From 1 January 2017 the new jazz blog

From 2017/01/01 the new jazz blog
This blog remains

New posts to the new blog
of a new blog:
Bell OH-58 Kiowa: Jazz


Unity / Byron Morris - Blow Thru Your Mind (LP-1974)

Genre: Jazz / Free Improvisation | Total Time: 37:30 | Size: 387.79 MB | FLAC
Side A
A1 - Kitty Bey .... 12:25
A2 - Ether .... 6:20

Side B
B1 - Reunion .... 11:40
B2 - Transcendental Lullaby .... 7:00

Byron Morris – baritone saxophone, alto saxophone
Vince McEwan – trumpet
Mike Kull – piano
Jay Clayton – vocals
Milton Suggs – bass
Abdush Shahid – drums
Tony Waters – percussion, congas, maracas

Label: E.P.I. Records – EPI-02
Format: Vinyl, LP, Album / Country: US / Released: 1974
Style: Free Improvisation, Modal
Recorded on December 30, 1973, at Minot Sound Studios, White Plains, NY.
Cover [Cover Art] – John Blazeski
Photos By – Gerald Wise
Photography By [Photo Consult] – Peter Hurd
Layout – Betty Morris
Mixed By – Byron Morris, Ron Carran
Producer – Byron Morris, Gerald Wise
Matrix / Runout (Side A): EPI-02-A
Matrix / Runout (Side B): EPI-02-B

The music on this LP is excellent. A major departure from the dissonant free jazz that Morris explored on 1969's Unity session, Blow Thru Your Mind contains modal post-bop that is melodic and relatively accessible. This is a very spiritual album; a lot of spirituality goes into the solos of Morris and trumpeter Vincent McEwan, as well as the ethereal vocals of female singer Jay Clayton (who is featured on tracks like "Ether," "Reunion," and "Transcendental Lullaby"). Blow Thru Your Mind is enthusiastically recommended to anyone who is seriously into modal jazz...

Byron Morris and Unity released Blow Through Your Mind originally in the US in 1974.
The LP was recorded a year earlier at Minot Sound Studios in White Plains, New York. This studio was a favorite with many independent Jazz groups at this time -- for instance, many recordings for the independent Strata East Records, co-owned by Stanley Cowell and Charles Tolliver, were made here. Unity was formed with similar values, aims and objectives of many similar groups at the time, as the name suggests. Uniquely, it managed to match the musical and spiritual searching of John Coltrane, Pharoah Sanders and Ornette Coleman alongside an equally experimental New York art-music dimension that was brought into the group by vocalist Jay Clayton, who has performed with, amongst many others, Steve Reich. With bassist Milton Suggs having played in Sun Ra's Arkestra, and Byron Morris studied with Ornette Coleman and Rahsaan Roland Kirk, it is possible to see the path that makes up 'Kitty Bey', twelve minutes of musical intensity, that sounds like nothing else ever recorded.
Kitty Bey was originally featured on Universal Sounds Of America on Soul Jazz. Originally released on Unity's own EPI label and distributed by hand, this record has remained an underground classic recording for over 25 years?......

Blow Thru Your Mind, which first came out on vinyl in 1974, was EPI's second release. In 2002, Blow Thru Your Mind and Morris' next album, Vibrations, Themes and Serenades, were both reissued on CD by Céleste Music (a Japanese label). But those Céleste reissues weren't the first time that Morris' '70s recordings had been heard on CD; in 1994, Morris combined material from Blow Thru Your Mind and Vibrations.
Unfortunately, all of these re-releases have long ago are out-of-print.

Shamek Farrah - First Impressions (LP-1974)

Genre: Jazz / Soul-Jazz | Total Time: 35:03 | Size: 316.29 MB | FLAC
Side A
A1 - Meterologicly Tuned .... 11:20
A2 - Watch What Happens Now .... 5:43

Shamek Farrah – alto saxophone
Norman Person – trumpet
Kasa Mu-Barak – piano
Milton Suggs – bass
Clay Herndon – drums, percussion

Side B
B1 - Umoja Suite .... 7:26
B2 - First impressions .... 10:30

Shamek Farrah – alto saxophone
Norman Person – trumpet
Sonelius Smith – piano
Milton Suggs – bass
Ron Warwell – drums
Kenny Harper – percussion
Calvert "Bo" Satter-White – conga

Label: Strata-East – SES-7412
Format: Vinyl, LP, Album / Country: US / Released: 1974
Style: Soul-Jazz, Contemporary, Free Jazz
Recorded and mixed at Sound Ideas Studio, New York City.
Artwork [Graphics] – Jerry Harris
Photography By [Liner Photo] – Richard Hinson
Engineer [Recording] – Geoff Daking, George Klabin
Producer – Shamek Farrah / Janfar Productions
Matrix / Runout (Side A Etched): SES-7412-A
Matrix / Runout (Side B Etched): SES-7412-B

Fantastic piece of free improvised groove jazz. The players are kind of doing there solos together at the same time, but never loose touch to that bassline groove, outstanding, free, but never too free, just really soulful interaction and a mysterious ancient vibe to it.

One of the hardest to find records on Strata East, and one of the best – a darkly-crafted session of pure beauty, one that lives up to all the best promise of the label! The tracks are long, the sound is bold, and the whole thing moves at a pace that none of the bigger jazz labels were matching at the time – the most righteous, most expressive side of jazz in the mid 70s! Alto player Shamek Farrah is at the lead of a unique group that features Norman Person on trumpet, Milton Suggs on bass, and Sonelius Smith on piano – plus lots of additional drums and percussion, especially on side two of the album, which features some really righteous numbers! Titles include the massive bass sample track "First Impressions" – a symphony of dark, descending chord structures – plus "Meterologicly Tuned", "Watch What Happens Now", and "Umoja Suite". Incredible good!

Keno Duke / Contemporaries - Sense Of Values (LP-1974)

Genre: Jazz / Contemporary Jazz | Total Time: 41:42 | Size: 407.28 MB | FLAC
Side A
A1 - Sense Of Values .... 4:48
A2 - Mirage .... 9:25
A3 - Tibiron .... 5:50

Side B
B1 - Too Late, Fall Back Baby .... 7:00
B2 - D.R.T.  .... 8:16
B3 - Bajan-Bajan .... 6:12

Keno Duke – drums, percussion
George Coleman – tenor saxophone
Harold Mabern – piano
Lisle Atkinson – bass
Frank Strozier – flute, alto saxophone

Label: Strata-East – SES-7416
Format: Vinyl, LP, Album / Country: US / Released: 1974
Style: Contemporary Jazz, Modal, Hard Bop
Recorded, mixed and edited at Minot Studios, White Plains, N.Y.
Graphics – Theodore Plair
Painting [Cover] – Roland Bloch
Photography By – Manos Angelakis
Engineer – Ron Carran
Produced by Ja Co Productions
Matrix / Runout (Side A Etched): SES-7416-A
Matrix / Runout (Side B Etched): SES-7416-B

KENO DUKE – Sense of Values (1974) Strata-East-7416.  An amazing modal / spiritual session the great drummer Keno Duke joined by Harold Mabern on piano, George Coleman on tenor sax, Lisle Atkinson on bass and Frank Strozier on alto sax and flute. This is a rare and sought-after release on the great Strata-East Records label.

Sustained rhythmic momentum was never a problem for Keno Duke's jazz quintet, Contemporaries, on this album you will enjoy in selections that were brimming with imagination, color and solo excitement.
Man for man, the group is exceptionally strong. It has two outstanding and contrasting saxophonists—George Coleman, a tenor saxophonist who is a solid, consistent follower of the John Coltrane style, and Frank Strozier, an altoist whose clean, precisely shaped notes and flowing phrases sound like a nineteen-seventies Jimmy Dorsey. Harold Mabern has long been a pianist with a startling manner of overwhelming the piano in his solos and providing unusually strong background for other soloists, here surely complemented by Lisle Atkinson on bass and Mr. Duke on drums.
When their talents were applied to the fresh, provocative lines and harmonies of such pieces as “Mirage”, “Too Late, Fall Back Baby”, "D.R.T." or "Bajan-Bajan", they produced jazz that sparkled with vitality and gave Mr. Mabern and Mr. Strozier stimulating showcases for their solo talents. These performances maintained so high and distinctive a level. This is a beautiful spiritual jazz.

Harold Vick - Don't Look Back (LP-1974)

Genre: Jazz / Contemporary Jazz | Total Time: 36:32 | Size: 336.03 MB | FLAC
Side A
A1 - Don't Look Back .... 6:04
A2 - Melody for Bu .... 7:22
A3 - Senor Zamora .... 5:40

Side B
B1 - Stop and Cop .... 6:38
B2 - Lucille .... 9:20
B3 - Prayer .... 1:05

All compositions by Harold Vick

Harold Vick – tenor saxophone, soprano saxophone, flute, bass clarinet
Virgil Jones – trumpet, flugelhorn (tracks A1-A3)
Kiane Zawadi – euphonium (tracks A1-A3)
Joe Bonner – electric piano, piano, percussion, tuba
George Davis – guitar, flute (tracks A1-B1)
Sam Jones – bass (tracks A1-B2)
Billy Hart – drums, percussion (tracks A1-B2)
Jimmy Hopps – percussion (track B1)

Label: Strata-East – SES-7431
Format: Vinyl, LP, Album / Country: US / Released: 1974
Style: Contemporary Jazz, Modal, Hard Bop
Recorded, mixed and mastered at Generation Sound Studio, New York City.
Album Design, Art Supervision – Creative Hands, Inc.
Photography – Jim Dunn
Engineer [Recording] – Eddie Korvin
Mastered By – David Crawford
Mixed By – Tony May
Produced – Harold Vick / Blue Rock Studio, New York City
Matrix / Runout (Side A etched): SES-7431-A
Matrix / Runout (Side B etched): SES-7431-B

"Don't Look Back" is an album led by American saxophonist Harold Vick recorded in 1974 and released on the Strata-East label.

This is one of my favourite Strata-East albums and a complete joy to listen to. There's something unique about Harold Vick's saxaphone sound that made me want to look deeper into his career.
"Don't Look Back" was recorded and released in the wake of Harold Vick's recovery from a heart attack, which may partially explain the passion with which he approaches his playing throughout.

One of the best-ever Strata East sessions! The album's a masterfully conceived session by reed player Harold Vick – best known to the world as the funky tenorist from albums by John Patton and Jack McDuff in the 60s, but emerging here as an incredibly sensitive soul jazz player, capable of turning out some incredibly sophisticated and emotional compositions. Vick produced and wrote all the material on the album, and other players include Joe Bonner, Virgil Jones, and Sam Jones. The record's darn tough to find, and is a treasure all the way through. Titles include "Don't Look Back", "Melody For Bu", "Stop & Cop", "Senor Zamora"  and "Lucille".


Wes Montgomery - Down Here On The Ground (1967-68)

Genre: Jazz | Total Time: 31:43 | Size: 71.55 MB | MP3 320 kbps
Side A
A1. Wind Song
A2. Georgia On My Mind
A3. The Other Man's Grass Is Always Greener
A4. Down Here On The Ground
A5. Up And At It
Side B
B1. Goin' On To Detroit
B2. I Say A Little Prayer For You
B3. When I Look In Your Eyes
B4. Know It All (Quem Diz Que Sabe)
B5. Theme From The Fox

Arranged By, Conductor – Don Sebesky (A1 to A3, B5 to B3, B5), Eumir Deodato (A4, B4)
Bass – Ron Carter
Cello – George Ricci
Flute, Oboe – George Marge, Hubert Laws, Romeo Penque
Guitar – Wes Montgomery
Percussion – Bobby Rosengarden, Ray Barretto
Piano – Herbie Hancock
Vibraphone – Mike Mainieri
Viola – Emanuel Vardi
Violin – Gene Orloff, Raoul Poliakin

Recorded December 20, 21, 1967 and January 22, 26, 1968 at Van Gelder Studio.

Label: A&M Records.

The Billy Taylor Septet - Brazilian Beat (1960's)

Genre: Jazz | Total Time: 29:21 | Size: 66.04 MB | MP3 320 kbps
01. Bossa Nova In New York (2:22)
02. A Secret (2:51)
03. Don't Every Say We're Through (3:04)
04. Little Butterfly (2:14)
05. Give Me A Reason (2:21)
06. Your Smile (2:30)
07. Patches (2:02)
08. From The Top Of The Hill (2:56)
09. Brazilian Beat (2:31)
10. Toy Bird (1:40)
11. My Love (2:13)
12. What's Happening (2:07)

Sesac Recordings ‎– N 3303/04

Joe Henderson With The Wynton Kelly Trio - Four! (1968)

Genre: Jazz | Total Time: 1:11:42 | Size: 170.66 MB | MP3 320 kbps
1. Autumn Leaves
2. Four
3. On The Trail
4. Star Dust / Old Folks
5. On Green Dolphin Street
6. The Theme

Personnel: Joe Henderson – tenor saxophone; Wynton Kelly – piano; Paul Chambers – bass; Jimmy Cobb – drums.

Recorded April 21, 1968 at the Left Bank Jazz Society in Baltimore.

Verve Records ‎– 314 523 657-2
This live session from 1968 features the great tenor Joe Henderson (who was then just a few days short of turning 31) playing for the first and possibly only time with the Wynton Kelly Trio. Henderson, pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb really stretch out on six standards (including a two-song medley), all of which clock in between 11:47 and 16:05 (except for a three-minute "Theme"). Henderson really pushes the rhythm section (which, although they had not played with the tenor previously, had been together for a decade) and he is certainly inspired by their presence. This is a frequently exciting performance by some of the modern bop greats of the era.

Hilton Ruiz Trio/Quintet - Steppin' Into Beauty (1977)

Genre: Jazz | Total Time: 50:22 | Size: 114.46 MB | MP3 320 kbps
1. Origin
2. Steppin' into Beauty
3. The Last Profit
4. The Goal
5. Excition

Personnel: Hilton Ruiz (piano); Frank Foster (tenor saxophone); Richard Gene Williams (trumpet); Steve Solder, Roy Brooks (drums); Buster Williams (bass).

Recording Date February 7 & 8, 1977.

SteepleChase SCCD 31158
Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he explored jazz under the tutelage of the legendary Mary Lou Williams, and at 14 made his recorded debut with the Latin soul outfit Ray Jay and the East Siders. His remarkable improvisational gifts nevertheless cemented Ruiz's decision to pursue a career in jazz, and while still in his teens he backed everyone from Freddie Hubbard to Joe Henderson. Ruiz vaulted to global renown in 1973 when he joined the famously eclectic saxophonist/flutist Rahsaan Roland Kirk, proving his mettle as a gifted interpreter of a repertoire spanning from the blues to the avant-garde via cult-classic LPs including The Case of the 3 Sided Dream in Audio Color and The Return of the 5000 Lb. Man. After a four-year tenure with Kirk, Ruiz toured Egypt and India with Clark Terry; upon his return to New York, he was a first-call sideman for acts including Betty Carter, Abbey Lincoln, and Chico Freeman, and also founded his own group, continuing a headlining career that began with the 1975 Steeplechase effort Piano Man. Over the span of acclaimed LPs including 1977's Steppin' Into Beauty, 1988's El Camino (The Road) and 1991's A Moment's Notice, Ruiz honed a Latin jazz fusion approach that resulted in collaborations with Tito Puente and Paquito d'Rivera; he also moonlighted in film, contributing to the soundtracks of Woody Allen's Crimes and Misdemeanors and Sam Mendes' Oscar-winning American Beauty, and with Richard Bradley authored 1987's three-volume Jazz and How to Play It. During a visit to New Orleans, where he was scheduled to work on a Hurricane Katrina benefit project, Ruiz suffered a fall in front of a French Quarter bar and slipped into a coma. He never regained consciousness, dying just a week after his 54th birthday on June 6, 2006.

Frank Foster - Shiny Stockings (1977-78)

Genre: Jazz | Total Time: 1:04:16 | Size: 143.44 MB | MP3 320 kbps
1. Joyspring 8:17
2. Chiquito Loco 12:36
3. Simone 9:56
4. Blues Ain't Nothing But a Trip 12:45
5. Shiny Stockings
6. Theme for Ernie 10:02
Label - WNTS
Recorded at Sound Ideas Studios, NY, 11/29/1977-11/28/1978

Frank Foster - soprano saxophone, tenor saxophone
Leroy Barton - alto saxophone
William Saxton, Charles Williams - alto saxophone, tenor saxophone
William Cody, Doug Harris, Bill Cody, Bill Saxton - tenor saxophone
Kenny Rogers - baritone saxophone
Joe Gardner, Robert Rutledge, Robert Ruthledge, Chris Albert, Don McIntosh, Sinclair Acey, Virgil Jones – trumpet
Janice Robinson, Emmet McDonald, Kiane Zawadi, Charles Stephens – trombone
Bill Lowe - bass trombone
Bill Davis, Willie J. Davis – tuba
Ted Dumper, Ted Dunbar – guitar
Mike Tucker – piano
Mary Earl - electric bass
Charlie Persip – drums
Babafume Akunyun, Roger Blank – percussion

Erroll Garner - Swinging Solos (1957)

Genre: Jazz | Total Time: 40:00 | Size: 89.56 MB | MP3 320 kbps
01. Until The Real Thing Comes Along (4:57)
02. My Silent Love (4:38)
03. The Music Goes 'Round And Around (3:31)
04. Stumbling (5:00)
05. Don't Get Around Much Anymore (4:58)
06. You Go To My Head (9:09)
07. One Night Of Love (7:41)

Erroll Garner - piano solo

Duke Ellington - Love Songs (1947-61)

Genre: Jazz | Total Time: 50:51 | Size: 120.47 MB | MP3 320 kbps
01. Satin Doll (Duke Ellington, Johnny Mercer, Billy Strayhorn) (2:43)
02. Do Nothin' Till You Hear from Me (Duke Ellington, Bob Russell) (3:04)
03. I Got It Bad (And That Ain't Good) (Duke Ellington, Paul Francis Webster) (3:07)
04. Body and Soul (Frank Eyton, Johnny Green, Edward Heyman, Robert Sour) (4:48)
05. Creole Love Call (Duke Ellington) (2:54)
06. Prelude to a Kiss (Duke Ellington, Irving Gordon, Irving Mills) (4:43)
07. The Star-Crossed Lovers (AKA Pretty Girl) (Duke Ellington, Billy Strayhorn) (4:00)
08. Corner Pocket (AKA Until I Met You) (Freddie Green, Donald Wolf) (4:53)
09. To You (Thad Jones) (3:53)
10. Take Love Easy (Duke Ellington, John Latouche) (3:01)
11. All of Me (Gerald Marks, Seymour Simons) (2:28)
12. Tenderly (Walter Gross, Jack Lawrence) (5:21)
13. Love You Madly (Duke Ellington) (3:01)
14. Love (My Everything) (Duke Ellington) (2:30)

Duke Ellington - Piano;
Johnny Hodges - Alto Saxophone;
Frank Wess - Flute, Tenor Saxophone;
Charlie Rouse, Paul Gonsalves, Frank Foster - Tenor Saxophone;
Russell Procope - Clarinet, Alto Saxophone;
Harry Carney - Baritone Saxophone;
Dizzy Gillespie, Clark Terry, Snooky Young - Trumpet;
Ray Nance - Trumpet, Violin;
Juan Tizol - Trombone;
Freddie Green - Guitar;
Oscar Pettiford - Bass;
Sam Woodyard - Drums.
Rosemary Clooney - Vocals.

Recording November 14, 1947 - July 6, 1961.

Label: Columbia / Legacy – CK 85316

Billy Paul - Ebony Woman (1970)

Genre: Jazz / Soul-Jazz | Total Time: 36:29 | Size: 82.05 MB | MP3 320 kbps
1. Ebony Woman
2. Mrs Robinson
3. The Windmills Of Your Mind
4. Everyday People
5. Let's Fall In Love All Over Again
6. Windy
7. Psychedelic Sally
8. Traces
9. Proud Mary

Label: Big Break Records


Patricia Scot - Once Around The Clock (1959)

Genre: Jazz / Pop / Vocal | Total Time: 26:48 | Size: 60.14 MB | MP3 320 kbps
Side 1
1. Just Once Around The Clock 1:52
2. Where Are You 2:20
3. Nothing At All 2:26
4. Why, Baby, Why? 1:45
5. Let's Sit Down And Talk It Over 3:09
6. Speed Of Light 1:30

Side 2
1. You Leave Me Breathless 1:44
2. Do It Again 2:34
3. Wandering Swallow (La Voyageuse) 1:37
4. Mad About The Boy 2:58
5. Get On Board 2:24
6. Out Of This World 1:49

Patricia Scot: vocals
The Creed Taylor Orchestra:
Phil Woods: saxophone; Jerome Richardson: saxophone; Jimmy Cleveland: trombone; Frank Rehak: trombone; Jim Dahl; trombone; Dick Hixson: trombone; Joe Venuto: vibes, bongos: Joe Venuto; Milt Hinton: bass; Al Hall: bass; Don Lamond: drums; Bob Kenyon: arranger; Creed Taylor: orchestra direction.
Patricia Scot (Charlotte Anne Shealy) American vocalist, born 23 October 1931.

This reissue has at least two pleasant surprises: first, the revelation that, before discovering and promoting the gold mine that came to be known as smooth jazz, Creed Taylor was a musician of impeccable taste and discrimination; second, the rediscovery of an original vocalist/pianist who once toiled in piano bars in the Chicago-Milwaukee corridor as well as New York City but who, though still active, has fallen from sight— unfortunate for discerning listeners.

It was Taylor who decided to present Patricia Scot as a "stand-up" vocalist. Based on this early-'60s recording, his faith was not misplaced, even if his timing was less than optimal (the sort of rare American Songbook tunes on this recording—some of it classic esoterica—was rapidly being drowned out by popular music of the time). Nevertheless, the tunes and vocal stylings on Once Around the Clock—the title track a little-known Sigmund Romberg-Oscar Hammerstein gem—clearly deserve another hearing.

"Where Are You?" is not the familiar Jimmy McHugh tune that served as the title song for one of Sinatra's distinguished concept albums (from Capitol, 1957): instead, it's a rarely performed song by another American composer/giant, Frank Loesser. Also especially welcome is "You Leave Me Breathless," which had been planted in the consciousness of jazz listeners by tenor-saxophonist John Coltrane on With Red Garland (Prestige, 1957). Here, it's freshened up with a vocal treatment that's brighter than the preceding version, picking up on the occasional double-time feel previously supplied by drummer Art Taylor and bassist Paul Chambers.

Scot's vocal quality is live and vibrant yet widely expressive, ranging from humorous ("Speed of Light") to intense and deeply felt (Noel Coward's "Mad About the Boy"). The vocal register, timbre and vitality are suggestive of a hip Julie Andrews, but the urgency and sincerity recall Billie Holiday.

Comparing George Gershwin's "Do It Again" as performed by Diana Krall on When I Look in Your Eyes (GRP, 1998) with Patricia Scot's version is a study in contrasts. The former is sultry and torchy; the latter is sincere, almost innocent, and without a hint of pose. The reissue is also a reminder that the LP format encouraged artists to be resourceful, omitting needless repeats and pointless instrumental choruses. Like Peggy Lee's definitive recordings from this period, the tracks are half the length of their CD counterparts, yet not a single note is wasted. There's no sense of obligation to produce 80 minutes worth of material simply because the format supports it.

The Creed Taylor Orchestra is equally resourceful, a downsized group of jazz all-stars, featuring a woodwind section of Phil Woods and Jerome Richardson; trombones including Jimmy Cleveland and Frank Rehak; and one of the all-time greats, Don Lamond, on drums. For those familiar with Creed Taylor's recordings in the 1970s, there's little about this session that marks it as a Creed Taylor project. The album is none the worse because of it.

Modern Jazz All Stars - Modern Jazz In Tokyo (1964)

Genre: Jazz | Total Time: 40:46 | Size: 249.66 MB | FLAC
1. Moanin'
2. Work Song
3. L' Ascenseur Pour l'Échafaud
4. Sister Sadie
5. Take Five
6. Round About Midnight
7. Night in Tunisia
8. Blues de Memphis
9. Bag's Groove
10. Softly as in a Morning Sunrisse

Akira Nakano - trumpet
Shigeo Suzuki - alto saxophone
Akira Miyazawa - tenor saxophone
Norio Maeda - pianoarranger
Shoji Yokouchi - guitar
Tatsuro Takimoto - bass
Takeshi Inomata - drums

Soulful Japanese jazz from 1964 under the direction of pianist Norio Maedafeaturing some of great horn players of the time.

Lennie Felix - Let's Put out the Cat (1960)

Genre: Jazz | Total Time: 42:42 | Size: 96.25 MB | MP3 320 kbps
01. Japanese Sandman (02:01)
02. Two Sleepy People (03:36)
03. Boogie Woogie Lullaby (04:18)
04. Cat Nap (03:13)
05. Darn That Dream (04:05)
06. Blues In The Night (04:27)
07. Sleepy Time Down South (04:16)
08. Moonglow (04:03)
09. Sleepy Time Gal (04:09)
10. If I Could Be With You One Hour Tonight (02:16)
11. Dream (03:36)
12. I'll See You In My Dreams (02:28)

Lennie Felix - piano
Jack Patton - bass
Lonnie Hastings - drums

1959 Top Rank 35/034 UK

Al Haig - Meets Master Bop Saxes (1949)

Genre: Jazz | Total Time: 1:11:15 | Size: 161.46 MB | MP3 320 kbps
01.Light Gray
02.Stoned Wardell Gray
03.Matter and Mind
04.The Toup
05.In a Pinch
06.It's the Talk of the Town
07.Five Star
08.Sugar Hill Bop
11.Easy Living
12.Sweet Lorraine
13.Pardon My Bop
14.As I Live and I Bop
15.Interlude in Bebop
16.Diaper Pin (Pinhead)
17.Skull Buster
18.Ante Room
19.Poop Deck
20.Pennies from Heaven
21.Indian Summer
22.Long Island Sound
24.Crazy Chords

Stan Getz (Sax (Tenor),
Tommy Potter (Bass),
Jimmy Raney (Guitar),
Wardell Gray (Sax (Tenor),
Clyde Lombardi (Drums),
Clyde Lombardi (Guitar),
Charles Perry (Drums),
Al Haig (Piano),
Roy Haynes (Drums),
Terry Swope (Vocals),
Gene Ramey (Bass),
Tiny Kahn (Drums),
Stan Levey (Drums).

Recorded April, 1948 - June 21, 1949


Charles Lloyd Quartet - Love-In (LP-1967)

Genre: Jazz / Avant-garde Jazz | Total Time: 46:14 | Size: 659.34 MB | FLAC
Side A
A1 - Tribal Dance .... 10:03
A2 - Temple Bells .... 2:44
A3 - Is It Really The Same? .... 5:45
A4 - Here There And Everywhere .... 3:40

Side B
B1 - Love-In .... 4:44
B2 - Sunday Morning .... 7:55
B3 - Memphis Dues Again / Island Blues .... 8:57

Charles Lloyd – tenor saxophone, flute
Keith Jarrett – piano
Ron McClure – bass
Jack DeJohnette – drums, percussion

Label: Atlantic – SD 1481
Format: Vinyl, LP, Album, Stereo / Country: US / Released: 1967
Style: Post Bop, Avant-garde Jazz, Modal
Recorded live at the Fillmore Auditorium in San Francisco 1967.
Design [Cover Design] – Stanislaw Zagorski
Photography By [Cover Photo] – Jim Marshall
Liner Notes – George Avakian
Engineer [Recording Engineer] – Wally Heider
Producer – George Avakian
Matrix / Runout (Label Matrix Side 1): ST-A-671029 - A
Matrix / Runout (Label Matrix Side 2): ST-A-671030 - B

Round five decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, where his quartet was opening for the Butterfield Blues Band—the first jazz group ever to play that venue, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.

It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."

It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

"I play love vibrations," Lloyd told Time Magazine. "Bringing everyone together in a joyous dance."

Love-In was the follow-up to the amazing Dream Weaver, the debut of the Charles Lloyd Quartet. Love-In was recorded after the 1966 summer blowout and showed a temporary personnel change: Cecil McBee had left the group and was replaced by Ron McClure. McClure didn't possess the aggressiveness of McBee, but he more than compensated with his knowledge of the modal techniques used by Coltrane and Coleman in their bands, and possessed an even more intricate lyricism to make up for his more demure physicality. Of the seven selections here, four are by Lloyd, two by pianist Keith Jarrett, and one by Lennon/McCartney ("Here, There and Everywhere"). Certainly the '60s youth movement was making its mark on Lloyd, but he was making his mark on them, too. With young Jarrett in the mix, turning the piano over in search of new harmonic languages with which to engage not only Lloyd as a soloist but the rhythm section as well, things were certainly moving across vast terrains of musical influence and knowledge. Drummer Jack DeJohnette took it all in stride and tried to introduce as many new time signatures into the breaks as he could get away with, allowing the ever-shifting chromatics in Jarrett's playing to be his cue from 7/8 to 9/8 to 12/16 and back to equal fours ("Sunday Morning," "Temple Bells," "Memphis Dues Again"), no matter what the musical style was. And there were plenty, as Lloyd led the excursion from post-bop to modal to blues to Eastern raga to cool and back. On Love-In, everything was jazz for the Charles Lloyd Quartet, and what they made jazz from opened the music up to everybody who heard it. The album is a lasting testament to that cultural ecumenism.


Noah Howard - Patterns (LP-1973)

Genre: Jazz / Free Jazz | Total Time: 36:55 | Size: 361.37 MB | FLAC
Side A
A - Patterns .... 18:41

Side B
B - Patterns (continued) .... 18:45

Composition by Noah Howard

Noah Howard – alto saxophone, bells, tambourine, timpani
Misha Mengelberg – piano
Earl Freeman – bass
Jaap Schoonhoven – electric guitar
Steve Boston – congas
Han Bennink – percussion

Label: Altsax – AMC 1000
Format: Vinyl, LP, Album / Country: US / Released: 1973
Style: Free Jazz, Free Improvisation
Recorded in Hilversum, Holland, October 1971.
Design at Photography – Chas. Baum and Daphne Warburg
Mastered At – Sadler Recording Service
Lacquer Cut At – Bell Sound Studios
Matrix / Runout (Side A, hand-etched): AMC·1000·A Bre 6 - 4 - 73
Matrix / Runout (Side B, hand-etched): AMC.1000·B Bre 6 - 4 - 73

A nice obscure one from Noah Howard, recorded in Holland during his time in Europe, and featuring a great lineup that includes Misha Mengelberg and Han Bennink. The album is one long track – "Patterns" – in which Howard solos in a fairly free, post-Coltrane kind of way, although the other players retain more of their own styles.  (Dusty Groove, Inc.)

Originally issued on his own AltSax label in 1971, the "Patterns" session is one of the great mystery spots in the Noah Howard canon... The blasted opening sequence, which we seem to enter whilst already in-process, is a space duet for conga & electric guitar unprecedented in the annals of jazz & new music. When the rest of the musicians enter there is a heavy attempt to africanize Dutch architecture, a proposition which Mr. Mengelberg seems reluctant to accept. What eventually occurs is a primitivist aerial slugfest that invokes a world of shared experience, then negates its substantiality with hammers of nihilist beauty. Emblematic of the end of Europe's open arms policy towards America's expatriate improvisers, "Patterns" remains a nobly ferocious, confounding ghost.

Joseph Jarman, Famoudou Don Moye - Egwu-Anwu (Sun Song) (2LP-1978)

Genre: Jazz / Free Jazz | Total Time: 1:23:20 | Size: 1.17 GB | FLAC
Side A
A1 - Egwu-Yesi Kipaleta
A2 - Egwu Jilala
A3 - Egwu Ping

Side B
B1 - Ikpa-Azu: Ohnedaruth

Side C      
NKE ALA (THE EARTH) .... 20:30
C1 - Egwu-Erosora Ekou Katah
C2 - Egwu-Tombong Goudiaby
C3 - Egwu Ogotemmeli

Side D
D1 - Lobo
D2 - Ekpokpona-Ye Fai

Joseph Jarman – tenor sax, alto sax, sopranino sax, flute, bass clarinet, conch, vibraphone,
cimbals, gongs and accessories, sonors drums
Famoudou Don Moye – drums, other percussion, bailophone, conch, whistle, horns, marimba,        
cimbals, gongs and accessories, sonors drums

Label: India Navigation – IN 1033, India Navigation 1033
Format: 2 × Vinyl, LP, Album / Country: US / Released: 1978
Style: Free Jazz, Free Improvisation
Recorded live, concert in Woodstock, New York 1978.
Artwork [Cover] – Kenneth Hunter
Liner Notes – Thulani Nkabinde
Producer – India Navigation Company
IBO and UGEB translations – Okah Arikpo
Tehnical Advisor / Instrument setting – Clarence Williams
All Compositions by – Joseph Jarman / Famoudou Don Moye
Matrix / Runout (Side A, etched): IN-1033-A
Matrix / Runout (Side B, etched): IN-1033-B
Matrix / Runout (Side C, etched): IN-1033-C
Matrix / Runout (Side D, etched): IN-1033-D

Egwu-Anwu (Sun Song) is an out-of-print live recording by Joseph Jarman and Famoudou Don Moye. The recording is of a live performance recorded in Woodstock, NY, on January 8, 1978, which was released by India Navigation  (catalogue # IN 1033).

Half of the Art Ensemble make a special live appearance for this wonderful late 70s set – recorded in concert in Woodstock, with a loose, open feel that's as much New York loft jazz as it is Chicago AACM. Jarman plays a variety of reeds – including tenor, alto, and sopranino sax, as well as flute and bass clarinet, and a bit of vibes – and the main percussion is handled by Moye on drums, marimba, and other instruments. The album features a long suite of tracks entitled "The Heavens / And The Earth / The Earth / And The Heavens" – building nicely throughout the extended performance!

Joseph Jarman - As If It Were The Seasons (Delmark-1968 - Re-CD-1996)

Genre: Jazz / Free Jazz | Total Time: 45:11 | Size: 436.23 MB | FLAC
01 - As If It Were The Seasons / Song To Make The Sun Come Up .... 23:59
02 - Song for Christopher .... 21:12

Joseph Jarman – alto sax, basoon, fife, recorder, soprano sax
Charles Clark – bass, cello, koto
Thurman Barker – drums
Sherri Scott – voice
Muhal Richard Abrams – piano, oboe (track 2)
Joel Brandon – flute (track 2)
Fred Anderson – tenor sax (track 2)
John Stubblefield – tenor sax (track 2)
John Jackson – trumpet (track 2)
Lester Lashley – trombone (track 2)

Label: Delmark Records – DD-417
Format: CD, Album, Reissue / Country: US / Released: 27 Aug 1996
Original vinyl released: Delmark Records ?– DS-417 (1968) / A.A.C.M. Jazz Series
Style: Free Jazz, Free Improvisation
Track 1 / Recorded at Ter-Mar Studios, July 17, 1968.
Track 2 / Recorded at Ter-Mar Studios, June 19, 1968.
Design [Cover] – Joseph Jarman, Zbigniew Jastrzebski
Engineer, Remix – Paul Serrano
Producer, Supervised By – Robert G. Koester
Recorded By – Malcolm Chisholm
Reissue Producer – Steve Wagner
All compositions by Joseph Jarman
Remixed and remastered from the original analog tapes.

After the death of Christopher Gaddy, who played piano on his debut album, "Song For", Jarman played with the rhythm section of bassist Charles Clark and drummer Thurman Barker. For concerts he invited guests as Sherri Scott, who adds his voice to the trio for the first pieces in this record. Jarman composed "Song for Christopher", based on incomplete notations by the pianist, as a memorial to Gaddy. The piece was recorded by the group augmented by six musicians. Clark died on April 15, 1969 at twenty- four, he had taken part only in three recordings, Muhal Richard Abrams’s "Levels and Degrees of Light", Jarman’s "Song For" and this album.

As If It Were The Seasons was Joseph Jarman's second album for Delmark records, following his 1966 debut, Song For. Recorded in 1968, it is a rare document of his artistry pre-Art Ensemble of Chicago. Remastered from the original analog tapes, this reissue sheds new light on a seminal free jazz classic.
The album contained two extended compositions; each one filling a side of the original vinyl release. Side one combined the title track with "Song To Make The Sun Come Up," both exercises in restraint and dynamic variation. Accompanied by bassist Charles Clark and drummer Thurman Barker, Jarman alternates between a number of reeds for color and texture. Drifting through patches of meditative silence broken by skittering percussion and breathy supplication, the trio ascends to a cathartic release led by Jarman, who unfurls an alto sax solo bristling with tension and fury.
As the storm subsides, under-recognized vocalist Sherri Scott materializes. Free jazz vocals are generally an acquired taste, but Scott delivers lyrical phrases with pitch control and subtle dynamics worthy of Sarah Vaughan. Blending notes and tones with élan, she dovetails with Jarman's alto as he soars upward with circuitous abandon. Sharing a moment of tender vulnerability toward the end, they float in unison over a haunting landscape of sinuous arco bass and scintillating percussion.

Dedicated to the late pianist Christopher Gaddy, "Song For Christopher" occupied the second side and augmented the quartet with six additional musicians. Pianist Muhal Richard Abrams, and tenor saxophonists Fred Anderson and John Stubblefield would all go on to great acclaim. Flutist Joel Brandon is now best known for his unconventional whistling, but trumpeter John Jackson and trombonist Lester Lashley have unfortunately since faded into obscurity.
Slowly gaining steam until the entire ensemble is in full swing, the episodic composition follows a dramatically unfolding arc. Expanding from a glacially rising vortex of sound into a gorgeous ascending melody, the group harmonizes on a buoyant line full of optimistic verve before tearing into a manic screed rivaling John Coltrane's Ascension (Impulse!, 1965) in density.
In the midst of the fray, Abrams' kinetic piano assault sidesteps Anderson's brawny tenor explosions as the entire group erupts in testimonial cries. The collective climax ends abruptly, yielding a nuanced coda ripe with exotic timbres; Scott's ghostly vocalese drifts through a magical soundscape of Asiatic percussion before fading into the ether.

In league with contemporaneous masterpieces like Roscoe Mitchell's "Sound" (Delmark, 1966) and Anthony Braxton's "3 Compositions of New Jazz" (Delmark, 1968), "As If It Were The Seasons" continues to challenge and reward listeners almost five decades later.


The Jack Quigley Trio - Listen! Quigley (1962)

Genre: Jazz | Total Time: 26:34 | Size: 59.14 MB | MP3 320 kbps
                                            Side 1                                            
                            1. Frankley Speaking           
                                                 2. Lazy                   
                                         3. Night Wind                 
                                   4. Gone Baroque              

Side 2
1. Evan's Heaven
2. Senor Caboose
                                                        3. Lucky Miss Fortune                    
4. Intersection
5. Sihtam's Delight

Recorded in Los Angeles, 1962

Jack Quigley (piano); Buddy Clark (bass); Frank Capp (drums)

The Jack Dieval's Sextet - Music: The Food Of Life (1977)

Genre: Jazz | Total Time: 31:42 | Size: 80.44 MB | MP3 320 kbps
Side A
A1 Quelques Lignes D'Amour
A2 Hi ! Mister Jack
A3 Somewhere In Coxsackie
A4 Around Montparnasse 2000
A5 Waltzing Around The World
A6 Where Are You Mister Maigret
Side B
B1 Moonlight In Conomara
B2 Allan, The Hunter
B3 Rocking Chair
B4 Down Piccadilly Circus
B5 Music, The Food Of Life
B6 Marching To Heaven

The Guitars, Inc. - Invitation (1958)

Genre: Jazz | Total Time: 36:00 | Size: 82.83 MB | MP3 320 kbps
Side 1
1. Let's Get Away From It All
2. The Bad And The Beautiful
3. Lullaby Of Broadway
4. Lullaby Of The Leaves
5. Darn That Dream
6. My Heart Belongs To Daddy

Side 2
1. Invitation
2. All The Things You Are
3. Chloe
4. Pick Yourself Up
5. 'Tis Autumn
6. The Guitars, Inc.

Recorded at Radio Recorders Hollywood April 25, May 25 & June 4, 1958

Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons & Bill Pitman - guitar
Jack Marshall - leader & conductor
Joe Mondragon - bass
Roy Harte [# 6, 8, 10 & 12], Larry Bunker [# 1, 2, 4 & 7], or Mel Lewis [# 3, 5, 9 & 11] - drums
Alvin Stoller - bongo
Jack Marshall, Marty Paich, Jack Montrose Lennie Niehaus, Morty Corb & Brin Bethel - arr.
The Guitars Inc. was a clever idea to put together some of the best studio guitarists and see what they can do with well arranged pieces. For the 1958 sessions, Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons and Bill Pitman got together with a collection of rhythm teams that included Mel Lewis-Larry Bunker-Alvin Stoller/dr and Joe Mondragon-Buddy Clark/b. The clever and nifty arrangements by artists including Mary Paich, Bill Holman and Lennie Niehaus keep the songs in concise forms of 2-3 minutes, but a lot goes on with some wondrous swingers such as “Lullaby of Broadway,” “Get Happy” and a danceable “El Cumbanchero” while the strings float like flakes on “Snowfall” and resign in reflection on “Darn That Dream.” This is a one of a kind team that needs to be brought back to the table!
Fresh Sound Records

Stan Kenton - Adventures In Standards (1961)

Genre: Jazz | Total Time: 33:12 | Size: 75.28 MB | MP3 320 kbps
01. Some Enchanted Evening (Richard Rodgers & Oscar Hammerstein II)
02. Begin The Beguine (Cole Porter)
03. It’s All Right With Me (Cole Porter)
04. Make Someone Happy (Jule Styne, Betty Comden & Adolph Green)
05. Old Devil Moon (Cole Porter)
06. Gigi (Frederick Loewe & Alan Jay Lerner)
07. Come Rain Or Come Shine (Harold Arlen & Johnny Mercer)
08. Almost Like Being In Love (Frederick Loewe & Alan Jay Lerner)
09. Just In Time (Jule Styne, Betty Comden & Adolph Green)
10. If I Were A Bell (Frank Loesser)
11. Bewitched, Bothered and Bewildered (Richard Rodgers & Lorenz Hart)
12. I’ve Grown Accustomed To Her Face (Frederick Loewe & Alan Jay Lerner)

Alto Saxophone – Gabe Baltazar
Tenor Saxophone – Paul Renzi, Buddy Arnold
Baritone Saxophone – Allen Beutler
Bass Saxophone – Joel Kaye
Trumpet – Bob Behrendt, Bob Rolfe, Norman Baltazar, Marv Stamm, Dalton Smith
Trombone - Bob Fitzpatrick, Dee Barton, Bud Parker, Jim Amlotte (b-tb), Dave Wheeler (b-tb, tuba)
Mellophone – Carl Saunders, Dwight Carver, Keith LaMotte, Ray Starling
Piano – Stan Kenton
Bass – Pat Senatore
Drums – Jerry McKenzie
Arranged By – Lennie Niehaus

5-7, 14 December 1961, Capitol Tower Studios, Hollywood

Ray Gomez - Volume (1980)

Genre: Jazz, Fusion | Total Time: 43:45 | Size: 100.15 MB | MP3 320 kbps
01. West Side Boogie (Gomez) - 5:41
02. Waiting for the Big Time (McBurney) - 5:55
03. Make Your Move (Gomez) - 4:30
04. U.S.A. (Gomez) - 4:53
05. Blues for Mez (Walden) - 6:46
06. Love at First Sight (Gomez) - 4:52
07. Summer in the City (Sebastian-Boone-Sebastian) - 5:23
08. The World Will Keep On Turning (Gomez) - 5:48

Ray Gomez - guitar, vocals
Jimmy Haslip - bass
Chris Palmaro - keyboards
Narada Michael Walden, Vinny Appice - drums
with guests:
Will Lee - bass (#3)
David Sancious - keyboards (#6)
Randy Brecker - trumpet (#7)
Michael Brecker, George Young - tenor saxophone (#7)
Sammy Figueroa, Rafael Cruz - percussion (#7)
This is the mysterious (and very rare) CD version of the 1980 vinyl release with a different track listing than the original release. Mysterious because it came in a plain black CD sleeve with no label or catalog number info. It was purchased from JK Lutherie about 10 years ago.

Johnny Smith - Moods (1955)

Genre: Jazz | Total Time: 33:30 | Size: 125.258 MB | MP3 320 kbps
01. What's New ? (Burke / Bob Haggart)
02. I'll Remember April (DePaul, Johnston, Raye)
03. Sophisticated Lady (Ellington, Mills, Parish)
04. Easy to Love (Porter)
05. Autumn in New York (Duke)
06. Walk, Don't Run (Smith)
07. Lover Man (Davis, Ramirez, Sherman)
08. Dancing on the Ceiling (Hart, Rodgers)
09. Blues for Birdland (Garner)
10. Have You Met Miss Jones ? (Hart, Rodgers)
11. Someone to Watch Over Me (Gershwin, Gershwin)
12. How About You (Freed, Lane)

[# 1-4]
Johnny Smith - g
Perry Lopez - rhythm g
Arnold Fishkin - b
Don Lamond - dr
Recorded in New York ; May 9, 1954
[# 5-7, 11 & 12]
Same as above
Recorded in New York ; September 10, 1954
[# 8-10]
Johnny Smith - g
Bob Pancoast - p
George Roumanis - b
Jerry Segal - dr

Recorded in New York ; 1955

Johnny Smith's signature mellow-and-pretty-guitar jazz sound is showcased nicely on his 1953 release Moods. Always choosing to focus on the softer, melodic aspects of jazz, Smith arranges such standards as "Sophisticated Lady," "Have You Met Miss Jones," and others in a chordal-based style. Often crossing the facile boundary between classical music and cool jazz, Smith is an underappreciated musician whose catalog has much more to offer than just his classic recording of "Moonlight in Vermont".

Jiri Stivin - Zodiac (1976)

Genre: Jazz | Total Time: 43:05 | Size: 97.69 MB | MP3 320 kbps
Zivly / The Elements
1. Ohen / The Fire
2. Voda / The Water
3. Vzduch / The Air
4. Zeme / The Earth

Nalady / Moods
5. Flegmatici / The Phlegmatics
6. Sangvinici / The Sanguinics
7. Melancholici / The Melancholics
8. Cholerici / The Cholerics
9. Zverokruh / Zodiac

Chorus – Kuhn Mixed Chorus
Chorus Master – Pavel Kuhn
Flute, Alto Flute, Recorder, Whistle, Alto Saxophone, Baritone Saxophone, Panpipes [Syrinx], Voice, Percussion [Bottles], Electric Bass, Marimba, Drums, Percussion, Composed By – Jiri Stivin
Piano, Electric Piano, Harpsichord – Gabriel Jonas
Strings – Talich Quartet (tracks: B1.1 to B2)

Recorded at Mozarteum Studio, Prague, Czechoslovakia,
October 1976

1977 Supraphon 1 15 2015 Czechoslovakia LP
1997 Bonton 71 0622-2 Czech Republic CD

Jimmy Rowles - Trio '77-'78 (1977-78)

Genre: Jazz | Total Time: 1:06:18 | Size: 267.30 MB | FLAC
1. Jeru 4:28
2. Venu De Milo 2:44
3. Godchild 3:24
4. Darn That Dream 3:28
5. Stars And Strippes Forever 5:26
6. Here's That Rainy Day 5:02
7. We Could Make Such Beautiful Music Together 5:59
8. Medley: How Do You Do Miss Josephine / Three On A Watch 4:48
9. Shake It, But Don't Break It! 5:03
10. I Can't Get Started 7:46
11. In The Still Of The Night 8:19
12. Georgia On My Mind 4:02
13. 'Round Midnight 5:49

Jimmy Rowles, piano on all tracks, plus:

[1-4] Rufus Reid (b), Mickey Roker (d).

Recorded in New York, on November 2-3, 1977.

[5-11] George Mraz (b), Leroy Williams (d).

Recorded in New York, on April 4, 1978.
First time on CD all of Jimmy Rowles 1977 trio tracks. A set of tunes originally played by the Miles Davis "Birth of the Cool" nonet. With Rowles on piano, bassist Rufus Reid and drummer Mickey Roker.

Coupled with this is the trio session from the following year (George Mraz, bass and Leroy Williams, drums). The repertoire is a mix of standard tunes plus an unusual arrangement of "Stars and Stripes Forever"

As bonus tracks, there are a rare solo piece ("Georgia on My Mind") and a beautiful quartet version of "Round Midnight".

Horace Parlan - The Maestro (1979)

Genre: Jazz | Total Time: 49:58 | Size: 114.06 MB | MP3 320 kbps
1. Ruby, My Dear
2. Spring Is Here
3. A Flower Is a Lovesome Thing
4. Peace
5. The Maestro
6. Nardis
7. Alone Together
8. Ill Wind

Horace Parlan – Piano Solo

Recorded November 26, 1979 - the same day as Parlan's Musically Yours were recorded.

Label: SteepleChase ‎– SCS-1167
This is the second volume of Parlan’s solo recording (earlier release Sccd 31141 “Musically Yours ”). Horace Parlan (b. January 19, 1931 in Pittsburgh) after suffering from polio as child learned to play piano as a therapeutic means and developed a strong left hand technique which became his trade-mark as professional musician. “… Horace Parlan performs here 8 titles each one of which is a grand moment of jazz history …” (Midi-Libre)

Horace Parlan - Blue Parlan (1978)

Genre: Jazz | Total Time: 45:53 | Size: 104.40 MB | MP3 320 kbps
1. Goodbye Pork Pie Hat
2. Sunspots
3. Firm Roots
4. Monk's Mood
5. Neicy
6. Night Mist Blues
7. Cynthia's Dance
8. There's No Greater Love

Personnel: Horace Parlan (piano); Wilbur Little (bass); Dannie Richmond (drums)

Label: SteepleChase
Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on SteepleChase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, Frank Foster, and Michal Urbaniak, and recorded extensively for Enja and Timeless. He died in Denmark in February 2017 at the age of 86.

George Siravo And His Orchestra - Siravo Swing Session (1957)

Genre: Jazz | Total Time: 32:53 | Size: 82.95 MB | MP3 320 kbps
Side 1
1. Margie
2. My Gal Sal
Songwriter – Paul Dresser
3. Cheerful Little Earful
4. Twelfth Street Rag
Songwriter – Andy Razaf
5. Who's Sorry Now
6. Some Of These Days
Songwriter – Shelton Brooks

Side 2
1. Ida
2. Mary Lou
3. Honeysuckle Rose
Songwriter – Andy Razaf, Fats Waller
4. Sweet Sue
5. I Ain't Got Nobody
6. Somebody Stole My Gal

Tr. A1, A2, B2, B5:
Bernie Glow, Joe Wilder, Lou Oles, Buck Clayton (tp) Urbie Green, Bobby Byrne, Bob Alexander (tb) Toots Mondello, Buster Merkin (as) Romeo Penque, Boomie Richman (ts) George Berg (bar) Buddy Weed (p) Barry Galbraith (g) Frank Siravo (b) Osie Johnson (d) George Siravo (arr, cond)
New York, July 8, 1957

Tr. A5, A6, B4, B6:
Bernie Glow, Doc Severinsen, Buck Clayton (tp) Urbie Green, Bobby Byrne (tb) Peanuts Hucko (cl) Toots Mondello, Hymie Schertzer (as) Boomie Richman, Romeo Penque (ts) George Berg (bar) Buddy Weed (p) Allen Hanlon (g) Frank Siravo (b) Osie Johnson (d) Terry Snyder (vib,xyl)
New York, July 10, 1957

Tr. A3, A4, B1, B3:
Similar pers
New York, 1957
George Siravo (Staten Island, New York, 2 October 1916 - Medford, Oregon, 28 February 2000) was a composer, arranger, conductor, saxophonist, and clarinetist.

During his multi-decade stint as a Columbia Records staff arranger and conductor, George Siravo collaborated with a host of singers including Tony Bennett, Doris Day, and Rosemary Clooney, but he remains best remembered for his work with Frank Sinatra on a pair of now-classic LPs that shepherded the crooner's transformation away from ballads to the swinging, uptempo approach upon which the Ol' Blue Eyes' legend rests. Born October 2, 1916 in Staten Island, New York, Siravo cut his teeth playing alto saxophone, clarinet, and flute in Harry Reser's Cliquot Club Eskimos -- stints in support of bandleaders including Charlie Barnet and Artie Shaw followed, and he also served in Glenn Miller's first orchestra. In 1938 Siravo signed on with Gene Krupa following the drummer's exit from the Benny Goodman ranks, but he soon tired of the road and caught on as a staff arranger with the smash radio program Your Hit Parade. Siravo first worked with Sinatra when he performed on Your Hit Parade, and when the singer was tapped to headline his own radio showcase, Frank Sinatra in Person, he kept Siravo on retainer -- he also worked as a freelance arranger, and in 1944 Sinatra's longtime musical director Axel Stordahl brought him aboard to work on what would prove one of the crooner's signature tunes, "Saturday Night (Is the Loneliest Night of the Week)." After Siravo joined the Columbia staff in 1947, he was the arranger of choice when Sinatra and producer Mitch Miller began formulating an album of upbeat dance tunes. The project was scrapped, however, over concerns about the planned session's possible effect on Sinatra's touring and radio schedule, and Siravo's completed arrangements remain unrecorded.

Swing and Dance with Frank SinatraSiravo and Sinatra finally reconnected for 1950s Swing and Dance with Frank Sinatra, a collection of rhythmic, swing-inspired songs without a ballad in sight; the sessions proved instrumental in pointing toward the new creative direction the singer would pursue during the remainder of his recording career. A follow-up date was planned, but according to legend Siravo convinced Sinatra to scrap the session in favor of boarding a plane to Africa to join then-girlfriend Ava Gardner during filming of the feature Mogambo. In the wake of Sinatra's career-revitalizing Oscar win for From Here to Eternity, he tapped Siravo to handle arranging duties on his first Capitol Records date, the celebrated Songs for Young Lovers, but while Siravo did most of the work, Capitol credited Nelson Riddle instead. (Riddle later apologized to Siravo, and hired him to handle orchestration on Sinatra's 1959 tour of Australia.) Siravo's partnership with Sinatra ended in 1961, when Sinatra called him in New York City to invite him to play in a golf tournament in Las Vegas. Siravo, already stretched thin by a packed studio schedule, reportedly told Sinatra, "You gotta be kidding -- I'm busy," to which Sinatra replied, "I'll send my jet." Siravo's response: "You're out of your mind." Siravo later claimed he never spoke to Sinatra again. He nevertheless remained a premier arranger, charting hits including Doris Day's "It's Magic" and Tony Bennett's "Who Can I Turn To?" He also worked on sessions headlined by Vic Damone, Connie Boswell, and Johnnie Ray. Siravo recorded only a handful of LPs under his own name, most notably Swinging Stereo in Studio A (issued in conjunction with RCA's famed Living Stereo series) and the chamber music-inspired Kapp date Polite Jazz. He died in Medford, OR on February 28, 2000.
Jason Ankeny, AMG

Claude Bolling Sextet - Jazzgang Amadeus Mozart (1965)

Genre: Jazz / Dixieland / Classical | Total Time: 29:05 | Size: 67.86 MB | MP3 320 kbps
01. Eine Kleine Nachtmusik Allegro - 3:24
02. Eine Kleine Nachtmusik Romance - 3:07
03. Eine Kleine Nachtmusik Minuetto - 2:09
04. Eine Kleine Nachtmusik Rondo - 2:43
05. Voi Che Sapete (from 'The Marriage of Figaro') - 3:08
06. Sonate N°11 Rondo Alla Turca - 2:40
07. Sonate N°11 Andante and Variations 1, 2, 3 & 6 - 8:04
08. Overture (from 'The Marriage of Figaro') - 3:54
Label - Philips

Charles Mingus - Tonight At Noon (1964)

Genre: Jazz | Total Time: 38:08 | Size: 144.77 MB | MP3 320 kbps
1. Tonight at Noon
2. Invisible Lady
3. 'Old' Blues For Walt's Torin
4. Peggy's Blue Skylight
5. Passions Of A Woman Loved
Personnel: Charles Mingus, Bass, Piano, Vocals; Shafi Hadi, Alto Saxophone; Doug Watkins, Bass; Dannie Richmond, Drums; Rahsaan Roland Kirk, Saxophones; Wade Legge, Piano; Booker Ervin, Tenor Saxophone; Jimmy Knepper, Trombone.
A valuable reissue for Mingus fans, Tonight at Noon compiles five tunes originally recorded for two of the great bassist's most important album's, 1957's The Clown and 1961's Oh Yeah. Though the two sessions cover somewhat different stylistic ground, they blend together seamlessly and amount to much more than a haphazard assemblage of dusty outtakes. The earlier session is the more restrained of the two, with Mingus and a typically responsive quintet (trombonist Jimmy Knepper, alto saxophonist Shafi Hadi, pianist Wade Legge and drummer Dannie Richmond) expertly weaving a path between the extremes of European impressionism (on the haunting "Passions of a Woman Loved") and hard bop (on the fast-paced title tune). The 1961 date is a more freewheeling journey into the blues and gospel roots of jazz via Duke Ellington, with Mingus switching to piano (an instrument on which he was more than proficient) and handing the bass duties over to Doug Watkins. The hard-swinging group also includes Mingus stalwarts Knepper and Richmond, along with the dynamic saxophone duo of Booker Ervin and Rahsaan Roland Kirk. Though most of the compositions on Tonight at Noon are not well known (with the exception of "Peggy's Blue Skylight" from the 1961 session) and several make their only appearances in the Mingus catalog here, there's certainly nothing second rate about these tunes. Along with the time limitations of the LP era, one gets the impression that, if anything, they were left off the original albums because they were even more provocative than the selected cuts. This is vital, exciting music.

Bud Shank - Girl In Love (1966)

Genre: Jazz | Total Time: 32:43 | Size: 76.55 MB | MP3 320 kbps
01. Lady Jane (M. Jagger/K. Richard)
02. Summer Wind (Mayer/Bradtke/Mercer)
03. The Sun Ain't Gonna Shine (Anymore) (B. Crewe/B. Gaudio)
04. Strangers In The Night (Kaempfert/Singleton/Snyder)
05. When A Man Loves A Woman (Lewis/Wright)
06. Girl In Love (T. King/C. Kelley)
07. Don't Go Breaking My Heart (B. Bacharach/H. David)
08. Everybody Loves Somebody Sometime (Taylor/Lane)
09. Time (M. Merchant)
10. The Shining Sea (J. Mandel/P. Lee)
11. Lara's Theme From Dr. Zhivago (M. Jarre)
12. Solitary Man (N. Diamond)

Personnel: Bud Shank - alto saxophone; Frank Rosolino – trombone; Bob Florence – piano; Dennis Budimir, Herb Ellis, John Pisano – guitar; Bob West – bass; Frank Capp – drums; Victor Feldman - percussion.

Label:World Pacific
Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style was one of the more genuinely distinctive approaches that grew out of the bebop idiom. Shank attended the University of North Carolina from 1944-1946. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-1948) and Stan Kenton (1950-1951). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s. Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure. In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummer Chuck Flores, Shelly Manne, or Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s he dropped the instrument in order to concentrate on alto full-time. During the last two decades of the 20th century, he recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presented the altoist in top form, burning down the house with a band of relative youngsters who included neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released. Shank continued performing and recording after the turn of the millennium, undertaking the challenging task of forming the Los Angeles-based Bud Shank Big Band in 2005 and making his recording debut as a big-band leader with Taking the Long Way Home, released the following year by the Jazzed Media label. In 2007 Jazzed Media issued Beyond the Red Door, a duet recording by Shank and pianist Bill Mays. Shank's passion for jazz remained strong to the very last days of his life; he died at his home in Tucson, AZ on April 2, 2009 of a pulmonary embolism shortly after returning from a recording session in San Diego. Shank's doctors had reportedly warned the saxophonist who had moved to Tucson for health reasons that playing the session could be life-threatening. Bud Shank was 82 years old.

Barbara Lea - Lea in Love (1957)

Genre: Jazz | Total Time: 35:54 | Size: 81.52 MB | MP3 320 kbps
1 Will I Find My Love Today ? (Fogarty, Shaw)
2 We Could Make Such Beautiful Music Together (Manners, Sour)
3 You'd Be So Nice to Come Home To (Porter)
4 Am I in Love (Barrett, Ryan)
5 The Very Thought of You (Noble)
6 I've Got My Eyes on You (Burgess, Porter)
7 True Love (Chatman, Porter)
8 Mountain Greenery (Hart, Rodgers)
9 More Than You Know (Eliscu, Rose, Youmans)
10 Ain't Misbehavin' (Brooks, Razaf, Waller)
11 Autumn Leaves (Kosma, Mercer, Prevert)
12 Sleep Peaceful, Mr. Used-To-Be (Arlen, Mercer)

Featuring Dick Cary, Barbara Lea, Johnny Windhurst, Ernie Caceres, Garvin Bushell, Adele Girard, Al Casamenti, Al Hall, Osie Johnson, Jimmy Lyon, Jimmy Raney, Beverly Peer, etc.

Singer Barbara Lea often recalls her idol and friend Lee Wiley on this set of love songs. The backup is uniformly tasteful but changes from song to song with such impressive stylists as trumpeter Johnny Windhurst, baritonist Ernie Caceres, Garvin Bushell (on oboe and bassoon), Dick Cary (the arranger on piano and alto horn), guitarist Jimmy Raney and (on a beautiful version of "True Love") harpist Adele Girard making memorable appearances. Lea's straightforward and heartfelt delivery is heard at its best on such songs as "You'd Be So Nice to Come Home To," "Mountain Greenery," "More than You Know" and "Autumn Leaves" (which is partly taken in French). These interpretations are often touching.