Genre > Jazz

SIDE ONE:
1. WHEN YOUR LOVER HAS GONE
2. A COTTAGE FOR SALE
3. WHO''S SORRY NOW
4. ONCE IN A WHILE
5. THESE FOOLISH THINGS REMIND ME OF YOU
6. JUST FOR THE FUN OF IT
7. DON''T GET AROUND MUCH ANYMORE
SIDE TWO:
1. I UNDERSTAND
2. JUST ONE OF THOSE THINGS
3. THE SONG IS OVER (BUT THE MELODY LINGERS ON)
4. I SHOULD CARE
5. THE PARTY''S OVER (BONUS TRACKS:
6. DAY IN-DAY OUT
7. I''M GONNA SIT RIGHT DOWN (AND WRITE MYSELF A LETTER)
8. SOMETHING MAKES ME WANT TO DANCE WITH YOU

SIDE 1:
1. WATERMELON MAN
2. THREE BAGS FULL
3. EMPTY POCKETS

SIDE 2:
1. THE MAZE
2. DRIFTIN
3. ALONE AND I

Mustang
Fly Little Bird Fly
I Got It Bad And That Ain't Good
Dixie Lee
On The Trail
I'm So Excited By You

Minor League
Ezz-thetic
Grant's Tune
Solid
The Kicker

One of the premire guitarists of the 20th century, Grant Green has always been the go-to man for funky jazz sounds. Kicked along here by organist Larry Young, the booting tenor sax of Harold Vick and the insisent conga of Candido Camero, Green has never sounded better, or funkier!

1. The Selma March
2. Willow Weep For Me
3. The Cantaloupe Woman
4. That Lucky Old Sun (Just Rolls Around Heaven All Day)
5. Daddy Grapes

THE HEAVYWEIGHT CHAMPION: COMPLETE JOHN COLTRANE ATLANTIC RECORDINGS

12 HIGH QUALITY 180 grams LPs (86 tracks)

1) GIANT STEPS
2) COLTRANE JAZZ
3) MY FAVORITE THINGS
4) BAGS & TRANE
5) OLE’ COLTRANE
6) PLAYS THE BLUES
7) COLTRANE’S SOUND
8) THE AVANT-GARDE (with DON CHERRY)
9) THE COLTRANE LEGACY
10) ALTERNATE TAKES
11) 12) OUTTAKES
+ 44 pages color booklet

1. Stairway To The Stairs
2. The Late Late Blues
3. Bags & Trane
4. Three Little Words
5. The Night We Called It A Day
6. Be-Bop
7. Blues Legacy
8. Centerpiece
9. Gaint Steps (Alternate Version)
10. Naima (Alternate Version)
11. Like Sonny (Alternate Version)
12. Spiral
13. Countdown
14. Countdown (Alternate Take)
15. Syeeda's Song Flute
16. Syeeda's Song Flute (Alternate Take)
17. Mr. P.C.
18. Giant Steps
19. Cousin Mary
20. Cousin Mary (Alternate Take)
21. I'll Wait And Pray
22. I'll Wait And Pray (Alternate Take)
23. Little Old Lady
24. Like Sonny
25 Harmonique
26. My Shinning Hour
27. Naima
28. Some Other Blues
29. Fifth House
30. Cherryco
31. The Blessing
32. Focus On Sanity
33. The Invisible
34. Bemsha Swing
35. Village Blues
36. Village Blues (Alternate Take)
37 My Favorite Things
38. Central Park West
39. Mr. Syms
40. Untitled Original (Exotica)
41. Summertime
42. Body And Soul
43. Body And Soul (Alternate Take)
44. Mr. Knight
45. Blues To Elvin (Alternate Take)
46. Blues To Elvin
47. Mr. Day
48 Blues To You (Alternate Take)
49. Blues To You
50. Blues To Bechet
51. Satellite
52. Everytime We Say Goodbye
53. 26-2
54. But Not For Me
55. Liberia
56. The Night Has A Thousand Eyes
57. Equinox
58. Ole
59 Dahomey Dance
60. Aisha
61. Original Untitled Ballad (To Her Ladyship)
62. Giant Steps (Alternate Version): Take 1 [Incomplete]
63. Giant Steps (Alternate Version): Take 2 [False Start]
64. Giant Steps (Alternate Version): Take 3 [Incomplete]
65. Giant Steps (Alternate Version): Take 4 [Incomplete]
66. Giant Steps (Alternate Version): Take 5 [Alternate]
67. Giant Steps (Alternate Version): Take 6 [False Start]
68. Giant Steps (Alternate Version): Take 7 [Incomplete]
69. Naima (Alternate Version): Take 1 [Incomplete]
70. Naima (Alternate Version): Take 2 [Incomplete]
71. Naima (Alternate Version): Take 4 [False Start]
72. Naima (Alternate Version): Take 5 [Alternate]
73. Naima (Alternate Version): Take 6 [Alternate]
74. Like Sonny (Alternate Version): Rehearsal 1 [False Start]
75. Like Sonny (Alternate Version): Rehearsal 2 [Incomplete]
76. Like Sonny (Alternate Version): Take 1 [False Start]
77. Like Sonny (Alternate Version): Take 2 [Incomplete]
78. Like Sonny (Alternate Version): Take 3 [Incomplete]
79. Like Sonny (Alternate Version): Take 4 [False Start]
80. Like Sonny (Alternate Version): Take 5 [Alternate]
81. Like Sonny (Alternate Version): Take 6 [Incomplete]
82. Giant Steps: Take 3 [Incomplete]
83. Giant Steps: Take 6 [Alternate]
84. Blues To Elvin: Take 2 [False Start]
85. Blues To Elvin: Take 3 [Alternate]
86. Blues To You: Take 2 [Alternate]

Touch of a Scorpion
Hi-Fi Apartment
The Day Monk Died
Bea's Flat
Ode to Odell
Breakable
Gimme a Break
Je Chante Miou, Miou
John Stone Stomp
Looking at Things Passing By
On a Sunday Afternoon
W' Have the Blues

1. Alligator Bogaloo
2. One Cylinder
3. The Thang
4. Aw Shucks!
5. Rev. Moses
6. I Want A Little Girl

1. The Slide
2. Someday My Prince Will Come
3. Message From the Meters
4. First Gravy
5. 5-10-15-20
6. Sneak Preview

1. Movin' Out
2. Cookin' With Clarence
3. Easy Living

1. Hungarian Rhapsody #2
2. Time
3. Transylvania
4. Ziggidy Zag
5. Macho
6. Poetry Man

1. Gee Baby, Ain't I Good to You
2. You Won't Let Me Go
3. 5-10-15 Hours
4. Have a Good Time
5. Teardrops from my Eyes
6. Always on My Mind
7. Yes Sir, That's My Baby
8. When I Fall in Love
9. (Mama) He Treats Your Daughter Mean
10. Desolation Row

Import

2007 double LP release of the first career retrospective of the Grammy award-winning star's recordings Verve Records. Over the past fourteen years, this platinum-selling artist has released eleven records, including 'The Look of Love', 'When I Look In Your Eyes' and most recent 'From This Moment On', which debuted at #7 on the Billboard 200 Chart. The tracklist features selections from six albums of the multi-platinum vocalist's extensive repertoire. The set also features three previously unreleased versions of songs made popular by Frank Sinatra, Roy Orbison and Tom Waits. Universal.

1. 'S Wonderful 4:24
2. Peel Me A Grape 5:49
3. Pick Yourself Up 3:01
4. Frim Fram Sauce 5:00
5. You Go To My Head 6:45
6. Let's Fall In Love 4:18
7. The Look Of Love 4:41
8. East Of The Sun (West Of The Moon) 5:44
9. I've Got You Under My Skin 6:07
10. All Or Nothing At All 4:31
11. Only the Lonely 4:15
12. Let's Face The Music And Dance 5:17
13. The Heart Of Saturday Night 4:04
14. Little Girl Blue 5:37
15. Fly Me To The Moon

1.Caribea
2.Lullaby
3.Tree trail
4.Death, When you came to me
5.Big cat
6.Front bog
7.To a sea horse
8.Dance rehearsal
9.Surf Session,Part 1.
10.Surf Session,Part 2.
11.Surf Session,Part 3.
12.Trees against the sky
13.Tap dance
14.Oo Debut
15.Drum Suite
16.Street Scene

1. This Can't Be Love
2. I Wished on the Moon
3. The Breeze and I
-
4. Angel Eyes
5. Telegraph
6. Land of Dreams
7. Blue Lou

1. If You've Got It, Flaunt It (Part 1)
2. Wanderin' Rose
3. How Beautiful Is Spring
4. Do What You Wanna
5. My Cherie Amour
6. Bold And Black
7. Opus #5
8. Uhuru
9. Cecile
10. If You've Got It, Flaunt It (Part 2)

1. Witchi-Tai-To [Song]
2. Squaw Song
3. Rock Stomp Indian Style
4. Senecas (As Long as the Grass Shall Grow)
5. Ya Na Ho
6. Slow War Dance
7. Nommie-Nommie (When the Roll Is Called Up Yonder)
8. Newly-Weds Song
9. Fast War Dance
11. Now War Dance
12. Drums

1. Motherless Child
2. Garden Of Prayer
3. Troubled Waters
4. Let Thy People Go
5. Were You There When They Crucified My Lord
6. Joshua

Weekend at the One Step Series - Volume One

1. Part I
2. Part II
3. Part III
4. Merry Christmas
5. From Shangai to Bangkok
6. Say! When Are you Coming Pack?
7. Girl of the Night
-
1. Afro Blue
2. Theme

1. Dancing Shadows
2. Imagination
3. Exotic Forest
4. Sun Ra and His Band From Outer Space
5. Shadow World
6. Theme of the Stargazers
7. Outer Spaceways Incorporated
8. Next Stop Mars

1. Cornbread
2. Our Man Higgins
3. Ceora
4. Ill Wind
5. Most Like Lee

Gamla Stan - The Old Town By Night
Love Train
Bass Figure for Ballatune
Moving Pictures For the Ear
Tibet

1. These Are Soulfoul Days
2. The Lion and the Wolff
3. Midtown Blues
4. Nakatini Suite

Track Listing:

1. Call It Anything (Part 1)
2. Call It Anything (Part 2)

Bonus Track:

1. Time After Time

Import
Miles Davis's famous mid-1960s quintet, featuring saxophonist Wayne Shorter and pianist Herbie Hancock, was intact until just a few weeks before his new, electric ensemble recorded In a Silent Way. Legendary as a kind of line in the sand challenging jazz fans during the ascendance of electric, psychedelic rock, In a Silent Way hinted at the repetitive polyrhythms Davis would employ throughout the early 1970s. It also partook generously of electric piano and bass and rekindled the tonal palette that Davis had explored famously with Kind of Blue. But In a Silent Way remains a clearly electric jazz record, part ambient color exploration, part rock-inflected energy and vibe, and part outright maverick creativity. Davis takes many long, breathy solos, and they glisten in a burnished blue against his new group's strange admixture of musical moods. In a Silent Way is a one of kind record that mixed the late-'60s pop and underground movement into the jazz realm. On this record Miles began to hook into the late '60s sounds that flowed from the bands in San Francisco. They would never make a record like it again, an absolutely timeless work that proves that Miles Davis and crew were some of the most innovative thinkers in modern music.

1. Shhh/Peaceful
2. In A Silent Way

Import

Keyboardist Herbie Hancock's remarkable career took a surprising turn with this funk album--one of the first jazz albums to be certified gold. Hancock's already-storied career had included an extended tenure with Miles Davis as a member of both the classic quintet of the '60s and the trumpeter's groundbreaking electric dates. As a leader, the pianist had followed a similar course, cutting both outstanding acoustic dates (Maiden Voyage, Empyrean Isles) and experimental electric sessions (Sextant, Crossings). Head Hunters, however, was something different: a stripped-down date featuring reedman Bennie Maupin as the only horn player, and a funk-oriented rhythm section made up of Paul Jackson, Harvey Mason, and Bill Summers. Hancock traded in his sophisticated piano performances and complex compositions for simple melodies, slow-burn funk grooves, and light electric keyboard splashes. The results, particularly on the tracks "Chameleon" and "Watermelon Man," had a profound impact on other musicians. The album has stood the test of time--something neither the wealth of Hancock's imitators nor his own subsequent albums in this vein have been able to do.

1. Chameleon
2. Watermelon Man
3. Sly
4. Vein Melter

1. Malagueña
2. Candu
3. Tears Come from Heaven
4. Basra
5. Lazy Afternoon
6. Eiderdown

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On paper, River sounds like a match made in several versions of heaven. Legendary pianist Herbie Hancock re-imagines Joni Mitchell with his hand-picked, star-studded band--including saxophonist Wayne Shorter--in tow. Luminary guests lend vocals to a song apiece: Norah Jones ("Court and Spark"), Tina Turner ("Edith and the Kingpin"), Corinne Bailey Rae ("River"), Luciana Souza ("Amelia"), Leonard Cohen (with an unsettlingly sanguine version of "The Jungle Line"), even Joni Mitchell herself ("Tea Leaf Prophecy"). The mix includes a continuum from intrepid classics to dusty, fans-only fare, but a distinct reverence for Joni Mitchell the Poet threads them together, and, in the end, this album works best as a sleepy window into one fan's giddy and particular love affair with his source material. Fans of Hancock win out.

1. Court and Spark featuring Norah Jones
2. Edith and the Kingpin featuring Tina Turner
3. Both Sides Now
4. River featuring Corinne Bailey Rae
5. Sweet Bird Listen Listen
6. Tea Leaf Prophecy featuring Joni Mitchell
7. Solitude
8. Amelia featuring Luciana Souza
9. Nefertiti
10. The Jungle Line featuring Leonard Cohen

The man from Philadelphia, who introduced himself to his public with the words »Missis Blakey’s only son, Arturo, that’s me», was a true ‘ambassador’ of jazz: he discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis, to name but a few. But he also delivered the ‘message’ of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards, and somnambulistic music-making characterise this recording. Right from the very start it is clear that this jazz ambassadors have a new message for us: the hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller’s trombone, something that was often missing in the powerful Blue Note sound.Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humour. All these attributes are applicable to the six titles on this album which is now to be enjoyed as a re-release manufactured to the highest standards.

1. "À la Mode" (Fuller) — 6:40
2. "Invitation" (Kaper, Webster) — 7:25
3. "Circus" (Alter, Russell) — 5:12
4. "You Don't Know What Love Is" (DePaul, Raye) — 6:55
5. "I Hear a Rhapsody" (Baker, Fragos, Gasparre) — 6:30
6. "Gee Baby, Ain't I Good to You" (Razaf, Redman) — 5:00

This title is not eligible for further discount.

1. The Touch Of Your Lips
2. When Your Lover Has Gone
3. Bye, Bye, Blackbird
4. How Deep Is The Ocean?
5. In The Wee, Small Hours Of The Morning
6. Sunday
7. This Can't Be Love

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Featuring John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The greatest small group in the history of jazz recorded at their peak in 1956. Featuring joyous, straight-ahead swinging and melodic improvisation, this is a near-perfect album. Contains 'If I Were A Bell,' 'It Could Happen To You,' 'I Could Write A Book' and several others.

1. If I Were A Bell
2. You're My Everything
3. I Could Write A Book
4. Oleo
5. It Could Happen To You
6. Woody'n You

The 1954 masters from Norman Granz's studio were in great shape so this Speakers Corner re-issue sounds fabulous in mono.

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No session in which black jazz musicians take part would be worth its salt without an own good and honest opening blues number, as the first two tracks on this LP go to show. But in the classic hits Lover Come Back To Me and Makin’ Whoopee too, the very heartbeat of the Age of Swing can be easily discerned. And it’s well worth taking a look at the small print on the cover too. Joining the prominent members of the Peterson trio are Herb Ellis and Stan Levey no less! It’s hardly necessary to add that the sound reproduction on this VERVE recording made in the 1950s is of the very highest quality.

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Track Listing

1. Honeysuckle Rose
2. The Midnight Sun Will Never Set
3. Crazy Rhythm
4. Blue Star
5. Cotton Tail
6. Body And Soul
7. Cherry
8. Doozy

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By the time Bill Withers made this, his debut recording, he'd already served for many years in the US Navy, had a job as a milkman and installed toilets in jets for American airplane construction companies. All the while, he bombarded record companies with self-produced demo tapes that landed in the dustbin. In 1971 came his breakthrough when the successful producer Booker T. Jones hauled him onboard and sent him into the studio with guitarist Stephen Stills, drummer Al Jackson and bass player Donald "Duck" Dunn. In his debut album, Withers demonstrates his universal, mature competence as a singer, composer and performer, which was hardly surpassed in his later recordings.

Bill Withers Just As I Am Track Listing

1. Harlem
2. Ain't No Sunshine
3. Grandma's Hands
4. Sweet Wanomi
5. Everybody's Talkin'
6. Do It Good
7. Hope She'll Be Happier
8. Let It Be
9. I'm Her Daddy
10. In My Heart
11. Moanin' And Groanin'
12. Better Off Dead

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Her interpretations were a benchmark against which all aspiring singers were measured. Highly expressive, almost visual ballads went hand in hand with Billie Holiday’s life and voice - and only she alone could sing them! Her voice was always embedded in the sound carpet produced by her accompanying musicians: Tony Scott and Paul Quinichette are two names who made their mark on her music in the mid-Fifties, and the rhythm group of Barney Kessel, Kenny Burrell and Chico Hamilton is really first class. The trumpeter Harry ‘Sweets’ Edison, a long-time friend from the Count Basie Band, sensitively accompanies the singer’s mature voice.

This album in its original cover proves for first time just how great the old Clef recordings by Norman Granz can sound. And surely almost no-one will still possess a well-preserved copy (with lyrics!).

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1. If the Moon Turns Green
2. Remember
3. Autumn in New York
4. My Man
5. Lover Come Back to Me
6. Stormy Weather
7. Yesterdays
8. He's Funny That Way
9. I Can't Face the Music
10. How Deep is the Ocean
11. What a Little Moonlight Can Do
12. I Cried for You

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1. Dog My Cats
2. I'm Glad There Is You
3. Blues for Bohemia
4. Junior's Tune
5. Between the Devil and the Deep Blue Sea
6. Casa De Marcel
7. Little Girl Blue
8. T's Tune
9. Broadway at Basin Street
10. Just Norman
11. I Don't Care

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This album features Chet Atkins as “Mister Guitar”, who as a soloist, only allowed a small and highly discreet rhythm group to accompany him. The result is a refreshingly pure and unadulterated steel-string sound without frills and padding and so has little in common with the commercial country music of the masses. With his relaxed, technically perfect and highly variable playing technique, Atkins shows us what the New World has to offer in the way of folk music: highly melodic numbers which delight the ear with the simplest of means. Simply beautiful music here, in astonishing sound quality thanks to our friends at Speakers Corner.

1. I Know That You Know
2. Rainbow
3. Hello Bluebird
4. Siesta
5. Country Style
6. Show Me The Way Go Home
7. I’m Forever Blowing Bubbles
8. Backwoods
9. Country Gentleman
10. Slinkey
11. Jessie
12. Concerto In C Minor

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Forty-two years ago, Chet Baker was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962. These recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem! 1. Well, You Needn’t
2. These Foolish Things
3. Barbados
4. Star Eyes
5. Over The Rainbow
6. Pent Up House
7. Ballata In Forma Di Blues
8. Blues In The Closet

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A great name, a genial arranger, a brilliant soloist, and an experienced bandleader. And all that combined in one man who is surrounded by musicians of equal calibre – his Allstars. That’s how we know it from New Orleans and Chicago, and that’s how it was in the Fifties, when the traditionalists believed that Jazz was on its way out.

Clifford Brown was one of the most important musicians of that day who strove to produce a completely new form of expression by amalgamating intellectual Cool Jazz with the wild impulsiveness of Bebop. And how successful he was! Brown’s style, the harmonic freedom of his playing, and his well-rounded, full timbre have influenced many generations of young trumpeters since then.

Each side of this record (which first appeared in 1956) is devoted to a large-scale work filled with haunting melodies and a wealth of improvisation. The Allstars paint a melancholy picture of “Autumn in New York“ in subdued tones as varied as the season itself.

In “Caravan“ the combo kindles a fire which crackles and burns for a full 15 minutes. While the whole of this improvisation is totally gripping, it is the brilliant percussion solo which stands out. For this alone, the album is worth its weight in gold.

1. Autumn in New York
2. Caravan

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1. Cherokee (05:44)
2. Jacqui (05:11)
3. Swingin' (02:52)
4. Land's End (04:56)
5. George's Dilemma (05:36)
6. Sandu (04:56)
7. Gerkin for Perkin (02:56)
8. If I Love Again (03:24)
9. Take the "A" Train (04:18)

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Surely there is no better number in which one can enjoy two tenor saxophones ‘with a big sound’ (and by that one means a meaty, fat sound, loud and expressive yet melodious) than “Maria”.

Ben Webster had long passed along the path of imitator, then pupil to himself become a master. His ‘college attendance’, as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learnt to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton.

‘Hawk’ was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the “Confrères” LP. The relaxed atmosphere is particularly noticeable in the title “Sunday” in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier’s marvellous bass playing (in “Nabob”!) where he certainly has no reason to hide in the shadow thrown by Ray Brown. “Hanid” is nothing less than up to the mark; “Dinah” - another number with a solo by Eldridge. Coleman Hawkins’s voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best to be heard after Roy’s solo in “Honey Flower”. So, lots of reasons to re-release this album, especially considering that only a few collectors will possess the original release which is surely no longer in mint condition.

1. Maria
2. Cocktails for Two
3. Sunday
4. Hanid
5. Honey Flower
6. Nabob
7. Honey Flower (Alternate Take)

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The trench warfare over the two very different playing styles of Lester Young and Coleman Hawkins came to an end with the date of this recording. At the Jazz At The Philharmonic concerts the two musicians even stood on the stage together. Following up on these JATP live events, the recording company Verve brought the rhythm group and “Hawk” into the studio, the standard numbers were well-known and well-practised, the recording equipment was all set up and off they went.

Just listen to the fabulous flow of improvisation – it was not first with this recording that Coleman Hawkins proved that he was the first tenor saxophonist who knew how turn into music what he heard in his head. And then he has this gloriously warm yet thrilling sound; no matter whether it’s a slow tempo or a racy piece, “Hawk” remains superb, always recognisable and always an individualist. In the way he constructs his improvisations, one has the feeling that it just has to be like that, that there’s no other path to follow.

It’s really a waste of time to try to pick out any one number – although they are all short, each and every one is a gem.

The rhythm group deserves nothing but praise too. Or have you ever heard of a recording session where Peterson, Brown, Ellis and Stoller fail to add their own particular fire to pep up the soloist in the fast sections? The famous four are almost even better, however, in the ballads: reserved yet still giving the beat, simply great! Don’t miss this opportunity to buy some real ‘highlights’: this LP certainly deserves its name.

1. I'll Never Be the Same
2. You're Blas'e
3. I Wished on the Moon
4. How Long Has This Been Going On?
5. Like Someone in Love
6. My Melancholy Baby
7. Ill Wind
8. In A Mellow Tone
9. There's No You
10. The World Is Waiting for the Sunrise
11. Somebody Loves Me
12. Blues for Rene

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Although for many fans the equation Count Basie = big band jazz is quite undisputable, one has to agree that when one listens to these eight numbers: less is more when it comes to swing. Bob Thiele, Impulse producer - seen here on one of the photos with Count Basie - came to the conclusion that even with a meagre budget a whole lot of music with a terrific sound could be squeezed into the grooves.

As always, the great soloists of the Basie big band are on top form: first and foremost Frank Wess who demonstrates how rightly popular the flute is for its sound-colouring and as a solo instrument. Thad Jones on the trumpet is quite outstanding in all the numbers - and is equally important as composer and arranger. The 'All American Rhythm Group Number 1' consisting of the Count, Freddie Green, Eddie Jones and Sonny Payne deliver one adrenaline-like thrill after another - without ever neglecting the jazz beat. All in all this is an important LP from the Impulse label, whose quality is greatly enhanced by the transparent sound.

Older fans who omitted to buy their copy 40 years ago can at last grab the chance. And younger fans should quickly follow their good example.

1. Oh Lady Be Good
2. Secrets
3. I Want a Little Girl
4. Shoe Shine Boy
5. Count's Place
6. Senator Whitehead
7. Tally Ho, Mr. Basie!
8. What'cha Talkin?

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Political, heartfelt and performed with real guts and gusto this album is not only great jazz but it also has a point of view. A testament to the credibility of her very honest music. Lincoln's sidemen include Coleman Hawkins, Eric Dolphy, Booker Little, Mal Waldron and Max Roach. Including 'Straight Ahead', 'When Malindy Sings The Blues' and 'Monkey Sings The Blues', yet another fantastic LP from Pure Pleasure!

1. Straight Ahead
2. When Malinda Sings
3. In the Red
4. Blue Monk
5. Left Alone
6. African Lady
7. Retribution

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Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest someros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.

1. Baila mi son
2. Mami te Gusto
3. Yo Soy el del sentimiento
4. Después de esta noche
5. El mal de la hipocresía
6. Ven a bailer cha cha cha
7. Cada vez que te veo
8. Lo es todo to amor
9. El son de Baloy
10. Misericordia, no aguanto

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Dinah Washington was royalty in the singing world, where she ruled over real jazz, authentic blues, and Broadway standards. She managed to make any sort of song into her own and kept herself surrounded by great players throughout her career. “Grande Dame”, “Lady of Jazz”. The American journalists and marketing people have never been miserly in handing out titles for those with powerful black voices. But even so, some record producers have thought that calling Dinah Washington “Queen of the Blues” was falling short of the mark. And the title of this album – The Queen – makes this clear, for the Blues is just one of her strengths. Standard titles from the Twenties (Back Water Blues, Trouble In Mind) and the tongue-in-cheek, sarcastic Bad Luck show how it should be done. And there’s better to come! Dinah’s All of Me swings along easily in her own style – so very different from the mass of routinely sung bar-room performances. Her version of I Remember Clifford, a ballad for Clifford Brown, a musical compatriot who died young, is probably one of the most expressive obituaries in the whole of the jazz literature. The soft, glowing timbre of her voice and the tender trumpet solo in the last few bars provide a beautiful close that can’t be rivalled.

Recording: 1959 at Fine Recording Inc., New York, by Hal Mooney

1. All of Me
2. Make Me A Present Of You
3. Somewhere along the Line
4. Show Time
5. I Thought About You
6. Back Water Blues
7. I Remember Clifford
8. A Sunday Kind of Love
9. Bad Luck
10. Trouble In Mind Light
11. Lingering

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One certainly couldn't say that Ruth Jones had a velvety, smoochy voice. But in jazz history that's never been of prime importance. Dinah Washington, the name she used at her debut in 1942, became the Queen of rhythm 'n blues but was also an excellent big-band singer under bandleaders Lionel Hampton and Quincy Jones. She asked the latter (as well as Benny Golson and Ernie Wilkins) to write arrangements for her in December 1956 and borrowed his band for 11 classic numbers. In the ensemble were such top-notch soloists as Clark Terry, Quentin Jackson, Anthony Ortega and Lucky Thompson – and the band swings along right from the very first to last note. This EmArcy LP is one of the Queen's best, and even 50 years after its first release the quality is still totally satisfying.

Dinah Washington The Swingin' Miss D Track Listing

1. They Didn't Believe Me
2. You're Crying
3. Makin' Whoopee
4. Ev'ry Time We Say Goodbye
5. But Not For Me
6. Caravan
7. Perdido
8. Never Let Me Go
9. Is You Is Or Is You Ain't My Baby?
10. I'll Close My Eyes
11. Somebody Loves Me

At the beginning of 1961 Dizzy Gillespie was able to realize two large projects: together with Cuban percussionists and others musicians his big band set down Manteca in the Carnegie Hall in March, and in May he recorded the The Sword Of Orion suite in the Verve Studios.In February of the same year, at a thrilling live performance, the Argentine-born pianist and composer Lalo Schifrin brought a whole new world of sound and colouring to the band. Luckily enough the VERVE company had foresight enough to record this momentous performance which took place in the Museum of Modern Art. To experience Dizzy live on stage is not only pure entertainment but an experience in which all soloists are given ample room.

One might well think that one had heard A Night In Tunesia, The Mooch or Salt Peanuts in every possible variation. This album, however, teaches one otherwise! It's never an easy ride with Dizzy: he takes you along on his adventure into the wonderful world of sound with all its surprises and discovers unusual rhythms on the way.

This LP is justifiably entitled An Electrifying Evening, and the adjective does not limit itself to the quintet. The sound quality of this live recording will also set your hair on end. And just with acoustic instruments too! At the end of 1961 Dizzy Gillespie was deservedly honoured with the highest award the critics can give: he was elected to the DOWNBEAT Hall Of Fame.

Kush
Salt Peanuts
A Night in Tunisia
The Mooche
Interview With Dizzy Gillespie by Charles Shwartz

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When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger’s own compositions. The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.

1. Boo-Dah
2. U.M.M.G. (Upper Manhattan Medical Group)
3. Blood Count 9
4. Smada
5. Rock Skippin' at the Blue Note
6. Rain Check
7. Midriff
8. My Little Brown Book
9. Lotus Blossom
10. Snibor
11. After All
12. All Day Long
13. Lotus Blossom
14. Day Dream
15. The Intimacy of the Blues
16. Charpoy

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Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Annie Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on 'I've Grown Accustomed To Your Face,' 'Give Me The Simple Life,' 'How About You' and 'The Lady's In Love With You,' but all of the selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.

1. I Feel Pretty
2. I've Grown Accustomed to Your Face
3. All of You
4. Give Me the Simple Life
5. This Is Always
6. My Old Flame
7. This Time the Dream's on Me
8. Let There Be Love
9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
10. How About You?
11. I Guess I'll Have to Change My Plan
12. This Is Always [Alternate Version]
13. It Don't Mean a Thing (If It Ain't Got That Swing)
14. Lady's in Love with You
15. You Turned the Tables on Me
16. I've Grown Accustomed to Your Face [Alternate Version]

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Ben is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as 'My Romance' and 'What's New,' that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humor and swing are more to the fore in the more muscular 'Easy to Love.'…Nothing ever drags, the pulse is always strong and the accompaniments well suited to Webster's lustrous, lusty blowing.

1. Blue Light
2. Stardust
3. What’s New
4. Autumn Leaves
5. Easy To Love
6. My Romance
7. Yesterdays
8. Days of Wine and Roses

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Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on this quartet set. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to 'Poinciana' and 'Speak Low,' Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is 'Booker's Blues.'

1. Mojo
2. Uranus
3. Poinciana
4. Speak Low
5. Booker’s Blues
6. Boo

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The brilliant young post-bop trumpeter Booker Little is heard here accompanied by an all-star band, including the saxophonist Eric Dolphy, the bassist Ron Carter and the drummer Max Roach, on a set that combines elements of bop and cool jazz, as well as Little's own imaginative flourishes, which display an authority and potential far beyond his mere 23 years.

1. We Speak
2. Stength And Sanity
3. Quiet Please
4. Moods In Free Time
5. Man Of Words
6. Hazy Hues
7. A New Day

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The Buck Clayton LP How Hi The Fi was the first issue in 1954 from the famous Buck Clayton jam sessions. It was recorded at Columbia's 30th Street Studios, which was one of the greatest recording sites in the world (the studio has since been abandoned, which must be one of the most stupid decisions executed by the corporate record industry), with a sound that's still instantly recognizable. These Buck Clayton jam sessions were among the first large scale projects to utilize the potential of the new LP technology. The exciting music on this long-out-of-print LP is now available again on 180-gram vinyl, with the cuts 'How Hi The Fi' and 'Blue Moon' being the most memorable. Buck and fellow musicians are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music is timeless magic.

Side 1:
How Hi The Fi and Blue Moon
recorded March 31st 1954
Buck Clayton
Joe Thomas : trumpet
Urbie Green
Trummy Young : trombone
Woody Herman : clarinet
Lem Davis : alto saxophone
Julian Dash
Al Cohn : tenor saxophone
Jimmy Jones : piano
Steve Jordan : guitar
Walter Page : bass
Jo Jones : drums

Side 2:
Sentimental Journey and Moten Swing
recorded December 14th 1953
Buck Clayton
Joe Newman : trumpet
Urbie Green
Benny Powell : trombone
Lem Davis : alto saxophone
Julian Dash : tenor saxophone
Charlie Fowlkes : baritone saxophone
Sir Charles Thompson : piano
Freddie Green : guitar
Walter Page : bass
Jo Jones : drums

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Saxophonist Budd Johnson didn't record much, which makes this 1974 set with the great Earl Hines all the more interesting. Of course, the real reason it's special is because of some damn-fine music by some outstanding jazzmen. Johnson and Hines are joined by drummer Panama Francis and bassist Jimmy Leary. The title tracks is an original tribute to the king of soprano saxophonists Sidney Bechet.

1. Blues For Sale
2. Gone With The Wind
3. If You were Mine
4. Am I Waisting My Time
5. The Dirty Old Man
6. Linger Awhile
7. Mr Bechet

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Over the years, they made many recordings together, but this one is unique. Recorded while on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead, these recordings are relaxed and personal, with an intimate, back-porch feel. Guy switches between six and twelve string guitars and lays down rootsy acoustic rhythms for Wells' tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.

1. Boogie Chillen
2. I’m In The Mood
3. Don’t Leave Me
4. Give Me My Coat And Shoes
5. Medley:Baby What You Want Me To Do/That’s Allright
6. Big Boat(Buddy and Junior’s Thing)
7. High Heel Sneakers
8. My Home Is In The Delta
9. Wrong Doing Woman
10. Diggin’ My Potatoes

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'Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off 'Folk Forms No. 1,' followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. 'Original Faubus Fables' is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, 'What I Love?' and the outrageously titled 'All the Things Could Be by Now if Sigmund Freud's Wife Was Your Mother,' are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.' - Review by Ronnie Lankford, Jr

1. Folk Forms, No. 1
2. Original Faubus Fables
3. What Love
4. All The Things You Could Be By Now If Sigmund Freud’s Wife Was Your Mother

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First released under the title “Playboys” in 1956 it was then re-released under the title “Picture Of Heath” in 1961 perhaps owing to the fact it carried the same name as a popular men’s magazine. This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.

1. Picture Of Heath
2. For Miles And Miles
3. C.T.A.
4. For Minors Only
5. Minor Yours
6. Resonant Emotions
7. Tynan Time

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