Illinois Jacquet - 1946-47 (The Chronological Classics, 1019)

01 - Jumpin' at Apollo (Jacquet)
02 - Jacquet Bounce (Jacquet)
03 - She's Funny That Way (Moret, Whiting)
04 - 12 Minutes to Go (Jacquet)
05 - For Europeans Only (Dameron, Jacquet)
06 - Big Dog (Jacquet)
07 - You Left Me All Alone (Jacquet)
08 - Jivin' With Jack the Bellboy (Doggett, Jacquet)
09 - Blow, Illinois, Blow (Jacquet)
10 - Illinois Blows the Blues (Jacquet)
11 - South Street Special (Jacquet)
12 - Diggin' the Count (Jacquet, Johnson)
13 - Robbins' Nest (Jacquet, Thompson)
14 - Music Hall Beat (Jacquet)
15 - Jumpin' at the Woodside (Basie)
16 - Goofin' Off (Jacquet)
17 - Riffin' with Jacquet (Jacquet)
18 - Don't Push Daddy (Jacquet)
19 - Sahara Heat (Jacquet)
20 - It's Wild (Jacquet)
21 - Destination Moon (Jacquet)
22 - For Truly (Jacquet)
23 - I Surrender, Dear (Barris, Clifford)

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Jean Baptiste Illinois Jacquet
Born: Oct 31, 1922 in Boussard, LA
Died: Jul 22, 2004 in New York, NY

Biography by Scott Yanow, All Music Guide
One of the great tenors, Illinois Jacquet's 1942 "Flying Home" solo is considered the first R&B sax solo, and spawned a full generation of younger tenors (including Joe Houston and Big Jay McNeely) who built their careers from his style, and practically from that one song.
Jacquet, whose older brother Russell (1917-1990) was a trumpeter who sometimes played in his bands, grew up in Houston, and his tough tone and emotional sound defined the Texas tenor school. After playing locally, he moved to Los Angeles where, in 1941, he played with Floyd Ray. He was the star of Lionel Hampton's 1942 big band ("Flying Home" became a signature song for Jacquet, Hampton, and even Illinois Jacquet' successor Arnett Cobb), and also was with Cab Calloway (1943-1944) and well featured with Count Basie (1945-1946). Jacquet's playing at the first Jazz at the Philharmonic concert (1944) included a screaming solo on "Blues" that found him biting on his reed to achieve high-register effects; the crowd went wild. He repeated the idea during his appearance in the 1944 film short Jammin' the Blues. In 1945, Jacquet put together his own band, and both his recordings and live performances were quite exciting. He appeared with JATP on several tours in the 1950s, recorded steadily, and never really lost his popularity. In the 1960s, he sometimes doubled on bassoon (usually for a slow number such as "'Round Midnight") and it was an effective contrast to his stomping tenor. In the late '80s, Jacquet started leading an exciting part-time big band that only recorded one album, an Atlantic date from 1988. Through the years, Illinois Jacquet (whose occasional features on alto are quite influenced by Charlie Parker) has recorded as a leader for such labels as Apollo, Savoy, Aladdin, RCA, Verve, Mercury, Roulette, Epic, Argo, Prestige, Black Lion, Black & Blue, JRC, and Atlantic. Illinois Jacquet died on July 22, 2004.

Review by arwulf arwulf, All Music Guide
Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz.

Gary Smulyan with strings

Recorded December 23, 1996 in New York City, NY, USA by Max Bolleman.
Criss Cross Jazz 1129 CD

Personnel:
Gary Smulyan (baritone sax)
Mike LeDonne (piano)
Peter Washington (bass)
Kenny Washington (drums)

Bob Belden (arranger, conductor)
Mark Feldman, Laura Seaton, Cenovia Cummins, Jon Kass, Regina Carter (violins)
Ron Lawrence (alto viola)
Erik Friedlander, Tomas Ulrich, Clay Ruede (cellos)

01 - The Bad And The Beautiful (David Raskin)
02 - Lush Life (Billy Strayhorn)
03 - Thanks For You (Wright / Hanighen)
04 - It Happens Quietly (Kaye / Dankworth)
05 - Don't Follow The Crowd (B. Lee)
06 - We've Got A Sure Thing (Burke / Van Heusen)
07 - Beware My Heart (Sam Coslow)
08 - The Moment Of Truth (Satterwhite / Scott)
09 - Yesterday's Gardenias (Robertson / Cogane / Mysels)
10 - Two For The Seesaw (Andre Previn)

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My best Glenn Miller - 1 (by Xor)

Thanks, Xor!

Una orquesta de baile de la Era del Swing. Recuerdo que, desde muy pequeño, la escuchaba en los bailes que se hacían en casa de familiares y gozaba con sus melodías.
Pero Glenn era mucho más, tal vez uno de los más grandes orquestadores de la época. Lamentablemente su desaparición en un neblinoso día de 1945, nos ha privado de haber disfrutado de su desarrollo.
Esta primer selección de su orquesta contiene temas entre 1938 y 1942, con su banda original.

101 - Moonlight serenade
102 - In the mood
103 - Johnson rag
104 - Rug Cutterïs swing
105 - Sliphorn jive
106 - Pennsylvania 6 5000
107 - Slow freight
108 - Take the 'A' train
109 - Kalamazoo
110 - Chattanooga choo choo
111 - Pagan love song
112 - Perfidia
113 - Frenesi
114 - At last
115 - Little brown jug
116 - Song of the Volga boatmen
117 - Tuxedo junction
118 - Serenade in blue
119 - Sunrise serenade
120 - Stardust
121 - Glen island special

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Hot Lips Page - 1946-50 (The Chronological Classics, 1199)

01 - Gimme, Gimme, Gimme (Page)
02 - Take Your Shoes Off, Baby (Austin)
03 - La Danse (Ravel)
04 - St. James Infirmary (Primrose, Traditional)
05 - Walkin' in a Daze (Page)
06 - Your Shirt Tail's Out (Gluck, Page)
07 - Fat Stuff (Coleman, Page)
08 - Ashes on My Pillow (Page)
09 - Boodie Boodie (unknown)
10 - The Egg or the Hen (Barrow, Glover, Theard)
11 - I Got an Uncle in Harlem (Cavanaugh, McCarthy, Palmer)
12 - Cheetie Bo Joe (unknown)
13 - Don't Tell a Man About His Woman (Palmer, Robison)
14 - Baby, It's Cold Outside (Loesser)
15 - The Hucklebuck (Alfred, Gibson)
16 - It's a Great Feeling (Cahn, Styne)
17 - Ain't She Sweet? (Ager, Yellen)
18 - That Lucky Old Sun (Just Rolls Around Heaven All Day) (Gillespie, Smith)
19 - I Never See Maggie Alone (Nicholls, Tisley)
20 - Where Are You Blue Eyes? (Drake, Shirl)
21 - Ain't No Flies on Me (Eldridge)
22 - Miss Larceny Blues (Page)
23 - You Stole My Wife, You Horse Thief (Reif, Sims)

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Oran Thaddeus "Hot Lips" Page
Born: Jan 27, 1908 in Dallas, TX
Died: Nov 5, 1954 in New York, NY

Biography by Scott Yanow, All Music Guide
One of the great swing trumpeters in addition to being a talented blues vocalist, Hot Lips Page's premature passing left a large hole in the jazz world; virtually all musicians (no matter their style) loved him. Page gained early experience in the 1920s performing in Texas, playing in Ma Rainey's backup band. He was with Walter Page's Blue Devils during 1928-1931, and then joined Bennie Moten's band in Kansas City in time to take part in a brilliant 1932 recording session. Page freelanced in Kansas City and in 1936 was one of the stars in Count Basie's orchestra but, shortly before Basie was discovered, Joe Glaser signed Hot Lips as a solo artist. Although Page's big band did alright in the late '30s (recording for Victor), if he had come east with Basie he would have become much more famous. Page was one of the top sidemen with Artie Shaw's orchestra during 1941-1942 and then mainly freelanced throughout the remainder of his career, recording with many all-star groups and always being a welcome fixture at jam sessions.

Review by Scott Yanow, All Music Guide
The bebop era may have been raging during the period covered by this CD, but trumpeter-singer Hot Lips Page stuck to his swing/Dixieland/blues style. Although commercial success would largely elude him, Page is heard in prime form on the 23 formerly rare performances included on this valuable CD. Other than one cut from 1946, the music is from 1947 and 1949-1950. Page (whose voice had become a bit raspier through the years) digs into four instrumentals and four vocals with a medium-size group in 1947; four of the titles were previously unreleased. He is also heard with slightly later combos, on two numbers with strings and a choir, and on a very successful four-song session in which he interacts vocally with Pearl Bailey; their version of "Baby, It's Cold Outside" is classic. Other highlights include "St. James Infirmary," "Fat Stuff," "Don't Tell a Man About His Woman," "The Hucklebuck," and "Ain't No Flies on Me." Recommended.

Hugo Fattoruso - Oriental (1991)

Para JorgeRR, el hombre que vino de la República Oriental. (Otros virán.)

Arrangements: Hugo Fattoruso.

01 - O sambinha (H. Fattoruso)
02 - La del cheche (H. Fattoruso - Gustavo Etchenique)
03 - A Tabaré Aguirre (H. Fattoruso)
04 - La papa (H. Fattoruso)
05 - Estrela distante (H. Fattoruso)
06 - Tuyo (Tú-yo) (H. Fattoruso)
07 - Kepel (H. Fattoruso)
08 - Azul y blanco (H. Fattoruso)
09 - Féria de Tristán Narvaja (H. Fattoruso)
10 - Llegan las lluvias (H. Fattoruso)
11 - Lonjas del Cuareim (Traditional folklore afro-uruguayan)

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Biografía [Wikipedia]
Hugo Fattoruso (n. 29 de junio de 1943 en Montevideo, Uruguay) — Compositor, arreglador, multiinstrumentista y vocalista, es un músico fundamental dentro de la música uruguaya. Además de desarrollar una intensa carrera solista, ha tocado en diversos formatos: Los Shakers, Opa, Grupo del Cuareim, Los Pusilánimes, Trío Fattoruso, por solo citar ejemplos. Colaboró con artistas de la talla de Chico Buarque de Holanda, Milton Nascimento, Jaime Roos, Ruben Rada y Djavan.

Hugo Fattoruso comenzó a actuar profesionalmente a los doce años, tocando como acordeonista y pianista en el Trío Fattoruso, junto a su padre, Antonio Fattoruso y su hermano Osvaldo. En 1959 integró, con su hermano la banda de swing The Hot Blowers.

En la década del 60 formó una mítica banda de rock, Los Shakers, que difundió el rock de influencia británica en América Latina, influyendo a su vez, en la aparición del llamado rock nacional a partir de 1967. La banda estaba integrada por él mismo en voz y guitarra, su hermano Osvaldo Fattoruso, también en voz y guitarra, Roberto Capobianco " Pelín " como bajista y Carlos Villa " Caio " en batería.

En 1969 se radicó en los Estados Unidos, formando el grupo Opa, junto a su hermano Osvaldo y Ringo Thielmann. El grupo fue uno de los primeros en fusionar el rock, el jazz y ritmos latinoamericanos, en este caso el candombe, así como ritmos cubanos y brasileños.

Luego de vivir varios años en Estados Unidos, se radicó en Brasil, trabajando principalmente con Milton Nascimento, y otros artistas como Djavan, Geraldo Azevedo, Chico Buarque, Naná Vasconcelos y Toninho Horta. Grabó varios álbumes con Milton Nascimento, entre ellos "Nascimento", ganador en 1997 del Premio Grammy. En 2000, los hermanos Hugo y Osvaldo recrearon su inicial Trío Fattoruso, ahora con Francisco Fattoruso, su hijo, como bajista.

Compositor, arreglador, multiinstrumentista y vocalista, es un músico fundamental dentro de la música uruguaya. Además de desarrollar una intensa carrera solista, ha tocado en diversos formatos: Los Shakers, Opa, Grupo del Cuareim, Los Pusilánimes, Trío Fattoruso, por solo citar ejemplos. Colaboró con artistas de la talla de Chico Buarque de Holanda, Milton Nascimento, Jaime Roos, Ruben Rada y Djavan.

Su pasión por el candombe lo llevó a formar el grupo Rey Tambor, que completan Diego Paredes en Tambor Piano, Fernandito Núñez en Tambor Chico y Nicolás Peluffo en Tambor Repique. Hugo interpreta en teclado un repertorio conformado a base de clásicos del género de distintos autores uruguayos, composiciones propias y versiones de canciones conocidas llevadas a este ritmo. Hasta el momento el grupo editó dos discos : "Palo y Mano" (Tonos Records) y "Emotivo" (Los Años Luz).

La trayectoria profesional de Hugo Fattoruso es difícil de contar pero fácil de deducir dada la variedad de músicos con quienes compartió escenarios y/o grabaciones, entre ellos: Eduardo Mateo, Jorge Graf, Jaime Roos, Ruben Rada, Laura Canoura, Toto Méndez, Larbanois-Carrero, Pitufo Lombardo, La Tríada, Chico Buarque de Holanda, Milton Nascimento, Djavan, Fafá de Belém, Miucha, María Betania, Arismar do Espirito Santo, Toninho Horta, Joao Bosco, Hermeto Pascoal, Geraldo Azevedo, Naná Vasconcelos, Airto Moreira, Flora Purim, Abraham Laboriel, Manolo Badrena, Hiram Bullock, Vernon Reid, Don Cherry, Giovanni Hidalgo, Ron Carter, Litto Nebbia, Fito Páez, Liliana Herrero, Luis Salinas, Adriana Varela, Takamasa Segi y Yahiro Tomohiro.

Acaba de publicar un nuevo material discográfico de piano solo, el sucesor de "Ciencia Fictiona", que lleva por título "Café y Bar: Ciencia Fictiona". El mismo fue grabado en Buenos Aires, en el estudio de Lito Vitale.

En 2008 Hugo volvió a Japón para realizar una gira de dos meses, primero con el Trío Fattoruso (ocho recitales en seis ciudades: Komatsu, Sendai, Tokyo, Kyoto, Nagoya y Yokohama) y luego a dúo con el percusionista japonés Yahiro Tomohiro, junto a quien grabó el CD "Dos Orientales" en 2007, material que se puso a la venta el 7 de julio del corriente en el país nipón. En este viaje, Fattoruso también colaboró (compuso piezas instrumentales y tocó en vivo) con un prestigioso grupo de cuerdas que lidera la violinista Aska Kaneko. En noviembre del mismo año, Hugo volvió a Japón para representar a Uruguay en el evento "La noche del Mercosur" que tuvo lugar en el Tokyo Opera City Theater, donde actuó acompañado por el coro de niños Shinjuku-ku Shonen Shojo Gasshodan de Shinjuku.

Trayectoria
* 1952-1958: Trío Fattoruso
* 1959-1963: The Hot Blowers.
* 1964-1969: Los Shakers
* 1969-2005: Opa
* 2000-presente: Trío Fattoruso

2003-presente: Hugo Fattoruso y Rey Tambor
2004-presente: Solista
2007: Con Yahiro Tomohiro conformó el dúo "Dos Orientales"

Romantico 9 (by Xor)

Thanks, Xor!

Aquí tenemos siete damas, todas ellas vocalistas, comenzando Susan Wong con la bonita A thousand dreams...
Dos señores con el mismo oficio; Dick Haymes sigue a Susan.
Un trío de jazz -EJT- que nos trae... a Amadeus, tomando uno de sus grandes conciertos para piano en una versión estupenda.
Siguen: Freda Payne con el tema de Monk, Jane Monheit en una cálida entrega de Something cool y Gladys Knight -sí, la de los 60s en Motown- demostrando que puede cantar jazz con excelencia.
Eric Alexander en saxo tenor hace una delicia con I'll be...
Luego viene Julia Migenes con el famosísimo tema de 'Casablanca'.
Dos grandes saxofonistas Mulligan (barítono) y Getz (tenor) se encuentran para ofrecernos una simple balada.
El otro señor vocalista, Leon Jackson, con gran estilo en You don't know me.
Anita, la cantante más veterana de esta selección, vierte su arte en You'd be so... acompañada por músicos japoneses.
Sigue el guitarrista Birelli Lagrene con la canción hecha famosa por Billy Joel.
Finalmente, la joven danesa Sidsel Storm nos regala My favorite things.
Disfrute de los 13 temas y espere el 10, que viene pronto.

01 - Susan Wong - A thousand dreams of you
02 - Dick Haymes - Imagination
03 - European Jazz Trio - Piano concerto No. 21
04 - Freda Payne - Round midnight
05 - Jane Monheit - Something cool
06 - Gladys Knight - Stormy weather
07 - Eric Alexander - I'll be around
08 - Julia Migenes - As time goes by
09 - Gerry Mulligan & Stan Getz - A ballad
10 - Leon Jackson - You don't know me
11 - Anita O'Day - You'd be so nice to come home to
12 - Birelli Lagrene - Just the way you are
13 - Sidsel Storm - My favourite things

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Jess Stacy - 1935-39 (The Chronological Classics, 795)

01 - In the Dark/Flashes (Beiderbecke)
02 - Barrelhouse (Stacy)
03 - The World Is Waiting for the Sunrise (Seitz-Lockhart)
04 - Ramblin' (Stacy)
05 - Complainin' (Stacy)
06 - Candlelights (Beiderbecke)
07 - Complainin' (Stacy)
08 - Ain't Going Nowhere (Stacy)
09 - She's Funny That Way (Moret, Whiting)
10 - You're Driving Me Crazy (Donaldson)
11 - The Sell-Out (Stacy)
12 - Ec-Stacy (Stacy)
13 - What's New? (Burke, Haggart)
14 - Melancholy Mood (Knight-Schumann)
15 - Noni (Bernardi)
16 - Jess Stay (Stacy)
17 - Breeze (Blow My Baby Back to Me) [fox trot] (Goodwin, Hanley, MacDonald)
18 - Breeze (Blow My Baby Back to Me) [blues] (Goodwin, Hanley, MacDonald)
19 - I Can't Believe That You're in Love With Me (Gaskill, McHugh)
20 - A Good Man Is Hard to Find (Green)
21 - Clarinet Blues (Fazola)

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Jess Stacy
Born: Alexandria Stacy on Aug 11, 1904 in Bird's Point, MO
Died: Jan 5, 1994 in Los Angeles, CA

Biography by Scott Yanow, All Music Guide
One of the great swing pianists, Jess Stacy is known for his solo on "Sing, Sing, Sing," a solo that was cut from the studio recording, but was finally captured on recording at Benny Goodman's historic 1938 Carnegie Hall Concert and released for the first time in 1950. A mostly self-taught player who performed on riverboats during the early '20s, Stacy was part of the fertile Chicago jazz scene of the 1920s with his style being influenced by both Earl Hines and Bix Beiderbecke. Still obscure when he joined Goodman's big band in 1935, the pianist soon became well-known as one of BG's top sidemen, working with him through 1939 and on-and-off during the next five years. Stacy also spent time with the bands of Bob Crosby, Horace Heidt, and Tommy Dorsey, recorded with Eddie Condon, did some solo recordings of his own (starting in 1935), had a short-lived marriage to singer Lee Wiley, and tried twice to lead big bands of his own. He became fairly obscure after moving to California in 1947 (mostly playing in piano bars) and, in 1963, Stacy retired from music altogether, only to return briefly on a few special occasions (and for two Chiaroscuro recordings) over the next 20 years.

Review by Scott Yanow, AMG
Pianist Jess Stacy did not lead that many recording sessions during the swing era since he spent long periods playing with the big bands of Benny Goodman and Bob Crosby. This excellent CD contains his 21 selections as a leader from a four-year period. Stacy's three numbers from 1935 include a solo Bix Beiderbecke medley and two songs with bassist Israel Crosby and drummer Gene Krupa. In addition, this set has Stacy's eight piano solos for Commodore, a duet with Bud Freeman on tenor ("She's Funny That Way"), and eight very rare performances (plus an alternate take) cut for Varsity in 1939 that also feature trumpeter Billy Butterfield, tenor saxophonist Eddie Miller, and either clarinetist Hank d'Amico or Irving Fazola in an octet. This CD contains more than its share of gems.

Tim Weisberg - Travelin' light (1987)

Personnel:
Tim Weisberg - flute
Rick Jaeger - drums
Bobby Wright - organ, piano, clavinet & synthesizer
Todd Robinson & Chuck Cochran - guitar
David Miner - bass

Additional musicians: John Jarvis (piano), Michael Boddicker (synthesizers and vocoder), John Hug (guitar), Ed Greene (drums), Steve Forman (percussion), Milcho Leviev (piano), among others.

01 - Travelin' light
02 - All these nights alone
03 - Sooner than later
04 - Gettin' away from it all
05 - Sundance shuffle
06 - King of cool
07 - Sleepwalk
08 - Audrey
09 - Why
10 - Paula
11 - Trinity

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Ray Conniff - Besame mucho (14 sucessos latinos)

01 - Bésame mucho
02 - Vereda tropical
03 - Ansiedad de besarte
04 - Caminito
05 - Cuando calienta el sol
06 - Amor
07 - Detalhes
08 - Aquellos ojos verdes
09 - Aquarela do Brasil
10 - Perfidia
11 - J'ai oublié de vivre
12 - A media luz
13 - Cuando vuelva a tu lado
14 - El día que me quieras

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Kenny Clarke - 1946-48 (The Chronological Classics, 1171)

01 - Epistrophy (Clarke, Monk)
02 - 52nd Street Theme (Monk)
03 - Oop Bop Sh-Bam (Gillespie)
04 - Rue Chaptal (Clarke)
05 - Confirmation (Parker)
06 - A la Colette (Cheryl) (Parker)
07 - Jumpin' There (Listen Here) (Clarke)
08 - Jay Mac (Clarke)
09 - Lover Man (Davis, Ramirez, Sherman)
10 - The Small Bag (DeVillers)
11 - I'm Sorry (DeVillers)
12 - Hard to Get (Clarke)
13 - Ralph Goes (Schecroun)
14 - I've Got Be-Bop (Fol)
15 - All the Things You Are (Hammerstein, Kern)
16 - Algerian Cynicism (Clarke)
17 - Laurenzology (Laurence)
18 - Doria (Montaggioni)
19 - I'll Tell You in Any Minute (Clarke)
20 - Working Eyes (Glenn)
21 - Stuffy (Hawkins)
22 - The Man I Love (Gershwin, Gershwin)
23 - I Surrender, Dear (Barris)

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Kenny Clarke
Born: Jan 9, 1914 in Pittsburgh, PA
Died: Jan 26, 1985 in Paris, France

Biography by Scott Yanow
Kenny Clarke was a highly influential if subtle drummer who helped to define bebop drumming. He was the first to shift the time-keeping rhythm from the bass drum to the ride cymbal, an innovation that has been copied and utilized by a countless number of drummers since the early '40s.
Clarke played vibes, piano and trombone in addition to drums while in school. After stints with Roy Eldridge (1935) and the Jeter-Pillars band, Clarke joined Edgar Hayes' Big Band (1937-38). He made his recording debut with Hayes (which is available on a Classics CD) and showed that he was one of the most swinging drummers of the era. A European tour with Hayes gave Clarke an opportunity to lead his own session, but doubling on vibes was a definite mistake! Stints with the orchestras of Claude Hopkins (1939) and Teddy Hill (1940-41) followed and then Clarke led the house band at Minton's Playhouse (which also included Thelonious Monk). The legendary after-hours sessions led to the formation of bop and it was during this time that Clarke modernized his style and received the nickname "Klook-Mop" (later shortened to "Klook") due to the irregular "bombs" he would play behind soloists. A flexible drummer, Clarke was still able to uplift the more traditional orchestras of Louis Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941-42), Red Allen and Coleman Hawkins; he also recorded with Sidney Bechet. However after spending time in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's big band and leading his own modern sessions; he co-wrote "Epistrophy" with Monk and "Salt Peanuts" with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and became an original member of the Modern Jazz Quartet (1951-55). However he felt confined by the music and quit the MJQ to freelance, performing on an enormous amount of records during 1955-56.
In 1956 Clarke moved to France where he did studio work, was hired by touring American all-stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959-60). Clarke was co-leader with Francy Boland of a legendary all-star big band (1961-72), one that had Kenny Clarke playing second drums! Other than a few short visits home, Kenny Clarke worked in France for the remainder of his life and was a major figure on the European jazz scene.

Review by arwulf arwulf, All Music Guide
Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz.

My best Enrico Rava - 1. 1975-98 (by Xor)

Thank you very much, Xor.

Mi selección del trompetista italiano en 32 temas, 3 entregas.

01 - By the sea
02 - Blancasnow
03 - The fearless five
04 - Round about midnight
05 - Diva
06 - Bells
07 - What's new
08 - Blue in green
09 - The door without the door
10 - Spleen
11 - Eigua
12 - Tango for Vasquez y Pepita

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Chu Berry & Lucky Thompson - Giants of the tenor sax

01 - Body and Soul
02 - Sittin' in
03 - Stardust
04 - Forty Six West Fifty Two
05 - On the Sunny Side of the Street No. 2
06 - My Gal is Gone
07 - Rockin' At Ryans
08 - Blowing Up A Breeze
09 - On The Sunny Side Of The Street
10 - Monday At Minton's
11 - Gee, Baby Ain't I Good To You
12 - You'd Be Frantic Too
13 - Blues Jumped A Rabbit

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Jack Teagarden - 1934-39 (The Chronological Classics, 729)

01 - Junk Man (Loesser, Meyer)
02 - Stars Fell on Alabama (Parish, Perkins)
03 - Your Guess Is as Good as Mine (Goodhart, Hoffman, Sigler)
04 - Persian Rug (Kahn, Moret)
05 - The Sheik of Araby (Smith, Snyder, Wheeler)
06 - Class Will Tell (Burke, Leslie)
07 - If It's Good (Then I Want It) (Hirsch, Marks)
08 - Cinderella, Stay in My Arms (Carr, Kennedy)
09 - I Gotta Right to Sing the Blues (Arlen, Koehler)
10 - That's Right, I'm Wrong (Adams, Carmichael)
11 - Yankee Doodle (Traditional)
12 - White Sails (Beneath a Silver Moon) (Archer, Kenny)
13 - Octoroon (Warren)
14 - Pickin' for Patsy (Reuss, Teagarden)
15 - Undertow (Battle, Miller, Seyne)
16 - Especially for You (Grogan, Tucker)
17 - You Know (Just as Well as I Know) (King, Vavrin)
18 - You're the Moment in My Life (Nemo)
19 - The Little Man Who Wasn't There (Adamson, Hanighen)
20 - Puttin' and Takin' (DePaul, Jacobs)
21 - I Swung the Election (Miller, Teagarden)
22 - Blues to the Dole (Battle, Jackson)
23 - Aunt Hagar's Blues (Brymn, Handy)
24 - Rippling Waters (Smith)

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Jack Teagarden
Born: Aug 29, 1905 in Vernon, TX
Died: Jan 15, 1964 in New Orleans, LA

Biography by Scott Yanow, All Music Guide
One of the classic giants of jazz, Jack Teagarden was not only the top pre-bop trombonist (playing his instrument with the ease of a trumpeter) but one of the best jazz singers too. He was such a fine musician that younger brother Charlie (an excellent trumpeter) was always overshadowed. Jack started on piano at age five (his mother Helen was a ragtime pianist), switched to baritone horn, and finally took up trombone when he was ten. Teagarden worked in the Southwest in a variety of territory bands (most notably with the legendary pianist Peck Kelley) and then caused a sensation when he came to New York in 1928. His daring solos with Ben Pollack caused Glenn Miller to de-emphasize his own playing with the band, and during the late-'20s/early Depression era, "Mr. T." recorded frequently with many groups including units headed by Roger Wolfe Kahn, Eddie Condon, Red Nichols, and Louis Armstrong ("Knockin' a Jug"). His versions of "Basin Street Blues" and "Beale Street Blues" (songs that would remain in his repertoire for the remainder of his career) were definitive. Teagarden, who was greatly admired by Tommy Dorsey, would have been a logical candidate for fame in the swing era but he made a strategic error. In late 1933, when it looked as if jazz would never catch on commercially, he signed a five-year contract with Paul Whiteman. Although Whiteman's Orchestra did feature Teagarden now and then (and he had a brief period in 1936 playing with a small group from the band, the Three T's, with his brother Charlie and Frankie Trumbauer), the contract effectively kept Teagarden from going out on his own and becoming a star. It certainly prevented him from leading what would eventually became the Bob Crosby Orchestra. In 1939, Jack Teagarden was finally "free" and he soon put together a big band that would last until 1946. However, it was rather late to be organizing a new orchestra (the competition was fierce) and, although there were some good musical moments, none of the sidemen became famous, the arrangements lacked their own musical personality, and by the time it broke up Teagarden was facing bankruptcy. The trombonist, however, was still a big name (he had fared quite well in the 1940 Bing Crosby film The Birth of the Blues) and he had many friends. Crosby helped Teagarden straighten out his financial problems, and from 1947-1951 he was a star sideman with Louis Armstrong's All-Stars; their collaborations on "Rocking Chair" are classic. After leaving Armstrong, Teagarden was a leader of a steadily working sextet throughout the remainder of his career, playing Dixieland with such talented musicians as brother Charlie, trumpeters Jimmy McPartland, Don Goldie, Max Kaminsky, and (during a 1957 European tour) pianist Earl Hines. Teagarden toured the Far East during 1958-1959, teamed up one last time with Eddie Condon for a television show/recording session in 1961, and had a heartwarming (and fortunately recorded) musical reunion with Charlie, sister/pianist Norma, and his mother at the 1963 Monterey Jazz Festival. He died from a heart attack four months later and has yet to be replaced.

Review by arwulf arwulf, All Music Guide
Shortly before selling his soul to Paul Whiteman for five long years, trombonist Weldon Leo "Jack" Teagarden and his orchestra made three beautiful recordings that still sound uncommonly cool, honest, and authentic. This session, which took place in New York on September 18, 1934, closes out Teagarden's early years as a bandleader. The instrumental "Junk Man" is a relaxed blues ambulation of remarkable depth and subtlety, featuring string harpist Casper Reardon who swung easily in a style similar to that of Robert Maxwell. Flanked by Benny Goodman and Frankie Trumbauer, Jack's brother Charlie Teagarden blew some of his best trumpet on record. Texas crooner Mr. T sang on two of the three records made that day, handsomely drawling the words to "Stars Fell on Alabama," as if lyricist Frank Perkins had devised them just for him. Years passed. The minute his contract with Whiteman expired, Teagarden resumed making records under his own name for the Brunswick label on April 14, 1939, collaborating with trumpeter Charlie Spivak in leading a 15-piece orchestra that operated in a sort of Dorsey/Goodman/Barnet groove, with lush harmonies emanating from the trombone section. Present in this band were arranger Fred Van Eps, Jr. and saxophonist John Van Eps, sons of legendary early 20th century ragtime banjoist Fred Van Eps and brothers of jazz guitar wizard George Van Eps. The other important participant here was the great Ernie Caceres, heard playing clarinet and tenor sax in addition to his customary baritone. "Persian Rug," which first entered the jazz repertoire back in 1928 as a sort of chamber jazz oddity by Fats Waller and the Louisiana Sugar Babes, here becomes a punchy big-band workout. Teagarden's vocals are invariably warm and delightful, and there are only occasional incursions by conventional big-band singers Jeanie Arnold and Linda Keene. Of the four remaining instrumentals, "Pickin' for Patsy" is a relatively modernistic feature for guitarist Allan Reuss, "Undertow" a soothing nocturne for jazz orchestra, "Blues to the Dole" a laid-back big-band embodiment of Teagarden's personality and most excitingly, a full ensemble arrangement of Willie "The Lion" Smith's masterpiece, "Rippling Waters."

Lyle Mays - Street dreams (1988)

All compositions by Mays, except 04, by Mays and Metheny.

01 - Feet first
02 - August
03 - Chorinho
04 - Possible straight
05 - Hangtime
06 - Before you go
07 - Newborn
08 - Street dreams, part I
09 - Street dreams, part II
10 - Street dreams, part III
11 - Street dreams, part IV

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Review by Richard Ginell, All Music Guide
Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music. The solo "Chorinho" is a running classical exercise on electric keyboards, almost a contemporary Bachianas Brasileiras (to borrow Villa-Lobos' term) and a considerable feat of invention. The biggest surprise of all may well be "Possible Straight," a brief, straight-ahead piece of big band hard bop, and "Before You Can Go" seems to be the token emulation of the Metheny groove. There's a lot of inventive, mostly easygoing music here, though if one must choose, the level is not as consistently high as on Mays' first album.

Jazz Femmes - E2 (by Xor)

Emily Remler - Daahoud
Eri Ohno - I've got you under my skin
Erin Bode - Gee baby ain't I good to you
Erin Boheme - One night with Frank
Erin McDougald - I love Paris
Erin McKeown - Just one of those things
Ernestine Allen - Baubles, bangles and beads
Ernestine Anderson - Please send me someone to love
Esperanza Spalding - I know you know
Esther Phillips - You've been a good ole wagon
Ethel Ennis - The song is ended
Etta James - These foolish things
Etta Jones - I cover the waterfront
Eva Bessman - The gentle rain
Eva Cassidy - Blues in the night
Eydie Gorme - Lazy river

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Kid Ory - 1922-45 (The Chronological Classics, 1069)

01 - Ory's Creole Trombone (Ory)
02 - Society Blues (Spikes)
03 - Krooked Blues (Johnson, Spikes)
04 - When You're Alone Blues (Spikes)
05 - Maybe Someday (Spikes)
06 - That Sweet Something Dear (Spikes)
07 - Get Out of Here (Ory, Scott)
08 - South (Hayes, Moten)
09 - Blues for Jimmie Noone (Ory)
10 - Creole Song (Ory)
11 - Dippermouth Blues (King Oliver)
12 - Savoy Blues (Ory)
13 - High Society (Piron, Williams)
14 - Ballin' the Jack (Burris, Smith)
15 - High Society (Piron, Williams)
16 - Muskrat Ramble (Gilbert, Ory)
17 - The Girls Go Crazy About the Way I Walk (Ory)
18 - Blanche Touquatoux (Ory)
19 - Panama (Tyers)
20 - Careless Love (Handy, Koenig, Williams)
21 - Do What Ory Say (Ory)
22 - Under the Bamboo Tree (Cole, Johnson)
23 - 1919 March (Traditional)
24 - Maryland, My Maryland (Traditional)
25 - Down Home Rag (Sweatman)
26 - Oh! Didn't He Ramble (Handy)

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Kid Ory
Born: Edward Ory on Dec 25, 1886 in LaPlace, LA
Died: Jan 23, 1973 in Honolulu, HI

Biography by Scott Yanow, All Music Guide
Kid Ory was one of the great New Orleans pioneers, an early trombonist who virtually defined the "tailgate" style (using his horn to play rhythmic bass lines in the front line behind the trumpet and clarinet) and who was fortunate enough to last through the lean years so he could make a major comeback in the mid-'40s. Originally a banjoist, Ory soon switched to trombone and by 1911 was leading a popular band in New Orleans. Among his trumpeters during the next eight years were Mutt Carey, King Oliver and a young Louis Armstrong and his clarinetists included Johnny Dodds, Sidney Bechet, and Jimmie Noone. In 1919, Ory moved to California and in 1922 (possibly 1921) recorded the first two titles by a Black New Orleans jazz band ("Ory's Creole Trombone" and "Society Blues") under the band title of Spike's Seven Pods of Pepper Orchestra. In 1925 he moved to Chicago, played regularly with King Oliver, and recorded many classic sides with Oliver, Louis Armstrong (in his Hot Five and Seven), and Jelly Roll Morton, among others. The definitive New Orleans trombonist of the 1920s, Ory (whose "Muskrat Ramble" became a standard) was mostly out of music after 1930, running a chicken ranch with his brother. However in 1942 he was persuaded to return, and after a stint with Barney Bigard's group, he formed his own band. Ory's group was featured on Orson Welles' radio show in 1944 and the publicity made it possible for the band to catch on. The New Orleans revival was in full swing and Ory (whose group included trumpeter Mutt Carey and clarinetists Omer Simeon or Darnell Howard) was still in prime form. He appeared in the 1946 film New Orleans (and later on in The Benny Goodman Story) and worked steadily in Los Angeles. After Mutt Carey departed in 1948, Ory used Teddy Buckner, Marty Marsala, Alvin Alcorn (the perfect musician for his group), and Red Allen on trumpets and his Dixieland bands always boasted high musicianship (even with the leader's purposely primitive style) and a consistent level of excitement. They recorded regularly (most notably for Good Time Jazz) up to 1960 by which time Ory (already 73) was cutting back on his activities. He retired altogether in 1966, moving to Hawaii.

Review by arwulf arwulf, All Music Guide
Kid Ory was one of the first jazz trombonists, and the very first New Orleans musician of color to commit his sounds to phonograph records. The Classics chronology of complete recordings made under the leadership of Kid Ory begins with two smart instrumentals, recorded in Los Angeles in June of 1922. Originally issued on the Nordskog label as by Spikes' Seven Pods of Pepper Orchestra, these sides also appeared on Sunshine Records under the heading of Ory's Sunshine Orchestra.
After the showy ragtime novelty "Ory's Creole Trombone," destined to be revived a few years later with Louis Armstrong & His Hot Five, "Society Blues" comes across with soulful sophistication. Mutt Carey's cornet interacts pleasantly with Ory's slip horn and the clarinet of Dink Johnson, brother of primal Crescent City bassist Bill Johnson. This is a rare opportunity to hear Dink blowing a wind instrument. After disappearing for a long spell, Dink would show up years later on record as a growling, beer-swilling ragtime and barrelhouse piano player. Four additional sides were waxed on or around that same day in 1922, using Ory's ensemble to back up two blues vocalists. Roberta Dudley sang with a lot of exaggerated, stylized vibrato, belting out the lyrics in an over-the-top manner. The second vocalist, identified as Ruth Lee, also warbles but sounds just a bit more natural than Dudley. The transfers of these old platters are as good as on any other reissue. In fact, judging from variances in surface noise, the same masters may have been used for Classics 1069 as were employed on Document 1002. The great thing about this CD is the consistent presence of Mutt Carey and bassist Ed Garland throughout, even as Ory's chronology leaps ahead 22 years to his West Coast comeback. Four titles, apparently the first ever issued on the Circle record label, find Ory, Mutt and clarinetist Omer Simeon supported by a strong rhythm section.
Plowing through 1945, Ory led his band in the creation of a virtual blueprint for the New Orleans Revival by waxing a body of outstanding records in the style of his hometown. These wonderful performances became available to the public on the Crescent, Exner and Decca labels, and much of the material would be carefully revisited on Ory's finely crafted albums brought out during the 1950s by the Good Time Jazz record company. Kid Ory's music is substantial, entertaining and very reassuring.

Charles Kynard (Legends of Acid Jazz, 1999)

Released in 1999 for Fantasy's popular Legends of Acid Jazz series, this reissue unites two of Charles Kynard's LPs of 1970, Afro-Disiac and Wa-Tu-Wa-Zui, on a single 76-minute CD. Both albums had been out of print for a long time, and copies of the organist's Prestige recordings had grown increasingly hard to find over the years. While the trumpet-less Afro-Disiac unites Kynard with tenor saxman Houston Person, guitarist Grant Green, electric bassist Jimmy Lewis and drummer Bernard "Pretty" Purdie, Wa-Tu-Wa-Zui employs Lewis, trumpeter Virgil Jones, guitarist Melvin Sparks and drummer Idris Muhammad. The albums are quite similar, though, and the emphasis is on accessible, groove-oriented soul-jazz, funk-jazz and boogaloos. Infectious numbers like "Bella Donna," "Trippin" and "Zebra Walk" won't appeal to jazz purists, but if you like your jazz drenched in R&B and funk, this CD is consistently enjoyable. Kynard, like Charles Earland and other B-3 kings of that era, made jazz that was relevant to R&B fans—if you were a Baby Boomer who was digging James Brown, Marvin Gaye and the Temptations but hadn't yet developed a taste for the hardcore jazz of Phil Woods or Charles Mingus , Kynard was the type of artist who could be your introduction to improvisatory music. "Improvisation" is a key word here—while a lot of the quiet storm, crossover and NAC music that came out in the 1980s and 1990s avoided improvisation, stretching and blowing is the rule on this CD. In a nutshell, this is commercial jazz with a brain as well as a backbeat. — Alex Henderson

01 - Afro-disiac (Fritz)
02 - Belladonna (Fritz)
03 - Trippin' (Kynard, Lewis)
04 - Odds on (Fritz)
05 - Sweetheart (Scott)
06 - Chanson de nuit (Fritz)
07 - Wa-tu-wa-zui (Beautiful people) (Fritz)
08 - Winter's child (Fritz)
09 - Zebra walk (Kynard)
10 - Something (Harrison)
11 - Change up (Kynard)

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Charles Kynand
Born: Feb 20, 1933 in St. Louis, MO
Died: Jul 8, 1979 in Los Angeles, CA

Biography by Michael G. Nastos & Michael Erlewine, All Music Guide
Organ, electric bass. Charles Kynard is an organist whose jazz-funk leanings rival his predecessors and peers, though not eclipsing them. Solid, though never flashy. He also plays electric bass. Kynard's album Reelin' With the Feelin' has been sampled and appears on several acid jazz releases. [Two "biographers" to write only this?]

Obscure but excellent
Charles Kynard is a rather obscure organist from late sixties. He is not nearly as well known as label mates Jack McDuff, Groove Holmes or Charles Earland. This cd combines 2 lps "Afro-Disiac" and "Wa-Tu-Wa-Zui". The former features jazz guitar ace Grant Green and Houston Person on sax. The latter features Melvin Sparks on guitar and the underrated Rusty Bryant on sax. Both are prime examples of soul jazz. Cuts that stand out include "Zebra Walk" and "Wa-Tu-Wa-Zui." An excellent purchase, now if they would only reissue "The Soul Brotherhood" on cd. — By J. E FELL "boogaloojef" (Carterville, Illinois United States), February 3, 2001

Solid Soul-Jazz Combo
Charles Kynard was one of the funky B3 organists who flourished in the '60's & '70's. His playing has a similarity in feel to Jimmy Smith's, with a feel both soulful & bluesy. One distinction you can note is the unusually prominent electric bass work from Jimmy Lewis, whose contributions & placement in the mix almost equal those of Kynard at times.Like other entries in the Legends of Acid Jazz series, this is a "two-fer" combining the albums "Afro-Disiac" & "Wa-Tu-Wa-Zui." Both boast top-notch combos with different players but a similar feel. "Afro-Disiac" includes Grant Green (guitar), Houston Person (sax), & Bernard Purdie (drums), while "Wa-Tu-Wa-Zui" has Rusty Bryant (sax), Melvin Sparks (guitar) & Idris Muhammad (drums). Most of the players have their own entries in the Legends of Acid Jazz series.This is a good, solid CD, although the 2 ballads do little for me the cover of George Harrison's "Something" is overly long & underly interesting. At his best, Kynard simmers but doesn't burn the way the stand-out cuts from Jimmy Smith or Lonnie (don't call me Liston) Smith do. You'll groove, but it won't make you holler. Definitely recommended. — By Michael Strom (Chicago, IL USA), April 23, 2000

Ouch! Ouch! Ouch!
YES ! ! ! Finally finally finally theyre bringing band MY MAN ! Charles Kynard was the funkiest man ever to sit behind the wheels of a Hammond B3 ever... Hes not kicking bass on many of these tracks, but hes still kickin out some pretty BAAAAAAAAD stuff. What this is (basically) is a funky B-3 players take on the early 70s Black Pop sound... (Need I say more ?) His playing is hot and sticky... its not for straight ahead Jazzers... its for those with a taste for PURE ORGANIC FUNK. - - Sadly, Charles Kynard is no longer with us, but his ultra energetc grooves are here to stay. Its the classic early 70s Jazz/Soul/Funk crossover sound. Charles Earland, Billy Preston, MMW, JBs, Meters and Funk Inc. fans will appreciate this. On the other hand, if Winton Marsalis and Nadjee are your cup of tea... look (I mean hide) elsewhere... — By Eddie Landsberg (Tokyo, Japan), December 18, 1999

Jazz Femmes - E1 (by Xor)

Thanks, Xor!

El conocer es parte de la vida humana. Mediante el conocimiento tenemos una gran capacidad que no poseen las otras criaturas del planeta: podemos relacionar usos, costumbres, hechos, pensamientos, actores, etc y configurar el medio ambiente de una época por la que ha transcurrido una vida.

En el caso de la presente selección (como, casi seguramente, pasará en otras) debo confesar, citando palabras del gran maestro Jorge Luis Borges 'Disculpe mi ignorancia', ya que, de las 15 mujeres que integran la lista, ignoro completamente los datos de dos y fallo bastante en otro par.

Pero mi pecado no quita que las grabaciones contenidas sean muy buenas.

Como puntos fuertes pueden encontrarse:

La calidez de las 4 primeras vocalistas -la grabación de Eleni es de 2002- y el cambio de ritmo de Atwood en la balada Angel eyes.

La dulzura total de Elias, tanto en voz como en piano. Eline -registro de 2007- nos trae uno de los temas más interpretados del jazz tradicional, también con ritmos cambiados.

Para Elis, al igual que Ella, no pueden invertarse adjetivos que no se hayan dicho, sólo hay que escucharlas.

La francesa Elisabeth trae una versión muy moderna de Don't, mientras que la inglesa Brooks vuelca el clásico de Brooks en tempo lento.

Hay una belleza total en los 6 minutos del tema de la holandesa, mientras que Kaye deriva de la balada hacia el soul-blues, con excelente acompañamiento.

El swing del piano y la voz -scat incluido- de Elsie es excepcional.

Sigue Emi interpretando el tema hecho famoso por Louis Armstrong.

El cierre le corresponde a la canadiense Emilie-Claire exponiendo el tema de Herbie Mann.

Eartha Kitt (USA, 1927-2008) - Smoke gets in your eyes
Eden Atwood (USA, n 1969) - Angel eyes
Elaine Miles (n 1960) - La vie en rose
Eleni (???) - Smile
Eliane Elias (Brasil, n 1960) - I fall in love too easily
Eline (???) - Saints
Elis Regina (Brasil, 1945-82) - 20 anos blue
Elisabeth Kontomanou (Francia) - Don't explain
Elkie Brooks (Inglaterra, n 1945) - Some of these days
Ella Fitzgerald (USA, 1918-96) - Mack the Knife
Ellen Honert (Holanda) - Spring
Ellen Kaye (USA?) - Guilty
Elsie Bianchi (Italia?) - Teach me tonight
Emi Fujita (Japon?) - What a wonderful world
Emilie Claire Barlow (Canada, n 1976) - Comin' home baby

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Luis Russell - 1926-29 (The Chronological Classics, 588)

By request, another Luis Russell.

01 - 29th and Dearborn (Jones)
02 - Sweet Mumtaz (Russell)
03 - Panama Limited
04 - Tia Juana Blues
05 - Plantation Joys (Russell)
06 - Please Don't Turn Me Down (Barbarin)
07 - Sweet Mumtaz (Russell)
08 - Dolly Mine (Barbarin, Russell)
09 - Savoy Shout (Metcalf, Russell, Victor)
10 - The Call of the Freaks (Barbarin, Russell)
11 - It's Tight Like That (Dorsey, Whittaker)
12 - African Jungle (Williams)
13 - Slow as Molasses (Williams)
14 - The New Call of the Freaks (Barbarin)
15 - Feeling the Spirit (Russell)
16 - Jersey Lightning (Russell)
17 - Broadway Rhythm (Jaffe)
18 - Way He Loves Is Just Too Bad (Curtis, Robbins, Rose)
19 - Blood Hound Blues (Spivey)
20 - Dirty T.B. Blues (Spivey)
21 - Moanin' the Blues (Spivey)
22 - Telephoning the Blues (Spivey)
23 - Doctor Blues (Barbarin, Russell)

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Review by Stephen Cook, All Music Guide
This Classics Russell collection and the label's later 1929-1934 disc round up the entire output by the Panamanian bandleader. And while some know them better for the fact they eventually morphed into Louis Armstrong's first big band in the early '30s, Russell's outfit originally cut some of the best sides to surface during the music's transition from early jazz to big band music. The cream of the tracks were recorded between 1929-1930, when the group included such top soloists as trumpeter Henry Allen, trombonist J.C. Higginbotham, saxophonists Charlie Holmes and Albert Nicholas, bassist Pops Foster, and drummer Paul Barbarin. The majority of the collection spotlights this period, with such standouts as "Jersey Lightning," "The New Call of the Freaks," and "African Jungle." Starting things off, though, are eight numbers from Russell's first sessions as a leader (this was while he was still with King Oliver). Featuring Victoria Spivey on vocals and two Jell Roll Morton alums in Kid Ory and George Mitchell, the Chicago-cut sides, while not on par with the later large-band tracks, still impress with their mix of New Orleans and Chicago styles. A quality disc that's best left to completists; newcomers should first consider JSP's superior-sounding Savoy Shout collection as a starting point.

Reuben Wilson - Blue mode (1969, 1997)

One of the most important funky-jazz albums.

1 - Bambu (Sparks)
2 - Knock on wood (Cropper, Floyd)
3 - Bus ride (Wilson)
4 - Orange peel (Wilson)
5 - Twenty-five miles (Bristol, Fuqua, Starr)
6 - Blue mode (Wilson)

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Reuben Wilson
Born: Apr 9, 1935 in Mounds, OK

Biography by Stephen Thomas Erlewine, All Music Guide
Reuben Wilson was one of many soul-jazz organists to emerge in the late '60s, but he was one of only a handful of new organists from that era to be signed to Blue Note. By that point in the label's history, most of their artists were concentrating on accessible soul-jazz, and while he occasionally strayed outside of the conventions of the genre, Wilson more or less followed their rule. Between 1968 and 1971, he recorded five sessions for the label. None of his records received much acknowledgment at the time, but they were later rediscovered by a new generation of soul-jazz fans, becoming collector's items within acid jazz and soul-jazz revivalist circles. Wilson began performing professionally in 1962. A native of Mounds, OK, he moved to Pasadena, CA, as a child, where he attended school with such future jazz musicians as Bobby Hutcherson and Herb Lewis. As a teenager, Wilson began to teach himself to play piano, but his attention was diverted by boxing. When he was 17, he moved to Los Angeles and married a nightclub singer, through whom he met a number of professional musicians. Associating with musicians conviced Wilson to return to music. Instead of pursuing the piano, he decided to take up the organ, and it wasn't long before he became a regular at the Caribbean club, where he played with drummer Eddie Williams, guitarist George Freeman, and, eventually, Clifford Scott. He played the L.A. circuit for several years before deciding to try his luck in Las Vegas. That venture proved unsuccessful, so he moved back to L.A., where he struck up a friendship with Richard "Groove" Holmes, an organist who would greatly influence his own style. In December 1966, Wilson relocated to New York, where he formed the soul-jazz trio the Wildare Express with drummer Tommy Derrick. The Wildare Express lasted about six months, playing venues throughout the East Coast and Detroit, and then Wilson decided to concentrate on more complex variations of hard bop and soul-jazz. Eventually, such respected musicians as Grant Green, Roy Haynes, and Sam Rivers began playing with Wilson. Around the same time, Blue Note offered the organist a contract based on a demo he had sent the label. On Broadway, Wilson's first album for Blue Note, was a quartet session featuring his old bandmate Derrick and was recorded in October of 1968. It was followed in March of 1969 by Love Bug, which featured contributions from trumpeter Lee Morgan and guitarist Grant Green. His third album, Blue Mode, was cut in December 1969 and offered some of his hottest playing. With his fourth album, 1970's A Groovy Situation, Wilson moved in a commercial direction, much like many of his Blue Note peers. In July of 1971, he recorded Set Us Free, his final album for the label. Wilson's contract with Blue Note expired after Set Us Free and he moved to Groove Merchant, where he released three albums -- Cisco Kid, Bad Stuff, and The Sweet Life -- during the mid-'70s. Throughout the decade, he also played on sessions by funk, soul, and jazz artists, including a record by the Fatback Band. During the late '70s, he recorded sporadically, eventually retiring from music in the early '80s. By the late '80s, Wilson's music had been rediscovered by a new generation, listeners who didn't dismiss his records as commercial fluff. Like several of his peers, his late-'60s and '70s records, through sampling, became cornerstones in the newly emerging acid jazz and jazz-rap genres. Soon, his out of print records became collector's items, and his sampled licks were appearing on dancefloors throughout England and parts of New York. Eventually, samples of his records were included on hit albums by A Tribe Called Quest, Us3, Brand New Heavies, and Nas. In light of all this new attention, Wilson decided to return to performing, and he toured with Guru's Jazzamatazz revue in 1995. He also began writing new material and performing in new groups, including combos he led himself. In 1996, he signed to Hip Bop and released two albums, Live at SOB's and Organ Donor. The following year, he recorded Organic Grooves with Dr. Lonnie Smith and Doug Carn.

Review by Stephen Thomas Erlewine, AMG
If Love Bug skirted the edges of free jazz and black power, Blue Mode embraces soul-jazz and Memphis funk in no uncertain terms. Opening with the cinematic, stuttering "Bambu" and running through a set of relaxed, funky grooves -- including covers of Eddie Floyd's "Knock on Wood" and Edwin Starr's "Twenty-Five Miles" -- Blue Mode isn't strictly a jazz album, but its gritty, jazzy vamps and urban soul-blues make it highly enjoyable. Reuben Wilson has a laid-back, friendly style and his supporting band -- tenor saxophonist John Manning, guitarist Melvin Sparks, and drummer Tommy Derrick -- demonstrate a similarly warm sense of tone. While none of them break through with any improvisations that would satiate hardcore jazz purists, they know how to work a groove, and that's what makes Blue Mode a winner.

My best Horace Silver - 3. 1963-69 (by Xor)

Thanks, Xor!

20 - Lonely woman
21 - Que pasa
22 - Sighin' and cryin'
23 - Song for my father
24 - The African queen
25 - The Cape Verdean blues
26 - Grease piece
27 - Serenade to a soul sister
28 - Psychedelic Sally
29 - The risin' sun
30 - You gotta take a little love

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Henry "Red" Allen - 1929-33 (The Chronological Classics, 540)

01 - It Should Be You (Allen)
02 - Biff'ly Blues (Allen)
03 - Feeling Drowsy (Allen)
04 - Swing Out (Allen, Higginbotham)
05 - Make a Country Bird Fly Wild (Allen, Barbarin)
06 - Funny Feathers (Spivey)
07 - How Do They Do It That Way? (Spivey)
08 - Pleasin' Paul (Allen, Barbarin)
09 - Sugar Hill Function (Holmes)
10 - You Might Get Better, But You'll Never Get Well (Metcalf, Russell)
11 - Everybody Shout (Barbarin, Russell)
12 - Dancing Dave (Allen, Barbarin)
13 - Roamin' (Smith)
14 - Singing Pretty Songs (Allen, Barbarin, Russell)
15 - Patrol Wagon Blues (Grainger)
16 - I Fell in Love With You (Allen)
17 - Someday, Sweetheart (Spikes, Spikes)
18 - I Wish I Could Shimmy Like My Sister Kate (Piron)
19 - The River's Takin' Care of Me (Adams, Greer)
20 - Ain'tcha Got Music? (Johnson, Razaf)
21 - Stringin' Along on a Shoe String (Adamson, Lane)
22 - Shadows on the Swanee (Burke, Spina, Young)
23 - Hush My Mouth (If I Ain't Goin' South) (Cleary, Hoffman, Sigler)

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Henry "Red" Allen
Born: Jan 7, 1908 in New Orleans, LA
Died: Apr 17, 1967 in New York, NY

Biography by Scott Yanow, All Music Guide
One of the last great New Orleans trumpeters to emerge during the post-Louis Armstrong era, Henry "Red" Allen has long been overshadowed by Satch and his successors but actually had a fresh new approach of his own to offer. Allen sounded modern no matter what the setting and the rhythmic freedom he achieved made his solos consistently unpredictable and exciting. The son of Henry Allen, Sr. (a famous New Orleans brass band leader), he learned trumpet early on and played in his father's parade band along with other local groups. After working on the riverboats with Fate Marable and Fats Pichon the following year, Allen joined King Oliver in Chicago. He recorded in New York with Oliver and Clarence Williams, and then Red Allen joined Luis Russell's superb orchestra and began his own solo recording career. Signed by Victor as an alternative to Okeh's Louis Armstrong, Allen's solos were original and brilliant from the start (particularly "It Should Be You"); throughout the 1930s his trumpet and gruff vocals would be heard on dozens of recordings and, even when the material was indifferent, Allen was usually able to uplift the music. After notable stints with Luis Russell (1929-1932), Fletcher Henderson (1933-1934), and the Mills Blue Rhythm Band (1934-1937), Allen became part of Louis Armstrong's backup band for three years, secure but somewhat anonymous work. However, starting in 1940, Red Allen led a series of impressive combos that were Dixieland-based but also open to certain aspects of rhythm & blues. Trombonist J.C. Higginbotham (a lifelong friend) and altoist Dan Stovall were on many of his recordings. From 1954-1965, Allen's frequently riotous group played regularly at New York's Metropole (Coleman Hawkins was occasionally among his sidemen), he visited Europe several times (including in 1959 with Kid Ory's band), and Allen was one of the most memorable participants in the December 1957 CBS TV special The Sound of Jazz. Red Allen remained very active up until his death, and in the 1960s was proclaimed by Don Ellis as "the most creative and avant-garde trumpeter in New York." The European Classics label documents his recordings of the 1930s, and many (but not all) of his later performances are also available on CD.

Review by Scott Yanow, AMG
The first of a five-volume CD series released by the European Classics label that reissues all of the recordings led by trumpeter Red Allen during 1929-41 is one of the best. The great trumpeter is first heard fronting the Luis Russell Orchestra for such classics as "It Should Be You" and "Biff'ly Blues," he interacts with blues singer Victoria Spivey, and on the selections from 1933 (two of which were previously unreleased) he co-leads a group with tenor-saxophonist Coleman Hawkins. Not all of the performances are gems but there are many memorable selections including "How Do They Do It That Way," "Pleasin' Paul," "Sugar Hill Function,," and "Patrol Wagon Blues." Other soloists include trombonists J.C. Higginbottham and Dicky Wells, clarinetist Albert Nicholas and altoist Charlie Holmes.

Lyle Mays, Marc Johnson, Jack DeJohnette - Fictionary

01 - Bill Evans (Mays)
02 - Fictionary (Mays)
03 - Sienna (Mays)
04 - Lincoln reviews his notes (Mays)
05 - Hard eights (Mays)
06 - Something left unsaid (Mays)
07 - Trio #2 (DeJohnette, Johnson, Mays)
08 - Where are you from today (Mays)
09 - Falling grace (Swallow)
10 - Trio, no. 2 (DeJohnette, Johnson, Mays)
11 - On the other hand (Mays)

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Review by Scott Yanow, All Music Guide
Lyle Mays, who came to fame for his electric collaborations with Pat Metheny, surprised many with this superior outing in an acoustic trio setting. On the liner jacket Mays thanks Herbie Hancock, Keith Jarrett, and Paul Bley for their inspiration. If one adds in Chick Corea and especially Bill Evans, that should give listeners an idea of what to expect. However, to his credit (and with the assistance of bassist Marc Johnson and drummer Jack Dejohnette) Mays avoids performing overly played standards and sticks mostly to originals (including two free improvisations). There is no coasting on this excellent set.

My best Horace Silver - 2. 1959-62 (by Xor)

Thank you very much, Xor.

11 - Cookin' at the Continental
12 - Swingin' the Samba
13 - Come on home
14 - Juicy Lucy
15 - Sister Sadie
16 - Peace
17 - Melancholy mood
18 - The Tokyo blues

19 - Ah! so

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Joe Marsala - 1944-45 (The Chronological Classics, 902)

01 - Clarinet Marmalade (Ragas, Sheilds)
02 - Joe's Blues (Marsala)
03 - Village Blues (Siddall)
04 - Tiger Rag (DaCosta, Edwards, LaRocca, Ragas, Sbarbaro, Shields)
05 - Romance (Donaldson)
06 - Zero Hour (Wayne)
07 - Joe-Joe Jump (Marsala)
08 - Unlucky Woman (Feather)
09 - Blues in the Storm (Feather)
10 - Don't Let It End (Marsala)
11 - Perdido (Drake, Lengsfelder, Tizol)
12 - My Melancholy Baby (Burnett, Norton)
13 - On the Alamo (Jones, Kahn)
14 - Cherokee (Noble)
15 - Southern Comfort (Doraine, Marsala, Wayne)
16 - Lover (Hart, Rodgers)
17 - Don't Let It End (Marsala)
18 - Gotta Be This or That (Skylar)
19 - East of the Sun (Bowman)
20 - Slightly Dizzy (Wayne)
21 - (I Would Do) Anything for You (Hill, Hopkins, Williams)

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Joe Marsala
Born: Jan 4, 1907 in Chicago, IL
Died: Mar 3, 1978 in Santa Barbara, CA

Biography by Scott Yanow, All Music Guide
An excellent swing clarinetist who could fit into Dixieland settings yet welcomed Dizzy Gillespie to a memorable session in 1945, Joe Marsala was the older brother of trumpeter Marty Marsala (1909-1975) and the husband of the great jazz harpist Adele Girard (1913-1993). He freelanced around Chicago starting in the late '20s, including with Wingy Manone and Ben Pollack. He recorded with Manone in the mid-'30s, playing with Wingy on 52nd Street during 1935-1936. Marsala soon became a leader himself and during the next ten years (much of which was spent playing at the Hickory House), he featured such side players as Adele Girard, Buddy Rich (his first important job), Red Allen, Eddie Condon, Joe Bushkin, Dave Tough, Shelly Manne, Max Kaminsky, and his brother, Marty, among others. He retired from full-time playing in 1948, working instead in music publishing. However, Joe Marsala continued playing on an occasional basis into the 1960s. His studio recordings from 1936-1942 are all collected on a Classics CD. Other sessions have been released on IAJRC, Aircheck, Jazzology, Savoy, Black & White, Musicraft, and a 1957 album for Stereo-Craft.

Review by arwulf arwulf, All Music Guide
This is the story of a man who got his start with traditionally oriented musicians like Wingy Manone and Eddie Condon, then gradually evolved into a "modern" sounding artist who never completely turned his back on the old-fashioned music that had spawned him. Beginning with a typical Chicago jam formula blowing session, Joe's All-Timers -- essentially the Condon band with Joe as leader -- present the slow blues/fast blues pairing, sandwiched between two standard New Orleans stomps. A striking contrast occurs when we encounter the session of November 29, 1944 as Joe's wife Adele Girard opens several of the tunes with arpeggios from her harp. Sounding a bit like her contemporary Robert Maxwell, she swings a bit but also sends flurries of almost Harpo Marx-like effervescence into the air. This combines strangely with Chuck Wayne's amplified guitar and the mingling of trumpet and clarinet. The melodies themselves demonstrate a very modernized swing, with an unmistakable bop edge, right on the money for the mid-1940s, if not somewhat ahead of their time. The tempi are very quick, hasty enough to have given Eddie Condon a headache if he'd even listen to such stuff. During the dynamic "Joe-Joe Jump" Adele plays virtuosic swing harp, showing off her amazing technique. This must have been a very exciting act in person. On the second half of the date Adele takes a break while Linda Keene sings two interpersonal relationship blues, very slow and sultry, obviously inspired by Billie Holiday. Joe was an exceptionally sensitive bluesman, working in wonderfully understated ways with trumpeter Joe Thomas. Sitting in at the piano behind the singer was Leonard Feather, who also wrote the material for her. Leonard composed topical blues for a lot of musicians, most notably Hot Lips Page. "Don't Let It End" is Joe's own piece of blues, deep and clear, powerfully effective as an instrumental. The Joe Marsala Sextet had Dizzy Gillespie sitting in on January 12,1945. It's interesting to compare these sides with the other recordings Gillespie participated in during that same month (see Classics 888). "Perdido" is a creative delight and "Melancholy Baby" becomes a feisty swing-to-bop outing. Chuck Wayne is very plugged in and Diz enjoys himself, working up wild solos over these familiar melodies, signing his name all over "On the Alamo." Joe of course takes this in stride, sounding as comfortable as ever with the music evolving so rapidly all around him. "Cherokee" inevitably exudes bop juice, running rapid and sailing through frantic changes as Diz rips it up. On May 4, 1945 Adele Girard got feature billing with her husband's septet, integrating her swing harp into the ensemble as if it were the most natural thing in the world to do. "Southern Comfort" is a suave line, as cool as cukes. There's a spry run through Rodgers & Hart's "Lover," a welcome reinterpretation of "Don't Let It End" (sounding really nice with the addition of the harp), and a sassy version of "Gotta Be This or That," with vocal by Marsala himself. "East of the Sun" is all lavender and lace and "Slightly Dizzy" pours on the bop, showcasing the inventive piano of young Gene DiNovi. "I Would Do Anything for You" comes out elegant, sophisticated and calm. A marvelous finale for this fascinating portrait of a remarkable clarinetist and the unique bands that he led at the stylistic crossroads of 1944 and 1945.