompañado por la NDR Big Band de Hamburgo en Octubre de 2013, durante el Ueberjazz Festival. Discos variados.


NDR Bigband feat. Bill Frisell

„Seit den späten 60ern ist Michael Gibbs mein Held und Inspirator. Es war in meinen Highschool-Jahren, als ich den Jazz entdeckte. Da gab es ein Konzert mit Cannonball Adderley, Thelonious Monk und Gary Burton. Völlig abgefahren! Bei vielen Songs war Mike als Komponist angegeben. Seine Stücke machten großen Eindruck auf mich. Ich glaube, vieles in meiner eigenen Klangsprache kommt von da her: die melodisch/harmonische Feinfühligkeit zum Beispiel. Ein paar Jahre später kam ich nach Boston ans Berklee College of Music und hatte das Glück, ihn dort zu treffen und bei ihm zu studieren. Ein gemeinsames Projekt schien lange nur ein Traum. Ich möchte etwas finden, in dem seine Musik und meine musikalische Sprache wirklich zusammen kommen und etwas Neues und Wunderschönes werden.“ (Bill Frisell)

Bill Frisell (comp, guitar) / NDR Bigband / Michael Gibbs (arr, Leitung) / Jeff Ballard (drums)

Monday, September 8, 2014

John Coltrane - Trane's First Ride 1951

1 - Congo Blues    3:06
2 - Night in Tunisia   6:24
3 - Yesterdays   3:06
4 - Birk's Works  4:50
5 - Good Bait     3:33
6 - I Can't Get Started    2:53
7 - Birk's Works (Aircheck 2)     5:16
8 - Jumping With Symphony Sid  3:02

Total Time - 32:14

Radio Broadcasts from the Birdland, NYC

Tracks 1, 2, 3 - January 6, 1951:
Dizzy Gillespie Sextet:

Dizzy Gillespie, trumpet - John Coltrane, tenor sax

Milt Jackson, vibraphone - Billy Taylor, piano
Percy Heath, bass - Art Blakey, drums

Track 5 - January 13, 1951:

Dizzy Gillespie Sextet

 Tracks 4, 6, 8 - February 3, 1951
Dizzy Gillespie Septet:

add JJ Johnson - trombone

Track 7 - March 17, 1951 - Dizzy Gillespie Septet, with the following changes:

John Lewis, piano - Carl “Kansas” Fields, drums

      These were Dizzy shows. It’s the Dizzy Gillespie Sextet. Dizzy was very well established at this point, and Coltrane was just starting out. So, the title up there should read Dizzy Gillespie with John Coltrane, not the other way around!
  Typical of many jazz bootleg LPs, this one contains no dates nor any information beyond song titles and the year of 1951 (despite having a long liner essay by one “E.S.Spoe”). provided info about dates and personnel; the venue is always Birdland.

Boot LP Oberon 5100 “Trane’s First Ride 1951″ - flac + cover

Technical details: from the original - and unknown - uploader several improvements have been made:
1 - Manual clicks and pops suppression using Cool Edit Pro; 
2 - Infrasonic FFT filtering, for reducing rumble and other under-20 Hz turntable noises, using Cool Edit; 
3 - Automatic small clicks suppression using ClickRepair; 
4 - Channel averaging (Cool Edit); 
5 - A slight treble boost of up to 3 db, cutoff frequency - 2 KHz (Cool Edit); 
6 - Normalizing to 90 % (Cool Edit);
7 - Trimming tails and adding brief silences at beginnings and ends (Cool Edit); 
8 - SBE trimming with Trader's Little Helper.

Inevitably, there are still traces of hiss and surface noise; but all in all - it's a quite listenable sound quality for an extraordinary group.

Tuesday, September 2, 2014

Chick Corea Dortmund, Germany Konzerthaus Klavier-Festival Ruhr 2014 2014-05-21 FM FLAC

01 It Could Happen To You (Jimmy van Heusen)
02 Desafinado (Antonio Carlos Jobim)
03 Turn Out The Stars (Bill Evans)
04 Very Early (Bill Evans)
05 Work (Thelonious Monk)
06 Pasttime Paradise (Stevie Wonder)
07 Mazurka in A-Moll, Op.17. No.4 (Frederic Chopin)
08 The Dortmund Choir (Chick Corea)
09 Portrait #2 - Vilnius (Chick Corea)
10 The Yellow Nimbus (Chick Corea)
11 Improvisation (Chick Corea/ Marialy Pacheco)
12 Improvisation II (Chick Corea/ Igor Zavatckii)
13 Children's Songs (Chick Corea)
14 Armando's Rhumba (Chick Corea)

min  94:59

FM (analog cable) - Audacity - xACT

Deutschlandfunk - Konzertdokument der Woche - 2014-08-31

Support the artists by buying their records.

Don Byas Quartet featuring Sir Charles Thompson - 1967

Another collaboration from cvllos!

1 - Autumn Leaves
2 - Darn That Dream
3 - Bag's Groove
4 - Tenderly
5 - But Not For Me
6 - Gone With the Wind
7 - The Girl From Ipanema
8 - Loverman
9 - Stella by Starlight
10 - Jumpin' at Basie's

Don Byas, tenor sax - Sir Charles Thompson, piano
Isla Eckinger, bass - Peter Schmidlin, drums

Recorded Live in Baden, Germany, April 29, 1967
(Jazz in der Aula).

"... Sir Charles enjoyed considerable exposure with the Illinois Jacquet Band of the 40's for which Thompson wrote the group's biggest hit, "Robbin's Nest". He continued to thrive in the 50's, recording extensively for Vanguard and other labels, and made his first of many trips to Europe in 1959. On these tours he would invariably reunite with his old friend, Don Byas.
   They hitched up again in the spring of 1967 for some gigs including a stint at Jazz in der Aula at Baden, where the two veterans of swing and bop were accompanied by Swiss musicians Eckinger (bass) and Schmidlin (drums)."
"... I recall seing Byas share a stage with Coleman Hawkins and Ben Webster in Paris a couple of years earlier and the Byas competitive edge was razor-sharp as he eclipsed his saxophone seniors.
  At Baden there were no duels to be fought with rivals, and consequently Byas is at his most relaxed, communicative and creative in front of an audience that clearly took great pleasure in the  proceedings...."           
                                                                                                Mark Gardner    from the liner notes
Storyville STCD 8308         flac + scans

Wednesday, August 27, 2014

Tim Hagans und die NDR Bigband - Hamburg 2013 mp2

NDRInfo - Tim Hagans und die NDR Bigband - Hamburg 2013

Tim Hagans (tp), Stephan Diez (g), Fiete Felsch (as); NDR Bigband, Ltg. Tim Hagans

Tuesday, August 26, 2014

Ben Webster meets Don Byas - 1968

1 - Blues for Dottie Mae
2 - Lullaby to Dottie Mae
3 - Sunday
4 - Perdido
5 - When Ash meets Harry
6 - Caravan

Ben Webster, Don Byas - tenor sax
Tete Montoliu, piano - Peter Trunk, bass
Albert "Tootie" Heath, drums

Recorded at SABA Tonstudio, Villingen, Schwarzwald (Black Forest) - Germany
February 1st and 2nd, 1968
Produced by J E Berendt

Is it necessary here to rehash the biographies of these two famous tenors?
 We'll quote instead from the '68  liner notes on the rhythm musicians:

"Don and Ben were both enthusiastic about them. Said Don, "I wish I could always play with them". And Ben marveled: "The best rhythm section I have ever had in Europe".
  Until recently we boasted two internationally recognized rhythm groups in Europe - one consists of Kenny Clarke, Jimmy Woode and Francy Boland and the other is the Kenny Drew trio in Copenhagen, with Niels-Henning Orsted Pedersen and Alex Riel. Here now we have a third rhythm section of similar standards.
  As early as the mid-50's Montoliu was known as the first European pianist who played funk and soul with "black" expression. Byas was one of the first musicians to help and to influence him. He said then: "All Catalans are colored". In 1964 Roland Kirk picked him as his piano accompanist, and just a few months before this recording date, he had a succesful engagement at New York's Village Vanguard.
  Trunk has been regarded as the leading bassman on the German Jazz scene for the past ten years. He earned his first spurs in the Frankfurt jazz circle around Albert Mangelsdorff, then became a member of the Klaus Doldinger Quartet and today belongs to the Kurt Edelhagen Orchestra in Köln. He was Lucky Thompson's favourite bassist while the latter was living in Europe.
  Heath - kid brother of Percy (bass) and Jimmy (tenor), from Philadelphia - has made recordings with J J Johnson, the Adderley brothers, Mal Waldron, John Coltrane, Friedrich Gulda and George Russell. He came to Europe in 1964 at the suggestion of the Berlin Jazz Days and has been staying in Scandinavia ever since".                    Joachim Berendt

MPS CD 827 920-2 / Polydor/SABA (Japan) POCJ-2695      flac + scans