Jimmy Smith - The Cat (1964)

Jimmy Smith - The Cat (1964)

1.Theme from Joy House
3.Basin Street Blues
4.Main Title from "The Carpetbaggers"
5.Chicago Serenade
6.St. Louis Blues
7.Delon's Blues
8.Blues in the Night

One of the essential Jimmy Smith albums that all record collections should contain. Moving from Blue Note to Verve, Smith swapped the small band for the large orchestra. The instrument Smith pioneered was the Hammond B3 organ, which had been labelled
"the poor man's orchestra" because of the depth of sound it could create, so when that met a real orchestra under the guidance of arranger Lalo Schifrin the result is explosive. Especially when the orchestra itself contains musicians of the class of Kenny Burrell and Thad Jones. Now remastered the album hasn't a dull moment, with blues, pop and two cracking film scores (The Cat and "Main Title from The Carpetbaggers", which is used on BBC2's Money Programme). Then of course there is Smith's masterful playing that never fails to raise the hairs on the spine or get the fingers clicking. A cool, swinging, fun and indispensable record.



Jacob do Bandolim & Época de Ouro - Vibrações (1967)

Jacob do Bandolim & Época de Ouro - Vibrações, é uma obra-prima do choro realizada em 1967, considerado o melhor trabalho de Jacob Bandolim, e um dos melhores discos de choro já feitos.


01- Vibrações (Jacob Bittencourt)
02- Receita de samba (Jacob Bittencourt)
03- Ingênuo (Benedito Lacerda - Pixinguinha)
04- Pérolas (Jacob Bittencourt)
05- Assim mesmo (Luis Americano)
06- Fidalga (Ernesto Nazareth)
07- Lamento (Pixinguinha)
08- Murmurando (Fon)
09- Cadência (Joventino Maciel)
10- Floraux (Ernesto Nazareth)
11- Brejeiro (Ernesto Nazareth)
12- Vésper (Ernesto Nazareth)


Hitler against Jazz


... Here are some of the conditions that the Ministry of Popular Education set during Hitler's government to the granting of licenses for
dance's music performances:


Conditions Governing the Grant of Licenses for Dance Music

NEGROID: Belonging to a Negro race. This includes the African Negroes (and also those living outside of Africa), also Pygmies, Bushmen and Hottentots. NEGRITO: In the wider sense of the term, the short-statured, curly or frizzy-haired, dark-skinned inhabitants of Southeastern Asia, Melanesia and Central Africa.

1. Music: The Embargo on Negroid and Negrito Factors in dance Music and Music for Entertainments.

2. Introduction: The following regulations are intended to indicate the revival of the European spirit in the music played in this country for dances and amusements, by freeing the latter from the elements of that primitive Negroid and/or Negrito music, which may be justly regarded as being in flagrant conflict with the Europeon conception of music. These regulations constitute a transitory measure born of practical considerations and which must of necessity precede a general revival.

3. Prohibition: It is forbidden to play in public music which possesses to a marked degree characteristic features of the method of improvisation, execution, composition and arrangement adopted by Negroes and colored people. It is forbidden in publications, reports, programs, printed or verbal announcements, etc.: (a) to describe music played or to be played with the words "jazz" or "jazz music." (b) to use the technical jargon described below, except in reference to or as a description of the instrumental and vocal dance music of the North American Negroes. Exceptions may Be permitted where such music is intended for a strictly scientific or strictly educational purpose and where such music is interpreted by persons having two or more Negroid or Negritic grandparents.

4. Descripton of The Main Characteristic Features of the Above-Mentioned Music which Differ from the European Conception of Music: The use of tonally undefined mordents, Ostentatious trills, double-stopping or ascendant glissandi, obtained in the Negro style by excessive vibrato, lip technique and/or shaking of the musical instrument. In jazz terminology, the effects known as "dinge," "smear" and "whip." Also the use of intentional vocalization of an instrumental tone by imitating a throaty sound. In jazz terminology, the adoption of the "growl" on brass wind instruments, and also the "scratchy" clarinet tone. Also the use of any intentional instrumentalization of the singing voice by substituting senseless syllables for the words in the text by "metalizing" the voice. In jazz terminology, so-called "scat" singing and the vocal imitation of brass wind instruments. Also the use in Negro fashion of harshly timbered and harshly dynamic intonations unless already described. In jazz terminology, the use of "hot" intonations. Also the use in Negro fashion of dampers on brass and woodwind instruments in which the formation of the tone is achieved in solo items with more than the normal pressure. This does not apply to saxophones or trombones. Likewise forbidden, in the melody, is any melody formed in the manner characteristic of Negro players, and which can be unmistakably recognized.

5. Expressly Forbidden: The adoption in Negro fashion of short motifs of exaggerated pitch and rhythm, repeated more than three times without interruption by a solo instrument (or soloist), or more than sixteen times in succession without interruption by a group of instruments played by a band. In jazz terminology, any adoption of "licks" and "riffs" repeated more than three times in succession by a soloist or more than sixteen times for one section or for two or more sections. Also the exaggeration of Negroid bass forms, based on the broken tritone. In jazz terminology, the "boogie-woogie," "honky tonk" or "barrelhouse" style.

6. Instruments Banned: Use of very primitive instruments such as the Cuban Negro "quijada" (jaw of a donkey) and the North American Negro "washboard." Also the use of rubber mutes (plungers) for wind brass instruments, the imitation of a throaty tone in the use of mutes which, whether accompanied by any special movement of the hand or not, effect an imitation of a nasal sound. In jazz terminology, use of "plungers" and "Wah Wah" dampers. The so-called "tone color" mutes may, however, be used. Also the playing in Negro fashion of long, drawn-out percussion solos or an imitation thereof for more than two or four three-time beats, more frequently than three times or twice in the course of 32 successive beats in a complete interpretation. In jazz terminology, "stop choruses" by percussion instruments, except brass cymbals. There is no objection to providing a chorus with percussion solos in places where a break could also come, but at not more than three such places. Also the use of a constant, long drawn-out exaggerated tonal emphasis on the second and fourth beats in 4/4 time. In jazz terminology, the use of the long drawn-out "off beat" effect.


“Over all, I think the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe. . . That’s what I would like to do. I think that’s one of the greatest things you can do in life and we all try to do it in some way. The musician’s is through his music.”

“Sometimes I wish I could walk up to my music for the first time, as if I had never heard it before. Being so inescapably a part of it, I’ll never know what the listener gets, what the listener feels, and that’s too bad.”

“All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws.”

“My music is the spiritual expression of what I am — my faith, my knowledge, my being … When you begin to see the possibilities of music, you desire to do something really good for people, to help humanity free itself from its hangups … I want to speak to their souls.”

“Sometimes I’d think I was making music through the wrong end of a magnifying glass.”

“I’m into scales right now.”

“I’ve found you’ve got to look back at the old things and see them in a new light.”

“You can play a shoestring if you’re sincere.”

"I think playing and writing go hand in hand. I don't feel that at this stage of the game I can actually sit down and say I'm going to write a piece that will do this or that for the people -a thing which some artists can do- but I'm trying to tune myself so I can look to myself and to nature and to other sounds in music and interpret things that I feel there and present them to people. Eventually I hope to reach a stage where I have a vast warehouse of study and knowledge to be able to produce any certain thing.
Duke Ellington is one person who can do this -that's really heavy musicianship and I haven't reached that stage yet. I've been predominantly a soloist all my natural life, and now I'm a soloist with my own band, and this has led me into this other thing: what am I going to play and why?
My material is mainly my own, and I find some of my best work comes from the most challenging material. Sometimes we write things to be easy, sometimes to be hard, it depends on what we want to do. A year ago we had quite a few standards which made up a third of the book, but now other people, certainly Ornette (Coleman) and Eric (Dolphy), have been responsible for other influences."
-John Coltrane
1962 interview, Jazz Monthly

"It's more than beauty that I feel in music -that I think that musicians feel in music. What we know we feel we'd like to convey to the listener. We hope that this can be shared by all. I think, basically, that's about what it is we're trying to do. If you ask me that question, I might say this today and tomorrow something entirely different, because there are many things to do in music.
But over-all, I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows and senses in the universe. That's what music is to me -it's just another way of saying this is a big, beautiful universe we live in, that's been given to us, and here's an example of just how magnificent and encompassing it is. That's what I would like to do, I think that's one of the greatest things you can do in life, and we try to do it in some way. The musician's way is through his music."
-John Coltrane
(When asked what he and Eric Dolphy were trying to achieve)

Miles Davis, in addition to being one of the most talented and distinctive musicians to grace the annals of jazz history, had a unique reputation when it came to his speaking voice–both for his hoarse whisper and his pithy, rather Zen-like way of communicating with his band members, which sometimes resulted in amusing exchanges, such as his retort to John Coltrane’s lament that he couldn’t stop soloing: “Try taking the saxophone out of your mouth.”

Tal Farlow - Tal

Tal Farlow - Tal

01 Isn't It Romantic
02 There Is No Greater
03 How About You
04 Anything Goes
05 Yesterdays
06 You Don't Know What Love Is
07 Chuckles
08 Broadway 

Talmage Holt Farlow ( June 7, 1921 – July 25, 1998 ), better known as Tal Farlow, was a jazz guitarist born in Greensboro, North Carolina in 1921. Nearly as famous for his reluctance to play as for his outstanding abilities, Tal did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams’ band. While with the Red Norvo Trio ( which originally included Charles Mingus ) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw’s Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled in Sea Bright, New Jersey, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer at Memorial Sloan-Kettering Cancer Center in New York City on July 25, 1998 at the age of 77. ~ from wikipedia

The perfect setting for the brilliant guitarist Tal Farlow is the format heard on this classic LP, a drumless trio. Farlow, pianist Eddie Costa and bassist Vinnie Burke made for an exciting team, really romping on the up-empo pieces. Highlights of the often heated set include "There Is No Greater Love," "Anything Goes," "Yesterdays" and "Broadway," but all eight numbers are quite enjoyable. ~ Scott Yanow - Courtesy All Music


The George Russell Sextet - Ezz-Thetics (1961)

The George Russell Sextet - Ezz-thetics (1961)

Eric Dolphy (alto saxophone, flute, bass clarinet)
George Russell (piano)

Don Ellis (trumpet)
Dave Baker (trombone)
Steve Swallow (acoustic bass)
Joe Hunt (drums)

01 Ezz-Thetic  
02 Nardis  
03 Lydiot  
04 Thoughts  
05 Honesty  
06 'Round Midnight

A post-war masterpiece, Ezz-Thetics is pianist/arranger
George Russell's definitive 1961 sextet recording from
the earliest phase of his multi-decade career. On par
with such iconic albums as Oliver Nelson's Blues and
the Abstract Truth (Impulse!, 1961), Mal Waldron's
The Quest (Riverside, 1961) and Andrew Hill's Point
of Departure ( Blue Note, 1964 ), Ezz-Thetics traffics
in the same advanced but accessible strain of
avant-garde-influenced post-bop.

Author of The Lydian Chromatic Concept of Tonal

Organization ( pub. 1953 ), Russell's seminal  concepts
of improvisation, based on scales rather
than chords, became the driving force behind the
early modal explorations of Miles Davis and
John Coltrane. This pioneering session offers
a singular and visionary view of classic post-bop
that is ageless in its perfection.

Starring a phenomenal group of talent, Russell's
sextet features multi-instrumentalist Eric Dolphy,
trumpeter Don Ellis, trombonist Dave Baker,
a young Steve Swallow on acoustic bass and drummer
Joe Hunt. Undaunted by Russell's unorthodox arrangements
and tricky, pan-tonal harmonic sensibility, these young
firebrands tackle these knotty compositions with flawless
technique and unbounded creativity.

“Ezz-Thetic” opens the album with a bustling, circuitous
theme that ripples with spiraling angularity. Inspiring
a round of exhilarating statements from the horns, the
tune breaks down into a sequence of recurrent call and
response between the rhythm section and brass that eschews
typical conventions of pattern and form.

Supported by subtle counterpoint and an elegant arrangement,
Miles Davis' exotic “Nardis” is given a haunting reading.
The sly and unassuming “Lydiot” reveals Russell's minimalist
angularity behind the piano, while Dolphy displays a keening,
expressive aspect in contrast to Ellis' dulcet trumpet.

Using the blues as a basic framework, Baker's contribution,
“Thoughts,” incorporates free-form sections at regular
intervals, exposing the fine line between tradition and
innovation. “Honesty” is a celebratory ode; a vibrant
hybrid of classic swing and edgy futurism that contrasts
bluesy lyricism with suspenseful, stop-time segments.

A prescient rendition of Thelonious Monk's “'Round Midnight”
acts as a showpiece for Dolphy. Opening with a free-form
section of tiny instrumental sounds and highly vocalized
brass effects, it pre-dates the work of the AACM
( Association for the Advancement of Creative Music )
by almost a decade. A brilliant study in dynamics and
virtuosity, Dolphy's alto solo is legendary. Incorporating
intervallic leaps and register changes with a highly
vocalized tone and mellifluous phrasing, he offers
a definitive statement on a hallowed theme.

Two takes of the previously unissued “Kige's Tune”
appear as bonus tracks. A driving bop-ish vehicle,
it is a worthwhile addition, providing the perfect
coda to a brilliant session.

Cerebral and innovative, yet firmly grounded in tradition,
Ezz-Thetics is essential listening and an absolute
requirement for any comprehensive jazz collection.

Russell's masterwork is beautiful, enthralling and
adventurous, a perfect summation of all the innovations
post-war jazz has to offer. ~ Troy Collins

"Recently re-released on the 'Keepnews Collection'
"Ezz-thetics" is my favourite of all Russell's
Riverside output. The new reissue has the usual
updated and perceptive and historically significant
notes by the redoubtable Mr. Keepnews and has two
previously unissued bonus tracks as well. Russell's
bands fluctuated with different players but always
sounded so modern and creative but this edition of the
sextet was special because it had Eric Dolphy playing
alto and bass clarinet. Dolphy joined for a few months
and made this album with Don Ellis on trumpet, who was
later to make his mark as a bandleader, David Baker on
trombone,the wonderful and forgotten drummer Joe Hunt
and the recording debut of Steve Swallow, playing accoustic
bass make this a once in a lifetime session. Dolphy's
energy and creativity make this recording significant
but Ellis is on fire as well and this was to be the last
recording by David Baker on trombone who as Keepnews says
sounds both avant-guard and funky at the same time. Baker
was playing with a dislocated jaw and right after this
recording had an operation and switched from trombone
to cello. Baker to this day is one of the leading educators
in Jazz and classical music. Russell's piano is spare
like Monk's and is so effective in solo and the fills
for the horn players. The title track is an exciting
and updated composition that Russell wrote for Miles
and Lee Konitz in the early 50's and dedicated to the
great Jazz loving prize fighter Ezzard Charles, hence
the title,'Ezz-thetic'. The other highlight of this
recording is one of the most unique versions of Monk's
''Round Midnight'. There are so many highlights to this
album that one should hear it all and marvel at the very
contemporary concept and sound of this March 1961 date."


Dexter Gordon Quintet - Ladybird (1965)

Dexter Gordon Quintet - Ladybird (1965)

Dexter Gordon, tenor saxophone 
Donald Byrd, trumpet 
Kenny Drew, piano 
Niels Pedersen, bass 
Alex Riel, drums 

01  Ladybird (Dameron)
02  So What (Davis) 
03  Who Can I Turn To (When Nobody Needs Me) (Bricusse, Newley) 
04  Blues by Five (Davis) 

The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Café Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC émigré, sitting in with the working group. 

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn. 

“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the dénouement. 

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave. Bagatellen.com


Thelonious Monk - Plays Duke Ellington (1955)

Thelonious Monk - Plays Duke Ellington (1955)

Thelonious Monk ( Piano ) 
Oscar Pettiford ( Double Bass ) 
Kenny Clarke ( Drums )

01  It Don't Mean A Thing ( If It Ain't Got That Swing ) (Duke Ellington/Irving Mills ) 
02  Sophisticated Lady (Duke Ellington/Irving Mills/Mitchell Parish) 
03  I Got It Bad And That Ain't Good ( Duke Ellington/Paul Francis Webster ) 
04  Black And Tan Fantasy ( Duke Ellington/Bubber Miley ) 
05  Mood Indigo ( Barney Bigard/Duke Ellington/Irving Mills )  
06  I Let A Song Go Out Of My Heart ( Duke Ellington/Irving Mills/Henry Nemo/John Redmond )  
07  Solitude ( Eddie DeLange/Duke Ellington/Irving Mills )  
08  Caravan ( Duke Ellington/Irving Mills/Juan Tizol )  

Thelonious Monk ( piano/arranger ) began his illustrious relationship with Riverside Records on the pair of July 21 and 27, 1955, dates needed to complete the eight sides for Plays Duke Ellington (1955 ). Monk commands a trio that also presents the talents of Oscar Pettiford ( bass ) and Kenny Clarke ( drums ) on all the tracks sans "Solitude," which appropriately enough features an unaccompanied piano. The delicacy and inherently intricate melodies that Duke Ellington is best known for are perfectly matched to Monk's angular and progressive interpretations. The combo are comfortable behind the pianist who remains somewhat subdued, if not arguably tentative, during the opening of " It Don't Mean a Thing ( If It Ain't Got That Swing ), " although by his solo, Monk eases into some nice give and take with a playful Pettiford, whose steady bounce undeniably congeals the unit's sound. Monk takes the refined grace of " Sophisticated Lady " into a virtually unsurpassed strata as his seemingly disjointed notes organically coalesce into a simply stunning, yet stark introduction, with Clarke's understated backbeat allowing room for Monk to embellish and thoroughly adorn. The dark optimism of " Black and Tan Fantasy " stands out as another perfect combination of music and musician. " I Let a Song Go Out of My Heart " is a fun little romp with Monk taking some tricky and rhythmically unanticipated side trips throughout his nimble and rollicking leads. " Caravan " is a gem as Clarke's sinuous trapwork becomes a perfect foil for Pettiford's buoyant basslines. It also reels in Monk's animated keyboard antics. Plays Duke Ellington is a recommended title for all dimension of jazz enthusiast. However, Monk and Ellington aficionados may rate it slightly higher. ~ by Lindsay Planer, AMG


Kenny Burrell - Blues The Common Ground - 1968

Kenny Burrell - Blues The Common Ground - 1968

Kenny Burrell (Guitar) 
Herbie Hancock (Piano) - 1-5,7-11
Ron Carter (Double Bass) - 1-5,7-11
Grady Tate (Drums) - 3-5,7,9,11
Don Sebesky (Arranger and Conductor) - 1-5,7,8,10
Jimmy Cleveland (Trombone) - 1-5,7,8,10
Wayne Andre (Trombone) - 1-5,7,8,10
Jerome Richardson (Woodwinds and Reeds) - 1-5,7,8,10 
Johnny Pacheco (Percussion) - 1-5,7,8,10 
Bill Watrous (Trombone) - 1,2,8,10 
Paul Faulise (Trombone) - 1,2,8,10 
Snookie Young (Trumpet) - 1,2,8,10 
Jimmy Owens (Trumpet) - 1,2,8,10 
Bernie Glow (Trumpet) - 1,2,8,10 
Don Butterfield (Tuba) - 1,2,8,10 
Donald McDonald (Drums) - 1,2,8,10 
Urbie Green (Trombone) - 3-5,7 
Tony Studd (Trombone) - 3-5,7 
Ernie Royal (Trumpet) - 3-5,7 
Jimmy Nothingham (Trumpet) - 3-5,7 
Thad Jones (Trumpet) - 3-5,7 
Harvey Phillips (Tuba) - 3-5,7 

01  Everydays (Stephen Stills) 3:20 
02  Every Day (I Have The Blues) (Memphis Slim) 3:21 
03  The Preacher (Horace Silver) 3:00 
04  Angel Eyes (Matt Dennis/Earl Brent) 4:03 
05  The Common Ground (Kenny Burrell/Warren Stephens) 2:53 
06  Were You There? (Traditional) 1:16 
07  Burning Spear (Richard Evans) 2:48 
08  Wonder Why (Nicholas Brodszky/Sammy Cahn) 4:00 
09  Soulful Brothers (Kenny Burrell/Warren Stephens) 5:37 
10  See See Rider (Ma Rainey) 3:31 
11  Sausilito Nights (Kenny Burrell/Warren Stephens) 4:11

When it comes to Kenny Burrell, a title like Blues -- The Common Ground speaks volumes.  His approach always keeps in mind the connection of jazz to the blues, infusing his guitar with a soulful, hard bop edge.  Recorded in 1967 and 1968, Blues -- The Common Ground finds Burrell backed by lots of brass and wind instruments for most of the album, hardly his usual setting.  But his guitar successfully weaves in and out of songs like "Every Day ( I Have the Blues )" and "Burning Spear," blending with the band and creating a pleasant balance.  Much of this works thanks to arranger Don Sebesky's tasteful settings. Sebesky seems to have an instinctive grasp of when to sit on the band and when to let it fly loose. There's the late-night, gentle feel of "Angel Eyes," and the more animated setup on the title cut. The only time this doesn't work is on pieces like "The Preacher" and "See See Rider," where the upbeat horns and shrill flutes remind one of a "groovy" soundtrack from a bad '60s movie.  It's also interesting to note that the album's unusual song choices, like "Everydays" by Stephen Stills, do find common ground in the blues. There's a beautiful, short solo piece, "Were You There?," and two quartet pieces, "Sausalito Nights" and "Soulful Brothers."  Blues -- The Common Ground holds up well, and the 2001 reissue offers Burrell fans a cleaned-up version of this fine album. ~ Ronnie D. Lankford Jr., AMG


Kenny Burrell - Recapitulation

Kenny Burrell - Recapitulation 

Kenny Burrell (guitar)
Illinois Jacquet (tenor sax)
Hank Jones, Richard Wyands (piano)
Milt Hinton, Martin Oliver, Ben Tucker, Richard Davis (bass)
Elivin Jones, Roy Haynes, Morris Jennings, Oliver Jackson (drums)

Tracks CD 1: 
01  Mother In Law
02  Hot Bossa
03  Isabella
04  People
05  The Tender Gender
06  I'm A Fool To Want You
07  Broadway
08  Afternoon In Paris
09  Tricrotism
10  Just A Settin' And A Rockin'

Tracks CD 2:
11  Well You Needn't
12  Suite For Guitar And Orchestra
13  I Want My Baby Back
14  Blues Fuse
15  Wild Man
16  My State, My Kansas, My Home
17  Pine Cones And Holly Berries
18  My Favorite Things
19  Suzy
20  Wild Is The Wind

"This compliation of the music of guitarist Kenny Burrell is part of the \"Chess Jazz Masters Series\", the 2-LP set was released in 1976 on Chess Records and features material from \"The Tender Gender\" (1966), \"Man At Work\" (1959), \"Ode To 52nd Street\" (1967), \"Illinois Jacket - The Message\" (1963), \"Hank Jones - Here's Love\" (1963) and \"Have Yourself A Merry Little Christmas\" (1966). Players include Richard Davis, Roy Haynes, Cleveland Eaton, Elvin Jones, Charles Stepney, Morris Jennings and many others.\"

Liner Notes:
Burrell was born in Detroit in 1931.  One of four brothers, all musicians, he taught himself the guitar while in high school, and worked locally with various bands before studying classical guitar at Wayne State University, where he graduated in 1955.  In the mid 50's, Detroit was a good place for a jazz musician to come of age.  The local talent included Hank, Thad and Elvin Jones, Paul Chambers, Barry Harris, Yusef Lateef, Billy Mitchell, Tommy Flanagan and many others.  Burrell led his own bands and enjoyed brief stints with the likes of Dizzy Gillespie and Oscar Peterson before making the move to New York in 1955.  He immediately carved a niche for himself in the studios, making a series of records for Blue Note and Prestige, appearing as a sideman on countless sessions, and even recording an album of vocals.  His versatility is evident in the range of his discography, which ranges from a session co-led with John Coltrane to backup work for the Shirelles. 

The present collection serves as an exemplary demonstration of his many facets, as reflected by the music he recorded for Argo/Cadet between 1959 and 1967.  The earliest material stems from the 1959 engagement at New York's Village Vanguard which produced the album \"Man At Work\".  These six selections on side two feature Burrell's trio with Richard Davis and Roy Haynes, who had previously worked together with Sarah Vaughn and would subsequently play important, albeit separate, roles in the music of Eric Dolphy.  Excepting the attractive ballad \"I'm A Fool To Want You\", the titles are all jazz standards.  The juxtaposition of \"Just A Settin' And A Rockin'\" and \"Well You Needn't\" reveals the undeniable kinship Monk has for Ellington.  Of special significance is the inclusion of \"Afternoon in Paris\" and \"Tricrotism\" which were never previously released. 

In 1963, Burrell was the featured sideman on two highly regarded albums by Illinois Jacquet and Hank Jones.  \"Wild Man\" is a fast blues highlighted by six and a half steaming Burrell choruses until Jacquet roars in during the seventh.  The two selections that follow it on side four are from Jones' \"Here's Love\", a record devoted to the score of Meredith Wilson's musicale. 

All of side one, plus the rocking blues \"Suzy\", with it's curious staccato theme, comes from the popular album called \"The Tender Gender\".  The title tune and \"Isabella\" illustrate how evocative a composer and player Burrell can be, while \"Mother in Law\" and \"Hot Bossa\" present him in a swing groove characterized by an earthier tone, stop-time sections, and astringent chords.  \"People\" is an unaccompanied statement by the guitarist.  Also from 1966 is \"My Favorite Things\", the cookingest and most secular selection from his \"Have Yourself A Soulful Little Christmas\" album.  The session marked the beginning of Burrell's association with the Chicagoan composer-arranger-bassist recored producer Richard Evans, an association which would become memorable a year later when they made \"Ode To 52nd Street\". 

One of the most widely acclaimed albums of the 60s was Burrell's 1965 collaboration with Gil Evans on the Verve album \"Guitar Forms\".  It was an ambitious meeting of soloist and arranger showing Burrell's many talents as no other record had: it started a series of orchestrated Burrell albums, the best of which was \"Ode To 52nd Street\" with \"Suite For Guitar And Orchestra\".  Here is a four part suite that perfectly underscores the tasteful modesty and uncomprimising muscianship of both Burrell and Evans (no relation to Gil).  It is an unpretentious work that was an unexpected, exquisite gem in 1967, and seems something of a classic today.  Burrell is heard on both electric and acoustic guitar, both at balladic and swinging tempos, playing flowing, rippling melodies as well as muted, highly rhythmic effects.  The unusual orchestra, mostly brass and strings, plays the work brilliantly and never recedes from full-scale collaboration.  Like Ralph Burns' \"Summer Eloquence\", it is a delicate, timeless gem.  Completing this collection is Burrell's great blues waltz \"I Want My Baby Back\", \"Blues Fuse\" and \"Wild Is The Wind\".  ~ Gary Giddins



Tania Maria & Viva Brazil Quartet - Live at the Blue Note (2002)

Tania Maria & Viva Brazil Quartet - Live at the Blue Note (2002)

Tania Maria (Piano, Synthesizer and Vocals) 
Luiz Augusto (Drums) 
Carlos Werneck (Bass Guitar) 
Mestre Carneiro (Percussion) 

01  Funky Tamborim (Tania Maria/Correa Reis) 8:11 
02  Quase (Charles Mangione/Jorge Goncalves) 6:43 
03  Granada (Augustin Lara) 7:25 
04  Bom Bom Bom Tchi Tchi Tchi (Tania Maria/Correa Reis) 9:31 
05  Valeu (Tania Maria/Correa Reis) 9:20 
06  E' Carnaval (Tania Maria/Correa Reis/Van Gibbs) 6:51 
07  Florzinha (Sidney Bechet/Tania Maria/Correa Reis) 7:07 
08  Minha Mae and Sangria (Tania Maria/Correa Reis) 6:08 

Most albums by Brazilian female vocalists follow the styles of the queens of the music, like Astrud Gilberto or Gal Costa, making records that are either smoothly romantic or rhythmically kinetic.  On 2002's Live at the Blue Note, Tânia Maria delivers an impressive set that owes little to either style.  Maria's band, the Viva Brazil Quartet, owes at least as much to hard boppers like the early-'60s Miles Davis group as it does to Antonio Carlos Jobim, and Maria's idiosyncratic, highly percussive keyboard style is much more Cecil Taylor than Walter Wanderley.  The recording is rather oddly mixed, with Maria's piano and synthesizer in the forefront, her equally distinctive vocals much farther back, and Carlos Werneck's guitar and bass sometimes barely audible, but the performances are uniformly first-rate.  Maria sings in both English and Portuguese, sometimes switching mid-song, but at her most transcendent, Maria breaks into wordless flights of sound, as on the exhilarating "Granada" and the whistled choruses of the ballad "Valeu."  At these moments, the occasionally herky-jerky rhythms and fractured melodies coalesce into something magical.  Live at the Blue Note may be a bit advanced for those who are just looking for some romantic bossa nova music, but it's an excellent starting point for discovering Tania Maria.  ~ Stewart Mason, AMG


George Benson Quartet - The George Benson Cookbook (1966)

George Benson Quartet - The George Benson Cookbook (1966)

George Benson (Guitar & Vocal) 
Lonnie Smith (Organ) 
Ronnie Cuber (Baritone Saxophone) 
Bill Kaye (Drums) - 2-4,7,10,13 
Marion Booker (Drums) - 1,5,6,9,11,14 
Jimmy Lovelace (Drums) - 8,12 
Bennie Green (Trombone) - 2-4,7,10,13 
Al Hall (Trombone) - 2-4,7,10,13 
Albert Winston (Fender Bass) - 1-7,9,10,13 
Lenny Seed (Congas) - 2-4,7,13 
King Curtis (Tenor Saxophone) - 9,11,14 
Blue Mitchell (Trumpet) - 11,14 

01  The Cooker (George Benson) 
02  Benny's Back (George Benson) 
03  Bossa Rocka (George Benson) 
04  All Of Me (Gerald Marks/Seymour Simons) 
05  Big Fat lady (George Benson) 
06  Benson's Rider (George Benson) 
07  Ready and Able (Jimmy Smith) 
08  The Borgia Stick (George Benson) 
09  Return Of The Prodigal Son (Harold Ousley) 
10  Jumpin' With Symphony Sid (Lester Young) 
11  The Man from Toledo (George Benson) 
12  Slow Scene (George Benson) 
13  Let Them Talk (Little Willie John) 
14  Goodnight (George Benson) 

The second of Benson's John Hammond-produced albums is far and away the superior of the pair, mixing down-to-basics, straight-ahead jazz with soul-drenched grooving.  Suddenly Benson's backup group - same as that of Uptown, with Benny Green added on trombone now and then - has found its bearings and apropos to the title, they can cook, even sizzle.  The effect upon Benson's own playing is striking; with something to react against, his sheer ability to swing advances into the realm of awesome.  The rapid-fire work on "The Cooker" and "Ready And Able" will make you gasp.  Only one vocal here, an exuberant "All Of Me." [ In mid-2001 Columbia/Legacy reissued this 1966 classic, along with It's Uptown, recorded only several months earlier.  Four bonus tracks include a (previously unreleased) doo wop vocal rendition of Little Willie John's "Let Them Talk" and two Benson originals that are pure rock-n-roll: "The Man from Toledo" and "Goodnight. " Two of the bonus cuts are preceded by control-booth comments from the session's legendary producer, John Hammond. ] ~ Richard S.  Ginell, AMG