GEORGE SHEARING QUINTET | RED NORVO TRIO – Midnight on Cloud 69 (1956-1993) RM | MONOAURAL | FLAC (tracks+.cue), lossless

Tracklist :
1. Sorry Wrong Rumba (George Shearing Quintet) (3:22)
2. Cotton Top (George Shearing Quintet) (2:50)
3. Be Bop's Fables (George Shearing Quintet) (3:05)
4. Midnight On Cloud 69 (George Shearing Quintet) (3:10)
5. Little White Lies (Red Norvo Trio) (3:50)
6. I'm Yours (Red Norvo Trio) (4:11)
7. Moon Over Miami (George Shearing Quintet) (3:13)
8. Cherokee (George Shearing Quintet) (2:44)
9. Life With Feather (George Shearing Quintet) (3:11)
10. Four Bars Short (George Shearing Quintet) (2:25)
11. Time And Tide (Red Norvo Trio) (2:38)
12. Night And Day (Red Norvo Trio) (4:09)

George Shearing Quintet (tracks #1-4, 7-10)
George Shearing - p
Marjorie Hyams - vib
Chuck Wayne - g
John Levy - b
Denzil Best - d

Red Norvo Trio (tracks #5, 6, 11, 12)
Red Norvo - vib
Tal Farlow - g
Charles Mingus - b
Note
1 to 4 & 7 to 10 recorded January 31, 1949
5 recorded October 13, 1950
6 recorded April 13, 1951
11 & 12 recorded May 3, 1950

STUFF SMITH – 1939-1944 | The Classics Chronological Series – 1054 (1999) FLAC (tracks), lossless

This segment of the Stuff Smith story finds the fiddler facing personal and professional difficulties that prevented him from recording as much as he'd have liked to. The music that did get committed to wax is more or less uniformly satisfying. The first five selections heard here benefit greatly from the presence of trumpet ace Jonah Jones. "Big Wig in the Wigwam," a song with little redeeming social value when presented by Lionel Hampton, became a solid piece of swing when Stuff's band got a hold of it. Here it bristles with elements of "Diga Diga Doo" and Stuff's earlier rowdy masterpiece "Old Joe's Hittin' the Jug." Four titles released on the budget Varsity label in 1940 include a Grenadine-flavored sob story by Stella Brooks, two high-spirited group vocals, and a wild "Crescendo in Drums," with violin improvisations that seem like premonitions of the sound currents that Leroy Jenkins would be generating with his violin many years later. In November of 1943, Stuff Smith & His Trio made ten sides for the World Broadcasting Service, with Stuff's solos resembling some of Eddie South's best work, with flourishing touches worthy of Florian Zabach. Featured here and on the following two sessions were bassist John Levy and pianist Jimmy Jones, both excellent improvisers who were perfectly suited to Stuff Smith's style and persona. A quartet date with amplified guitarist Mary Osborne sports a pair of modernistic studies in blue, and the vocal duet between Stuff and Osbourne is deservedly famous among people who are interested in historical collaborations. This fine CD closes with six additional trio sides produced by Moses Asch, sounding pleasantly progressive for 1944. arwulf arwulf       Tracklist + Credits :

STUFF SMITH – 1944-1946 | The Classics Chronological Series – 1081 (1999) FLAC (tracks), lossless

Violinist Stuff Smith's third Classics CD (which wraps up his dates as a leader prior to the mid-'50s) starts off with 16 numbers from 1944-1946, many of which are rarities. Smith is heard leading various trios (sidemen include pianists Jimmy Jones and Billy Taylor) on music recorded for the Savoy (with Billy Daniels and Rosalie Young having vocals), Baronet, Selmer, Musicraft, and Town & Country labels; Sarah Vaughan sings on "Time and Again." Best is the Selmer date, which has versions of "Perdido," "Bugle Call Rag," and Smith's "Desert Sands." Also included on this CD are Smith's six recordings with Alphonso Trent's notable territory band during 1928-1930 (including classic versions of "After You've Gone" and "St. James Infirmary"). All three Classics Stuff Smith CDs are easily recommended. Scott Yanow     Tracklist + Credits :

REX STEWART – 1946-1947 | The Classics Chronological Series – 1016 (1998) FLAC (tracks+.cue), lossless

After leaving Duke Ellington's Orchestra, cornetist Rex Stewart went to Europe for a few years, recording extensively. This entry in Classics' "complete" series has a four-song studio session and a jam cut shortly before Stewart went overseas plus sessions in Paris (including six tunes from a concert) and Stockholm. The music is fairly erratic overall. There are some fireworks on a quartet date with pianist Billy Kyle, bassist John Levy, and drummer Cozy Cole, and the two-part, privately recorded "I May Be Wrong" has its moments. With the exception of a previously unreleased alternate take of "Blue Jay" from 1945 (which has a vocal by Joya Sherrill) that had been discovered and was tagged on to the end of this CD, the other selections find Stewart heading a group also including trombonist Sandy Williams (he has some of his best late-period solos), John Harris on clarinet and alto, tenor-saxophonist Vernon Story, pianist Don Gais, Simon Brehm or Fred Ermelin on bass, and drummer Ted Curry. Stewart sings "Run to the Corner" and Honey Johnson is strangely country-oriented on "Waitin' for the Train to Come In"; otherwise the performances are instrumentals. Although Stewart plays in his usual fiery mainstream swing style, some of the arrangements are a bit boppish and do not work that well, plus the recording quality is decent but not great. The overall results are not without their strong moments but are a little uncomfortable and not too essential. However, it is nice to have this formerly scattered music put out in coherent order. Scott Yanow
Tracklist + Credits :

ERROLL GARNER – 1945-1946 | The Classics Chronological Series – 924 (1997) FLAC (tracks+.cue), lossless

The fifth CD in the European Classics label's Erroll Garner reissue series showcases the great pianist on the 21 recordings that he cut in a five-month period during 1945-46. Garner's four trio numbers for Savoy (particularly his hit version of "Laura") helped make him famous. Those are included on this set along with four obscure piano solos for the Disc and Arco labels, 11 numbers for Mercury, and a couple of V-Disc performances. Despite the success of "Laura," Garner, at that early point in time, was better at medium-tempo numbers. He romps on such tunes as "Indiana," "Lady Be Good," "Bouncin' With Me" and "High Octane." This outing is not quite essential, but it does contain plenty of enjoyable numbers. Scott Yanow
Tracklist + Credits :

PETE BROWN – 1942-1945 (1998) The Classics Chronological Series – 1029 | FLAC (tracks), lossless

Alto saxophonist Pete Brown has been showing up on Keynote and Savoy reissues for years, but seldom if ever has there been an entire package devoted to recordings made under his name. The Classics Chronological series has accomplished many impressive feats, but this disc deserves special attention. Brown brought excitement and sonic ballast to nearly every band he ever sat in with. His works with John Kirby and especially Frankie Newton are satisfying, but this CD contains the very heart of Brown's artistry. It opens with "Cannon Ball," a boogie-woogie from 1942 sung by Nora Lee King. This relatively rare Decca recording features Dizzy Gillespie, Jimmy Hamilton, and Sammy Price, the pianist with whom Brown would make outstanding music a bit further on down the road. Similarly rare and even more captivating are two extended jams recorded in Chicago in April of 1944. Brown's quartet on this date consisted of electrically amplified guitarist Jim Daddy Walker, bassist John Levy, and drummer Eddie Nicholson. "Jim's Idea" and "Pete's Idea" are groove exercises, vamping struts built on hot riffs. Brown's sax tone usually had an attractive bite to it. His facility was comparable to that of Earl Bostic, even bordering at times on the gritty intensity of Charlie Parker. Pete Brown was first and foremost a relentless straight-ahead jammer who made his most stunning moves in a series of Kansas City-style blues and boogie jams. The Savoy session of July 11, 1944, epitomizes this "Mr. Hyde" aspect of the saxophonist. Four Keynote sides recorded eight days later are just as lively. "That's My Weakness Now" is light years away from the Paul Whiteman/Bix Beiderbecke version (with silly vocal trio) recorded in June of 1928. Trumpeter Joe Thomas was a perfect accomplice on this date, and the rhythm section of Kenny Kersey, Milt Hinton, and J.C. Heard made this the most artistically accomplished band that Brown ever led. Beginning with the exciting "Boot Zoot," the remaining 11 tracks are all mid-'40s swing-to-bop jams with steady R&B overtones. Guitarists Herman Mitchell, Al Casey, and Bill Moore keep things sounding contemporary for the mid-'40s. "That's the Curfew" has a melodic line similar to Fats Waller's "Dry Bones." Brown actually sings on his own laid-back "Sunshine Blues," an offshoot of "Trouble in Mind" using that famous line "The sun's gonna shine in my back door someday." arwulf arwulf
Tracklist
1    Pete Brown And His Band–    Cannon Ball 2:46
 Nora Lee King / Clarence Williams
Vocals – Nora Lee King
2    Pete Brown Quartet–    Jim's Idea    4:07
3    Pete Brown Quartet–    Pete's Idea    4:24
 Pete Brown
4    Pete Brown Quintette–    Ooh-Wee    2:44
5    Pete Brown Quintette–    Bellevue For You    2:43
 Pete Brown
6    Pete Brown Quintette–    Pete Brown's Boogie (P.B. Boogie)    2:56
 Pete Brown
7    Pete Brown Quintette–    Moppin' The Blues    2:59
 Pete Brown
8    Pete Brown All Star Quintet–    It All Depends On You    4:24
Lew Brown / Buddy DeSylva / Ray Henderson
9    Pete Brown All Star Quintet–    That's My Weakness Now    4:06
 Bud Green / Sam H. Stept
10    Pete Brown All Star Quintet–    It's The Talk Of The Town    4:33
 Jerry Livingston / Al J. Neiburg / Marty Symes
11    Pete Brown All Star Quintet–    I May Be Wrong    4:00
 Harry Ruskin / Henry Sullivan
12    Pete Brown's Band–    Boot Zoot    2:59
 Pete Brown
13    Pete Brown's Band–    It's Great    3:03
 Pete Brown
14    Pete Brown's Band–    Lazy Day    3:06
 Pete Brown
15    Pete Brown's Band–    Sunshine Blues 3:07
 Pete Brown
Vocals – Pete Brown
16    Pete Brown's Sextette–    Fat Man's Boogie (Big Boy Boogie)    2:53
 Pete Brown
17    Pete Brown's Sextette–    That's The Curfew    2:42
 Pete Brown
18    Pete Brown's Sextette–    Midnite Blues    2:57
 Pete Brown
19    Pete Brown's Sextette–    That's It    2:43
 Pete Brown
20    Pete Brown's Sextette–    Just Plain Shuffle    2:56
 Pete Brown
21    Pete Brown's Sextette–    Pushin' The Mop    2:47
 Pete Brown
22    Pete Brown's Sextette–    Back Talk Boogie    2:38
 Pete Brown
Credits :    
Alto Saxophone – Pete Brown
Bass – Al Hall (tracks: 12 to 15), Al Matthews (tracks: 4 to 7, 16 to 22), Charlie Drayton (tracks: 1), John Levy (tracks: 2, 3), Milt Hinton (tracks: 8 to 11)
Clarinet – Jimmy Hamilton (tracks: 1)
Drums – Eddie Nicholson (tracks: 2 to 7, 12 to 15), J.C. Heard (tracks: 8 to 11), Ray Nathan (tracks: 1, 16 to 22)
Guitar – Al Casey (tracks: 4 to 7, 16 to 19), Bill Moore (tracks: 20 to 22), Herman Mitchell (tracks: 12 to 15), Jim Daddy Walker (tracks: 2, 3)
Piano – Kenny Kersey (tracks: 8 to 11), Kenny Watts (tracks: 4 to 7, 12 to 15), Ray Parker (5) (tracks: 16 to 22), Sam Price* (tracks: 1)
Trumpet – Dizzy Gillespie (tracks: 1), Ed Lewis (tracks: 16 to 22), Joe Thomas (4) (tracks: 8 to 11)

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

LENNIE TRISTANO - 1946-1947 (2001) CC, 1184 | FLAC (tracks), lossless

Records bearing Lennie Tristano's name began to appear in 1946. His amazing music filled the closing chapter of Harry Lim's Keynote catalog, and you couldn't ask for a more futuristic finale. "Out on a Limb" opens with a pleasantly dissonant flurry of ascending and descending runs. It is an exciting taste of where jazz was headed then and has been heading ever since. Tristano's music is refreshingly brisk and challenging. Like so many compositions in early modern jazz, most of Lennie's creations were based on existing melodies. "Out on a Limb" is built over the chord progressions of Earl Hines' "You Can Depend on Me," a song that was also clearly the inspiration for Lerner & Loewe's "Almost Like Being in Love." Guitarist Billy Bauer was Lennie's right-hand man. He often carried the melody so the pianist could fully exercise his individuality. Lennie liked to initiate startling pinwheels of repetition where you'd least expect them to appear. Several times during "I Can't Get Started," he cheerfully knocks out a stack of what would conventionally have been considered "wrong notes." Everything flows naturally, especially on "Untitled Blues," which is three minutes and 45 seconds of free and fearless collective improvisation. Stopping abruptly in mid-phrase, apparently because somebody told him they were running out of room on the 10" recording platter, Tristano is silent, then traces a few more arpeggios as a voice asks, "What happened?" The musicians had slipped into full-throttle jam mode, forgetting that they were in a recording studio, subject to time constraints. This wonderful piece of vérité languished for years before being issued as part of the complete Keynote collection. On the October 8, 1946, session, Tristano ran down no less than six versions of Dizzy Gillespie's "Interlude." What we have here is the first take. Six days later, Tristano's trio made two sides for V-Disc, specifically intended for the cultural enrichment of armed forces personnel. Here again was Gillespie's tune, now bearing the title "A Night in Tunisia." Lennie recorded a series of unaccompanied piano solos in September of 1947, but the people at Victor Records couldn't bring themselves to issue these tracks at the time. Thank goodness listeners get to hear them now! Unlike a lot of peoples' chronological reissues, this one is consistent from stem to stern. While digesting multiple Keynote takes is a gas, it's good to hear just the masters bundled together with some of Tristano's rarest small-label sides. About halfway through the disc you stop trying to figure out which jazz standards were used as skeletons for adventurous collective improvisation. You grow lightheaded, and all that really matters are the rituals of experimentation and humble acceptance. As Ornette Coleman would say, after a certain point there really are no wrong notes. Or, as Arnold Schoenberg might add, no tone is more or less legitimate than any other. Which brings us to the question of how something can be "avant-garde" when it's been around for generations. Doesn't the term tell us more about audience -- and critical -- limitations than it does about music or art? The answers lie somewhere between these early Tristano recordings and the extended improvisations that Anthony Braxton has based upon Tristano's still-astonishing ideas. There is no limit to what can be accomplished with intuitive music. arwulf arwulf  
Tracklist :
1     Out on a Limb 2:43
Lennie Tristano
2     I Can't Get Started 2:57
Vernon Duke / Ira Gershwin
3     I Surrender, Dear 3:08
Harry Barris / Gordon Clifford
4     Untitled Blues 3:47
Lennie Tristano
5     Interlude 3:07
Dizzy Gillespie / Frank Paparelli
6     I Can't Get Started 2:55
Vernon Duke / Ira Gershwin
7     A Night in Tunisia 2:23
Dizzy Gillespie / Frank Paparelli
8     Blue Boy 2:51
Lennie Tristano
9     Atonement 2:28
Lennie Tristano
10     Coolin' Off With Ulanov 2:50
Lennie Tristano
11     I Don't Stand a Ghost of a Chance With You 2:57
Bing Crosby / Ned Washington / Victor Young
12     Spontaneous Combustion 2:56
Unknown
13     Just Judy 2:40
Lennie Tristano
14     Supersonic 3:21
Lennie Tristano
15     On a Planet 3:20
Lennie Tristano
16     Air Pocket 2:47
Lennie Tristano
17     Celestia 2:56
Lennie Tristano
18     Freedom 3:40
Lennie Tristano
19     Parallel 2:30
Lennie Tristano
20     Apellation 1:55
Lennie Tristano
21     Abstraction 2:41
Lennie Tristano
22     Palimpsest 2:37
Lennie Tristano
Credits :
Bass – Arnold Fishkin (tracks: 18 to 22), Bob Leininger (tracks: 8 to 10), Clyde Lombardi (tracks: 1 to 5), John Levy (tracks: 14 to 17), Leonard Gaskin (tracks: 6, 7)
Guitar – Billy Bauer (tracks: 1 to 10, 14 to 22)
Piano – Lennie Tristano