All too often, jazz critics have promoted the myth that Lester Young's playing went way downhill after World War II -- that the seminal tenor man was so emotionally wounded by the racism he suffered in the military in 1944-1945 that he could no longer play as well as he had in the '30s and early '40s. To be sure, Young went through hell in the military, and his painful experiences took their toll in the form of alcohol abuse, severe depression, and various health problems. But despite Young's mental decline, he was still a fantastic soloist. This eight-CD set, which gathers most of the studio recordings that he made for Norman Granz's Clef, Norgran, and Verve labels from 1946-1959, underscores the fact that much of his postwar output was superb. At its worst, this collection is at least decent, but the Pres truly excels on sessions with Nat "King" Cole and Buddy Rich in 1946, Oscar Peterson and Barney Kessel in 1952, Roy Eldridge and Teddy Wilson in 1956, and Harry "Sweets" Edison in 1957. Disc 8 contains two recorded interviews with the saxman -- one conducted by Chris Albertson in 1958 for WCAU radio in Philadelphia, the other by French jazz enthusiast Francois Postif in Paris on February 6, 1959 (only five or six weeks before Young's death on March 15 of that year). The contrast between the fascinating interviews is striking; in Philly, Young is polite and soft-spoken, whereas in Paris, the effects of the alcohol are hard to miss. Sounding intoxicated and using profanity liberally, Young candidly tells Postif about everything from his experiences with racism to his associations with Billie Holiday and Count Basie. But as much as the set has going for it, The Complete Lester Young Studio Sessions on Verve isn't for novices, casual listeners, or those who are budget-minded (Verve's suggested retail price in the U.S. was $144). Collectors are the ones who will find this CD to be a musical feast. Alex Henderson Tracklist & Credits :
24.11.23
LESTER YOUNG — The Complete Lester Young Studio Sessions on Verve (2006) RM | 8xCD BOX-SET | FLAC (tracks+.cue), lossless
3.10.23
THELONIOUS MONK – 1947-1948 | The Classics Chronological Series – 1118 (2000) FLAC (tracks+.cue), lossless
The first recordings ever issued under Thelonious Monk's name are presented as volume one in the Classics Thelonious Monk chronology. Although he'd been an active catalyst on the jazz scene for many years it wasn't until the autumn of 1947 that Monk was able to begin making records as a leader. These 20 Blue Note sides are uniformly excellent; each of the pianist's original compositions would soon begin to form a musical canon of strikingly creative works that would completely transform the ways in which jazz was conceived, structured, played, received and understood. During this period, Monk's groups included such vital players as Milt Jackson, Art Blakey, Shadow Wilson, Gene Ramey, Idrees Sulieman, Sahib Shihab and Ike Quebec's cousin Danny Quebec West. Monk's quartet session of July 2, 1948 features two pleasant vocals by Kenny "Pancho" Hagood. Note that "Evidence," based upon the chord progressions of "Just You, Just Me," was originally titled "Just Us." Legend has it that after he realized that the recording engineer had mistakenly written down "Justice," Monk decided that if he was going to court he'd be sure and bring along the Evidence. arwulf arwulf Tracklist :
13.9.23
DEXTER GORDON – 1943-1947 | The Chronogical Classics – 999 (1998) FLAC (tracks+.cue), lossless
23.6.23
J. J. JOHNSON – 1946-1949 | The Classics Chronological Series – 1176 (2001) FLAC (tracks+.cue), lossless
Coming up in the big bands led by Benny Carter and Count Basie, trombonist J.J. Johnson was among the first of the truly modern trombonists. For his first recording session as a leader, Johnson chose pianist Bud Powell, bassist Leonard Gaskin, drummer Max Roach, and the mighty Cecil Payne -- later famous as a baritone saxophonist -- blowing a really fine alto. Each of these Savoy sides bubbles with the fresh new energy of a vibrant, creative music reinventing itself. Johnson's next opportunity to lead occurred on December 24, 1947, with stellar bop baritone Leo Parker and a fine rhythm section in Hank Jones, Al Lucas, and Shadow Wilson. The sheer presence of so many great musical minds is thrilling as Sonny Rollins, John Lewis, and Gene Ramey show up at the third Savoy session on May 11, 1949. With the exception of six sides with Babs Gonzales earlier that year (as heard on Classics 1124, the 1947-1949 volume of the label's Gonzales chronology), these are the earliest recordings ever made by Sonny Rollins. Johnson's next two dates would result in eight sides for the New Jazz label, combining Rollins with Kenny Dorham and then in October of 1949 teaming up with alto saxophonist Sonny Stitt. This is exceptionally satisfying primal bop, with no unnecessary or superfluous chaff, an impressive beginning to an illustrious career. arwulf arwulf
Tracklist + Credits :
3.4.23
LENNIE TRISTANO QUARTET - Live At The Confucius Restaurant 1955 (2007) 2CD | Unofficial Release | FLAC (tracks+.cue), lossless
Tracklist 1 :
1 Sweet And Lovely 5:28
Written-By – Arnheim, Tobias, Lemare
2 Background Music 6:03
Written-By – Warne Marsh
3 If I Had You 6:31
Written By – Campbell
Written-By – Connelly, Shapiro
4 317 E 32nd 7:01
Written-By – Lennie Tristano
5 These Foolish Things 5:42
Written-By – Link, Marvell, Strachey
6 'S Wonderful 5:02
Written-By – George & Ira Gershwin
7 You Go To My Head 5:28
Written-By – Gillespie, Coots
8 All The Things You Are 6:17
Written-By – Kern, Hammerstein
9 Lennie-Bird 6:09
Written-By – Lennie Tristano
10 My Melancholy Baby 8:10
Written-By – Burnett, Norton
Tracklist 2 :
1 April 8:14
Written-By – Lennie Tristano
2 Pennies In Minor 6:17
Written-By – Lennie Tristano
3 Mean To Me 7:42
Written-By – Ahlert, Turk
4 Confucius Blues 6:44
Written-By – Lennie Tristano
5 A Ghost Of A Chance 6:08
Written-By – Crosby, Washington, Young
6 Whispering 4:17
Written-By – Schonberger, Coburn, Rose
7 There Will Never Be Another You 7:34
Written-By – Warren, Gordon
8 Donna Lee 6:35
Written-By – Charlie Parker
9 East Thirty Second 4:32
Written-By – Lennie Tristano
10 Line Up 3:33
Written-By – Lennie Tristano
11 Turkish Mambo 3:40
Written-By – Lennie Tristano
12 Requiem 4:53
Written-By – Lennie Tristano
Credits :
Alto Saxophone – Lee Konitz
Bass – Gene Ramey, Peter Ind (tracks: 2-9 to 2-12)
Drums – Art Taylor, Jeff Morton (tracks: 2-9 to 2-12)
Piano – Lennie Tristano
Notas.
Recorded live at the Sing Song Room, Confucius Restaurant, New York City, June 11, 1955.
2-9 to 2-12 recorded at Tristano's home studio, New York City, 1954-55.
Tracks 2-9 to 2-12 previously unissued.
31.3.23
LENNIE TRISTANO - Requiem (1996) FLAC (tracks+.cue), lossless
Towards the end of the 20th century, the Giants of Jazz reissue label came out with a series of compilations that paid tribute to the amazingly creative musical mind of Lennie Tristano. Requiem offers 13 tracks recorded in New York City between the years 1949 and 1955, beginning with a pair of piano solos (the gnarly overdubbed "Turkish Mambo" and the beautiful reflective blues "Requiem") along with two studies for trio involving bassist Peter Ind and drummer Jeff Morton. "East Thirty-Second" was named for the address of Tristano's home recording studio, where these first four titles were taped in 1954 and 1955. Tracks five through nine and track 11 were distilled from the first and fourth of a five-set marathon recording session that took place live in the Sing Song Room of the Confucius Restaurant on June 11, 1955 with saxophonist Lee Konitz, drummer Art Taylor and bassist Gene Ramey, whose eventful career traces a trajectory from Lester Young through Charlie Parker to Lennie Tristano. Originally released on the Atlantic label, these wonderfully cohesive and consistently inspired performances still convey the intimate immediacy of relaxed collective improvisation. "Sax of a Kind" was extracted from the Capitol recording session of May 16, 1949, with Lee Konitz and Warne Marsh in front of Tristano, guitarist Billy Bauer, bassist Arnold Fishkin and drummer Denzil Best. For dessert the producers tacked on the short takes from the famous RCA Metronome All Stars date of January 3, 1949, stoked by a formidable 13-piece ensemble with a front line made up of Charlie Parker, Dizzy Gillespie, Fats Navarro, Miles Davis, Charlie Ventura, J.J. Johnson, Buddy DeFranco and Ernie Caceres. Legend has it that Bird deliberately feigned befuddlement at Pete Rugolo's arrangement in order to stall for time and draw a few unionized "Overtime" dollars for himself and his 12 session mates. Tristano's "Victory Ball" helped to establish a modern tradition that was still bearing fruit when Anthony Braxton included it on his hatART album Eight (+3) Tristano Compositions 1989 for Warne Marsh. arwulf arwulf
Tracklist :
1 East Thirty-Second 4:31
Lennie Tristano
2 Turkish Mambo 3:29
Lennie Tristano
3 Requiem 4:51
Lennie Tristano
4 Line Up 3:31
Lennie Tristano
5 These Foolish Things 5:43
Harry Link / Holt Marvell / Jack Strachey
6 All the Things You Are 6:10
Oscar Hammerstein II / Jerome Kern
7 You Go to My Head 5:22
J. Fred Coots / Haven Gillespie
8 I Don't Stand a Ghost of a Chance with You 6:03
Bing Crosby / Ned Washington / Victor Young
9 If I Had You 6:26
Jimmy Campbell / Reginald Connelly / Ted Shapiro
10 Sax of a Kind 5:11
Lennie Tristano
11 Confucius Blues 6:38
Lennie Tristano
12 Overtime 3:07
Pete Rugolo
13 Victory Ball 2:40
Lennie Tristano
Credits :
Alto Saxophone – Charlie Parker (tracks: 12, 13), Lee Konitz (tracks: 5 to 11)
Baritone Saxophone – Ernie Caceres (tracks: 12, 13)
Bass – Eddie Safranski (tracks: 12, 13), Gene Ramey (tracks: 5 to 9, 11), Joe Shulman (tracks: 10), Peter Ind (tracks: 1, 4)
Clarinet – Buddy De Franco (tracks: 12, 13)
Drums – Arthur Taylor (tracks: 5 to 9, 11), Jeff Morton (tracks: 1, 4, 10), Shelly Manne (tracks: 12, 13), Unknown Artist (tracks: 2)
Guitar – Billy Bauer (tracks: 10, 12, 13)
Orchestra – Metronome All Stars (tracks: 12, 13)
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura (tracks: 12, 13), Warne Marsh (tracks: 10)
Trombone – J.J. Johnson (tracks: 12, 13), Kai Winding (tracks: 12, 13)
Trumpet – Dizzy Gillespie (tracks: 12, 13), Fats Navarro (tracks: 12, 13), Miles Davis (tracks: 12, 13)
LENNIE TRISTANO - Lennie Tristano (1956-1998) Atlantic Original Sound | FLAC (tracks+.cue), lossless
Lennie Tristano's Atlantic debut was a controversial album at the time of its release. Though Tristano was regarded as a stellar and innovative bebop pianist, he had been absent from recording for six years and had founded a jazz school where he focused instead on teaching. The first four tunes on this set shocked the jazz world at the time of their release (though not critic Barry Ulanov, who was Tristano's greatest champion and wrote the liner notes for the set). The reason was that on those four original tunes -- "Line Up," "Requiem," "Turkish Mambo," and "East Thirty-Second" -- Tristano actually overdubbed piano lines, and sped the tape up and down for effect. While the effect is quite listenable and only jarring in the most splendid sense of the word -- because of the sharp, angular arpeggios and the knotty, involved method of improvising that came directly by improvising against the rhythm section of drummer Jeff Morton and bassist Peter Ind -- it was literally unheard of at the time. The last five tunes on the disc were recorded live with a rhythm section of bassist Gene Ramey and drummer Art Taylor. Lee Konitz plays alto as well. The tunes are all standards, including "These Foolish Things," "Ghost of a Chance," and "All the Things You Are." The performance is flawless, with beautiful interplay between Lee and Lennie and stellar harmonic ideas coming down from the bandstand in a fluid relaxed manner. This is a gorgeous album with a beautiful juxtaposition between its first and second halves, with the rhythmic and intervallic genius of Tristano as an improviser on full display during the first half and the pianist as a supreme lyrical and swinging harmonist during the back half.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Line Up 3:34
Lennie Tristano
2 Requiem 4:54
Lennie Tristano
3 Turkish Mambo 3:36
Lennie Tristano
4 East Thirty-Second 4:33
Lennie Tristano
5 These Foolish Things 5:45
Harry Link / Holt Marvell / Jack Strachey
6 You Go to My Head 5:20
J. Fred Coots
7 If I Had You 6:28
Jimmy Campbell / Reginald Connelly / Ted Shapiro
8 Ghost of a Chance 6:04
Bing Crosby / Ned Washington / Victor Young
9 All the Things You Are 6:11
Oscar Hammerstein II / Jerome Kern
Credits :
Alto Saxophone – Lee Konitz (tracks: 2, 3, 5 to 9)
Bass – Gene Ramey (tracks: 2, 3, 5 to 9), Peter Ind (tracks: 1, 4)
Drums – Art Taylor (tracks: 2, 3, 5 to 9), Jeff Morton (tracks: 1, 4)
Piano – Lennie Tristano
28.3.23
LENNIE TRISTANO - Lennie Tristano featuring : Lee Konitz (1996) APE (tracks+.cue), lossless
One of several Lennie Tristano retrospectives issued in 1998 by the Giants of Jazz label, this compilation is somewhat misleadingly subtitled "Featuring Lee Konitz." To be sure, alto saxophonist Konitz is heard in live performance with Tristano, bassist Gene Ramey and drummer Art Taylor in the cozy confines of the Sing Song Room deep within the Confucius Restaurant in New York on June 11, 1955. But this material only occupies the last three tracks, which amount to 21 out of 60 minutes of jazz. The rest of the music heard here -- tracks one through eight -- are piano solos recorded at Tristano's home studio (located at "317 East 32nd") during a time period extending from 1960 to 1962. The quartet recordings are as magnificent as the solo works are fascinating. This wonderful music improves with age, and one suspects that it will sound even better in the distant future. Listeners who fall in love with these sounds may wish to obtain more Lennie Tristano recordings. Some will need to hear them all and then will wish for more. arwulf arwulf
Tracklist :
1 Deliberation 4:51
Lennie Tristano
2 You Don't Know What Love Is 3:28
Gene DePaul / Don Raye
3 C Minor Complex 5:50
Lennie Tristano
4 Becoming 4:32
Lennie Tristano
5 Love Lines 2:20
Lennie Tristano
6 G Minor Complex 3:52
Lennie Tristano
7 Scene and Variations: Carol/Tania/Bud 11:42
Lennie Tristano
8 Rehearsal from Recording Date 4:32
Lennie Tristano
9 317 East 32nd 7:03
Lennie Tristano
10 Lennie-Bird 6:05
Lennie Tristano
11 April 8:07
Lennie Tristano
Credits :
Alto Saxophone – Lee Konitz (tracks: 9 to 11)
Bass – Gene Ramey (tracks: 9 to 11)
Drums – Arthur Taylor (tracks: 9 to 11)
Piano – Lennie Tristano
Notas.
1 to 7 recorded February or July - August in New York 1962
8 recorded in New York 1961
9 to 11 recorded at "Sing Song Room Confucius Restaurant", New York, June 11, 1955
19.10.22
STAN GETZ | ZOOT SIMS — The Brothers (1956-1989) RM | FLAC (tracks+.cue), lossless
The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement. Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis. Stephen Cook
Tracklist :
1 Stan Getz And His Four Brothers- Five Brothers 3:10
Gerry Mulligan
2 Stan Getz And His Four Brothers- Five Brothers [Alternate Take] 3:34
Gerry Mulligan
3 Stan Getz And His Four Brothers- Battle of the Saxes 3:52
Al Cohn
4 Stan Getz And His Four Brothers- Battleground 3:46
Al Cohn
5 Stan Getz And His Four Brothers- Battleground [Alternate Take] 3:31
Al Cohn
6 Stan Getz And His Four Brothers- Four and One Moore 3:22
Gerry Mulligan
7 Stan Getz And His Four Brothers- Four and One Moore [Alternate Take] 3:15
Gerry Mulligan
8 Zoot Sims And Al Cohn– The Red Door 4:34
Zoot Sims
9 Zoot Sims And Al Cohn– Zootcase 4:18
Zoot Sims
10 Zoot Sims And Al Cohn– Tangerine 4:24
Victor Schertzinger
11 Zoot Sims And Al Cohn– Morning Fun 5:37
Al Cohn
Credits :
1-7
Bass – Gene Ramey
Drums – Charlie Perry
Piano – Walter Bishop
Tenor Saxophone – Brew Moore, Stan Getz, Zoot Sims, Al Cohn, Allen Eager
8-11
Bass – Percy Heath
Drums – Art Blakey
Piano – George Wallington
Tenor Saxophone – Al Cohn, , Zoot Sims
Trombone – Kai Winding
Notas.
#1-7 recorded April 8, 1949. #8-11 recorded September 8, 1952.
#2, 5 and 7 are bonus tracks.
Remastered By [Digital Remastering] – Joe Tarantino
Artwork – Don Martin
6.10.22
LOU DONALDSON - Complete 1952 Blue Note Sessions (1952-2002) APE (image+.cue), lossless
Tracklist :
1 Tahiti 3'29
Milt Jackson
2 Lillie 3'15
Milt Jackson
3 Bag's Groove 3'04
Milt Jackson
4 What's New 3'12
Haggart-Burke
5 Don't Get Around Much Anymore 2'59
Ellington / Russell
6 On The Scene 2'43
Lou Donaldson
7 Skippy 3'02
T. Monk
8 Hornin' In 3'15
T. Monk
9 Sixteen 3'39
T. Monk
10 Carolina Moon 3'28
Davis / Burke
11 Let's Cool One 3'48
T. Monk
12 I'll Follow You 3'48
Turk / Ahlert
13 Roccus 3'24
H. Silver
14 The Things We Did Last Summer 3'20
Styne / Cahn
15 Cheek To Cheek 3'01
I. Berlin
16 Lou's Blues 3'44
Lou Donaldson
17 Sweet Juice 3'29
H. Silver
18 If I Love Again 2'38
Murray / Oakland
19 Down Home 3'19
Lou Donaldson
20 The Best Things In Life Are Free 3'22
De Sylva / Brown / Henderson
Credits :
Alto Saxophone – Lou Donaldson with
1-6
Bass – Percy Heath
Vibes - Milt Jackson
Piano - John Lewis
Drums – Kenny Clark
7-12
Trumpet - Kenny Dorham
Tenor Sax - Lucky Thompson
Piano - Thelonious Monk
Bass - Nelson Boyd
Drums - Max Roach
13-16
Piano - Horace Silver
Bass - Gene Ramey
Drums - Art Taylor
17-20
Trumpet - Blue Mitchell (except on # 17)
Piano - Horace Silver
Bass - Percy Heath
Drums - Art Blakey
5.10.22
LOU DONALDSON - Quartet / Quintet / Sextet (1957-1999) RM | MONO | 24 Bit By RVG | FLAC (tracks+.cue), lossless
Since Quartet/Quintet/Sextet is Lou Donaldson's first full-length album, it's not surprising that it captures the alto saxophonist at the height of his Charlie Parker influence. Throughout the album -- on CD, the collection features all the music on the 12" LP, music from its 10" incarnation, and three alternate takes -- Donaldson plays in a straight bop vein, whether on up-tempo swingers or ballads. Most of the songs on the collection are standards, with a couple of fine originals from Donaldson and pianist Horace Silver spicing the mix; in particular, Silver's rollicking, Latin-tinged "Roccus" is a standout. While Donaldson's tone isn't quite as full as it would be within just five years, he impresses with his bold, speedy technique and fine phrasing. He doesn't play anything out of the ordinary, but he plays it very, very well, and his playing is enhanced by the three stellar bands that support him on these sessions. Among his fellow musicians on Quartet/Quintet/Sextet are Silver, bassist Gene Ramey, drummer Art Taylor, trumpeter Blue Mitchell, pianist Elmo Hope, and trumpeter Kenny Dorham. Everyone plays in a straight bop and hard bop tradition, contributing fine performances to a strong debut effort by Donaldson. Stephen Thomas Erlewine
Tracklist :
1 If I Love Again 2:41
Jack Murray / Ben Oakland
2 Down Home 3:21
Lou Donaldson
3 The Best Things in Life Are Free 3:26
Lew Brown / Buddy DeSylva / Ray Henderson
4 Lou's Blues 3:44
Lou Donaldson
5 Cheek to Cheek 3:04
Irving Berlin
6 Sweet Juice 3:32
Horace Silver
7 The Stroller 5:38
Lou Donaldson
8 Roccus 3:27
Horace Silver
9 Caracas 6:02
Lou Donaldson
10 Moe's Bluff 5:08
Elmo Hope
Credits :
Alto Saxophone – Lou Donaldson
Bass – Gene Ramey, Percy Heath
Drums – Art Blakey, Arthur Taylor
Piano – Elmo Hope, Horace Silver
Recorded By [Recording By], Remastered By – Rudy Van Gelder
Trombone – Matthew Gee
Trumpet – Blue Mitchell, Kenny Dorham
24.8.22
EDDIE 'LOCKJAW' DAVIS - 1946-1947 {CC, 1012} (1998) FLAC (tracks+.cue), lossless
Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove. As Gene Ramey rarely took bass solos, it's good to hear him grab a few bars during "Athlete's Foot." By December of 1946 Lockjaw was ready for two full-blown Savoy bebop sessions in the company of Theodore "Fats" Navarro. This pair of characters maintained a stimulating balance as Fats blew long bop lines of exquisite ingenuity while Jaws wrestled with his own funky textural dynamics. Wildly titled, each of these three-minute records hits you hard, right between the ears. "Hollerin' and Screaming" is the most outrageous example of this band's explosive chemistry. The record starts with a hoarse shriek from the tenor sax. The melody erupts like two cans of Sterno knocking around on the hood of an overheated bright red Chevy convertible. A sudden outburst from the trumpet is repeated verbatim on the drums. Fats and Lockjaw bark back and forth, jostling each other in cycles of friendly aggression. It's like listening in on a casual exchange of good-natured insults and creative cussing, the benevolent sort of everyday rudeness that enables trust and cooperation between individuals who exist outside of the dominant social group. In April of 1947, Jaws baked four sides for the Apollo label, sharing the melodic line with guitarist John Collins and blowing an exceptionally extroverted tenor. The extreme grooviness of both the Savoy and Apollo sessions were aided and abetted by the combination of Al Haig, Gene Ramey and Denzil Best. Now for the really rare stuff -- eight sides issued on the Lenox, Plymouth and Remington labels. "Real Gone Guy," a tasty hunk of rhythm and blues, was written by Nellie Lutcher. Lockjaw puts it to the torch, and Butch Ballard's drumming fans the flames. "But Beautiful" is the earliest example we have of Lockjaw Davis the interpreter of slow ballads. He smokes the melody with long puffs, savoring every breath. "Leapin' on Lenox," to use what would have been the correct spelling, is a strut by anybody's definition. Jaws bites his tenor until it begs for mercy. The rowdy "Minton's Madhouse" includes a long sax testimonial accompanied only by handclapping. "Ravin' at the Haven" is largely composed of frantic bop lines. The saxophone howls without restraint. "Music Goes Down Around" is recognizable as a quaint Tin Pan Alley pop tune, fitted with a new set of fangs as this gang of young toughs put new meaning on an old refrain. Gripping the mouthpiece between his chops, Lockjaw squeezes extra hard "and it comes out here." arwulf arwulf
Tracklist :
1 Surgery 2:58
2 Lockjaw 2:40
3 Afternoon In A Doghouse 3:03
4 Athlete's Foot 2:51
5 Callin' Dr. Jazz 2:47
6 Fracture 2:50
7 Hollerin And Screaming 2:38
8 Stealin' Trash 2:45
9 Just A Mystery 2:12
10 Red Pepper 3:02
11 Spinal 2:29
12 Maternity 3:00
13 Lover 2:28
14 Licks A Plenty 2:40
15 Foxy 2:49
16 Sheila 3:05
17 Real Gone Guy 3:01
18 But Beautiful 3:05
19 Leapin' On Lenox 3:10
20 Ravin' At The Haven 2:23
21 Minton's Madhouse 2:21
22 Huckle Bug 3:07
23 Music Goes Down Around 2:55
24 Lockjaw's Bounce 2:37
3.9.21
JIMMY FORREST - Black Forrest (1959-1991) FLAC (tracks+.cue), lossless
This 1972 LP, a complement to All the Gin Is Gone, released the
remainder of tenor saxophonist Jimmy Forrest's two Delmark sessions,
including four alternate takes and five other songs. Forrest sounds
fine, guitarist Grant Green was making his debut on record, and the
rhythm section (pianist Harold Mabern, bassist Gene Ramey and drummer
Elvin Jones) plays up to par. Get All the Gin Is Gone first, and then,
if one wants to hear the rest of the story, this set. by Scott Yanow
Tracklist:
1 Black Forrest 5:20
Jimmy Forrest
2 Dog It 4:46
Jimmy Forrest
3 These Foolish Things 6:07
Harry Link / Holt Marvell / Jack Strachey
4 Sunkenfoal 5:54
Jimmy Forrest
5 You Go to My Head 4:43
J. Fred Coots / Haven Gillespie
6 Black Forrest 2:28
Jimmy Forrest
7 What's New? 2:11
Johnny Burke / Bob Haggart
8 But Beautiful 4:19
Johnny Burke / James Van Heusen
9 All the Gin Is Gone 4:48
Public Domain
10 These Foolish Things 4:13
Harry Link / Holt Marvell / Jack Strachey
Credits:
Bass – Gene Ramey
Drums – Elvin Jones
Guitar – Grant Green
Piano – Harold Mabern
Tenor Saxophone – Jimmy Forrest
24.7.20
SONNY ROLLINS - Sonny Rollins, Vol. 1 (1956-2004) RM / 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," ...