The French horn has rarely been used in jazz as a solo instrument until recent times. Back in the 1950s, jazz's top French horn player was Julius Watkins, with David Amram certainly ranking in the top five. For this 1957 session, trombonist Curtis Fuller and his quintet with altoist Sahib Shihab, pianist Hampton Hawes (Teddy Charles, who contributed three originals, takes his place on one number), bassist Addison Farmer, and drummer Jerry Segal are joined by both Watkins and Amram. On originals by Charles, Amram, and Salvatore Zito, the colorful ensembles and the very adept soloing by the French horns make this a particularly memorable recording. Strange that this album has been obscure for so long. Only the brief playing time keeps this intriguing set from getting a higher rating. Scott Yanow Tracklist & Credits : 
23.2.24
CURTIS FULLER — Curtis Fuller and Hampton Hawes with French Horns (1957-2000) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless
18.9.23
BUDDY DeFRANCO – 1949-1952 | The Classics Chronological Series – 1445 (2007) FLAC (tracks+.cue), lossless
Hep Records' issue of Buddy DeFranco's recordings as a leader of both a quintet and an orchestra between 1949 and 1952 is a welcome one. The material on these 26 cuts is standard fare from the swing era, which was way over by 1949, but it proves that DeFranco knew how to lead a big band and swing hard as a soloist in a quintet setting -- especially with the company he kept. Some of his crew on these sides include Serge Chaloff, Teddy Charles, Teddy Kotick, Lee Konitz, Max Roach, Jimmy Raney, and Al Cohn, just to name a few. Arrangements for these tunes were done by DeFranco, George Russell, and Manny Albam, which gives the listener a taste of the varied sonic interests of the great clarinetist. The sound on these sides is a tiny bit thin, but that's a minor complaint. The material swings no matter the arrangement or the size of the band. This is an intimate look at an often overlooked jazz great.
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Tracklist + Credits : 
10.5.23
WARDELL GRAY – 1950-1955 | The Classics Chronological Series – 1463 (2008) FLAC (tracks+.cue), lossless
The sum of Wardell Gray's output from late in the summer of 1950 through mid-January 1955 amounts to 23 tracks, nine of them drawn from a live blowing session and the rest from three different studio dates. While Classics 1463 is not a painstakingly complete overview of Gray's performing history during the last five years of his short life, it does contain his primary work from a period which is notably lacking in recorded evidence. Captured live at the Hula Hut Club in Los Angeles on August 27 1950, "Jazz on Sunset" (recognizable as Denzil Best's "Move") and "Kiddo" (also known as Charlie Parker's "Scrapple from the Apple") were each recorded in four segments representing flip sides of 78 rpm platters cut on a portable recording apparatus. The ensemble, which had a front line that included Clark Terry, Dexter Gordon and Sonny Criss, was billed as the Wardell Gray Jazz Concept. "I Can't Give You Anything But Love" makes for a wild capper as the words to the old tune are sung by Damita Jo Du Blanc, a Texas-born R&B vocalist whose Discovery records release, "Until the Real Thing Comes Along," would achieve the status of a hit single a few months later. Surrounded by wildly improvising beboppers, she rides the lyrics to a more or less logical conclusion under conditions which must have been pleasantly challenging for her.
The next ten titles are examples of early modern West Coast jazz at its most intriguing. In January 1952 the Wardell Gray Sextet worked up six sides for Prestige, including "Jackie" and "Farmer's Market," attractive compositions which achieved national recognition after vocalist Annie Ross set quirky words to the melodies and intricately woven improvisations. Also recorded for Prestige in February 1953, "The Man I Love," "Lavonne," "So Long Broadway," and "Paul's Cause" are less well known as they were issued under the name of vibraphonist Teddy Charles & His West Coasters. The combination of minds is intriguing as Gray's session mates included alto saxophonist Frank Morgan and pianist Sonny Clark. Wardell's final studio recording session took place in Chicago in January 1955 with a group anchored by baritone saxophonist Tate Houston and a playlist that included Oscar Pettiford's "Blues in the Closet." Theories abound as to the circumstances surrounding Gray's sudden death, which shocked the jazz community four months later. When it occurred, he was scheduled to appear with Benny Carter's band at the African American-owned and operated Moulin Rouge, a short-lived venture remembered as the first racially integrated casino ever to open in Las Vegas. Hours after he failed to appear for the gig, Gray's corpse was found by the side of a road in the desert. Although his neck had been broken and foul play was clearly indicated, no autopsy was performed. The idea that he suffered a bad tumble during or after a heroin overdose seems unlikely given his well-documented stand against narcotics abuse. More plausible explanations include unresolved gambling debts or a simple straightforward hate crime. arwulf arwulf
All Tracks & Credits :
21.7.21
BETTY BLAKE - Betty Blake Sings in a Tender Mood (1961-2000) FLAC (tracks), lossless [24bits-96khz]
Vocalist Betty Blake made one fine recording for Bethlehem in 1960,
Betty Blake Sings in a Tender Mood. On the strength of it, she deserved
more opportunities and exposure. by Ron Wynn
Tracklist :
1. Let There Be Love 1:55
2. I'll Be Around 2:20
3. Moon And Sand 2:10
4. Trouble Is A Man 2:30
5. Love Is Just Around The Corner 2:20
6 Lilac Wine 5:15
7 It's So Peaceful In The Country 2:40
8 While We're Young 2:40
9 Blue Fool 2:30
10 All Of You 2:45
11 Don't Say Love Has Ended 2:35
12 Out Of This World 2:35
Credits :
Bass – Addison Farmer, Eustis Guilemet
Drums – Charles Persip, Ed Shaughnessy
Guitar – Kenny Burrell
Piano – Mal Waldron
Tenor Saxophone – Roland Alexander, Zoot Sims
Trumpet – Marcus Belgrave
Vibraphone [Vibes], Producer – Teddy Charles
4.10.19
TEDDY CHARLES - Coolin' (1957) OJC / FLAC (tracks+.cue), lossless
Tracklist:
1 Staggers 7:52
Mal Waldron
2 Song of a Star 7:11
John Jenkins
3 The Eagle Flies 7:38
Johnny Mandel / Idrees Sulieman
4 Bunni 8:02
Teddy Charles
5 Reiteration 7:56
Mal Waldron
6 Everything Happens to Me 4:33
Tom Adair / Matt Dennis
Credits:
Alto Saxophone – John Jenkins (tracks: 1 to 5)
Bass – Addison Farmer
Drums – Jerry Segal
Piano – Mal Waldron
Producer – Teddy Charles
Trumpet – Idrees Sulieman
Vibraphone [Vibes] – Teddy Charles
29.8.18
THAD JONES / FRANK WESS / TEDDY CHARLES / MAL WALDRON / DOUG WATKINS, ELVIN JONES - Olio [1957] PRESTIGE / OJC / FLAC
Here the mixture is more in the musicians than in the music. In the persons of Teddy Charles, Thad Jones, Frank Wess, and Mal Waldron, four different conceptions are embodied; heterogeneous elements which are brought together under the roof of the music of Charles, Waldron, and George Gershwin.
Charles derives from the Parke r-Gillespie-Monk-Powell idiom with the influence of modern classical music showing itself in his compositional techniques and subsequently in his playing. Teddy is not only a soloist, composer, and arranger. He is also an organizer, a coordinator of ideas and personalities who possesses a flame of ambition and energy that can be touched to his cohorts' wicks at many given moments.
This is Teddy's first session for Prestige since his New Directions quartet of January 6, 1955 which, incidentally, can be heard on Evolution (LP 7078). In his return, he has taken on another duty, that of recording director for certain sessions. Needless to say, these include any in which he appears as an instrumentalist,
Thaddeus Joseph Jones, like his older brother Hank and younger brother Elvin, was born in Pontiac, Michigan. Until the Fifties, he didn't do much playing outside Michigan but from the time he joined Count Basie in 1954 and started recording in small combos on the various independent jazz labels, Thad has had his name associated with highly complimentary adjectives by all of the important observers on today's jazz scene. His horn is a biting, brilliant, brassy instrument linked to Gillespie but by the most personal of bridges.
Many people have noted that Thad is wasted in the Basie band and if this were his only outlet of expression, he would be known solely as "the guy who blows 'Pop Goes the Weasel' on 'April in Paris.'" Thad's conception is not especially peculiar to the Basie band but this does not prevent him from playing well within that context when he is given the chance.
One whose ideas seem to fit better in the same setting is tenorman-flutist Frank Wess who reflects the band's swing with more modern overtones outlook. That he has absorbed the lessons of Coleman Hawkins, Ben Webster, and Lester Young is clear but Charlie Parker and Sonnv Stitt have not failed to leave
an impression. Frank's flute is more influenced by post-1945 jazz than is his tenor. As a perceptive musician he reacts to the material in this LP by playing within its spirit on both instruments and. as a result, sounding more "modern" than ever before.
Mal Waldron, ever increasing his facility of expression, is a pianist out of Bud Powell, Thelonious Monk, and Horace Silver who is always thinking, both harmonically and rhythmically, and producing provocative new patterns as a result. The rest of the rhythm section is handled in more than competent style by the aforementioned F.hin Jones, an inventive drummer who knows how to swing without monotony and inject accents with integrity; and bassist Doug Watkins, strong and steady if unspectacular.
Trumpet, flute, and vibes in the front line gives this outing a live and cracking sound that is metallic but never cold. Even on the numbers where Frank plays tenor, the unique tonal mood is continued.
"Potpourri," a sprightly, happy Mal Waldron original, opens the proceedings. Thad and Frank (flute) play one theme as Teddy carries another hue against them. Solos by Frank. Thad, Teddy, and Mal.
"Touche," Mal's other contribution to the date, makes use of interludes at the end of each chorus. Solos bv Frank (flute), Thad, Teddy, and Mal; four-bar chases between Frank and Thad for sixteen bars before the ensemble closes it out. "Blues Without Woe," a simple but powerful blues line, is stated once and then Thad rips off an exciting solo followed by Teddy, Frank (lenor), and Mal. Then Elvin Jones comes in for exchanges with Teddy and the horns.
The exoticism of the West African port is captured in Teddy Charles's "Dakar." Solos are by Frank (flute), Teddy, Thad, and Mal. Mystery and intrigue abound.
On "Embraceable You" Thad and Frank (tenor) demonstrate how to give proper feeling to a ballad, keeping it a jazz performance and avoiding the saccharine.
The acrid, foggy "Hello Frisco," Teddy's follow-up title to his "So Long Broadway," is delineated in solo by Mal, Thad, Teddy, and Frank (tenor).
An incident concerning this album perhaps would be of interest to Robert Ripley's Believe It or Not. Before the title "Olio" was ever suggested, cover designer Reid Miles had in mind a certain abstract painting for use on the front cover. Later, after the title had been arrived at, Miles brought the design in. To everyone's amazement, a word took form as the abstraction was viewed. It was olio.
- IRA GITLER These notes appeared on the original album liner.
It was not unusual in the 1950s for record companies to assemble a cast of musicians in a studio, beat them into the shape of a jam session, roll the tape, and hope. Sometimes superior music resulted, sometimes boredom. Any reliance on chance was doomed on the day Olio was made because the musicians included men of intelligence, imagination, and organizational ability, as well as superior musicianship. Teddy Charles was in charge, and he was known to encourage order in ways that made sense to advanced players such as Thad Jones, Elvin Jones, Frank Wess, Mal Waldron, and Doug Watkins. With three compositions of his own, a couple by Waldron, and one by that reliable provider of great melodies and harmonies, George Gershwin, Charles banished the specter of the slapdash. What might have been three soloists and a rhythm section coalesced into a sextet that produced music of permanent value, interest, and charm. wrote on booklet
Trumpeter Thad Jones receives first billing on this all-star outing, but vibraphonist Teddy Charles, who contributed three of the six selections (two of the other songs are by pianist Mal Waldron, while the lone standard is "Embraceable You") was really the musical director. Jones, Charles, and Waldron are joined by Frank Wess (doubling on tenor and flute), bassist Doug Watkins, and drummer Elvin Jones for a set of modern hard bop. Although this was not a regular group and there is not an obvious leader, the music is on a higher level than that of a routine jam session. The challenging material and the high quality playing of the young greats makes this fairly obscure modern mainstream set (reissued on CD in 1998) well worth exploring. by Scott Yanow
Tracklist
1. POTPOURRI 6:04
Mai Waldron
2. BLUES WITHOUT WOE 7:58
Teddy Charles
3. TOUCHE 6:25
Waldron
4. DAKAR 6:58
Charles
5. EMBRACEABLE YOU 4:17
Gershwin-Gershwin
6. HELLO FRISCO 6:23
Charles
Total Time: 38:05
Personel
THAD JONES - trumpet
FRANK WESS - tenor saxophone, flute (1, 3, 4)
TEDDY CHARLES - vibes
MAL WALDRON - piano
DOUG WATKINS - bass
ELVIN JONES - drums
Releases
Prestige PRLP 7084.
10.5.17
TEO MACERO with THE PRESTIGE JAZZ QUARTET [1957] OJC / Pestige / FLAC / 1992
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e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...
