When I lived in Chicago you could find Ahmad Jamal lps in every basement of every "antique" store you wandered into. Most times they were beat to death, but with diligence I found all that I wanted for only a couple of bucks apiece. The years go by and I dig these lps out occasionally and ponder how much I like them late at night. Recently one night while flipping through a pile of rock and roll records, I happened across this...woefully misfiled and certainly forgotten for many a year.
Now I can share it with you. This is a crazy lp with Jamal using his stellar working group at the time but adding some strings in the form of guitar and violin. How cool is that?
Such a beautifully understated record. Marian McPartland is a musician that I have learned to respect and enjoy but rarely seek out. This lp falls into a category of records that far too often fall by the wayside. I would take one of these records over a hundred common rock and roll records I grew up with.
I've slowly come to believe that "A Flower Is A Lovesome Thing" Is one of these most enchanting tunes ever committed to vinyl.
Marian McPartland plays the music of Billy Staryhorn
I remember when I first bought this lp. It was a used record store sorta. The dude sold records on the landing of his parent's furniture shop. There were maybe 20 stacks of records around the floor, no crates or shelves.This was also the first time we had any access to used vinyl without driving the better part of 100 miles.
Years later this is a destination shop for me in the midwest. He has taken over the entire second floor and most of the first. Of course more space is dedicated to digital than vinyl, but the dude remains a collector at heart and there is always cool stuff to be unearthed at his shop.
I love these Everest records. I have no doubt that these sessions were culled from many sources and given the artists represented I wouldn't be surprised if they weren't released any many other forms...but this is one of those jazz records I grew up with, different from what was readily available and just cool as hell. This lp's heritage includes a period when it was the go-to choice when the rain was pattering on the roof of my house, I was safely ensconced in my mancave in the unfinished and rarely comfortable attic.Playing this brings back many fond memories. Enjoy.
1. Fine And Mellow
2. What A Little Moonlight Can Do
3. Fooling Myself
4. Easy To Remember
5. You've Changed
6. Ghost Of A Chance
7. Willow Weep For Me
8. Stormy Weather
Musicians include Lester Young, Coleman Hawkins, Charlie Mingus, Ben Webster, Roy Eldridge, Gerry Mulligan, Vic Dickerson, Milt Hinton, Doc Cheatham, Danny Barker, Mal Waldron, Osie Johnson, Tyree Glenn.
It took some time, but over the years I have come to love improvisational music. Or rather improvisational jazz, there are many other forms that still escape my attention. Heavens knows I love a good string quartet.
What a better way to wind down a long hot weekend with a combination of the two? Add a strong summer rain that does not effect lounging in the back porch and you could be close to nirvana.
I don't often see this lp offered so I was ecstatic when I scored it on my summer vacation. Well, more like really happy...ecstatic would be reserved for the whole haul as one. But I digress...
If you thought you would recognize Lee Morgan's "Double-Up", you have a better ear than me.
Duke's "Prelude" is a bit more grounded and the rest are originals. Very very cool.
This is Shorter's 2nd lp is a leader. Originally released on the VeeJay label, this was recorded during his tenure with Art Blakey. Without a doubt, a formative record, often overlooked as he quickly gained fame in Blakey's Messengers and with Miles shortly hereafter.
Shorter's association with the Messengers is reflected in the straight ahead hard bop playing. Not quite up to par with those great solo BN's in his near future but a damn fine record no the less.
Oddly enough I own some odd Portuguese reissue, which I now share with you gentle souls and kind folk.
1. Ruby And The Pearl
2. Pay As You Go
3. Second Genesis
4. Mister Chairman
6. The Albatross
7. Getting To Know You
8. I Didn't Know What Time It Was
Wayne Shorter - tenor sax
Cedar Walton - piano
Bob Cranshaw - bass
Art Blakey - drums
Recd NYC 10/11/60 (although I have seen discographies say it was Chicago not NYC)
I'm always amazed at the great jazz records that came out while I was in high school. Great records that I never heard and probably would have completely dug given my frame of mind at that time.Unfortunately I sheepishly followed some of the more far out trends but never discovered the music I would really come to admire.
Two recording dates, three bands, one of which consists of Lake and 3 violins, and a solo outing. Now that's how to make a great record.
1. While Pushing Down Turn
3. Heavy Spirits
4.Movement Equals Creation
7. Lonely Blacks
Oliver Lake - alto sax
Tracks 1 - 3
Olu Dara - trumpet
Donald Smith - piano
Stafford James - bass
Victor Lewis - drums
Tracks 4 - 6
Al Philemon Jones, Steven Piesch and C. Panton - violins
Come on y'all....an overlooked classic. Well an MOR classic at the very least. Still a lovely lp.
I love the fact that Dolphy is the single horn, that alone should make it worth your time but he is not the star!! Nor does the impressive placement of Mal Waldron's moniker make this a must have. This is totally Ron Carter's lp and he makes that known. The other dudes fall in line.
The cello/bass interplay on Duet is lovely in its simplicity. I wish I saw the cello used more often.
Anyway enjoy this gem on our nation's birthday. Any excuse for a cookout and great music for the background.
2. Bass Duet
3. Softly, As In A Morning Sunrise
5. Yes, Indeed
6. Saucer Eyes
Eric Dolphy - alto sax, bass clarinet, flute
Ron Carter - cello, bass
Mal Waldron - piano
George Duvivier - bass (except on "Softly" and "Saucer Eyes"
I have never understood why these guys chose such an ridiculous name...not that they didn't hold up to it. Still....it just seems such a bad idea. But moving on...
Something just happens when a classic trio locks into it and covers classic tune after tune. It's after dark and the temperature is still hovering over the 80 degree mark and yet the music makes me feel cool and comfortable. How nice is that?
The Great Jazz Trio
Love For Sale
1. Love For Sale
2. Glad To Be Unhappy
3. Gee Baby, Ain't I Good To You
4. Secret Love
5. Someone To Watch Over Me
6. Autumn Leaves
Hank Jones - piano
Buster Williams - bass
Tony Williams - drums
recorded 5/22/76, Vanguard Studios NYC
originally released on East West records this is from my vinyl copy of an Inner City reissue.. IC 6003
I don't remember who recommended this record. I don't even remember why it stuck out in my memory but it must have because when I ran across it in the folk section at some off the beaten path music shop, a light went off and I took it home with me along with about a half dozen bluegrass records.
Turns out that while I liked my hillbilly records the dude had soaked me on some records the were e-bayable for considerably less. My ignorance caught me off guard. And unfortunately I was less than happy with this as well, guilty by association.
But time has change my feelings. This is a really nice record. Perfect for the backporch as the sun is setting, the embers from the grill are dying and all is at peace with the world. Kellaway is an accomplished pianist, the quartet is interesting in it's arrangement and there is a distinctively open folk feel to it after all, even if the knuckle head filed by cover only.
Let us never forget where things started. These recordings are closing in on 90 years old. Goddamn if they aren't exciting still. If you are still in your seat by the time Papa De Dada comes on, check your pulse.
The cover notes tell us that these recordings are Armstrong's first recordings on lead cornet just after leaving King Oliver and Sidney Bechet's first sides ever. It's not hard to see that this is where the great unison playing that was to become the staple of bebop had its roots.
1. Kansas City Man Blues
2. Wild Cat Blues
3. New Orleans Hop Scop Blues
4. O Daddy Blues
5. Pickin' On Your Baby
6. You've Got The Right Key But The Wrong Keyhole
7. Texas Moaner Blues
8. Cake Walking Babies From Home
9. Everybody Loves My Baby
10. Of All The Wrongs You Have Done To Me
11. Mandy Make Up Your Mind
12. I'm A Little Blackbird
13. Papa De Dada
14. Just Wait Till You See
15. Livin' High
16. Coal Cart Blues
Thomas Morris; c 1-4, Louis Armstrong; c 5-16, Sidney Bechet; as 1-4, 6-8, 12, 13, 16: cl 7; sarrusophone 11, Buster Bailey as 5,9,10,13-15; cl 16, possibly 14,15, Charlie Irvis; tb 1-15, Charlie Green; tb 16, Narcisse Buddy Christian; bjo, Clarence Williams; p,
17; Bechet palys cl, sop, and again cl : 9,10 possibly Aaron Thompson, tb : 13: Bechet plays sop. and sarrusphone ; Bechet and Bailey both on soprano*
Once again my anonymous friend has come through and given us a much cleaner version than I originally presented. Please include him in your thanks.
I will be the first to admit that I am not usually a big fan of soprano sax. But...as I get older i find myself much more accepting and Liebman goes a long way in making that happen with the record.
On the other hand, my adulation for Cole Porter tunes is widely known and so this record would get a pass on that fact alone. No other composer, to me remains so substantial even when these giant pop songs are broken down to the most deconstructed trio settings. A testament to that is this record. While never wandering far from the original melodies, sometimes you have to cock your ear to pick them out.
Usually the higher register of the soprano sax grates on my nerves after a song or two, but for some reason that doesn't happen on these recordings. Perhaps because Liebman doesn't seem to focus the spotlight on himself and let's the trio share in the glory. Truly an lp whose sum is be greater than the individual parts.The inclusion of a couple of rarely heard songs is always a nice touch.
And with Porter's birthday just around the corner, what better tribute?
Clarinet month continues! But we don't fall too far from the original tree. This is the studio follow up to the previous Summit lps...although it only took 3 years for them to do so.
Once again you get a couple of more Ellington tunes. Don't cry, they're pretty goddamn cool. The originals shine and would hold the stage if the Perdido duet wasn't so perfect.
1. Don't Get Around Much Anymore
2. Fluffy's Blues
3. I Want To Talk About You
4. Beat Box
5. Southern Bells
Alvin Batiste - clarinet
John Carter - clarinet
Jimmy Hamilton - clarinet
David Murray - bass clarinet
Recorded 3/29/87 at Golden Thumbs Records, Atlanta Georgia
I'm sitting on back patio, pleasantly buzzed. Dark clouds are crawling over the mountain. Lighting and thunder announcing the imminent rain. I love an early spring thunderstorm. But there is something special when the music connects with the atmosphere and every thing just sounds...special.
This evening was one of those and these records were the soundtrack. Tonight I offer up both of the India Navigation lps in their unabridged form.
What is so freaking cool about these lps is the way that 3 younger musicians, all coming from different places in the idiom were able to lure an old master out of retirement.There are far to many highlights but a couple are so good it would be criminal to leave them unmentioned. For me, Murray's original solo piece is as cool as anything ever performed on bass clarinet. The Hamilton/Batiste duet on Honeysuckle Rose is a classic mentor - student outing, where everything comes full circle, brilliantly.
Vol two approaches being a Duke tribute and yet you can almost feel the joy in the performers as everything falls so completely together swinging the the tunes they all grew up on. And just when you think you may have had enough... they reprise splendidly a near perfect improvisational piece.
The clarinet is such a damn cool instrument that is so overlooked it's crazy. I'm thinking a might declare this the "Summer of Clarinet" and focus on posting great clarinet stuff for the next few months.*
Another crazee lp I dragged over from the CP blog. Shelly gathered up a bunch of mid '70's LA session men and turned out an lp of Cole Porter arrangements that would not have been out of place on a nice space-age bachelor pad recording. Spool thread on the reel to reel baby 20 years too late...
This recording comes with permission from our sadly missed friend Arkadin. Swing cats, swing!!
1. From This Moment On
2. Easy To Love
3. Get Out Of Town
4. Begin The Beguine
5. Night And Day
6. All Of You
7. Love For Sale
8. In The Still Of The Night
Shelly Manne - drums, percussion Tom Scott - flute, soprano sax Oscar Brashear - trumpet Tommy Tedesco - guitar Victor Feldman - piano Mike Wofford - electric piano Chuck Domanico - electric bass Mailto Correa, Moacir Santos - percussion
This is the lp I promised a couple of posts back. One of those I found in the local junk shop (Gotta call a spade a spade here). Never the less I was quite happy to land this, an original German enja release.
Peterson's trumpet soars while accompanied by a fine, fine bunch of musicians. The addition of the Harlem Boys Choir adds to the grandiose feeling that pervades this release. At first I was a little put off by the many vocals but as I kept listening I began to understand how perfectly they fit in. Duke used vocals several times in the same manner making the song sound big and intensely soulful at the same time as they did here with "The Inner Voice". Another nice touch was the use of both cello and standard bass.
This is a record that I knew absolutely nothing about, had only a rudimentary knowledge of Peterson himself, but when I saw the band I know I should be listening to this record. My blind choice did not disappoint, and indeed while I was trying to whittle the guy down on the cost of several other records, I knew this would be worth every penny that he undervalued it...$5.00.
There are a bunch of great lps loaded up my Cole Porter blog. Some I never posted here because they didn't fit in or they may have been too readily available. I'm gonna keep that blog open and updated albeit at a snail's pace, but I am also gonna move some of the cooler shit over here.
If you didn't know about the CP blog but would like to, there is a link in the list to the right. It is open for the time being again.
On to the music...
I had been searching for this baby for quite sometime and wouldn't
you know, between the time I located it and actually had it sent,
someone slipped it into the blogosphere. C'est la Vie! (edit - wouldn't you know I ran across a copy in a small music store, all outta the way in Hayseed, NC. just a couple of weeks later.)
know the cat that put it up recently (a great guy) and we both agreed
that there was room for both. His, if you locate it, is a flac copy from
a cd. Mine once again is mp3 from the lp spinning on my
turntable as I type.
I love way way these two work on
this record. I love that Konitz treats the alto almost like a tenor,
giving way to slow languorous lines instead of quick flights usually
associated with the smaller horn. This lp is as sophisticated as
anything Porter portrayed. Both players take this to heart in the
probing, sensuous lines that follow along closely with the original
melodies. And yet they still manage to not sacrifice the irreverence and
wit that Porter cultivated in his songwriting.
it be said that this version of "I Concentrate On You" is one of the
great seduction tracks of all time. A sure winner any time, but best
during the cool down.
Lee Konitz/Red Mitchell
I Concentrate On You a tribute to Cole Porter
1. Just One Of Those Things
2. Easy To Love
3. It's Alright With Me
4. Ev'rytime We Say Goodbye
5. You'd Be So Nice To Come Home To
6. Love For Sale
7. In The Still Of The Night
8. Night and Day*
9. I Love You
10. I Love Paris
11. I Concentrate On You
As one of those dudes who scours around for records anywhere they may be lurking, it is finds like this that keep reminding me of why I do it. the other day I buzzed past a small "antique" shop that I see often but is rarely open. I have sifted through their decent pile of lps a couple of times to no avail and never saw anything that would have indicated any change in inventory, so I am not sure why I bothered to stop again. Just perhaps because it had been so long, or just karma, but stop I did. The owner did not recognize me and explained the records were a dollar apiece. And just like the last time I asked if he had anything that was "collectable". He directed me to a couple of cabinets that I had seen previously but this time he added a third. It was filled with the usual Beatles and crap that people think are worth something but lo and behold I found this lp. Actually I also found the next lp that I am gonna post as well, also on Enja.
This is Shepp at my favorite. Live. Stripped down, raspy and raw. I just love the way these guys tear into one of my favorite Duke pieces. I don't have any idea who these back up guys are but they're alright in my book. The only other two pieces on the lp are a smoking Shepp composition that lives up to it's name, and piece written in appreciation of John C. Shepp handles it beautifully.
This was recorded at the East-West festival In Nuremberg, May 14th, 1976 ( was a senior in high school, and had just barely discovered Miles and Trane. Man, did I have a long way to go.)
Alright I know I've been a complete slacker lately, but honestly there is so much great music out there that it is difficult sometimes to offer something different. I'm hoping this all too short offering will keep the wolves at bay.
In keeping with tradition, I'm offering you all this Duke Ellington 10"er. I know it is next to impossible to offer rare Ellington, the dude is well documented after all. Just the same, I have just shy of 100 Ellington lps and this is the only place I have all but 2 of these tracks. Of those two tracks, "It Shouldn't Happen To A Dream" melts me every time.
Duke Ellington plays
3. It Shouldn't Happen To A Dream
4. Diminuendo In Blue
5. Happy Go Lucky Local - Pt 1.
6. Happy Go Lucky Local - Pt.2
7. Tulip Or Turnip
No recording credits are printed on the sleeve but I am sure some ambitious soul could easily dig these up on a Duke discography somewhere.
I will be the first to admit that I am not a big MJQ fan. Nor did I ever really buy into the Third Stream thing. Like everything else it had its high points, not to be dismissed but much like prog rock, it was best to be avoided.
Now that I have led you down that path, let me assure you that that is not what we have here.Lewis penned the title tune and it's no slouch but it is the handful of standards the make up the rest of this lp, that really speak for it. Even though Lewis is the obvious leader on this date, it is the under appreciated Bill Perkins that plants this record firmly in the Pacific Jazz west coast pantheon. I overlooked this lp far too long. Don't make the same mistake.
This is not a proper lp but a recording of a show from NPR. It may not be of interest to everyone, but what the hell, it is cool and it's less than an hour long. You can listen to it while doing the dishes and folding the clothes. Also a nice accompaniment to cooking dinner or dusting the apartment. Kinda pointless while running the hoover though.
While probably offering no new insight to old fans, it is nice to hear some of his contemporaries speak of him. Hosted by Nancy Wilson, the was released as part of a Jazz Profiles series.
Monk passed away 30 years ago today. Which means I've been a fan for over 35 years. Damn time flies.While many many pianists have appeared on the scene since then, I cannot think of one who surpasses Monk's legacy.
Being on BN, I would have thought this would be a little easier to run across. Mine is a replica of a very rare 10'er.
This Drew's first outing as a leader. Even though there are only two originals, this is a great example of just past bebop jazz. the version of "It Might As Well Be Spring" is an absolute smoker. i listened to this record this evening as the sun was setting and the grill was wafting the sweet smell of charcoal and apple wood. I was amazed at how long it had been since I played the wonderful record. I am happy to share it here.
I've been meaning to get this up for awhile so with the great scare going on right now I figured this was the perfect time. I'm damn sure Mingus would be on our side in sharing these recordings.
The backstory - This recording appears to be taken from a radio broadcast. I acquired it when I belonged to the IAJRC. I made a copy of a pair of cassettes from their lending library...onto cassette because cd burners were not happening just yet for us regular folk. As soon as I was able to transfer to disc I did. Unfortunately I have since...uhhh...misplaced the original cassettes which certainly contain at the very least, recording info, if not also track listings.
I'm sure I will run across these in the near future but for now you too can enjoy the mystery of identifying these tracks. Feel free to post in the comments and I will assemble the info out front here.
UPDATE - check the comments. Couple of our friends came through with the info.
A-ha and what I have figured out may be of some help. On posted recording "Invisible Lady" is split due to cassette limitations. I also have no idea where the interviews fall on the official program listings as I have moved them to the end.
The last two tracks are a short interview with Sue Mingus recorded on the tour.
There was a time I was living on the outskirts of Chicago. I lived in a basement bedroom and WDCB was a ray of light in my dismal existence.Things are far better now but I still enjoy listening to these recordings of some of the shows I made back then. Saved my soul, they did.
This is just one of those shows. If I ran a radio station, I would love to play this stuff. It's short, but certainly worth your time. Enjoy.
One of a set of Parker reissues from Verve in glorious mono. Also it was sadly reissued "electronically reprocessed for stereo". This is the shit boys and girls. Scraped right off the vinyl that is older than me.
The alternate take of "I Love Paris" is one of the sexiest songs ever recorded. Had I been aware it years ago, it would have ended up on one of those largely ineffectual seduction cassettes that lonely music geeks were known to make.
Recorded in 1955, I believe this lp reissue is from 1968. At 44 years of age, this platter is starting to show a little wear. Never the less it still feels good to wrap around it once in awhile.
This post is somewhat cobbed from my sadly neglected Cole Porter blog.
the genius of Charlie Parker #5
Charlie Parker plays Cole Porter
1. I Get A Kick Out Of You*
2. I Get A Kick Out Of You (alt.)*
3. Just One Of Those Things*
4. My Heart Belongs To Daddy*
5. I've Got You Under My Skin*
6. Love For Sale+
7. Love For Sale (alt.)+
8. I Love Paris+
9. I Love Paris (alt.)+
Charlie Parker - alto Roy Haynes - drums * Art Taylor - drums + Jerome Darr - guitar* Billy Bauer - guitar + Kenny Kotick - bass Walter Bishop, Jr. - piano
Aw hell yeah! this was like the holy grail for me. I searched long and hard for this record. Scored over the holiday season!!
One of a pair of lps released with Micho Leviev as the leader. The other lp was reissued in the "Laurie Pepper presents" series as "Live at Tony Scott's" but the original title is something about Fisherman's Blues but I can't seem to find the damn thing right now.
I paid far too much for this record so dig it cats, you won't see it around much.
First let me say that while I was looking for a cover image, I found that one of my favorite blogs had already posted this lp. I do believe that they have a copy of the CD with the "Complete Concert" up though. Which in actuality is taken from two different sessions.
This is the original lp as presented except that I cut the tracks at the obvious spot even if the lp lists them as a single track per side.
Goddamn! Murray was 21 when this lp was recorded. It was his first as a leader and was a fixture in the loft scene. I was 18 and drinking beer and smoking weed in a 100 dollar a month apartment listening to Yes and Pink Floyd on some crappy little stereo. So to say this music is so far past the scope of what I would have listened to at that time that it is crazy is an understatement. Hell 35 years later, I still struggle with it at times, even though Murray has become one of my favorite performers.
Just want to take a minute to wish Happy New Year and best wishes to all my friends who visit here. All told it had been a pretty good year. I have seen a lot of nice new blogs and have met (ethereally) a few new friends. A few shoutouts, in no specific order; Emile for provided one of the most fun blogs on the planet, Arkadin for his continued top notch effort, Uri and Paolo for the great new additions, King Cake for keeping it real, and inconstant sol and orgy in rhythm for hanging in there so long. LePorc and the crew from you know where. Cheeba, where ever you are my friend, I hope you and yours are doing well and everything worked out. And last but not least, my constant debt of gratitude to Rab. As I have said time and again, I wouldn't even being doing this without his encouragement, and he has remained a staunch supporter.
I'm sorry if I left anyone out because I was truly blessed with many new acquaintances this year.
This has truly been a labor of love and despite the occasional moaning about the trolls without enough courtesy to say thanks once in awhile, it has been worth it. As long as people want to hear this music, I'll keep sharing it, if I am able.
Essentially these posts are records taken from my own personal collection. The contributions are clearly marked. For the most part everything is taken directly from vinyl, and is mp3 320 format. These recordings are not run through a computer or any other editing software. You are hearing what I hear as I sit in my living room sipping a cool bourbon. This is the raw product and oftentimes it has seen better days. But these lps have found a loving home in their old age. I hope you enjoy them as much as me. I'm not here as an expert, just a fan. It's all about the joy music instills.
I will repost some records if there is interest. Best to leave an email address when you request, that way if I don't repost the lp I can at least send you a private link. If I am going to repost a recording, I will update the post completely and put it on the front page.
The music contained in this blog is intended for educational, non-commercial use. It is intended to create wild passionate feelings in the listeners. I will be in no way held responsible for any nights of drinking and love-making that these records may inspire, nor will I be responsible for any offspring. The music is transferred from what are believed to be out-of-print sources. If any of these files infringe upon rights that you hold, please notify us so that we can quickly remove the referenced items.