These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax. The same rhythm section backs trumpeter Norman Faye and a tenor sax quartet of Getz, Zoot Sims, Allen Eager, and Al Epstein. Garnished with a bit of primitive vibrato, this record has a strange but not unpleasant quality. The Stan Getz Tenor All Stars put down four sides for the New Jazz label in April 1949, lining up Al Cohn, Allen Eager, Brew Moore, and Zoot Sims in a smooth bop experiment landing somewhere between Woody Herman's Herd and Coleman Hawkins' Keynote Sax Ensemble. Walter Bishop laid a lot of block chords while sax after sax took a shot at running the changes, and Getz even blew baritone on "Five Brothers." A Savoy session from just a few weeks later placed trombonist Earl Swope amid Getz, Cohn, and Sims, with Duke Jordan on piano. Both of these octets came across as cool and well-organized. The Stan Getz Quartet, with Al Haig, Gene Ramey, and Stan Levey, made five excellent sides for the Prestige and New Jazz labels on June 21, 1949. Their rendition of Victor Herbert's "Indian Summer" is superbly mellow. It is easy to draw a line directly from this whimsical record directly to the cool bossa novas that would make Stan Getz so famous years later, even among a record-buying public who never heard any of these marvelous early recordings by this suede-toned tenor man. arwulf arwulf Tracklist + Credits :
16.10.23
STAN GETZ – 1946-1949 | The Classics Chronological Series – 1126 (2000) FLAC (image+.cue), lossless
STAN GETZ – 1950 | The Classics Chronological Series – 1172 (2001) FLAC (tracks), lossless
After a pair of taffy ballads sung in imitation Billy Eckstine baby talk by Junior Parker -- not the Memphis blues singer but a pseudonym for Arthur Daniels -- the 21 tracks that follow demonstrate exactly why Stan Getz went over so well with the listening public. His soft tone and gently inventive phraseology, a direct outgrowth of the Lester Young archetype, make each of these performances an ideal choice for relaxation. Getz regularly recorded with exceptional musicians. The rhythm sections of Al Haig, Tommy Potter, and Roy Haynes or Tony Aless, Percy Heath, and Don Lamond were perfectly suited to his softly searching essays in cool improvisation. On December 10, 1950, Horace Silver, Joe Calloway, and Walter Bolden kindled a hotter fire under the saxophonist, resulting in music of elevated intensity. At this point in his career, Getz sometimes engaged in bubbly noodling, which in its wilder moments sounds like a premonition of Lee Konitz as heard on his fabulous Motion sessions of 1961. This equation would also lead to Warne Marsh and Anthony Braxton, if you want to go there. As for material choices, the 1950 Getz repertoire is full of delightful surprises, from an almost calypso "The Lady in Red" to "Sweetie Pie," a cheerful number barbecued by Fats Waller & His Rhythm back in 1934. Anyone familiar with Waller's version will most likely thrill at hearing this brisk modern expansion of the old Tin Pan Alley come-on. Excellent music, good for the nerves and stimulating for the imagination. arwulf arwulf Tracklist + Credits :
14.9.23
CHARLIE PARKER – 1951-1952 | The Chronogical Classics – 1314 (2003) FLAC (tracks+.cue), lossless
There's a lot to be said for this kind of chronological survey when it's applied to someone like Charlie Parker. It forces you to take into account not only the critically accepted material but everything that Bird accomplished in his professional life -- that is, every commercially released studio recording from this time period. The music resulting from the sessions of January 17 and August 8, 1951, is universally regarded as substantial and masterful. Critics have been "legitimating" these wonderful recordings for decades. They've also complained ad nauseum about the rest of the material on this album. Time after time, issue after reissue, album liner notes hint wryly at Bird's "artistically unsuccessful" experiments with both Latin American percussion and a big band augmented by a chamber string ensemble. It is possible, after all, for listeners to honor Parker by saying to themselves, "This is what the artist felt compelled to do, and we are capable of being receptive to -- appreciative of -- his ideas and the recordings he has left behind." Forget all notions of what belongs or doesn't belong on a jazz record -- specifically on a Charlie Parker record. The South of the Border stuff is fun -- thrilling, even -- and at times beautiful. The selections from Bird with Strings are fascinating and rewarding for those who are not uptight or prejudicial. The wonderful truth is this: music invariably legitimates itself, and ultimately no critics are necessary provided the listener has ears and a heart through which to listen. arwulf arwulf Tracklist + Credits :
CHARLIE PARKER – 1952-1954 | The Chronogical Classics – 1408 (2005) FLAC (tracks), lossless
Sadly, this is the sixth and last volume in the Classics Charlie Parker chronology. It assembles all of his studio recordings made between March 25, 1952 and December 10, 1954, only three months before his death at the age of 35. On the session that opens the compilation, producer Norman Granz placed Bird in front of a brassy big band, using punchy arrangements by Joe Lippman. The quartet session of December 30, 1952 resulted in four beautiful tracks that are greatly enhanced by the rhythm section of Hank Jones, Teddy Kotick and Max Roach. Bird's highly evolved musicality, coupled with the fact that he was beginning to come up with titles like "Cosmic Rays" might invite speculation as to where he would have been at had he lived through the late '50s and into the '60s. Jazz purists have been bitching about the Gil Evans-arranged "chamber jazz" session of May 22, 1953 ever since the records first came out on Granz's Clef label. But Charlie Parker sounded marvelous in any company. He transformed everything he came into contact with, even these stylized vocals by Dave Lambert & His Singers, a carefully collared mini-choir that included Lambert's future partner in crime Annie Ross. Having Charles Mingus and Max Roach in the band didn't hurt, either. Roach was also on hand for a superb quartet date on August 4, 1953 with Al Haig and Percy Heath. (For a good time, chase Bird's rendition of "I Remember You" with all five takes of the same piece recorded in 1961 by Lee Konitz. Finish with the version presented live at Yoshi's in 1994 by the Anthony Braxton Piano Quartet, rinse, and repeat.) Charlie Parker's final two studio recording sessions took place in the early spring and winter of 1954 with quintets featuring Walter Bishop, Jr. at the piano, and first Roy Haynes then Art Taylor behind the drums. The material was entirely derived from the Cole Porter songbook; Bird's studio swan song, "I Love Paris" has an ominous quality that haunts the listener long after the five-minute record has ended. arwulf arwulf Tracklist + Credits :
4.7.23
ANITA O'DAY – 1950-1952 | The Classics Chronological Series – 1336 (2003) FLAC (tracks+.cue), lossless
Compilations abound that center on Anita O'Day's work of the '40s and early '50s, before she set about recording one of the liveliest string of LPs ever seen on the planet (from 1955's This Is Anita to 1962's That Is Anita). With 1950-1952, the seminal Classics label reissued a string of titles that haven't seen light very often, a selection of her recordings for labels including London, Clef, and Norgran (the last two were Verve-associated labels). While they stand nowhere near the twin pinnacles of her career -- her big-band heyday and her solo revival yet to come -- O'Day recorded much wonderful music during these two years. In 1952 alone, she recorded three excellent sessions (the final two-thirds of the program), including a swinging date with her Krupa bandmate Roy Eldridge in New York and a sublime Chicago appearance with Roy Kral. John Bush
Tracklist + Credits :
23.4.23
MARY LOU WILLIAMS – 1951-1953 | The Classics Chronological Series – 1346 (2004) FLAC (tracks+.cue), lossless
While the Asch recordings of Mary Lou Williams, recorded during the mid-'40s, are wrapped in a veil of pleasant 78-rpm surface noise, her Circle recordings of 1951 are presented here as direct transfers from early 33-and-one-third-rpm platters. This creates a different listening experience, for while sustained 78-rpm "scratchiness" acts as a constant texture through which the music may usually be heard, the inconsistent wandering hiss of the primitive acetate "long-playing" record creates at times a slightly distracting rhythmic pattern that is most noticeable on the slower numbers. This is emphasized by the otherwise "clean" sound of the recording. With Willie Guerra's bongos and Billy Taylor's upright bass backing the leader's excellent piano, the intrusive little hisses sound at times as though someone might be carelessly handling a shekere, or possibly teasing a pet snake. All phonographic pickiness aside, the music heard on the opening session is exquisite, particularly "Handy Eyes," a grooved-up rendition of W.C. Handy's "St. Louis Blues." Two further Circle sides from 1952 feature the pianist supported by an unidentified bassist and drummer. After a marvelous passage through Ellington and Tizol's "Caravan," the men open "Yes, We Have No Bananas" by shouting the title in a bizarre and surprising manner. On July 11, 1952, Mary Lou Williams performed in front of a loudly appreciative audience with a band including her second ex-husband, trumpeter Harold "Shorty" Baker, trombonist Vic Dickenson, and tenor saxophonist Morris Lane. The ten-minute "Down Beat" is a warm, swinging jam during which the players are able to stretch out and cook nicely. A lovely take on "Out of Nowhere" leads into eight and a half smoky minutes of "C Jam Blues." The remaining 12 tracks were recorded during Mary Lou Williams' visit to England during the first half of 1953. Backed by guitar, bass, and either the regular drum kit or bongos, she delivers her customary blend of original compositions, jazz standards, classic ragtime, and contemporary tropes from innovators such as Tadd Dameron and Thelonious Monk. arwulf arwulf
Tracklist :
1 Mary Lou Williams Trio– Lover, Come Back To Me 3:30
2 Mary Lou Williams Trio– S'Posin' 3:16
3 Mary Lou Williams Trio– Handy Eyes 3:20
4 Mary Lou Williams Trio– Tisherome 4:03
5 Mary Lou Williams And Her Modern Music*– Caravan 2:35
6 Mary Lou Williams And Her Modern Music*– Yes, We Have No Bananas 2:08
7 Mary Lou Williams And Her Orchestra– Down Beat 9:57
8 Mary Lou Williams And Her Orchestra– Out Of Nowhere 4:06
9 Mary Lou Williams And Her Orchestra– C Jam Blues 8:25
10 Mary Lou Williams Trio– Titoros 2:55
11 Mary Lou Williams Trio– Lady Bird 3:00
12 Mary Lou Williams Trio– Don't Blame Me 3:24
13 Mary Lou Williams Trio– They Can't Take That Away From Me 2:39
14 Mary Lou Williams Trio– Koolbongo 2:52
15 Mary Lou Williams Trio– Perdido 2:33
16 Mary Lou Williams Trio– For You 2:54
17 Mary Lou Williams Trio– Round About Midnight 4:05
18 Mary Lou Williams And Her Rhythm– Laughing Rag 1:49
19 Mary Lou Williams And Her Rhythm– Rag Of Rags 1:51
20 Mary Lou Williams Quartet– Melody Maker 2:30
21 Mary Lou Williams Quartet– Musical Express 2:16
Credits :
Bass – Billy Taylor Sr. (tracks: 1 to 4), Eddie Safranski (tracks: 7 to 9), Jack Fallon (tracks: 18, 19), Ken Napper (tracks: 10 to 17), Rupert Nurse (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Bongos – Tony Scott (tracks: 10 to 17), Willie Guerra (tracks: 1 to 4)
Drums – Don Lamond (tracks: 7 to 9), Gerry McLaughlin (tracks: 18, 19), Tony Kinsey (tracks: 20, 21), Unknown Artist (tracks: 5, 6)
Guitar – Allan Ganley (tracks: 10 to 17), Nevell John (tracks: 7 to 9), Ray Dempsey (tracks: 20, 21)
Piano – Mary Lou Williams
Tenor Saxophone – Morris Lane (tracks: 7 to 9)
Trombone – Vic Dickenson (tracks: 7 to 9)
Trumpet – Harold Baker (tracks: 7 to 9)
4.4.23
LENNIE TRISTANO - Intuition (2003) 4CD | BOX - SET | Serie : Proper Box | FLAC (tracks+.cue), lossless
Anyone seeking a solid introduction to the music of Lennie Tristano should make a beeline for Proper Box 64, appropriately titled Intuition. This reasonably priced four-CD set is also sure to please even the most seasoned Tristano enthusiasts, for as one of the finest Tristano collections in existence, it rates with the juiciest entries in the Proper catalog. A brilliant musical innovator who was greatly admired by Charlie Parker, Tristano acted as a sort of modern jazz professor, philosopher, and mentor to aspiring young improvisers. In many ways, his music sounds better and makes more sense today than ever before. Prior to the appearance of this set in 2003, the records he cut in May 1945 with a sextet led by tenor saxophonist Emmett Carls had only been reissued on Tristano's portion of the exhaustively complete chronological Masters of Jazz series in 1999. In an unfortunate replication of a discographical error which has cropped up elsewhere, Proper's session data incorrectly names Shorty Rogers as the trumpeter on this date. Rogers had entered the armed forces in 1943 and wouldn't return to the scene until September of 1945. The individual heard with Carls was Irwin "Markie" Markowitz, a member of Boyd Raeburn's orchestra who would cross over to Woody Herman's Herd in 1946.
Proper's overview of Tristano's first seven years of recording activity is positively exhilarating. In addition to various early piano solos, it contains his complete 1946 - 1947 Keynote recordings, along with a sampling of records he cut in 1947 for Savoy and Baronet with small groups that included guitarist Billy Bauer and John La Porta, a reed player who would collaborate with Charles Mingus in the mid-'50s. The year 1949 was an important one for Tristano and is well represented by material from seven different sessions. These include the long take of "Victory Ball" as played by the Metronome All-Stars, selections from a Prestige date with Lee Konitz, a Birdland gig featuring Warne Marsh, and two segments of a Carnegie Hall engagement involving both saxophonists. Seven dazzlingly creative sides cut for Capitol during the spring of 1949 with Marsh and Konitz constitute milestones of modernity, complete with authentic instances of intuitively coordinated group improvisation. Apparently, the recording engineers at Capitol were so intolerant and closed-minded that they made faces, gestured impatiently, and even erased two of the tracks. Small wonder then that Tristano soon established his own Jazz Records label. By October of 1951, he would be exercising his artistic autonomy by overdubbing the piano on recordings he made with a trio that included drummer Roy Haynes. This wonderful set closes with six extended jams from a concert at the UGPO Hall in Toronto on July 17, 1952, sponsored by the New Jazz Society of Toronto and the Canadian Ministry of Culture.
When traditionalist tenor saxophonist Bud Freeman first heard Tristano's "Out on a Limb," he sought him out and asked to be tutored in jazz theory and harmony. This was an uncommonly progressive move for a long-standing cohort of Eddie Condon's, and prefigures Pee Wee Russell's later excursions into modern jazz. "I never knew how much freer I would feel getting down to the basic principles," remembered Freeman. "I thought it would be instructive to study with a great musician like Lennie; I didn't know it would be so much fun." An excellent companion to this set would be Gambit's unparalleled double-CD Live at the Confucius Restaurant, along with a copy of Eunmi Shim's informative and insightful biography, Lennie Tristano: His Life in Music, which was published by the University of Michigan Press in 2007. arwulf arwulf
Disc One : Out On A Limb (P1353)
1-1 Emmett Carls Sextet– Tea For Two 3:18
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-2 Emmett Carls Sextet– Tea For Two (Take 2) 2:56
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-3 Emmett Carls Sextet– Blue Lou 2:52
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Sampson, Mills
1-4 Emmett Carls Sextet– These Foolish Things 2:33
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-5 Emmett Carls Sextet– These Foolish Things (Take 2) 2:35
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-6 Emmett Carls Sextet– It's The Talk Of The Town 2:13
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-7 Emmett Carls Sextet– It's The Talk Of The Town (Take 2) 3:16
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-8 Lennie Tristano– Yesterdays 3:03
Piano – Lennie Tristano
Written-By – Kern, Harbach
1-9 Lennie Tristano– What Is This Thing Called Love? 2:47
Piano – Lennie Tristano
Written-By – Porter
1-10 Lennie Tristano– Don't Blame Me 2:49
Piano – Lennie Tristano
Written-By – Fields, McHugh
1-11 Lennie Tristano– I Found A New Baby 2:46
Piano – Lennie Tristano
Written-By – Palmer, Williams
1-12 Lennie Tristano Trio– I Can't Get Started 2:53
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-13 Lennie Tristano Trio– A Night In Tunisia 2:21
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Paparelli
1-14 Lennie Tristano Trio– Out On A Limb (Take 1) 2:36
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-15 Lennie Tristano Trio– Out On A Limb (Take 2) 2:48
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-16 Lennie Tristano Trio– Out On A Limb (Take 3) 2:39
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-17 Lennie Tristano Trio– I Can't Get Started (Take 1) 2:57
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-18 Lennie Tristano Trio– I Can't Get Started (Take 2) 2:54
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-19 Lennie Tristano Trio– I Surrender Dear (Take 1) 2:33
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-20 Lennie Tristano Trio– I Surrender Dear (Take 2) 2:16
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-21 Lennie Tristano Trio– I Surrender Dear (Take 3) 3:05
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-22 Lennie Tristano Trio– Interlude (Take 1) 3:04
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-23 Lennie Tristano Trio– Interlude (Take 2) 2:31
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-24 Lennie Tristano Trio– Interlude (Take 3) 2:58
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-25 Lennie Tristano Trio– Interlude (Take 4) 2:53
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-26 Lennie Tristano Trio– Interlude (Take 5) 1:40
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-27 Lennie Tristano Trio– Interlude (Take 6) 3:00
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
Disc Two : New Sound (P1354)
2-1 Lennie Tristano Trio– Untitled Blues 3:46
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-2 Lennie Tristano Trio– Blue Boy 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Bauer
2-3 Lennie Tristano Trio– Atonement 2:27
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-4 Lennie Tristano Trio– Coolin' Off With Ulanov (Take 1) 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-5 Lennie Tristano Trio– Coolin' Off With Ulanov (Take 2) 2:28
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-6 Lennie Tristano– I Don't Stand A Ghost Of A Chance With You 2:55
Piano – Lennie Tristano
Written-By – Crosby, Washington, Young
2-7 Lennie Tristano– Spontaneous Combustion 2:53
Piano – Lennie Tristano
Written-By – Tristano
2-8 Lennie Tristano– Just Judy 2:38
Piano – Lennie Tristano
Written-By – Tristano
2-9 Lennie Tristano Trio– Supersonic 3:18
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-10 Lennie Tristano Trio– On A Planet 3:17
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-11 Lennie Tristano Trio– Air Pocket 2:44
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-12 Lennie Tristano Trio– Celestia 2:54
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-13 Lennie Tristano Trio– Freedom 3:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-14 Lennie Tristano Trio– Parallel 2:28
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-15 Lennie Tristano Trio– Apellation 1:53
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-16 Lennie Tristano Trio– Abstraction 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-17 Lennie Tristano Trio– Palimpsest 2:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-18 Lennie Tristano Trio– Dissonance 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-19 Lennie Tristano Quartet– Through These Portals 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – La Porta
2-20 Lennie Tristano Quartet– Speculation 2:24
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-21 Lennie Tristano Quartet– New Sound 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-22 Lennie Tristano Quartet– Resemblance 2:22
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
Disc Three : Crosscurrents (P1355)
3-1 The Metronome All Stars– Victory Ball 4:12
Alto Saxophone – Charlie Parker
Arranged By, Directed By – Pete Rugolo
Baritone Saxophone – Ernie Caceres
Bass – Eddie Safranski
Clarinet – Buddy de Franco
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura
Trombone – J.J. Johnson, Kai Winding
Trumpet – Dizzy Gillespie, Fats Navarro, Miles Davis
Written-By – Bauer, Parker, Tristano
3-2 Lennie Tristano Quintet– Tautology 2:44
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-3 Lennie Tristano Quintet– Subconscious Lee 2:48
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-4 Lennie Tristano Quartet– Retrospection 3:07
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-5 Lennie Tristano Quartet– Judy 2:54
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-6 Lennie Tristano Sextette– Wow 3:21
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-7 Lennie Tristano Sextette– Crosscurrent 2:50
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-8 Lennie Tristano– Yesterdays 2:46
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-9 Lennie Tristano Sextette– Marionette 3:04
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Bauer
3-10 Lennie Tristano Sextette– Sax Of A Kind 2:59
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
3-11 Lennie Tristano Sextette– Intuition 2:26
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-12 Lennie Tristano Sextette– Digression 3:05
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-13 Lennie Tristano Quintet– Remember 7:41
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-14 Lennie Tristano Quintet– Pennies 5:45
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-15 Lennie Tristano Quintet– Foolish Things 4:06
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-16 Lennie Tristano Quintet– Indiana 5:42
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-17 Lennie Tristano Quintet– I'm No Good Without You 4:19
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
Disc Four : Lennie's Pennies (P1356)
4-1 Lennie Tristano Sextet– Sax Of A Kind 5:12
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
4-2 Lennie Tristano Sextet– You Go To My Head 4:34
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-3 Lennie Tristano Trio– Ju-Ju 2:13
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-4 Lennie Tristano Trio– Passtime 3:38
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-5 Lennie Tristano Quintet– Lennie's Pennies 6:12
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-6 Lennie Tristano Quintet– 317 East 32nd 9:19
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-7 Lennie Tristano Quintet– You Go To My Head 6:43
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-8 Lennie Tristano Quintet– April 8:42
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-9 Lennie Tristano Quintet– Sound-Lee 7:37
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz
4-10 Lennie Tristano Quintet– Back-Home 7:56
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
7.3.23
LEE KONITZ - From Newport to Nice (1992) FLAC (tracks+.cue), lossless
Tracklist :
1 Two Not One 5:41
Lennie Tristano
2 My Melancholy Baby 3:09
Ernie Burnett / George Norton
3 I'm Getting Sentimental over You 3:38
George Bassman / Ned Washington
4 Easy Living 3:53
Ralph Rainger / Leo Robin
5 Some of These Days 4:14
Shelton Brooks
6 Lover Man 4:19
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Will You Still Be Mine? 4:05
Tom Adair / Matt Dennis
8 'Round Midnight 5:10
Bernie Hanighen / Thelonious Monk / Cootie Williams
9 All the Things You Are 9:20
Oscar Hammerstein II / Jerome Kern
10 317 East 32nd Street 6:17
Lennie Tristano
11 At Twilight 7:59
Maceo Pinkard
12 Lover Man 10:05
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
13 Body and Soul 5:54
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
Credits :
Alto Saxophone – Lee Konitz
Contrabass – Barre Phillips (pistas: 10, 11), Bob Carter (pistas: 1), Frank Carroll (pistas: 2), Henry Grimes (pistas: 5 to 7), Johnny Fischer (pistas: 3, 4), Red Mitchell (pistas: 12), Rob Langereis (pistas: 8, 9)
Drums – Buzzy Drootin (pistas: 1), Don Lamond (pistas: 2), Ed Levinson (pistas: 5 to 7), Han Bennink (pistas: 8, 9), Rudi Sehring (pistas: 3), Shelly Manne (pistas: 12), Stu Martin (pistas: 10, 11)
Guitar – Attila Zoller (pistas: 10, 11), Jimmy Raney (pistas: 13), Johnny Smith (pistas: 2), René Thomas (pistas: 8, 9)
Piano – Jimmy Rowles (pistas: 12), Misha Mengelberg (pistas: 8, 9), Roland Kovac (pistas: 3), Russ Freeman (pistas: 1)
Tenor Saxophone – Warne Marsh (pistas: 1)
13.7.21
DONNA HIGHTOWER - Take One! + Gee, Baby, Ain't I Good To You? (2009) FLAC (tracks+.cue), lossless
+ last month
KNUT REIERSRUD | ALE MÖLLER | ERIC BIBB | ALY BAIN | FRASER FIFIELD | TUVA SYVERTSEN | OLLE LINDER — Celtic Roots (2016) Serie : Jazz at Berlin Philharmonic — VI (2016) FLAC (tracks+.cue), lossless
An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...