Wednesday, September 17, 2064

Thursday, October 19, 2017

Walter Gieseking - The Complete 1950s Solo Studio Recordings

Walter Gieseking (1895–1956) can be counted among that group of artists who actually enjoyed the recording studio, and a cursory glance at his discography revealed that it's substantial by any standards. I've always been a fan ; his complete traversals of the Debussy and Ravel solo piano works have been benchmarks for me, especially the former. His complete Mozart perhaps hasn't aroused my enthusiasm to quite the same extent. The focus of this latest release from APR are works by Brahms, Schubert and Schumann which constitute his complete post-war commercial recordings, made for UK Columbia. Many of the titles are rarities in the catalogue. Also included are a pairs of recordings by Chopin and Scriabin, set down just days before his untimely death from post-operative complications following gall bladder surgery. He incidentally left an ongoing Beethoven Sonata cycle, unfinished at the time of his death. This is the second release from APR of the pianist's recordings. The previous was a 2 CD set : Walter Gieseking : The complete Homocord recordings and other rarities ; I haven’t heard it to offer an opinion.
It's amazing to think that Gieseking recorded the Brahms character pieces in just four days (20-23 June 1951) in Zurich. For me, personally, they’re the highlight of this wonderful collection. As far as I can ascertain they have only surfaced on CD via two 6 CD collections in Japan on the Toshiba label (TOCE 8131-36 ; TOCE 11064-69), rarely coming up for sale, and commanding high prices, and on a 2 CD set on the Urania label (SP 4260) together with Schubert's Drei Klavierstücke D946 and an early Schumann F-Sharp minor Sonata Op. 11 (1942).
What makes his Brahms playing so attractive is the gentle contouring of the lines, the natural expressiveness, and subtle nuanced rubato. Sensitive use of the pedal captures some richly blended sonorities and colours. The pieces offer so many contrasting moods and emotions, from the passionate Op. 118, n° 1 Intermezzo, to the melancholy of the Intermezzo in A minor Op. 117, n° 2. The exuberance of the Capriccio Op. 76, n° 1 contrasts with the wistful introspection of Op. 119, n° 1, and the tenderness of Op. 118, n° 2, is worlds apart from the declamations of the Rhapsody which ends the Op. 119 set. Who has managed to fully reveal the bittersweet character Intermezzo in A minor Op. 116, n° 2 as Gieseking does here and the autumnal nostalgia of N° 4. There's curbed, restrained emotion in the rather distinctive Intermezzo Op. 116, n° 5 in E minor. Like Richter, Gieseking's accented upbeat 'sighs' truly convey the unsettled character of the piece. The Op. 79 Rhapsodies are robust accounts, yet he strikes a perfect balance between heady rhetoric and poetic lyricism. Being temperamentally suited to this composer, this is some of the finest Brahms playing I’ve ever encountered...
Stephen Greenbank

Source : http://www.musicweb-international.com/classrev/2017/Jun/Gieseking_1950s_7402.htm

Walter Gieseking
Plays
Brahms, Schubert
Schumann
The Complete 1950s Solo
Studio Recordings

Tracks

Cd. 1

Johannes Brahms
(1833-1897)

Klavierstücke, Op. 119
1 Intermezzo in B Minor  3:13
2 Intermezzo in E Minor  4:12
3 Intermezzo in C Major  1:37
4 Rhapsody in E-Flat Major  3:51

Rhapsodies, Op. 79
5 Rhapsody in B Minor  7:16
6 Rhapsody in G Minor  4:17

Robert Schumann
(1810-1856)

Kinderszenen, Op. 15
7 I. Von fremden Ländern und Menschen  1:24
8 II. Curiose Geschichte  1:03
9 III. Hasche-Mann  0:29
10 IV. Bittendes Kind  0:50
11 V. Glückes genug  0:35
12 VI. Wichtige Begenbenheit  0:47
13 VII. Träumerei   2:39
14 VIII. Am Camin  1:02
15 IX. Ritter vom Steckenpferd  0:45
16 X. Fast zu ernst  1:51
17 XI. Früchtenmachen  1:35
18 XII. Kind im Einschlummern  2:05
19 XIII. Der Dichter spricht  2:05

Carnaval, Op. 9
Scènes mignonnes sur quatre notes
20 Préambule. Quasi maestoso - Più moto - Animato - Vivo - Presto  2:01
21 Pierrot. Moderato  0:53
22 Arlequin. Vivo  1:04
23 Valse noble. Un poco maestoso  1:04
24 Eusebius. Adagio  1:45
25 Florestan. Passionato  0:43
26 Coquette. Vivo  0:56
27 Répliques. L'istesso tempo - (Sphinxes, n° 1-3)  1:06
28 Papillons. Prestissimo  0:37
29 A.S.C.H. - S.C.H.A (Lettres dansantes). Presto  0:37
30 Chiarina. Passionato  1:02
31 Chopin. Agitato  1:11
32 Estrella. Con affetto  0:25
33 Reconnaissance. Animato  1:36
34 Pantalon et Colombine. Presto  0:52
35 Valse allemande. Molto vivace  0:41
36 Paganini. Intermezzo. Presto  1:05
37 Aveu. Passionato  0:38
38 Promenade. Comodo  2:22
39 Pause. Vivo  0:14
40 Marche des "Davidsbündler" contre les Philistins.
Non allegro - Molto più vivo - Animato - Vivo - Animato molto -Vivo - Più Stretto  3:36

41 Schlummerlied (from Albumblätter, Op. 124, n° 16)  4:18
42 Vogel als Prophet (from Waldszenen, Op. 82, n° 7)  2:50

*


Cd. 2

Johannes Brahms
(1833-1897)

Klavierstücke, Op. 76
1 Capriccio in F-Sharp minor (Un poco agitato)  2:40
2 Capriccio in B minor (Allegretto non troppo)  3:02
3 Intermezzo in A-Flat major (Grazioso)  1:54
4 Intermezzo in B-Flat major (Allegretto grazioso)  2:28
5 Capriccio in C-Sharp minor (Agitato, ma non troppo presto)  2:41
6 Intermezzo in A major (Andante con moto)  3:26
7 Intermezzo in A minor (Moderato semplice)  2:40
8 Capriccio in C major (Grazioso ed un poco vivace)  2:55

Fantasies, Op. 116
9 Capriccio in D minor (Presto energico)  2:04
10 Intermezzo in A minor (Andante)  3:01
11 Capriccio in G minor (Allegro passionato)  2:40
12 Inytermezzo in E major (Adagio)  4:06
13 Intermezzo in E minor (Andante con grazia)  2:58
14 Intermezzo in E major (Andantino teneramente)  3:02
15 Capriccio in D minor (Alegro agitato)  2:06

Intermezzi, Op. 117
16 N° 1 in E-Flat major (Andante moderato)  4:53
17 N° 2 in B-Flat minor (Andante npon troppo e con molto espressione)  4:20
18 N° 3 in C-Sharp minor (Andante con molto)  6:36

Klavierstücke, Op. 118
19 Intermezzo in A minor (Allegro non assai)  2:06
20 Intermezzo in A major (Andante teneramente)  4:28
21 Ballade in G minor (Allegro energico)  3:57
22 Intermezzo in F minor (Allegretto un poco agitato)  2:49
23 Romanze in F major (Andante)  3:46
24 Intermezzo in E-Flat minor (Andante, largo e mesto)  4:54

*


Cd. 3

Franz Schubert
(1797-1828)

Impromptu, Op. 90, D. 899
1 N° 1 in C Minor (Allegro molto moderato)  10:44
2 N° 2 in E-Flat Major (Allegro)  4:04
3 N° 3 in G-Flat Majopr (Andante)  4:52
4 N° 4 in A-Flat Major (Allegretto)  6:49

Impromptus, Op. 142, D. 935
5 N° 1 in F Minor (Allegro moderato)  9:48
6 N° 2 in A-Flat Major (Allegretto)  7:14
7 N° 3 in B-Flat Major (Andante)  12:14
8 N° 4 in F Minor (Allegro scherzando)  5:59

*

Cd. 4

Franz Schubert
(1797-1828)

Moments Musicaux, Op. 94, D. 780
1 N° 1 in C Major (Moderato)  4:16
2 N° 2 in A-Flat Major (Andantino)  6:15
3 N° 3 in F Minor (Allegro moderato)  1:48
4 N° 4 in C-Sharp Minor (Moderato)  4:13
5 N 5 in F Minor (Allegro vivace)  1:54
6 N° 6 in A-Flat Major (ALegretto)  5:42

Drei Klavierstücke, D. 946
7 N° 1 in E-Flat Minor (Allegro assai)  8:39
8 N° 2 in E-Flat Major (Allegretto)  7:55
9 N° 3 in C Major (Allegro)  5:38

Frédéric Chopin
(1810-1849)

10 Berceuse in D-Flat Major, Op. 57  4:48
11 Barcarolle in F-Sharp Major, Op. 60  9:17

Alexander Scriabin
(1871-1915)

12 Poème, Op. 32, n° 1  3:16
13 Prélude, Op. 15, n° 4  1:33


*

Walter Gieseking - p

Recorded at the Kongresshaus Kammermusiksaal, Zurich ; June 20, [Cd. 1, # 5 & 6 ; Cd. 2, # 1-8] 1951 ; June 20/21 [Cd. 2, # 9-15] ; June 21 [Cd. 2, # 16-18] ; June 21/22 [Cd. 2, # 19-24], & June 22/23 [Cd. 1, # 1-4], 1951 ; & in Studio 3, Abbey Road, London ; September 1 & 3, 1951 [Cd. 1, # 7-19] ; September 25/26, 1951 [Cd. 1, # 20-40] ; September 29, 1951 [Cd. 4, # 1-6] ; September 1, 1955 [Cd. 1, # 41] ; September 2, 3 & 5, 1955 [Cd. 3, # 5-8] ; September 3, 5 & 6, 1955 [Cd. 3, # 1-4] ; October 17, 1956 [Cd. 2, # 42 & Cd. 4, # 7-9] & September 18, 1956 [Cd. 4, # 10-13]

Wednesday, October 18, 2017

Kenny Burrell - 'Round Midnight

This is a typically tasteful Kenny Burrell record with the guitarist mostly emphasizing ballads. Five of the seven songs (which include "Make Someone Happy," "Since I Fell for You" and the theme from "A Streetcar Named Desire") find Burrell assisted by pianist Richard Wyands (who also played electric piano), bassist Reggie Johnson and drummer Lenny McBrowne. "'Round Midnight" is played by Burrell with pianist Joe Sample, bassist Johnson and drummer Paul Humphrey while "Blues in the Night" is an unaccompanied guitar solo. Although the music overall is well-played, no real sparks fly and the results often border on being sleepy.
Scott Yanow

Source :  http://www.allmusic.com/album/round-midnight-mw0000600580

Kenny Burrell
'Round Midnight

Tracks

1 A Streetcar Named Desire (North)  6:58
2 Make Someone Happy (Comden, Green, Styne)  5:15
3 'Round Midnight (Hanighen, Monk, Williams)  5:09
4 I Think It's Going to Rain Today (Newman)  4:59
5 Since I Fell for You (Johnson)  4:43
6 I'm Gonna Laugh You Right out of My Life (Coleman, McCarthy)  6:40
7 Blues in the Night (Arlen, Mercer)  3:32


*

Personnel
Kenny Burrell - g
Richard Wyands, Joe Sample [# 3] - p
Reggie Johnson - b
Lenny McBrowne, Paul Humphrey [# 3] - dr

Recorded at Fantasy Studios, Berkeley ; 1972

The Great Artistry of Django Reinhardt

This is the Django Reinhardt who might have been, recorded only two months before his death from a stroke. With a French bop rhythm section in tow, he thoroughly adapts himself to the prevailing idiom while allowing himself plenty of gypsy-flavored runs and those unique harmonic turns of phrase. Reinhardt's sharp attacks, fast runs, vibrato, and bright tone on electric guitar delineate the links to Les Paul much more clearly than his acoustic guitar recordings do (explicitly so in one of Paul's famous vehicles, "Brazil"), and runs like those on "Confessin'" must have had an effect upon Chet Atkins. Clearly, Reinhardt would have been a leading, distinctive light of mainstream bop-grounded jazz had he lived and toured outside France. He could also play the blues convincingly on the cool, swinging, and droll "Blues for Ike" (for the newly inaugurated President Eisenhower ?) Nevertheless, there is a strain of melancholy that runs through most of this collection, nowhere more so than in his heart-stopping closing rendition of his tune "Manoir de mes Rêves" (also known as "Django's Castle") ; one could read a portent of impending mortality into this. Issued on 10" LPs in the 1950s, first on Mercury, then on Clef, mutilated in the '70s with overdubs by a group called Guitars Unlimited, and not issued on CD until the early '90s, these sessions have not been given their due among historians. But they are indispensable for a total understanding of his music.
Richard S. Ginell

Source : http://www.allmusic.com/album/the-great-artistry-of-django-reinhardt-mw0000871356

Django Reinhardt
et ses Rythmes
The Great Artistry...

Tracks

1 Nuages (Reinhardt)  3:16
2 Night and Day (Porter)  2:51
3 Insensiblement (Misraki)  3:08
4 Blues for Ike (Reinhardt)  3:23
5 Brazil (Barroso)  2:26
6 September Song (Weill, Anderson)  2:33
7 Confessin' That I Love You (Neiburg, Daugherty)  3:39
8 Manoir de mes Rêves (Reinhardt)  2:36


*

Personnel
Django Reinhardt - g
Maurice Vander - p
Pierre Michelot - b
Jean-Louis Viale - dr

Recorded in Paris ; March 10, 1953

Tuesday, October 17, 2017

Duke Ellington & Johnny Hodges Back to Back

Duke Ellington makes a rare Verve appearance on this classic album – and works strongly in the mode of earlier sides recorded for the label by Johnny Hodges ! There's a relaxed, small group feel going on here — one that's a bit different than some of the tighter Ellington work on Columbia during the 50s, and which almost paves the way for some of the more intimate piano sides that Duke would record during the 60s. In a way, Hodges is almost at the lead — given how comfortable he is here in a Verve setting — and other players include Harry Edison on trumpet, Les Spann on guitar, Sam Jones on bass, and Jo Jones on drums. The real charm, as always, is Hodges' solos, lean, mean, raspy, and soulful — and titles include "Weary Blues", "Royal Garden Blues", "Loveless Love", "St Louis Blues", and "Wabash Blues".
© 1996-2011, Dusty Groove America, Inc.

Source : http://www.dustygroove.com/item.php?id=tczqfrhnv8

Duke Ellington
Johnny Hodges
Play the Blues
Back to Back

Tracks

1 Wabash Blues (Meinken, Ringle)  6:30
2 Basin Street Blues (Williams)  8:05
3 Beale Street Blues (Handy)  7:39
4 Weary Blues (Matthews)  6:58
5 St. Louis Blues (Handy)  5:51
6 Loveless Love (Handy)  7:13
7 Royal Garden Blues (Williams, Williams)  5:24

*

Personnel
Duke Ellington - p
Johnny Hodges - as
Harry "Sweets" Edison - tp
Les Spann - g
Al Hall [# 1 & 4] or Sam Jones - b
Jo Jones - dr

Recorded at Columbia Studios, New York City ; February 20, 1959

Teddy Charles Nonet & Tentet

Teddy Charles is a true rarity : a jazz musician who largely retired from the business. A skillful if not overly distinctive vibraphonist and (early in his career) quite capable on piano and drums, Charles was as important for his open-minded approach in the 1950s toward more advanced sounds as he was for his playing. He moved to New York to study percussion at Juilliard in 1946, but instead became involved in the jazz world. He had short stints with the big bands of Randy Brooks, Benny Goodman, Artie Shaw, Buddy DeFranco, and Chubby Jackson from 1948-1951 and then played with combos headed by Anita O'Day, Oscar Pettiford, Roy Eldridge, and Slim Gaillard. He also became a member of the Jazz Composers' Workshop (1953-1955) along with Charles Mingus and Teo Macero, opening his style up to the influences of classical music and freer improvising. Charles, who recorded with Mingus, Miles Davis, and Wardell Gray, among many others, began leading his own stimulating record dates in 1951, and by 1953 he was also working as a record producer, a field that took much more of his time from 1956 on. He led his own sessions for Prestige, Atlantic, Savoy, Jubilee, Bethlehem (where he produced around 40 records, mostly for other artists), and Warwick from 1951-1960, but was hardly heard from in the 1960s, other than a 1963 set for United Artists. Charles relocated to the Caribbean, where he opened a sailing business. After participating in a 1980 jam session, he eventually moved back to New York, making a "comeback" record for Soul Note in 1988, but still remaining semi-retired from music.
Scott Yanow

Source : http://www.allmusic.com/artist/teddy-charles-p6266/biography

The
Teddy Charles
Nonet & Tentet
[Complete Recordings]

Tracks

1 Vibrations (Waldron)  6:18
2 The Quiet Time (Giuffre)  5:55
3 The Emperor (Charles)  8:10
4 Nature Boy (Ahbez)  6:26
5 Green Blues (Charles)  4:11
6 You Go To My Head (Coots, Gillespie)  4:30
7 Lydian M-1 (Russell)  4:29
8 Word From Bird (Charles)  10:09
9 Show Time (Brookmeyer)  6:06
10 Sheherazade Blue (Rimsky-Korsakov)  3:48
11 Love For Three Oranges March (Prokofiev)  2:20
12 Borodin Bossa Nova (Borodin)  3:38
13 Dance Arabe (Tchaikovsky)  2:48
14 Lullaby Russe (Khachaturian)  4:25
15 Etude (Prokofiev)  3:13


*

Personnel [# 2, 4 & 6]
Teddy Charles - vb
Art Farmer - tp
Gigi Gryce - as
J. R. Monterose - ts
George Barrow - bs
Don Butterfield - tub
Mal Waldron - p
Jimmy Raney - g
Teddy Kotick - b
Joe Harris - dr
Recorded 1956
[# 1, 3 & 7]
Same as above except Sol Schlinger - bs replaces Barrow Recorded January 17, 1956
[# 8-9]
Teddy Charles - vb
Art Farmer - tp
Eddie Bert - tb [# 8 only]
Jimmy Buffington - frhrn
[# 8 only]
Don Butterfield - tub
Hal Stein - as
Robert Newman - ts
George Barrow - bs
Hall Overton - p
Jimmy Raney - g
Addison Farmer - b
Ed Shaughnessy - dr
Recorded New York ; October 23, 1956
[# 10-12]
Teddy Charles - vb
Jerome Richardson - fl & ts
Zoot Sims - ts
Eric Dolphy - b cl
Pepper Adams - bs
Hall Overton - p
Jimmy Raney - g
Teddy Kotick - b
Osie Johnson - dr
Recorded New York ; April 23 or 26, 1963
[# 13-15]
Teddy Charles - vb
Jerome Richardson - fl & ts
Jimmy Giuffre - cl & ts
Tommy Newsom - b cl
Pepper Adams - bs
Hank Jones - p
Jim Hall - g
Teddy Kotick - b
Osie Johnson - dr
Recorded New York ; May 6, 1963

Monday, October 16, 2017

Ruby Braff & George Barnes - To Fred Astaire with Love

For their last album together, To Fred Astaire with Love (which opens our CD), the bassist present was Michael Moore. He had recorded on most at their works as a quartet. This last album consisted of a homage to Fred Astaire, compiling songs the octor-singer-dancer had made famous in his movies. Mast ol the program (six out of the ten songs) features tunes by Irving Berlin, while the rest include two by the Gershwin brothers, one by Jerome Kern & Johnny Mercer, and a Dietz-Schwartz item. The original liner notes quoted the book American Popular Song by Alec Wilder, stating that : "Every song written for Fred Astaire seems to bear his mark. Every writer, in my opinion, was vitalized by Fred Astaire and wrote in a manner they had never quite written in before : he brought out in them something a little better than their best — a little more subtlety, flair, sophistication, wit and style, qualities he himself possesses in generous measure..“.
The Ruby Braff-George Barnes Quartet does justice to these outstanding compositions, in a way that will leave the listener happy and with no need for a singer. Even such battered tunes like 'Cheek to Cheek" seem fresh here in the hands at the two masters. While Braff would live many years aiter the recording at these albums, Barnes (who was the first jazz musician ever to record with an electric guitar, on March 1, 1938), would die soon after on September 5, 1977, at the age of 56.
Michael Sheldon (2009), from the booklet

Ruby Braff
George Barnes
To Fred Astaire with Love

Tracks

1 Cheek to Cheek (Berlin)  2:19
2 They Can't Take That Away from Me (Gershwin, Gershwin)  3:41
3 Easter Parade (Berlin)  2:13
4 A Shine On Your Shoes (Dietz, Schwartz)  2:01
5 I'm Putting All My Eggs in One Basket (Berlin)  2:22
6 They All Laughed (Gershwin, Gershwin)  2:22
7 Be Careful, It's My Heart (Berlin)  2:22
8 I'm Old Fashioned (Mercer, Kern)  2:18
9 Isn't It a Lovely Day to Be Caught in the Rain (Berlin)  2:34
10 Top Hat, White Tie and Tails (Berlin)  2:09
11 Oh, That Kiss (Waren, Dixo, Young)  4:01
12 With Time to Love (Braff, Wilson)  3:22
13 Looking At You (Porter)  4:31
14 Old Folks (Robison)  2:54
15 Liza (Gershwin, Gershwin)  4:59
16 Here, There and Everywhere (Lnnon, McCartney)  2:06
17 Our Love Is Here to Stay (Gershwin, Gershwin)  2:36
18 Nobody Else But You (Redman)  5:00
19 It's Like the Fourth of July (Barnes)  3:21
20 Everything's George (Braff)  4:41


*

Personnel
[# 1-10] The Ruby Braff-George Barnes Quartet - To Fred Astaire with Love (RCA ‎– APL1-1008)
Ruby Braff - crn
George Barnes - g
Wayne Wright - rht. g
Michael Moore - b
Recorded in New York ; February 3/5, 1975
[# 11-20]  The Ruby Braff-George Barnes Quartet (Chiaroscuro Records CR 121)
Same as above, except
John Giuffrida - b, replaces Moore
Recorded in New York ; July 1973

Stan Getz Plays

It's said the gifts Stan Getz had included perfect pitch and perfect rhythm — blessings to any jazz improvisationlist and certainly insight to his creative genius. "Stan Getz Plays" is young Getz at his best and, in my opinion, one of his best albums ever. Another talent of his noted by other jazz giants was an uncanny ability to decide what order the musical selections ought to be in — perfect programming. This collection demonstrates his splendid feel for ballads, hard bop and easy going, straight ahead blowing. Like jazz itself, this album never gets old. By the way, the kid in the cover picture is Stan's son.
Anthony P. Mario

Source : https://www.amazon.com/Stan-Getz-Plays-STAN-GETZ/product-reviews/B000004763/ref=cm_cr_dp_d_show_all_btm?ie=UTF8&reviewerType=all_reviews

Stan Getz
Plays
(UCCU-5030)

Tracks

1 Stella by Starlight (Washington, Young)  2:41
2 Time on My Hands (Adamson, Gordon, Youmans)  2:56
3 'Tis Autumn (Nemo)  3:12
4 The Way You Look Tonight (Fields, Kern)  3:02
5 Lover, Come Back to Me (Hammerstein, Romberg)  2:55
6 Body and Soul (Eyton, Green, Heyman, Sour)  3:14
7 Stars Fell on Alabama (Parish, Perkins)  3:21
8 You Turned the Tables on Me (Alter, Mitchell)  2:56
9 Thanks for the Memory (Rainger, Robin)  3:17
10 Hymn of the Orient (Gryce)  2:53
11 These Foolish Things (Link, Marvell, Strachey)  3:20
12 How Deep is the Ocean ? (Berlin)  2:49

*

Personnel
Stan Getz - ts
Jimmy Raney - g
Duke Jordan - p
Bill Crow - b
Frank Isola - dr

Recorded New York City ; December 12 & 29, 1952

Sunday, October 15, 2017

Barney Kessel - Red, Hot & Blues

One of guitarist Barney Kessel's final recordings before a stroke put him out of action, this is an excellent quintet session with vibraphonist Bobby Hutcherson, pianist Kenny Barron, bassist Rufus Reid and drummer Ben Riley. Three of Kessel's originals (a pair of blues and a bossa nova) alternate with four standards and Laurindo Almeida's dedication to the guitarist ("Barniana") on this well-paced and consistently swinging set; the uptempo version of "By Myself" is a highpoint.
Scott Yanow


Source : Source : http://www.allmusic.com/album/red-hot-and-blues-r162658

Barney Kessel
Red Hot and Blues

Tracks

1 It's You or No One (Cahn, Styne)  5:59
2 Barniana (Almeida, Kessel)  4:49
3 You've Changed (Carey, Fischer)  6:27
4 Blues for Bird (Kessel)  6:45
5 Rio (Kessel)  5:59
6 Messin' With the Blues (Kessel)  8:05
7 I'm Glad There Is You (Dorsey, Mertz)  5:36
8 By Myself (Dietz, Schwartz)  6:58
9 Blues Echoes (Kessel)  10:45

*

Personnel
Barney Kessel - g
Bobby Hutcherson - vb
Kenny Barron - p
Rufus Reid - b
Ben Riley - dr

Recorded at Fantasy Studios ; March 15-17, 1988

Wilhelm Kempff - The Complete Wartime 78-rpm Piano Sonata Recordings

As one the foremost pianists of the twentieth century,  it is surprising that Kempff's recordings from the 78 era are so little known today. In part this may be because Kempff went on to record into the age of the LP resulting in the neglect of his earlier output, and indeed he set down two complete cycles of the Beethoven sonatas — the first, in mono, in the early 1950s, and the second stereo set in the 1960s. Nevertheless, given the exposure that other Beethovenians of the shellac age such as Schnabel, Backhaus, Fisher, Gieseking, Solomon, and even Lamond from an earlier generation, have had, it is astonishing that few of even the  most knowledgeable aficionados know the full extent of Kempff’s output and how badly it has been served by the historic reissue labels. This seems to be a good opportunity to set the record straight.
Kempff made his first recording in Berlin around 1920 for Grammophon (Polydor in export markets), the label that had originally been the German branch of the British Gramophone Company, but which became an independent entity during the First World War. He was to record for them prolifically, and exclusively, up until 1943. He then made no further recordings until 1949 when he worked briefly with Decca before returning to his original label, now known as Deutsche Grammophon, where he remained until the end of his career.
While the early recordings feature a twentieth century, it is surprising that variety composers central to Kempff’s repertoire, most notably Bach, Brahms, Schubert and Schumann, the vast majority, probably, 80% were of Beethoven. These Beethoven recordings included four of the five Beethoven concertos (available on APR6019), the Op. 69 cello sonata and the Op. 47 ‘Kreutzer’ sonata for violin. Several minor piano works were also recorded, but it was the piano sonatas that took up most of Kempff’s studio time. What has not been clear before is that the most popular sonatas were recorded multiple times. It was common in the days of 78s that artists would re-record repertoire they had made under the ‘acoustic’ process (up until 1925) when the new improved ‘electric’ process came along, but Kempff and his label seem to have taken this to extreme. It turns out there are no fewer than five different versions of the ‘Pathétique’ sonata, for example. It appears that Kempff started out by recording the most popular sonatas, not surprising when major works on disc were still a novelty, but by the 1930s he began to cover more ground. It was during this period that most of the late Beethoven sonatas were done (available on APR6018) and this may well have been Grammophon’s answer to HMV in London, who had started to record their complete Beethoven sonata edition with Schnabel...
Michael Spring (booklet)

Wilhelm Kempff
Plays
Beethoven
(The Complete Wartime 78-rpm Piano Sonata Recordings)

Tracks

Cd. 1

Ludwig van Beethoven
(1770-1827)

Piano Sonata in A Major, Op. 2, n° 2
1 I. Allegro vivace  5:18
2 II. Largo appassionato  7:04
3 III. Scherzo. Allegretto  2:38
4 IV. Rondo. Grazioso  5:59

Piano Sonata in E Major, Op. 14, n° 1
5 I. Allegro  4:41
6 II. Allegretto  4:01
7 IV. Rondo. Allegro comodo  3:43

Piano Sonata on G Major, Op. 14, n° 2
8 I. Allegro  7:28
9 II. Andante  4:16
10 III. Scherzo. Allegro assai  3:28

Piano Sonata in B-Flat Major, Op. 22
11 I. Allegro con brio  5:27
12 II. Adagio con molta espressione  7:50
13 III. Menuetto  2:26
14 IV. Rondo. Allegretto  6:26

*

Cd. 2

Piano Sonata in E-Flat Major, Op. 7
1 I. Allegro molto e con brio  6:13
2 II. Largo, con gran espressione  8:23
3 III. Allegro  4:03
4 IV. Rondo. Poco allegretto e grazioso  6:45

Piano Sonata in C Minor, Op. 10, n° 1
5 Allegro molto e con brio  4:36
6 II. Adagio molto  8:03
7 III. Finale. Prestissimo  4:11

Piano Sonata in F Major, Op. 10, n° 3
8 I. Allegro  4:22
9 II. Allegretto  3:45
10 III. Presto  2:18

Piano Sonata in D Major, Op. 10, n° 3
11 I. Presto  6:43
12 II. Largo e mesto  8:56
13 III. Menuetto. Allegro  2:49
14 IV. Rondo. Allegro  4:05

*

Cd. 3

Piano Sonata in C Minor "Pathétique", Op. 13
1 I. Grave - Allegro di molto e con brio  7:53
2 II. Adagio cantabile  4:30
3 III. Rondo. Allegro  4:32

Piano Sonata in A-Flat Major 'Funeral March', Op. 26
4 I. Andante con variazioni  8:29
5 II. Scherzo. Allegro molto  2:55
6 III. Marcia funebre sulla morte d'un Eroe  6:13
7 IV. Allegro  3:13

Piano Sonata in C-Sharp Minor 'Moonlight', Op. 27, n° 2
8 I. Adagio sostenuto  6:10
9 II. Allegretto  2:31
10 III. Presto agitato  5:34

Piano Sonata in C Major 'Waldstein', Op. 53
11 I. Allegro con brio  8:33
12 II. Introduzione. Adagio molto  3:55
13 III. Rondo. Allegretto moderato  9:58

*

Cd. 4

Piano Sonata in E-Flat Major, Op. 27, n° 1
1 I. Andante - Allegro  4:32
2 II. Allegro molto e vivace  2:01
3 III. Adagio con espressione  3:18
4 IV. Allegro vivace  5:52

Piano Sonata in D Major 'Pastoral', Op. 28
5 I. Allegro  7:29
6 II. Andante  6:53
7 III. Scherzo. Allegro vivace  2:23
8 IV. Rondo. Allegro ma non troppo  5:01

Piano Sonata in E-Flat Major, Op. 31, n° 3
9 I. Allegro  6:05
10 II. Scherzo. Allegretto vivace  3:37
11 III. Menuetto. Moderato e grazioso  4:5
12 IV. Presto con fuoco  4:33

Piano Sonata in F Minor 'Appassionata', Op. 57
13 I. Allegro assai  10:07
14 II. Andante con moto  6:28
15 III. Allegro ma non troppo  5:41

*

Wilhelm Kempff - p

Recorded between February 20, 1940 & June 21, 1943

See the complete artwork

Friday, October 13, 2017

Stan Getz - Complete Roost Recordings, vol. 2

The appeal of the Roost sessions stems from Getz's gifts as a sensitive swinger and balladeer. Like Lester Young, Getz played his tenor sax high on up on the instrument's register, which enchants the ear. Getz's tone was dry and bright, and he routinely left strategic gaps of space, allowing the ear to catch up before giving his horn the gas to race ahead of the heart. As for phrasing, Getz emulated the singing sound of many female pop vocalists in the late 1940s like Margaret Whiting, Peggy Lee and June Christy.
Getz's melodic modernism is unrivaled at this point. Solos on songs like "Potter's Luck", "Split Kick", "Parker 51", "Hershey Bar" and "Tootsie Roll" illustrate his drive and daredevil approach to improvisation. He had a delicate, commanding touch and a lyrical sensibility on the Roost material that has all the charm of a salesman selling you something you thought you didn't need. He's insistent but never pushy...
Marc Myers

Source : https://news.allaboutjazz.com/stan-getz-on-roost-1950-52.php

Stan Getz
The Complete Roost
Recordings, vol. 2
(TOCJ-5383)

Tracks

1 Penny (Silver)  2:50
2 Split Kick (Silver)  3:08
3 Split Kick [alt. take] (Silver)  2:53
4 It Might as Well be Spring (Rodgers, Hammerstein II)  2:46
5 It Might as Well be Spring [alt. take] (Rodgers, Hammerstein II)  2:53
6 The Best Thing for You (Berlin)  2:42
7 Melody Express (Gryce)  2:46
8 Yvette (Gryce)  2:57
9 Potter's Luck (Silver)  2:40
10 The Song is You (Kern)  2:47
11 Wildwood (Gryce)  3:05
12 Lullaby of Birdland (Shearing, Foster)  2:24
13 Autumn Leaves (Mercer, Cosma)  3:00
14 Autumn Leaves [alt. take] (Mercer, Cosma)  3:06
15 Fool Rush In (Mercer, Bloom)  2:26
16 Fool Rush In [alt. take] (Mercer, Bloom)  2:31
17 These Foolish Things (Link, Strachey, Marvell)  3:00

*

Personnel
[# 1-6]
Stan Getz - ts
Horace Silver - p
Joe Calloway - b
Walter Bolden - dr
Recorded in New York City ; March 1, 1951
[# 7-11]
Stan Getz - ts
Jimmy Raney - g
Horace Silver - p
Leonard Gaskin - b
Roy Haynes - dr
Recorded in New York City ; August 15, 1951
[# 12-17]
Stan Getz - ts
Jimmy Raney - g
Duke Jordan - p
Bill Crow - b
Frank Isola - dr
Recorded in New York City ; December 19, 1952

Hank Jones - Complete Original Trio Recordings

One of the most prolific pianists in jazz history, the current CD focuses on Hank Jones' earliest excursions into the trio format. Despite his ubiquitous presence in jazz dating back to the mid-40s, Jones' trio recordings as a leader were quite sparse. In fact, only four of his 1950s sessions featured recordings in a trio setting (two of which utilized larger formats on the majority of the dates' tracks). All four of these sessions would be recorded between 1953 and 1955. Jones' subsequent trio date as a leader consisted of a rare 1964 album dedicated to ragtime music, half of which featured him performing on tack piano. (The album This ls Ragtime Now ! was recorded in New York on April 13-14, 1964, with Milt Hinton on bass and Osie Johnson on drums.) After this, Jones' wouldn’t lead another trio session until his July 14-15, 1975 dates that would be issued on the album Hanky Panky (featuring Ron Carter on bass and Grady Tate on drums).
This release compiles all of Hank Jones' 1950s master takes in a trio setting issued under his own name. The pianist's first trio recording of the decade consisted of a single medley, which included J. Fred Coots & Haven Gillespie's tune "You Go to My Head". It was recorded in New York on April 29, 1953, with a trio featuring bassist Charles Mingus and drummer Max Roach, and issued on an anthology album featuring various artists titled Autobiography in Jazz. The same trio would record five more tracks during that session as accompanists to vocalists Honi Gordon, George Gordon, Jr., and Richard Gordon, including readings of the tunes "Can You Blame Me", "’Cause l Fell in Love with You", "You and Me", "Bebopper" and "Cupid"...
Ozzie Cadena, booklet

Hank Jones
Complete Original Trio
Recordings

Tracks

1 Medley (You Go to My Head) (Coots, Gillespie)  2:49
2 Thad's Pad (Jones)  2:59
3 Things Are So Pretty in the Spring (Jones, Jones, Harris)  3:40
4 Little Girl Blue (Rodgers, Hart)  2:48
5 Odd Number (Jones)  3:33
6 We're All Together (Jones)  4:10
7 Odd Number (Jones)  4:3
8 We Could Make Such Beautiful Music Together (Manners, Sour)  4:52
9 Now's the Time (Parker)  3:32
10 Cyrano (Cadena)  5:19
11 There's a Small Hotel (Rodgers, Hart)  8:15
12 My Funny Valentine (Rodgers, Hart)  5:54
13 When the Hearts Are Young (Goodman, Romberg)  4:17
14 Little Girl Blue (Roders, Hart)  5:37
15 Pretty Brown (Wilkins)  3:33
16 Four And Six (Nelson)  5:00
17 The Party's Over (Comden, Freen, Styne)  4:24
18 Have You Met Miss Jones ? (Rodgers, Hart)  3:21

*

Personnel
[# 1]
Hank Jones - p
Charlie Mingus - b
Max Roach - dr
Recorded in New York City ; April 29, 1953
[# 2-5]
Hank Jones - p
Johnny Smith - g
Ray Brown - b
Recorded in New York City ; September 4, 1953
[# 6-14]
Hank Jones - p
Wendell Marshall - b
Kenny Clarke - dr
Recorded in New York City ; August 4, 1955 & November 3, 1955 [# 14]
[# 15-16]
Hank Jones - p
Art Davis - b
Elvin Jones - dr
Recorded in New York City ; July 11, 1961
[# 17]
Hank Jones - p
Aaron Bell - b
Ed Thigpen - dr
Recorded in New York City ; June 20, 1958
[# 18]
Hank Jones - p
Oscar Pettiford - b
Charlie Smith - dr
Recorded in New York City ; August 22, 1956