Thursday, February 13, 2020

Sunday, June 25, 2017

Bud Shank & Bill Perkins

Two of the stars of cool jazz (both of whom had long careers), Bud Shank and Bill Perkins, are featured to various degrees throughout this 1998 CD reissue. Shank, who during the 1980's and 90's stuck exclusively to his increasingly passionate alto, in the 1950's was practically the epitome of West Coast jazz. His cool tones on alto and his fluid flute were utilized on many dates; the main set on this CD also finds him switching in spots to tenor and baritone. Perkins, always a versatile reed soloist, is best-known for his tenor playing but during that date he also plays alto and (on two versions of "Fluted Columns) there are some rare examples of his flute. Shank and Perkins team up quite effectively with pianist Hampton Hawes, bassist Red Mitchell and drummer Mel Lewis for the May 2, 1955 session which includes a trio feature for Hawes ("I Hear Music"). Four numbers from Feb. 19, 1956 (with Shank on flute and alto, pianist Russ Freeman, bassist Carson Smith, drummer Shelly Manne and, on "Brother, Can You Spare A Dime," Perkins on tenor) are actually from a session led by Freeman but never completed and were only put out previously on samplers. "Angel Eyes" (by a quartet with Perkins and pianist Jimmy Rowles) is a leftover track from a later date as is "Sonny Speaks" which showcases Rowles in a trio without Perkins. This CD concludes with the one surviving number ("Ain't Got A Dime To My Name") surviving from a truncated Perkins quartet set from 1958. Taken as a whole, there are many rewarding solos to be heard by Shank, Perkins and the piano players on these formerly rare selections even if the CD falls short of being classic.
Scott Yanow

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3xfyxqyjldde

Bud Shank 
Bill Perkins
Bud Shank and Bill Perkins

Tracks

1 Paradise (Brown, Clifford)  3:03
2 Fluted Columns (Shank)  4:18
3 I Hear Music (Lane, Loesser)  3:31
4 Royal Garden Blues (Williams, Williams)  3:56
5 A Sinner Kissed an Angel (David)  3:17
6 It Had to Be You (Jones, Kahn)  3:16
7 Fluted Columns [alt. take] (Shank)  3:31
8 I Hear Music [Trio Version] (Lane, Loesser)  3:25
9 Brother, Can You Spare a Dime ? (Gorney, Harburg)  4:42
10 Blues in the Night (Arlen, Mercer)   7:21
11 Bojangles of Harlem (Fields, Kern)  2:46
12 It's a New World (Arlen, Gershwin)  4:40
13 Angel Eyes (Brent, Dennis)  3:38
14 Sonny Speaks (Berman)  3:44
15 Ain't Got a Dime to My Name (Ho-Hum) (Burke, VanHeusen)  3:36

*

Personnel
[#1-8]
Bud Shank - fl, as, ts & bs
Bill Perkins - fl, as & ts
Hampton Hawes - p
Red Mitchell - b
Mel Lewis - dr
[# 9-12]
Bud Shank - fl & as
Bill Perkins - ts [# 9]
Russ Freeman - p
Carson Smith - b
Shelly Manne - dr
[#13-17]
Bill Perkins - ts
Jimmy Rowles - p
Ben Tucker [# 13-14] or Leroy Vinnegar [# 15] - b
Mel Lewis - dr

Recorded at Capitol Studios, Los Angeles on May 2, 1955 [# 1-8] ; [# 9-12] at the Music Box Theatre, Los Angeles on February 19, 1956 ; [# 13-14] Los Angeles on December 11, 1956 ; [# 15] same place on May 1958.

Saturday, June 24, 2017

Herbie Mann/Sahib Shihab - The Jazz We Heard Last Summer

This split LP pairs a sextet led by multi-instrumentalist Sahib Shihab with another under the direction of Herbie Mann. Big names all the way around on this one. On the Shihab session, John Jenkins and Clifford Jordan round out the front line, while Hank Jones, Addison Farmer, and Dannie Richmond hold down the rhythm. Mann, on the other hand, is joined by Phil Woods, Eddie Costa, Joe Puma, Wilbur Ware, and Jerry Segal. Nothing overly surprising here, but one can expect quality performances by all. The album's opener, "S.M.T.W.T.F.S.S. Blues," and Jenkins' own "Rockaway" are especially pleasing themes, as is the Phil Woods contribution, "World Wide Boots." Generally speaking, the Shihab tracks are a bit meatier, causing the momentum to taper off toward the end of the disc. This should not, however, sway fans of late-'50s bop, as a number of the scene's top players are featured on this admittedly short set.
Brandon Burke

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0xfrxqwgldhe

Herbie Mann
 Sahib Shihab
The Jazz We Heard Last Summer

Tracks

1 S.M.T.W.T.F.S.S. Blues (Shihab)  6:36
2 Rockaway (Jenkins)  6:43
3 The Things We Did Last Summer (Cahn, Styne)  7:03
4 Green Stamp Monsta (Mann)  7:58
5 World Wide Boots (Woods)  8:22

*

Personnel
[# 1-4] Sahib Shihab Sextet
John Jenkins - as
Clifford Jordan - ts
Sahib Shihab - bs
Hank Jones - p
Addison Farmer - b
Dannie Richmond - dr
Recorded in New York City ; June 6, 1957
[# 4-5] Herbie Mann Sextet
Herbie Mann - fl & ts
Phil Woods - as
Eddie Costa - vb & p
Joe Puma - g
Wilbur Ware - b
Jerry Segal - dr
Recorded in New York City ; May 2, 1957

Friday, June 23, 2017

Sir Charles Thompson - His Personal Vanguard Recordings

The elegantly nicknamed Sir Charles Thompson was one of the few musicians associated with swing who was able to make a graceful, wholehearted transition to bop at the time the revolution was happening. His piano style is light-fingered and spare in a witty, inventive, Basie-descended bop manner, and he was able to adapt it effectively to the organ. Thompson's first instrument was the violin, but the piano beckoned when he was a teenager, and he started working with territory bands in the midwest in the late 1930s. He briefly joined Lionel Hampton in 1940, but left in order to work with small groups and contribute arrangements to Basie, Hampton, Fletcher Henderson, Jimmy Dorsey, and other bands. While working in New York's 52nd St. clubs during World War II, he began to pick up on the beginnings of bop. In 1944-1945, Thompson played in the Coleman Hawkins/Howard McGhee band, journeying to Hollywood with them to record several terrific swing/bop sides for Capitol (now on Hollywood Stampede) and also his lively tune "Ladies' Lullaby" for Asch. So thoroughly had Thompson absorbed the language and ethos of bop that he was able to write one of the quintessential classics of the idiom, "Robbins' Nest," which became a hit for Sir Charles' next employer, Illinois Jacquet, and inspired a haunting, pathbreaking Gil Evans arrangement for Claude Thornhill in 1947.
Thompson recorded a number of small group albums for Vanguard in the '50s, and two more for Columbia in 1959 and 1960, and appeared as a sideman for Buck Clayton and Jimmy Rushing, but spent much of the '50s freelancing as an organist. He toured the U.S., Canada, and Puerto Rico in the '60s leading small groups, as well as Europe with Clayton. Following a bout of ill health, he returned to action in 1975. His early bop sides for Apollo, including some with Hawkins and Charlie Parker, are available on the Delmark reissue Takin' Off.
Richard S. Ginell

Source : http://www.allmusic.com/artist/sir-charles-thompson-mn0000747654/biography

Sir Charles Thompson
His Personal Vanguard Recordings

Tracks

Cd. 1

1 Bop This (Thompson)  3:43
2 Memories of You (Blake, azaf)  5:23
3 Oh Joe ! (Newman)  6:33
4 For the Ears (Thompson)  11:13
5 Swingtime in the Rockies (Mundy)  4:01
6 Honeysuckle Rose (Waller, Razaf)  6:22
7 These Foolish Things (Strachey, Link, Marvell)  5:25
8 Sweet Georgia Brown (Pinkard, Bernie, Casey)  4:05

*

Cd. 2

1 It's the Talk of the Town (Livingston, Symes, Neiburg)  4:35
2 Fore ! (Thompson)  6:53
3 Dynaflow (Thompson)  4:49
4 Under the Sweetheart Tree (Thompson, Evans)  5:13
5 Ready for Freddie (Thompson)  2:55
6 Sonny Howard's Blues (Thompson)  5:23
7 Best by Test (Best)  2:50
8 Hey There (Adler, Ross)  5:13
9 Love for Sale (Porter)  6:24
10 Stompin' at the Savoy (Samson, Webb, Goodman, Razaf)  3:12
11 Mr. Sandman (Ballard)  2:47


*

Personnel
[Cd. 1, # 1-4]
Pete Brown - as
Joe Newman - tp
Benny Powell - tb
Sir Charles Thompson - p
Gene Ramey - b
Osie Johnson - dr
Recorded in New York City ; December 30, 1953
[Cd. 1, # 5-8]
Sir Charles Thompson - p
Freddie Greene - g
Walter Page - b
Jo Jones - dr
Recorded in New York City ; January 22, 1954
[Cd. 2, # 1-5]
Coleman Hawkins - ts
Earl Warren - as
Emmett Berry - tp
Benny Morton - tb
Sir Charles Thompson - p
Steve Jordan - g
Aaron Bell - b
Osie Johnson - dr
Recorded in New York City ; August 16, 1954
[Cd. 2, # 6-11]
Sir Charles Thompson - p
Skeeter Best - g
Aaron Bell - b
Recorded in New York City ; February 16, 1955

Thursday, June 22, 2017

Benny Goodman - The Complete Capitol Trios

The Complete Capitol Trios is a long-overdue reissue of the five trio sessions Benny Goodman led for Capitol Records. The five sessions are easily broken down into two categories  recordings from 1947 and recordings from 1954. The highlights of the 1947 recordings are sessions with pianist Teddy Wilson and drummer Jimmy Crawford. This provided Goodman an opportunity to reunite with Wilson who he had toured with in the late '30s in a trio with drummer Gene Krupa. Goodman and Wilson have a real ease to their interaction and the results are positively joyful. There are three other recordings from 1947, featuring pianist Jimmy Rowles and drummer Tom Romersa ; these are good, but not quite as delightful as their 1947 companions. However, the 1954 recordings — all featuring pianist Mel Powell, four featuring drummer Eddie Grady, and two featuring drummer Bobby Donaldson — are equally wonderful, filled with good humor, elegant flair, and magical interludes. These sessions have been out of circulation for too long, but The Complete Capitol Trios is so well-done — and its fidelity is so good — that the wait was certainly worthwhile.
Thomas Erlewine

Source : http://www.allmusic.com/album/the-complete-capitol-trios-mw0000245593

Benny Goodman
The Complete Capitol Trios
(1947-1954)

Tracks

1 Blue (And Broken Hearted) (Clarke, Handman, Leslie)  2:58
2 After Hours (Hawkins, Parrish)  3:08
3 All I Do Is Dream of You (Brown, Freed)  2:22
4 I'll Never Be the Same (Kahn, Malneck, Signorelli)  3:16
5 Bye Bye Pretty Baby (Gardner, Hamilton)  2:28
6 Shoe Shine Boy (Cahn, Chaplin)  2:50
7 At Sundown (Donaldson)  2:27
8 When You're Smiling (The Whole World Smiles With You) (Fisher, Goodwin, Shay)  2:36
9 All I Do Is Dream of You (Brown, Freed)  2:40
10 Stompin' at the Savoy (Goodman, Razaf, Sampson, Webb)  2:51
11 Mean to Me (Ahlert, Turk)  3:00
12 Puttin' on the Ritz (Berlin)  3:04
13 I Never Knew I Could Love Anybody (Like I'm Loving You) (Egan, Marsh, Pitts)  3:08
14 Lazy River (Arodin, Carmichael)  3:02
15 There'll Be Some Changes Made (Higgins, Overstreet)  3:10
16 Ev'rything I've Got (Belongs to You) (Hart, Rodgers)  3:54
17 But Not For Me (Gershwin, Gershwin)  2:25
18 Margie (Conrad, Davis, Robinson)  2:43
19 Rose Room (Hickman, Williams)  3:57
20 (What Can I Say) After I Say I'm Sorry ? (Donaldson, Lyman)  3:09

*

Personnel
[# 1-6]
Benny Goodman - cl
Teddy Wilson - p
Jimmy Crawford - dr
Recorded in New York City ; November 7, 1947
[# 7-10]
Same as above
Recorded in New York City ; November 17, 1947
[# 11-14]
Same as above, except
Jimmy Rowles - p, replaces Wilson
Recorded at Radio Recorders, Los Angeles ; April 16, 1947
[# 15-18]
Benny Goodman - cl
Mel Powell - p
Eddie Grady - dr
Recorded at the Riverside Plaza Hotel, New York City ; January 28, 1954
[# 19-20]
Same as above, except
Bobby Donaldson - dr, replaces Grady
Recorded same place as above ; November 16, 1954

Mary Osborne - A Girl and Her Guitar '59

Mary Osborne (1921-1992) began her musical career in Minot, North Dakota before she was 11 years old. In a few years she was doing radio work and soon was playing with some of the big bands then playing in the upper Midwest. She met Charlie Christian in North Dakota and she was heavily influenced by his style. But, like most of the great players she also developed her own unique approach and sound.
In the late 1930’s she moved east to Pittsburgh and later to New York. There her talents as a jazz player caught the ear of some of the jazz greats like Coleman Hawkins, Dizzy Gillespie and Art Tatum all of whom used her as rhythm and solo guitarist in their bands. In the period of 1945 – 1947 she made a number of recordings with several important jazz figures; Mercer Ellington, Mary Lou Williams, Coleman Hawkins, Stuff Smith and Meryl Booker.
During that same period she formed her own group, The Mary Osborne Trio in which she also supplied the vocal interest. Her trio made a series of successful public performances and recordings that were originally released on 78 RPM records. She later gave up the trio format to perform on her own at clubs and on TV where she played on the Arthur Godfrey and Ted Steele shows.
In the 1950’s she recorded with Tyree Glenn and produced a long playing record under her own name, A Girl and Her Guitar.
In 1968 Mary Osborne moved to Bakersfield, California where she operated the Osborne Guitar Company and performed in local venues. In 1977 she made a recording with Marian McPartland entitled Now’s The Time with a lineup of some of the best women jazz musicians of the day. In 1982 Stash records released Now And Then which included new material and material from A Girl and Her Guitar.
Mary Osborne died in Bakersfield, California in 1992.

Source : http://classicjazzguitar.com/artists/artists_page.jsp?artist=21

Mary Osborne
A Girl and Her Guitar
(1959)

Tracks

1 I Love Paris (Porter)  2:45
2 I Let A Song Go out of My Heart (Ellington, Nemo, Mills, Redmond)  2:47
3 How High The Moon (Hamilton, Lewis)  2:50
4 When Your Lover Has Gone (Swan)  3:45
5 Mary's Goodbye Blues (Osborne)  4:35
6 I Found A New Baby (Palmer, Williams)  3:04
7 Sophisticated lady (Ellington, Parish, Mills)  4:14
8 I'm Beginning To See The Light (James, George, Ellington Hodges)  2:29
9 Body And Soul (Green, Heyman, Sour, Eyton)  2:50
10 I Surrender Dear (Barris, Clifford)  2:54
11 These Foolish Things (Remind Me of You) (Link, Strachey, Marvell)  3:08

*

Personnel
Mary Osborne - g
Daniel Barker - g
Tommy Flanagan - p
Tommy Potter - b
Jo Jones - dr

Recorded 1959



See also : http://www.vintageguitar.com/8559/mary-osborne/

Chuck Wayne & Joe Puma - Interactions

During the mid-to-late 1960's it was widely believed — at least among those of us who cared — that our country was about to lost perhaps its only native art form. Jazz Music, afflected with everything bad from terminal apathy to free floating hostility and neglect, was limping along towards imminent doom.
Many jazz players quit. Many others sensing disaster, herded themselves toward the elephant burial grounds of 'show biz' and television, choosing to end with a fate night giggle rather than a bang of whimper.
Looking back on that bleak period, although its depressing effects are still with us, a certain pattern og hope emerges. There were and are many signs of life. It seems now that Jazz Music, rather than having died, had merely gone underground for a while in order to survive — much like certain beautiful desert flowers which go through severe drought in a semi-dormant state, waiting for the next rain. 
Things eventually began to blossom a bit. In the stone canyons of Manhattan good solo piano players sprouted here and here ; cautious bass and guitar duets took root in the timid corners of restaurant — not much at first, but something.
Little by little it has become clear that many of the finest and best jazz players have survived and are still producing, perhaps a bit scarred by the ordeal, but also a bit older and wiser and less likely to let it all slip away again.
Two of the very finest of these seasoned veterans are presented on this album. The collective playing experience of Joe Puma and Chuck Wayne covers an awesome line-up of major jazz artists and singers (if the names of Charlie Parker, Artie Shaw, Tony Benett and Peggy Lee don't make you stop and think, then you've come to the strong record bin).
What the two of them do here together is a level where the men are rapidly separated from the boys.
Jim Hall, original and beautiful liner notes from the cover

Chuck Wayne
Joe Puma 
Interactions

Tracks

1 My Favorite Things (Rodgers, Hammerstein)  5:54
2 Fly Me to the Moon (Howard)  4:29
3 Let's Do It Again (Wayne)  4:22
4 Little Joes Waltz (Puma)  5:19
5 Body and Soul (Green, Heyman, Sour, Eyton)  7:01
6 Lester Leaps In (Young)  4:44
7 Here's That Rainy Day (VanHeusen, Burke)  5:43
8 Baubles, Bangles and Beads (Forrest, Wright)  4:37
9 Satin Doll (Ellington, Strayhorn, Mercer)  4:49
10 There'll Never Be Another You (Gordon, Warren)  5:14
11 I'll Get Along (Wayne)  7:16

*


Joe Puma & Chuck Wayne - g

Recorded at MacDonald Studio ; November 1973

See also :
http://www.jazzdiscography.com/Leaders/PumaJoe-ldr.php

Wednesday, June 21, 2017

Mel Lewis Septet

Although he was generally reluctant to solo, Mel Lewis was considered one of the definitive big band drummers, a musician who was best at driving an orchestra, but could also play quite well with smaller units. He started playing professionally when he was 15 and worked with the big bands of Boyd Raeburn (1948), Alvino Rey, Ray Anthony, and Tex Beneke. Lewis gained a great deal of recognition in the jazz world for his work with Stan Kenton (1954-1957), making the large ensemble swing hard. In 1957, he settled in Los Angeles, became a studio drummer, and worked with the big bands of Terry Gibbs and Gerald Wilson. Lewis went to New York to play with Gerry Mulligan's Concert Jazz Band in 1960, and he toured Europe with Dizzy Gillespie (1961) and the Soviet Union with Benny Goodman (1962). In 1965, Lewis formed an orchestra in New York with Thad Jones which grew to be one of the top big bands in jazz. When Jones surprised everyone by suddenly fleeing to Europe in 1979, Lewis became the orchestra's sole leader, playing regularly each Monday night at the Village Vanguard until his death. Lewis recorded as a leader in the 1950s for San Francisco Jazz Records, Mode (reissued on V.S.O.P.), and Andex and, after Thad Jones left their orchestra, Lewis recorded with his big band for Atlantic, Telarc, and Music Masters.
Scott Yanow -All Music Guide

Source : http://www.freshsoundrecords.com/got__cha-cd-2963.html

Mel Lewis Septet
Got' Cha

Tracks

1 In a Mellowtone (Ellington)  8:10
2 Leave Your Worries Behind (Niehaus)  4:14
3 A Winters Tale (Adams)  8:36
4 Sir Richard Face (Perkins)  5:00
5 One for Pat (Niehaus)  3:58
6 'Enry 'Iggins 'Ead (Coker)  8:26
7 El Cerrito (Marabuto)  6:08

*

Personnel
Ed Leddy - tp
Richie Kamuca - as
Jerry Coker - as
Pepper Adams - bs
Johnny Marabuto - p
Dean Reilly - b
Mel Lewis - dr

Recorded in San Francisco ; November 19, [# 1, 2 & 5] ; & 20, [# 3, 4, 6 & 7] 1956.

Joe Puma - Shining Hour

Cool-toned guitarist Joe Puma is best known for his playing in the 1950s. This 1997 CD reissue has a live Puma trio date from 1984, which was his first occasion to lead his own recording session since 1961. The music is quite enjoyable, featuring Puma with pianist Hod O'Brien and bassist Red Mitchell. The guitarist was still very much in prime form, playing in a style unchanged from decades earlier. His interplay with O'Brien and Mitchell uplifts the standards, which include "Remember," "For All We Know" and "Mood Indigo," and he introduces two appealing originals. Highly recommended.
Scott Yanow

Source : http://www.allmusic.com/album/shining-hour-r313123

Joe Puma
Shining Hour

Tracks

1 My Shining Hour (Arlen, Mercer)  6:03
2 Lovely (Sondheim)  5:14
3 Mood Indigo (Bigard, Ellington, Mills)  3:45
4 Remember (Berlin)  4:13
5 For All We Know (Coots, Lewis)  5:25
6 Love Nest (Harbach, Hirsch)  6:29
7 Little Joe's Waltz (Puma)  6:55

*

Personnel 
Joe Puma - g
Hod O'Brien - p
Red Mitchell - b

Recorded on location at Orpheus Music ; June 1, 1984

Buddy Collette at the Cinema

This set is a veritable west coast flutist convention. A pastoral picnic with the Swinging Shepherds, led by Buddy Collette’s frolicsome flute and built on a beat definitely not bucolic. Buddy, along with Bud Shank, Paul Horn, and Harry Klee, introduced a new concept : warm, woodsy sounds from four flutes and rhythm. Before this experience, flute in jazz had generally been utilized in solo context. The arrival of the Swinging Shepherds, with their unique arrangements for a quartet of flutes, blowing freely and off-the-chart modern jazz as the mood dictated, proved it’s not the instrument, after all, that determines eligibility; it’s the player. The interplay between them as they switch to the various instruments in the flute family is remarkable. The first album was further enlivened by the presence of the Nelson Riddle rhythm section, with Bill Miller on piano, Joe Comfort on bass, and Bill Richmond on drums. On the second, Miller shares the piano spot with John T. Williams, Shelly Manne and Earl Palmer alternate on drums, Red Mitchell is the bassist, and Jim Hall is added on guitar. Overall, Collette’s Swinging Shepherds produced some beautiful sounds, as would be expected of such a gifted group of jazz musicians.

Source : http://www.freshsoundrecords.com/buddy_collettes_swinging_shepherds_2_lps_on_1_cd-cd-5451.html

Buddy Collette
and his
Swinging Shepherds

Tracks

1 The Funky Shepherds (Shank)  4:51
2 Tasty Dish (Collette)  4:19
3 Improvisation (unaccompanied) (Rugolo, Shank, Collette, Horn, Klee)  2:10
4 The Four Winds Blow (Horn)  3:35
5 Pony Tale (Horn)  4:28
6 Machito (Collette)  3:51
7 Short Story (Collette)  3:21
8 Flute Diet (Collette)  4:41
9 Improvisation (with conga) (Rugolo, Shank, Collette, Horn, Klee)  2:25
10 Colonel Bogey & River Kwai March (Adford)  3:29
11 Laura (Raskin, Mercer)  2:38
12 Smile (Chaplin)  3:06
13 The Bad and the Beautiful (Raksin)  4:10
14 The Shrike (Rugolo)  3:24
15 I Can't Believe That You're In Love With Me (McHugh, Gaskill)  2:42
16 The Trolley Song (Blane, Martin)  1:54
17 Intermezzo (Henning, Provost)  3:27
18 Ruby (Roemheld, Parish)  3:21
19 Invitation (Kaper, Webster)  3:52
20 Swinging on a Star (Burke, VanHeusen)  2:56


*

Personnel
[# 1-9] "Buddy Collette and His Swinging Shepherds" (Mercury SR 80005)
Buddy Collette, Bud Shank, Paul Horn - fl, a-fl & piccolo
Harry Klee - fl, a-fl & b-fl
Bill Miller - p
Joe Comfort - b
Bill Richmond - dr & cng [on # 9]
Recorded at Master Recorders, Hollywood, March 5 [# 5, 7-9] & 7, 1958.
[# 10-20] "Buddy Collette and His Swinging Shepherds at the Cinema" (Mercury SR 60132)
Buddy Collette, Bud Shank, Paul Horn - fl, a-fl & piccolo
Harry Klee - fl, a-fl & b-fl
Bill Miller or John T. Williams [# 14-19] - p
Jim Hall - g
Red Mitchell - b
Shelly Manne or Earl Palmer [# 10, 16, 18 & 19] - dr
Recorded at Master Recorders, Hollywood, January 10 [# 10-13], January 17 [# 14-16], February 21 [# 17-20], 1959.

See also
http://microgroove.jp/mercury/MG36133.shtml

Tuesday, June 20, 2017

Fred Katz - Folk Songs for Far Out Folk

Cellist Fred Katz is best remembered as a sideman with the Chico Hamilton Quintet, Paul Horn, and Pete Rugolo, though on this famous, long unavailable record of his own, he serves as conductor and arranger rather than player. Folk Songs for Far Out Folk consists of his tantalizing, imaginative adaptations of African, Hebrew, and American folk tunes. The musical cast varies with each group of selections. The three African songs, highlighted by the explosive "Mate'ka," include trumpeters Pete Candoli, Don Fagerquist, and Irving Goodman, with a six-man percussion section that features Larry Bunker and Nat King Cole sideman Jack Costanzo. Four American songs include treatment of "Sometimes I Feel Like a Motherless Child" that alternates between brooding and upbeat cool, with vibraphonist Gene Estes, pianist Johnny Williams, and guitarist Billy Bean lending a hand. The two Hebrew songs focus on reeds exclusively (excepting Mel Pollen's bass). The playful setting of "Ray's Nigun" showcases Justin Gordon on bass clarinet with Paul Horn and Buddy Collette providing whimsical accompaniment on flutes. This CD reissue by Reboot Stereophonic expands considerably on the original Warner Bros. LP, adding updated liner notes and photos of Katz in addition to reproducing the original notes and poetry that were part of the original package. Highly recommended.
Ken Dryden

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hvftxq85ldke

Fred Katz
Folk Songs for Far Out Folk
(Orchestras conducted by Fred Katz)

Tracks

1 Mate'ka  6:35
2 Sometimes I Feel Like a Motherless Child  4:12
3 Been in the Pen So Long  3:09
4 Chili'lo [Lament]  3:56
5 Rav's Nigun  3:00
6 Old Paint  4:55
7 Manthi-Ki  5:09
8 Baal Shem Tov  4:01
9 Foggy, Foggy Dew  5:21

All Songs are "Ad Lib Music Publishing"
Adapted by Fred Katz


*

Personnel
Feat. Gene Estes, Billy Bean, Pete Candoli, Johnny T. WiIliams, Mel Pollan, Jerry Williams, Justin Gordon, Paul Horn, Buddy Collette, Jules Jacob, George Smith, Don Fagerquist, Larry Bunker, Bob Enevoldsen, Harry Betts, Lou Singer, etc...

Recorded in Hollywood, California ; between July 21 & September 17, 1958

Saturday, June 17, 2017

Moe Koffman - The Shepherd Swings Again

Canadian flutist Moe Koffman was delighted to have a hit on his hands after the success of his "The Swingin' Shepherd Blues," so this Jubilee LP became his immediate follow-up album. Joined by guitarist Ed Bickert, bassist Hugh Currie and drummer Ron Rully, Koffman wrote five new originals for this record, including the light and breezy "Flute Salad" and the hip swinger "Marty's Morgue." He also adds an easygoing take of Sonny Rollins' "Doxy," and a hard bop (with traces of funk in its introduction) arrangement of the standard "Alone Together." Koffman switches to alto sax for his intricate "Bermuda Schwartz" (which features a fine solo by Bickert and a few drum breaks), as well as on Rully's exotic composition "What Can You Do ?" Long out of print, consider this LP to be extremely rare.
Ken Dryden

Source : http://www.allmusic.com/album/the-shepherd-swings-again-mw0000868460

Moe Koffman
The "Shepherd" Swings Again

Tracks

1 Flute Salad (Koffman)  3:51
2 Marty's Morgue (Koffman)  3:21
3 Doxy (Rollins)  3:39
4 Alone Together (Dietz, Schwartz)  4:00
5 Bermuda Schwarz (Koffman)  3:45
6 What Can You Do ? (Rully)  3:52
7 Cloud Nine (Koffman)  3:22
8 Sure It is (Koffman)  3:29

*

Personnel
Moe Koffman - fl [# 1-4] & as [# 5-8]
Ed Bickert - g
Hugh Currie - b
Ron Rully - dr

Recorded March 24, 1958

Tal Farlow on Verve (1951-1959)

Tal Farlow, was an innovative self-taught jazz guitarist who influenced generations of guitarists following in his footsteps. Although some of his peak years as a recording artist occurred during his association with Verve between 1954 and 1959, relatively few of the tracks were available for decades until the release of this comprehensive Mosaic box set. The music is consistently brilliant, as the leader's solos seem to evolve effortlessly, often finding fresh ground in the many standards and classic jazz compositions performed in this set. Aside from the three opening tracks from Farlow's days as a member of vibraphonist Red Norvo's trio, the guitarist is the leader. His meeting with fellow guitarist Barry Galbraith (with bassist Oscar Pettiford and a surprisingly restrained Joe Morello on drums) is highlighted by his intricate original "Gibson Boy." The sessions with pianist Gerry Wiggins, bassist Ray Brown, and drummer Chico Hamilton focus primarily on standards, though "And She Remembers Me" is an obvious reworking of "I'll Remember April" ; the rapid-fire take of "Cherokee" takes top honors. Two separate dates with pianist Claude Williamson and bassist Red Mitchell (one which adds drummer Stan Levey) stick exclusively to standards, with plenty of lively interplay. Two sessions with West Coast stylists including valve trombonist Bob Enevoldsen, tenor saxophonist Bill Perkins, and baritone saxophonist Bob Gordon complement Farlow's sound very well. It is surprising that producer Norman Granz did not initially release a unique date with Oscar Pettiford (on cello) as a second front-line instrument, with the outstanding rhythm section of Hank Jones, Ray Brown, and Louie Bellson. Highlights from this meeting include the cellist's "Swingin' Till the Girls Come Home," "Jordu," and two takes of "Bernie's Tune." A regular working trio led by Farlow with pianist Eddie Costa (who died far too young following a car wreck in 1962) and bassist Vinnie Burke produced three separate albums (with Knobby Totah or Bill Takas taking Burke's place on the final session). The chemistry between Farlow and Costa is readily apparent. Another musician who died far too young, Belgian flutist and tenor saxophonist Bobby Jaspar, joined the guitarist, bassist Milt Hinton, and drummer Osie Johnson for three numbers featuring Farlow on an acoustic instrument for the first time, producing the kind of jazz that only true aficionados can appreciate. A larger group with saxophonist and flutist Frank Wess, trombonist Benny Powell, pianist Dick Hyman, and baritone saxophonist Charles Fowlkes delves into the music of Harold Arlen, including several long overlooked songs composed for the musical Saratoga along with some of his best-known works, though at times their unfamiliarity with some of the tunes and each other is apparent. The detailed booklet contains many rare photos of Farlow and the men who worked with him, along with an informative analysis by fellow guitarist Howard Alden. This limited-edition collection should be on every jazz guitar fan's wish list.
Ken Dryden

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wifuxqwsldfe

Tal Farlow
The Complete Verve Sessions
(1951-1959)

Tracks

Cd. 1

1 Tenderly (Gross, Lawrence)  2:49
2 I Remember You (Schertszinger, Mercer)  3:23
3 Skylark (Carmichael, Mercer)  3:15
4 If There’s Someone Lovelier Than You (Schwartz, Deitz) 2:42
5 With the Wind and The Rain in Your Hair [10” LP take] (Edwards, Lawrence) 2:59
6 My Old Flame (Johnston, Coslow) 3:33
7 Gibson Boy (Farlow) 2:43
8 You and The Night and The Music (Schwartz, Deitz) 3:40
9 Love Nest (Hirsch, Harbach) 2:42
10 Blues in The Closet (Pettiford) 2:48
11 Everything I’ve Got (Rodgers, Hart) 3:27
12 With the Wind and the Rain in Your Hair [12” LP take] (Edwards, Lawrence)  3:00
13 Everything I’ve Got [alt. take] (Rodgers, Hart)  3:27
14 I Like to Recognize The Tune (Rodgers, Hart)  3:09
15 Strike Up the Band (Gershwin, Gershwin)  3:25
16 Autumn in New York (Duke)  5:03
17 And She Remembers Me (Farlow)  4:22
18 Little Girl Blue (Rodgers, Hart)  3:22
19 Have You Met Miss Jones ? (Rodgers, Hart)  4:56
20 Tal’s Blues (Farlow)  5:09
21 Cherokee (Noble)  4:51

*


Cd. 2

1 These Foolish Things (Strachey, Marvell, Link)  2:51
2 I Remember You (Schertzing, Mercer)  4:13
3 How Deep is The Ocean (Berlin)  3:58
4 Fascinating Rhythm (Gershwin, Gershwin)  3:49
5 Manhattan (Rodgers, Hart)  3:16
6 Autumn Leaves (Prévert, Kosma, Mercer)  1:41
7 It’s You or no One (Styne, Cahn)  3:26
8 Tenderly (Gross, Lawrence)  4:34
9 There Will Never Be Another You (Gordon, Warren)  3:46
10 Just one of Those Things (Porter)  3:01
11 Out of Nowhere (Green, Heyman)  5:27
12 Walkin’ (Carpenter)  5:26
13 Moonlight Becomes You (Burke, Van Heusen)  4:23
14 On The Alamo (Jones, Kahn)  4:07
15 Will You Still Be Mine (Dennis, Adair)  4:00
16 Lorinesque (Farlow)  4:15
17 Bye Bye Baby (Styne, Robin)  4:07

*

Cd. 3

1 Lullaby of The Leaves (Petkere, Young)  3:45
2 Stompin’ At The Savoy (Sampson, Webb, Razaf, Goodman)  3:15
3 This is Always (Warren, Gordon)  3:04
4 Tea for Two (Youmans, Caesar)  2:55
5 I Wished on The Moon (Rainger, Parker)  7:07
6 Swingin’ Till the Girls Come Home (Pettiford)  6:45
7 Jordu (Jordan)  5:35
8 The Way You Look Tonight (Fields, Kern)  4:40
9 Bernie’s Tune (Miller)  8:34
10 I Wished on The Moon [alt. take] (Rainger, Parker)  7:06
11 Bernie’s Tune [alt. take] (Miller)  8:37

*


Cd. 4

1 Taking A Chance on Love (Duke, Fetter, Latouche)  4:42
2 Yardbird Suite (Parker)  5:15
3 You Stepped Out Of A Dream (Brown, Kahn)  5:40
4 They Can’t Take that Away from Me (Gershwin, Gershwin)  5:42
5 Like Someone in Love (Burke, Van Heusen)  6:38
6 Meteor (Farlow)  6:36
7 I Love You (Porter)  5:31
8 Gone With the Wind (Wrubel, Magidson)  5:19
9 Taking A Chance on Love [alt. take] (Duke, Fetter, Latouche)  4:46
10 Yardbird Suite [alt. take] (Parker)  4:49
11 Gone With the Wind [alt. take] (Wrubel, Magidson)  5:25
12 Taking A Chance on Love [breakdown] (Duke, Fetter, Latouche)  1:06

*

Cd. 5

1 Isn’t it Romantic (Rodgers, Hart)  10:08
2 (There Is) No Greater Love (Jones, Symes)  3:55
3 How About You ? (Lane, Freed)  6:01
4 Anything Goes (Porter)  5:08
5 Yesterdays (Kern, Harbach)  5:51
6 You Don’t Know What Love is (Raye, DePaul)  4:19
7 Chuckles (Terry)  4:56
8 Broadway (Woode, McRae, Bird)  6:16

*


Cd. 6

1 Lean on Me (Greene, Waldman)  4:10
2 Wonder Why (Brodszky, Cahn)  4:51
3 Night And Day (Porter)  4:20
4 Stella by Starlight (Young, Washington)  3:32
5 The More I See You (Warren, Gordon)  4:49
6 All The Things You Are (Kern, Hammerstein)  4:22
7 How Long Has this Been Going On ? (Gershwin, Gershwin)  4:12
8 Topsy (Durham)  3:37
9 'Deed I Do (Hirsch, Rose)  3:27
10 We’ll Be Together Again (Fischer, Laine)  3:23
11 We’ll Be Together Again [alt. 1] (Fischer, Laine)  4:30
12 We’ll Be Together Again [alt. 2] (Fischer, Laine)  3:18
13 The More I See You [breakdowns] (Warren, Gordon)  3:53
14 ‘Deed I Do [breakdowns] (Hirsch, Rose)  5:24
15 We’ll Be Together Again [breakdowns] (Fischer, Laine)  2:00

*


Cd. 7

1 A Foggy Day (Gershwin, Gershwin)  3:21
2 The Man in My Life (Arlen, Mercer)  4:45
3 Sweet Lorraine (Burwell, Parish)  5:26
4 Wess Side (Wess)  4:36
5 Telefunky (Farlow)  6:26
6 Blue Funk (Williams)  7:39
7 Saratoga (Arlen, Mercer)  5:13
8 Blues in The Night (Arlen, Mercer)  6:47
9 Hit The Road to Dreamland (Arlen, Mercer)  4:54
10 For Every Man There’s a Woman (Arlen, Robin)  4:22
11 As Long as I Live (Arlen, Koehler)  6:31
12 Between the Devil and the Deep Blue Sea (Arlen, Koehler)  3:05
13 Petticoat High (Arlen, Mercer)  4:40
14 One Step – Two Step (Arlen, Mercer)  3:09
15 Lessons in Love (Arlen, Mercer)  3:11

*

Personnel
[Cd. 1, # 1]
Red Norvo - vb
Tal Farlow - g
Red Mitchell - b
Recorded in Los Angles ; July 1, 1952
[Cd. 1, # 2-3]
Same personnel as above
Recorded in Los Angeles ; October 16, 1951
[Cd. 1, # 4-13]
Tal Farlow - g
Barry Galbraith - g
Oscar Pettiford - b
Joe Morello - dr
Recorded at Fine Sound, New York City ; June 2, 1954
[Cd. 1, # 14-21]
Tal Farlow - g
Gerald Wiggins - p
Ray Brown - b
Chico Hamilton - dr
Recorded at Radio Recorders, Los Angeles ; November 15 & 16, 1954
[Cd. 2, # 1-10]
Tal Farlow - g
Claude Williamson - p
Red Mitchell - b
Stan Levey - dr
Recorded at Radio Recorders, Los Angeles ; January 17, 1955
[Cd. 2, # 12, 14 & 15]
Bob Enevoldsen - v & tb
Bill Perkins - ts
Bob Gordon - bs
Tal Farlow - g
Monte Budwig - b
Larance Marable - dr
Recorded at Radio Recorders, Los Angeles ; May 3, 1955
[Cd. 2, # 11, 13, 16 & 17]
Same as above
Recorded same place as above ; May 4, 1955
[Cd. 3, # 1-4]
Tal Farlow - g
Claude Williamson - p
Red Mitchell - b
Recorded same place as above ; April 25, 1955
[Cd. 3, # 5-11]
Tal Farlow - g
Hank Jones - p
Oscar Pettiford - cel
Ray Brown - b
Henry Bellson - dr
Recorded at Fine Sound, New York City ; February 11, 1956
[Cd. 4]
Tal Farlow - g
Eddie Costa - p
Vinnie Burke - b
Recorded at Fine Sound, New York City ; May 31,1956
[Cd. 5]
Same as above
Recorded same place as above ; June 5, 1956
[Cd. 6, # 1-4]
Tal Farlow - g
Eddie Costa - p
Knobby Totah - b
Jimmy Campbell - dr
Recorded at WOR Studios, New York City ; February 17, 1958
[Cd. 6, # 5-15]
Same as above, except Bill Takas - b, replaces Knobby Totah
Recorded at WOR Studios, New York City ; February 18, 1958
[Cd. 7, # 10, 13 & 14]
Benny Powell - tb
Frank Wess - fl, as & ts
Charlie Fowlkes - bs
Tal Farlow - g
Dick Hyman - p
Wendell Marshall - b
Osie Johnson - dr
Recorded in New York ; December 15 & 16, 1959
[Cd. 7, # 2, 4, 8, 11 & 12]
Same sessions as above, except omit Powell and Fowkles
[Cd. 7, # 6, 7, 9 & 15]
Same sessions, except Joe Benjamin - b, replaces Wendell Marshall
[Cd. 7, # 1, 3 & 5]
Bobby Jaspar - ts & fl
Tal Farlow - g
Milt Hinton - b
Osie Johnson - dr
Recorded in New York ; December 15 & 16, 1959