SONNY STITT — Kaleidoscope (1992) FLAC (tracks+.cue), lossless

Deftly handling the alto, tenor, and baritone saxophone, bebop giant Sonny Stitt is heard to perfection here on a variety of early-'50s dates. Stitt not only shows off his patented speed throughout, but he goes a long way in dispelling criticisms of him being all fire and no grace. The 16-track disc kicks off with four tight, Latin-tinged swingers featuring an octet that includes trumpeter Joe Newman and timbales player Humberto Morales. Switching to piano quartet mode for the bulk of the disc, Stitt ranges effortlessly from frenetic blasts ("Cherokee") to golden-hued ballads ("Imagination"). Capping off the set with four bonus cuts featuring the likes of Gene Ammons and Junior Mance, Stitt delivers one of the top sets of performances from the late bebop era. Stephen Cook
Tracklist :
1    Stitt's It 2:35
Written-By – Massey, Stitt
2    Cool Mambo 2:40
Written-By – Massey, Stitt
3    Blue Mambo 2:25
Written-By – Massey, Stitt
4    Sonny Sounds 2:29
Written-By – Massey, Stitt
5    Ain't Misbehavin' 3:02
Written-By – Razaf, Waller, Brooks
6    Later 3:00
Written-By – Sonny Stitt
7    P.S. I Love You 3:00
Written-By – Jenkins, Mercer
8    This Can't Be Love 2:47
Written-By – Rodgers-Hart
9    Imagination 3:24
Written-By – Burke-Van Heusen
10    Cherokee 2:33
Written-By – Ray Noble
11    Can't We Be Friends 2:41
Written-By – Swift, James
12    Liza (All The Clouds'll Roll Away) 2:45
Written-By – Gershwin-Gershwin, Kahn
– BONUS TRACK –
13    To Think You've Chosen Me 3:11
Written-By – Benjamin, Weiss
14    After You've Gone 2:25
Written-By – Creamer, Layton
15    Our Very Own 3:05
Written-By – Elliot, Young
16    'S Wonderful 2:24
Written-By – Gershwin-Gershwin
Credits :
Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Sonny Stitt
Baritone Saxophone – Gene Ammons (tracks: 13 to 16)
Bass – Ernie Sheppard (tracks: 1 to 4), Gene Wright (tracks: 7 to 16), Tommy Potter (tracks: 5, 6)
Drums – Art Blakey (tracks: 5, 6, 9, 10), Shadow Wilson (tracks: 1 to 4), Teddy Stewart (tracks: 7, 8, 11, 12), Wesley Landers (tracks: 13 to 16)
Engineer [Recording] – Rudy Van Gelder
Piano – Charlie Bateman (tracks: 7, 8, 11, 12), John Houston (tracks: 1 to 4), Junior Mance (tracks: 9, 10, 13 to 16), Kenny Drew (tracks: 5, 6)
Timbales – Humberto Morales (tracks: 2, 3)
Trombone – Matthew Gee (tracks: 13 to 16)
Trumpet – Bill Massey (tracks: 1 to 4, 13 to 16), Joe Newman (tracks: 1 to 4), John Hunt (tracks: 1 to 4)
Vocals – Larry Townsend (tracks: 13 to 16)
Nota.
Selections #1-4 recorded on March 25, 1952; #5-6 February 17, 1950; #7-8 February 1, 1951; #9-10 December 15, 1950; #11-12 January 31, 1951; #13-16 October 8, 1950. All selections recorded in New York City.
NoNOISE reprocessing by Sonic Solutions.
Audio restoration and digital remastering, 1992 (Fantasy Studios, Berkeley).
Selections #13-16 previously released on Stitt’s Bits (Prestige 7585).

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | Limited Edition | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanburn.

Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.

After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song. Samuel L. Chell
Tracklist :
1    Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Bass – Gene Wright
Clarinet – Buddy DeFranco
Drums – Bobby White
Guitar – Tal Farlow (tracks: 1, 3 to 5)
Organ, Piano – Sonny Clark

PAUL DESMOND — Easy Living ft. JIM HALL (1966-2000) RM | Serie RCA Victor Gold Series | FLAC (image+.cue), lossless

As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however -- indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." [Some reissues add a pair of outtakes, plus "Rude Old Man."] Richard S. Ginell
Tracklist :
1    When Joanna Loved Me 5:45
Written-By – J. Segal, R. Wells
2    That Old Feeling 5:44
Written-By – L. Brown, S.Fain
3    Polka Dots And Moonbeams 5:49
Written-By – J. V. Heusen, J. Burke
4    Here's That Rainy Day 5:42
Written-By – J. V. Heusen, J. Burke
5    Easy Living 7:05
Written-By – L. Robin, R. Rainger
6    I've Grown Accustomed To Her Face 4:15
Written-By – A. J. Lerner, F. Loewe
7    Bewitched 6:22
Written-By – R. Rogers - L. Hart
8    Blues For Fun 6:22
Written-By – P. Desmond
9    Rude Old Man 5:39
Written-By – E.Wright
10    Polka Dots And Moonbeams (Alternate Take) 6:09
Written-By – J. V. Heusen, J. Burke
11    Bewitched (Alternate Take) 7:46
Written-By – R. Rogers - L. Hart
Credits :
Paul Desmond - Alto Sax
Jim Hall - Guitar
Eugene Wright - Bass (1, 2, 6, 11)
Eugene Cherico - Bass (3, 4, 10)
Percy Heath - Bass (5, 7, 8, 9)
Connie Kay - Drums

CAL TJADER — Black Orchid (1993) FLAC (tracks+.cue), lossless

This CD has all of the music originally on the two LPs Cal Tjader Goes Latin and The Cal Tjader Quintet. Since each album had two sessions apiece, the CD does a fine job of giving one a sampling of the influential vibraphonist's popular Latin jazz groups of the era. Among the key sideman are flutist Paul Horn; Jose "Chombo" Silva on tenor; pianists Lonnie Hewitt, Vince Guaraldi, and Manuel Duran; and Mongo Santamaria and Willie Bobo on percussion. The music (a mixture of Latinized standards and newer originals) is quite appealing, showing why this infectious blending of bop with Latin rhythms has always been one of the most accessible styles of jazz. Scott Yanow
Tracklist  :
1    Mi China 2:15
Mongo Santamaría
2    Close Your Eyes 3:11
Bernice Petkere
3    Mambo at the "M" 4:39
Luis Kant
4    Contigo 2:40
Pedro Flores
5    Bonita 2:28
Lonnie Hewitt
6    The Lady Is a Tramp 4:32
Lorenz Hart / Richard Rodgers
7    Black Orchid 3:23
Cal Tjader
8    Happiness Is a Thing Called Joe :44
Harold Arlen / E.Y. "Yip" Harburg
9    I've Waited So Long 2:07
Jerry Lordan
10    Out of Nowhere 3:26
Johnny Green / Edward Heyman
11    Cuajira at the Blackhawk 5:20
Mongo Santamaría
12    I Want to Be Happy 3:15
Irving Caesar / Vincent Youmans
13    The Nearness of You 3:54
Hoagy Carmichael / Ned Washington
14    Pete Kelly's Blues 3:48
Sammy Cahn / Ray Heindorf
15    A Minor Goof 3:53
Brew Moore
16    Undecided 3:23
Sydney Robin / Charlie Shavers
17    Philadelphia Mambo 3:20
Tito Puente
18    Flamingo 4:12
Edmund Anderson / Ted Grouya
19    Stompin' at the Savoy 4:00
Benny Goodman / Andy Razaf / Edgar Sampson / Chick Webb
20    Laura 3:21
Johnny Mercer / David Raksin
21    Lullaby of Birdland 4:00
George Shearing / George David Weiss
Credits :
José "Chombo" Silva (Saxophone)
Paul Horn (Flute)
Vince Guaraldi, Lonnie Hewitt, Manuel Duran (Piano)
Eugene Wright, Carlos Duran,  Al McKibbon (Bass)
Willie Bobo (Drums, Timbales)
Luis Kant, Mongo Santamaria, Luis Miranda (Conga Drums)
Bayardo Velarde (Timbales)

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanborn.
Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.
After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song.  Samuel L. Chell

Tracklist :
1     Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Buddy De Franco - Clarinet
Sonny Clark - Piano and Organ
Tal Farlow - Guitar
Gene Wright - Bass
Bobby White - Drums
Recorded in Los Angeles, CA, on September 1, 1954 and August 12 & 26, 1955.

GENE AMMONS – 1947-1949 | The Chronogical Classics – 1251 (2002) FLAC (tracks+.cue), lossless

 Gene Ammons, son of Albert, was a warm, approachable tenor saxophonist who existed at the fulcrum of several genres, and styles within genres. He swung, bopped, rocked, rolled, preached, and dished out sensuous songs of love and heartbreak. These are his first recordings as a leader. "Red Top," a portrait of Gene's wife Mildred (who was also T-Bone Walker's niece), was to be the inspiration for a milestone vocalese rendition recorded six years later by King Pleasure and Betty Carter, who sang words based upon Gail Brockman's trumpet solo. Here on the original track, Ammons quotes "Alice Blue Gown" at the beginning of his solo. This would become "Alice Rosetta" in King Pleasure's translation. Even if there weren't any vocals for comparison, "Red Top" is a masterpiece and "Idaho" the perfect flip side. These are object lessons in bop groove logic. Repeated exposure to jazz of this sort will permanently alter your brain in all of the hippest ways. "Concentration" does everything modern jazz was supposed to do. It's intricate, fresh and inventive. We're lucky to have contrasting versions from two different ensembles. "Blowing Red's Bop" should have been called "Blowing Red's Top," as it is clearly a remake of "Red Top." Twelve sides from October and December 1947 paint a picture of Chicago's jazz scene in rapid transition. "Shermanski" contains a wild ensemble vamp behind the sax that might rile your blood. "Jeet Jet" is a ferocious bop line that includes a swift succession of nine hammer strokes. The magnificently titled "Blowing the Family Jewels" rolls at about 65 mph. Earl Coleman sings like Billy Eckstine on "Hold That Money." Contrary to what the discography says, Coleman is not heard on "Dues in Blues," a sultry cooker that walks its way into "Night Train" territory. The session from February 1949 is a good example of bebop you could dance to if you felt like it. "Brother Jug's Sermon" has a spoken intro and handclaps behind a "preaching" tenor sax. Two sentimental vocals, one by pianist Christine Chatman and the other by Mary F. Graham, are included in the package to place Ammons' music in context for the year 1949. But the instrumentals are the gravy. "Stuffy," a percolator by Coleman Hawkins, comes across nice and solid. Ammons' handling of "Once in a While" is gorgeous, honest, personable and very, very cool. arwulf arwulf         Tracklist + Credits :

GENE AMMONS – 1949-1950 | The Chronogical Classics – 1329 (2003) FLAC (tracks+.cue), lossless

This leg of the Gene Ammons chronology begins with two pretty vocals by Christine Chapman. Jug is in the background, offering emotional support through the tenor sax. These tidbits are soon forgotten as several powerful blowing sessions unfold. The lush, theatrical renditions of "Ev'rything Depends on You" and "When You're Gone" are thrilling examples of where the jazz ballad was at in 1949. The elegant boppish swing of "Hot Springs" is liberating. "Little Slam" eventually reveals itself as a reconstituted "King Porter Stomp." The next session is even better: "Pennies From Heaven" is all delicacy and beatitude. "The Last Mile," also known as "Rockin' Rocker," does an impressive slow grind on simple blues changes. "Cha-Bootie" is definitive swaggering Gene Ammons, full of soul. During "Full Moon" the band bursts all restraints and lunges forward with horns blazing. On March 5th 1960, Ammons started laying down thunder tracks for the Prestige label. "Bye Bye" sounds like "Soft Winds" with salt and Tabasco. Ammons leads a hand-clapping moralistic singalong called "Let It Be." That's Sonny Stitt blowing down a baritone sax. He comes round front, switches to tenor and duels with Ammons on "Blues Up and Down," a showpiece that would be revived by Johnny Griffin and Eddie "Lockjaw" Davis during the early 1960s. How cool it is to hear the original version of this two-sax workout, followed by a brisk "You Can Depend On Me"? Great rhythm section in Duke Jordan, Tommy Potter and "Kansas City" Jo Jones. Teddy Williams must have opened his mouth abnormally wide when he sang with this band. It's kind of outrageous, like he's doing Billy Eckstine impressions. On "Dumb Woman Blues" his chortling makes a bit more sense but he's still really loud and overbearing. For this kind of singing, Eddie "Cleanhead" Vinson would be preferable. The Prestige rendering of "Chabootie" is a marvel of precision. Stitt was a capable baritone player, and Art Blakey has appeared as a worthy successor for Jones. "Who Put the Sleeping Pills in Rip Van Winkle's Coffee?" is surprisingly stupid, and no amount of hot blowing can rescue the song from itself after Gene leads the band in a stilted singalong. The melody is a turkey, which explains why this track rarely appears on reissues. "Gravy" is immediately recognizable as "Walkin'," that great durable anthem of hard bop. Once again, Stitt's baritone is a bitch. "Easy Glide" sparkles with a vintage early-'50s show time arrangement, very theatrical. The disc closes out with four sides issued on the Chess label. While "Tenor Eleven" is pleasantly stimulating, Jug really finds himself in the ballad groove with the help of primitive reverb and maybe something else to steady the nerves and enhance his mood. Three ballads and you're out. arwulf arwulf       Tracklist + Credits :

GENE AMMONS – 1950-1951 | The Chronogical Classics – 1367 (2004) FLAC (tracks+.cue), lossless

Tracklist + Credits :

CAL TJADER - Tjader Plays Tjazz (1954-1998) RM / MONO / APE (image+.cue), lossless

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. by Scott Yanow
Tracklist :
1      Moten Swing 4:02
Bennie Moten / Buster Moten
2     I've Never Been in Love Before 2:33
Frank Loesser
3     There Will Never Be Another You 5:04
Mack Gordon / Harry Warren
4     How About You? 3:04
Ralph Freed / James Van Heusen / Burton Lane
5     Jeepers Creepers 3:17
Johnny Mercer / Harry Warren
6     A Minor Goof 3:56
Brew Moore
7     My One and Only Love 2:47
Robert Mellin / Guy Wood
8     Imagination 3:18
Johnny Burke / James Van Heusen
9     I'll Know 2:59
Frank Loesser
10     Brew's Blues 3:29
Brew Moore
Credits :
Bass – Al McKibbon (faixas: 2, 4, 7, 9), Eugene Wright (faixas: 1, 3, 5, 6, 8, 10)
Drums – Bobby White (faixas: 1, 3, 5, 6, 8, 10), Cal Tjader (faixas: 2, 4, 7, 9)
Guitar – Eddie Duran (faixas: 2, 4, 7, 9)
Liner Notes – Ralph J. Gleason
Piano – Sonny Clark (faixas: 1, 3, 5, 6, 8, 10)
Tenor Saxophone – Brew Moore (faixas: 1, 3, 5, 6, 8, 10)
Trombone – Bob Collins (faixas: 2, 4, 7, 9)
Vibraphone – Cal Tjader (faixas: 1, 3, 5, 6, 8, 10) 

CAL TJADER - Cal Tjader Quartet (1956-1997) RM / FLAC (image+.cue), lossless

Vibraphonist Cal Tjader took a brief vacation from playing Afro-Cuban jazz to record this fine straight-ahead bop set. The 1956 LP matches Tjader with the underrated but always swinging pianist Gerald Wiggins, bassist Eugene Wright (shortly before he joined the Dave Brubeck Quartet), and drummer Bill Douglass. They perform four basic originals (two apiece by Wiggins and Wright) and five standards, including a swinging "Battle Hymn of the Republic" and "Our Love Is Here to Stay." On this date, more than almost any other one, Tjader displays his debt to Milt Jackson's style. by Scott Yanow
Tracklist :
1     Battle Hymn of the Republic 3:28
Julia Ward Howe / William Steffe
2     It Never Entered My Mind 3:38
Lorenz Hart / Richard Rodgers
3     A Light Groove 5:11
Gerald Wiggins
4     The Night We Called It a Day 3:06
Tom Adair / Matt Dennis
5     Fancy Bea 4:16
Eugene Wright
6     A Fifth for Frank 4:50
Gerald Wiggins
7     For All We Know 4:43
J. Fred Coots / Sam M. Lewis
8     Miss Wiggins 5:57
Eugene Wright
9     Love Is Here to Stay 5:26
George Gershwin / Ira Gershwin
Credits :
Bass – Eugene J. Wright
Drums – Bill Douglass
Piano – Gerald Wiggins
Vibraphone – Cal Tjader

THE DAVE BRUBECK QUARTET - Jazz Impressions of Japan (1964-2001) RM / FLAC (image+.cue), lossless

Thirteen years into their tenure, the Dave Brubeck Quartet was still able to mine the creative vein for new means of expression. Despite the hits and popularity on college campuses, or perhaps because of it, Brubeck, Paul Desmond, Eugene Wright, and Joe Morello composed a restless band with a distinctive sound. These eight tracks, all based on a tour of Japan the year before, were, in a sense, Brubeck fulfilling a dictum from his teacher, the French composer Darius Milhaud, who exhorted him to "travel the world and keep your ears open." The sketches Brubeck and Desmond created all invoke the East, particularly the folk melodies of Japan directly, while still managing to use the Debussian impressionistic approach to jazz that kept them riding the charts and creating a body of music that, while playing into the exotica craze of the moment, was still jazz composed and played with integrity. The gorgeous modal blues that uses Eastern scale whole tones with Western harmonic notions -- chromatically -- that comprise the melody and solo frameworks for Desmond in "Fujiyama" are a beautiful contrast to the relatively straight-ahead ballad style featured on "Zen Is When," with its 4/4 time sling rhythm and simple melody -- extrapolated by Brubeck in purely Japanese whole tone scale on the harmony. Also, the shimmer and whisper of "The City Is Crying," where Desmond's solo is one of the most beautiful of his career, using arpeggios as half tones to reach down into the middle of his horn's register and play harmonically a counterpoint that is as painterly as it is poignant. On "Osaka Blues," Brubeck once again reaches for an oriental scale to play a modal blues à la Miles Davis with Wynton Kelly; Desmond responds by playing straight post-bop Bluesology with even a squeak or two in his solo. In all, Jazz Impressions of Japan is one of the great forgotten Brubeck records. Its sweetness is tempered with musical adventure and the improvisational experience only a band that had been together 13 years could provide. It's truly wonderful.
(This comment is posted on allmusic by Thom Jurek, a follower of our blog O Púbis da Rosa.)
Note: Dear Thom, infinite joy of being part of the Blog and being able to share your wise comments. Our greatest wish is to continue taking all the petals of our beloved rose! Lakhavinor Artus
Tracklist:
1 Tokyo Traffic 5:54
Dave Brubeck
2 Rising Sun 4:42
Dave Brubeck
3 Toki's Theme from CBS-TV Series, "Mr. Broadway"] 2:10
Dave Brubeck
4 Fujiyama 5:05
Dave Brubeck
5 Zen Is When 2:55
Dave Brubeck / Bud Freeman / Léon Pober
6 The City Is Crying 6:03
Dave Brubeck
7 Osaka Blues 5:11
Dave Brubeck
8 Koto Song 3:01
Dave Brubeck
Credits:
Alto Saxophone – Paul Desmond
Bass – Eugene Wright
Drums – Joe Morello
Piano – Dave Brubeck
Producer – Teo Macero

DAVE BRUBECK QUARTET - My Favorite Things (1965-2014) RM / JAZZ COLLECTION 1000 / FLAC (image+.cue), lossless

Although recorded in sessions in 1962 and 1965, this set of Richard Rodgers tunes by the Dave Brubeck Quartet has a strong unity about it due to the consistent performances of the veteran group. With altoist Paul Desmond and the pianist-leader contributing some fine solos (and bassist Eugene Wright and drummer Joe Morello excellent in support), The Rodgers songs are treated with respect and swing. This comparatively gentle version of "My Favorite Things" would never be mistaken for John Coltrane's. by Scott Yanow

"My Favorite Things" is one of Dave Brubeck's "composer albums". Brubeck fans will recall such titles as "Anything Goes" (Cole Porter), and "Angel Eyes" (Matt Denise) here the Dave Brubeck Quartet pays homage to Richard Rogers and the results, while at as satisfying as "Anything Goes", make "My Favorite Things" one of Brubeck's best albums.

We start things off with a fast tempo version of the title track, minus Paul Desmond. Brubeck at times seems as if he's about to go off-time, but never does. Brubeck fans will take note of the fact he has made a career playing around with time signitures. But Brubeck does get some good passages in. I like a lot of the chord changes and Brubeck's right hand does some nifty work.

The next track "Over and Over Again" starts off with Brubeck playing the melody, almost as a ballad and then things pick up as Desmond comes in. Wonderful interplay between Brubeck and Desmond should make you keep coming back to this one.

My favorite track on the album might be "This Can't Be Love". Brubeck plays it as a familar tempo but again gets in a lot of good passages. As does Paul Desmond.

"Circus on Parade" is one the only song on the album I wasn't familar with it. The quartet swings on it from beginning to end and the result is rather pleasing.

"My Romance" and "The Most Beautiful Girl In The World" are the same version heard on Brubeck's "Plays West Side Story". But are enjoyable to listen to but I prefer "Girl".

Overall "My Favorite Things" is a very good album that demonstrates with made the quartet so popular. Brubeck and Desmond as usual have wonderful chemistry together and the song selection is a delight. If there is one negative thing to say about the album it is that there aren't enough songs! Where are the recordings of "Bewitched, Bothered & Bewildered", "Where or When", "Soon (There'll Just Be Two Of Us)", "Lady Is A Tramp" and "Loads of Love"? But we Brubeck fans will take what we can get.

Bottom-line: One of Brubeck's best albums. Desmond and Brubeck are a delight to listen to as is the song selection. Fans of Brubeck should check this out despite it being very rare. by Alex Udvary, 

Tracklist:

1. My Favorite Things  2:57 

Oscar Hammerstein II / Richard Rodgers

2. Over and Over Again 4:07

Lorenz Hart / Richard Rodgers

3. Why Can't I? 6:58

Lorenz Hart / Richard Rodgers

4. Little Girl Blue 5:35

Lorenz Hart / Richard Rodgers

5. This Can't Be Love 6:57

Lorenz Hart / Richard Rodgers

6. My Romance 6:55

Lorenz Hart / Richard Rodgers

7. The Circus on Parade 3:19

Lorenz Hart / Richard Rodgers

8. The Most Beautiful Girl in the World 5:18

Lorenz Hart / Richard Rodgers

Time: 0:42:10

Recorded on June 11, 1962 - September 22, 1965.

Credits

Dave Brubeck - piano

Paul Desmond - alto saxophone

Gene Wright - bass

Joe Morello - drums

 

PAUL DESMOND — Take Ten (1963-1999) Serie Classic Edition | APE (image+.cue), lossless

Now listeners enter the heart of the Paul Desmond/Jim Hall sessions, a great quartet date with Gene Cherico manning the bass (Gene Wright deputizes on the title track) and MJQ drummer Connie Kay displaying other sides of his personality. Everyone wanted Desmond to come up with a sequel to the monster hit "Take Five"; and so he did, reworking the tune and playfully designating the meter as 10/8. Hence "Take Ten," a worthy sequel with a solo that has a Middle-Eastern feeling akin to Desmond's famous extemporaneous excursion with Brubeck in "Le Souk" back in 1954. It was here that Desmond also unveiled a spin-off of the then-red-hot bossa nova groove that he called "bossa antigua" (a sardonic play-on-words meaning "old thing"), which laid the ground for Desmond's next album and a few more later in the decade. Two of the best examples are his own tunes, the samba-like "El Prince" (named after arranger Bob Prince), an infectious number with on-the-wing solo flights that you can't get out of your head, and the haunting "Embarcadero." Hall now gets plenty of room to stretch out, supported by Kay's gently dropped bombs, and he is the perfect understated swinging foil for the wistful altoist. There is not a single track here that isn't loaded with ingeniously worked out, always melodic ideas. Richard S. Ginell 
Tracklist:
1 Take Ten 3:11
Paul Desmond
2 El Prince 3:38
Paul Desmond
3 Alone Together 6:52
Howard Dietz / Arthur Schwartz
4 Embarcadero 4:07
Paul Desmond
5 Theme from "Black Orpheus" 4:14
Luiz Bonfá / Luigi Creatore / Antônio Maria / Hugo Peretti
6 Nancy (With the Laughing Face) 6:05
James Van Heusen / Phil Silvers
7 Samba de Orfeu 4:29
Luiz Bonfá
8 The One I Love (Belongs to Somebody Else) 5:37
Isham Jones / Gus Kahn
- Bonus Tracks -
9 Out Of Nowhere 6:54
Written-By – Edward Heyman, Johnny Green
10 Embarcadero (Alternate Take) 4:53
Written-By – Paul Desmond
11 El Prince (Alternate Take) 5:35
Written-By – Paul Desmond
Credits :
Alto Saxophone – Paul Desmond
Bass – Eugene Wright (tracks: 1), Gene Cherico (tracks: 2 to 8, 10, 11), George Duvivier (tracks: 9)
Drums – Connie Kay
Guitar – Jim Hall

THE DAVE BRUBECK QUARTET - Time Out (1959-1983) RM / FLAC (image+.cue), lossless

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection.

Tracklist:

1. Blue Rondo a la Turk

2. Strange Meadow Lark

3. Take Five

4. Three to Get Ready

5. Kathy's Waltz

6. Everybody's Jumpin'

7. Pick Up Sticks

Credits

Dave Brubeck (piano)

Paul Desmond (sax alto)

Eugene Wright (bass)

Joe Morello (drums)