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877
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dbpedia
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https://www.qobuz.com/us-en/interpreter/chico-hamilton/28103
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en
|
Chico Hamilton Discography
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Listen to Chico Hamilton in unlimited streaming on Qobuz and buy the albums in Hi-Res 24-Bit for an unequalled sound quality. Subscription from $10.83/month
|
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|
/assets-static/img/icons/favicon/apple-icon-180x180.png
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Qobuz
|
https://www.qobuz.com/us-en/interpreter/chico-hamilton/28103
|
Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953). In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of Buddy Collette, guitarist Jim Hall, bassist Carson Smith, and cellist Fred Katz. One of the last important West Coast jazz bands, the Chico Hamilton Quintet was immediately popular and appeared in a memorable sequence in 1958's Jazz on a Summer's Day and the Hollywood film The Sweet Smell of Success. The personnel changed over the next few years (with Paul Horn and Eric Dolphy heard on reeds, cellist Nate Gershman, guitarists John Pisano and Dennis Budimir, and several bassists passing through the group) but it retained its unusual sound. By 1961, Charles Lloyd was on tenor and flute, Gabor Szabo was the new guitarist, and soon the cello was dropped in favor of trombone (Garnett Brown and later George Bohanon), giving the group an advanced hard bop style. In 1966, Chico Hamilton started composing for commercials and the studios and he broke up his quintet. However, he continued leading various groups, playing music that ranged from the avant-garde to erratic fusion and advanced hard bop. Such up-and-coming musicians as Larry Coryell (1966), Steve Potts (1967), Arthur Blythe, Steve Turre (on bass, surprisingly), and Eric Person (who played in Hamilton's '90s group Euphoria) were among the younger players he helped discover. In 1989, Chico Hamilton had a recorded reunion with the original members of his 1955 quintet (with Pisano in Hall's place), and in the 1990s he made a number of records for Soul Note. He continued playing gigs and recording throughout the 2000s, releasing four albums in 2006 for the label Joyous Shout! in celebration of his 85th birthday. Chico Hamilton died in Manhattan on November 25, 2013; he was 92 years old. His last album, The Inquiring Mind, recorded shortly before his passing, was released in early 2014.
© Scott Yanow /TiVo
|
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877
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dbpedia
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https://open.spotify.com/artist/31NF3yc9DoAdh2bgR6mY04
|
en
|
Chico Hamilton
|
https://i.scdn.co/image/046400f18d7fd4174244031e0459f483a394f65a
|
https://i.scdn.co/image/046400f18d7fd4174244031e0459f483a394f65a
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Listen to Chico Hamilton on Spotify. Artist · 76.7K monthly listeners.
|
en
|
Spotify
|
https://open.spotify.com/artist/31NF3yc9DoAdh2bgR6mY04
| ||||
877
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dbpedia
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3
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https://www.allmusic.com/album/trio%2521-live-artpark-mw0000798209
|
en
|
Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
|
en
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AllMusic
|
https://www.allmusic.com/updated
| ||||||
877
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dbpedia
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2
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|
https://www.allaboutjazz.com/chico-hamilton-the-master-chico-hamilton-by-maxwell-chandler
|
en
|
Chico Hamilton: The Master article @ All About Jazz
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[
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[
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2021-09-20T00:00:00
|
Chico Hamilton: The Master article by Maxwell Chandler, published on September 20, 2021 at All About Jazz. Find more Interview articles
|
en
|
https://www.allaboutjazz.com/icon/favicon.ico
|
All About Jazz
|
https://www.allaboutjazz.com/chico-hamilton-the-master-chico-hamilton-by-maxwell-chandler/
|
Privacy Policy | We do not sell or share your personal information
© 2024 All About Jazz & Jazz Near You. All rights reserved.
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877
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https://theyetee.com/collections/superjumbo-vinyl
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en
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SUPERJUMBO Records
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You ever seen a bird talk?
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|
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877
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dbpedia
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2
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https://jazzprofiles.blogspot.com/2015/07/chico-hamilton-quintet-with-strings.html
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en
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JazzProfiles: Chico Hamilton Quintet With Strings Attached [From the Archives]
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] |
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"Steven Cerra"
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Chico Hamilton
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https://jazzprofiles.blogspot.com/favicon.ico
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https://jazzprofiles.blogspot.com/2015/07/chico-hamilton-quintet-with-strings.html
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Focused Profiles on Jazz and its Creators while also Featuring the Work of Guest Writers and Critics on the Subject of Jazz.
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https://thejazztome.info/chico-hamilton-chico-hamilton-quintet/
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Chico Hamilton – Chico Hamilton Quintet (1957) – The Jazz Tome
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2023-09-20T20:08:39-08:00
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https://thejazztome.info/chico-hamilton-chico-hamilton-quintet/
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Billboard : 04/13/1957
Spotlight on… selection
Unique jazz “chamber group” should follow its regular pattern of making the charts despite two key personnel changes since the last release. Even the loss of guitarist Jim Hall isn’t felt too much in view of the established conception and eminently listenable arrangements. Sax-clarinet-flute man Buddy Collette has replaced by the equally amazing, and sometimes superior, Paul Horn. Appeal here goes well beyond jazz boundaries. Try Chanel No. 5 or September Song. Cover is just as tasteful and original as the music.
—–
San Francisco Examiner
C.H. Garrigues : 05/26/1957
Note how differently Hamitlon structures time, chiefly in terms of the statement and response form so reminiscent of Beethoven. Is it that factor, rather than the softer, more melodic approach, which so often makes us feel that the album doesn’t swing, despite Hamilton’s drumming?
—–
Saturday Review
Wilder Hobson : 04/27/1957
Another delight from the West Coast is the Chico Hamilton Quintet, with the sensitive Chico Hamilton drumming, and Paul Horn, saxes, clarinet and flute; John Pisano, guitar; Fred Katz, cello (a welcome refugee National Symphony Orchestra of Washington, DC); and Carson Smith, bass. Here there is some lovely, fragrant business, and I call special attention to Jim Hall‘s tropical Siete-Cuatro. I think the full thirteen numbers constitute Hamilton’s finest to date, and he has previously set his own high marks to shoot at.
—–
Down Beat : 05/30/1957
Ralph J. Gleason : 3 stars
The whole point at issue with the Chico Hamilton quintet is whether such a group, without the contrasting qualities of the piano, can produce enough difference in musical coloration to avoid monotony in tone and whether the cello, bowed, can swing.
When the Hamilton group first appeared, there was a tremendous shock value in its unusual instrumentation and ideas. At that time the combination of Hamilton and Smith and Buddy Collette also produced some excellently swinging solos with a close tie to the fundamentals of jazz. Now, however, the group is out with its third LP, and by now the quality of shock has diminished (much as has happened with the George Shearing quintet) and the limitations of the group are more obvious than its virtues.
The greatest virtue this group possesses is an extraordinarily high standard of musicianship which results in everything being well played at all times.
The current personnel (Pisano for Jim Hall on guitar and Horn for Collette) maintains the high standard of the previous one. However, by its very nature monotony is unavoidable, if not in emotional content, then in color and variety of sound.
There continues to be a restraint to this group which seems to be contingent on the activities of the cello. This circumstance makes it less and less easy to stay with the group at length.
By now it almost appears that the question of the bowed cello swinging has been answered in the negative. Smith is a continually fine bass player; the new guitarist retains the warm lyrical sound of his predecessor; Horn is impressively adept at flute, tenor, alto, and clarinet. Hamilton’s drum solos seem to have increased their element of bombast, however.
The most successful tunes on this LP are Satin Doll, which swings in a fine chank-chank fashion, Caravan, which has an electrifying opening where you can almost see the camela and the drives and the swaying stacks of Eastern merchandise.
Katz has written two romantic and somewhat overripe numbers, Lillian and Reflections, which are very well played and pleasantly bland to hear. The group’s theme, I Know, is used as an opening and closer.
The entire album is recorded extraordinarily well, and there are excellent, literate notes by George Laine whose capabilities I admire even when I disagree with his opinions.
—–
Liner Notes by Georgie Laine
“I hope,” the announcer for the television station said nervously, fidgeting with his hand mike, “that I’m not saying the wrong thing, but I couldn’t help thinking that your music sounds almost classical at times. It’s so soft.”
The face of the drummer standing beside him grew pensive, the brow furrowed and when he spoke, he spoke seriously – almost gravely – with apparent conviction.
“Jazz,” Chico Hamilton told the announcer and the thousands who were viewing the program on a Los Angeles video channel, “doesn’t have to be loud.”
“It can swing. And be soft, too.”
Later, after the red light on the side of the bulky RCA Image Orthicon had blinked out, Chico began to take his drums apart.
“I used to think people were putting me on when they asked me if I was trying to play classical,” he said over his shoulder. (“Putting me on” would mean that Chico thought the questioners were endeavoring to make him appear foolish.)
“But everybody asks it. Back east, every time we went for an interview or to be on a deejay show, that question was certain to be asked.”
“In the clubs, the people asked it, too.”
“Some people didn’t even bother to ask it,” Chico put his 160 pounds into leverage on the pedal of his bass drum and it came off in his hand. “Back east people were requesting classical things from us. They assumed we did them.”
Freddy Katz, who served a long-standing alliance with the cello section of the National Symphony in Washington, DC in order to become a member of the Chico Hamilton Quintet back in mid-1955, zipped up the bag on his instrument, slide the cello bow into its special compartment and joined the discussion.
“In Boston,” he recalled, “we had a request for Debussy‘s Afternoon of a Faun.”
“Yeh,” Chico nodded, the brown eyes lighting up with humor, “and how about the guy in New York who kept after you for a Haydn quartet?”
Katz pulled his rimmed spectacles off, wiped them with a piece of facial tissue, and replaced them.
“Y’know, Chico,” he said, “maybe we could adapt some of those things. Bach swings. And so does…”
Chico interrupted.
“Put a couple together,” he said. “If they swing, we’ll do ’em.”
Katz smiled happily, picked up the cello and headed for the studio parking lot.
The heat from the powerful studio lights highlighted beads of perspiration on Hamilton’s brow, created the illusion of reddish-brown in the normally black mass of hair. He packed the half-dozen cymbals, the wood blocks, the bells, the multitude of other strange items that he utilizes to achieve the broadest range of sound in drums today.
Carson Smith, burdened by his bass, went out the door of the studio. Chico jerked his head in the direction of the departing bassist.
“You been listening to that guy?” Chico asked. Then he answered his own question. “Some guy in New York said we didn’t swing, that we didn’t play jazz.”
“With Carson playing, it’s impossible not to swing.”
“He’s never played like he’s playing now. Not with Mulligan, not with Baker, not ever. He’s the end.”
The tributes were only beginning.
Paul Horn, who replaced Buddy Collettte as the quintet’s sax, clarinet and flute lead, headed out the door, his arms full of the proof of his versatility. On his heels was John Pisano, who filled the guitar chair vacated when Jimmy Hall became one-third of the Jimmy Giuffre Trio.
“People started sympathizing with me when Buddy left,” Chico fingered the mustache, a thing he does only when deep in concentration. “When Jimmy left, I thought the people would break into tears.”
“Don’t get me wrong,” he said seriously. “I dig both Buddy and Jimmy very much.”
“But you heard it,” he waved in the direction of the now-empty bandstand where moments earlier the Chico Hamilton Quintet had been producing its distinctive form of jazz.
“I don’t think we need sympathy,” he said. “We don’t want it. This group has never sounded better since its formation.”
There is a 12-inch long playing album enclosed in this jacket that will attest to Hamilton’s own estimation of his quintet. The LP, to my mind, is the best of all the efforts Chico and Co. have put together for Pacific Jazz. There was the initial quintet album, The Chico Hamilton Quintet (PJ-1209) which I daringly called “unusual and pleasing.” That was on October 30, 1955. By May 11, 1956, I wasn’t so hedgy. I called The Chico Hamilton Quintet in Hi-Fi (PJ-1216) “a gas” and then went way out on a limb to laud Katz’ cello on When Your Lover Has Gone and Chico’s solo on Drums West.
In addition to those two albums, you have also had the opportunity to listen to Chico and other members of the quintet in additional Pacific Jazz releases. There is the Chico Hamilton Trio (PJ-1220) which is a remastered 10-inch LP that now gives you two guitarists for the price of one – Jimmy Hall and Howard Roberts sharing the load in that respect while George Duvivier and Chico round out the two trios. There is Two Degrees East, Three Degrees West – with John Lewis and Percy Heath representing the easterners and Bill Perkins and Jim Hall raising their instrumental voices along with Chico on behalf of the Pacific slope. There is, finally, a liberal sprinkling of Chico in each of the anthology albums that Pacific has put together: Jazz West Coast, Vol. 1 and 2, The Blues, and Ballads for Backgrounds.
Of the eleven compositions that make up PJ-1225, seven are original compositions by members – past and present – of the group.
The very catch melody which Chico utilizes as a theme, signature, and set breaker is titled I Know and was written by Jim Hall. My favorite tune in the entire LP, Siete-Cuatro, is also a Hall composition. Carson Smith contributed Chanel #5 and Beanstalk and Fred Katz came up with a sometimes poignant, sometimes swinging Lillian and Reflections. The other original is titled Mr. Jo Jones and is Chico’s work.
The four tunes that are not originals are tastefully selected “standards.” Actually, only Caravan is really a standard. The treatment accorded it by the quintet, however, is not standard. There is, additionally, a fine, flute-led version of Satin Doll, which Duke Ellington wrote and made successful in years gone by. The other two are September Song and Benny Goodman‘s own Soft Winds.
There are several things eminently worthy in this new effort by Chico & Co. Having cite Siete-Cuatro as the best of the bunch, an explanation seems somewhat in order. Taking a Latin flavor, guitarist Pisano establishes a mood, which Katz – surely the swingingest cellist in the world – and Chico embellish. Horn’s alto stays sub-dominant throughout but brings a full sound to Katz’ passages. When Smith teams his bass with Katz’ cello, both bowing, it is a fearsome effect.
Actually, there wasn’t anything in these sessions which Chico recorded at the Forum Theater that didn’t have an impact for this listener. Some of the high points were:
Horn’s consistency on flute and clarinet, his newly-exhibited abilities on the alto and the versatility of the man (demonstrated best with his piccolo playing on Mr. Jo Jones).
John Pisano’s light, breathy (sometimes he sounds almost like a wind instrument) quality on the guitar. His most exemplary showcase, however, is Siete Cuatro.
Carson’s tremendous moving work on Beanstalk. It’s a driving bass, a thing that Chico has been wont to use too infrequently.
The Katz touch in Lillian. Fred wrote it for his wife and therein lies the reason. Apparently Lil – who has fantastic taste – warned Fred that it had better be good. So Fred made it great.
Finally, Chico. What can you say? That his solos are subtle understatements that imply more than they say (and that he is the first drummer ever to find this method satisfactory)? That he is the heart and guts of this group, bringing across a personality that has brought a quiet attentiveness to jazz rooms across the nation that formerly buzzed with conversation, quivered with giggles, and shook from the table thumping and foot stomping?
You can say that. But you’ve got to say more.
For Chico is more than a musician. You’ll see him as a motion picture actor – in Hecht-Lancaster’s Sweet Smell of Success – and you’ll hear him as an adman – plugging products musically in televised commercials. Chico’s in demand.
P.S. By the way, Chico, could you try and work up a version of Beethoven‘s Fur Elise or Kreisler‘s Liebesleid. They’d both swing nicely. Softly, too.
—
West Coast Artist Series 6
Our cover painting by Keith Finch is the sixth in a series of art work done expressly for Pacific Jazz Records. Colorado born (1920) Keith Finch along with fellow artist Howard Warshaw conduct classes at their own school in West Los Angeles. Finch is represented by the Landau Gallery in Los Angeles.
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The Robert Gordon/Mosaic Records Notes
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[] |
[] |
[
""
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[
"Steven Cerra"
] | null |
Chico Hamilton
|
en
|
https://jazzprofiles.blogspot.com/favicon.ico
|
https://jazzprofiles.blogspot.com/2017/09/chico-hamilton-quintet-robert.html
|
Focused Profiles on Jazz and its Creators while also Featuring the Work of Guest Writers and Critics on the Subject of Jazz.
|
|||||
877
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dbpedia
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1
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https://www.last.fm/music/Chico%2BHamilton
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en
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Chico Hamilton music, videos, stats, and photos
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[] |
[] |
[
""
] | null |
[] |
2024-02-10T00:00:00
|
Listen to music from Chico Hamilton like Monday Monday, Gengis & more. Find the latest tracks, albums, and images from Chico Hamilton.
|
en
|
Last.fm
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https://www.last.fm/music/Chico%2BHamilton
|
112 103 117 114 123 81 71 78 82 100 119 102 122 133 111 143 143 116 129 103 99 102 100 131 140 82 85 78 81 74 87 86 104 121 95 103 94 110 104 106 106 97 80 107 103 102 97 87 91 95 84 97 114 112 126 125 110 121 129 140 158 150 133 131 129 149 127 152 149 125 130 131 128 122 136 142 135 116 131 122 121 123 113 119 152 148 142 145 138 125 91 89 119 139 129 125 123 114 98 99 111 106 131 121 141 149 156 143 175 166 155 159 134 126 158 143 148 160 146 150 134 156 169 166 165 153 130 138 160 155 172 180 203 172 158 209 233 124 116 112 85 84 108 105 114 91 120 131 131 119 119 97 102 119 105 92 115 146 117 100 107 94 98 108 124 108 86 95 88 94 72 93 119 121 118 127 125 122 117 104 85 112 103 117 114 123 81 71 78 82 100 119 102 122 133 111 143 143 116 129 103 99 102 100 131 140 82 85 78 81 74 87 86 104 121 95 103 94 110 104 106 106 97 80 107 103 102 97 87 91 95 84 97 114 112 126 125 110 121 129 140 158 150 133 131 129 149 127 152 149 125 130 131 128 122 136 142 135 116 131 122 121 123 113 119 152 148 142 145 138 125 91 89 119 139 129 125 123 114 98 99 111 106 131 121 141 149 156 143 175 166 155 159 134 126 158 143 148 160 146 150 169 166 165 153 130 138 160 155 172 180 203 172 158 209 233 124 116 112 85 84 91 120 131 131 119 119 97 102 119 105 92 115 146 117 100 107 94 98 108 124 108 86 95 88 94 72 93 119 121 118 127 125 122 117 104 85
|
|||||
877
|
dbpedia
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0
| 46
|
https://thebluemoment.com/tag/chico-hamilton/
|
en
|
thebluemoment.com
|
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[
""
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[] | null |
Posts about Chico Hamilton written by Richard Williams
|
en
|
https://s1.wp.com/i/favicon.ico
|
thebluemoment.com
|
https://thebluemoment.com/tag/chico-hamilton/
|
In Underground London
I’ve taken a lot of pleasure in recent days from listening to Underground London, a three-CD set that attempts to recreate, through a mosaic of recordings, the feeling of being a certain kind of person in London in the first half of the 1960s, someone either growing out of, or who had been a little too young for, the full beatnik experience in the 1950s, but looking for similar sensations in a changing time: free speech, free jazz, free verse, free love.
The first disc starts with Ornette Coleman’s “W.R.U.”, ends with Jimmy Smith’s “Autumn Leaves”, and includes Lawrence Ferlinghetti reading “Dog”, Allen Ginsberg reading “America”, a track from Red Bird, the jazz-and-poetry EP Christopher Logue made with Tony Kinsey, and György Ligeti’s “Atmosphères”. The second opens with Jimmy Giuffre’s “Jesus Maria”, ends with Albert Ayler’s “Moanin'”, and includes Ravi Shankar’s “Raga Jog”, Jack Kerouac reading from On the Road and Visions of Cody, and the Dudley Moore Trio playing the theme from Beyond the Fringe. The third opens with Cecil Taylor’s “Love for Sale”, ends with Thelonious Monk’s “There’s Danger in Your Eyes, Cherie” and includes Davy Graham and Alexis Korner playing “3/4 AD”, Aldous Huxley reading from The Visionary Experience, the MJQ playing “Lonely Woman”, Luciano Berio manipulating Cathy Berberian’s voice in “Visage”, and “A Rose for Booker” by the Chico Hamilton Quintet, with Charles Lloyd.
Add in Stockhausen, Don Cherry and John Coltrane, Annie Ross, John Cage and David Tudor, Sonny Rollins, Sun Ra, Eric Dolphy and Joe Harriott, and you get the idea. And to set up the mood for the sort of extended listening session the set deserves, I’d suggest candles in Chianti bottles, something vaguely cubist on the wall, the Tibetan Book of the Dead on the coffee table, and a black polo-neck sweater, or perhaps a chocolate-brown corduroy jacket. And if the party is going well, maybe a Beatle or two, in an adventurous mood, will drop by on the way home from Abbey Road.
But it’s not really a joke, or a caricature. There’s a lot of completely wonderful stuff here, some of it revealing new qualities when isolated from the context of its original full-album setting (an underrated virtue of anthologies or compilations). And practically everything is on the edge of something, some new discovery, some unexplored territory worth taking a risk to reach. How exciting was that?
* The photograph of Allen Ginsberg outside the Royal Albert Hall was taken in 1965 by John Hopkins and was used in the poster for the International Poetry Incarnation held on June 11 that year. It’s included in the booklet accompanying Underground London: Art Music and Free Jazz in the Swinging Sixties, which is on él records, via Cherry Red.
Zen archer
There’s a poignant moment during Arrows into Infinity, a new biographical film about Charles Lloyd, when the saxophonist recalls a conversation by the bedside of his old friend and colleague Billy Higgins in 2001. The great drummer, who is close to death, declares that they’ve got to keep working on the music. “He’s like 90lb,” Lloyd says. “I said, ‘Are you going to get off this bed and come back and play with me?’ He said, ‘I didn’t say I’d be there, but I’ll always be with you.'”
Lloyd is a spiritual man, which accounts for his absence from music for several years in the 1970s. In conventional career terms, his withdrawal made no sense. His late-’60s quartet, with Keith Jarrett on piano, had sold plenty of records and made connections beyond the usual jazz audience; they had played the Fillmore and toured behind the Iron Curtain. He had appeared as a guest on recordings by the Beach Boys (Holland, 15 Big Ones, MIU) and the post-Morrison Doors (Full Circle). Nevertheless he chose to drop out, in response to the music industry’s unwelcome expectations. “They wanted me to become a product,” he says in the film. “And to become a product, I would have to be predictable. I wasn’t looking for fame or fortune. I was looking for the zone, the holy grail of music. That was my salvation, because I had heard it and I knew what it was. That was my saviour. It was the light.”
He moved from Malibu to Big Sur, married an artist named Dorothy Darr, and established a different sort of life, his performing for a while largely restricted to playing the oboe at readings by his neighbours Lawrence Ferlinghetti and Gary Snyder. Not until 1980 did the French pianist Michel Petrucciani pay him a visit and entice him back to the public stage. Since then he has re-established himself as an important figure, recording a series of albums for the ECM label, where he was teamed first in a quartet with the pianist Bobo Stenson and then with other partners including Higgins, the guitarist John Abercrombie, the pianist Geri Allen, the tabla master Zakir Hussain and the singer Maria Farantouri.
His current quartet features Jason Moran (piano), Ruben Rogers (bass) and Eric Harland (drums), young men who clearly relish their interaction with a veteran whose sound and ideas become more exquisitely distilled with each passing year. It’s a fine band, a perfect setting for his breadth of vision. Here they are at a French jazz festival in 2011, giving Brian Wilson’s “Caroline, No” a rather different treatment.
Born in Memphis in 1938, Lloyd listened to Lester Young and Charlie Parker as a teenager and played R&B with Howlin’ Wolf and Junior Parker before leaving for Los Angeles. I first heard him as a key member of the Chico Hamilton Quintet of 1962-63, one of my favourite groups of the time. Lloyd wrote virtually all of the group’s material, which — like his own tenor-playing — took its inspiration from John Coltrane’s innovations and marked a fruitful change of direction for Hamilton, away from chamber jazz and towards something more robust. The distinctive flavour of the quintet’s sound came from the guitar of Gabor Szabo, who loved drones and could summon the effect of a sitar, a koto, an oud or a saz, blending particularly well with Lloyd’s flute. They made three albums as a quintet — Drumfusion for Columbia, Passin’ Thru for Impulse and A Different Journey for Reprise — and one as a quartet, Impulse’s Man from Two Worlds, which also included the first version of Lloyd’s “Forest Flower”, which became a hit for his own quartet a few years later.
The recordings with Hamilton are all available on CD, and Passin’ Thru remains one of my favourite albums of the era, not least thanks to the powerful grooves sustained by the phenomenal young bassist Albert Stinson. Here’s a track called “El Toro”, which shows why Stinson was good enough to sub for Ron Carter with Miles Davis and would surely have become a major figure on his instrument had he not died from a heroin overdose while touring with Larry Coryell in 1969, aged 24.
Drugs were another reason why Lloyd dropped out. “I hit a wall and I couldn’t really function,” he says. “At a certain point I began to suffer musically and I began to suffer spiritually. I had to go away.” His studies in philosophy and religion got him through it, with the help of Dorothy Darr, who has produced and directed Arrows into Infinity with Jeffery Morse, gathering historic TV and concert footage from the ’60s (London, Newport, Antibes, Tallinn etc), film of recent performances with the current quartet, and of duets with Billy Higgins, giving us a chance to enjoy again the drummer’s matchless sense of swing and unforgettable smile. There are interviews with Herbie Hancock, Jack DeJohnette, Robbie Robertson, Jim Keltner, Don Was, Zakir Hussain, Geri Allen and many others — including, amazingly, Lewis Steinberg, the original bass player with Booker T and the MGs, who knew the young Lloyd in Memphis. There’s also a delightful sequence of Lloyd playing pool with Ornette Coleman; the two were friends in LA in the ’50s.
Lloyd himself, however, is the most interesting witness to the journey that took him from Howlin’ Wolf to Zakir Hussain. The film tells a fascinating story of survival and self-realisation in which his gentle wisdom is as impressive as his music.
* The photograph of Charles Lloyd is from the booklet accompanying Arrows into Infinity, which is released by ECM.
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2024-08-26T00:00:00
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Each month, our arts critics -- music, book, theater, dance, television, film, and visual arts -- fire off a few brief reviews.
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The Arts Fuse
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https://artsfuse.org/279148/september-short-fuses-materia-critica-3/
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Classical Music
All in all, a wonderful voyage of discovery, with a splendid tour guide.
Kenneth Hamilton is that rare bird: a first-rate performer who also writes well-informed and beautifully phrased books and essays. I welcomed here a Chopin two-CD set by him, a Liszt two-CD set, and Romantic Piano Encores; all three were characterized by a fresh mix of familiar and unfamiliar works and by a keen awareness of how the pianists of the Golden Age built to climaxes or allowed a phrase to relax tenderly to the cadence. There is never a hint of pedanticism in Hamilton’s playing, and the piano (modern, not “period”) is well maintained and recorded at the perfect distance and with just the right amount of room resonance.
Here now is Kenneth Hamilton plays Liszt, Volume 2: Salon and Stage (Prima Facie PFCD 210), and it is a glorious triumph. All of these pieces are arrangements of, or to some extent fantasies on, songs (some by Liszt himself) and operas. The result is an engaging reminder of the wealth of creativity in 19th-century music, and of Liszt’s own remarkable ability to evoke musical moods and to embroider them without somehow cheapening them.
We hear one of Liszt’s most famous pieces, “Liebestraum,” no. 3, but also nos. 1 and 2. (The song versions used poems by Ludwig Uhland and Ferdinand Freiligrath.) Among other widely loved pieces heard here in fresh guise are the Waltz from Gounod’s Faust, the Polonaise from Tchaikovsky’s Eugene Onegin, Mendelssohn’s song “On Wings of Song,” some Schubert dances (reworked under the title Soirées de Vienne), the “Song to the Evening Star” from Wagner’s Tannhäuser, and excerpts from Verdi’s Rigoletto. These and yet others gain new luster through Liszt’s embroideries and inventive figurations. (For a full list of pieces, with links so you can listen or purchase, click here.)
Verdi’s Aida is almost recomposed, in a way: Liszt ends his arrangement of three numbers from it by bringing back the doomed lovers’ “O terra addio!” one more time, in ethereal manner, allowing us to imagine the pair wafting their way to Heaven.
Other pieces heard here are based on works that are likely to be less familiar (especially to people who tend to be focused mainly on piano music), such as Meyerbeer’s L’Africaine, Verdi’s Ernani, songs by Clara Schumann and Eduard Lassen, and, in one touching excerpt, the Saint Cecilia Mass by Gounod. In each of these, Liszt achieves a remarkable blending of personalities: that of the original composer and that of Liszt himself, as a knowing expositor and commentator.
Hamilton’s booklet-essay is richly informative, explaining how he has incorporated various alternative passages that Liszt added, sometimes for himself or for another pianist. All in all, a wonderful voyage of discovery, with a splendid tour guide.
— Ralph P. Locke
Isata Kanneh-Mason’s facility is sublime: hardly a rhythmic figuration is unclear or a texture out of balance. The program, too, four pieces reminiscent — by title or theme — of childhood, offers a good bit of variety; not everything is sunshine and light.
There’s much to admire in Childhood Tales (Decca), pianist Isata Kanneh-Mason’s third album for Decca. To start, her facility is sublime: hardly a rhythmic figuration is unclear or a texture out of balance. The program, too — four pieces reminiscent, by title or theme, of childhood — offers a good bit of variety; not everything is sunshine and light.
That last point is most true in Robert Schumann’s Kinderszenen, which, on the surface, suggests innocence and charm, but beneath veers into some shadowy corners. Kanneh-Mason’s performance is lean and sometimes quite muscular (“Wichtige begebenheit” drives nicely), but also a touch literal (“Träumerei”) and wanting for color (“Glückes genug”).
Similar issues sometimes emerge in her take on Debussy’s Children’s Corner: “Jimbo’s Lullaby,” for instance, feels rigid and might benefit from a greater sense of atmosphere and broader tempos. But the overall performance is shapely, secure, and well directed (the “Cakewalk” is a romp).
The same holds true for Mozart’s whimsical 12 Variations on “Ah, vous dirai-je Maman” (aka “Twinkle, Twinkle Little Star”). Approaching the music with plenty of boldness — Kanneh-Mason delivers no shortage of big, explosive moments, à la Beethoven — this is fresh, invigorating, grab-you-by-the-lapels Mozart.
But the pianist saves her best for Ernst von Dohnányi’s Variations on a Nursery Song. Utilizing the same tune as Mozart did, the Hungarian master wove an altogether more complicated tapestry with the melody, often puckish and cheeky, yes — but sometimes menacing and eerie.
Kanneh-Mason, here joined by the Royal Liverpool Philharmonic Orchestra and Domingo Hindoyan, makes deft work of it, playing with vigor, fluency, and style. The waltz variation is particularly schwungvoll and characterful, the Passacaglia beautifully focused, and the concluding fugue an idealized vision of what childhood should be: lots of fun.
— Jonathan Blumhofer
Conductor Semyon Bychkov’s attention to all the little things — color, timbral blend, dynamic balances, articulations — is second-to-none.
As a follow-up to their excellent recording of Gustav Mahler’s Second Symphony this spring, Semyon Bychkov and the Czech Philharmonic Orchestra have taken a step back in time, to that composer’s Symphony No. 1. Even so, their interpretation of the piece (on Pentatone) shares more than a little in common with the prior release.
Bychkov’s attention to all the little things — color, timbral blend, dynamic balances, articulations — is second-to-none. The result is that one hears in lucid detail just what Mahler wrote. This pays dividends in the outer movements, especially: the introduction to the first is warm and luminous, while the finale’s stormy opening is marked by an uncommon level of clarity.
None of this comes at the expense of character or dynamic heft (to be sure, the last movement thunders). Rather, Bychkov and the Philharmonic seem to have the measure of the music’s expressive content well in hand. Everything flows naturally. The counterpoint dances throughout. The sheer weirdness of the third movement comes out with an astonishing blend of precision and menace.
One little thing: Bychkov doesn’t abide any shenanigans with the tempo in the finale’s coda (where Mahler wrote nothing, but many conductors like to speed up or slow down, sometimes egregiously). No, he trusts the music fully and, boy, does that approach pay off. Indeed, this whole interpretation — and the pairing’s larger Mahler cycle — demonstrates an embrace of the letter of the score which leads to a performance uncovering the music’s spirit in the process.
That’s an approach to Mahler that many noted conductors (say, Pierre Boulez) haven’t reliably managed. More power to Bychkov and the Philharmonic, then, for accomplishing the feat and transforming something that might have been redundant (yet another traversal of these symphonies) into a necessary undertaking.
— Jonathan Blumhofer
Popular Music
“Panico No Submundo” welcomes listeners to a party where ecstasy and dread are indistinguishable.
Picture a jammed street party in São Paulo where It’s Pennywise is dancing on top of the speakers in full makeup and costume, setting off sparklers. A plangent mix of perfume and chemicals may be helping to sustain the festivities, but this is no hallucination. It’s an example of baile funk, which bears no resemblance to the American variety. Initially inspired by Miami bass and freestyle, this eclectic form has been developing on its own for several decades (although M.I.A. and even Travis Scott have dabbled in it). Hip-hop and horror genre influences are cross-pollinated with Afro-Brazilian rhythms, while the costumes associated with its often wild parties date back to medieval revelry in Portugal.
São Paulo producer DJ K leads the Bruxaria (witchcraft) Squad on his debut album Panico No Submundo (Panic in the Underworld), which has been released as part of the Ugandan label Nyege Nyege Tapes’ series of adventurous electronic music from Africa and its diasporas. The recording features a large cast of rappers, although their voices are usually submerged beneath DJ K’s beats.
Panico No Submundo doesn’t come out of nowhere, but sounds like the future, music that embraces a particularly lo-fi, menacing touch.
DJ K loves extremes: harsh sirens and deep kick drums. There are few attempts at moderation. (The trebly synthesizers are intended to enhance the perfume-induced high.) He jams together samples, vocals, and drum programming without any interest in making them fit the same key or stick to a consistent rhythm. Baile funk producers frequently hit the drum on every beat — avoiding the syncopation that defined American funk — and use shouted vocals rhythmically. DJ K’s no-holds-barred version of the style is, at least on the surface, raw and chaotic. Yet there is considerable attention to structure. He knows just how long to push noise without reaching the listener’s breaking point. (The album’s level of craft is far more evident heard through quality speakers.) His sound design knits together the cavernous spaces of dub reggae with the minimalist electronics of John Carpenter’s score for Halloween.
Panico No Submundo’s cover shows purple-tinted clowns chasing US hundred-dollar bills. Horror movie and occult references run through DJ K’s music, but the monsters are not just about cosplay. Like the Gravediggaz or early Three Six Mafia, DJ K uses the grotesque as metaphors to suggest real life experiences of poverty and violence. (Note: song titles and lyrics that repeatedly use “puta,” a slur that that means “bitch” and “whore” are less justifiable.) The music here is both celebratory and nightmarish — a particularly malevolent synthesizer snakes its way through “Erva Venevosa.” Because of that, the record’s few moments of relative silence and prettiness, such as the isolated, echo-chamber vocals of “Automotivo Accorduo de Favela Toda” and the flute looped through “Flauta de Novo Mundo,” stand out with considerable power. Fried synthesizer riffs, like a tuned doorbell reduced to a few notes and blown out through distortion, dominate several songs. These blaring noises welcome listeners to a party where ecstasy and dread are indistinguishable.
— Steve Erickson
Architecture
A campaign to save Marcel Breuer’s summer home on the Outer Cape, its historic contents, and stopping its likely demolition.
A critical link to the history of the Bauhaus diaspora sits on the Outer Cape — the family vacation home of modernist master architect (Whitney Museum) and furniture designer (Wassily Chair, etc.) Marcel Breuer. The house is perched on stilts set deep in the woods of Wellfleet, Massachusetts, and it features a cantilevered porch, where family and friends would spend much of their holiday time.
Now owned by his 80-year-old son Tamás Breuer, this four-bedroom structure built in 1949 is the most architecturally significant modernist structure on Cape Cod. One of the first of Marcel Breuer’s “Long House” designs, the structure also houses art by noteworthy Bauhaus friends and colleagues (including Josef Albers, Alexander Calder, and Paul Klee), a remarkable book collection, an extensive photo documentation archive, and several of Breuer’s original pieces of furniture.
It may be something of an architectural treasure trove, but over the decades, due to weather, wear and tear, indifference, or limited finances, the building has deteriorated — there is significant rot on the porch railings, wood cladding. Areas of the roof are sending leaks down to the living room’s ceiling. An overgrown forest surrounds the home, which will necessitate removing dead plant growth and trimming back trees that could damage the façade and roof. The site needs to be made more accessible as well: the driveway needs to be leveled and the rutted dirt road that approaches the home needs to be smoothed out.
Tamás has wanted to sell the property for a while and there is a gallant savior in the wings. It is the admirable Cape Cod Modern House Trust (CCMHT), which was founded in 2007 to collect, archive, and share documentation of the outer Cape’s exceptional modern architecture, prevent demolition of and restore endangered modern houses, and to relaunch them as platforms for new creative work. Now under contract to buy the house in the spring of 2024, CCMHT has less than a year to raise the funds needed to save it. After the sale, CCMHT will restore the property and open it to the public as a workshop and for public viewing. Inspired by Bauhaus ideals as well as by the ideas of Henry David Thoreau, CCMHT intends to leave the 4.2 acres of surrounding landscape wild.
Breuer was deeply attached to his Wellfleet home and property After his death in 1981, Breuer asked that his ashes be scattered among the nearby pine trees. Hopefully, nourished by the generosity of an engaged community, the Breuer Cape House will be maintained for future generations. Donations can be sent to the Cape Cod Modern House Trust, PO Box 1191, South Wellfleet, MA 02663. Email: capemoderntrust@gmail.com
— Mark Favermann
Jazz
Larry Coryell attributes the elegant flexibility and daringness of the interactions of the trio to their familiarity with not only the pieces played on the album, but with each other.
In 1967, having already recorded with Chico Hamilton, Chico O’Farrill, and Bob Moses, guitarist Larry Coryell made Duster with an all-star group led by vibraphone player Gary Burton. The all-star session also featured bassist Steve Swallow and drummer Roy Haynes. It’s still my favorite Burton disc. Yet, despite its uniquely lyrical compositions, such as “General Mojo’s Well Laid Plan,” “Sing Me Softly of the Blues,” and “Sweet Rain,” a mild controversy sprung up around Duster. Inexplicably to me, it’s been called the first jazz-rock record. In the mid-’70s, Coryell gratified those looking for rock influences with his band Eleventh House. (He even supplied a tune called “Rock ‘n’ Roll Lovers.”) He was intermittently immersed in what everyone would call jazz: for example, he appeared on Charles Mingus’s Me, Myself and I. In the late ’70s he made a series of acoustic guitar records, including the solo Standing Ovation and European Impressions with tributes to Ralph Vaughan Williams, Mozart, and Ravel. It’s not that he hadn’t made up his mind what genre of music he would play: he felt he didn’t need to.
Beautifully recorded with a trio in Germany in 2002, Tricycles (remastered by In & Out Records, a two-LP set also available on CD) solves the question of genre with its opening number: “Immer Geradeaus,” which I translate as “Always Straightahead.” In his notes to Tricycles, Coryell tells us that the band was exhausted and flu-ridden when they entered the studio, but those conditions helped them focus. (Jazz musicians are remarkable human beings.) The trio was in the midst of a lengthy tour, and Coryell attributes the elegant flexibility and daringness of the interactions of the trio (which includes Paul Wertico and Marc Egan) to their familiarity with not only the pieces played here, but with each other. “Immer Geradeaus” is a blues with an insistent melody (a triplet and a series of quarter notes) that the band more or less ignores in their gently swinging improvisations.
The set ends with Coryell playing Lennon/McCartney’s “She’s Leaving Home” on acoustic guitar. It seems an afterthought on a set that includes several of Coryell’s best-known compositions, including “Good Citizen Swallow.” The trio pays tribute to Thelonious Monk (in “Round Midnight” and “Well, You Needn’t”) and in a less direct way to Gershwin in the amusing “Rhapsody and Blues” with its quotes from “Rhapsody in Blue.” Marc Egan is all over the bass on the uniquely cheerful “Good Citizen Swallow,” and we get to hear Paul Wertico play fours with Coryell. The introduction to “Round Midnight” sounds somehow eerie, and on the melody Coryell seems to be playing in the same range as Egan. The guitarist offers occasional fast runs, but mostly this record is about melodic improvisations and the interaction among the trio. In that spirit, they offer the completely improvised “Three Way Split.” “Spaces Revisited” opens with a welcome, thoughtfully paced solo by drummer Wertico. Coryell previously recorded it with drummer Billy Cobham. Coryell calls the music found on Tricyles “musical painting.” Its stories are expertly, exuberantly, told.
— Michael Ullman
“What If?” is cool, trippy, imaginative music from iconoclasts with vision and style.
I looked at the cover of Alex Hamburger’s What If? and thought I’d hear ’90s-style pop music along the lines of Madonna or Cyndi Lauper. On listening, the first thing I thought of was Miles Davis’s spooky 1975 slow jam album Pangaea.
Alex Hamburger has her own style, with evocative compositions and ethereal flute playing. It’s improvisatory jazz, but it’s informed by trance music, fusion, and world music without ever dissolving into New Age noodling.
“Lion’s Den” has electric piano and vocals, suggesting the spacey introduction to Return to Forever’s “500 Miles High.” Hamburger reinforces the impression by sounding much like RTF’s Joe Farrell on flute. A representative track is “Surface Unknown,” which starts with hypnotic synth washes, moved forward by Tyrone Allen II’s interspersed bass lines, then shifts into a Latin groove with a Weather Report feel. The flute and synth are playing the same lines in similar tones, slightly out of sync, to keep things just this side of disoriented. Props to drummer Chase Elodia and percussionist Patrick Graney, who stay busy and create this unusual fusion feel.
A highlight is “Molinos De Viento: Meditation on the Wind,” which blends seamlessly into “Molinos de Viento: The Journey.” It’s not quite free jazz, but it’s informed by it. The piano plays a steady riff, then is overdubbed with a free improvisation that is not particularly attached to it. It settles into a steady rhythm, and Hamburger sings an Ornette Coleman-style melody. The unhurried and atmospheric flute solo suggests Sonny Fortune’s work on Pangaea. There are unaccompanied solos from the acoustic bass, piano, and drums as the instruments fall out and back in one by one. These tracks are full of imagination, showcasing the versatility of these musicians.
What If? Is cool, trippy, imaginative music from iconoclasts with vision and style.
— Allen Michie
Picture “In a Silent Way” performed live on the cliff above a fjord.
The chime of Sinnika Langeland’s kantele is the first sound you hear on Wind and Sun (ECM). Invented in Finland, it is a variation on the harp; its bright, trebly sound is similar to the harpsichord and acoustic guitar, but the instrument has its own voice. (Langeland plays three versions of it, ranging in size from five strings to 35.) The singer/songwriter has relied on it for the 29 years she’s been recording music. Her perspective is distinctive: Langeland belongs to Norway’s ethnically Finnish community. She lives in a forest that’s 120 minutes away from Oslo, near the border with Sweden. Her music celebrates the culture of her region, though it reaches out to jazz as well. Picture In a Silent Way performed live on the cliff above a fjord.
While she composes her own tunes, Langeland draws on the poetry of others for the lyrics. Here we have the verse of Jon Fosse. She has filled her music and the album’s packaging with imagery associated with rural Scandinavia. The CD booklet of Wind and Sun includes black-and-white photos of snow-covered mountains and a frigid beach. Some of her albums for ECM have suggested we are at a cabaret performance featuring Marlene Dietrich and Nina Simone. Or that we are taking a trip back to the medieval era. Wind and Sun hews to that template, but it is staunchly located in nature.
Even without immediately understanding the lyrics (printed in Norwegian and English translation in the booklet), Wind and Sun conjures up an evocative set of images. Langeland’s backing band — which includes trumpeter Mathias Eick, saxophonist Trygve Seim, bassist Mats Ellertsen, and drummer Thomas Strønen — serves her musical sensibility well. No one instrument, including her kantele, dominates the proceedings. Many songs begin slowly and gingerly with a single instrument and then develop forward. Eick’s Miles Davis-inspired contributions are the standouts. Strønen’s playing is subdued; he is present enough to supply the necessary texture to propel the songs onward. “A Window Tells” begins on such an airy note that it verges on ambient music, rising and falling gently from its starting point.
In the last few years, French and Irish bands like Lankum, Moundabout, and La Tenee have experimented with their countries’ folk music, using violin and hurdy-gurdy to approximate the drones of LaMonte Young and Phil Niblock. Langeland too explores the ways that innovation can be built upon tradition. ECM releases tend to share a familiar, in-house sound, but Wind and Sun expands on that, drawing on Langeland’s compelling fusion of local background and cosmopolitan interests.
— Steve Erickson
Books
“The Stone Breakers” is a likeable homage to female resistance to the patriarchy in Africa.
First published in French in 2010 with the title Photo de groupe au bord du fleuve, The Stone Breakers: A Classic Novel of Labor Resistance (Schaffner Press, 349 pages, $17.95) is the respected Congolese writer Emmanuel Dongala 5th novel. He came to America in 1997 during his country’s civil war and accepted a professorship at Bard College where he taught until 2014. A recipient of the 2011 Prix Ahmadou-Kourouma Award, Dongala’s most recent book, The Bridgetower Sonata was shortlisted for the 2022 Prix Albertine. He recently received this year’s Grand Prix Hervé Leluen for promoting French as an international language. In 2008, his novel Johnny Mad Dog was made into a film.
Set in an unidentified African city (no doubt inspired by Brazzaville), The Stone Breakers comes off as a love letter masquerading as a novel. Dongala is more than a little smitten by his resilient protagonist/narrator, Méréana, an intelligent thirty-something divorcee and mother (of three children) who, through unfortunate reversals in a cruelly misogynistic society, finds herself — in order to raise enough money to continue her studies — a member of a cadre of stone breakers. These are women who are paid little to work for long hours in the hot sun as they pound rocks into the gravel to pave roads. They learn that demand for their product has gone up because of the construction of a major new airport. Eight women demand more money per bag from the bullying middlemen who sell the stones to contractors. They refuse to work until the men have negotiated a reasonably higher price. The strikers are initially met with opposition, which includes police violence (one of the women is shot during a protest) and pressure from higher ups. But they remain united. They ask that the articulate Méréana be their tireless spokesperson/leader and Dongala sympathetically chronicles their efforts to be paid fairly and treated with respect. Méréana has no problems keeping her comrades together in a united front: her biggest challenge is dealing with the wiles of a government steeped in greed and corruption. Bribery, poisoning, and imprisonment-by-whim is how business gets done. In this country it is necessary to notify someone when going to see a public official — just in case you disappear after the meeting.
On the one hand, Dongala does not sugarcoat how difficult existence is for underclass females in patriarchal Africa. We learn the backgrounds of the eight women: along with their harrowing daily deprivations, there are affecting stories of rape, brutality, repression, accusations of witchcraft, and silencing. Humor is supplied along with the horror. A lively confrontation between a rich man’s mistress and his wife takes place in a bar, where they fight over the poobah by insulting each other in a karaoke duel. Men are generally seen as cowardly opportunists, content to take advantage of a duplicitous system where they rule though an amalgamation of superstition, law, and force.
In response to repression, Dongala poses the resourceful Méréana and her co-workers, but he rewards their relatively modest act of dissent a bit too easily. The protagonist is given a possible suitor with loyal cab driver Armando, one of the book’s only decent guys, and unstinting support from her too-good-to-be-true Auntie Turia. The arrival of an official deus ex machina serves as a conveniently fortunate leg-up: this high profile gathering of the wives of Africa’s Presidents (in a congratulatory confab organized by the First Lady) gives Méréana considerable leverage — the powers-that-be fear the media fallout of embarrassing public demonstrations. The story’s wrap-up is steeped in wish-fulfillment; its testament to female empowerment rings somewhat hollow given Africa’s grim realities. (Our indomitable heroine makes out extremely well at the end. Are we supposed to be happy that Méréana may accept a job working for the shady government?) Still, it is gratifying to read that her fellow stone breakers have “emerged from the shroud of poverty and hopelessness, which, until this moment, has ravaged [their] lives.” Translated with comforting verve by Sara Hanaburgh, The Stone Breakers is a crowd-pleasing homage to feminist resistance — it is easy to see why it has been adapted into successful play. But Dongala stops short of suggesting that this lucky win must be part of an ongoing effort of African women to organize for a more just life.
— Bill Marx
Despite his book’s proclamations of hope, Robert Jay Lifton reminds me of a Greek tragedian at times: “Imagining the real is a way of living the truth of catastrophe.”
In 1968 my view of the world and myself changed radically after I read Death in Life, Robert Jay Lifton’s magisterial psychohistory of Hiroshima. The volume painstakingly recorded — from a humane analytical distance — the traumatized voices of the Japanese survivors of the atomic bomb, offering an iconoclastic, non-xenophobic look at the challenging psychological (and by extension ideological) ramifications of the catastrophe. Among its other virtues, Death in Life explores the redemptive value of witnessing and remembrance as well as the tragic damage inflicted by repressive forces that choose to embrace the false salvation of amnesia. Hiroshima was symptomatic of what Lifton calls a “genocidal mentality” that also spawned the Holocaust, Vietnam, the Climate Crisis, and our problematic response to the Covid-19 pandemic. As we look over the the 20th century and the 21st, it is difficult to argue with Lifton’s point in his inspiring new book, Surviving Our Catastrophes (New Press, 150 pages, $24.99), that “…we live in a landscape of holocaust …On that basis (and without in anyway equating ordinary life to the experience of holocaust), we all have in us something of the witness of the survivor.” And that link may be a key to our survival.
At the age of 97, Lifton is extolling the elemental value of the survivor. Before we can collectively heal, before we can take the steps necessary to ameliorate the global damage, we must consider turning away from what he sees as the “malignant normality”of escape and listen to voices that express a harsh reality: “civilization — life itself — is threatened, dying or dead: that we must recognize this death or near death, pursue it, record it, enter into it, if we are to learn the truth about ourselves, if we are to go on living as a species.” Looking squarely at the condition we are in — through the testimony of witnesses, the vision of engaged artists, the research of professional organizations, the emotional power of memorials and rituals of remembrance — is essential in cultivating the imaginative effort needed to encompass that darkness and move beyond it to activism.
Thankfully, nowhere in the book does the bedraggled word ’empathy’ pop up. Encounters with the real should not be about feeling better about ourselves because we have deigned to put ourselves into the shoes of the unfortunate. Lifton asks for much more than that. In fact, despite the book’s compelling proclamations of hope, at times he reminds me of a Greek tragedian: “Imagining the real is a way of living the truth of catastrophe.” The harrowing testimony of survivors and works of art are the invaluable bearers of this “catastrophic truth” — they are sources of wisdom as well as feeling, spurs to collective transformation and action: “To bring one’s imagination to bear on extreme trauma is to undergo a major alteration of self,” Lifton observes, and that change provides a model for what he calls the “protean self,” the self as “being many-sided rather than monolithic, and resilient rather than fixed.” There could have been more on that idea here since it is “integral to our historical situation, to our contemporary fate.” (Granted, Lifton published a book on the concept in 1993.) Surviving Our Catastrophes sagely argues that there can be no meaningful path to our survival as a species unless we “confront whatever catastrophe we experience and recognize its interaction with everyday life.” We are all, in our way, witnesses.
— Bill Marx
Visual Art
A neglected sidebar to the history of photography would be a list of art forms that the 19th-century invention eliminated from Western Civilization. One such forgotten casualty is what art historians call the “reproductive print.” Developed during the Renaissance, shortly after the creation of printing, reproductive prints reproduced famous works of art as engravings or chiaroscuro woodcuts. Usually produced by specialists, often in cooperation with the original artist, these prints grew into a lucrative secondary industry, eagerly collected by connoisseurs along with original prints by artists like Durer and Rembrandt. Much as it did for miniature portrait painting, photography rapidly took over the function of and market for art reproductions and, almost overnight, made the genre extinct.
Printed Renaissance, exhibited at the the Clark Art Institute’s Manton Research Center through October 22, includes more than thirty prints and nine printed books from Clark collections. Besides presenting a satisfying range of not-often-seen reproductive prints, the show explores how the Renaissance “developed a widespread demand for graphic material and a vibrant culture of art criticism, which… shaped how Europeans viewed and understood Italian art in the centuries to come.”
The exhibit is well presented and labeled, but it is specialized enough to call for prior knowledge of its content, including Italian art, printmaking, or the original art works themselves (which are not present via modern photographs, which might have helped for understanding the prints reproducing Annibale Caracci’s Farnese Ceiling, for example). Some background would probably be a plus for viewer appreciation. (The Clark’s shuttle driver told me he loved the exhibition because he had been a commercial engraver.) Still, Printed Renaissance can be enjoyed through an encounter with the sheer virtuosity of its printmakers, such as Marcantonio Raimondo, whose close collaboration with Raphael, remarked artist and biographer Giorgio Vasari, “amazed all of Rome” and, more than three centuries later, helped inspire the composition of Edouard Manet’s then shocking Dejeuner sur l’herbe.
— Peter Walsh
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
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https://www.allmusic.com/updated
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https://public.uclacsrc.aspace.cdlib.org/repositories/2/archival_objects/16036
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Man From Two Worlds - Chico Hamilton, undated
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From the Collection:
This collection consists of artworks and mixed media, correspondences, exhibition materials, manuscripts, and photographs related to Cyclona's career as a performance artist. Audio, campaign, and commercial materials explore Cyclona's early artistic influences, and his critiques of how Latinidad is commodified in mainstream media.
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https://www.freshsoundrecords.com/10968-chico-hamilton-albums
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Chico Hamilton Albums
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Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for...
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/img/favicon.ico?1718181534
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Blue Sounds
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https://www.freshsoundrecords.com/10968-chico-hamilton-albums
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Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953).
In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of...
Read more
Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953).
In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of Buddy Collette, guitarist Jim Hall, bassist Carson Smith, and cellist Fred Katz. One of the last important West Coast jazz bands, the Chico Hamilton Quintet was immediately popular and appeared in a memorable sequence in 1958's Jazz on a Summer's Day and the Hollywood film The Sweet Smell of Success. The personnel changed over the next few years (with Paul Horn and Eric Dolphy heard on reeds, cellist Nate Gershman, guitarists John Pisano and Dennis Budimir, and several bassists passing through the group) but it retained its unusual sound. By 1961, Charles Lloyd was on tenor and flute, Gabor Szabo was the new guitarist, and soon the cello was dropped in favor of trombone (Garnett Brown and later George Bohanon), giving the group an advanced hard bop style.
In 1966, Chico Hamilton started composing for commercials and the studios and he broke up his quintet. However, he continued leading various groups, playing music that ranged from the avant-garde to erratic fusion and advanced hard bop. Such up-and-coming musicians as Larry Coryell (1966), Steve Potts (1967), Arthur Blythe, Steve Turre (on bass, surprisingly), and Eric Person (who played in Hamilton's '90s group Euphoria) were among the younger players he helped discover. In 1989, Chico Hamilton had a recorded reunion with the original members of his 1955 quintet (with Pisano in Hall's place), and in the 1990s he made a number of records for Soul Note. He continued playing gigs and recording throughout the 2000s, releasing four albums in 2006 for the label Joyous Shout! in celebration of his 85th birthday. Chico Hamilton died in Manhattan on November 25, 2013; he was 92 years old. His last album, The Inquiring Mind, recorded shortly before his passing, was released in early 2014.
Scott Yanow -All Music Guide
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Chico Hamilton Albums
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Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for...
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Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953).
In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of...
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Chico Hamilton, a subtle and creative drummer, will probably always be remembered for the series of quintets that he led during 1955-1965 and for his ability as a talent scout than for his fine drumming. Hamilton first played drums while in high school with the many fine young players (including Dexter Gordon, Illinois Jacquet, and Charles Mingus) who were in Los Angeles at the time. He made his recording debut with Slim Gaillard, was house drummer at Billy Berg's, toured with Lionel Hampton, and served in the military (1942-1946). In 1946, Hamilton worked briefly with Jimmy Mundy, Count Basie, and Lester Young (recording with Young). He toured as Lena Horne's drummer (on and off during 1948-1955), and gained recognition for his work with the original Gerry Mulligan piano-less quartet (1952-1953).
In 1955, Hamilton put together his first quintet, a chamber jazz group with the reeds of Buddy Collette, guitarist Jim Hall, bassist Carson Smith, and cellist Fred Katz. One of the last important West Coast jazz bands, the Chico Hamilton Quintet was immediately popular and appeared in a memorable sequence in 1958's Jazz on a Summer's Day and the Hollywood film The Sweet Smell of Success. The personnel changed over the next few years (with Paul Horn and Eric Dolphy heard on reeds, cellist Nate Gershman, guitarists John Pisano and Dennis Budimir, and several bassists passing through the group) but it retained its unusual sound. By 1961, Charles Lloyd was on tenor and flute, Gabor Szabo was the new guitarist, and soon the cello was dropped in favor of trombone (Garnett Brown and later George Bohanon), giving the group an advanced hard bop style.
In 1966, Chico Hamilton started composing for commercials and the studios and he broke up his quintet. However, he continued leading various groups, playing music that ranged from the avant-garde to erratic fusion and advanced hard bop. Such up-and-coming musicians as Larry Coryell (1966), Steve Potts (1967), Arthur Blythe, Steve Turre (on bass, surprisingly), and Eric Person (who played in Hamilton's '90s group Euphoria) were among the younger players he helped discover. In 1989, Chico Hamilton had a recorded reunion with the original members of his 1955 quintet (with Pisano in Hall's place), and in the 1990s he made a number of records for Soul Note. He continued playing gigs and recording throughout the 2000s, releasing four albums in 2006 for the label Joyous Shout! in celebration of his 85th birthday. Chico Hamilton died in Manhattan on November 25, 2013; he was 92 years old. His last album, The Inquiring Mind, recorded shortly before his passing, was released in early 2014.
Scott Yanow -All Music Guide
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https://www.murodoclasirock.com/favicon.ico
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https://www.murodoclasirock.com/
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Se você procura um Blog simples com muito classic rock e bandas recentes com a mesma pegada das clássicas e outros gêneros que influenciou o rock, você achou. Este é o Muro do Classic Rock.
Meu nome é Alex, sou um amante do bom e velho Rock and Roll e sinto o maior prazer em compartilhar tudo que conheço e além de adquirir mais conhecimento, pois o Rock tem muitas coisas que nos nem imaginamos que existe, portanto fiz este Blog para que possamos desfrutar das boas obras do Rock.
Por vários motivos este blog não atende pedidos e sugestões de discografias, emails ignorando esse aviso serão ignorados.
Os arquivos desse blog não são retirados dos originais, eles são baixados da própria internet editados e enviados novamente.
O que a pessoa vai fazer com o arquivo depois de baixado é responsabilidade dela e não do site ou blog onde ela baixou o arquivo.
Vírus.
Este blog não copia links alheios espalhados pela internet, ou seja, é feito upload de todos os arquivos e eles estão armazenados no mesmo local, portanto não estão infectados por nenhum tipo de vírus.
Os protetores de links com anúncios não tem vírus, ou seja, são só anúncios. Alguns navegadores e antivírus acusam os anúncios como vírus, isso se chama falso positivo.
Dúvidas LEIA a postagem: Como Baixar / How To Download.
Sobre as Bandas.
Este blog é voltado para o gênero Classic Rock, mas as bandas recentes não são descartadas.
Senha.
A senha para descompactar qualquer arquivo do blog é: muro
Se você baixar vários arquivos, no winrar você pode descompactar eles sem ter que digitar a senha em todos os arquivos, basta selecionar todos eles, clicar com o botão direito e depois em extrair aqui, na hora de digitar a senha basta marcar a caixa: Usar para todos os arquivos.
MP3 Gain 1.2.5.
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877
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dbpedia
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http://www.fainebooks.com/blog/category/album-review
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en
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Category: Album Review
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In the fall of 2019, I profiled my jazz LP collection (see October / November blogs) and in the summer of 2022, my jazz CD collection (see May / June / July blogs). Hence, it is only logical...
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en
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faine books
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http://www.fainebooks.com/1/category/album-review
|
Wayne Shorter. 2006. Photo credit: Tom Beetz.
When most jazz fans think of Wayne Shorter, they are likely to conjure up one or more of his Blue Note albums (e.g., Juju), and/or one or more of his Miles Davis albums (e.g., Miles Smiles), and/or one or more of his Weather Report albums (e.g., Heavy Weather). My first thoughts, however, run to Native Dancer, that hybridized, outlier collaboration with musicians from Brazil. When the LP came out in 1975, I bought six copies and gave five to friends—I loved it that much.
Wayne had featured several Brazilian rhythm tracks on previous albums. Still, as Shorter biographer Michelle Mercer wrote,
No one was prepared for the deeply affecting sound of Wayne’s Native Dancer recording. It was unlike any Brazilian music most Americans had ever heard. The record’s first few notes introduced a voice, one that had to be the most potent falsetto on the planet [belonging] to Brazilian pop star and composer Milton Nascimento [to which] Wayne married jazz to Milton’s melodies in a kind of holy union that made other Brazilian jazz efforts of the time [Jazz Samba, Getz /Gilberto] seem like one-night stands. (1)
Having first learned of Nascimento from jazz pianist Herbie Hancock, Wayne covered one of the singer/songwriter’s tunes on a Blue Note album in 1970. Inevitability, one often realizes, dictated a shared recording date. With his Portugese wife Ana Maria’s encouragement, Wayne arranged to have Milton and two musical associates stay at his house in Malibu where they lived, and worked for two weeks, going to the studio to record Native Dancer on September 12, 1974.
Shorter recognized that if you have a one-of-a-kind singer, one who had assimilated the bossa nova of his fellow countrymen, along with the Gregorian chants of his remote Catholic church in the hinterlands, into a self-styled alto yodel (some called it) or his female voice (Milton called it), then a hybrid album—not a jazz album, not a Brazilian album—but a hybrid should be made. And that’s what Wayne did.
Along with him and Herbie Hancock, there were three Brazilians:
Milton, Wagner [Tiso], and Robertinho [Silva]. There were also two players from the pop scene, Dave McDaniel, a bassist with Joe Cocker, and Jay Graydon, a guitarist, producer, and songwriter. There was Dave Amaro, [Brazilian singer] Flora Purim’s guitarist, on a couple of tunes, and [husband, percussionist] Airto [Moreira] on most of them. The engineer was Rob Fabroni, who had worked with The Band and other rock groups. And finally, Jim Price, a multi-instrumentalist who had worked with the Rolling Stones, produced the record. (2)
The album opens with “Ponta De Areia,” a singsong, nursery school melody over an unusual 9/8-meter sung by Milton in his liquid, instrumental-like wordless falsetto voice. Heard underneath is a shadow piano melody by Herbie. The other singer on the date, Wayne, enters smoothly on his soprano saxophone, repeating the childlike melody before he joins Milton in a duet. “Ponta” ends as it begins except for Waynish obligatos underneath.
Perhaps fearing the first-track exotica might be a bit much for first-time listeners, Wayne follows “Ponta” with his own composition, “Beauty and the Beast.” A solid toe-tapper that begins with hesitant, funky block chords by Herbie that segues into a strong, melodic statement by Wayne, then alternates back and forth between the two as the tune continues; ostensibly one is “Beauty,” the other, Beast.” At song’s end they are one in the same.
Nascimento sings “Tarde” clearly, softly, yet another display of his tremendous vocal range. For this luxurious mood piece, Wayne pulls out his first instrument—tenor sax—and plays a romantic solo over a Hammond organ cushion. Milton reenters with a sweeping, wordless falsetto behind Wayne’s tenor excursions, pauses for a spell, then returns with an even higher-pitched falsetto.
Hancock later remarked, “After Wayne soloed, when Milton would come back in, you couldn’t even tell it was a voice. Because when Wayne played, it sang, and Milton’s singing has an instrumental quality to it.” (3)
Milton begins “Miracle of the Fishes” wordlessly, wailing away, then slips in some lyrics along with the wail as Wayne, on tenor again, joins in with gusto. The free-spirited pair soar off together, not so much as an energetic vocal/sax duo, but more like a saxophone cutting contest that might take place on the fringes of avant jazz. The backup musicians (organ, guitar, drums, percussion) are exceptional in this unrestrained, up-tempo romp.
Shorter is back on soprano for the lovely ballad “Diana,” named for the newborn daughter of Flora Purim and Airto, ably supported by pianist Hancock.
Nascimento wrongly titled “From the Lonely Afternoons”—should have been “Lovely” or “Happy.” The singer-songwriter sails a wordless vocal over the band’s jumping, finger-snapping groove that compels Wayne on tenor to spread a Coltraneish flurry of notes over the head-bobbing musical stew. At the close, other voices (members of the band?) join Milton before Wayne declares “Good Afternoon.”
Critic Howard Mandel, who awarded Native Dancer five stars in DownBeat magazine, was especially enamored by the saxist’s homage to his wife “Ana Maria,” writing, "A lovely line is offered again and again with the slightest embellishment, gradually blossoming into a large, encompassing circle that Hancock laces with sweeping and graceful runs.” (4)
As revealed by Shorter biographer Mercer:
Milton sang “Lilia” with wordless vocals [as he did on several others], which was for him a style born of necessity and perfected under pressure. Under Brazil’s military dictatorship in the sixties and seventies, the ruling regime monitored pop music, censoring anything seemingly rebellious . . . When Milton recorded [an album] in 1973, the censors denied clearance on several of its songs. His record company asked him to write new lyrics. But Milton didn’t want to play the military’s editing game . . . So Milton protested by singing without words, using his voice in an instrumental role. (5)
And did he ever on “Lilia.” A trebly “LaLaLaAyeAyeAyeYa-eeea” wail over a bouncy organ-piano-guitar broken 5/4 meter rhythm–his “alto yodel almost indistinguishable from Shorter’s airily ethereal soprano sound, which draws the song to a climax by ringing out one tone against a shifting rhythm bed.” (6) Whew!
Wayne’s soprano settles into a gentler approach on Hancock’s introspective “Joanna’s Theme,” which closes the album. The four non-Nascimento tunes on the recording—this one, plus “Diana,” “Ana Maria,” and “Beauty and the Beast”—are collectively gorgeous and belong on this intriguing album, largely because of the uncanny similarity between the principal soloists’ voices.
This album has little precedent (that I can think of). Jazz musicians have worked with vocalists from the very beginning, but mostly in a backup role, and either way, too. Instrumentalists backing up the vocalist, or the opposite, singers backing up the front line instruments. For example, choral groups have backed up trumpeter Donald Byrd, pianist Andrew Hill, and guitarist Kenny Burrell.
As for the other way around, we can turn to, of course, Duke Ellington and “Creole Love Call,” the Ellington composition best known for its vocal by singer Adelaide Hall. It was the first 100 percent nonverbal scat vocal in jazz. (7) Duke followed up on the use of the human voice as an instrument, especially on “Mood Indigo,” with its famed tri-part opening. In recent times, soprano saxophonist Steve Lacy would often use the voice of wife, Irene Aebi, along with the other frontline instruments.
Simply put, Native Dancer is one of the greatest albums of the late 20th century; and for this alone, Wayne Shorter deserves to be a Kennedy Center honoree.
Michelle Mercer, Footprints: The Life and Work of Wayne Shorter (New York: Jeremy Tarcher/Penquin, 2007), 164.
Mercer, Footprints, 169.
Mercer, Footprints, 173.
Howard Mandel, Wayne Shorter, Native Dancer review, DownBeat magazine, 1965.
Mercer, Footprints, 171.
Mandel, Native Dancer Review, DownBeat.
Ann Powers, Good Booty: Love and Sex, Black & White, Body and Soul In American Music (New York: Dey Street Books, 2017), 27.
Dustin Hoffman (1968), Midnight Cowboy (1969), Jon Voight (1993). Credit: Wikipedia.
James S. Hirsch opened his Washington Post review of Glenn Frankel’s book Shooting Midnight Cowboy[1] with the following:
The director [John Schlesinger] was an insecure taskmaster whose most recent movie had bombed. The producer [Jerome Hellmann] was a lifelong depressive whose last film had also flopped. The screenwriter [Waldo Salt] was a self-destructive alcoholic, the two lead actors [Jon Voight and Dustin Hoffman] relatively untested newcomers. Collectively, they were making a movie based on a bleak novel that had sold poorly and was ignored by critics. That was the most improbable genesis of Midnight Cowboy, the 1969 classic of two outcasts who find heartbreak and hope in the kaleidoscope jungle of New York City. [Improbably,] the film would win the Academy Award for Best Picture and the adoration of legions of fans.[2]
After reading the above, you could easily conclude that Midnight Cowboy was a happy movie accident. Indeed, it was. But what about “Everybody’s Talkin’,” the memorable Grammy-winning theme song not mentioned in Hirsch’s review? Did it come about in an improbable fashion like everything else in the movie? Was “Talkin’” a happy musical accident? Read on.
Director Schlesinger liked to edit his film dailies to music. From a pile of new albums, he selected Aerial Ballet by obscure LA singer-songwriter Harry Nilsson. One song, “Everybody’s Talkin’,” caught Schlesinger’s ear. An ideal track, he thought, to guide and pace his edits.
“Talkin’” was the only cut on the album that hadn’t been written by Nilsson. The song had been authored by yet another obscure singer-songwriter and recorded for his self-named album Fred Neil, interestingly, the last song recorded for the album.[3] This fact foretold a glorious future for the song, albeit unknown to everyone at the time and quite frankly to many even today.
Turns out, more often than not, the last-recorded track is usually the album’s biggest hit. Think not? Check out these chart-topping caboose hits:
Coleman Hawkins “Body and Soul”
Frank Sinatra “I’ve Got You Under My Skin”
Deep Purple “Smoke on the Water”
Jerome Kern “Smoke Gets In Your Eyes”
Booker T. and the M. G. “Green Onions”
Rupert Homes “The Pina Colada Song”
John Lee Hooker “Boogie Chillun”
Bill Haley and the Comets “Rock Around the Clock”
Emerson, Lake, and Palmer “Lucky Man”
In the fall of 1969, “Talkin’” came to Nilsson’s attention from his recording producer at RCA, Rick Jarrard, who had heard it on his car radio while driving to the studio. Rick quickly purchased the Fred Neil album and played it for Harry, who gave it a thumbs-down; he wasn’t about to add someone else’s work to his Aerial Ballet album. Jarrard doubled down and argued vigorously for its inclusion. Harry finally capitulated, as a favor to his record producer.[4]
As a matter of interest, “Talkin’” was not the first song heard on the radio by a producer that eventually worked its way into a film and subsequent widespread fame. Say hello to “What a Wonderful World” and “Unchained Melody.”[5]
Moreover, talk about serendipity or synchronicity—this very same record producer, Rick Jarrard, working with Jefferson Airplane on their Surrealistic Pillow album, convinced reluctant guitarist Jorma Kaukonen to include his finger-picking acoustic solo “Embryonic Journey” on Airplane’s psychedelic-rock Surrealistic Pillow album. Jorma’s folky “Journey” would be as much a fan favorite as the group’s well-known surreal hits “Someone to Love” and “White Rabbit.”
“Talkin’” was not a shoe-in to be the picture’s theme song, despite Schlesinger’s intentions. Top-flight artists—Joni Mitchell, Leonard Cohen, Donavan, Bob Dylan—had submitted songs for consideration. Schlesinger stuck by his daily editing song. United Artist objected. They wanted an original song, one they could own and copyright, release as a single, and on the film soundtrack album. Harry Nilsson wanted UA to use a song of his, not one by Fred Neil! Still, the director tenaciously clung to his choice as the main theme and introduction to the film.
As for United Artists, the matter was finally resolved when producer Hellman and Director Schlesinger showed the nearly finished film to UA executives. Hearing the music as an integral part of the movie did the trick. Ownership rights be damned, what’s perfect is perfect.[6]
As for the question asked at the outset, “Talkin’” is indeed a happy musical accident, despite director Schlesinger’s unwavering devotion to the rightness of his choice, fighting off all attempts to replace it with something else.
The song came to him in an accidental fashion. An aide brought him a stack of new albums for him to use in his film-editing process. He selected Aerial Ballet at random and became enamored with its last track. He loved the sweetness of the melody and the wistful rebellious spirit of the lyrics that perfectly aligned with the Joe Buck character played by Jon Voight.
Imagine if he had selected any other 1967 release, like Sgt. Pepper’s Lonely Hearts Club Band or the Monkees' Headquarters or the Grateful Dead or the Moody Blues or Procol Harum or the Who?
Hard to imagine anything better than Aerial Ballet’s last track. When contemplating this, keep in mind that in 2004, “Everybody’s Talkin’” was listed number 20 in AFI’s top 100 movie songs of all time!
Glenn Frankel, Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic (New York: Farrar, Strauss and Giroux, 2021).
James S. Hirsch, “‘Midnight Cowboy’ Was a Masterpiece Made of Desperation,” Washington Post, Sunday, April 4, 2021.
Frankel, Shooting Midnight Cowboy, 246–48.
Frankel, Shooting Midnight Cowboy, 249.
Edward Allan Faine, Serendipity Doo-Dah: True Stories of Happy Musical Accidents, Book One (Takoma Park, MD: IM Press, 2017), 107; Ray Padgett, Cover Me: The Stories Behind the Greatest Songs of All Time (New York: Sterling, 2007), 42–43.
Frankel, Shooting Midnight Cowboy, 250–51.
The Faine jazz CD collection.
Continuing from part 3, here are five more personal favorites from my collection of jazz CDs.
Charles Lloyd | Passin’ Thru | Blue Note
Saxophone/flute player Charles Lloyd burst onto the California jazz scene in the mid-1960s on the strength of (1) albums Dreamweaver (1966) and Forest Flower (1967) featuring his first great quartet Keith Jarrett (piano), Cecil McBee (bass), and Jack DeJohnette (drums), and (2) the group’s appearances at Bill Graham's youth-filled Fillmore clubs.
After several years of pop adulation Lloyd entered into a period of (what should we call it) semi-retirement.
Lloyd’s real resurgence began in the 1990s when he signed onto the ECM label, recording sixteen albums with them followed by a stint with Blue Note into 2020, recording five albums.
The bulk of these albums feature Lloyd’s second great quartet (also known as the new quartet) Jason Moran (piano), Reuben Rogers (bass), and Eric Harland (drums). The best of which, in my opinion, is the highly entertaining Passin’ Thru (2017).
The album opens with Lloyd’s composition “Dreamweaver,” also recorded by his first quartet. The second quartet’s take is longer (by six minutes) and more complex, as Tom Jurek wrote:
"The version commences with a modal, post-Coltrane intro as the saxophonist explores tones and space before the drummer Harland checks into its groove, one that touches on the blues, folk music, a pop-style chorus and gospel before moving off to explore Eastern modalities, post-bop, and (some) dissonances before circling back to its lovely melody."
The following tracks reflect the various genres and styles mentioned above, singularly and collectively.
“Nu Blues” is a be-boppin’ swinger by the Jason Moran Bop Trio. Moran is rollin’ the keys like Bud Powell, Rogers is Ray Brown or Oscar Pettiford walkin’ the bass, and Harland is bebop originator Kenny Clarke keepin’ time on his ride cymbal, kickin’ the bass drum, and adding his own polyrhythmic textures. Tenorman Lloyd joins the Trio and its throwback time to a 1950s Norman Granz Jazz at the Philharmonic concert battlin’ it out with Flip Phillips and Illinois Jacquet.
Well, that’s the way I heard it.
“How Can I Tell You” is about as close the new quartet could get to a late-night slow dance dreamy ballad. Moran’s (almost) cocktail piano and the drummer’s use of brushes sets the mood for the leader’s lyrical saxophone offering to the song’s inspiration, singer Billie Holiday.
On “Tagor” Lloyd stirs the bluesy stew prepared by his rhythm mates with his Eastern sounding flute. At the start Moran strums the piano strings like a guitar, Rogers adds a Motown melodic bass line, and the drummer drives “Tagor” forward with a snare and hi-hat attack.
At the mid-point, with no loss of drive, Moran moves to the keyboard to pound out a funky chording interval over a rock-and-roll backbeat. Start to finish this is a hand-clapper.
The title track opens with unaccompanied bass and then, boom!, the band takes off with a high energy up-tempo dance-like excursion into bop. Moran’s piano and Lloyd’s tenor solo engage Roger’s and Harland’s rhythms with startling athletic lyricism.
Bordering on playful and/or novelty, “Passin’ Thru” is a crowd pleasin’ groove.
The album closes on a respectful note with “Shiva’s Prayer.” A beautiful unaccompanied piano piece by Moran, with lovely arco bass playing by Rogers, and soft drums by Harland.
Then quiet.
Sonny Sharrock | Ask the Ages | Axiom
Scott Yanow in his ultimate guide to the great jazz guitarists opined, "Sonny Sharrock was the first truly avant-garde guitarist in jazz. . . When Sharrock burst on the scene in the mid-1960s, he was not only free in his choice of notes but in . . . his use of feedback and distorted sounds. He preceded Derek Bailey and Jimi Hendrix. During an era when few jazz guitarists even acknowledged rock, Sharrock was playing explosive solos that made him the Pharoah Sanders of the guitar.”
Interesting, then, that he would pair up with saxophonist Sanders, along with bass player Charrette Moffet and drummer Elvin Jones in 1991 to record Ask the Ages, the consensus definitive and most essential album of Sharrock’s career.
This is unquestionably a free jazz album, how could it not be with Sonny Sharrock, Pharoah Sanders, and Elvin Jones ripping it up as if it was 1965.
Yet it is something else again, appealing and accessible to a wide range of music fans. Proof of this can be found on google: type in “rateyourmusic.com Ask the Ages,” select the top entry, and read the 45 reviews, and you’ll see what I mean.
Ask the Ages has six original Sharrock compositions: two scorchers “Promises Kept” and “Many Mansions,” two mellow and melodic “Who Does She Hope to Be” and “Once Upon a Time,” and two in-betweeners, “Little Rock” and “As We Used to Sing.” It is the mellow tunes (and secondarily the in-betweeners) that make this album so appealing with “Who Does She Hope to Be” generally favored over “Once Upon a Time.”
But for my money, the latter is the exceptional track.
While each instrument is heard in “Once Upon a Time,” it is the collective daresay “symphonic” — like sound that matters.
Sonny’s guitar, chording Hendrix-like and soloing at the same time (dubbing may have been involved); Pharoah’s tenor sax, offering a repetitive hummable figure; and Elvin’s non-stop striking of his drums with mallets, yes, with mallets not sticks or hands, creating a rhythmically throbbing pattern. Occasionally, Sonny spices the group’s malleting stew with a memorable Santana-like guitar line.
Overall, a never-to-be forgotten, compelling track.
Frank Sinatra | Live in Australia 1959 | Blue Note
While Sinatra’s time capsule albums are Wee Small Hours in the Morning, Songs for Swinging Lovers, Only the Lonely, and a few others, the “Jazziest” is Frank Sinatra with the Red Norvo Quintet Live In Australia 1959.
A rare album where Frank sings his well-known fan favorites, not as originally recorded with a large studio orchestra, mind you, but backed by a small jazz combo live.
From Will Friedwall’s liner notes:
“He just melted into it . . . He took responsibility (like a conductor) he beat off the group and everything, he did his own thing, and the band played great for him . . . [Alto/flute] player Jerry Dodgion elaborated: the informal format also encouraged Sinatra to vary both the program and the arrangements themselves . . . He could be different every night which is more in keeping with a jazz group.”
Some might argue that Sinatra’s performance with Count Basie’s band captured live in Las Vegas tops that in Australia 1959.
For me, Ol’ Blue Eyes' best live album is Australia 1959.
Frank Sinatra | The Concert Sinatra | Reprise
In the entire recording oeuvre of Frank Sinatra there is nothing like The Concert Sinatra, an album of extended performances by Frank and a 73-piece symphony orchestra arranged and conducted by Nelson Riddle.
The recording features eight tunes (lyrics by Oscar Hammerstein on all but one.) These are not the vocal offerings of familiar Sinatra poses, the finger-snappin’ swingin’ bachelor or the down-and-out sad sack propped against the lamppost.
No, this is the full-voiced light classicist in the manner of contemporaries Todd Duncan, Howard Keel, Gordan McRae, or (almost) Paul Robeson.
In other words, Frank gets as close as an American pop singer can to the bel canto style.
On no other album does Sinatra reveal such strength in his lower register and overall dynamic range. This album is in a class by itself. Discussions of what category it belongs to: jazz, pop jazz, pop, or Broadway — are irrelevant.
It’s simply incandescent.
No male interpretive singer of the 20th century other than Frank Sinatra could have pulled this off.
Wilson and Adderley | Nancy Wilson/Cannonball Adderley | Capitol
I bought this CD for two reasons: one, my fondness for the classic Adderley Quintet (Cannonball (Alto), brother Nat (Cornet), Sam Jones (Bass), and Louis Hayes (Drums) with Joe Zawinal (Piano); and two, my piqued curiosity after I read an article in Downbeat magazine in 2004, listing the best jazz vocalist albums chosen by 73 jazz singers (21 male, 52 female).[1] At the top, number one, was the album Nancy Wilson/Cannonball Adderley originally recorded in 1961.
After multiple listenings, I came around to understanding the record’s appeal to the Downbeat singers, helped along by Nancy Wilson’s statement in the album’s liner notes that she considered her vocals on the album “as a sort of easy-going third horn.”[2]
Jazz singers (all singers?) in particular desperately want to be a thoroughly integrated member of the band — not off to the side or out front, but in the mix. And that, in fact, was what Nancy was in this instance and what the DownBeat singers heard and no doubt wished for themselves.
The album is doubly interesting because it is not entirely a vocal album, five of the 12 tracks are instrumentals by the quintet (every one outstanding) especially Cannon’s alto solo on the trumpet warhorse “I Can’t Get Started” and the brothers cookin’ on “Teaneck,” but it is the seven Wilson tracks that caught the ears of the DownBeaters.
Highlights for me are the gentle cornet playing by Nat behind Wilson on “Save Your Love for Me” and Nat’s tune “The Old Country;” and Cannon’s bopish swinging sax duet with Nancy (and Nat) on “Never Will I Marry” and “Happy Talk.”
Sam Jones bass is superb, especially on “A Sleeping Bee.”
“Singers” All-Time Favorite Vocal Jazz Albums, DownBeat, June 2004, 48.
Ron Grevatt, original liner notes, Nancy Wilson/Cannonball Adderley, Capitol Records, 2004, Compact Disc, CDP 077778120421.
The Faine jazz CD collection.
Continuing from part 2, here are more personal favorites from my collection of 440 jazz CDs.
Roswell Rudd | MALIcool | Soundscape
Most often identified with the jazz avant-garde of the 1960s, trombonist Roswell Rudd, together with West African (Malian) musicians, formed a cross-cultural ensemble to create an original sound neither jazz nor traditional African.
The result: MALIcool.
Rudd’s usual thick trombone sounds, growls, smears, and boozy blats along with his warm tone dances its way among the sonic wonderland of Malian instruments — kora (12-string harp), ngoni (plucked lute), balaphone (Afro vibes), guitar, bass, and djembe (hand drum).
After reconciling the two musical systems (7-tone open form with 12-tone closed form), arrangements for the most part were deliberately sparse, leaving room for everyone to improvise.
The album’s songs could not have been more varied: Thelonious Monk’s “Jackie-ing,” a traditional Welsh folk song, a re-imagining of Gershwin’s “Summertime,” and Beethoven’s “Ode to Joy,” and several African traditional numbers.
A close listen to the album’s ten tunes, specifically to the strings (kora, ngoni, and guitar) will let you know where country blues came from, ditto the balafon, where swing-era vibist Lionel Hampton came from.
John Ephland of DownBeat magazine wrote: “Jazz purists will no doubt scoff at this meeting of musical souls. No matter how you slice and dice it, this music, modest at times, is still a ballsy bit of panache, a marriage of seemingly disparate worlds into something that works.”
I agree, besides, most jazz purists did not scoff. Released in 2002, MALIcool made it onto various Top Ten lists of the year.
John Hollenbeck | Songs I Like a Lot | Sunnyside
Drummer/arranger John Hollenbeck has put together a stunning album with cohorts Gary Versace (piano/organ), Kate McGarry and Theo Beckman (vocalists), and the 16-piece Frankfort Radio Big Band (five winds, four trumpets, four trombones, three rhythm — drums, electric and acoustic guitar, and bass.)
After a first listen, you will like Hollenbeck’s songs too, starting with the majestically arranged “Wichita Lineman.” The Jimmy Webb classic begins with a softly picked guitar line over a clarinet/flute chorus.
The crystalline pure voice of McGarry sings the first verse. An instrumental interval precedes Beckman’s take on the second verse before a rhythmic chording of piano, flute, and winds support a lengthy electric guitar solo.
The prominent role Hollenbeck assigns to the guitar here is perhaps a tribute to Glen Campbell’s and Wrecking Crew regular Carol Kaye’s guitar playing on the original hit version. Additional instruments and the vocalists enter the fray, a new but related melody develops, and the guitar makes a final statement before the coda: a gorgeous instrumental passage with voices in harmony and flutes a flutter.
John Kelman (All About Jazz) concluded: “It’s a song that’s been covered many times before but never so cinematically.”
Next up: “Canvas” by English singer-songwriter Imogen Heap from her 2009 album Ellipse.
The track begins with a riffing guitar followed by an instrumental statement of the melody. McGarry enters alone and then is doubled by Beckman giving voice to rather a singular melody that leads to a magnificent trombone solo. Hollenbeck’s drumming is persistent throughout, upping the tempo and the song’s energy at the close.
John Kelman again hits the nail on the head when he wrote, “If Wichita Lineman” is cinematic then Hollenbeck’s arrangement of Webb’s ‘The Moon Is a Harsh Mistress’ is positively IMAX.”
The arranger’s take on this lesser-known Webb tune is a sprawling 14-minute wall of compelling sound. The piece begins with just McGarry’s voice and piano before a layer of flutes and winds softly insinuate themselves into the arrangement.
The tempo picks up, and then guitar, drums and other instruments join in, piano becomes more dominant, volume steadily builds, drums more active. McGarry and Beckman join in, build, build, voices ooohing and aaahing.
Then a cooldown led by a lone clarinet before the entire orchestra climbs back up the aural staircase to greet a tenor saxophone solo at the top.
Beckman re-enters voicing the melody. McGarry joins him as the full orchestra roars into a symphonic ending with wind instruments mirroring the violins. Trust me, this is better heard than read.
“Man of Constant Sorrow,” whew!
The traditional folk tune’s tempestuous intro — low growly brass and winds and Hollenbeck’s tumultuous drums — lead to a second section of quick-strummed acoustic guitar and Beckman’s delivery of “Sorrow’s” first verse with McGarry’s repeating last line.
A killer lengthy tenor sax solo follows as Hammond organ punctuates the never-wavering strumming and drumming. Beckman sings the second verse.
McGarry repeats the last line as before. Alto sax solo follows, other instruments join in, low horns and organ chug away along with Hollenbeck’s constantly churning drums.
Beckman sings the final verse, and with McGarry, sings the last line “Meet you on that golden shore” 10 times! For the coda, organ, full orchestra, drums, vocalists go crazy, or as one critic put it, “Go Dixieland in the sixth dimension.” In other words, go free, like maybe Charlie Haden and the Liberation Orchestra.
Who could have imagined such an ending for a circa 1900 mountain folk song? John Hollenbeck, that’s who.
Free jazz originator Ornette Coleman’s “All My Life” originally sung by Indian singer-songwriter Asha Puhli in Coleman’s Science Fiction (1972) album is given a much different treatment by Hollenbeck.
Vocal honors to Kate McGarry, and what a lovely melody it is. At the outset, she sings over simple
piano accompaniment before the orchestra enters with a paraphrase. McGarry continues on with light orchestra backing, passing the baton to the band for a round of overlapping solos.
Then, with busy drums underneath, singer and orchestra carry the melody together, with the latter becoming progressively more dominant. The song ends with multiple instruments soloing.
Through it all, Ornette’s attractive melody is never far from listeners’ ears.
“Fall’s Lake,” a song from the indie-electronic artist Nubukazu Takemura featuring clarinet and distorted-sounding vocalists is not as interesting as the others. Too arty.
Hollenbeck’s song “Chapel Falls” closes the album in a relaxed mood. It starts with a repetitive piano figure underneath a sing-songy melody that is subsequently repeated by various sections of the band creating an ear-catching soundscape.
In essence, a mid-tempo toe-tapper, a good closer.
Bruce Hornsby | Camp Meeting | Legacy
This is not, repeat not, a novelty album — far from it.
Pop/country singer-pianist Hornsby can indeed play jazz piano, especially in the company of heavyweights Christian McBride (bass) and Jack DeJohnette (drums).
The trio tackles familiar themes from the jazz songbook — “Solar” (Miles), “Giant Steps” (Coltrane), “Straight No Chaser,” (Monk), “Un Poco Loco,” (Powell), “We’ll Be Together Again,” (Fischer/Lane), and two Hornsby originals. The album’s standout track is his “Camp Meeting”: a slow-building churchified romp worthy of FM radio play. The interplay between pianist and bassist is extraordinary.
Jazz Times critic Steve Greenlee commented, “The music stretches and contracts, it races, it gallops and It rumbles. It sounds like Keith Jarrett and Chick Corea and Bill Evans, all of them and none of them.”
Precisely, it sounds like Bruce Hornsby.
Andrew Hill | Passing Ships | Blue Note
In my opinion, the uniquely gifted Andrew Hill (1931–2009) never received his due as a jazz composer or pianist beyond the narrow jazz critical elite.
Regarding the former, people are quick to name Duke Ellington, Billy Stayhorn, Tadd Dameron, Charles Mingus, John Lewis, Thelonious Monk, Bill Evans, Benny Golson, Wayne Shorter for example, but never Andrew Hill.
Similarly, when bop and post-bop pianists are discussed, people will offer up the likes of Bud Powell, Horace Silver, Mal Waldron, Paul Bley, Cecil Taylor, and Carla Bley but never Andrew Hill.
This, even though he recorded 51 mostly highly rated albums (31 as leader featuring top-flight musicians) and even though he received many prestigious awards, for example DownBeat Hall of Fame, NEA Jazz Master, Jazz Journalist Association Lifetime Achievement, and the first Doris Duke Foundation Award for Jazz Composers. Andrew, it appears, was about as famous as Whistler’s father.
One last sad note, in Whitney Balliett’s voluminous 880-page Collected Works: A Journal of Jazz 1952–2001 there is not one mention of — you guessed it — Andrew Hill.
As for me, I fell in love with his 1960s Blue Note LPs (Black Fire, Smokestack, Judgement, Point of Departure, Compulsion) and one, Passing Ships, recorded in 1969 that was belatedly released on CD 34 years later.
Andrew surrounded himself with rhythm (Ron Carter, bass, Lenny White, drums) and six horns: (Woody Shaw and Dizzy Reese, trumpets), (Julian Preister, trombone), (Bob Northern, french horn), (Howard Johnson, tuba and bass clarinet), (Joe Farrell, soprano and tenor, and other winds) — a nonet performing seven original compositions.
This is a personal favorite even though it has obvious flaws. The recording and mixing are sub-par and Andrew’s arrangements for large ensemble are, while ambitious, sloppily executed at times (perhaps due to inadequate rehearsal time).
Andrew compensated for this by, as always, his appealing quirky, idiosyncratic compositions and outstanding soloing by everyone, especially Farrell, Shaw, and himself. Listen to the first tracks “Sideways,” “Passing Ships,” Plantation Bag,” and “Noontide.”
Ask yourself whether anyone of these compositions could make a hard bop playlist along with tracks by hard boppers Art Blakey, Horace Silver, Lee Morgan, Benny Golson, Jackie McLean, Donald Byrd, Bobby Timmons or Cannonball Adderley. You bet, most would, especially “Plantation Bag.”
Andrew Hill | Live at Montreux | Freedom
Live at Montreux (1975) is an excellent introduction to Andrew the solo pianist starting with the jagged, jaunty and delightful “Snake Hip Waltz” followed by the darker but still accessible “Nefertisus.”
The longest track on the album is the abstract and challenging yet entertaining eighteen-minute “Relativity.”
The pianist’s stylistic influences — stride, boogie-woogie, post-bop, and avant-garde are on full display. The album concludes with Andrew’s five-minute sketch of the melodic contours of Duke Ellington’s supreme contribution to the American hymnal “Come Sunday.”
The Faine jazz CD collection.
In part 1 of this blog series, I wrote about my collection of 440 jazz CDs I acquired from the mid-1980s to the present — the CD Era — noting that 124 of them consisted of multiple buys from 16 artists: 14 from trumpeter Miles Davis down to five each from saxophonists Cannonball Adderley, Ornette Colman, Chico Freeman, Charles Lloyd, and pianist Keith Jarett and Mal Waldron.
Starting here in part 2, I discuss in some detail personal favorites from the collection in no particular order.
Ella Fitzgerald | Ella in Berlin/Mack The Knife | Verve
William F. Lee’s Jazz Singers Biographical Dictionary claims Fitzgerald was considered by many to be the finest female jazz singer of all time.
Taken at face value (ignoring those who considered her a pop singer) evidence for “the finest female jazz singer ever” can be found in her famous “Song Book” albums where she recorded definitive studio orchestra versions of the American Songbook composers Berlin, Gershwin, Arlen, Ellington, Kern, Mercer, Porter, and Rodgers and Hart. But even more important are the many concert/nightclub stage recordings where her highness is backed by a small jazz combo.
In this regard, one only has to look no further than the best of the lot, Grammy-winning Ella in Berlin backed by the Paul Smith Quartet. Ella’s assured sense of rhythm and close rapport with the musicians is evident throughout, on the slow ballads as well as the virtuoso scat numbers. The program is superbly varied.
Thirteen songs equally divided between slow, medium, and up-tempo numbers.
Gershwin’s “Summertime” is sung straight with minimum vibrato, while his “Lorelie” is a slow tempo swinger.
On “Our Love Is Here to Stay” (Gershwin again) and personal favorite “Gone with the Wind” her instrumental phrasing comes to the fore, leaving little doubt that she is an ambrosial class singer; at times stuttering a word into three or four syllables, speeding up or slowing down a line, creating new interesting melodies while still paying homage to the source.
But it is “Mack the Knife” and “How High the Moon” that elevate this album to precious metal status, and likely entry into the Library of Congress National Recording Registry someday. Ella’s “Mack” surpasses both the Louis Armstrong and Bobby Darin versions. Hard to believe because she forgets the lyrics at the outset but continues by making up her own whimsical lyrics as she goes along, picking them out of the air — wonderin’ what’s the next chorus to this song now, somethin’ ‘bout cash, trash, you won’t recognize it, it’s a surprise it — even mentioning the prior Darin and Armstrong recordings, scatting a delightful imitation of Satch.
This four-minute lighthearted musical improvisation, believe it or not, won best song by a female at the 1960 Grammy Award.
And to think, the next song, the last one in the concert, topped Ella’s rendition of “Mack.” Her take on “High the Moon” is a masterclass in scatting. Few jazz singers, male or female, have come this close to perfection, considering that the racehorse tempo of “Moon” is sustained over seven minutes.
The Paul Smith Quartet deserves high praise for the stellar support throughout, especially pianist Smith and drummer Gus Johnson.
Keith Jarrett Trio | Somewhere | ECM
Keith Jarrett is one of the most widely admired jazz pianists on the planet — primarily known for his Koln Concert album, the best-selling solo album in jazz history.
The Koln did the trick for most, but for me, it was his Standards Trio albums with bassist Gary Peacock and drummer Jack DeJohnette.
Beyond reproach are the trio’s renditions of songs from the Great American Songbook (like “Blame It On My Youth,” “Body and Soul,” and “I Thought About You”) and the jazz repertory (“Woody ‘n You,” “Things Ain’t What They Used to Be,” and “Oleo”).
Especially beyond reproach are the occasional compositions of their own, typically mesmerizing trance-inducing vamps that for me were always an album highlight (like “The Cure,” on the The Cure, “Sunprayer” on Tribute One, and “U Dance” on Tribute Two). Perhaps the best of these appears on the 2013 album Somewhere.
Jarrett’s reading of the Leonard Bernstein–Stephen Sondheim “Somewhere/Everywhere” theme appropriately begins gentle and sublime, then at the five-minute mark of the 19-minute extravaganza, it gets “reconstructed and reshaped . . . into the driving, hypnotic improvisational ostinato coda Jarrett calls ‘Everywhere,’ with breathtaking chord voicings, forceful middle-register bass flourishes, and awe-inspiring tom-tom and cymbal work by DeJohnette; the track’s conclusion is drenched in royal gospel and regal blues” that fades into the distance, a chance for the audience to catch its breath before erupting into a rush of explosive shouts and applause.
The stage mic captures a round of laughter from the trio, as if to say, “How the hell did we pull this one off!”
Chico Freeman | Spirit Sensitive |
India Navigation
On Spirit Sensitive saxophonist Chico Freeman lends his pure sound and articulate relatable improvisations to 10 memorable songs composed by the following:
Great American Song Book composers Vernon Duke “Autumn In New York,” and Rodgers and Hart “It Never Entered My Mind,” as well as seven jazz musician composers: Thad Jones “A Child Is Born,” pianists Duke Ellington “Don’t Get Around Much Anymore” and Horace Silver “Peace,” bassist Cecil McBee “Closer to You Alone,” guitarist Luis Bonfa “Carnival,” singer Patti Austin “You Don’t Have to Say You’re Sorry,” and tenor saxophonist John Coltrane “Lonnie’s Lament” and “Wise One.”
All the jazz songs (save for those by Coltrane) have lyrics and are a testimony if you will, to their euphoniousness.
Freeman plays tenor on all of the above, except for “You Don’t Have to Say.” Chico is sensitively supported by bassist Cecil McBee, pianist John Hicks, and drummer Billy Hart, although the drums appear to be improperly recorded, the only flaw on the album.
Drum issue aside, this is one of the most beautifully realized albums. It starts with quality material and proceeds with masterful interpretations.
Perhaps I am overly biased in my opinion here, largely because (truth be told) my absolute favorite song is Patti Austin’s “You Don’t Have to Say You're Sorry,” and my favorite instrumental version is by Chico Freeman.
I first took notice of Austin in 1976 upon the release of her first album, End of the Rainbow, with the self-composed “You don’t have to say you’re sorry / but I sure do wish you would.”
I have played the song numerous times over the years and bought the album for friends. Chico plays it on soprano saxophone with minimal but perfectly placed jazz flourishes.
Tearfully gorgeous. Ms. Austin, I’m certain, would agree.
Darcy James Argue | Infernal Machines |
New Amsterdam
Spring 2009 saw the release of Infernal Machines by Darcy James Argue, composer/conductor of an 18-person swing-size big band called Secret Society (five winds, five trumpets/fluegelhorns, four trombones and four rhythm — drums along with acoustic and electric piano, guitar and bass.)
But Glen Miller, Tommy Dorsey it was not, nor was it ’50s Stan Kenton, ’60s Don Ellis, or even ’90s Maria Schneider. But what was it?
No ordinary big band album, that’s for sure. But critics loved it, though some struggled a bit to describe it.
To me, Machines offered a cornucopia of sounds, some familiar, some not, some loud, some soft, floating above shifting rhythms with an overall steady pulse.
Karl Ackerman (All About Jazz) said it more succinctly: “The sound is both complex and nuanced at the same time.” He also said, “Each influence blends seamlessly into the next without disrupting the content of the piece” — in effect, “a blending of new classical, indie rock and jazz.”
Larry Blumenthal (Wall Street Journal) described the band as “elegant in its combination of disparate influences from distorted electric guitar to magisterial wind instrument arrangements to minimalist rhythms.”
I concluded that Argue’s writing reflected the whole of contemporary music, as he sees it, into big band music for today.
Machines is art music created by an exceptionally talented composer/arranger executed by extraordinary competent musicians that remains as fresh and revolutionary today as when it was recorded. Argue’s debut album therefore belongs in every jazz fan's collection.
It telleth the future.
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[
"Tom Skipper",
"View my complete profile"
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A blog about the adventure of searching for classic vinyl LPs and a discussion of albums and artists and how disks came to be in my collection.
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https://vinyldiscovery.blogspot.com/favicon.ico
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https://vinyldiscovery.blogspot.com/2021/09/
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https://www.freshsoundrecords.com/chico-hamilton-albums/5421-plays-south-pacific-ellington-suite-2-lps-on-1-cd.html
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Plays South Pacific & Ellington Suite (2 LP on 1 CD)
|
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Buy Plays South Pacific & Ellington Suite (2 LP on 1 CD) by Chico Hamilton on Blue Sounds Store. Released by Fresh Sound Jazz City Series.
|
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/img/favicon.ico?1718181534
|
Blue Sounds
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https://www.freshsoundrecords.com/chico-hamilton-albums/5421-plays-south-pacific-ellington-suite-2-lps-on-1-cd.html
|
THIS PRODUCT IS NOT AVAILABLE FOR SALE IN THE U.S.
Includes a 16-page booklet with accurate recording details, original liner-notes and rare photos.
The Chico Hamilton Quintetin the first of the two albums included reshapes eleven pieces of the popular Broadway show South Pacific into new patterns of sound and rhythm. Chico explained that they had kept the jazz sounds wherever we felt there should be jazz. The tunes were extremely difficult to arrange because the majority were both good and simple; one of the hardest things in music is to retain simplicity. The arrangements of Paul Horn, Hal Gaylor, John Pisano, Carson Smith and Calvin Jackson left us one of the happiest renditions of this show.
On the second album, the original Hamilton quintet, plus Paul Horn, reunited to play a fine collection of Ellington originals with the understanding and rare perspicacity only they could provide. The group operates entirely within a flexible framework, provided by Carson Smiths arrangements. The men are all highly capable, and the solo work is very good. Buddy Collette's tenor and Jim Halls lucid guitar are great assets to this set. Ellington's subject matter, combined with Hamilton's brilliant colors, produced a set that is as delightful as it is intriguing.
All the music you will find here is attractive and very much alive; you have two fabulous groups led by Hamilton to thank for it.
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https://www.udiscovermusic.com/uncategorized/the-50-greatest-live-jazz-albums/
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The 50 Greatest Live Jazz Albums
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[] |
[
""
] | null |
[
"Richard Havers And Charles Waring"
] |
2023-09-25T03:58:01+00:00
|
Jazz played in a concert hall or a club is, for many, the pinnacle of the art form. Here are the 50 best live jazz albums of all time.
|
en
|
uDiscover Music
|
https://www.udiscovermusic.com/uncategorized/the-50-greatest-live-jazz-albums/
|
For many of us, live jazz is the best way to hear jazz. The unbridled spontaneity of brilliant musicians at the very top of the game, improvising and spurring each other on to greater creative heights… What could be better? It was what Norman Granz, the man behind the Jazz At The Philharmonic concert series, believed. He loved hearing “jazz in the moment,” and his concert series, collected on some of the world’s best live jazz albums, allowed so many to hear jazz for the first time outside of smoky clubs and in concert halls.
The JATP concerts were regularly recorded and they are well represented here, none finer than the 1946 concerts featuring Charlie Parker and Lester Young, the old school and the new school. Then there’s Gene Krupa & Buddy Rich at JATP in 1952 sharing the mother of all drum battles. But jazz played in the setting of an intimate club is also wonderful, whether it be at The Village Vanguard, Mr Kelly’s, The Lighthouse, The Five Spot, or Birdland just to name a few.
Below, we have selected the 50 best live jazz albums, and while they are not in any particular order, we have featured what we think are some of the greatest examples of jazz played live, records that should be in everyone’s collection.
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Art Blakey Quintet: A Night At Birdland (Blue Note, 1954)
Famed for his volcanic press roll and swashbuckling polyrhythmic prowess, powerhouse drummer Blakey was at the forefront of a driving, blues-inflected style of jazz known as hard bop, whose origins can be traced back to this scintillating live album recorded in the legendary Big Apple venue dubbed the “Jazz Corner of the World.” Blakey, who went on to lead The Jazz Messengers, fronts an all-star band comprising Horace Silver, trumpeter Clifford Brown (who would perish in a car accident a year later) and alto saxophonist Lou Donaldson. Propelled by Blakey’s superior sense of swing, the quintet is in inspired form, blasting their way through propulsive uptempo numbers and shimmering on quiet ballads.
Key track: “A Night In Tunisia”
Grant Green: Live At The Lighthouse (Blue Note, 1972)
St. Louis-born guitar maestro, Green, was 36 when he recorded this double LP, his second and best in-concert recording for Blue Note (his first was Alive, released two years earlier). Though he had begun as an adherent of the hard bop school in the early 1960s, Green became a disciple of funk as the decade progressed. Recorded at a famous west coast jazz venue located at Hermosa Beach, California, Green and his six-piece band (including The Crusaders’ Wilton Felder on bass) are in combustible form. The undoubted highlight is an incendiary 12-minute version of jazz keyboardist Neal Creque’s breezy tune, “Windjammer,” which is taken at breakneck speed. Sadly, it would prove Green’s final offering for Blue Note and five years later, he would be dead at 43.
Key track: “Windjammer”
Benny Goodman: Live At Carnegie Hall (Columbia, 1950)
One of America’s most hallowed classical music venues, New York’s Carnegie Hall controversially played host to swing king and virtuoso clarinetist Goodman in January 1938, thus giving jazz a newfound sense of both legitimacy and respectability. Playing in Goodman’s band that night were vibraphonist Lionel Hampton, trumpeter Harry James, and drummer Gene Krupa and there were also cameos by Count Basie, Lester Young, and Johnny Hodges. The concert was first issued on double LP in 1950 and was instantly hailed as a classic. It captures a momentous moment at the zenith of the swing era when jazz was finally being recognised as a serious art form. And it also swings like crazy – just take a listen to the whirling “Sing Sing Sing” where wild solos are juxtaposed with disciplined ensemble work.
Key track: “Sing Sing Sing”
Stanley Turrentine: Up At Minton’s (Blue Note, 1961)
Fronting a quintet (including guitarist Grant Green and pianist Horace Parlan), tenor saxophonist, Turrentine, gets into an easy-swinging soulful groove on this live collection of jazz standards recorded at a famous Harlem venue in February 1961. Turrentine had only made his recording debut the previous year but sounds like an assured master here; his robust but tender horn pouring out rivers of melody over foot-tapping backbeats powered by the lethal combination of George Tucker’s bass and Al Harewood’s drums. Soul jazz at its finger-clicking best.
Key track: “But Not For Me”
Dave Brubeck Quartet: Jazz At Oberlin (Fantasy, 1953)
During his long career, this Californian pianist/composer who liked to dabble with unorthodox time signatures, recorded a plethora of live albums but this was undoubtedly one of his best. It was recorded in front of a largely student audience at Ohio’s Oberlin college with Brubeck leading a quartet that included alto saxophone sensation Paul Desmond, whose cool yet effervescent delivery (which he likened to a dry martini) came to define the Brubeck sound. At the time, Brubeck’s drummer, Lloyd Davis was ill, suffering with a temperature of 103 degrees, but you wouldn’t guess it listening to the assured nature of this performance. This live album was a significant early manifestation of what became known as cool jazz, where the fire of bebop was doused and replaced by a sense of emotional detachment and restraint. The album also singled out Brubeck as a sui generis pianist with a distinctive, clunky style.
Key track: “Perdido”
Eric Dolphy: Live At The Five Spot (New Jazz, 1961)
A leading light in the free jazz movement of the early 1960s, reed master Eric Dolphy’s moment in the spotlight was a tragically short one (he died in 1964 while on tour in Europe aged 36 in mysterious circumstances). After two studio albums for Prestige’s New Jazz imprint, Dolphy was recorded live in July 1961 at New York’s Five Spot co-leading a quartet with trumpeter Booker Little that included pianist Mal Waldron and Ornette Coleman’s drummer Ed Blackwell. Dolphy alternates between alto sax, clarinet, and flute, displaying a virtuosic fluency in the argot of each instrument while pushing the boundaries of bebop to breaking point with rabid, discursive solos that are striving to break tradition and find a new mode of expression in jazz. Two more volumes of Dolphy’s Five Spot performances were released after his death.
Key track: “The Prophet”
Charles Mingus: Mingus In Antibes (Atlantic, 1960)
Though recorded in July 1960, this performance at a French jazz festival by Mingus and his quintet (which featured Eric Dolphy) didn’t surface commercially until 1974 when part of the performance was issued by the BYG label in Japan as Charles Mingus Live With Eric Dolphy. The complete concert eventually came out two years later in the USA as a double LP via Atlantic with a new title: Mingus In Antibes. It captures the Arizona composer/bassist at the peak of his powers and features indelible performances of some of his key tunes, including “Wednesday Night Prayer Meeting” and “Better Get Hit In Your Soul.” Legendary bebop pianist, Bud Powell, then living in France, augments the band on a lively reading of the jazz standard, “I’ll Remember April.”
Key track: “Better Get Hit In Your Soul”
Miles Davis and Quincy Jones: Miles And Quincy Live At Montreux (Warner Bros, 1993)
Miles Davis’ final recorded performance – he would die two months later aged 65 – was this one captured in Switzerland at the Montreux Jazz Festival on July 8, 1991. What’s remarkable is that for the only time in his life, Miles decided to go against his forward-looking principles and revisit his past by reviving the big band music he had done with Gil Evans in the late 50s and early 60s. Miles’ trumpet, burnished yet delicate, possesses a tone that seems to underscore the poignancy of the occasion, and is beautifully-framed by lush arrangements from an orchestra conducted by Quincy Jones. A final, fleeting, glimpse of the “Dark Magus” at work.
Key track: “Summertime”
Pat Metheny Group: Travels (ECM, 1983)
Having played with everyone from David Bowie to Joni Mitchell and Ornette Coleman, guitar magus Metheny is a chameleonic musician whose talent and appetite for music knows no limits. A prolific recording artist with almost fifty albums to his name, the Missouri multi-Grammy winner’s first live album was this one, recorded on the road with his fusion-oriented eponymous band (augmented by Brazilian percussionist/singer Nana Vasconcelos) in the USA during 1982. The killer cut is an inspired rendition of “Are You Going With Me,” regarded as Metheny’s signature song, which finds the fretboard maestro playing stratospheric melodic lines through a guitar synth. Keyboardist Lyle Mays also has a starring role, impressing with his blend of technique and sensitivity.
Key track: “Are You Going With Me”
Stan Getz: At The Shrine (Norgran, 1955)
Recorded at Los Angeles’ Shrine Auditorium in November 1954, Getz’s first ever live album was this one, released by producer Norman Granz on one of two small labels he founded before starting Verve two years later. Getz was already making a name for himself on the US west coast with his silky, sinuous tenor saxophone sound which put him in the vanguard of the Californian cool school. Getz, who leads a quintet bolstered by the presence of noted trombonist Bob Brookmeyer, runs through an eight-song repertoire whose highlights include the jaunty “Feather Merchant” and a haunting take on the jazz standard, “Lover Man.”
Key track: “I’ll Remember April”
Louis Armstrong & The All Stars: Satchmo At Symphony Hall (Decca, 1947)
Louis Armstrong was 46 when he recorded this album but he was far from a spent force even if the bebop revolution was well under way. A revival of public interest in traditional New Orleans jazz during the 1940s combined with the decline of big bands led him to form a small touring group he dubbed The All Stars, which he ran for many years (its members during its several incarnations included pianist Earl ‘Fatha’ Hines and trombonist Jack Teagarden). Though recorded at Boston’s Symphony Hall on November 30th 1947, the concert didn’t see daylight on LP until 1951, when it was issued as a double album. Armstrong is in scintillating form as both a horn player and vocalist. The spirit of old New Orleans is summoned by a wonderful rendition of “Mahogany Stomp,” that surges with contrapuntal vigor. There’s also an affecting version of “The Sunny Side Of The Street,” which, despite its title, is rendered as a mournful moment of reflection, topped off with a poignant vocal from Satchmo.
Key track: “Mahogany Stomp”
Various Artists: Jazz At Hollywood Bowl (Verve, 1956)
This enthralling live album, recorded in front of 20,000 people, captured the first ever official jazz concert at the Hollywood Bowl, a venue usually reserved for classical music. The event was the brainchild of jazz impresario, Norman Granz, famed for his groundbreaking Jazz At The Philharmonic concerts. He corralled the best talents in the jazz world for the Hollywood Bowl gig, roping in Ella Fitzgerald (whom he managed and had just signed to his Verve label) and Louis Armstrong, plus pianists Art Tatum and Oscar Peterson as well as noted hornblowers Roy Eldridge and Illinois Jacket with Buddy Rich on drums. Fitzgerald’s set includes her hilarious impersonation of Satchmo, who joins her at the finale for a couple of memorable duets. An expanded version of the concert was issued in 2011 by Verve/Hip-O Select.
Key track: “Airmail Special”
Frank Sinatra & Count Basie: Sinatra At The Sands (Reprise, 1966)
‘Ol’ Blue Eyes’ had already cut two studio albums with the Basie band earlier in the 60s (62’s Sinatra-Basie: An Historic Musical First and 64’s It Might As Well Be Swing, both on Reprise) but this double LP from 1966 offered a vivid portrait of the dynamic duo performing live at The Sands hotel/casino in Vegas. Backed by the super-slick, hard-swinging Basie band, the ‘Chairman Of The Board’ is in top form – even his stage patter and lame jokes are funny – serving up turbo-charged versions of some of his classic tunes, including a soaring “Come Fly With Me” and a horn-heavy “I’ve Got You Under My Skin.” This was Sinatra’s first official live album and quickly went gold. More importantly, it affirmed that the boy from Hoboken could still deliver the goods at the age of fifty.
Key track: “Fly Me To The Moon”
Benny Carter: Live And Well In Japan! (Pablo, 1978)
A versatile, multi-talented instrumentalist (he could play alto sax, trumpet, and clarinet equally well), Bennett Lester Carter was four months shy of his 70th birthday when he performed at Kosei Nenkin Hall in Tokyo on April 29, 1977. The concert was recorded and released by jazz impresario Norman Granz on his Pablo label a year later. Though in his twilight years, Carter, who alternates between trumpet and sax, shines brightly; his horns framed by sublime, swinging arrangements from an ace nine-piece band that includes guitarist Mundell Lowe and Duke Ellington trumpeter, Cat Anderson. His tribute to Louis Armstrong, a medley of “When It’s Sleepy Time Down South,” “Confessin’ That I Love You,” and “When You’re Smiling,” has the effusive Japanese audience clapping along joyfully.
Key track: “Them There Eyes”
The Ornette Coleman Trio: At The Golden Circle, Stockholm Volumes 1 & 2 (Blue Note, 1966)
The bête noir of the free jazz movement, Ornette Coleman first recorded for the LA-based Contemporary label in 1958 before landing at New York’s Atlantic Records a year later armed with a plastic saxophone where he shook the jazz world to its core with records like The Shape Of Jazz To Come. In 1965, the saxophonist joined Blue Note, who released two live albums of entirely original material in quick succession that captured Coleman and his trio (with bassist David Izenzon and drummer Charles Moffett) playing two nights at Stockholm’s Gyllene Cirkeln club in December 1965. Both concerts found Coleman alternating between alto sax, violin, and trumpet, all of which he played in an unorthodox and experimental fashion; where texture, tone and feeling superseded conventional concepts of melody and harmony.
Key track: “Faces And Places”
John Coltrane: Live At Birdland (Impulse!, 1964)
This, Coltrane’s second live LP with his classic quartet for Impulse! contained five tracks, but only three of them were actually recorded in-concert at New York’s famous Birdland club. Taking up side one of the album were the saxophonist’s live versions of Mongo Santamaria’s “Afro Blue” – an uptempo modal offering with Trane on soprano sax – and Billy Eckstine’s ballad, “I Want To Talk About You” (which the saxophonist had recorded on one of his earlier Prestige albums). Side two of the LP opened with the uptempo “The Promise,” which was then followed by two studio recordings from November 1963. The best of them was a haunting piece called “Alabama,” Coltrane’s musical response to a church bombing by white supremacists in Birmingham, Alabama, in which four children were killed. It remains one of Coltrane’s most potent compositions.
Key track: “Alabama”
Miles Davis: Birdland (Blue Note, 1951)
Though the muffled sound quality of this album – compiled from live radio broadcasts spanning February to September 1951 – will appall audiophiles, what does shine through clearly is the incendiary performance of Miles Davis and his accompanying musicians (which include Art Blakey, Sonny Rollins, Eddie ‘Lockjaw’ Davis, and Charles Mingus). Miles and his crew are on fire, as they romp through early bebop material, including “Move,” “Tempus Fugit” and “Half Nelson.” The recordings exchanged hands as much-sought-after bootlegs for many years and didn’t get an official release until 2004. For Miles enthusiasts, it’s a must-own album as it captures him at a crucial point in his evolution as a bandleader.
Key track: “Down”
Kenny Dorham: Round About Midnight At The Cafe Bohemia (Blue Note, 1956)
From Fairfield, Texas, Dorham (1924-1972) was an important trumpeter in the bebop era – he was also briefly a member of Art Blakey’s Jazz Messengers – though his contribution to jazz has often been overlooked. This was Dorham’s first live album and the second of five LPs he cut for Alfred Lion’s Blue Note label during the years 1955-1964. Dorham leads a quintet that includes tenor saxophonist J. R. Montrose and pianist Bobby Timmons on a mixture of original material and standards. The overall vibe is a fairly relaxed one, with the uptempo material swinging blithely. Dorham’s sublime version of Thelonious Monk’s classic tune, “Round Midnight,” highlights his extraordinary sensitivity with ballads. The original 6-song LP was expanded into 17-tracks for the 2002 complete edition CD reissue.
Key track: “Round Midnight”
Stephane Grappelli: Tivoli Gardens, Copenhagen, Denmark (Pablo, 1980)
On July 6th 1979, noted producer and Pablo founder, Norman Granz, decided to capture veteran French violin virtuoso, Grappelli, then 71, playing in a trio configuration with American guitarist Joe Pass and renowned Danish bass player, Niels-Henning Ørsted Pedersen. The end result was eight songs (all well-loved standards, including absorbing renditions of Cole Porter’s “I Get A Kick Out Of You” and George & Ira Gershwin’s “I Can’t Get Started”) and 43 minutes of spellbinding performances that melded dazzling improv with intuitive group interplay. Listen out in particular for the frenetic-paced “Crazy Rhythm,” which swings with wild abandon.
Key track: “Crazy Rhythm”
Billie Holiday: The Essential Billie Holiday: The Carnegie Hall Concert (Verve, 1962)
Recorded live at New York’s celebrated classical music venue, Carnegie Hall, in November 1956 – two and a half years before her death at the age of 44 – this album wasn’t issued in Holiday’s lifetime and was released three years after her passing. Though her voice had lost its richness by the late 50s and possessed a thinner timbre, to compensate it had gained a deeper sense of emotional expression. She’s on magnificent form on twelve songs that include some of her most memorable tunes; including “Lady Sings The Blues,” “Don’t Explain,” and “Body & Soul.” She’s backed by a quartet that features guitarist Kenny Burrell and drummer Chico Hamilton. The CD reissue of the album included New York Times writer, Gilbert Millstein, narrating passages taken from Holiday’s autobiography, Lady Sings The Blues, which appeared in the original concert but were omitted from the LP.
Key track: “Lady Sings The Blues”
Diana Krall: Live In Paris (Verve, 2002)
This sultry-voiced Canadian chanteuse revived interest in vocal jazz in the late 1990s and early 2000s with a series of tasteful, carefully-crafted, Tommy LiPuma-helmed studio albums that conquered the mainstream pop charts (they included When I Look In Your Eyes, and The Look Of Love). Recorded in the ‘City of Light’s’ famous Olympia venue at the end of 2001, Live In Paris found Krall leading a quartet that was occasionally augmented by a symphony orchestra. As well as being in fine form vocally, Krall plays some deft piano and also shows that she can swing as well as she can deliver ballads. Highlights range from a sensuous remake of Bacharach-David’s “The Look Of Love” to a jazz-infused take on fellow Canadian Joni Mitchell’s “A Case Of You.”
Key track: “I’ve Got You Under My Skin”
Gene Krupa & Buddy Rich: At JATP: The Drum Battle (Verve, 1960)
Far from being a deafening, high-decibel din that one might expect from two virtuoso and purportedly egotistical tub-thumpers at the top of their games, this 6-song LP recorded live at New York’s Carnegie Hall in 1952 – as part of Norman Granz’s Jazz At The Philharmonic series of concerts – offered much more than combative drum solos. This was the first time that 43-year-old Krupa and 35-year-old Rich had played together and despite their competitive rivalry, they put the music first, rather than their egos, in a memorable concert that also features a cameo from Ella Fitzgerald as well as stellar contributions from Lester Young, Oscar Peterson, Roy Eldridge, and Benny Carter.
Key track: “Drum Boogie”
Shelly Manne & His Men: At The Black Hawk (Contemporary, 1960)
Though he was born in New York, drummer Sheldon ‘Shelly’ Manne moved to Los Angeles in the 50s and became associated with the west coast “cool school” scene. In September 1959, during a residency at San Francisco’s Black Hawk club, his quintet (including Victor Feldman on piano, who would later work with Cannonball Adderley and Miles Davis) were recorded by Contemporary’s owner, producer Lester Koenig. It resulted in this sublime LP, whose highlights included a ravishing rendition of George Gershwin’s ballad, “Summertime,” spotlighting Joe Gordon’s delicate muted trumpet and Richie Kamuca’s lyrical tenor saxophone. Contemporary later released three more albums culled from the group’s Black Hawk performances.
Key track: “Summertime”
John McLaughlin: The Heart Of Things: Live In Paris (Verve, 2000)
Britain’s Doncaster-born jazz-rock avatar was 56 in November 1998 when he performed at Paris’ Le Cigale venue with a band that included saxophonist Gary Thomas, bassist Matthew Garrison, and drummer Dennis Chambers. Heart Of Things was his studio album at the time and although he played three tracks from it here (including the fluid opener, “Seven Sisters”), this performance wasn’t issued until three years later. McLaughlin displays the fleet-of-finger fretboard prowess that has become his trademark but it’s allied with sensitivity and, on the reflective “Fallen Angels,” where his guitar intertwines with Gary Thomas’s plaintive sax, he displays an aching, heartfelt lyricism.
Key track: “Mother Tongues”
The Modern Jazz Quartet: The Last Concert (Atlantic, 1975)
Originally a sprawling double album, this LP documented the final gig on November 25th 1974 of one of jazz’s coolest quartets, who rose to fame in the 1950s when they famously married bebop with the aesthetics of classical chamber music. Led by Milt Jackson’s crystalline vibraphone tones, the group bow out in fine style as they serve up a mixture of classic original tunes (“Django” and “Bag’s Groove”) and jazz standards (“Summertime”) at New York’s Avery Fisher Hall. For many, the set’s standout is a shimmering version of Thelonious Monk’s ballad, “Round Midnight.” Atlantic released a further LP of material culled from the performance as More From The Last Concert, and later combined both into a 2-CD package called The Complete Last Concert.
Key track: “Round Midnight”
Gerry Mulligan and The Concert Jazz Band: At The Village Vanguard (Verve, 1960)
Like Shelly Manne, baritone sax specialist, Mulligan, was a New Yorker who became a key architect of the west coast “cool” jazz sound. This live album, recorded in the Big Apple’s legendary Village Vanguard venue in December 1960 came in the wake of Mulligan’s critically acclaimed Verve studio album, The Concert Jazz Band, showcasing a large ensemble featuring trombonist Bob Brookmeyer. For this live performance, Mulligan augmented the 11-piece band with trumpeter Clark Terry. The material is mostly drawn from the standard repertoire, but the arrangements – where inventive solo passages are framed by tightly-knit arrangements and cohesive ensemble playing – are anything but standard.
Key track: “Black Nightgown”
The Oscar Peterson Trio: At The Concertgebouw (Verve, 1958)
A Dutch jazz fan recorded Peterson together with guitarist, Herb Ellis, and bassist Ray Brown when they appeared in Amsterdam’s Concertgebouw venue in the spring of 1958 and then offered the tapes to Norman Granz, Peterson’s manager and producer. Granz released eight songs from the concert later the same year on his Verve label claiming that the performances contained “some of the most exciting trio music I’ve heard in years.” The material ranges from standards (“The Lady Is Tramp” and “I’ve Got The World On A String”) to bebop tunes (Milt Jackson’s “Bag’s Groove” and Miles Davis’s “Budo”); each impeccably rendered by Peterson’s trio, whose musical interplay is exquisite.
Key track: “The Lady Is A Tramp”
Jimmy Smith: Groovin’ At Smalls’ Paradise (Blue Note, 1958)
Hammond hero, Jimmy Smith, wasn’t the first jazz organist but such was his talent that he became a key figure in helping the instrument being taken seriously within a jazz context. Smith made his recording debut in 1956 for Blue Note and quickly became the label’s best-selling recording artist; by the time he recorded Groovin’ in late 1957 at New York’s Small’s Paradise, he already had twelve LPs under his belt. Listening to this sizzling live set, which was released in two separate volumes, it’s not hard to see why Blue Note were releasing a lot of Smith albums in the late ’50s; in addition to being a showman who dazzled with his jaw-dropping technique, he also knew how to cook up a simmering, succulent groove that got feet tapping. Supported by guitarist Eddie McFadden and drummer Donald Bailey, he offers as the centerpiece an insanely fast but fluent version of bebop trumpeter Dizzy Gillespie’s “The Champ.”
Key track: “The Champ”
Weather Report: Live In Tokyo (Columbia, 1972)
As this thrilling in-concert album confirms, Joe Zawinul and Wayne Shorter’s fusion supergroup were making challenging and intense avant-garde-tinged music in their early days together. Powered by the kinetic polyrhythms of drummer Eric Gravatt and the grinding bass of Miroslav Vitous, the quintet (which also boasted Brazilian percussion maven, Dom Um Romao) interact onstage in an almost telepathic way so that the music just keeps flowing in a purely spontaneous manner. Originally only available in Japan, Live In Tokyo was issued as a double LP and contains five long tracks, four of which are medleys. Though Joe Zawinul was renowned for his synth playing – which helped define Weather Report’s sound from the mid-70s onwards – here he plays acoustic and electric piano, the latter modified by a ring modulator effect.
Key track: “Medley: Eurydice/The Moors”
Mary Lou Williams Trio: Mary Lou Williams Trio At Rick’s Cafe Americain (Storyville, 1999)
A prolific composer and arranger who worked with Duke Ellington, Benny Goodman, and Dizzy Gillespie, Atlanta-born pianist Williams recorded this album at a Chicago club just two years before her death in 1981 aged 71. Assisted by Milton Suggs on bass and drummer, Drashear Khalid, who offer sterling support, Williams breezes her way through a repertoire composed of standards and classic jazz numbers including material by Duke Ellington and Billy Taylor. Though she made her first recordings far back in the 1920s, this concert shows that Williams was no stranger to the argot of bebop and was a dexterous and sensitive pianist well-versed in modern jazz as well as its older forms.
Key track: “The Jeep Is Jumping”
Various: Jazz At The Philharmonic Bird & Pres: The ’46 Concerts (Verve, 1977)
Entrepreneur Norman Granz’s all-star Jazz At The Philharmonic (JATP) concerts helped to give jazz an aura of respectability in the 1940s and also took the music to a much wider audience. Charlie Parker and Lester Young were the stars of a series of 1946 concerts that weren’t officially released until 1977. Both horn players are at the top of their respective games on nine tracks selected from three JATP concerts that include a stupendously swinging version of the Gershwin brothers’ “Oh Lady Be Good.” With a stellar supporting cast comprising Buddy Rich on drums, Coleman Hawkins on tenor sax, and Buck Clayton and Dizzy Gillespie on trumpet, top quality jazz is guaranteed.
Key track: “I Got Rhythm”
Bill Laurance: Live At Union Chapel (Ground UP, 2016)
Though a member of acclaimed Grammy-winning US neo-fusion band, Snarky Puppy, keyboardist Laurance hails from London. His solo albums have a style all their own, melding cinematic soundscapes with jazz improv, classical music elements, and funkafied grooves. This, his third album, recorded at London’s Union Chapel venue in May 2015, finds him revisiting material from his previous two studio albums (Flint and Swift) in the company of Snarky Puppy’s bassist Michael League and drummer Robert ‘Sput’ Seawright; and, to add extra gloss and a touch of grandeur, there’s also a full orchestra. The end result is an enthralling concert that reflects the eclectic nature of contemporary jazz.
Key track: “December In New York”
Snarky Puppy: Sylva (Impulse!, 2015)
Founded by bass player and composer/arranger, Michael League, Snarky Puppy is a Grammy-winning collective that released its first album in 2005. Able to fuse different musical threads together into a homogenous tapestry of sound, their unique style draws on jazz, funk, and R&B. Several of the band’s members – including keyboardists Bill Laurance and Cory Henry – have released solo projects but remain an integral part of the group’s sonic identity and loyal to the collective’s cause. Sylva was recorded live in Dordrecht, Holland, in April 2014 and is an exciting collaboration with Metropole Orkest, a long-running non-classical Dutch orchestra under the baton of arranger, Jules Buckley. The latter’s widescreen arrangements bring an epic dimension to the band’s music. The album picked up the Grammy for Best Contemporary Instrumental Album in 2016.
Key track: “Atchafalaya”
Thelonious Monk Quartet With John Coltrane: At Carnegie Hall (Blue Note, 2005)
This was recorded in November 1957 but only came to light after being discovered in the US Library of Congress 48 years later. It documents a time when Coltrane was making a comeback with Monk after being fired from Miles Davis’ band for drug and drink-related problems earlier in the year. After freeing himself from his addictions for good, Coltrane joined Monk’s quartet, and though he initially found the pianist/composer’s music replete with tricky melodies and chord changes, he soon became adept at playing Monk’s material. Just how good the reborn Coltrane had become is illustrated by this fabulous concert, a vivid snapshot of two, but very different, jazz geniuses at work.
Key track: “Nutty”
Cecil Taylor: Live At Cafe Montmartre (Debut, 1963)
A leading light of American avant-garde music, the late Cecil Taylor was a pianist who found gigs hard to come by in the USA during the 60s and 70s due to the challenging nature and uncompromising atonality of his music. Certainly, in a live setting, Taylor could create a disturbing noise to the ears of the uninitiated, but as this classic album, recorded in Denmark in late 1962 shows, the visceral power of his unique sound could not be denied. Here, he’s joined by saxophonist, Jimmy Lyons, and drummer, Arthur Murray, who offer strong support to Taylor’s startling improvisations.
Key track: “Trance”
Ahmad Jamal: But Not For Me: Live At The Pershing (Argo, 1958)
Renowned for his delicate, pianissimo touch and judicious use of space, pianist Jamal rose to fame in the 1950s leading a trio comprising bassist Israel Crosby and drummer Vernel Fournier. This was the first of many live albums by Jamal and also his debut for Chess Records’ Argo subsidiary. It was recorded at Chicago’s Pershing Hotel and includes two of his signature songs; a warp-speed “The Surrey With The Fringe On Top,” and an exotic meditation called “Poinciana.” Though Jamal’s sound was dismissed by some critics as mere cocktail lounge music, the album went on to become a resounding success commercially, selling over a million copies.
Key track: “Poinciana”
Anita O’Day: At Mr Kelly’s (Verve, 1958)
Accompanied by a telepathic trio – who seem to anticipate the singer’s every move and offer sensitive musical support throughout – 39-year-old O’Day is in spectacular form on this live album recorded at a famous Chicago nightspot in April 1958. Adept at both swinging uptempo and slow, seductive ballad material, O’Day also injects some fun and irreverence into the proceedings with the inclusion of novelty items like “Varsity Drag” and “Tea For Two”; the latter taken at a near-suicidal breakneck speed and showing off her ability to scat and improvise like a horn player. Though O’Day was labelled the ‘Jezebel of Jazz’ for her wild lifestyle and drugs offences, this live album showed that her phenomenal musical talent deserved to make the newspaper headlines rather than her offstage antics.
Key track: “Tea For Two”
Nina Simone: In Concert (Philips, 1964)
The tempestuous and unpredictable Nina Simone was a magnetic stage performer who released many live albums during her life though this one, her debut for the Philips label, is arguably the best. It was compiled from three nights at New York’s Carnegie Hall in the spring of 1964 and opens with a plaintive rendition of “I Loves You Porgy,” one of Simone’s signature songs. Elsewhere though, Simone offers three notable self-penned songs (“Old Jim Crow,” “Go Limp,” and “Mississippi Goddam”) that offer a chilling critique of racial prejudice in America. In Concert marked Simone’s metamorphosis into a protest singer during one of the most turbulent periods of the Civil Rights era while also underlining her genius as an edgy and uncompromising live performer.
Key track: “Pirate Jenny”
Dinah Washington with Clifford Brown: Dinah Jams (Emarcy, 1954)
With her crisp, declamatory tone and clear diction, the incomparable “Miss D” possessed a distinctive sound that meant she was never mistaken for another singer. She’s at her imperious best on this live studio session recorded in front of an audience in Hollywood on August 14, 1954 in tandem with rising bebop trumpet star, Clifford Brown. Though she was influenced by Bessie Smith and was dubbed “Queen of the Blues,” this live album shows that Washington could sing jazz with both verve and élan. The vibe is relaxed but there’s some terrific interplay between her and Brown, while the stellar backing band – featuring Maynard Ferguson, Max Roach, Harold Land, and Junior Mance – provides dynamic accompaniment throughout.
Key track: “Lover Come Back To Me”
Dave Grusin Presents GRP All-Star Big Band: Live! (GRP, 1993)
The “G” in GRP Records, pianist Dave Grusin leads a star-studded 17-piece ensemble recorded in concert at Tokyo’s Gotanda Kan-i Hoken Hall in January 1993. Featuring the talents of some of contemporary jazz’s leading musicians – including saxophonist/arranger Tom Scott, trumpeter Arturo Sandoval, vibraphonist Gary Burton, bassist John Pattitucci, and drummer Dave Weckyl – the band offers thrilling widescreen arrangements of nine jazz standards, including Sonny Rollins’ “Oleo” and John Coltrane’s “Blue Train.” Melding raw power with a velvet finesse, the group takes no prisoners with its syncopated grooves, which hurtle along like unstoppable juggernauts.
Key track: “Manteca”
Bill Evans: Sunday At The Village Vanguard (Riverside, 1961)
Pianist Bill Evans released many notable live albums during his 24-year-long recording career (including Waltz For Debby, At The Montreux Jazz Festival, and The Paris Concert) but this superlative album, recorded in June 1961 in Greenwich Village is arguably the finest of them all. Playing alongside Evans is a young virtuoso bassist Scott LaFaro (who would be tragically killed ten days later) and drummer Paul Motian, who both helped to bring Evans’ vision of creating a democratic sense of musical interaction within a trio context to life. Highlights included the forlorn and achingly romantic “My Man’s Gone Now,” and a swinging version of Miles Davis’ “Solar.” In 2006, this groundbreaking album was expanded to a 3-CD set, The Complete Live At The Village Vanguard.
Key track: “All Of You”
John Coltrane: At The Village Vanguard (Impulse!, 1961)
This was Coltrane’s first ever live album, compiled from two nights’ performances in November 1961 at New York’s Village Vanguard. This was not the bop-oriented Coltrane of Giant Steps released just a year earlier but a saxophonist keen to explore elongated modal jazz grooves and discover new musical terrain. Free jazz maven, Eric Dolphy, augments Trane’s quartet with his bass clarinet on side one’s opener, the self-penned “Spiritual,” which anticipates the mesmeric style of the saxophonist’s magnum opus, A Love Supreme, released three years later. More overtly avant-garde is “Chasin’ The Trane,” which occupies the whole of side two and finds the saxophonist blowing his horn with the febrile intensity of a man possessed. The album divided the critics at the time but is now regarded as an important milestone in Coltrane’s oeuvre. In the CD age, the album has been expanded into a 4-CD box set.
Key track: “Chasin’ The Trane”
Miles Davis & Thelonious Monk: Miles & Monk Live At Newport (Columbia, 1964)
Despite the deceptive album title, Miles and Monk don’t perform together on this LP but occupy one side each with their sets from the Newport Jazz Festival. Miles’ performance is from 1958 when he was leading the sextet (with Coltrane, Cannonball Adderley, and Bill Evans) that would go on to cut Kind Of Blue less than a year later. On the original LP, they were represented by four cuts, including a brisk version of Monk’s “Straight No Chaser.” The Monk side of the album contained two elongated cuts (“Nutty” and “Blue Monk”) from his 1963 Newport appearance, and finds his usual quartet augmented by clarinetist, Pee Wee Russell, who offers a different dimension to the pianist’s music. Both Monk and Miles are at the apex of their powers here and their contrasting approaches to jazz offering a fascinating juxtaposition of styles.
Key tracks:“Blue Monk” (Monk) and “Two Bass Hit” (Davis)
The Quintet: Jazz At Massey Hall (Debut, 1956)
“The Quintet” was a bebop supergroup consisting of Charlie Parker – who was originally billed as “Charlie Chan” because of record company politics – with Dizzy Gillespie, Charles Mingus, Bud Powell, and Max Roach. Their appearance at Toronto’s Massey Hall on May 15th 1953 was meant to be a celebration of bop but actually came to define the end of an era as it was the last time Parker, Gillespie, Powell and Roach would play together. Mingus issued the concert, which contained versions of the bebop classics, “A Night In Tunisia,” “52nd Street,” and “Hot House,” via his own Debut label in 1956, but not before he had re-recorded some of his bass lines, which were inaudible on the original recording. The album was later expanded from six to 16 cuts when it was reissued by Prestige under the title The Greatest Jazz Concert Ever.
Key track: “A Night In Tunisia”
Erroll Garner: Concert By The Sea (Columbia, 1955)
In September 1955, a Gothic-style concert hall in the Californian coastal town of Carmel played host to one of jazz’s most flamboyant pianists: the technically accomplished Erroll Garner. But Garner had no idea his performance was being recorded until his manager, Martha Glaser, discovered that a jazz-obsessed US serviceman was taping the gig for a military radio broadcast. Glaser acquired the master tape and then persuaded Columbia to release it; it went on to sell over a million copies. Garner’s trio, consisting of bassist Eddie Calhoun and drummer Denzil Best, is in spectacular form. The highlights include a super-charged version of the jazz standard, “I’ll Remember April” and a joyful, softly-swinging “Red Top.” Concert By The Sea remains the go-to live album for those wishing to get acquainted with the Pittsburgh pianist’s jazz.
Key track: “Red Top”
Wynton Kelly Trio and Wes Montgomery: Smokin’ At The Half Note (Verve, 1965)
Indianapolis fretboard avatar, Wes Montgomery, teamed up with Miles Davis’ Kind Of Blue rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) and was recorded by jazz uber producer Creed Taylor playing at New York’s Half Note club in June 1965. What resulted was a sensational live album that convinced everyone who heard it of Montgomery’s genius. It helped, though, that he was backed by a sympathetic and intuitive trio, whose accompaniment is exemplary throughout. Montgomery shines brightest on the cool, self-penned groove, “Four On Six,” and the driving swinger, “Unit 7.” The original 9-track album was reissued in an expanded form in 2005.
Key track: “Four On Six”
Duke Ellington & His Orchestra: At Newport (Columbia, 1956)
Only a few big bands survived into the 1950s, one of which belonged to jazz aristocrat, Duke Ellington, although his popularity seemed to be fading as bebop began to dominate jazz. But then came a career-changing incendiary appearance at the 1956 Newport Jazz Festival, which revived the bandleader’s appeal in the US. His band’s performance there was captured on tape, then issued on LP and quickly became a bestseller. The unequivocal standout on the album was a tremendous 14-minute version of Ellington’s 1937 stomper, “Diminuendo And Crescendo In Blue,” where tenor saxophonist, Paul Gonsalves, blew a rampaging 27-chorus solo that had the crowd on its feet and went down in history as one of Newport’s finest moments.
Key track: “Diminuendo And Crescendo In Blue”
Sonny Rollins: A Night At The Village Vanguard (Blue Note, 1958)
Though for health reasons, Sonny Rollins, who is now 90, no longer plays his beloved tenor saxophone, this stunning live album (initially released by Blue Note as a single LP in 1958 before being reissued as a double CD in 1999) reminds us what a prodigious talent he was. It captures the mighty colossus of the tenor saxophone playing in a trio format (alongside bassist Donald Bailey and alternating drummers Elvin Jones and Pete La Roca) during November 1957 in one of New York’s most iconic jazz clubs. Significantly, the absence of a piano player means that Rollins was unfettered harmonically and was able to roam freely in his improvisations. It leads to some jaw-droppingly memorable instances of genius-level extemporization from a saxophonist who seems to be nothing less than a gushing fount of endless, free-flowing melody.
Key track: “Sonnymoon For Two”
Ella Fitzgerald: Ella in Berlin: Mack The Knife (Verve, 1960)
Don’t you just love it when the unexpected happens during a live performance on stage? This remarkable LP, recorded in February 1960 at Berlin’s Deutschlandhalle, captures the moment when the so-called ‘First Lady’ of song does the unthinkable and forgets the words to “Mack The Knife.” Rather than panic, like a true professional she calmly proceeds to improvise her own lyrics (including the humorous line, “we’re making a wreck of ‘Mack The Knife’”) and then embarks on a wild scat solo that impersonates Louis Armstrong’s gruff vocal delivery. Though this is undoubtedly the apex of the record, there are other highlights, among them a sassy rendition of “The Lady Is A Tramp” and deliciously languorous version of “Summertime.”
Key track: “Mack The Knife”
Keith Jarrett: The Köln Concert (ECM, 1975)
If this Pennsylvanian pianist had never made another LP after this one, he would still have a place in the pantheon of jazz greats. For many, this astounding album of long piano improvisations recorded in January 1975 is Jarrett’s magnum opus and the record that best encapsulates his genius. Its spellbinding beauty highlights Jarrett’s lyricism and emotional sensitivity as well as his prodigious technique. Jarrett has recorded many similar solo recitals since but while they are all uniformly excellent, none of them quite match the sonic alchemy and reach the creative apogee that he achieves here. Truly inspired.
Key track: “Köln, January 24, 1975 Part 1”
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https://www.latimes.com/archives/la-xpm-1993-06-04-ca-43285-story.html
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en
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Katz and Collette: a Blast From Past : Jazz: The two, who were part of Chico Hamilton’s legendary quintet of the mid-’50s, will reunite tonight in Newport Beach.
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[
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[
"BILL KOHLHAASE"
] |
1993-06-04T00:00:00
|
As a member of drummer Chico Hamilton's groundbreaking chamber-jazz quintet of the mid-1950s, Fred Katz set the music world on its ear by bringing his cello into the front line of Hamilton's ensemble.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-1993-06-04-ca-43285-story.html
|
As a member of drummer Chico Hamilton’s groundbreaking chamber-jazz quintet of the mid-1950s, Fred Katz set the music world on its ear by bringing his cello into the front line of Hamilton’s ensemble.
Strangely enough, the two men might never have gotten together if it hadn’t been for Lena Horne.
“I got started in the jazz world with Chico because of an eight-bar cello solo in an arrangement of ‘Frankie and Johnnie’ that Lena Horne sang,” Katz recalled recently in his home here.
“I’d been hired to play behind her in the orchestra, and the arrangement of ‘Frankie and Johnnie’ she did had a solo spot for the cello. At the end of two or three weeks, Lena came by and said, ‘I love the way you play that solo,’ ” he said.
“Later, I played a little jazz piano for her at one of the cast parties, and a few weeks after I get a call: ‘Would you care to be Lena Horne’s musical director?’ And Chico Hamilton was the drummer in her trio.”
When Hamilton started in his own group in 1955, he called on Katz. “Originally he wanted to do it with a French horn player,” Katz explained. “And I said, ‘What about the possibility of playing with a cello?’ ”
The result was one of the most famous quintets in jazz.
Katz, Hamilton, saxophonist Buddy Collette, guitarist Jim Hall and bassist Carson Smith developed a clean, sophisticated sound replete with classical touches that caught on with audiences around the world.
Katz will be reunited with his longtime friend and colleague Collette tonight at the Hyatt Newporter in Newport Beach when he appears with the saxophonist’s quartet.
(Also joining Collette’s ensemble tonight is trombonist Britt Woodman. Woodman, who’s probably best known for replacing Lawrence Brown in Duke Ellington’s Orchestra during the early ‘50s, grew up with Collette and another native Californian, Charles Mingus. Now living in New York and a member of Wynton Marsalis’ Lincoln Center Jazz Orchestra, Woodman also worked with Lionel Hampton, and recorded a number of dates with bassist Mingus. Rounding out the group appearing at the Hyatt Newporter is guitarist Al Viola, bassist Richard Simon and drummer Harvey Mason.)
Katz’s cello wasn’t immediately part of Hamilton’s band.
“We opened up in a real dive in Long Beach called Strollers,” he said, “with hookers coming in and all that. I played piano on a lot of the jazz tunes, playing the cello on ballads.”
“In between sets,” added Collette, in a recent phone conversation from his Los Angeles home, “Fred would get up and play a classical sonata or something by himself, for contrast.
“And a lot of times he’d play too long and we’d have to get up on the bandstand, which was very small, and by the time he’d open his eyes and look up, there we’d be. Chico would start playing and Fred was trapped up there in front of the band; he couldn’t get back to the piano. So he’d start playing his piano parts on cello. And that’s the first time we knew it would work,” Collette said.
Katz remembers it well. “I’d just get up there and fool around between sets. And then the guys would join in, and that started the free-form improvisation which we became quite famous for. I finally gave up the piano all together.”
“The magic of the thing,” said Collette, “was the contrast in personalties between Fred and Jim Hall. Fred is very aggressive and Jim is way laid back. Jim would just kind of wait for his spot, he didn’t want to clash, while Fred would be playing chords on everything. Then Jim would play these beautiful solos with Fred comping.”
What was supposed to be a two-week engagement at Strollers turned into six months. Legendary disc jockey Sleepy Stein, from L.A. jazz station KFOX, caught wind of the group and was soon broadcasting live from the club.
Their reputation was set after a triumphant appearance at the Newport Jazz Festival, and the group appeared in the 1958 film “Jazz On A Summer’s Day.” In 1989, the group reformed for a recording and a reunion tour of Europe.
But Katz’s time with Hamilton is but one part of his many-faceted career. A stroll through his converted-garage studio gives glimpses into his history and interests.
The walls are decorated with photos of the cellist in action, as well as album covers that document his career as composer. A chess board sits at the ready, and here and there are examples of primitive art gathered during his days as an anthropology instructor.
A copy of the sheet music to “Satan (Wears A Satin Gown)” written by Katz and Jack Wilson, is signed by Frankie Laine. On another wall is a map of the universe where constellations circle the North Star. Piles of staff paper await the composer.
In fact, composing, mostly in the classical style, is now the centerpiece of Katz’s activity.
His “Concerto for Cello and Jazz Wind Orchestra,” performed by George Neikrug, has recently been released by Evergreen Music. He’s currently working on a jazz opera (“It may turn out to be two or three pieces,” he added), another large piece inspired by Jewish mysticism and a commission based on the writings of Chief Seattle.
“What I’m going for now is music that has some kind of substance, that relates to an environmental or philosophical idea,” he said. “But sometimes I’ll just sit down at the piano and a nice melody will hit the fingers.”
Later, Katz plays from one of Bach’s suites for solo cello as a photographer snaps his picture. Surely, this is what is meant by a “Renaissance man.”
Katz, born in Brooklyn in 1919, began playing cello at age 12. At 15, he played the Saint-Saens cello concerto at New York’s Town Hall. An accomplished pianist, he spent time accompanying such singers as Horne, Laine, Tony Bennett and Vic Damone.
After leaving Hamilton’s band, Katz began writing film scores for art and offbeat films, including Roger Corman’s “The Wasp Woman” and Corman’s 1960 film “Little Shop Of Horrors” (which included a young Jack Nicholson). Though he was doing well in Hollywood, it wasn’t enough.
“I always felt this need to be involved with people, involved with the so-called high arts,” the self-declared “old-style” radical said. “So I began taking the cello down to Venice where the poets used to gather and play behind them. That was part of the culture in the late-’50s, early-’60s: poetry and jazz music.”
At a reading in the home of beat-chronicler Lawrence Lipton (author of “The Holy Barbarians”), Katz met anthropologist Ted Carpenter, who was forming the anthropology department for Valley College (now Cal State Northridge). He asked the cellist to join him. His idea was to pair an academician with an artist.
“Suddenly, I was plunged into the academic world,” he said.
Katz, who had no degree, first taught about jazz and primitive music, which had been a special interest of his. “Then I began to teach aesthetics, and finally anthropology. I had to study very, very hard.” Katz retired from teaching nine years ago, at which time he was a professor in anthropology at Cal State Fullerton.
But Katz, whose interests also include Jewish mysticism, medieval literature and magic tricks, is not one to keep the various facets of his life separate.
His anthropology studies have led to music, as witnessed by his tune, “The Walker,” inspired by the mythology of the Brazilian rain-forest peoples. Collette’s ensemble will perform the piece tonight.
“They have a belief that a mysterious figure came out of the forest and walked the land. And everywhere he walked, he left culture and societal relationships. He might be considered the messiah of the Brazilian jungle, the redeemer,” he said.
“I loved the idea of this mysterious figure walking the jungle and had to write something about it,” he said. “And, of course, walking in jazz--when the bass player works single notes--made it all come together perfectly.”
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http://www.joyousshout.com/chencyclo.html
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Joyous Shout! Chico Hamilton: Encyclopedia
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Legendary jazz drummer and bandleader Foreststorn Chico Hamilton, born September 20th, 1921 in Los Angeles, had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnett, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise, before striking out on his own as a bandleader in 1955.
Chico's impact upon jazz includes the introduction of two unique and distinct sounds: first in 1955 with his Original Quintet which combined the sounds of his drums, the bass of Carson Smith, the guitar of Jim Hall, the cello of Fred Katz, and the flute of Buddy Collette; and the second in 1962 with his own drums, the bass of Albert Stinson, the guitar of Gabor Szabo, the tenor sax of Charles Lloyd, and the trombone of George Bohanon.
In 1997, Chico received the New School University Jazz & Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, Chico was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President's nomination of Chico to the Presidents Council on the Arts. And in 2007, Chico received a Living Legacy Jazz Award as part of The Kennedy Centers Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.
Dynamic as ever at the age of 91, Chico Hamilton has a resume that includes scores for film, original compositions, commercial jingles, 50 + albums as a leader, and countless international tours. In 2006, Chico released four CD's on Joyous Shout! in celebration of his 85th birthday: "Juniflip" featuring guest appearances from- legendary Love front-man Arthur Lee, criminally under-rated vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; "Believe" with Special Guest appearances from vocalist and R & B Diva Fontella Bass and trombonist George Bohanon; "6th Avenue Romp" featuring Special Guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and "Heritage" with Special Guest appearances from vocalist Marya Lawrence and trombonist George Bohanon. September 2007, Chico released "Hamiltonia" sampling his original compositions from the four albums released in 2006. "Hamiltonia" is an impassioned statement of purpose- an emphatic endorsement of writing and performing THIS music in the NOW, the way the GREATS did in their time, and confirms Hamilton's status as one of the most important living jazz artists and composers.
2008 saw four releases from Chico on Joyous Shout!, two EP's and two previously unreleased recordings, each of which provide a different perspective on the Chico Hamilton experience. Paying homage to Chico's past, the "It's About Time!" EP revisits his first ever recording project as band leader/percussionist. In 1955, Chico recorded a trio album for Pacific Jazz with George Duvivier and Howard Roberts; fast-forward 53 years, and Chico has recast it with his long time collaborators Cary DeNigris on guitar and Paul Ramsey on bass. Chico's distinctive grooves have been rediscovered and refused on the "The Alternate Dimensions of El Chico" EP, a collection of dance/remix tracks and collaborative works with some of today's hottest turntablists including Fertile Ground, SoulFeast (Joe Claussell and Brian Michel Bacchus), Mark de Clive-Lowe, and Blaze. On "Dreams Come True", recorded in 1993, NEA Jazz Masters Andrew Hill and Chico Hamilton deliver a masterpiece of modern improvised music. The two giants are repositories of the history of this music, and here they create a document containing more then is stored in all the history books, sharing and preserving ancient stories and traditions thru their mutual song. And "Trio! Live @ Artpark", recorded in 1994, documents a blazing performance from a power trio led by Hamilton, with guitarist Cary DeNigris and bassist Matthew Garrison- the son of the late Jimmy Garrison. Witness the remarkable synergy and energy between the three as Hamilton leads his steeds thru a series of originals and a heady romp on "Tickle Toe".
Over the years, Chico has had a series of dance floor successes, including his signature song "Conquistadors" from his 60's Impulse album "El Chico", and the Brazilian influenced song "Strut" from Chico's 1979 outing on Elektra "Nomad", which became so successful on the Northern Soul Scene in the U.K. that it had its own dance!! "Conquistadors" also was the signature track for E-man when he rocked the dance floor at Frank's Cocktail Lounge in Brooklyn. In 2002 a track titled "For Mods Only" from Chico's 1968 Impulse album "The Dealer", was included on the Thievery Corporations "SOUNDS FROM THE VERVE HI-FI". Fall of 2005, Rong Music released the 12" vinyl "Kerry's Caravan" from Mudd & Chico Hamilton, a moody yet stunning slice of modern music and a molten melting pot ready made for filling the dance floor with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. The IMPULSIVE! Remix Project features Mark De Clive Lowe's take on Chico's classic 60s track "El Toro". OUT NOW is the limited edition 12" 180 gram vinyl from SoulFeast (Brian Michel Bacchus & Joaquin "Joe" Claussell) with their reworking of "Mysterious Maiden" from Chico's 1980 "Nomad" release, as well as the 12" double vinyl edition of "The Alternative Dimensions of El Chico" CD EP. Available thru www.dopejams.net (sales@dopejams.net).
Hamilton released Twelve Tones of Love on Joyous Shout! in 2009. From Maxwell Chandler's liner notes: "Chico Hamilton looks back not as a summation but with the past as a jumping off point to where he is now; the foundation to build off of what he has to say in the here and now. This album has Chico writing for and playing with an enlarged ensemble, offering us a glimpse of his life's journey and some of those he has shared it with. It speaks greatly of all the musicians' skills that they are performing Chico's compositions yet their interplay becomes another color on his palette, which allows him to further embellish the picture he is painting. This is one of the appealing aspects to all of Chico's music, an always-organic sense of tension and release. Guest spots include trombonist George Bohanon, who was in one of Chico's classic sixties ensembles; vocalist Jose James, who studied under Chico at New School University Jazz and Contemporary Music program; and multi-reedist Jack Kelso, Chico's lifelong friend. This album is a celebration of a lifelong romance Chico has had with music and the relationships that came into his life both past and present through his service to the muse. Those who forge their own way may travel a harder road but their art loses none of its power with the passage of time because of these trials. Twelve Tones of Love is proof of that aphorism to continuously enjoy".
In March of 2011, with his 90th birthday six months off, Hamilton trekked out of his New York City penthouse apartment to helm a marathon recording session resulting in 28 new tracks with his Euphoria group. No one woodsheds like a jazz drummer, and coming off a health setback during the Summer of 2010, Hamilton and his Euphoria group began sheding at weekly rehearsals at Hamilton's Penthouse A. These weekly rehearsals played an important part in Hamilton's rehabilitation, facilitated Hamilton and his group becoming very tight with each other and exploring places musically they had not previously gone together, and brought together a wealth of new original material, offered up in three courses, each of which is a different viewpoint of Hamilton's Revelation.
The Revelation EP on 10" vinyl- Hamilton's very first recording as a leader, Chico Hamilton Trio in 1955 on Pacific Jazz with Howard Roberts & George Duvivier, was pressed up on 10" vinyl. So it seemed a fitting tribute to Chico's longevity as a leader for a selection of Chico originals, two tracks of which are exclusive to this format, 58 years later to be presented in the same format.
The Euphoric EP, on CD- Hamilton's very proud of each member of his Euphoria group, both in how they have matured as players and in how they have developed as composers. A testament to both the prowess of each group member as a composer, and to Hamilton's strength as a leader, this release is a tip of the hat from Hamilton to his Euphoria group gathering the group members original compositions together, half of which are exclusive to this format.
The Revelation CD- With 11 tracks exclusive to this format, Revelation opens and closes with a focus on Hamilton @ his drum kit, and in-between takes us on a different journey from both the melodic and rhythmic points of view. From the up-tempo Latin groove of "Evanly" with its vocal out chorus; the mid tempo swing of "No Way LA" & "Ten Minutes To Twelve"; the Lunceford-like band vocals on "Stompin' @ The Savoy" & "It Don't Mean a Thing (If It Ain't Got that Swing)"; to Hamilton's vocalizing on "Every Time I Smile"; the pastoral melodic beauty of "You're Not Alone"; the up-tempo funk of "Black Eyed Peas"; and the bossa funkiness of "Foot Prints in the Sand" with its starkly beautiful vocal out chorus- every track is like turning a page in a book that's holding you on the edge of your seat, your rapt attention dying to know what's next to be revealed. And indeed what a revelation are these 22 tracks!!
From the Revelation CD liner notes by Maxwell Chandler: "The excitement of new works from Chico is not derived from any absence as he has not stopped, nor is it due to the curiosity factor of seeing what type of artistic phase he is entering into. He does not create in that manner or care about such things, bringing the best of what he has found with him even if only as a component to further his forward moving trajectory. The excitement is due to the knowledge that here is an addition to the oeuvre of an artist who is the rare to find, possessor of freedom derived equally from intellect and soul."
Hamilton was considered one of the most important jazz artists and composers, creating vivid, positive, uplifting, engaging & relevant music until the end of his life. Hamilton died on November 25, 2013 at his apartment in New York City @ the age of 92. Shortly before his death, Hamilton recorded newly composed material with his long-standing Euphoria ensemble, along with featured guest appearances from trombonist George Bohanon and fellow NEA Jazz Master trumpeter Jimmy Owens, for "The Inquiring Mind" CD released on Joyous Shout! February, 2014.
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https://www.bowers.org/index.php/collection/collection-blog/black-jazz-performers-as-photographed-by-leigh-wiener
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Black Jazz Performers as Photographed by Leigh Wiener
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Detail of Steinway for Duke, March 1961Leigh A. Wiener (American, 1929-1993); Berlin, GermanyGelatin silver print on ektalure paper; 16 × 20 in.87.6.7Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved Black History Month Many of t
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Bowers Museum
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https://www.bowers.org/index.php/collection/collection-blog/black-jazz-performers-as-photographed-by-leigh-wiener
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Detail of Steinway for Duke, March 1961
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.7
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Black History Month
Many of the most famous American musicians and singers from the 20th and 21st centuries are Black artists. In the face of overwhelming prejudice, these great individuals led a radical evolution in the sound of American music and became key figures in combatting racial inequality. In celebration of Black History Month, the Bowers Blog looks at photographs of three Black jazz artists taken by the acclaimed photographer Leigh Wiener between 1958 and 1962. These prints were formally donated to the Bowers Museum by Wiener shortly after his works were exhibited here in Black Americans: Then and Now, between February 14 and March 29, 1987.
Leigh Wiener Photographing Frankie Laine, December 8, 1960
Stan Moore (American); Iverson Ranch, Los Angeles, California
Image courtesy of Devik Wiener ©Leigh Wiener / 7410 Inc. All rights reserved
The Photographer: Leigh Wiener
Wiener was born in New York City in 1929 and developed an interest in photography at an early age. By 15 he had already sold his first photographs to Collier’s Weekly. Two years later he moved out to Los Angeles and began studying political science at UCLA at the same time as he started working at the LA Times’ library. After graduating, his first big break as an upstart photojournalist came in 1949 with a photograph of the empty swing of Kathy Fiscus—a three-year old whose tragic death shook America.
Over the course of his career, Wiener photographed an incredible number of artists, musicians, actors, and more, including every living United States president. What the firsthand accounts collected for his exhibition at the Bowers evidence can already be seen in his photography: he did more than capture a static moment in time, he mentally and emotionally engaged his subjects and by doing so photographed them in a more human light than his contemporaries.
The Billie Holiday Make-up, January 20, 1954
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 20 × 16 in.
87.6.1
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved Billie in Berlin, January 20, 1954
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.3
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Billie Holiday
Among the most influential jazz singers of all time, Billie Holiday’s European debut came in 1954 as part of a touring concert group with the Buddy DeFranco Quartet and Red Norvo Trio. Wiener photographed her on January 20 while she was performing in Berlin and later recounted this story:
“Jazz Club – USA was touring Germany. It was a bitter cold night in Berlin, but inside the large hall, things were warming up. Buddy DeFranco opened the show with ‘I’ll Remember April’ which had a ten-minute solo by his drummer, Bobby White. Then came Red Norvo doing ‘Dancing on the Ceiling.’ Now, it was Billie's turn. Like the audience, I had really come for Billie Holiday. Out she came and went right to it: ‘My Man,’ ‘Billie's Blues,’ ‘Tenderly,’...
“‘Be right back,’ she told the audience as she headed backstage for a break. A friend greeted her with a beer. Another lit her cigarette. Suddenly she noticed me with three cameras around my neck. ‘Want a beer, kid?’ ‘I’d rather have more Billie Holiday,’ I replied. ‘You can have both,’ she said as she handed me a cold beer. ‘Anything special?’ she said. ‘I’ve always loved your ‘Lover, Come Back to Me,” I answered. I didn't think she heard me as she turned to some backstage friends. “To a loud ovation, Billie Holiday was back on stage. She must have heard me, because her first song was ‘Lover, Come Back to Me.’”
Sophisticated Man (Duke Ellington), March 1961
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.7
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Duke Ellington
Both a band leader and pianist, Edward Kennedy "Duke" Ellington was one the most famous and influential jazz band leaders of all time. On either March 1st or 2nd, 1961, Leigh Wiener photographed Ellington while he was recording Piano in the Foreground at Columbia Records. The photographs were used to advertise Ellington's new album in the New Yorker. Wiener recalled the day the photo was taken:
“There was a break in the session, and I went over to Duke Ellington to tell him how much I enjoyed his music. ‘Thank you,’ he said, ‘you’re very kind.’ ‘Alfred Eisenstaedt would envy me tonight,’ I told Ellington. ‘Who's he?’ asked the gentle man, ‘and why would he envy you?’ ‘Eisenstaedt is a fine photographer,’ I replied. ‘He works for LIFE and one of his favorite ‘tools’ besides his camera is a ladder.’ ‘Really?’ asked Ellington. ‘Why?’ ‘He feels too many people go through life seeing the world at five foot, two inches,’ I answered. ‘A ladder helps him see different.’ ‘I like that,’ said Ellington. ‘Me? I like to see my boys and I like my boys to see me.’ He laughed. ‘If you want to be like your friend from LIFE, help yourself. There's another ladder over there.’ As he pointed to a corner of the studio, he added, ‘ladders are meant to be shared. Have yourself some fun.’”
Chico's Rhythm, February 19, 1962
Leigh A. Wiener (American, 1929-1993); California
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.39
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Chico Hamilton
As a pioneer of California’s cool jazz sound, Foreststorn "Chico" Hamilton was a great drummer and band leader. While Hamilton was recording Drumfusion at Columbia Records on February 19, 1962, Wiener photographed Chico and later shared this story about the day:
“Chico Hamilton will always have a special place in my professional memories. He asked me for a favor that no celebrity had ever asked of me before. We were working in my studio. I had paused to load a camera. Suddenly Hamilton almost blurted out, ‘Can I ask you a personal favor?’ ‘Sure,’ I answered. ‘Well,’ said Hamilton, ‘it’s my son. He likes photography and I'm not sure how to help him. I thought if you might take his picture, he might start to talk with you about it and he might learn a little from you.’ ‘We’ll do it Saturday,’ I told the drummer. ‘Saturday?’ he repeated. ‘Saturday,’ I repeated.’”
Text and images may be under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
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https://www.allaboutjazz.com/chico-hamilton-quintet-three-classic-albums-by-david-rickert
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Chico Hamilton: Chico Hamilton Quintet: Three Classic Albums album review @ All About Jazz
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2011-01-20T00:00:00
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Chico Hamilton: Chico Hamilton Quintet: Three Classic Albums album review by David Rickert, published on January 20, 2011. Find thousands jazz reviews at All About Jazz!
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https://www.allaboutjazz.com/icon/favicon.ico
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All About Jazz
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https://www.allaboutjazz.com/chico-hamilton-quintet-three-classic-albums-by-david-rickert/
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Privacy Policy | We do not sell or share your personal information
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Howard Roberts As Sideman
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Bobby Troup and Howard Roberts (photo taken from a 1960 Gibson catalogue but probably taken much earlier)
Recordings With Howard Roberts As Sideman, 1950-1959
Jazz Superstars: Jam Session Record No. 101
1952 - Jam Session JS-101.
Selections: Lady Bird, Out of Nowhere, Keen and Peachy, Donna Lee.
Personnel: tenor - Wardell Gray, trumpet - Art Farmer, piano - Amos Trile (first two), Hampton Hawes (last two), bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: Recorded live Sept. 9, 1952 at the Haig in L.A.
Comments: Nice recording, H.R. plays great. Thanks to Bill Hunter for this.
Jazz Superstars: Jam Session Record No. 102
1952 - Jam Session JS-102.
Selections: Tiny's Blues, I Cover the Waterfront/I'm in the Mood for Love, Out of Nowhere, Our Delight, Lullaby of the Leaves, Blues.
Personnel: On Tiny's Blues, I Cover the Waterfront and I'm in the Mood for Love: tenor sax - Gerry Mulligan, Dave Pell, trumpet - Ted Ottison, piano - Paul Smith, bass - Joe Mondragon, drums - Bill Wilson. On the remaining tracks: baritone sax - Gerry Mulligan, piano - Jimmy Rowles, bass - Joe Mondragon, drums - Tommy Rundell, guitar - Howard Roberts.
Session: Recorded live May 27, 1952 at the Haig in L.A.
Comments: H.R. solos only on Our Delight. The recording is not of high fidelity and he is under-recorded relative to the other instruments. He plays well but with with a fairly distorted tone. Probably the amp had to be turned up to be heard. As far as I know, this is H.R.'s first recording. Thanks to Gérard Dugelay of Metz, France for this.
Wardell Gray Quintet - Live at The Haig 1952
1952 - Fresh Sound Records, FSR-CD 157 - 1991 reissue.
Selections: Bernie's Tune (B. Miller), The Squirrel (T. Dameron), Pennies From Heaven (Johnston-Burke), Donna Lee (C. Parker), Taking A Chance On Love (Duke-Latouche), Jackie (H. Hawes), Get Happy (Arlen-Koehler), Keen And Peachy (S. Rogers), Lady Bird (T. Dameron).
Personnel: tenor sax - Wardell Gray, trumpet - Art Farmer, piano - Hampton Hawes, Amos Trice, bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: September 9, 1952 at the Haig in L.A.
Comments: H.R. is on the last two tracks only. H.R. plays with a somewhat distorted tone very unlike what he later developed. These selections also appear on Out of Nowhere - the Wardell Gray Sextet, Straight Ahead Jazz, SAJ-1003.
Bobby Troup
1953 - Capitol T484H484.
Selections: Chicago (Fisher), Hungry Man (Troup), I Can't Get Started (Duke-Gershwin), Where You At (Segel-Handy), My Blue Heaven (Donaldson-Whiting), The Three Bears (Troup), Dinah (Akst-Lewis-Young), Lemon Twist (Troup), 'Deed I Do (Rose-Hirsch), The Girl Friend (Rodgers-Hart), You're Looking at Me (Troup), Five Days, Six Hours and Thirteen Minutes (Springer-Hirsch).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Harry Babasin, drums - Don Heath, trombone - Bob Enevoldsen, Newcomb Rath, Jack Dulong, Bill McDougal, baritone sax, Don Davison.
Session: Los Angeles, August 1953.
Comments: The first 8 tunes were first issued on a 10" lp Capitol H484. Some nice guitar on The Girl Friend and 5 Days, 6 Hours and 13 Minutes. The album cover (this is the cover of the 10") has some pictures of the trio in action. You can make out H.R. in some of these.
June Christy - Something Cool
1954 - Capitol, reissued on CD in 1991, CDP 7 96329.
Selections with H.R.: Lonely House (Weill-Hughes), I Should Care (Weston-Stordahl-Cahn), It Could Happen To You (van Heusen-Burke),The First Thing You Know, You're In Love (Torme), A Stranger Called the Blues (Torme-Wells), I'll Take Romance (Oaksland-Hammerstein II), Look Out Up There (Raskin-Rugolo), Softly As In a Morning Sunrise (Romberg-Camacho-Hammerstein II), Out of Somewhere (Unknown), Love Doesn't Live Here Any More (Unknown).
Personnel: Pete Rugolo's Orchestra, arranger and conductor - Pete Rugolo, trumpet - Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Milt Bernhart, Harry Betts, Tommy Pederson, alto sax - Harry Klee, Bud Shank, tenor sax - Bob Cooper, Ted Nash, Baritone sax - Chuck Gentry, piano - Russ Freeman, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne.
Session: L.A. January 18, 19, 1954.
Comments: Mainly just comping but some nice guitar on I'll Take Romance.
Bob Cooper Sextet - Group Activity
1954 - Capitol reissued on Affinity together with Bill Holman Octet, Aff 65.
Selections with H.R.: The Way You Look Tonight (Kern-Fields), Polka Dots and Moonbeams (van Heusen-Burke), Solo Plight (Cooper), Lisbon Lady (Cooper), She Didn't Say Yes(Kern-Harbuch), When the Sun Comes Out (Arlen-Koehler), Excursion (Cooper).
Personnel: tenor sax - Bob Cooper, piano - Claude Williamson bass - Joe Mondragon, Curtis Counce, drums - Shelly Manne, Stan Levy, guitar - Howard Roberts.
Session: Hollywood, May 14 and July 30, 1954.
Comments: Excellent album and wonderful guitar.
Jazz Studio Two
1954 - Jasmine JASM 1029.
Selections: Laura (Raskin-Mercer), Here Come The Lions (Graas), Paicheck (Paich), Graas Point (Graas), Darn That Dream (Van Heusen-Delange), Do It Again (Gershwin).
Personnel : guitar - Howard Roberts, tenor saxophone - Jimmy Giuffre, piano - Marty Paich, trumpet - Don Fagerquist, trombone - Milt Bernhart, french horn - John Graas, alto saxophone - Herb Geller, bass - Curtis Counce, drums - Larry Bunker.
Session : L.A. June 4, 1954.
Comments: Beautiful guitar on this. It should be reissued. Here is a picture of the musicians from the album cover with H.R. in the back row. Many thanks to Dave Gould for this. Dave has an extensive collection of jazz guitar recordings. Dave has published discographies titled "Wes Montgomery on CD" and "Django Reinhardt on CD".
Bob Enevoldsen Quintet
1954 - Nocturne NLP6. Jazz in Hollywood Series.
Selections: Fast Buck (M. Paich), My Old Flame (A. Johnston-S. Coslow), Danza To Brasil (M. Paich), Lulu's Back In Town (H. Warren-A. Dubin), Bob White (J. Mercer-B. Hanighen), Where Did The Gentleman Go? (B. Troup), Snootie Little Cutie (B. Troup).
Personnel : trombone - Bob Enevoldsen, guitar - Howard Roberts, piano - Marty Paich, bass - Harry Babasin, drums - Don Heath.
Session: Western Recorders, Hollywood, July 14 and 18, 1954.
Comments: Great playing by Howard Roberts on this. This is part of a recently released (March, 1998) 3 CD set from Fresh Sound called "The Complete Nocturne Recordings, Jazz in Hollywood Series - Volume 1". Other albums included are by Bud Shank, Herbie Harper, Harry Babasin, Lou Levy, Jimmy Rowles and Virgil Gonsalves. Excellent set with great documentation and photos. Here is a picture of H.R. from this session.
Introducing Pete Rugolo
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: That Old Black Magic (Mercer-Arlen), Early Stan (Rugolo), Bazaar (Khatchaturian: arr. Rugolo), California Melodies (Rose), You Stepped Out of a Dream (Kahn-Brown), 360 Special (Rugolo), Laura (Mercer-Raksin), Come Back Little Rocket (Rugolo), In the Shade of the Old Apple Tree (Williams-Van Alstyne), Sidewalks of New York Mambo (arr. Rugolo), Theme from the Lombardo Ending (Rugolo), Manana (Lee-Barbour).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Harry Betts, Milt Bernhart, John Haliburton, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, John Graas, Joe Eger , Bill Hinshaw tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 8, 1954.
Adventures In Rhythm - Pete Rugolo and his Orchestra
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: Here's Pete (Rugolo), My Funny Valentine (Hart-Rodgers), Mixin' The Blues (Rugolo), Poinciana (Bernier-Simon), Rugolo Meets Shearing (Lunham-Saunders-Rugolo), Sambamba (Baxter), King Porter Stomp (Morton), You Are Too Beautiful (Hart-Rodgers), Jingle Bells Mambo (Rugolo), The Will Never Be Another You (Gordon-Warren), Conversation (Ferrer), Good Evening Friends Boogie (Rugolo).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Buddy Childers, Shorty Rogers, Don Paladino, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, Bill Hinshaw, John Cave tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 22, April 29, May 10, June 21 1954.
Leonard Feather Presents: Best from the West - Volume 1
1954 - Blue Note BLP5059 - reissued by Fresh Sound.
Selections: Santa Anita (M. Rogers), Santa Monica (B. Collette), The Blindfold Test No. 1 (M. Rogers), Culver City (M. Rogers), The Blindfold test No. 2 (M. Rogers), Hooray for Hollywood (Whiting-Mercer).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Santa Monica (nice solo) and The Blindfold Test No. 2.
Leonard Feather Presents: Best from the West - Volume 2
1954 - Blue Note BLP5060 - reissued by Fresh Sound.
Selections: Van Nuys Indeed (J. Graas), Here's Pete (P. Rugolo), The Blindfold Test No. 3 (M. Rogers), Burbank Bounce (M. Rogers), Arcadia (M. Rogers), No Love, No Nothing (Warren-Robin).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Here's Pete and No Love, No Nothing. Beautiful solo on the latter. It seems these two albums were initially issued as "a musical blindfold test"; i.e. the listener had to guess who the players were.
Terry Pollard
1955 - Bethlehem BCP-1015 and reissued by Toshiba EMI as TOJJ-1015 in 10" format in 2000.
Selections: Fedi (Pollard), Laura (Raskin), Where Or When (Rodgers-Hart), Autumn Serenade (DeRose-Gillespie), Scrapple From The Apple (Parker), Emaline (Little-McHugh), The More I See You (Warren-Gordon), Almost Like Being In Love (Loewe-Lerner).
Personnel: trumpet - Don Fagerquist, piano - Terry Pollard, guitar - Howard Roberts, bass - Herman Wright, drums- Frank DiVito.
Session: L.A., January 10, 1955.
Comments: Excellent recording with some fine contributions from H.R.
Tommy Traynor/ Peggy Connelly Sings
1955? - Nocturne Records reissued on Fresh Sound FSR-607.
Selections with H.R.: Married An Angel (Rodgers-Hart), Neath The Willow Tree (Ray Gilbert), Livin' With Love (Ray Gilbert), Am I Blue (Harry Akst-Grant Clarke).
Personnel : piano - Arnold Ross, guitar - Howard Roberts, bass - Harry Babasin.
Session:
Comments: It seems this recording lead to the founding of Nocturne Records (according to the liner notes). H.R. plays on the Tommy Traynor selections and makes some nice contributions. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Rugolomania - Pete Rugolo And His Orchestra With The Rugolettes
1955 Columbia CL 689.
Selections : Gone With The Wind, In A Sentimental Mood, Bobbin' With Bob, 4:20 A.M., Little White Lies, Me Next, Bongo Dance, Intermezzo, Montevideo, I've Had My Moments, Everything I Have Is Yours, Hornorama.
Personnel : arranger - Pete Rugolo, trumpet - Maynard Ferguson, Buddy Childers, Shorty Rogers, Uan Rasey, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, French horn - Vince DeRosa, John Graas, tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison Jack Costanzo.
Session: Los Angeles, May 10, Oct. 11 1954, Feb. 22, 23 1955.
Comments: Many good guitar contributions on this. The Rugolettes were a subgroup of the orchestra. I believe Milt Bernhart, John Graas, Paul Sarmento, Bud Shank, Bob Cooper, Howard Roberts, Harry Babasin, Shelly Manne and Pete Rugolo comprised The Rugolettes. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
New Sounds by Pete Rugolo
1955 Harmony HL7003.
Selections : Shave And A Haircut, Latin Nocturne, Conversation (The Shrike) (Ferrer), Poinciana (Bernier-Simon), Manhattan Mambo, Quiet Village, When Your Lover Has Gone, When You're Smiling, Come Back Little Rocket (Rugolo), You Stepped Out Of A Dream (Kahn-Brown).
Personnel: Various from Introducing Pete Rugolo, Adventures In Rhythm and Rugolomania.
Session: L.A. Feb. 8, 22, April 29, May 10, June 21, July 8, Oct. 11 1954 and Feb. 22, 23 1955.
Comments: Unmistakable H.R. on When You're Smiling. Beautiful! Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Jazz Studio 3 - John Graas
1955 - Decca DL 8104
Selections: Mulliganesque (Graas), My Buddy (Kahn-Donaldson), 6/4 And Even (Graas), Charleston (Mack-Johnson), Rogeresque (Graas), Jazz Selections from "Symphony No. 1 In F Minor) (Graas), 12th Street Rag (Razaf-Bowman).
Personnel : trumpet - Don Fagerquist, Conte Candoli, french horn - John Graas, alto sax - Charlie Mariano, tenor sax - Zoot Sims, baritone sax - Gerry Mulligan, Jimmy Giuffre, piano - Andre Previn, Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, Curtis Counce, drums - Larry Bunker.
Session: L.A. Dec. 16, 1954 and Jan. 6, 1955.
Comments A great album with lots of contributions from H.R. Many thanks to Ron Benson (designer of the Benson amplifier) for this.
John Graas - Jazz Lab-1
1955 Decca DL 8343.
Selections: Minor Call (John Graas-George Liberace), Mozartesque (John Graas), Le Chasse (Ed Loe), Friar Tuck (John Graas), Canaon Ball (John Graas), Pick Yourself Up (Jerome Kern), Andante (John Graas), Allegretto (John Graas), Softly the Horn Blows (Shorty Rogers), Lighthouse 6/4 (John Graas).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave pell, alto - Bert Herbert, Ronnie Lang, drums - Larry Bunker, trumpet - Don Fagerquist, piano - Claude Williamson, Marty Paich, vibes - Red Norvo, clarinet - Jimmy Giuffre, trombone - Bob Enevoldsen.
Session: L.A., Nov. 28, 1955.
Comments : Great record with lots of guitar. Similar in content to Jazz Studio Two as both seem to be experiments in giving jazz a somewhat "classical" feel and context.
John Graas - Jazz Lab-2
1955 Decca DL 8478.
Selections with H.R.: Be My Guest (Shorty Rogers).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave Pell, alto - Bert Herbert, drums - Larry Bunker, trumpet - Don Fagerquist, vibes - Red Norvo, clarinet - Jimmy Giuffre.
Session: L.A., Nov. 28, 1955.
Comments : No guitar to speak of on this one track but the album is generally quite good.
World's Greatest Jazz Jam Session featuring Jack Millman
1955 - reissued on Stack-O-Hits Records in 1981.
Selections with H.R.: Just a Pretty Tune (J. Millman), Pink Lady (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, piano - Claude Williamson, tenor - Jimmy Giuffre, alto - Herb Geller, baritone sax - Bob Gordon, valve trombone - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongas - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments : An album of compositions by Jack Millman. H.R. plays a short solo on Pink Lady. These selections also appeared on the CD Jack Millman and the Hollywood All Stars Vol. #1. Many thanks to Ed Barr of Valdosta State University for this. The selections on the album seemed to have been issued on many different recordings. Lord lists two more selections from this recording session; namely Groove Juice and Bolero de Mendez, but also gives information that contradicts that given on the album and what I hear. See entry on Jack Millman and his Allstars on Fresh Sound below as well.
Jack Millman and his Allstars
1955 - Fresh Sound FSR-CD.
Selections with H.R.: Pink Lady (Jack Millman), Bolero de Mendez (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, tenor - Jimmy Giuffre, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments: Groove Juice, Pink Lady, Bolero de Mendez and Just a Pretty Tune also appear on Jazz Studio Four, Decca DL8156. Groove Juice and Pink Lady also appear on the CD, Jack Millman All Stars - Shades of Things to Come, Progressive Records PCD-7098, 2002, where H.R. is listed (inappropriately) as playing on Groove Juice but not Pink Lady.
Jazz Reflections: Jack Millman's All Star Jazz Orchestra
195? - reissued as Tootsie Records AW 14307 in 1979
Selections: (All compositions by Jack Millman) Going South, Baja, Two Suites For Love, Subtle Hype, Easy Groove, Allright, On The Up Side, Cool School, View From The Top, Down Home.
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, Barney Kessel, Dan Overburg, bass - Curtis Counce, Red Mitchell, tenor - Jimmy Giuffre, Jack Montrose, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, Chico Hamilton, trumpet - Don Fagerquist, Maynard Ferguson, vibes - Red Norvo, piano - Claude Williamson, Gerald Wiggins, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: Probably 1955, L.A.
Comments: Nice album. The guitar solo on Subtle Hype sounds like H.R.
Frank Morgan
1955 - GNPD 9041.
Selections: Bernie's Tune (B. Miller), My Old Flame (Coslow-Johnson), I'll Remember April (Raye-DePaul-Johnson), Neil's Blues (Morgan), The Champ (Gillespie), Chooch (Morgan), The Nearness of You (Carmichael-Washington), Whippet (Morgan), Milt's Tune (Jackson), Get Happy (Arlen-Koehler), Crescendo Blues (J. Sheldon), "Huh", Autumn Leaves (Kozma-Mercer-Prevert), Well You Needn't (T. Monk), B.T. (B. Timmons).
Personnel : alto sax - Frank Morgan, tenor sax - Wardell Gray, James Clay, organ - Wild Bill Davis, trumpet - Conti Candoli, Jack Sheldon, guitar - Howard Roberts, piano - Carl Perkins, Bobby Timmons, bass - Leroy Vinnegar, drums - Lawrence Marable.
Comments : Good guitar work on a couple of tracks and in particular on The Nearness of You. Here is a great photo , from the collection of Ray Avery, that could be from this recording session.
Helen Carr - Why Do I Love You
1955 - Bethlehem BCP45.
Selections: Then You've Never Been Blue (Lewis-Young-Fiorito), Summer Night (Dubin-Warren), Got a Date With An Angel (Tunbridge-Waller-Grey-Miller), Why Do I Love You (Kern-Hammerstein II), Do I Worry (Cowan-Worth), I'Ve Got A Feelin' You're Foolin' (Freed-Brown), Be Careful It's My Heart (Berlin), My Kind of Trouble Is You, Lonely Street (Villepegue-Carr), Symphony (Alstone-LAwrence), You're getting To Be A Habit With Me (Dubin-Warren), Bye Bye Baby (Robin-Styne).
Personnel : vocal - Helen Carr, guitar - Howard Roberts, bass - Red Mitchell, trumpet - Cappy Lewis.
Session : Nov. 11, 1955.
Comments : Interesting format with only guitar for harmonic support and no drums. As usual H.R. plays amazingly well. This together with the Julie London album prove he was a master of this genre. This album was reissued with some additional material on the CD Helen Carr The Complete Bethlehem Collection.
Pete Jolly Trio and Sextet - Jolly Jumps In
1955 - reissued On RCA/Spain 74321125822.
Selections with H.R.: Jolly Jumps In (Giuffre), Pete's Meat (S. Rogers), Why Do I Love You? (Kern-Hammerstein), I Get A Kick Out Of You (Porter).
Personnel : accordion - Pete Jolly, guitar - Howard Roberts, bass - Curtis Counce, trumpet - Shorty Rogers, baritone saxophone - Jimmy Giuffre, drums - Shelly Manne, bass - Curtis Counce.
Session : March 6, 1955.
Comments : Pete Jolly on accordion! There are some trio sessions on this as well where Pete Jolly plays piano. Some nice guitar but not too much. Noteworthy is a fine solo on I Get A Kick Out Of You - see Music for another great H.R. solo on this song.
Pete Jolly Quartet - Hyacinth
1956 - reissued on various compilations.
Personnel: accordian - Pete Jolly, guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neal.
Session: ABC Studios, Hollywood, June 3, 1956.
Comments: This tune has been released on several Pete Jolly compliations and is available on iTunes.
Bobby Troup Plays Johnny Mercer
1955 - Bethlehem - released on Affinity in 1987.
Selections: Jamboree Jones (Mercer), Midnight Sun (Hampton-Burke-Mercer), Come Rain Or Come Shine (Arlen-Mercer), Laura (Raskin-Mercer), That Old Black Magic (Arlen-Mercer), One For My Baby (Arlen-Mercer), Cuckoo In The Clock (Donaldson-Mercer), Day In, Day Out (Bloom-Mercer), Jeepers, Creepers (Warren-Mercer), (Love's Got Me In A) Lazy Mood (Miller-Mercer), Skylark (Carmichael-Mercer), I'm With You (Troup-Mercer).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Red Mitchell, drums - Don Heath, trombone - Bob Enevoldsen.
Session: Los Angeles, January 28, 1955.
Comments: Bobby Troup's vocals are an acquired taste but I've grown to like them. The guitar playing on this and the next two Bobby Troup recordings is outstanding! This has been reissued on CD West Side WESA 854.
The Distinctive Style of Bobby Troup
1955 - Bethlehem BCP-35
Selections: Mountain Greenery (Rodgers-Hart), It Still Suits Me (Hammerstein-Kern), Little Girl Blue (Rodgers-Hart), Manhattan (Rodgers-Hart), You Are Too Beautiful (Rodgers-Hart), They Can't Take That Away From Me (I. Gershwin-G. Gershwin), I've Got My Love To Keep Me Warm (Berlin), Gypsy In My Soul (Jaffe-Boland), The Boy Next Door (Martin-Blane), Love Is Here To Stay (I. Gershwin-G. Gershwin), Have You Met Miss Jones (Rodgers-Hart), The Lady Is A Tramp (Rodgers-Hart).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Hollywood, August, 1955.
Comments: Thanks to Bill Harter for this. Fabulous guitar especially on Have You Met Miss Jones! This has been reissued on CD West Side WESA 855.
Bobby Troup and his trio
1955 - Liberty LRP 3002.
Selections: Thou Swell (Rodgers-Hart), I've Got A Crush On You (Gershwin), Old Devil Moon (Harburg-Lane), That's All (Haymes), The Hucklebuck (Alfred-Gibson), Yes Sir, Thats My Baby (Kahn-Donaldson) , I Get A Kick Out Of You Porter), My Funny Valentine (Rodgers-Hart), They Didn't Believe Me (Kern), Dream Of You (Lunceford-Oliver-Moran), I've Got You Under My Skin (Porter), Let's Get Away From It All (Dennis).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Celebrity Room, Hollywood, 1955.
Comments: Thanks to Bill Harter for this. Recorded at the Celebrity Room in Hollywood, CA. Great guitar playing.
Bobby Troup - The Feeling of Jazz
1955 - a number of performances from the 50's and 60's released on the Starline CD SLCD-9009 in 1994.
Selections with H.R.: Midnight Sun (Burke-Hampton-Mercer), Lullaby of Birdland (Shearing-Weiss), I Get a Kick Out of You (Porter), Daddy (Troup), Moonlight in Vermont (Blackburn-Suessdorf), The Three Bears (Troup), Route 66 (Troup), That Old Black Magic (Arlen-Mercer), There She Goes (Troup), Learnin' the Blues (Silvers).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Recorded on 9/17/55, 9/24/55 and 10/1/55 at the Bacchante Room, Huntington-Sheraton Hotel, Pasadena, CA.
Comments: Excellent CD generally and H.R.'s playing is wonderful. The CD also has selections with Herb Ellis, John Collins and Bucky Pizzarelli.
Bethlehem's Girlfriends - Julie London, Carmen McRae, Chris Connor
1955 - Bethlehem BCP 6006.
Selections with H.R.: A Foggy Day (Gershwins), Don't Worry About Me (Koehler-Bloom), Sometimes I Feel Like A Motherless Child (P.D.), You're Blase (Hamilton-Siever).
Personnel: vocal - Julie London, piano - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , flute - Buddy Collette and others unlisted.
Session: Estimated to be 1955 sometime.
Comments: Compilation album and excellent. Supposedly these are Julie London's first recordings predating the Julie Is Her Name albums. Some excellent music on the entire album and some nice contributions from H.R. Here is link to a Julie London website.
The Chico Hamilton Trio
1955 - Pacific Jazz 10" recording. Album front and back with a nice picture of Howard Roberts.
Selections: Broadway (Wood-Macrea-Boyd), What Is There To Say, Street of Drums (C. Hamilton), Nuttye (J. Cheatham), Buddy Boo, We'll Be Together Again (Fisher-Laine), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Chico Hamilton.
Session: Hollywood, December 6, 1953 and Los Angeles, October 2, 1954.
Comments : Excellent record. This recording led to H.R. winning a down beat Guitar - New Star award in The Third Annual Jazz Critics Poll in 1955 ( The Critics Choices, down beat, Aug. 24, 1955, p.10 ). This recording together with some recordings made with Jim Hall in 1956 have been released on CD Fresh Sound FSR-CD 471 in 2007. This recording is discussed in the book Bassically Speaking: An Oral History of George Duvivier, by Edward Berger, Studies in Jazz No. 17, Institute of Jazz Studies, Rutgers, 1993. On page 169 Duvivier is quoted as saying
"That same year 1956, I did a very challenging recording with Chico Hamilton. We were both working with Lena Horne in Los Angeles when Dick Bock of Pacific Jazz approached us to a trio album with Jim Hall. ... Chico and I both wrote some originals and Jimmy Cheatham, the trombonist brought in a thing of his called Nuttye. We concentrated on making each track completely different. The guitar parts were awesome. Howard Roberts, who subbed for Jim Hall in places, came in and sight-read those things!"
Although, Duvivier (who organized the session together with Chico Hamilton) indicated that it was supposed to be a session with Jim Hall, there is no explanation for how tracks made with H.R. in 1953 wound up on the record. (Many thanks to Mike Kremer and to Adrian Pellew for helping to straighten out some details.)
The Chico Hamilton Trio
1956 - Pacific Jazz.
Selections: Blues On the Rocks (G. Duvivier), Street of Drums (C. Hamilton), We'll Be Together Again (Fisher-Laine), Skinned Strings (Hamilton-Duvivier), Nuttye (J. Cheatham), Porch Light (G, Duvivier), Broadway (Wood-Macrea-Boyd), Autumn Landscape (G. Duvivier), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts and Jim Hall, bass - George Duvivier, drums - Chico Hamilton.
Comments : This is a reissue of most of the material on the above 10" recording together with some additional cuts featuring Jim Hall. In particular, Jim Hall is on Blues On The Rocks, Autumn Landscape, and Porch Light and neither guitarist plays on Skinned Strings. Many thanks to Dave Gould for this (see above under Jazz Studio Two) and to Mike Kremer and Adrain Pellew for helping me sort out who played on what.
3 Roads to Jazz
1956 American Recording Atrists ALP-100.
Selections: Top O' the Mark (Jerry Vaughn).
Personnel: leader - Jerry Vaughn, accordion - Marty Paich, alto sax - Herb Geller, drums - Chico Hamilton, guitar - Howard Roberts, bass - Bob Enevoldsen.
Session: L.A., January, 1956.
Comments: H.R. as a part of the Jerry Vaughn Quintet doing one song. Tommy Tedesco is the guitarist on the remaining tunes on the record by this group. Nice solo by H.R. Also included on the recording are selections by Zep Meissner's Dixieland Allstars and Van Alexander and the Mills Blue Rhythm Band.
Pete Rugolo: Music For Hi-Fi Bugs
1956 - Emarcy Mg-36082.
Selections: For Hi-Fi Bugs (P. Rugolo), Once In A While (B. Green-M. Edwards), Fawncy Meeting You (N. Hefti), These Foolish Things (Holt-Marvell-Link-Stackney), Later Team (P. Rugolo), Oscar and Pete's Blues (O. Peterson-P. Rugolo), Dream Of You (S. Oliver), Snowfall (C. Thornhill).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: Nice chord solo on These Foolish Things. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Out On A Limb.
Out On A Limb - Pete Rugolo and His All-Stars
1956 - Emarcy MG 36115.
Selections with H.R.: Don't Play the Melody (Rugolo), In A Modal Tone (Rugolo), Early Duke (Rugolo), The Boy Next Door (R. Blane-H. Martin), Cha-Lito Linda (Rugolo), Smoke Gets In Your Eyes (J. Kern-O. Harbach).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: H.R. is featured on The Boy Next Door. There are four more unlisted tracks where Barney Kessel replaces H.R. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Music For Hi-Fi Bugs..
Pete Rugolo: An Adventure In Sound - Brass
1956 Mercury SR60044.
Selections with H.R.: Can't We Talk It Over (N. Washigton-V. Young).
Personnel: trumpet - Don Palladino, Ray Linn, Pete Candoli, Maynard Ferguson, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, piano - Russ Freeman.
Session: Los Angeles, July 10, 1955.
Comments: Some nice guitar work on this. Barney Kessel is on the remaining tracks. This track also appears on Maynard Ferguson - Jazz Masters 52.
Corky Hale Plays Gershwin and Duke
1956 - GNP - Crescendo GNP9035.
Selections: A Foggy Day (G. and I. Gershwin), Soon (G. and I. Gershwin), What Is There To Say (Duke-Harburg), There's An Island In The West Indies (Duke), I Can't Get Started (Duke-Gershwin), Autumn In New York (Duke), Somebody Loves Me (Gershwin-DeSylva-McDonald), But Not For Me (G. and I. Gershwin), Taking A Chance On Love (Duke-Latouche), April In Paris (Harburg-Duke), Cabin In The Sky (Duke-Latouche), London In July (Duke-Cahn).
Personnel: harp, piano and flute - Corky Hale, guitar - Howard Roberts, bass - Red Mitchell, Bob Enevoldsen, drums - Chico Hamilton, Don Heath, flute and tenor - Buddy Colette, vibes - Larry Bunker.
Session : L.A., 1956.
Comments : Nice album with lots of guitar.
Jazz For Relaxation - Marty Paich
1956 - Tampa - released in 1995 on V.S.O.P.
Selections: Dool's Blues (M. Paich), Jump For Me (C. Basie), There'll Never Be Another You (Jacobs-Tinturin), The Lamp Is Low (DeRose-Shefter-Parish), What's New (Haggart-Burke), Theme From Lighthouse (M. Paich), Lullaby Of The Leaves (Young-Petkere), I'll Remember April (Raye-DePaul-Johnson).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass -Joe Mondragon, drums - Larry Bunker.
Session : Hollywood, CA.
Comments: Excellent guitar on Lullaby Of The Leaves and I'll Remember April.
Broadway Showcase - Buddy DeFranco and His Orchestra
1956 - Verve - MGV-2033.
Selections: Speak Low (K. Weill-O. Nash), Who Cares (G. and I. Gershwin), Autumn in New York (V. Duke), Have You Met Miss Jones (Rogers-Hart), Mad About the Boy (N. Coward), Almost Like Being In Love (Lerner-Loew), Can't Help Lovin' Dat Man (Kern-Hammerstein), That Old Debbil Moon (Lane-Harburg), Makin' Whoopee (Donaldson-Kahn), In the Still of the Night (C. Porter), Come rain or Come Shne (Mercer-Arlen), Heat Wave (I. Berlin).
Personnel: arranger - R. Garcia, clarinet - Buddy De Franco, guitar - Howard Roberts, piano - Sonny Clarke and no other information.
Session: L.A., August 27-28, 1956.
Comments: Good album with lots of guitar.
Caution Men Swinging - Dennis Farnon
1956 - RCA LPM 1495.
Selections: Caution Men Swinging (Farnon), Spring Will Be A Little Late This Year (Loesser), Lover Come Back To Me (Hammerstein-Romberg), Shoo Shoo Baby (Moore), Just You, Just Me (Greer-Klages), Isle Of Capri (Grosz-Kennedy), South Of the Border (Beresford-Kennedy), It Don't Mean A Thing (Ellington-Mills), Why Don't You Do Right (McCoy), Three Little Words (Ruby), Resume Speed (Farnon).
Personnel: arranger - Dennis Farnon, guitar - Howard Roberts, trumpet - Conte Candoli, Don Fagerquist, Frank Beach, Paul Gell, trombone - Tommy Pederson, Joe Howard, Bob Enevoldsen, George Roberts, alto sax - Jack Dumont, Brian Farnon, tenor sax - Ted Nash, Gene Cipriano, baritone sax - Chuck Gentry, bass - Cliff Hills, drums - Alvin Stoller, piano - Jimmy Rowles, Lou Levy.
Session: Los Angeles, 1956.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. H.R. plays a couple of nice solos on Just You, Just Me and Spring Will Be a Little Late This Year.
Our New Nellie - Nellie Lutcher with Russ Garcia and His Orchestra
1956 - Liberty LRP 3014.
Selections with H.R.: Have You Ever Been Lonely (De Rose-Brown), (All of a Sudden) My Heart Sings (Rome-Herpin-Jamblin), Rose Colored Glasses (Steiger-Malie), Ole Buttermilk Sky (Carmichael-Brooks).
Personnel: guitar - Howard Roberts, Ulysses Livingston, bass - Mike Rubin, drums - Bill Richmond, trumpets - Buddy Childers, Frank Beach, Bob Fowler, trombones - Lloyd Ulyate, Dick Nash, Si Zentner, Murry MacEachren, bass and baritone sax - Ryland Weston.
Session : April 12, 1956 in Los Angeles.
Comments: Some nice guitar on this album. Barney Kessel is on some of the remaining tracks.
The Misty Miss Christy - June Christy
1956 - Capitol.
Selections: That's All (Brandt-Haymes), I Didn't Know About You (Ellington-Russell), Dat-Dream (Ellington-Strayhorn-LaTouche), Sing Something Simple (H. Hupfeld), Maybe You'll Be There (Bloom-Gallop), Dearly Beloved (Kern-Mercer), Round Midnight (Hanighen-Williams-Monk), A Lovely Way To Spend An Evening (McHugh-Adams), The Wind (Freeman-Gladstone), This Year's Kisses (I. Berlin), For All We Know (Coots-Lewis), There's No You (Hopper-Adair-Durgom), You Took Advantage Of Me (Rodgers-Hart), Intrigue (Durand-Drake).
Personnel : arranger - Pete Rugolo, piano - Claude Williamson, Barry Aronov, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, French horn - John Graas, guitar - Laurindo Almeida, Howard Roberts, trombone - Milt Bernhart, Frank Rosolino, Herbert Harper, George Roberts, Harry Betts flute - Bud Shank, Harry Klee, baritone saxophone - Bob Gordon, Chuck Gentry, tenor saxophone - Bob Cooper, drums - Lawrence Bunker, Shelley Manne, Alvin Stoller, bass - Harry Babasin, Joe Mondragon, harp - Corky Hale.
Session:July 28, 1955, Jan 9, 16, 23, 30 and May 23, 1956.
Blues and Brass - Elmer Bernstein
1956 - Decca DL8686.
Selections: (All compositions by Elmer Bernstein) Blues at Five, Jubilation, Exotica, The Poor People of Brazil, Central park - 4 AM, Wild and Crazy, Hop, Skip But Jump, Smooth, Lament in Five, Just a Little Jazz, Nightcap, Return of the Man.
Personnel: Conductor - Elmer Bernstein, guitar - Howard Roberts, Jack Marshall, Vito Mumolo, bass - Joe Mondragon, drums - Shelly Manne, piano - Ernest Hughes, Andre Previn, sax - Philip Sobel, Skeets Herfurt, Robert Cooper, Chuck Gentry, Bud Shank, Bill Holman, Dave Pell, trumpet - Pete Candoli, Maynard Ferguson, Ray S. Linn, Mannie Klein, Conrad Gozzo, Conte Candoli, trombone - Lloyd Ulyate, Marshall Cram, Milt Bernhart, Joe Howard, flute - Martin Ruderman, Sylvia Ruderman, clarinet - Mitchell Lurie.
Session: L.A. 1959.
Comments: Great music and a few nice contributions from H.R.
Modern Jazz Gallery
1956 - Kapp KXL-5001.
Selections with H.R.: As part of the Russ Garcia And His Orchestra: Music City (Garcia), Fishtail (Garcia), Smoggy Day (Garcia), Los Angeles River (Garcia), Number Four (Garcia). As part of the John T. Williams Quartet: Caribe (Towner), Spring Is Here (Rodgers-Hart), Anything Goes (Porter), Aunt Orsavella (Towner).
Session: With Russ Garcia - Hollywood, November 2, 1956 and with the John T. Williams Quartet - Hollywood, November 2, 1956.
Comments: H.R. is only comping on the Russ Garcia selections. The Russ Garcia Orchestra also recorded Out of Nowhere, Coquette and I Cover the Waterfront as part of these sessions and these were issued on the recording The Johnny Ever Greens ABC-147 (see below). H.R.'s soloing as part of the John T. Williams Quartet is outstanding and similar to his work on the John Towner Touch - 1957.
Pinky Winters - Lonely One
1956 - Creative/Argo (No. 604).
Selections: Lonely One, Polka Dots And Moonbeams, Cheek To Cheek, It Never Entered My Mind, You Smell So Good, Easy Living, Jeeper's Creepers, I've Got Plenty Of Love, Gone With The Wind, October's Dream, Pennies From Heaven, My Heart's A Child.
Personnel: vocal - Pinky Winters, drums - Chico Hamilton, piano - Gerald Wiggins, bass - Jim Wolf, guitar - Howard Roberts.
Comments: This is excellent recording. Pinky Winters is a *great* singer and H.R. makes some nice contributions. Many thanks to George Ziskind for procuring me a copy.
The Johnny Ever Greens - Russ Garcia and his Orchestra
1956 - ABC-Paramount ABC-147.
Selections: Body and Soul (Green-Heyman-Sour), Who Do You Think You Are (Green-Heyman), Living In Dreams (Green), Out Of Nowhere (Green-Heyman), I Wanna Be Loved (Green-Heyman), Steam Is On The Beam (Green-Marion), The Trembling Of A Leaf (Green-Lawrence), Easy Come, Easy Go (Green-Heyman), I Cover The Waterfront (Green-Heyman), Coquette (Green-Kahn-Lombardo), You're Mine You (Green-Heyman), Not Bad (Green-Dyrenforth), Hello My Lover Goodbye (Green-Heyman), There's A Ring Around The Moon (Green-Mercer), I'm Yours (Green-Harburg), With You With Me (Green-Mercer).
Personnel: arranger and leader - Russ Garcia, piano - John T. Williams, guitar - Howard Roberts, bass - Joe Comfort, drums - Alvin Stoller, Bill Richmond, trombone - Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Dick Nash, Joe Howard, trumpet - Don Fagerquist, Cappy Lewis, Buddy Childers, french horn - Vince De Rosa, xylophone - Ralph Hensell, vocals - Sue Allen, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 1956.
Comments : Good big band style comping by H.R. This is an album of tunes associated with Johnny Green.
Walter Gross plays his own great songs - Russell Garcia and his Orchestra
1956 - ABC-Paramount ABC-153.
Selections: Tenderly (Gross-Lawrence), Please Remember (Gross-Troup), Sit Down (Gross), Voice In The Wind (Gross-Frees), There Isn't Anybody Like You (Gross-Russell), After Summer (Gross), Once We Were Young (Gross), Mexican Moon (Gross), Dear To My Heart (Gross-Stanley), Gypsy (Gross-Rinker), Concerto For Broken Heart And Orchestra (Gross), The Birthday Song (Gross), You're Not In Love (Gross), Find Me I'M Lost (Gross), Theme From "Big City".
Personnel: arranger and leader - Russ Garcia, piano - Walter Gross, guitar - Howard Roberts, bass - Joe Comfort, drums - Jack Sperling, Alvin Stoller, trombone - Tommy Pederson, Lloyd Ulyate, Dick Nash, trumpet - Don Fagerquist, Cappy Lewis, Ray Linn, Don Fagerquist, Manny Klein, french horn - Richard Perisi, clarinet and flute - Harry Klee, ted Nash,oharp - Stella Catelluci, vocals - Ginger Hall, Sylvia Reid, Loulie Jean Norman, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 195?.
Comments : Similar to the Johnny Ever Greens. Some nice contributions by H.R. but no solos.
Ray Gardner and His Quintet
1957 - Normandy Records 45 RPM Extended Play 100-A
Selections: If I Had You (Shapiro-Campbell-Connelly), Dancing On The Ceiling (Rodgers-Hart), Roses of Picardy (Wood-Weatherly), Almost Like Being In Love (Lerner-Loewe).
Personnel: clarinet - Ray Gardner, accordion - Ernie Felice, vibes - Larry Bunker, guitar - Howard Roberts, bass - Rolly Burdock, drums - Bill Richmond.
Session: L.A., January, 1957.
Comments : Interesting recording. The accordion contributes a nice touch and H.R. is quite prominent. Great music!
The Brothers Candoli
1957 - Dot DLP 3062.
Selections: Disc-location, Beautiful Love, Crazy Rhythm, My Funny Valentine, Exodus in Jazz, Fascinating Rhythm, Love Your Spell is Everywhere, It Never Entered My Mind, Pe-Con, Twilight on the Trail, Rockin' Boogie.
Personnel: trumpets - Pete and Conte Candoli, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, piano - Jimmy Rowles.
Session: May 6 and May 13, 1957 in L.A.
Comments : Lots of good contributions from H.R. on this good album. Includes H.R. playing 50's style rock guitar on Rockin' Boogie. Many thanks to Ed Barr of Valdosta State University for this.
Tony Perkins
1957 - Epic LN 3394, reissued on Fresh Sound Records.
Selections: April Fool (G. Davis), Just Friends (Klenner-Lewis), Hit the Road to Dreamland (Mercer-Arlen), This Time the Dream's on Me (Mercer-Arlen), How Long Has This Been Going On (G. and I. Gershwin), But Beautiful (Burke-Van Heusen), Why Shouldn't I (Porter), I Wish I Knew (Gordon-Warren), Accidents Will Happen (Burke-Van Heusen), Gone With the Wind (Wrubel-Magidson), Better Luck Next Time (Berlin), How About You (Freed-Laine).
Personnel:The Marty Paich Orchestra, vocal - Tony Perkins, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, piano - Marty Paich, trumpet - Don Fagerquist, alto sax - Herb Geller, tenor sax - Bill Perkins.
Session: 1957 in Hollywood.
Comments : Anthony Perkins of Psycho fame singing. Good instrumental contributions although not too much from H.R.
Sessions, Live
1957 - Calliope CAL 3015.
Selections with H.R.: Fascinating Rhythm, I Loves You Porgy, Wrap Your Troubles in Dreams, Memphis in June (Carmichael), Concerto for Heartbeat and Machine.
Personnel: vocals - Lucy Ann Polk, guitar - Howard Roberts, piano - Marty Paich, bass - Ralph Pena, drums - Frank De Vito.
Session: April 7, 1957, Stars of Jazz TV show, Los Angeles.
Comments: Nice solos by HR. This was also issued as Art Pepper/Buddy DeFranco Sessions, Live, and contains sessions from the same television show by Art Pepper (with Russ Freeman). The album cover only identifies H.R. as backing Lucy Ann Polk. Another discography lists the guitar and piano players on the Buddy DeFranco tracks as being Tal Farlow and Sonny Clark, respectively. This seems unlikely, however, as the guitarist sounds like H.R. and all these tracks are from the same television show. The tracks with Buddy DeFranco have been reissued on a Buddy DeFranco CD called Wailers. This CD contains the tracks of the original album (with Barney Kessel on guitar) together with 3 bonus tracks from the TV show which again make the mistake of crediting Tal Farlow as being on guitar. Interestingly the third track is a great version of Now's the Time and the guitar playing is very characteristic of H.R. at this time. Many thanks to Mitch Seidman for telling me about the Wailers CD.
Benny Carter Quartet and Quintet Take The "A" Train
1957 - issued on Fresh Sound FSR-CD 306 in 1997.
Selections with H.R.: Take The "A" Train (Strayhorn), Laura (D. Raksin), This Can't Be Love (Rodgers-Hart).
Personnel: guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neel, piano - Pete Jolly, alto sax - Benny Carter.
Session : Hollywood, June 3 1957.
Comments : Excellent guitar on these 3 selections from the Stars of Jazz television show.
Lena Horne - Stormy Weather
1957 - originally issued on RCA 45rpm EP EPA-4098 reissued on Bluebird CD in 2002.
Selections with H.R.: The Surrey With The Fringe On Top (Rodgers-Hammerstein II).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Shelley Manne, piano - Gene DiNovi.
Session : Radio Recorders, Los Angeles, July 3 1957.
Comments : Just comping.
Showcase for Modern Jazz - Featuring Outstanding Westcoast Jazzmen - Directed by Howard Lucraft
1957 - Decca, DL8679.
Selections with H.R.: Blue Moon (Rodgers-Hart), I May Be Wrong Sullivan-Ruskin), Smog A La Mode (Lucraft).
Personnel: guitar - Howard Roberts, alto sax - Bud Shank, baritone sax -Buddy Collette, bass - Red Mitchell, drums - Mel Lewis.
Session: L.A. June, July 1957.
Commnets: The guitarist on these selections is identified as "John Doe" while the guitarist on other selections is identified as Howard Lucraft. The Lord Discography identifies John Doe as H.R. and I definitely agree. Beautiful playing by H.R. and very typical of this period in his playing.
Billy Daniels - You Go To My Head
1957 - Verve MGV2072.
Selections with H.R.: Blue Skies (I. Berlin), Blues Prelude (Jenkins-Bishop), It's Delovely (Porter), You Turned The Tables On Me (Alter-Mitchell), Comes Love (Brown-Stept-Tobias), Hallelujah (Youmans-Robin-Grey).
Personnel: vocals - Billy Daniels, arranger - Benny Carter, drums - Milt Holland, Frank Carlson, bass - Joe Comfort, guitar - Howard Roberts, piano - Benny Payne, Jimmy Rowles, trumpets - Pete Candoli, Buddy Childers, Harry Edison, Shorty Sherock, trombones - Milt Bernhart, Tommy Pederson, Bill Schaeffer, George Roberts, reeds - Willie Smith, Morris Bercou, Buddy Collette, Chuck Gentry, Ben Webster.
Session: L.A., June 12, 1957.
Comments: Some nice comping and a small solo on Blue Skies.
Four Freshmen - Voices in Latin
1957 - Capitol T922
Selections with H.R.: Yesterdays (Kern-Harbach), Mine (G. & I. Gershwin), Again (Newman-Cochran), What's New (Haggart-Burke), Star Eyes (Raye-DePaul).
Personnel: vocals - Ken Albers, Bob Flanigan, Ross Barbour, Don Barbour, arranger and conductor - Pete Rugolo, trombone - Frank Rosolino, John Halliburton, Milt Bernhart, Herbie Harper, bass trombone - George Roberts, tuba - Clarence Karella, piccolo, flute and alto flute - Herbie Mann, guitar - Howard Roberts, piano - Jimmy Rowles, bass - Red Mitchell, drums - Shelly Manne, vibes and percussion - Bernie Mattinson, percussion - Milt Holland, bongos and percussion - Chico Guerrero.
Session: July 12, 1957, Los Angeles.
Comments: Just comping. The remaining tracks have Laurindo Almeida on guitar.
Rusty Bryant Plays Jazz
1957 - DOT DLP 3079
Selections with H.R.: That Old Black Magic (Arlen-Mercer), Mr. Wonderful (Bock-Holofcener-Weiss).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Max Albright.
Session: Aug. 6, 8 1957, L.A.
Comments: No solos by H.R. but he plays some nice obligatos behind Bryant and an interesting picture of H.R. on the back. Other selections have Jack Marshall and John Collins on guitar. Generally a pretty nice album. Here is a great picture from the session.
America's Greatest Jazz - Rusty Bryant
1957 - DOT DLP 25353
Selections: My Shining Hour (Mercer-Arlen), I Should Care (Cahn-Stordahl-Weston), Susie (Bryant-Mack), Why Was I Born (Kern-Hammerstein), This Time's the Dream's on Me (Mercer-Arlen), I Cover the Waterfront (Green-Heyman), Blue Lou Sampson-Mills), Frances' Dream (Bryant), It's a Blue World (Forrest-Wright), Street of Dreams (Young-Lewis), Almost Like Being in Love (Loewe-Lerner), When Your Lover Has Gone (Swan).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Shelly Manne, Max Albright, Alvin Stoller.
Session: Aug. 6, 8 1957, L.A.
Comments: Although recorded at the same session that produced Rusty Bryant plays jazz these recordings weren't released until 1961. No personnel are listed on this record. Generally nice recording with a great H.R. solo on My Shining Hour.
Teach Me Tonight - The de Castro Sisters
1957 - released on BCD 16381 (Bear Company) in 1999
Selections with H.R.: That Little Word Called Love (Colman), Old Timer's Tune (Raye-Dennis).
Personnel: vocals - Peggy, Cherie and Babette de Castro, guitar - Jack Marshall, Bob Bain, Howard Roberts, piano - Herbert Dell, bass - Red Callender, drums - Irving Cottler, clarinet - Ted Nash, trombone - Milt Bernhart, trumpet - Ray Linn.
Session: Aug. 17 1957, Radio Recorders Annex, Hollywood.
Comments: Sounds like Jack Marshall on the solos.
Herbie Harper/6
1957 - Mode - released in 1995 on V.S.O.P.
Selections: Jay's Tune (J. Core), Little Orphan Annie (Kahn-Sanders), Chloe (Moret-Kahn), Let's Fall In Love (Arlen-Koehler), Skylark (Carmichael-Mercer), Long Ago And Far Away (Gershwin-Kern), That's For Sure (Frankie-Capp).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, drums - Frankie Capp or Mel Lewis, trombone - Herbie Harper, tenor saxophone - Jay Core.
Session: Hollywood, CA.
Comments : Excellent guitar throughout.
Buddy DeFranco and the All Stars - Wholly Cats
1957 - Verve released on CD Lone Hill Jazz LHJ10282.
Selections with H.R.: Medley: Dancing in the Dark (Schwartz-Dietc)< Moonglow (Hudson-DeLange-Mills) and Time on My Hands (Adamson-Gordon-Youmans), Summit Ridge Drive (Artie Shaw).
Personnel: clarinet - Buddy Defranco, guitar - Howard Roberts, trumpet - Ray Linn, bass - Joe Mondragon, piano and harpsichord - Irving Garner, drums - Milt Holland.
Session: Oct. 31, 1957, Los Angeles.
Comments: Some of these tunes also appeared on Buddy DeFranco Plays Artie Shaw, 1957 - Verve MGV 2108. That album credits H.R. as being on Summit Ridge Drive while this album credits him with this tune plus the medley Dancing in the Dark, Moonglow and Time on my Hands and also Indian Love Call. The guitar on all the remaining tracks is credited to Barney Kessel. I don't think it is H.R. on Indian Love Call but I agree with the others.
Closed Session - Buddy DeFranco and his orchestra
1957 - Verve 2632 and reissued on Polygram in 1981 as UMV 2632.
Selections with H.R.: My Blue Heaven (Donaldson-Whiting), S' Wonderful (G. & I. Gershwin), Temptation (Freed-Brown), Softly as in a Morning Sunrise (Romberg-Hammerstein II).
Personnel: clarinet - Buddy DeFranco, trumpet - Ray Linn, piano and harpsichord - Paul Smith, guitar - Howard Roberts, bass - Joe Mondragon, drums - Milt Holland.
Session: L.A. November 1, 1957.
Comments : Excellent recording and some very nice guitar. I have the Polydor reissue and there are no personnel listed. Another discography lists Barney Kessel as the guitarist. Willie Borgschulte has a Verve (Japan) issue of this record which lists H.R. as the guitarist on these selections and Barney Kessel as the guitarist on the remaining tracks.
Axidentals - Hello, We're the Axidentals!
1957 - ABC-Paramount ABC-138.
Selections: I Lead A Charmed Life (Garcia-Russell), June Is Bustin' Out All Over (Rodgers-Hammerstein), You And The Night And The Music (Schwartz-Dietz), I Can't Give You Anything But Love (McHugh-Fields), Hello (Towner-Russell), Rock-A-Bye Your Baby With A Dixie Melody (Schwartz-Young-Lewis), I Can't Believe That You're In Love With Me (McHugh-Gaskill), Quiet Wind (Sumners-Chapman), Look For The Silver Lining (Kern-DeSylva), Love Is Sweeping The Country (Gershwin-Gershwin), For Me And My Gal (Goetz-Leslie-Meyer), What A Difference A Day Made (Grever-Adams), Hey Ma! I'm In Love (Elliott-Allen).
Personnel: vocals - Ann Winters, Milt Chapman, Sandy Rogers, Bob Sumners, arranger and leader - Russ Garcia, piano - Steve Atkin, guitar - Howard Roberts, bass - Joe Comfort, drums - Shelly Manne, Alvin Stoller or Mel Lewis, bongos - Ramon Rivera, trombone - Harry Betts, George Roberts, Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Bob Pring Jr., Ray Klein, trumpet - Maynard Ferguson, Don Fagerquist, Pete Candoli, Buddy Childers, Ray Linn, strings - William Kurasch, William Miller, Lou Raderman, Aamerigo Rickey Marino.
Session: L.A., , January 1957.
Comments : Just comping.
The John Towner Touch - John Towner
1957 - Kapp KL1055.
Selections: While We're Young (Engvick-Wilder-Palitz), Zigeuner (Coward), Wait Till You See Her (Rodgers-Hart), Bess, Oh Where's My Bess (Gershwin-Gershwin), One Love (Robin-Rose), The Most Beautiful Girl In The World (Rodgers-Hart), Diane (Rapee-Pollack), I'll Take Romance (Hammerstein-Oakland), Dear To My Heart (Gross), Hello (Williams), Tenderly (Lawrence-Gross), In a Little Spanish Town (Wayne-Lewis-Young).
Personnel : piano - John Towner, drums - Jack Sperling, bass - Joe Mondragon, guitar - Howard Roberts.
Comments : Some very nice contributions from H.R. The pianist is actually John Towner Williams (see here ) of movie soundtrack fame. Thanks to Jay Smith for this.
June Christy - June Fair and Warmer!
1957 - Capitol.
Selections: I Want to be Happy, Imagination, I've Never Been in Love Before, Irrestible You, No More, Better Luck Next Time, Let There Be Love, The Best Thing For You, Bewarre My Heart, I Know Why, Its Always You.
Personnel: Arranger and conductor - Pete Rugolo, flute and alto sax - Bud Shank, tuba - Clarence Karella, french horn - Vincent DeRosa, trumpet - Don Fagerquist, trombone - Frank Rosolino, tenor sax - Bob Cooper, baritone sax - Dave Pell, vibes - Larry Bunker, piano - Benny Aronov, guitar, Howard Roberts, bass - Red Mitchell, drums - Shelly Manne.
Session: Los Angeles, January 3, 15, 21, 1957.
Comments: Many thanks to C.C. Weijman of Utrecht for this. Very nice recording.
June Christy - Gone For The Day
1957 - Capitol T902.
Selections: It's So Peaceful in the Country (A. Wilder), When the Sun Comes Out (Arlen-Koehler), It's a Most Unusual Day (McHugh-Adamson), Interlude (Rugolo), Love Turns Winter to Spring (Dennis-Killduff), When You Awake (Nemo), Lazy Afternoon (LaTouche-Moross), When the World Was Young (Philippe-Gerard-Mercer), Gone For The Day (Cooper-Russell), Lost in a Summer Night (Raskin-Previn), Give Me the Simple Life (Bloom-Ruby), (Love's Got Me in a) Lazy Mood (Miller-Mercer).
Personnel: Arranger and conductor - Pete Rugolo,
6/18/57: French horn - John Cave, flute - Bud Shank, guitar - Howard Roberts, bass - Red Callender, drums - Irv Cottler, plus a "Large String Section"
7/2/57: trombones - Milt Bernhart, Herbie Harper, Tommy Pederson, Frank Rosolino, bass trombone - George Roberts, vibraharp - Bernie Mattison, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Alvin Stoller
7/15/57: flute - Bud Shank, oboe - Bob Cooper, bass clairinet - Marty Berman, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Shelly Manne, plus a "Smaller String Section and Woodwind Group".
Session: June 18 and July 2 and 15, 1957 - Los Angeles.
Comments: H.R. provides some nice guitar backgrounds. Overall a good album. Also issued as June Christy - Interlude, Discovery DS-911. Many thanks to Alan Weissman for the additional information on the sessions.
Kirby Stone Four - Man I Flipped
1957 - Cadence Records CLP-1023.
Selections: S'Wonderful (Gershwins), Juke Box Dream (Stone-Gardner), It Could Happen To You (Burke-van Heusen), Bluebeard (Hall-Cloth), Reasonably Ugly Chick (Stone-Gardner), Outer Space (Donavan-McKellar-Mulcahy), Get Out Of Town (Porter), Lovable In The Dark (Mooney-Stone), Only Thirty-Three (Stone-Gardner), When You're Cheatin' On Your Baby (Barr-Meyers), Twice As Nice (Lester), I'd Give A Thousand Dollars (Stone-Gardner).
Personnel: vocals - Kirby Stone, Mike Gardner, Eddie Hall, Larry Foster, trombones - Joe Howard, Milt Bernhardt, George Roberts, woodwinds - Chuck Gentry, Skeets Herfurt, Ted Nash, Harry Klee, Howard Terry, drums - Tommy Romersa, Jack Sperling, vibes and xylophone - Red Norvo, Larry Bunker, bass - Joe Comfort, Rolly Bundock, piano - John Towner, guitar - Howard Roberts.
Session: 1957, L.A.
Comments: Excellent comping with some nice contributions.
Dave Garroway - Matt Dennis - Red Norvo - Some of My Favourites
1957 - RCA-Victor NL 45973, LPM1449 and reissued on RCA/Spain ND 74403.
Selections with H.R.: There's A Small Hotel (Rodgers-Hart), Lush Life (Strayhorn), The End Of A Love Affair (Redding), Hi-Fi Baby (Dennis-Seckler).
Personnel: arrangers - Dennis Farnon, Marty Paich, vocal - Matt Dennis, guitar - Howard Roberts, bass - Clifford Hils, drums - Alvin Stoller, piano - Jimmy Rowles, vibes - Larry Bunker, trumpet - Don Fagerquist.
Session: L.A., Jan. 15, 1957.
Comments : H.R. is part of a group backing up Matt Dennis (composer of Angel Eyes). Not too much guitar - one solo and some ensemble work. CD also has some Red Norvo recordings on it.
Frances Faye - Frances Faye Sings Folk Songs
1957 - Bethlehem BCP-6017, reissued on CD in 1999 on Bethlehem Archives.
Selections: Frankie and Johnny, Greensleeves, Skip To My Lou, Lonesome Road, Medley (Nobody Knows The Trouble I've Seen, Deep River, Goin Home), Johnny Has Gone For A Soldier, St. James Infirmary, Go 'Way From My Window, The Three Ravens, Clementine, Medley (Oif'n Pripitchik, Too-ra-loo-ra-loo-ral, Come Back To Sorrento), John Henry.
Personnel: Russ Garcia arranging and conducting, guitar - Howard Roberts, bass - Max Bennett, drums - Mel Lewis, trombone - Herbie Harper, Frank Rosolino, Lloyd Ulyate, Milt Berhart, trumpet - Don Fagerquist, Maynard Ferguson, Jimmy Salko and a string section.
Session: February and March, 1957 in Hollywood, CA.
Comments : A very interesting recording. I didn't expect to like this album but its great. Frances Faye was an excellent singer and the guitar is quite prominent. On some of the selections it is the singer, a string quartet, a chorus and the guitar - beautiful. H.R. does a fabulous job. The original recording was reissued on CD in 1999 with 5 additional tracks that are alternate takes of Frankie and Johnny, Lonesome Road, Go 'Way From My Window, Clementine and John Henry. Many thanks to John Paul Hoppe for the CD.
Tasty Dish - Buddy Collette quartet and quintet
1957 - reissued on Fresh Sound 1996
Selections with H.R.: Tasty Dish (B. Collette), I Still Love You (B. Collette), Mrs. Potts (E. Wright), You Better Go Now (R. Graham-B. Reichner).
Personnel: tenor sax, clarinet and flute - Buddy Collette, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Eugene Wright, drums - Bill Richmond.
Session: Radio Recorders Studio, Hollywood, May 14, 1957.
Comments: Excellent.
West Coast Rock and Roll - Volume 1
1957 - Tampa - a collection of early rock and roll released in 1994 on V.S.O.P.
Selections with H.R.: Coquette (Kahn-Lombardo-Green).
Personnel: vocal - Billy Devroe, guitar - Howard Roberts.
The Magic Flute of Herbie Mann
1957 - Verve MGV-8247
Selections with H.R.: Moonlight Serenade (Miller-Parish), Body and Soul (Green), Oodles of Noodles (Dorsey), Stardust (Carmichael-Parish).
Personnel: flute - Herbie Mann, piano - Jimmy Rowles, bass- Buddy Clark, guitar - Howard Roberts, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: Capitol Studios, Hollywood, August 9, 1957.
Comments: Nice guitar solo on Moonlight Serenade. Otherwise just comping but nicely done. Oodles of Noodles and Stardust also appear on the albums Big Band Mann VSP-21, released in 1957, and the CD Herbie Mann - Jazz Masters 56, released in 1996. Moonlight Serenade also appears on the album Big Band Mann. Stardust also appears on the album the Sound of Mann.
Big Band Mann - Herbie Mann
1957 - VSP/VSP-21.
Selections with H.R.: Moonlight Serenade (Miller-Parish), Stardust (H. Carmichael), Contrasts (Oodles of Noodles) (J. Dorsey).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Three tunes from The Magic Flute of Herbie Mann.
Herbie Mann - Jazz Masters 56
1957 - released on CD in 1996.
Selections with H.R. : Oodles of Noodles (J. Dorsey), Stardust (H. Carmichael-M. Parish).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Two tracks from The Magic Flute of Herbie Mann.
Flute 'N Oboe Bud Shank & Bob Cooper
1957 - World Pacific Records WP-1226.
Selections : The Didn't Believe Me (Kern-Rourke), Gypsy In My Soul ( Boland-Jaffe), In The Blue Of The Evening (D'Artega-Adair), I Want To Be Happy ( Youmans-Caesar), Tequila Time (B. Cooper), I Can't Get Started (Duke-Gershwin), Blues For Delilah (B. Cooper), Sunset And Wine (B. Cooper), What'll I Do (I. Berlin)
Personnel : oboe - Bob Cooper, flute - Bud Shank, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores, violins - Eudice Shapiro, Ben Gill, viola - Milt Thomas, cello - Ray Kramer.
Comments : Nice album with some great guitar on several cuts. Gypsy in My Soul, I Want To Be Happy, What'll I Do are part of the release Blowin' Country, Bud Shank and Bob Cooper, Pacific Jazz, 1998.
Jazz West Coast - An Anthology of California Music Volume III
1957 - Pacific Jazz
Selections with H.R. : Sweet Georgia Brown (Bernie-Casey-Pinkard).
Personnel : This selection is by the Bud Shank - Bob Cooper Quintet comprised of: arranger - Bob Cooper, flute - Bud Shank, oboe - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores.
Comments : Similar to the music on Flute N'Oboe. Excellent comping and solo by H.R. Thanks to Adrian Pellew for finding this one. This selection is part of a new release Blowin' Country, Bud Shank and Bob Cooper on Pacific Jazz, 1998.
Buddy DeFranco - Helen Forrest "Black Magic"
1957 - Shamrock Records LP 1801 (on tape).
Selections: Billie's Bounce, September Song, I Had The Craziest Dream, That Old Feeling, Them There Eyes, Taking A Chance On Love, Black Magic, Thou Swell, Falling In Love With Love, Soft Winds, From This Moment On, Who Cares, You Turned The Tables On Me, I Don't Want To Walk Without You, Stella By Starlight.
Personnel : clarinet - Buddy DeFranco, piano - Jimmy Rowles, drums - Frank Devino, bass - Bob Bertel, guitar - Howard Roberts, vibes - Victor Feldman.
Session: L.A., May 1957.
Comments: Good.
Buddy Rich Just Sings
1957 - Verve, reissued 1998.
Selections : Cathy (M. Torme), Between The Devil And The Deep Blue Sea (H. Arlen-T. Koehler). It's Alright With Me (Porter), Over The Rainbow (Arlen-Harburg), You Took Advantage Of me (Rodgers-Hart), Can't We Be Friends (James-Swift), It's Only A Paper Moon (Arlen-Rose-Harburg), Melancholy Baby (Norton-Webster-Burnett), Cheek To Cheek (Berlin), It Don't Mean A Thing If It Ain't Got That Swing (Ellington-Mills), I Hadn't Anyone Till You (Noble), That Old Feeling (Brown-Fain).
Personnel : vocal - Buddy Rich, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, trumpet - Harry "Sweets" Edison, tenor sax - Ben Webster, piano - Paul Smith.
Session : Jan. 31, 1957.
Comments : This is a good recording with lots of great contributions from H.R. and others. An alternate take of Between The Devil And The Deep Blue Sea was issued on Buddy Rich in the Compact Jazz Series in 1987.
Collections - Joe Morello
1957 - Score SLP-4031 (on tape).
Selections: Sweet Georgis Brown, Little Girl, Have You Met Miss Jones?, Ghost Of A Chance, I've Got The World On A String.
Personnel: drums - Joe Morello, bass - Ben Tucker, piano - Gerald Wiggins, vibes - Red Norvo, guitar - Howard Roberts.
Session : L.A. Jan. 3, 1957.
Comments: A fabulous record with some wonderful guitar. It reminds me of the Red Norvo-Tal Farlow recordings. Thanks to Dave Gould for this. Recording also includes some tunes with Art Pepper playing with Red Borvo (these selections were released on the Art Pepper CD Straight Life) but H.R. is not playing on these. These tunes have been released on the Fresh Sound CD FSR-CD 478 Mr. Roberts Plays Guitar, January 2008.
Julie London - Boy on a Dolphin
1957 - London 45-HLU.8414.
Selections: Boy on a Dolphin (Friedhofer-Webster).
Personnel: vocals - Julie London, and the Howard Roberts Orchestra.
Session : L.A., 1957.
Comments: A lovely recording, just Julie and what sounds like two guitars (the Orchestra). This was the theme song to the movie of the same name starring Alan Ladd and Sophia Loren. Many thanks to Keen Butterworth for this.
Ricky/Ricky Nelson
1957 and 1958 - Liberty and rereleased on a single CD by BCD Records BGOCD440 in 1999
Selections on Ricky: Honeycomb (Merrill), Boppin' The Blues (Griffin-Perkins), Be-Bop Baby (Lendhurst), Have I Told You Lately That I Love You? (Wiseman), Teenage Doll (Lendhurst-Lendhurst), If You Can't Rock Me (Jacobs), Whole Lotta Shakin' Goin' On (Williams), Baby I'm Sorry (Scott), Am I Blue? (Askt-Clarke), I'm Confessin' (Dougherty-Reynolds-Neiburg), Your True Love (Perkins), True Love (Porter).
Selections on Ricky Nelson: Shirley Lee (Trammell), Someday (You'll Want Me To Want You) (Hodges), There's Good Rockin' Tonight (Brown), I'm Feelin' Sorry (Clement), Down The Line (Orbison), Unchained Melody (North-Zaret), I'm In Love Again (Domino-Bartholomew), Don't Leave Me This Way (Nelson), My Babe (Dixon), I'll Walk Alone (Styne-Cahn), There Goes My Baby (Kirkland-Burton), Poor Little Fool (Sheeley).
Personnel: vocals and guitar - Ricky Nelson, guitar - James Burton, Howard Roberts, Joe Maphis, Bob Bain, James Kirkland, piano - Ozzie Nelson, Roger Renner, Gene Garf, Don Ferris, bass - George "Bud" DeNaut, Ray Siegel, drums - Earl Palmer, Richie Frost, background vocals - Jordanaires.
Session: 1957 and 1958 respectively in L.A.
Comments: H.R. not really identifiable and session players are not documented.
The Swing's to TV Bob Cooper and Bud Shank
1958 - World Pacific WPM-411.
Selections with HR: When You Wish Upon a Star (Washington-Harline), Put Your Dreams Away (Mann-Weiss-Lowe), Tenderly (Gross-Lawrence), Danny Boy (traditional).
Personnel: flute and alto sax - Bud Shank, oboe, tenor sax and arranger - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Shelly Manne, violins - Eudice Shapiro, Bob Sushel, Jack Pepper, viola - Milt Thomas, cello - Ray Kramer.
Session: January 21, 1958, Capitol Studios, L.A.
Comments: The remaining cuts on this album were also issued on an album called Blowin' Country that did not include H.R. The material from Flute 'N Oboe, Blowin' Country, and the Swing's to TV (plus some other albums that do not include H.R.) have all been reissued on a Mosaic box set Bud Shank & Bob Cooper, Mosaic 10 Select, B2-95069.These four selections all contain some nice contributions from H.R.
Larry Williams - Bad Boy
1958 Specialty SP626, SP634 and reissued on Specialty SPCD 7002, 1988
Selections with H.R.: Dizzy, Miss Lizzy (Williams), Heebie-Jeebies (Jackson-Marascalco), Hootchy-Koo (Williams).
Personnel: piano and vocals - Larry Williams, guitar - Rene Hall, Howard Roberts, baritone sax - Jewell Grant, tenor sax - Plas Johnson, bass - Ted Brinson, drums - Earl Palmer.
Session: February, 19, 1958, Radio Recorder, Hollywood.
Comments: I think the solos are played by Rene Hall, including the characteristic lick on Dizzy, Miss Lizzy.
Perez Prado - Prez
1958 - RCA 74321 26052 (reissued on CD in 1995).
Selections with H.R.: Fireworks (king Guion), Leyenda Mexicana (Prado), Adios Mi Chaparrita (Stewart-Esperon), Leo's Special (Acosta), Maria Bonita ((Lara).
Personnel: guitar - Howard Roberts, Irving Ashby, Vince Terri, Howard Heitmeyer, bass - Tony Reyes, drums - Leo Acosta, piano - Perez Prado, trombone - Ernie Tack, trumpet - Ollie Mitchell, Louis Valizan, Bob McKenzie, Tony Facciuto, Homer Salinas, alto sax - Rene Bloch, tenor sax - Ignacio Maez, Frank Vasquez, baritone sax - Don Robinson, conga - Modesto Duran, bongo - Carlos Vidal.
Session : Hollywood, June 28, 1957.
Comments : Four guitars playing unison lines on these recordings with the King of the Mambo.
Julie Is Her Name - Volume II - Julie London
1958 - Liberty
Selections: Blue Moon (Rodgers-Hart), What Is This Thing Called Love (Porter), How Long Has This Been Going On (Gershwin-Gershwin), Too Good To Be True (Boland), Spring Is Here (Rodgers-Hart), Goody Goody (Mercer-Malneck), The One I Love Belongs To Somebody Else (Jones-Kahn), I'm Lucky (Myrow-De Lange), Hot Toddy (Flanagan), Little White Lies (Donaldson), I Guess I'll Have To Change My Plan (Schwartz-Dietz), I Got Lost In His Arms (Berlin).
Personnel: guitar - Howard Roberts, bass - Red Mitchell.
Comments : Great vocals and fantastic guitar work.
Jazz City Presents ...
1958 - BCP-80
Selections with H.R.: I'm Glad There's You (Maderia-Dorsey).
Personnel:Leader - Russ Garcia, trumpet - Don Fagerquist, violon - Ricky Mariano, Bill Kurasch, viola - Stan Harris, cello - Fred Katz, guitar - Howard Roberts, bass - Bob Enevoldsen, drums - Don Heath.
Comments : Beautiful solos by H.R. and Don Fagerquist on this. Album also contains contributions from Frank Rosolino and a group called "The Swingers". The album was recorded at a club called Jazz City which was closing.
Olay! The New Sound of Ruth Olay
1958 - Emarcy MG 36125
Selections: Singin' In The Rain (Brown-Freed), Slow But Sure (Carter-Hanson), Lover Man (Davis-Ramirez-Sherman), When The Sun Comes Out (Arlen-Koehler), Lucky day (DeSylva-Brown-Henderson), It Never Entered My Mind (Rodgers-Hart), You Make Me Feel So Young (Myrow-Gordon), I Let A Song Go Out Of My Heart (Ellington-Nemo-Mills-Redmond), Love For Sale (Porter), I'm Glad There Is You (Madeira-Dorsey), After You've Gone (Creamer-Layton), I Wanna Be Loved (Green-Rose-Heyman).
Personnel: guitar - Howard Roberts, bass - Red Mitchell, drums - Larry Bunker, flute - Bud Shank, cello - Ed Lustgarten, piano - Bud Motsinger, trombone - Milt Bernhart, George Roberts, Sy Zentner, trumpet - Don Fagerquist, vibraphone - Red Norvo.
Comments : Some nice music on this but not much guitar.
Peggy Lee - Things Are Swingin'
1958 - Capitol ST-1049 (LP).
Selections: It's A Wonderful World (Harold Adamson-Jan Savitt-Johnny Watson), Things Are Swingin' (Peggy Lee-Jack Marshall), Alright, OK, You Win (Mayme Watts-Sid Wyche), Ridin' High (Cole Porter), It's Been A Long, Long Time (Sammy Cahn-Jule Styne), Lullaby In Rhythm (Benny Goodman-Walter Hirsch-Clarence Profit-Edgar Sampson), Alone Together (Harold Dietz-Arthur Schwartz), I'm Beginning To See The Light (Duke Ellington-Don George-Johnny Hodges-Harry James), It's A Good, Good Night (Peggy Lee), You're Getting To Be A Habit With Me (Al Dubin-Harry Warren), You're Mine, You (Johnny Green-Edward Heyman), Life Is For Livin' (Sammy Cahn-Jimmy Van Heusen).
Personnel: conductor - Jack Marshall, saxes - Justin Gordon, George Smith, trumpet - Don Fagerquist, Conrad Gozzo, Manny Klein, trombone - Milt Bernhardt, valve trombone- Bob Enevoldsen, guitar - Howard Roberts, bass - Joe Mondragon, piano - Joe Harnell, drums - Shelly Manne.
Session: May 19 and 25 and 27 and 30, 1958, Los Angeles.
Comments: H.R. is only comping but it is discernible and nicely done. Overall a nice recording. Also recorded during these sessions, but not included in the original LP were Fever (Eddie Cooley-Johnny Davenport, Peggy Lee) on May 19 and You Don't Know (Walter Spriggs) on May 25. Fever does not include guitar, but You Don't Know does. In addition to the original 45 (Capitol F 3998, with "Fever" on the A side), the song has turned on Peggy's LP "All Aglow Again (T 1366, rel. 1960) and in the CD "Bewitching-Lee!: Peggy Lee Sings Her Greatest Hits" (DCC 179, rel. 1999). Many thanks to Ivan Santiago for this information. According to Mitch Holder they were initially going to use the guitar on Fever but for some reason that didn't work so they had H.R. do the finger snaps instead!
Skål - Bert Dahlander Quartet
1958 - Verve MGV-8253.
Selections: How Do You Do (Dahlander), Johnson's Wax (Gibbs), When Lights Are Low (Carter-Williams), Hip Soup (Swenson), But Not For Me (G. and I. Gershwin), Emma (Dahlander), Room 608 (Silver), Ballad Medley: Everything Happens To Me (Adair-Dennis), Moonlight in Vermont (Suesdorf-Blackburn), Flamingo (Grouya-Anderson).
Personnel: guitar - Howard Roberts, bass - Curtis Counce, drums - Bert Dahlander, vibes - Victor Feldman.
Session: L.A., Sept. 16-17, 1957.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. Great guitar and music generally. A real find! Perhaps his best outing as a bebop jazz guitarist.
Jazz Loves Paris - Buddy Collette
1958 - Specialty - CD - reissued in 1991.
Selections: I Love Paris (C. Porter), Pigalle (G. Ulmer-G. Konyn- C. Newman , La Vie En Rose (E. Piaf-M. David-Louiguy), Darling, Je Vous Aime Beaucoup (A. Sosenko), Mam'selle (M. Gordon-E. Goulding), C'est Si Bon (A. Hornez-J. Seelen-H. Betti), Domino (J. Plante-D. Raye- L. Ferrari), Song from the Moulin Rouge (Where Is You Heart) (Auric-Engvick), The Last Tim I Saw Paris (O. Hammerstein-J. Kern), Under Paris Skies (J. Drejac-K. Gannon-H. Giraud), Darling, Je Vous Aime Beaucoup, (Take 1-alternate), Mam'selle (Take 2 Alternate), The Last Time I Saw Paris (Take 3 - alternate), La Vie En Rose (Take 1 - alternate).
Personnel: alto and tenor sax - Buddy Collette, trombone - Frank Rosolino, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond, Bill Douglass, tuba - Red Callender.
Session: L.A. Jan. 24, 1958.
Comments: Great guitar!
Shorty Rogers Swings
1958 - Bluebird - CD - reissued in 1990.
Selections: Chances Are (A. Stillman-R. Allen), No Such Luck (A. Stilman-R. Allen), It's Not For Me To Say (A. Stilman-R. Allen), Lilac Chiffon (P. Hayes-R. Allen), I Just Don't Know (R. Allen-J. Stone), Who Needs You (A. Stilman-R. Allen), Everybody Loves A Lover (R. Allen-R. Adler), Come To Me (R. Allen-P.Hayes), My Very Good Friend In The Looking Glass (A. Stilman-R. Allen), You Know How It Is (A. Stilman-R. Allen), A Very Special Love (R. Allen), Teacher, Teacher (A. Stilman-R. Allen), My Shining Hour ( J. Mercer-H. Arlen), Get Happy (T. Koehler-H. Arlen), Blues In The Night ( J. Mercer-H. Arlen), Lets Fall In Love (T. Koehler-H. Arlen), That Old Black Magic (J. Mercer-H. Arlen).
Personnel: trumpet - Shorty Rogers, Pete Condoli, Conti Condoli, Al Porcino, Don Fagerquist, Oliver Mitchell, Ray Triscari, Buddy Childers, Carrol Lewis, Ray Linn, alto sax - Bud Shank, Paul Horn, tenor sax - Bob Cooper, Bill Holman, Richie Kamuca, Herb Geller, baritone sax - Charles Gentry, trombone - Harry Betts, David Wells, Ken Shroyer, Bob Enevoldsen, Richard Nash, Frank Rosolino, Marshall Cram, clarinet - Jimmy Giuffre, guitar - Barney Kessel, Howard Roberts, bass - Joe Mondragon, drums - Mel Lewis, piano - Pete Jolly, vibes - Larry Bunker, Red Norvo.
Comments: Howard Roberts is on cuts 5-12. There are some good guitar solos. Barney Kessel is on the remaining cuts.
Sessions, Live: Terry Gibbs, Pete Jolly and Red Norvo
1958 - Calliope CAL3010.
Selections with H.R.: Between the Devil and the Deep Blue Sea, Red Eye, Fascinating Rhythm.
Personnel: alto sa and flute - Bud Shank, vibes - Red Norvo, guitar - Howard Roberts, bass - unknown, drums - Shelly Manne.
Session: Los Angeles, CA, April 21, 1958.
Comments: This is from the TV show Stars of Jazz. Thanks to Dave Gould for this. Jim Harrod, whose information is sound, has informed me that guitarist on this is LP is Jimmy Wyble and not H.R.
Jack Kane - Kane is Able
1958 - Coral 57219.
Selections: St. Louis Blues (W.C. Handy), I'm Getting Sentimental Over You (N. Washington-G. Bassman), Clare's Tune (J. Kane), Carioca (G. Kahn- V. Youmans-E. Eliscu), Wouldn't It Be Loverly (A. Lerner-F. Loewe), The Sound Of The Blues (J. Kane), Lazy River (H. Carmichael-S Arodin) with an interploation of Tea For two (V. Youmans-I. Caesar), Some Of These Days (S. Brooks), Jane's Jump (J. Kane), It's A Lonesome Old Town (H. Tobias-C. Kisco), The Alfern Song (J. Kane), Poor Butterfly (R. Hubbell-J. Golden).
Personnel: conductor and arranger - Jack Kane, trumpet - Conrad Gozzo, Don Fagerquist, Frank Beach, Don Palladino, Uan Rasey, saxes - Bud Shank, Herb Geller, Georgie Auls, Justin Gordon, Chuck Gentry, Phil Sobel, Jack Dumont, Red Nash, Ronnie Lang, Champ Webb, Vic Garber, trombones - Tommy Pederson, Joe Howard, George Roberts, P. Tanner, F. Rosolino, Sy Zentner, french horn - John Graas, tuba - Red Callender, flutes - Jules Kinsler, Gene Cipriano, bassoon - Lloyd Hildebrand, clarinet - F. Falensky, bass - Red Mitchell, drums - A. Stoller, piano - P. Smith, vibes - Larry Bunker, guitar - Howard Roberts, percussion - L. Singer and also 24 strings.
Session: L.A., Oct. 30, Nov. 2, 1958.
Comments: Excellent album. H.R. makes some nice contributions. Jack Kane was from Toronto and graduated with a degree in Music from the University of Toronto. He was well-known in Canada during the late 50's as he had a popular show on the CBC called the Music Makers. Some of this is documented in They Loved to Play, Memories of the Golden Age in Canadian Music by Murray Ginsberg, Eastend Books, 1998 which discusses the history of the Canadian music industry. Kane went to work as a music director for a Edie Gorme-Steve Lawrence television show which is when this recording was made. He died quite young in 1961. The Jack Kane composition The Sound of the Blues is particularly good. I got this recording on tape from the National Library of Canada with the kind permission of Universal Music.
Allan Kane, the son of Jack Kane, supplied me with the information that this recording was nominated for a Grammy in 1958 in the category Best Orchestra Performance.
Merrill Moore - Boogie My Blues Away
1958 - only issued in 1990 on Bear Family Records as a double CD.
Selections: South, Sentimental Journey, Shanty In Old Shanty Town, Sweet Georgia Brown, Moore Blues, Nobody's Sweetheart, Jumpin' At The Woodside, Somebody Stole My Gal, Lazy River.
Personnel: piano - Merrill Moore, guitar - Howard Roberts, bass - Morty Korb, drums - Ted Kovar.
Comments: I've only listed the selections where Howard Roberts plays.
Claude Williamson mulls the Mulligan with his twin Jazz Pianos and Trio
1958 - Fresh Sound Records FSR-CD 54.
Selections : All compositions by Gerry Mulligan. Walkin' Shoes, Limelight, Westwood Walk, A Ballad, Utter Chaos, Bark For Barksdale, Simbah, Blue At The Roots, Apple Core, Line For Lyons, Ontet.
Personnel : piano - Claude Williamson, guitar - Howard Roberts, bass - Red Mitchell, drums - Stan Levey.
Comments : A very nice album.
Harry Belafonte Sings the Blues
1958 - RCA LOP-1006.
Selections with H.R.: Losing Hand (Calhoun) Cotton Fields (Carter), God Bless the Child (Smith), Sinner's Prayer (Fulson), Mary Ann (Charles), Hallelujah I Love Her So (Charles), A Fool For You (Charles).
Personnel: vocal - Harry Belafonte, trumpet - Don Fagerquist, trombone - Milt Berhart, tenor sax - Bumps Meyers, Plas Johnson, piano - Jimmy Rowles, guitar - Millard Thomas, Laurindo Almeida, electric bass - Howard Roberts, bass - Red Callender, drums - Jack Sperling.
Session: Hollywood, June 5 and 7, 1958.
Comments: H.R. on electric bass.
Moviesville Jazz - Heinie Beau and His Hollywood Jazz Stars
1958 - Coral CRL 57247.
Selections with H.R.: All compositions by Heinie Beau, Scotland Yardbird, In Your Private Eye, The Man With The Golden Embouchure, The Tattooed Street Car Named Baby, Under The Blowtop, The Cool Tin Roof Story.
Personnel: trumpet - Don Fagerquist, French horn - John Graas, clarinet, alto sax, flute - Heinie Beau, flute, tenor sax, clarinet - Buddy Collette, bass sax, baritine sax, bass clarinet - Chuck Gentry, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond.
Session: L.A. June 30, 1958.
Comments: Some nice solos by H.R. on this one.
The Diamonds Meet Pete Rugolo
1958 - Mercury 20368.
Selections : Wrap Your Trouble In Dreams, Baby Won't You Please Come Home, The Best Things In Life Are Free, Ain't Misbehavin', Until The Real Thing Comes Along, I'll Always Be In Love With You, Will You Still Be Mine, Tenderly, For All We Know, One For My Baby, Lulu's Back In Town, You'll Never Walk Alone.
Personnel : The Pete Rugolo Orchestra but no personnel are listed on the album. According to one of the Diamonds (Mike Douglas), who communicated this information to Barry Worrell, Howard Roberts was a member of the orchestra for this recording.
Comments : The Diamonds were a famous, popular singing group during the 50's perhaps best known for their hit Little Darlin. They hailed from Ontario. For a web-site on the Diamonds see Barry Worrell, who also supplied this tape. On this album they sing jazz songs and do a pretty good job. H.R. can be heard One For My Baby.
Chet Atkins in Hollywood
1958 - reissue of the original RCA recording by Classic Compact Disc LSPDC 1993.
Selections : Armein's Theme, Let it be Me, Theme from Picnic, Theme from a Dream, Estrellita, Jitterbug Waltz, Little Old Lady, Limelight, The Three Bells, Santa Lucia, Greensleeves, Meet Mr. Callaghan.
Personnel : Chet Atkins and the Dennis Farnon Orchestra, guitar - Chet Atkins, Howard Roberts, violin - Jacques Gasselin, Sam Albert, Eudice Shapiro, Gerlad Vinci, Jack Shulman, viola - Cecil Figelski, Joseph DiFiore, Milton Thomas, Virginia Majewski, Alexander Neiman, cello - Edger Lustgarten, Victor Gottlieb harp - Kathryn Julye, horn - John Cave, piano - Geoffrey Clarkson, bass - Cliff Hills, George Calender, drums - Jack Sperling, Larry Bunker.
Session: October 23, 1958.
Comments : This photo shows Chet with H.R. at the session. H.R. is only comping although it is quite noticeable on Jitterbug Waltz.
Keely Smith - Politely
1958 - Capitol ST 1073.
Selections: Sweet and Lovely (Arnheim-Tobias-Lemare), Cocktails for Two (Johnston-Coslow), The Song is You (Kern-Hammerstein II), I'll Get By (Ahlert-Turk), Lullaby Of The Leaves (Petkere-Young), On the Sunny Side of the Street (McHugh-Fields), East Of The Sun (And West Of The Moon) (Bowman), I Can't Get Started (Duke-Gershwin), I'll Never Smile Again (Ruth Lewis), S'posin (Denniker-Razaf), All the Way (Cahn), I Never Knew (I Could Love Anybody Like I'm Loving You) (Pitts-Egan-Marsh).
Personnel: vocal - Keely Smith, leader - Billy May, contractor - David Klein , producer - Voyle Gilmore, guitar - Howard Robert, bass - Ralph Pena, percussion - Larry Bunker, drums - Irving Cottler, piano - Paul T. Smith, harp - Veryle Mills, saxophone - Justin Gordon, saxophone - Jules Jacob, saxophone - Harry Klee, saxophone - Wilbur Schwartz, trombone - Francis Howard, trombone - Ed. Kusby, trombone - Murray McEachern, trombone - Sy Zentner, trumpet - Uan Uasey, cello - Edgar Lustgarten, cello - Kurt Reher, viola - Alvin Hinken, viola - Paul Robyn, violin - Victor Arno, violin - Israel Baker, violin - Ben Gill, violin - Dan Lube, violin - Erno Neufeld, violin - Lou Raderman, violin - Paul Shure, violin - Marshall Sosson.
Session: June 30th. 1958. (6.00pm./9.30pm.) Capitol Tower, 1750 North Vine Street, Hollywood.
Comments: Not much guitar but great vocals.
Invitation - Guitars Inc.
1958 - Warner Bros. B-1206.
Selections: Lets Get Away From It All (Gennis-Adair), The Bad and The Beautiful (Raskin), Lullaby Of Broadway (Dubin-Warren), Lullaby Of the Leaves (Petkere-Young), Darn That Dream (Van Heusen-DeLange), My Heart Belongs To Daddy (Porter), Invitation (Kaper), All The Things You Are (Kern-Hammerstein II), Chloe (Kahn-Morel), Pick Yourself Up (Kern-Fields), `Tis Autumn (Nemo), The Guitars Inc. (Corb).
Personnel : guitar - Howard Roberts, Bob Bain, Tom Tedesco, Al Hendrickson, Tony Rizzi, Dano bass - Bill Pitman.
Session: 1958.
Comments: Nice record. Thanks to Mitch Holder for this.
Ernestine Anderson - Toast of the Nation's Critics
1958 - Mercury SR 60074
Selections: Runnin' Wild (Gibbs-Grey-Wood), Stardust (Carmichael-Parish), Heat Wave (Berlin), My Ship (Weil-Gershwin), Azure-Te (Davis-Wolf), Welcome to The Club (Torme), There's A Boat Dat's Leavin' Soon For New York (Gershwin-Gershwin), Social Call (Gryce-Hendricks), There Will Never be Another You (Warren-Gordon), A Sleepin' Bee (Arlen-Capote), Interlude (Rugolo-Russell).
Personnel: Orchestra arranged and conducted by Pete Rugolo, alto sax and flute - Bud Shank, flute - Buddy Collette, guitar - Howard Roberts, drums - Shelly Manne and many others.
Session: L.A., 1958.
Comments: A few nice guitar solos on this.
Troyce Key
1958-59 Warner Bros. 5007.
Selections: Drown In My Own Tears (Glover), Baby Please Don't Go (Gardner-Key).
Personnel: vocal - Troyce Key, guitar - Howard Roberts, Eddie Cochran, drums - Earl Palmer.
Session: L.A.
Comments: Nice solo on Baby Please Don't Go but I don't think this is H.R. (too rockabilly) probably Eddie Cochran.
Soft and Subtle - Guitars Inc.
1959 - Warner Bros. B-1246.
Selections: El Cumbanchero (Rafael Hernandez), Hajji Baba (Tiomkin-Washington), Lazy Afternoon (Moross-La Touche), In an Eighteenth Century Drawing Room (Lawrence-Scott), Nature Boy (Ahbez), Get Happy (Arlen-Koehler), Snowfall (Thornhill), It Don't Mean a Thing (Ellington-Mills), Oasis (Corb), Our Waltz (Rose), Paganini's Progress (Harris), Good-bye (Jenkins).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: H.R. is identified as Bob Howe on this! Excellent record.
Guitars Inc. - Guy Dad, It's Early
1959 - Warner Bros. 9-5049 45rpm.
Selections: Guy Dad, It's Early (M. Corb), El Cumbanchero (Rafael Hernandez).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: El Cumbanchero also appears on the album Soft and Subtle but Guy Dad, It's Early isn't on any of the Guitars Inc. albums.
Guitars at Christmas - Guitars Inc.
1959 - Warner Bros. B-1340.
Selections: Jingle Bells, First Noel, Santa Claus Is Coming To Town (Gillespie-Coots), Caroling, Caroling (Hutson-Burt), God Rest Ye Merry Gentlemen, The Star Carol (hutson-Burt), Deck The Halls, Winter Wonderland (Smith-Bernard), O Little Town Of Bethlehem, Sleigh Ride (Parish-Anderson), Silent Night, Rudolf The Red-Nosed Reindeer (J. Marks), Some Children See Him (Hutson-Burt), Come, Dear Children (Hutson-Burt), Come All Ye Faithful, White Christmas (I. Berlin).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: Thanks to Jay Smith for this.
Clarinet Portrait - Jerry Fuller Sextet
1959 Andex A 3008.
Selections: I'm Getting Sentimental Over You (Bassman-Washington), That's A Plenty (Pollack-Gilbert), Minor Epic (Estes) On Green Dolphin Street (Kaper-Washington), Judy (Carmichael-Lerner), Somebody Loves Me (Gershwin-MacDonald-De Silva), Makin' Whoopee (Donaldson-Kahn), Raz-Ma-Tazz (Florence), Benny's Idea (Fuller), Georgia on My Mind (Carmichael-Gorrell).
Personnel: clarinet - Jerry Fuller, guitar - Howard Roberts, piano - Bob Florence, drums - Frank Capps, vibes - Gene Estes, bass - Mel Pollan.
Session: L.A., Rex Productions, March 17, 19, 20 1958.
Comments: Music like Benny Goodman. Quite good and excellent contributions from H.R.
Gary Crosby - The Happy Bachelor
1959 - Verve MV 2664.
Selections: The Happy Bachelor (Mercer-DePaul), I've Got My Love To Keep Me Warm (Berlin), Manana (Lee-Barbour), I'll Never Be Free (Weiss-Benjamin), Old Buttermilk Sky (Carmichael-Brooks), You Won't Be Satisfied Until You Break My Heart (James-Stock), Side by Side (Woods), Undecided (Shavers-Robin), I'm Begining to See the Light (James-Ellington-Hodges-George), Glow Worm (Linck-Mercer), Into Each Life Some Rain Must Fall (Roberts-Fisher), This Little Girl of Mine (Charles).
Personnel: vocals - Gary Crosby, trumpet - Pete Candoli, vibes - Gene Estes, piano - Paul Smith, bass - Joe Mondragon, guitar - Howard Roberts, drums - Larry Bunker, Bill Richmond.
Session: L.A. April 8, 9, 10, 1959.
Comments: Some excellent contributions by H.R. on this.
Ricky Nelson - Ricky Sings Again
1959 - Imperial LP - 9061
Selections with H.R.: It's All In The Game (Dawes-Sigman), Restless Kid (Johnny Cash).
Personnel: vocals and guitar - Rick Nelson, guitar - James Burton, Howard Roberts, Billy Strange, piano - Gene Garf, bass - George "Bud" DeNaut, drums - Earl Palmer, background vocals - Jordanaires.
Session: September 2, 1958 at Master Recorders, Los Angeles.
Comments: This album was released again on CD (Capitol 72435-32451-2-2) along with the album Songs by Ricky. James Burton plays some great guitar. H.R. is not really discernible.
Bobby Enevoldsen Smorgasbord
1959 - Liberty LJH 6008.
Selections: Ding, Dong The Witch Is Dead (Arlen-Harburg), Swingin' On A Star (Burke-Van Heusen), Swinger's Dream (Mac Dougald), My Ideal (Robin-Whiting-Chase), How Low The Tune (Troup-Enevoldsen), John's Jumble (Enevoldsen), You're In Love (B. Troup), Thinking Of You (Kalmar-Ruby), No Time For Love (Davidson), Mr Know It All (B. Troup), Oh! Look At Me Now (John DeVries), Bob's Boy (Bob Gordon).
Personnel: guitar - Howard Roberts, bass - Bob Enevoldsen, Red Mitchell , drums - Don Heath, Larry Bunker, piano - Marty Paich, Red Mitchell, tenor sax and valve trombone - Bob Enevoldsen.
Session: L.A. Nov. 25, 29 1959.
Comments: Nice album and good guitar. H.R. plays a nice solo on Ding, Dong The Witch Is Dead reaffirming my belief that he could solo effectively on almost anything.
Rugolo Plays Kenton
1959 - Mercury MG-C36143.
Selections: Eager Beaver (Kenton), Painted Rhythm (Kenton), Minor Riff (Kenton), Concerto For Doghouse (Kenton), Sunset Tower (Kenton), Concerto To End All Concertos (Kenton), Artistry In Rhythm (Kenton), Opus In Pastels (Kenton), Theme To The West (Kenton-Rugolo), Artistry In Boogie (Kenton-Rugolo), Capitol Punishment (Kenton-Rugolo)
Personnel: trumpets - Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist; trombones - Milt Bernhart, Frank Rosolino, Harry Betts, Kenny Shroyer; saxes - Bud Shank, Harry Klee, Bob Cooper, Dave Pell, Chuck Gentry; bass - Red Callender; piano - Claude Williamson; drums - Shelly Manne; guitar - Howard Roberts.
Session: L.A. Oct. 25, 26, Nov. 15, 24, 1958.
The Jazz Sound From Peter Gunn
1959 - RCA but reissued on Fresh Sound FSCD 2009.
Selections: (all compositions by H. Mancini), Peter Gunn, Blue Steel, The Brothers Go To Mother's, Session At Pete's Pad, Walkin' Bass, Dreamsville, The Little Man Theme, Sorta Blue, Goofin' At The Coffee House, A Quiet Gass, A Profound Gass, Fallout!, Lightly, Soft Sounds, Odd Ball, The Floater, Blues For Mother's, Brief And Breezy, Joanna, My Manne Shelly, Spook!, A Ball For John, Goofin' At The Coffee House (2nd), Not From Dixie.
Personnel: arranged by Maxwell Davis, Pete Candoli, Bob Florence, trumpets - Pete Candoli, Conte Candoli, Don Fagerquist trombones - Milt Bernhart, Frank Rosolino, Dave Wells, saxes - Bud Shank, Ted Nash, Ronnie Lang, Dick Nash, bass - Red Mitchell, piano - Henry Mancini, Jimmy Rowles, John T. Williams, Russ Freeman, drums - Shelly Manne, Frank Capp, percussion - Emil Richards, guitar - Howard Roberts, Tony Rizzi, vibes - Larry Bunker.
Session:
Comments: Excellent album with many contributions from H.R. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Homage - The Georgie Auld Sextet with Howard Roberts
1959 - released on CD Xanadu 1994.
Selections: Good Enough To Keep, On The Alamo (Kahn-Jones), Seven Come Eleven (Goodman-Christian), Soft Winds (Goodman-Henderson), Wholly Cats (B. Goodman), Flying Home (B. Goodman-L. Hampton), Benny's Bugle (B. Goodman-J. Bushkin), Rose Room (Hickman-Williams), A Smooth One (B. Goodman-C. Christian-Mundy), Sweet Lorraine (Burwell-Parish), I Found A New Baby (Palmer-Williams), Scarecrow (B. Goodman).
Personnel : guitar - Howard Roberts, tenor saxophone - Georgie Auld, trumpet - Don Fagerquist, piano - Lou Levy, vibes - Larry Bunker, bass - Leroy Vinegar, drums - Mel Lewis.
Session: Sept. 5, 1959.
Comments: Great playing! Interesting to hear H.R. play some Charlie Christian licks! Many thanks to Dave Gould for this (see above under Jazz Studio Two).
Googie René presents Romesville
1959 - Class CS-LP-5003 (also as Rendezvous S-1313)
Selections: Romesville (L. René-R. René), Cool It at the Coliseum (R. René), Serenade in the Night (Bixio Cherubini), Flippin' the Pizza (R. René), Come Back to Sorrento (E. and G.B. Curtis), Caesar's Pad (L. René-R. René), Cafe Roman Candle (R. René), Rebecca (Jeanne Vikki), Cherry Ferrari (R. René), Farewell To Rome (L. René).
Personnel: trumpets - Gerald Wilson, Conrad Gozzo, Mickey Mangano, John Audino, John Anderson, trombones - John Ewing, Vern Friley, Lester Robinson, reeds - Buddy Collette, Plas Johnson, Jackie Kelso, Floyd Turnham, Willies Smith, vibes - Larry Bunker, piano - Rafael Googie Rene, guitar - Howard Roberts, mandolin - Al Viola, Al Hendrickson, bass - Red Callender, drums - Earl Palmer, percussion - Milt Holland, Modesto Duran, Jack Costanzo, arranger - Rene Hall.
Session: 1959, L.A.
Comments: A concept album where the "concept" seems to be a beatnik interpretation of Rome. So lots of bongos! Still not a bad record and H.R. solos on Flippin' the Pizza (backed by Jack Costanzo on bongos) and on Cherry Ferrari.
Two for the Money - Brothers Candoli
1959 - Mercury MG 20515 (on tape).
Selections: Splanky (Hefti), Soak Yo' Sally (Candoli), A-Lue-Cha (Parker), Rifts For Rosie (Candoli), Caravan (Tizol-Ellington-Mills), Take The A Train (Strayhorn), Doodlin (Silver), Willow Weep For Me (Ronell), Blueing Boogie (Gillespie), Richard Diamond Blues (Rugolo)
Personnel : Pete Candoli, Conte Candoli (trumpet), Jimmy Rowles (piano) Max Bennett (bass), Frank Capp (drums), Howard Roberts (guitar).
Session: L.A., 1959.
The Four Freshmen and Five Guitars
1959 - Capitol ST1255, reissued by EMI in 1998 on CD together with The Four Freshmen and Five Saxes.
Selections: Rain, The More I See You, This October, Don't Worry 'Bout Me,It's A Pity To Say Goodnight, Oh Lonely Winter, It All Depends On You, Nancy (With The Laughing Face), I Never Knew, Invitation, I Understand, Come Rain Or Come Shine.
Personnel : arranger - Jack Marshall, vocals - Dick Reynolds, Ross Barbour, Don Barbour, Ken Albers, Bob Flanigan, guitars - Al Hendrickson, Howard Roberts, Bobby Gibbons, Tommy Tedesco, Bill Pitman, George van Eps, Al Viola, Herb Ellis, Barney Kessel, vibes - Larry Bunker, bass - Red Mitchell, drums - Shelly Manne, Jack Sperling.
Session: June 16, 17 1959, Los Angeles.
Comments : The five guitars used varied by track. The album doesn't even list the players. This information came from the book Now You Know - The Story of the Four Freshmen by Ross Barbour, Balboa Books .
It's All Right With Me - Cathy Hayes
1959 - HIFI Record reissued on Fresh Sound Records FSR-CD 55 1989.
Selections: The Angels Sing, Blue Moods, You Smell So Good, Happiness Is Just A Thing Called Joe, Wonder Why, Tangerine, If I Were A Bell, Last Night When We Were Young, Down In The Depths, You Don't Know What Love Is, My Old Flame, You And The Night And The Music.
Personnel : arranger - Barney kessel, vocals - Cathy Hayes, guitars - Barney Kessel, Howard Roberts, vibes - Larry Bunker, bass - Monte Budwig, drums - Shelly Manne, Mel Lewis, trumpet - Conte Candoli, alto sax - Bud Shank, tenor sax - Bill Perkins and Ted Nash, Baritone sax - Justin Gordon, piano - Jimmy Rowles.
Session : L.A., 1959.
Comments : H.R. comps and Barney does the leads, fills etc. Nice album and interesting to have H.R. and Barney Kessel on the same recording.
Swing Song Book - Les Brown and his Band Of Renown
1959 - Coral CRL 757300.
Selections: Swing Book Blues (J. Hill), How High The Moon (N. Hamilton-M. Lewis, Early Autumn (R. Burns-W. Herman-J. Mercer), King Porter Stomp (Jellyroll Morton), Lullaby of Birdland (G. Shearing), Moten Swing (B. Moten-B. Moten), Just In Time (J. Styne-B. Comden-A. Green), I Want To Be Happy (V. Youmans-I. Caesar), Take The ``A" Train (B. Strayhorn), I'm Begining To See The Light (H. James-D. Ellington-J. Hodges-D. Georges), Pick Yourself Up (J. Kern-D. Fields), Lean Baby (B. May-R. Alfred).
Personnel: arrangers - Jim Hill, Wes Hensel, Billy May, trumpets - Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan, Frank Beach, trombones - Dick Kenney, Roy Main, J. Hill, Clyde Brown, reeds - Matt Utal, Ralph La Polla, Bill Usselton, Abe Aaron, Butch Stone, piano - Donn Trenner, bass - Jules Berteaux, drums - Jack Sperling. guitar - Howard Roberts, Tony Rizzi, Allan Reuss.
Session: L.A., Jan. 22, 1959.
Comments: Good big band rhythm guitar.
Les Brown and His Band of Renown
1959 - Coral 9-62085 (45 rpm).
Selections: Boola (R. Sweetwater), Say It With Music (I. Berlin).
Personnel: None listed but probably similar to Swing Song Book as listed above.
Session: Feb. 9-11, 1959, L.A.
Comments: Excellent rhythm playing by H.R.
Marx Makes Broadway "with flute and friends" - Dick Marx
195? - Omega - released on V.S.O.P. in 1985.
Selections: Joey, Joey (F. Loesser), Why Can't You Behave (C. Porter), All Of You (C. Porter), Cool (L. Bernstein), Too Close For Comfort (Holofocner-Weiss), If I Were A Bell (F. Loesser), Baubles, Bangles And Beads (Forrest-Wright), A Sleepin' Bee (F. Loesser), Guys And Dolls (F. Loesser), Just In Time (Comden-Green-Styne).
Personnel : piano - Dick Marx, flute - Buddy Collette, drums - Frank Capp, bass - Red Mitchell and Carson Smith, guitar - Howard Roberts and Irving Ashby.
Comments : Excellent album. H.R. is on 3 cuts and Irving Ashby on 5. The album notes don't identify which are which but my guess is H.R. on All Of You, If I Were A Bell and Just In Time.
Swingin' Hi ... Fi - Al Anthony, Wizard of the Organ
195? - Liberty LST 7021.
Selections: Vanessa (Fisher-Fisher), Carmelita (P. Faith), I Can't Believe That You're in Love with Me (McHugh-Gaskill), Camptown races (Foster), Tropical Merengue (Munoz), Baia (Golbert-Barrosa), Sabre Dance (Khatchaturian), You're Driving Me Crazy (Donaldson), Ebb Tide (Maxwell), Everything I've Got (Belongs To You) (Rodgers-Hart), Swingin' Hi (Al Anthony), Eleanora (Arendo).
Personnel : organ - Al Anthony, drums - Mel Lewis, bass - Buddy Clark, guitar - Howard Roberts.
Comments : H.R. contributes a bit.
Listen to the Music of Russell Garcia and His Orchestra
195? Kapp Records KL-1050.
Selections: Worry-Go-Roun
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Chico Hamilton - Complete Recordings 1953-1958 (CD)
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Shop Chico Hamilton - Complete Recordings 1953-1958 (CD) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.
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Jazz Oral Histories
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https://americanhistory.si.edu/explore/projects/smithsonian-jazz/collections-and-archives/smithsonian-jazz-oral-history-program
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Jamey Aebersold Recorded December 16, 2013
Jamey Aebersold, born in 1939 in New Albany, Indiana is an accomplished jazz saxophonists who is perhaps better well known as a music educator. Aebersold has taught musical improvisation at the University of Louisville; however, his reach as an educator goes far beyond Louisville and throughout the world. Between 1967 and 2013 Aebersold published 133 works in his “Play-a-Long” series of musical education books and CDs. The series not only teaches students how to play along with a composed work, but encourages them to improvise on the given melody; helping to spread one of the basic tenants of jazz music worldwide.
Complete Transcript (97 pages) View PDF
Clip 1: MP4
Teens leaving jazz camp and pursuing music
Clip 2: MP4
His high school jazz teacher
Clip 3: MP4
How the saxophone became easier to play after age 50
Clip 4: MP4
How his parents do not understand jazz
Clip 5: MP4
The goal of the jazz clinic, and how he has inspired campers
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Toshiko Akiyoshi Recorded June 29-30, 2008
Pianist, band-leader, and composer-arranger Toshiko Akiyoshi has made a vital contribution to the art of big band jazz. Born in Manchuria, Akiyoshi moved to Japan with her parents at the end of World War II. She came to the United States in 1956 to study at the Berklee School of Music in Boston. In 1973, she and her husband, saxophonist/ flutist Lew Tabackin formed the Toshiko Akiyoshi Jazz Orchestra.
Complete Transcript (97 pages) View PDF
Clip 1: MP3
Toshiko talking about her early development on piano
Clip 2: MP3
Moving to Boston to study at Berkeley School of Music
Clip 3: MP3
Talking about her time performing at Storyville
Clip 4: MP3
The birth of her big band
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Mose Allison Recorded September 13-14, 2012
Mose Allison was born in 1927 on his grandfather's farm near Tippo, Mississippi. In 1946 he joined the United States Army and became a member of the 179th Army Ground Forces Band, playing piano and trumpet. While earning his BA at Louisiana State University, Allison played gigs in the area. In 1956, Allison relocated to New York where saxophonist Al Cohn became an important mentor. His approach to lyric-writing has influenced such noted songwriters as Tom Waits and Elvis Costello.
Complete Transcript (107 pages) View PDF
Clip 1: MP4
Allison talking about refusing to do a record with Joe Henry
Clip 2: MP4
Allison talking about his singing
Clip 3: MP4
Allison talking about how he doesn’t like when jazz drummers hit the sock cymbal on beat two
Clip 4: MP4
Allison talking about his relationship with Stand Getz and how he became a part of his band
Clip 5: MP4
Allison on V.P Ferguson, his roommate at Ole Miss
Photo by Michael Wilson
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George Avakian Recorded September 28, 1993
George Avakian was born in Russia to Armenian parents, who moved the family to New York City in the early 1920s. After service in the U.S. Army during World War II, Avakian began his 12-year tenure as a Columbia Records executive, eventually presiding over its Popular Music and International Divisions. From 1959 onward, Avakian served as producer at Warner Brothers, World Pacific, RCA Victor, and Atlantic, among others.
Complete Transcript (112 pages) View PDF
Clip 1: MP3
George on how his family came to America
Clip 2: MP3
George on how they used to record in the studio
Clip 3: MP3
George on the invention of the 45
Clip 4: MP3
George on his favorite musician
Clip 5: MP3
George on Duke Ellington
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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David Baker Recorded June 19-21, 2000
David Nathaniel Baker, Jr. was born in 1931 in Indianapolis, Indiana. He is Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music, and served as conductor and artistic director of the Smithsonian Jazz Masterworks Orchestra for 22 years. A virtuoso performer on multiple instruments and top in his field in several disciplines, Mr. Baker has taught and performed around the world. He has written more than 2,000 compositions, including jazz and symphonic works, chamber music, ballet and film scores.
Complete Transcript (163 pages) View PDF
Clip 1: MP3
David Baker on Lincoln University
Clip 2: MP3
David Baker on Freddie Freeloader
Clip 3: MP3
David Baker on playing at the Five Spot and looking like Thelonious Monk (Part I)
Clip 4: MP3
David Baker on playing at the Five Spot and looking like Thelonious Monk (Part II)
Clip 5: MP3
David Baker on coming to Indiana University
Clip 6: MP3
David Baker on imitation-assimilation-innovation
Clip 7: MP3
David Baker on street musicians recognizing Jamey Aebersold
Clip 8: MP3
"It's why I worked very hard...to get us in a situation where we're not perceived of as special"
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Danny Barker Recorded July 21-23, 1992
A native of New Orleans, this master guitar and banjo player was well known for his humor and storytelling. In 1930 he moved to New York, where he met his wife, vocalist Blue Lu Barker, with whom he frequently recorded. After returning home in 1965, Danny Barker worked for 10 years as an assistant curator for the New Orleans Jazz Museum. He also mentored young musicians through the Fairview Baptist Church Brass Band.
Complete Transcript (113 pages) View PDF
Clip 1: MP3
Danny Barker on David Jones influencing Coleman Hawkins
Clip 2: MP3
Danny Barker on encountering Sidney Bechet
Clip 3: MP3
Danny Barker tells how he bought his first Ukulele
Clip 4: MP3
Danny Barker discusses the circumstances of moving to New York City for the first time
Clip 5: MP3
Danny Barker talks about his first experiences in New York City
Clip 6: MP3
Danny Barker on his relationship with Jelly Roll Morton
Clip 7: MP3
Danny Barker on working with Jelly Roll Morton for the first time
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Kenny Barron Recorded January 15-16, 2011
With more than 40 albums to his name, pianist and composer Kenny Barron's imprint on jazz is large. Barron started playing professionally in his native Philadelphia as a teenager. Throughout the 1980s, Barron collaborated with the great tenor saxophonist Stan Getz, touring with his quartet and recording several albums, one of which was nominated for a Grammy Award. In 2005 Barron was inducted into the American Jazz Hall of Fame.
Complete Transcript (76 pages) View PDF
Clip 1: MP3
Kenny Barron talks about his early musical influences while growing up in Philadelphia
Clip 2: MP3
Kenny Barron recollects his tours with Dizzy Gilespie
Clip 3: MP3
Kenny talks about his respect for Yusef Lateef
Clip 4: MP3
Kenny Barron talks about his experience with Brazilian music
Clip 5: MP3
Kenny Barron talks about his interesting film score opportunity
Clip 6: MP3
Kenny presents his view on the importance of live music
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Louie Bellson Recorded October 20-21, 2005
Referred to by Duke Ellington as "not only the world's greatest drummer…[but also] the world's greatest musician," Louie Bellson has performed on more than 200 albums, working with such greats as Benny Goodman, Louie Armstrong, and Lionel Hampton. Also a prolific composer, Bellson had more than 1,000 compositions and arrangements to his name. In 2003, a historical landmark was dedicated at his birthplace in Rock Falls, Illinois, inaugurating an annual celebration there in his honor.
Complete Transcript (116 pages) View PDF
Clip 1: MP3
Louie Bellson tells how Louis Armstrong joked with him and Pearl Bailey
Clip 2: MP3
Louie Bellson on joining Benny Goodman's band
Clip 3: MP3
Louie Bellson on joining Duke Ellington's band
Clip 4: MP3
Louie Bellson on learning Ellington music with no drum charts
Clip 5: MP3
Louie Bellson on giving his first arrangement to Duke Ellington
Clip 6: MP3
Louie Bellson on meeting his wife Pearl Bailey
Clip 7: MP3
Louie Bellson on playing Benny Carter's difficult arrangement of Erroll Garner's performance of "For Once In My Life"
Clip 8: MP3
Louie Bellson on performing with Arthur Fiedler and the Boston Pops
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George Benson Recorded April 17-18, 2011
George Benson began his career as a guitarist working the corner pubs of his native Pittsburgh. In the late 1960s he sat in on Miles Davis' Miles in the Skysessions, and also put a personal spin on tunes from the Beatles' Abbey Road. Benson has played with many of jazz's finest instrumentalists, including Stanley Turrentine, Ron Carter, and Freddie Hubbard. He has won ten Grammy Awards.
Complete Transcript (108 pages) View PDF
Clip 1: MP3
George Benson discusses the biggest problem for jazz
Clip 2: MP3
George Benson describes his “meanest gig” experience
Clip 3: MP3
George Benson talks about record sales in the jazz world
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Carla Bley Recorded September 9, 2014
Born Lovella May Borg in Oakland, California, Carla Bley is a trailblazing pianist, organist, big bandleader, and composer. Having learned the fundamentals of music from her piano teacher father, Bley is largely self-taught. In 1953, and the age of 17, Bley moved too New York City where she worked as a pianist and cigarette girl at various clubs. She soon began to compose for artists such as Charlie Haden and Gary Burton before branching out to work with big bands, first as part of The Jazz Composer’s Orchestra, and later her own band.
Complete Transcript (60 pages) View PDF
Clip 1: MP4
Carla Bley: I was starting to listen to the radio
Clip 2: MP4
Carla Bley: I’ve never written with anyone else
Clip 3: MP4
Carla Bley: My father was a piano teacher
Clip 4: MP4
Carla Bley: The music I was writing, which was very difficult
Clip 5: MP4
Carla Bley: The record business
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Dave Brubeck Recorded August 6-7, 2007
Born into a musical family, Dave Brubeck began taking piano lessons from his mother, a classical pianist, at age four. Throughout his career, Brubeck experimented with integrating jazz and classical music. In 1959, he recorded Dialogues for Jazz Combo and Orchestra with the New York Philharmonic under Leonard Bernstein. He was honored in the U.S. and abroad, with the National Medal of Arts, a Grammy Lifetime Achievement Award, the Kennedy Center Honors, and the Austrian Medal of the Arts.
Complete Transcript (90 pages) View PDF
Clip 1: MP3
Dave Brubeck discusses meeting Stan Kenton for the first time
Clip 2: MP3
Dave Brubeck talks about playing at the Band Box club
Clip 3: MP3
Dave Brubeck describes the difficulty of getting a phone after WWII
Clip 4: MP3
Dave Brubeck discusses his move from Fantasy to Columbia Records
Clip 5: MP3
Dave Brubeck describes how Joe Morello joined his quartet
Clip 6: MP3
Dave Brubeck talks about the inspiration for Blue Rondo a la Turk
Clip 7: MP3
Dave Brubeck talks about when he told his parents of his ambitions to be a musician
Clip 8: MP3
Dave Brubeck describes when he performed for Mikhail Gorbachev
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Kenny Burrell Recorded February 16-17, 2010
Kenny Burrell pioneered the guitar-led trio with bass and drums in the late 1950s. Known for his harmonic creativity, lush tones, and lyricism on the guitar, he is also a highly regarded composer. He was born in Detroit in 1931, and while still a student at Wayne State University, he made his first major recording with Dizzy Gillespie, John Coltrane, Percy Heath, and Milt Jackson. He is a founder of the Jazz Heritage Foundation.
Complete Transcript (81 pages) View PDF
Clip 1: MP3
Kenny Burrell describes hearing Charlie Parker's quintet
Clip 2: MP3
Describes hearing guitarist Charlie Christian for the first time
Clip 3: MP3
Describes his college experience
Clip 4: MP3
Describes the circumstances surrounding his first record for the Blue Note label
Clip 5: MP3
Discusses playing in Dizzy Gillespie's band
Clip 6: MP3
Discusses what he learned from bassist Ray Brown
Clip 7: MP3
Discusses why Detroit produced so many jazz musicians
Clip 8: MP3
On being yourself
Photo by Vance Jacobs, courtesy of the National Endowment for the Arts
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Gary Burton Recorded May 6, 2016
Gary Burton has been a trendsetter in both the performance of jazz music as well as the development of jazz education. Born in Anderson, Indiana in 1943 he is an American jazz vibraphonist and NEA Jazz Master. As a winner of 7 Grammys and 15 Grammy nominations, he was instrumental in the development of jazz-fusion as well as the revival of the duo concert. During his 33 years of service as a teacher, Dean of Curriculum, and Executive Vice President, Gary Burton helped to advance jazz education, add popular music to the school’s curriculum, and start Berklee Online.
Complete Transcript (33 pages) View PDF
Clip 1: MP3
Gary Burton speaks about his long-standing musical partnership with pianist, Chick Corea and its tumultous beginning.
Clip 2: MP3
Gary Burton recounts his experience playing with drummer, Roy Haynes as a young musician.
Clip 3: MP3
Gary Burton elaborates on the importance of being around younger musicians as well as his own natural progression from being the youngest musician on the bandstand to becoming a mentor of young musicians.
Clip 4: MP3
Gary Burton speaks on his introduction to the vibraphone as child in Indiana, his early musical upbringing, and first exposure to jazz music.
Clip 5: MP3
Gary Burton expounds on his initial reluctance to teach, his early years at Berklee, and the work he has done with Berklee to revolutionize jazz education.
Photo by Shannon Finney, courtesy of National Endowment for the Arts
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Candido Camero Recorded March 12-13, 1999
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Benny Carter Recorded June 14, 1992
Complete Transcript (145 pages) View PDF
Clip 1: MP3
Family Musical History
Clip 2: MP3
First Saxophone
Clip 3: MP3
Meeting Count Basie
Clip 4: MP3
First Arrangements
Clip 5: MP3
Why the Saxophone
Clip 6: MP3
1932’s First Orchestra
Clip 7: MP3
Dizzy Gillespie’s Impact
Clip 8: MP3
Writing for Film and TV
Benny Carter Photo Provided Courtesy of Ed Berger
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Ron Carter Recorded May 16, 2011
Ron Carter’s dexterity and harmonic sophistication on the bass have few rivals in jazz history. He has also employed both the cello and the piccolo bass, and is one of the first musicians to use those instruments in jazz settings. His pursuit of music began with the cello, as a student in Detroit public schools. In 1963, he joined Miles Davis in the trumpeter's second great quintet, together with Wayne Shorter, Tony Williams, and Herbie Hancock.
Complete Transcript (47 pages) View PDF
Clip 1: MP3
Ron Carter talks about making any bass sound like him
Clip 2: MP3
Ron Carter talks about the advantages of long-term gigs
Clip 3: MP3
Ron Carter talks about his approach to being a sideman
Clip 4: MP3
Ron Carter talks about holding Miles Davis' band together
Clip 5: MP3
Ron Carter talks about the role of the bass
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Jimmy Cobb Recorded July 26-27, 2010
An accomplished accompanist and soloist, Jimmy Cobb is best known for being a key part of Miles Davis' first great quintet in the late 1950s. Largely self-taught, Cobb spent his younger days in his hometown of Washington, DC, playing engagements with Charlie Rouse, Frank Wess, and Billie Holiday, among others. Jimmy Cobb continues to play music in New York City, where he lives with his wife and two children.
Complete Transcript (120 pages) View PDF
Clip 1: MP3
Jimmy Cobb describes how he joined Miles Davis's band
Clip 2: MP3
Discusses dealing with fatigue while playing drums
Clip 3: MP3
Discusses his trio with bassist Keter Betts and pianist Wynton Kelly
Clip 4: MP3
Discusses recording the Kind of Blue album with MIles Davis
Clip 5: MP3
Discusses some experiences with vocalist Billie Holiday
Clip 6: MP3
On practicing
Photo by Tom Pich, courtesy of the National Endowment for the Arts
Back to top
George Coleman Recorded November 11, 2014
Renowned saxophonist, composer, and bandleader George Coleman was born and raised in Memphis, Tennessee. By the age of 17 he was touring with B.B. King and with whom he switched from playing mainly alto to the tenor saxophone. After finishing his tenure with King, in 1963 Coleman went on to play with the likes of Miles Davis and Herbie Hancock before fronting his own bands. Coleman has also acted in movies such as The Preacher’s Wife (1996) and is an active music educator.
Complete Transcript (56 pages) view PDF
Clip 1: MP4
Coleman talking about Roy Eldridge tricking his fellow bandmates with a piano recording
Clip 2: MP4
Coleman talking about playing music in different keys
Clip 3: MP4
Coleman talking about how he had never worked with any musician for over a year
Clip 4: MP4
Coleman gives advice for aspiring jazz musicians
Clip 5: MP4
Coleman discussing how he studied jazz by listening to composers from different genres
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Armando Anthony “Chick” Corea Recorded November 5, 2012
Armando Anthony “Chick” Corea began playing piano and drums at an early age in his hometown of Chelsea, Massachusetts. He is known both as a keyboardist and as a composer-arranger. Moving fluidly between jazz, fusion, and classical music throughout a four-decade career, Corea has garnered 16 Grammy Awards. In 2010, he was selected for the DownBeat Jazz Hall of Fame. He continues to create projects in multifaceted settings for listeners around the world.
Complete Transcript (36 pages) View PDF
Clip 1: MP3
First Coming Across Latin Music
Clip 2: MP3
On Himself as a Musician
Clip 3: MP3
Social Aspect and Power of the Group
Clip 4: MP3
It's All About Composition
Clip 5: MP3
About Scenario Not Oneself
Clip 6: MP3
Is Music a Language?
Back to top
Buddy DeFranco Recorded November 8-9, 2008
A brilliant improviser and prodigious technician who has bridged the swing and bebop eras, Buddy DeFranco was born in Camden, New Jersey, and raised in South Philadelphia. He began playing the clarinet at age nine. In 1950, DeFranco joined the famous Count Basie Septet. He toured Europe with Billie Holiday in 1954 and has played with Nat "King" Cole, Charlie Parker, Dizzy Gillespie, and Stan Getz, among many others.
Complete Transcript (105 pages) View PDF
Clip 1: MP3
Development of clarinet chops and taking lessons
Clip 2: MP3
Auditioning for Tommy Dorsey contest
Clip 3: MP3
Tommy Dorsey as a leader and playing in his band
Clip 4: MP3
Learning classical music repertoire and its value to jazz
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Jack DeJohnette Recorded November 10-11, 2011
Widely regarded as one of the great drummers in modern jazz, this Chicagoan has played with virtually every major jazz figure from the 1960s on, including Miles Davis, Herbie Hancock, Ornette Coleman, and Sonny Rollins. Jack DeJohnette's versatility on the drums is accented by his additional accomplishments as a keyboardist: he studied classical piano for ten years before taking up drums.
Complete Transcript (107 pages) View PDF
Clip 1: MP3
Jack DeJohnette talks about switching his focus to drumset
Clip 2: MP3
Jack DeJohnette discusses his week-long tenure with Coltrane in ’66
Clip 3: MP3
Jack DeJohnette reflects on his days touring with Miles Davis
Clip 4: MP3
Jack Dejohnette talks about his experience in the Blues Brothers 2000
Clip 5: MP3
Jack DeJohnette talks about how local musicians and performances influenced him
Photo by Michael G. Stewart, courtesy of the National Endowment for the Arts
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Paquito D'Rivera Recorded June 11-12, 2010
Winner of several Grammy Awards, Paquito D'Rivera is celebrated for his artistry in Latin jazz and his achievements as a classical composer. Born in Havana, Cuba, he has appeared at, or composed for, Jazz at Lincoln Center, the Library of Congress, the National Symphony Orchestra, London Philharmonic, Costa Rican National Symphony Orchestra, and Montreal's Gerald Danovich Saxophone Quartet.
Complete Transcript (68 pages) View PDF
Clip 1: MP3
Paquito D'Rivera describes a peculiar method he used to keep in contact with family in Cuba
Clip 2: MP3
Paquito D'Rivera describes his introduction to Bebop
Clip 3: MP3
Paquito D'Rivera describes how he came about touring Europe with trumpeter Dizzy Gillespie
Clip 4: MP3
Paquito D'Rivera describes how he went about leaving Cuba for good
Clip 5: MP3
Paquito D'Rivera discusses a jam session in Havana, Cuba with trumpeter Dizzy Gillespie and saxophonist Stan Getz
Clip 6: MP3
Paquito D'Rivera discusses dropping out of high school to pursue a career in music
Clip 7: MP3
Paquito D'Rivera discusses playing jazz in Cuba after Fidel Castro's rise to power
Clip 8: MP3
Paquito D'Rivera discusses some his early studio work in New York City, playing jingles
Clip 9: MP3
Paquito D'Rivera on the importance of understanding cultural traditions
Photo by Tom Pich, courtesy of the National Endowment for the Arts
Back to top
Lou Donaldson Recorded June 20 and 21, 2012
Lou Donaldson's distinctive blues-drenched alto saxophone has been a bopping force in jazz for more than six decades. His early work with trumpeter Clifford Brown is considered one of the first forays into hard bop, and his recordings with organist and NEA Jazz Master Jimmy Smith led to the groove-filled jazz of the 1960s and '70s.
Complete Transcript (82 pages) View PDF
Clip 1: MP3
Lou Donaldson speaks about his early influences in jazz
Clip 2: MP3
Lou Donaldson discusses his Navy Band audition after being drafted in 1945
Clip 3: MP3
Lou Donaldson talks about his skills on the baseball diamond
Clip 4: MP3
Lou Donaldson describes the difference between Bebop and Hard Bop
Clip 5: MP3
Lou Donaldson talks about an experience in Baltimore regarding Miles Davis
Photo by Ken Kimery
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Dorothy Donegan Recorded April 5 and 6, 1998
Pianist, vocalist and educator Dorothy Donegan was fluent in several styles of jazz as well as European classical music. In the 1950s, the Chicago native developed a flamboyant performance style, which at times overshadowed her extraordinary piano playing, deep sense of swing, and wide-ranging repertoire.
Complete Transcript (107 pages) View PDF
Clip 1: MP3
Donegan recounting a cutting contest with Art Tatum, Hazel Scott, and Erroll Garner
Clip 2: MP3
Donegan talks about performing with Papa Jo Jones and attending his funeral
Clip 3: MP3
Donegan discusses learning from Art Tatum
Clip 4: MP3
Donegan talks about musicians' superstitions
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Harry "Sweets" Edison Recorded August 20, 1993
Harry “Sweets” Edison was a consummate big band section trumpeter and skilled soloist whose ability to enhance a piece without overpowering it was renowned. A self-taught musician, his earliest gig came during high school in Columbus, Ohio, with the Earl Hood band. He went on to back Billie Holiday, Frank Sinatra, Ella Fitzgerald, and Josephine Baker, among others. Edison was a welcome addition to the big bands he worked with, including Buddy Rich, Louie Bellson, and Quincy Jones.
Complete Transcript (93 pages) View PDF
Clip 1: MP3
Sweets' first solo
Clip 2: MP3
Sweets talking about originality versus imitation
Clip 3: MP3
Count Basie gave Sweets the advice to find a note and stick with it
Clip 4: MP3
Sweets on Count Basie as a bandleader
Clip 5: MP3
Sweets on the Count Basie rhythm section
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Art Farmer Recorded June 29-30, 1995
Raised in Phoenix, Arizona, Art Farmer dabbled in piano, violin, and tuba before settling on the trumpet at age 14. Early in his career, he helped to popularize the flugelhorn in jazz. Later, he switched to a hybrid instrument known as the flumpet, which combined the power of the trumpet with the warmth of the flugelhorn. In 1994, a Life Time Achievement Concert was held at Lincoln Center in his honor.
Complete Transcript (96 pages) View PDF
Clip 1: MP3
Art Farmer talks about Lester Young’s mastery throughout his career
Clip 2: MP3
Art Farmer discusses the influence of jazz in the 1950’s
Clip 3: MP3
Art Farmer talks about today’s young musicians
lip 4: MP3
Art Farmer elaborates on the dynamics of a jam session
Clip 5: MP3
Art Farmer tells us why the jazz community is incredible
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Frank Foster Recorded September 24-25 and November 22, 1998
Though best known for his work in the Count Basie Orchestra, Frank Foster's saxophone playing style owed more to the bebop of Charlie Parker. Born in Cincinnati, Ohio, Foster began playing clarinet at age 11 before taking up the alto saxophone and eventually the tenor. He played in Count Basie’s band for 11 years, providing compositions and arrangements for the band. He also was an extremely successful freelance writer, creating works performed by Sarah Vaughan and Frank Sinatra.
Complete Transcript (178 pages) View PDF
Clip 1: MP3
Frank Foster tells a funny story about Joe Williams
Clip 2: MP3
Frank Foster on his musical inspiration
Clip 3: MP3
Frank Foster on the names of his songs for the album Manhattan Fever
Clip 4: MP3
Frank Foster describes playing at Indianapolis's Sunset Terrace with the Wilberforce Collegians and Sarah Vaughan sitting in
Clip 5: MP3
Frank Foster gives his definition of Hard-Bop
Clip 6: MP3
Frank Foster on joining Count Basie's band
Clip 7: MP3
Frank Foster on being awe-struck by Count Basie
Clip 8: MP3
Frank Foster discusses playing for segregated audiences
Clip 9: MP3
Frank Foster on how Basie would fine members of the bands
Clip 10: MP3
Frank Foster talks through his composition Four, Five, Six
Clip 11: MP3
Frank Foster describes the different kinds of 'shakes'
Clip 12: MP3
Frank Fosters talks about pranks from members of the Basie band.
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Von Freeman Recorded May 23-24, 2000
A celebrated jazz tenor saxophonist, Von Freeman, was born and raised in Chicago and, outside of his years in the navy (1941-1945) when he played in a military band, he rarely performed outside of the city. Without leaving Chicago, Freeman managed to play with such legends as Charlie Parker, Sun Ra, and Dizzy Gillespie. Freeman actively avoided the road and, seemingly, fame; going so far as to turn down an opportunity from Miles Davis. Freeman credited his relative obscurity for the district and lauded sound he was able to create.
Complete Transcript (178 pages) View PDF
Clip 1: MP3
Frank Foster tells a funny story about Joe Williams
Clip 2: MP3
Frank Foster on his musical inspiration
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Frank Foster on the names of his songs for the album Manhattan Fever
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Frank Foster describes playing at Indianapolis's Sunset Terrace with the Wilberforce Collegians and Sarah Vaughan sitting in
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Frank Foster gives his definition of Hard-Bop
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Curtis Fuller Recorded September 25-26, 2010
Curtis Fuller was born in Detroit, and spent 10 years in an orphanage. He took up trombone after a nun took him to see a live jazz performance of Illinois Jacquet's band. Fuller toured with Dizzy Gillespie and the Count Basie band, co-led the quintet Giant Bones with Kai Winding in 1979 and 1980, and played with Art Blakey, Cedar Walton, and Benny Golson in the late 1970s and early '80s.
Complete Transcript (89 pages) View PDF
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Relationship with John Coltrane
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Lessons from Lester
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Meeting Billie Holiday
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Relationship with Billie Holiday
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Benny Golson Recorded January 8-9, 2009
Benny Golson is as renowned for his distinctive compositions and arrangements as for his innovative tenor saxophone playing. Golson began on the piano at age nine, moving to the saxophone at age 14. He has toured with Dizzy Gillespie, played in Art Blakey’s Jazz Messengers, and cofounded the group the Jazztet. Golson was born in Philadelphia.
Complete Transcript (119 pages) View PDF
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When Benny Golson saw Lionel Hampton play at the Earle Theater in Philadelphia PA, it became the inspiration he needed to master the saxophone
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Benny Golson broke all the rules when it came to music theory
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Benny Golson talks about the night Dizzy Gillespie asked him to record "I Remember Clifford"
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Benny Golson helps out John Coltrane and Miles Davis
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Benny Golson is his own man and his own style
Photo by Kennith R. Kimery
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Lorraine Gordon Recorded July 7, 2012
During her early career at the Blue Note record label, Lorraine Gordon helped to record and to promote legendary artists including Sidney Bechet and Thelonious Monk. Together with her husband Max, she later owned and operated the famous Village Vanguard, now the longest-running jazz club in New York City. Her memoir is entitled Alive at the Village Vanguard: My Life In and Out of Jazz Time. Lorraine Gordon was born in Newark, New Jersey.
Complete Transcript (43 pages) View PDF
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Lorraine Gordon talks about the Newark Hot Club
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Lorraine Gordon talks about how she followed jazz through collecting records and learning its history
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Lorraine Gordon talks about knowing Miles Davis during the 50’s
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Lorraine Gordon reflects on her activism efforts on issues such as women’s rights and peace
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Lorraine Gordon describes the emotions she felt when she received the NEA Jazz Masters award
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Jim Hall Recorded May 12-13, 2011
Jazz guitarist Jim Hall's technique has been called subtle, and his compositions understated; yet his recording career has been anything but modest. He has collaborated with artists ranging from Bill Evans to Itzhak Perlman and performed alongside most of the jazz greats of the 20th century. The Buffalo, New York native was first modern jazz guitarist to receive an NEA Jazz Masters award.
Complete Transcript (101 pages) View PDF
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First Hearing Charlie Christian
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Meeting Sonny Rollins
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Chico Hamilton Recorded January 9-10, 2006
Chico Hamilton was a subtle, creative drummer and skillful bandleader. As a teenager growing up in Los Angeles, Hamilton started playing regularly for the first time with a band that included classmates Charles Mingus, Dexter Gordon, and Illinois Jacquet. He has performed with Lena Horne Count Basie, and Chet Baker, and founded the Chico Hamilton Quintet.
Complete Transcript (150 pages) View PDF
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Chico Hamilton describes the challenge of time keeping
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Chico Hamilton discusses meeting Dexter Gordon
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Chico Hamilton discusses drummer Jo Jones and the Count Basie Orchestra
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Chico Hamilton talks about drummer Art Blakely with the Billy Eckstein Orchestra
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Chico Hamilton discusses his encounter with Illinois Jacquet
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Chico Hamilton discusses meeting Larry Coryell
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Slide Hampton Recorded April 20-21, 2006
A charismatic figure, master arranger, and formidable trombonist, Slide Hampton holds a place of distinction in the jazz tradition. He is the founder of the illustrious World of Trombones: an ensemble of nine trombones and a rhythm section. In 1989, with Paquito D'Rivera, he was musical director of Dizzy's Diamond Jubilee, a year-long series of celebrations honoring Dizzy Gillespie's 75th birthday. Hampton was born in Jeannette, PA.
Complete Transcript (117 pages) View PDF
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Slide Hampton family band
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Slide Hampton talking about Art Blakey band's sound
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Difference between the Montgomery family band and the Hampton band
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Difference between composition, orchestration and arranging music
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Barry Harris Recorded August 20, 2010
Barry Harris is part of an exceptional crew of Detroit-bred jazz musicians who rose through the extraordinary arts education program in the public school system during the 1930s and 1940s. Harris was house pianist at one of the hottest Detroit jazz spots, the Blue Bird Lounge, where he backed such traveling soloists as Miles Davis, Sonny Stitt, and Lester Young. By the early 1980s, Harris' acumen as a teacher of promising pianists had become legendary.
Complete Transcript (36 pages) View PDF
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Barry Harris speaks about his ability to write music spontaneously
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Barry Harris discusses his view on why Jazz should be as valued as classical
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Barry Harris reminisces his experience listening to Charlie Parker
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Roy Haynes Recorded May 15, 1994
A favorite sideman for many artists because of his crisply distinctive drumming style, Roy Haynes spent the late 1940s to mid-1950s, working with such greats as Miles Davis, Charlie Parker, Bud Powell, and Kai Winding. He later played in Monk's band at the Five Spot Cafe before forming his own band in 1958. He joined Corea's Trio Music band in 1981. Roy Haynes was born in Roxbury, MA.
Complete Transcript (79 pages) View PDF
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Roy Haynes talks about John Coltrane
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Roy Haynes describes how he avoided being drafted to the Army
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Roy Haynes discusses the culture of Harlem and New York City
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Roy Haynes talks about playing at the Apollo Theater
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Roy Haynes tells what Lester Young calls a job
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Roy Haynes wants Sonny Rollins to call him back
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Roy Haynes describes being misunderstood as a drummer.
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Jimmy Heath Recorded January 9, 2010
Starting on alto saxophone (and acquiring the nickname "Little Bird" due to the influence of Charlie "Yardbird" Parker), one of Jimmy Heath's first gigs came in a band led by Nat Towles, out of Omaha, Nebraska. Returning to his native Philadelphia, Heath briefly led his own big band with a saxophone section including John Coltrane and Benny Golson. Heath has made over 100 recordings and composed over 100 original works.
Complete Transcript (26 pages) View PDF
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Jimmy Heath describes playing with his brothers, bassist Percy Heath and drummer Albert Tootie Heath
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Jimmy Heath discusses composing music
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Jimmy Heath discusses jazz education
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Jimmy Heath discusses making connections in the music industry
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Jimmy Heath discusses the composition of his piece "Fashion or Passion"
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Jimmy Heath on his connection with Washington, D.C.
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Percy Heath Recorded July 23, 2001
Percy Heath was the backbone of the popular jazz group Modern Jazz Quartet, and a superb bassist so sought after that he appeared on more than 200 jazz albums. Heath played with the MJQ, off and on, from its beginning in 1952 for more than 40 years. His talents on bass were also much in demand as the house player for both Prestige and Blue Note record labels.
Complete Transcript (72 pages) View PDF
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Early relationship with John Coltrane
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Improvisation and the MJQ
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Role of the bass, MJQ collaborations with symphonies, Milt Jackson's musicianship
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Kenny Clarke's departure from the MJQ, relationship between bass and drums in jazz
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Milt Jackson's musicianship and the craft of improvisation
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Luther Henderson Recorded August 28-29, 1993
When he was four, Luther Henderson moved from Kansas City to Harlem with his family and became neighbors with Duke Ellington. Ellington was a major influence on Henderson's musical life. Beginning in the late 1940s and early 1950s, Henderson adapted and orchestrated some of Ellington's larger works. In addition, he contributed to albums recorded by the Royal Philharmonic, Mandy Patinkin, Anita Ellis, and others.
Complete Transcript (62 pages) View PDF
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Jon Hendricks Recorded August 17-18, 1995
Jon Hendricks largely grew up in Toledo, Ohio, one of 17 children. He helped create the singing style known as "vocalese," or crafting songs and lyrics out of the note sequences of instrumental solos. A gifted lyricist, he has contributed lyrics for Count Basie, Horace Silver, Miles Davis, and Art Blakey, brilliantly mirroring their instrumental effects.
Complete Transcript (95 pages) View PDF
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Jon Hendricks on composing with a pianist
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Jon Hendricks on Lambert, Hendricks, and Ross
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Jon Hendricks on memorizing music
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Jon Hendricks on pianists Thelonious Monk and Bud Powell
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Jon Hendricks on racism in the 1960's
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Jon Hendricks on studio recording
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Jon Hendricks on the Depression
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Jon Hendricks on trumpeter Miles Davis and perfection
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Nat Hentoff Recorded February 17-18, 2007
One of the major voices in jazz literature, Nat Hentoff has written about and championed jazz for more than half a century. Hentoff began his education at Northeastern University in Boston, his hometown, and went on to pursue graduate studies at Harvard University. In addition to his status as a renowned jazz historian and critic, Hentoff also is an expert on First Amendment rights, criminal justice, and education and has written a number of books on these topics.
Complete Transcript (80 pages) View PDF
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Nat Hentoff talks about interviewing Bob Dylan
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Nat Hentoff on expressing individuality
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Nat Hentoff discusses George Frazier
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Nat Hentoff discusses interviewing Malcolm X
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Milt Hinton Recorded August 12-13, 1992
Like many African-American families in the early part of the 20th century, bassist Milt Hinton's family migrated north from Mississippi to Chicago, where he was raised. Hinton's early career experience was centered around the Cab Calloway Orchestra. He played with Louis Armstrong between 1952-55, then became a staff musician for CBS, one of the first African-American musicians welcomed into the TV studios.
Complete Transcript (159 pages) View PDF
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Playing With Cab Calloway
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Photography
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Favorite Recording Sessions
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Bill Holman Recorded February 18-19, 2010
Bill Holman's unique and complex arrangements have long been appreciated by musicians and critics alike, although the Californian’s work is best known on the West Coast. After writing for Charlie Barnet, in 1952 he began his association with Stan Kenton, for whom he would compose (and perform) for many years to come. To date, Holman has won three Grammy Awards.
Complete Transcript (84 pages) View PDF
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Bill Holman describes a trip to Europe with the Stan Kenton band
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Bill Holman describes being influenced by Gerry Mulligans writing for the Stan Kenton band
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Bill Holman describes writing for singer Tony Bennett and the Count Basie band
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Bill Holman describes a trip to Europe with the Stan Kenton band
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Bill Holman discusses his worst chart for Stan Kenton
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Bill Holman explains how Stand Kenton's brass section grew from 8 to 10 players
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Bill Holman on asking questions while arranging a piece of music
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Bill Holman on writing for drummer and bandleader Buddy Rich
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Bill Holman talks about the west coast jazz scene in the early 1950's
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Shirley Horn Recorded June 13-14, 1996
Shirley Horn began leading her own group in the mid-1950s, and in 1960 recorded her first album, Embers and Ashes, which established her reputation as an exceptional and sensitive jazz vocalist. Born in 1934 in Washington, DC, she studied classical piano as a teenager at Howard University's Junior School of Music. In 1990, she collaborated with Miles Davis on her critically acclaimed album You Won't Forget Me.
Complete Transcript (101 pages) View PDF
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Bobby Hutcherson Recorded December 8-9, 2010
As a child in Los Angeles, Bobby Hutcherson studied piano with his aunt, but his interest in becoming a professional musician was sparked after hearing vibraphonist Milt Jackson playing on a recording of the Thelonious Monk song "Bemsha Swing." His sound and innovative style on the vibraphone helped revitalize the instrument in the 1960s, adding an adventurous new voice to the free jazz and post-bop eras.
Complete Transcript (66 pages) View PDF
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Bobby Hutcherson on creating something new
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Bobby Hutcherson on scales
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Bobby Hutcherson on playing thoughtfully
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Bobby Hutcherson on Randall Kline and the Collective
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Bobby Hutcherson on music's place in life
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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J.J. Johnson Recorded February 26-27, 1994
Often referred to as the "Charlie Parker of the trombone" due to his uncanny musical dexterity and fluency, James Louis "J.J." Johnson dominated his instrument for more than 40 years. In the late 1950s, he began to gain recognition as a composer. In 1987, he returned to his hometown Indianapolis and began playing, touring, and recording again.
Complete Transcript (131 pages) View PDF
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J.J. Johnson on being articulate
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"I am not at all preoccupied with speed"
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J.J. Johnson on opening for Coleman Hawkins at the Three Deuces
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J.J. Johnson on Dizzy Gillespie
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J.J. Johnson on Miles Davis' caring nature
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J.J. Johnson on why he bought his first car and the reason behind it, a great JJ and Kai Winding story
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J.J. Johnson on the red Ferrari and Miles Davis
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Elvin Jones Recorded June 10-11, 2003
The youngest of ten siblings, Elvin Jones began learning the drums during his middle school years in his hometown of Pontiac, Michigan. His propulsive style powered the John Coltrane Quartet during his six-year stint with the group and influenced countless percussionists that followed him over the past 40 years. He toured extensively with his group Jazz Machine and made later recordings with Cecil Taylor, Dewey Redman, Dave Holland, and Bill Frisell.
Complete Transcript (113 pages) View PDF
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Elvin Jones talks about cymbals
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Elvin Jones talks about being captivated by the drums
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Elvin Jones talks about being inspired by Duke Ellington
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Elvin Jones compares drums to crayons
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Elvin Jones talks about learning by listening
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Hank Jones Recorded November 26-27, 2004
Hank Jones, a member of the famous jazz family that includes brothers cornetist Thad and drummer Elvin, served as a pianist in a vast array of settings, always lending a distinctive, swinging sensibility to the sessions. Although born in Mississippi, Jones grew up in Pontiac, Michigan, listening to such performers as Earl Hines, Fats Waller, and Art Tatum.
Complete Transcript (134 pages) View PDF
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Different audiences and how most audiences are oriented to rock, not jazz
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Duke Ellington
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How important it is to practice regularly and how much of a difference it makes
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The impact of church music
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Jones talks about his studio work in New York
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Quincy Jones Recorded September 7, 2008
Born in Chicago and raised in Seattle, Quincy Jones began learning the trumpet as a teenager. He moved to New York City in the early 1950s, finding work as an arranger and musician with Count Basie, Tommy Dorsey, and Lionel Hampton. He has distinguished himself in just about every aspect of music, including as a bandleader, record producer, musical composer and arranger, trumpeter, and record label executive. He has worked with everyone from Dizzy Gillespie, Miles Davis, and Frank Sinatra, to Aretha Franklin, and Michael Jackson.
Complete Transcript (44 pages) View PDF
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Michael Caine teaches Quincy Jones Cockney Slang
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Michael Caine teaches Quincy Jones Cockney Slang
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Quincy Jones talks about the birth of African rhythm and Blues
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Sheila Jordan Recorded August 29-30, 2011
Sheila Jordan is not only one of the premier singers in jazz, but she is known for her stimulating vocal workshops as well. Jordan, née Dawson, grew up in Pennsylvania's coal mining country with her grandparents, singing in school and on amateur radio shows. Upon moving to New York City in the early '50s, Jordan sang in clubs and at jam sessions with some of the city's jazz giants, including Charles Mingus, Herbie Nichols, and Parker.
Complete Transcript (70 pages) View PDF
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Sheila Jordan talks about the influence music had on her as a young girl in Detroit
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Sheila Jordan describes how Charlie Parker’s musical skill captivated her interests
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Sheila Jordan elaborates on her first professional recording experience with George Russell
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Sheila Jordan talks about her skill of improvising lyrics and her composure on stage
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Sheila Jordan talks about how she is grateful to still sing later in her life
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Orrin Keepnews Recorded December 10, 2010
Orrin Keepnews is a New York based jazz producer and co-founder of historic record labels Riverside, Milestone, and Landmark. Over his 60 years in the industry, Keepnews has signed and produced work from countless artists, including Thelonious Monk, Cannonball Adderly, Sonny Rollins, Bill Evans, and Wes Montgomery. He has also been instrumental in the re-issuing of many jazz legends including Louis Armstrong.
Complete Transcript (70 pages) View PDF
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Decline in Jazz
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Exposure to Jazz
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On Bruce Lundvall
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Refusing a Piano
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Role of Producers
Photo by Frank Stewart, courtesy of the National Endowment for the Arts
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Lee Konitz February 14-15, 2010
Lee Konitz was one of the more distinctive alto saxophonists in jazz since Charlie Parker, pairing his individual style and voice with a strong sense of innovation. Born to an Austrian father and a Russian mother in Chicago, Konitz as a youth studied clarinet, then alto saxophone with various teachers. Today, the 85 year-old divides his time between residences in the United States and Germany and continues to travel and perform around the globe.
Complete Transcript (94 pages) View PDF
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Lee Konitz discusses his relationship with Charlie Parker
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Lee Konitz reflecting on his legacy
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Lee Konitz recalling receiving the NEA Jazz Master Award
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Yusef Lateef Recorded June 21, 2000
Yusef Lateef was born William Emanuel Huddleston in Chattanooga, Tennessee. A virtuoso on traditional jazz instruments saxophone and flute, he also enriches his music through mastery of such Middle Eastern and Asian reed instruments as the bamboo flute, shanai, shofar, argol, and taiwan koto. A major force on the international musical scene for more than six decades, he was one of the first to bring a world music approach to traditional jazz.
Complete Transcript (66 pages) View PDF
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Yusef Lateef talks about the seriousness and the emotional side of music
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Yusef Lateef talks about the innovations of Dizzy Gillespie
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Yusef Lateef talks about Charles Mingus' approach to composing
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Yusef Lateef talks about the tradition of developing a unique sound in jazz
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Yusef Lateef renames "jazz" as "autophysiopsychic music"
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Hubert Laws Recorded March 4-5, 2011
Hubert Laws won a classical scholarship to the prestigious Juilliard School in New York City, studying with master flutist Julius Baker. At the same time, he was gigging at night, playing with jazz and Latin musicians including Mongo Santamaria, Lloyd Price, and John Lewis. He is one of the very few to specialize on the flute in jazz, and has become the premier musician on the instrument. In three decades of playing, he has also mastered pop, rhythm-and-blues, and classical genres.
Complete Transcript (134 pages) View PDF
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The Classical Flute
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Differences in Classical and Jazz Approach
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Julius Baker and Jazz
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Classical Composers
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Working with Quincy Jones
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Stevie Wonder
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Bridging Classical and Jazz
Photo by Ken Kimery
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John Levy Recorded December 10-11, 2006
John Levy was born in New Orleans, Louisiana, in 1912. As a musician, he performed as a bassist, however he is also renowned as a leading representative of jazz musicians and the first African American personal manager. Levy's client roster over the years has included Nat and Cannonball Adderley, Arsenio Hall,Herbie Hancock, Shirley Horn, Ramsey Lewis, Wes Montgomery, Joe Williams, and Nancy Wilson. Levy has received a certificate of appreciation from Los Angeles Mayor Tom Bradley, induction into the International Jazz Hall of Fame, and the Lifetime Achievement Award of the Los Angeles Jazz Society.
Additional classroom materials regarding the oral history of John Levy are also available.
Complete Transcript (99 pages) View PDF
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John Levy on friendships and segregation
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John Levy on how he learned bass
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John Levy on entering the world of music
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"The president of the black musician's union called..."
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John Levy on Duke Ellington
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John Levy on the publishing business
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John Levy on Wilson Pickett
Photograph by Leroy Hamilton, courtesy of John & Devra Hall Levy
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Ramsey Lewis Recorded September 28-29, 2011
With a style that springs from his early gospel experience, classical training, and deep love of jazz, pianist and composer Ramsey Lewis has built a decades-long career as one of America's most popular performers. Born in Chicago, he began taking piano lessons at the age of four and credits his teacher with awakening him to the communicative power of music. Active in community affairs, especially on behalf of youth, Lewis helped organize the Ravinia Festival's Jazz Mentor Program.
Complete Transcript (87 pages) View PDF
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Ramsey Lewis learns how to “make the piano sing” from his teacher Dorothy Mendelsohn
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Ramsey Lewis talks about how attitudes changed after the hit record In The Crowd by the Ramsey Lewis Trio
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Ramsey Lewis discusses the influence the Modern Jazz Quintet and Oscar Peterson had on him
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Ramsey Lewis talks about the errors the educational system has placed on Jazz
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Ramsey Lewis talks about a good word of advice from Billy Taylor
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Ramsey Lewis talks about Proclamation of Hope, his musical piece dedicated to President Abraham Lincoln
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Ramsey Lewis describes his regard for music
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Dave Liebman Recorded January 4-5, 2011
Born in Brooklyn, soprano saxophonist Dave Liebman founded Free Life Communication, a cooperative of several dozen young musicians that became an integral part of the fertile New York "loft" jazz scene in the 1970s. Throughout his career, Liebman has also worked on the international jazz scene, playing with influential European musicians Joachim Kühn, Jon Christensen, and Bobo Stenson.
Complete Transcript (166 pages) View PDF
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Seeing Coltrane for the first time
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Playing with Elvin Jones
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First Recording with Miles
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The Meaning of Music
Photo by Frank Stewart, courtesy of the National Endowment for the Arts
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Abbey Lincoln Recorded December 17-18, 1996
Strongly influenced by Billie Holiday and Louis Armstrong, both of whom she met early in her career, Abbey Lincoln's distinctive vocal style, thought-provoking writing, and spirited personality secured her a place among the jazz luminaries. Lincoln was born in Chicago and raised in rural Michigan. She also acted, appearing in the films Nothing But A Man and For Love of Ivy and on television in Mission: Impossible and The Flip Wilson Show.
Complete Transcript (68 pages) View PDF
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How the greats influenced modern singers
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The voice as the greatest instrument
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The individual as the greatest instrument
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Stage fright
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On modern music
Photo by Katja Von Schuttenbach
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Melba Liston Recorded December 4-5, 1996
Although a formidable trombone player, Melba Liston was primarily known for her composition and arrangements. Growing up in Los Angeles, some of her first work during the 1940s was with two West Coast masters: bandleader Gerald Wilson and tenor saxophonist Dexter Gordon. During the 1960s, Liston co-led a band with trumpeter Clark Terry, and wrote for the Duke Ellington orchestra, as well as Tony Bennett and Eddie Fisher. Her career helped pave the way for women in jazz in roles other than as vocalists.
Complete Transcript (68 pages) View PDF
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Melba Liston talks about the differences between writing music Mingus and Monk
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Melba Liston talks about being accepted as a female musician while performing in various countries during the State Department Tours
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Melba Liston explains how she arranges music
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Charles Lloyd Recorded October 20, 2014
Born in Memphis, Tennessee and known, among other accomplishments, for helping break ground for the jazz scene on the west coast, Charles Lloyd is a seasoned saxophonist and flute player. After playing with masters such as Ornette Coleman, Charlie Haden, and Cannonball Adderley, Lloyd formed his own group and, in 1966, recorded Forest Flower: Live at Monterey, which was one of the first jazz albums to sell over one million copies. Lloyd is praised for his unique ability to blend jazz and world music.
Complete Transcript (76 pages) View PDF
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Lloyd on spiritual life
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Lloyd discussing his chance to be in California, and his encounter with nuns
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Lloyd on seeking sounds
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Lloyd discussing his experience in Goa
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Lloyd on his mentor, Master Collette
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Johnny Mandel Recorded April 12-20, 1995
Johnny Mandel is considered one of the nation's top composer/arrangers in jazz, pop, and film music. In the 1940s, he played the trumpet with Joe Venuti and Billy Rogers, and trombone in the orchestras of Boyd Rayburn, Jimmy Dorsey, Buddy Rich, Georgie Auld, and Chubby Jackson. Mandel has received five Grammy Awards, including Song of the Year for Tony Bennett's performance of "The Shadow of Your Smile."
Complete Transcript (179 pages) View PDF
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Johnny Mandel explains his early polyphonic arranging for jazz band
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Johnny Mandel discusses Gil Evans, his influences and associates
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Johnny Mandel discusses the process of scoring music for films
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Johnny Mandel explains his approach towards orchestration
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Johnny Mandel talks about writing the theme for the critically acclaimed movie MASH
Photo by Frank Stewart, courtesy of the National Endowment for the Arts
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Branford Marsalis Recorded May 24-25, 2012
Branford Marsalis is the son of Ellis Marsalis. For two years during the 1990s, Branford was the musical director of The Tonight Show with Jay Leno, making jazz more widely known to the general public. After Hurricane Katrina devastated New Orleans in 2005, Branford teamed with Harry Connick, Jr. and Habitat for Humanity to create Musicians' Village in the city's Upper Ninth Ward to assist New Orleans musicians.
Complete Transcript (160 pages) View PDF
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Branford Marsalis talks about the uniqueness of John Coltrane and Sonny Rollins
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Branford Marsalis explains the importance of connecting with the audience
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Branford Marsalis talks about his experience with the Tonight Show
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Branford Marsalis talks about joining Sting’s band
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Branford Marsalis talks about receiving the NEA Jazz Master Award
Photo by Frank Stewart, courtesy of the National Endowment for the Arts
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Delfeayo Marsalis Recorded January 13, 2011
Delfeayo Marsalis has proven himself a well-regarded jazz producer, working with various family members throughout the years. His insistence upon recording "without usage of the dreaded bass direct" for Branford in the 1980s was a crucial change in jazz recording techniques over the past 20 years. As a noted trombonist, Delfeayo has both played on his brothers' albums and fronted his own band.
Complete Transcript (38 pages) View PDF
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Delfeayo Marsalis describes the atmosphere of growing up with Branford, Wynton and Ellis
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Delfeayo talks about how the Trombone became an extension of his personality
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Delfeayo reflects on his experiences with Ray Charles early in his career
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Delfeayo talks about the impact Elvin Jones and Art Blakey
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Delfeayo talks about recording the Pontius Pilate Decision
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Ellis Marsalis Recorded November 8-9, 2010
Ellis Marsalis was born in New Orleans, in 1934. Although the city was noted for Dixieland and rhythm-and-blues, Ellis was more interested in bebop. In addition to his skillful piano playing, he became the director of jazz studies at the New Orleans Center for Creative Arts high school in 1974, mentoring such contemporary artists as Terence Blanchard, and Harry Connick, Jr.
Complete Transcript (79 pages) View PDF
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Ellis Marsalis talks about why he did not enjoy the musical atmosphere of Los Angeles
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Ellis Marsalis talks about his experience in teaching and with the NEA
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Ellis Marsalis talks about the aspects of jazz education
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Ellis Marsalis talks about the contribution and recognition of Louis Armstrong
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Ellis Marsalis gives a depiction on how Mardi Gras was years ago
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Jason Marsalis Recorded November 7, 2010
Jason Marsalis, the youngest of the Marsalis sons, took up drumming at age six and began sitting in with his father's band at age seven, then made his recording debut at age 13 on Delfeayo's Pontius Pilate's Decision. He joined the band Los Hombres Calientes with Irvin Mayfield and Bill Summers in 1998, playing on their first two albums, which blended Afro-Cuban and Latin American elements with jazz.
Complete Transcript (47 pages) View PDF
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Jason Marsalis talks about deciding to give up violin to pursue the drums
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Jason Marsalis talks about his classical influences
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Jason Marsalis talks about being captured by Return to Forever
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Jason Marsalis talks about the impact Hurricane Katrina had on New Orleans music
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Jason Marsalis talks about fusing classical and jazz in Gershwin's "Concerto in F"
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Tom McIntosh Recorded December 9-10, 2011
Though not well known outside of jazz circles, the unique voice of composer and arranger Tom "Mac" McIntosh made him a favorite of Dizzy Gillespie, James Moody, Milt Jackson, and Tommy Flanagan, among other jazz giants. McIntosh was born and raised in Baltimore. After a stint with the Army, he attended Juilliard and later became an active participant in the New York jazz scene as a trombone player and composer.
Complete Transcript (57 pages) View PDF
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Tom McIntosh talks about his influence on established jazz musicians early in his career
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Tom McIntosh Talks about his unheralded experience while composing music with Isaac Hayes
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Tom McIntosh reflects on the impact of his father’s musical background
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Tom McIntosh describes his amusing ‘first’ gig experience
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Tom McIntosh mentions his first rehearsal experience with Charles Mingus
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Tom McIntosh discusses his early challenges while working for Paramount Pictures
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Tom McIntosh reflects on his Army band audition in Germany
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Tom McIntosh chats about his audition for the Benny Golson/Art Farmer jazztet
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Jackie McLean Recorded July 20-21, 2001
Possessing one of the most recognizable alto saxophone sounds, Jackie McLean explored the cutting edge of jazz creativity. He grew up in a musical family in New York City: his father was a guitarist and his stepfather owned a record store. During McLean's busiest period in the 1950s, he worked with pianist George Wallington, drummer Art Blakey's Jazz Messengers, and bassist Charles Mingus. McLean and his wife Dollie founded the Artists Collective, a community center and fine arts school, primarily for troubled youth.
Complete Transcript (131 pages) View PDF
Clip 1: MP3
Playing with Dizzy Gillespie
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Meeting Bud Powell
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Playing with Miles Davis
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The Artist Collective
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Marian McPartland Recorded January 3-4, 1997 and May 26, 1998
Best known as host of the weekly national radio program Piano Jazz, Marian McPartland has helped to popularize the genre with a broad audience. Her mother was a classical pianist, and enrolled Marian at the famed Guildhall School of Music in London. In 1963, she worked with the Benny Goodman Sextet, and in 1965 she began her radio career at WBAI in New York. She has received numerous awards, including a DownBeat Lifetime Achievement Award in 1997.
Complete Transcript (177 pages) View PDF
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Marian McPartland on audiences talking while she plays
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Marian McPartland on perforaming with Coleman Hawkins and Roy Eldridge
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Marian McPartland on talking to an audience
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Marian McPartland on Thelonious Monk
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Marian McPartland on original vs. familiar tunes
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Marian McPartland on Ray Charles
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James Moody Recorded August 19-20, 1993
A champion of Dizzy Gillespie's music, James Moody was accomplished on the tenor and alto saxophones, as well as on the flute, despite being born partially deaf. Moody was an engaging entertainer, captivating audiences with his personal charm and wit. Although born in Savannah, he was raised in Newark, New Jersey. His interest in jazz was sparked by a trumpet-playing father who gigged in the Tiny Bradshaw band. He led his own bands, and worked alongside Gene Ammons and Sonny Stitt, with whom he co-led a three-tenor sax band.
Complete Transcript (121 pages) View PDF
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James Moody discusses what he could do if he could do anything
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James Moody talks about when he became interested in music
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James Moody discusses being drafted into the Air Force and learning that
white German prisoners of war had more rights than Negro American soldiers
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Moody pretends to be Milt Shaw's valet in order to get a bath
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The circumstances under which Moody recorded Moody's Mood for
Love and found out he had a hit
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Jazz at the Philharmonic with Moody, Clark Terry, and T-Bone
Walker: "Woman, you must be crazy"
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James Moody tells a few stories about his relationship with Dizzy Gillespie
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James Moody talks about his favorite musicians
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James Moody describes how he would like to be remembered
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James Moody talks about his first recorded solo
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Dan Morgenstern Recorded March 28-29, 2007
Dan Morgenstern is a jazz historian, author, editor, and educator who has been active in jazz since 1958. Born in Germany and reared in Austria and Denmark, Morgenstern came to the United States in 1947. He was chief editor of DownBeat from 1967 to 1973. He served on the faculties of the Institutes in Jazz Criticism, jointly sponsored by the Smithsonian Institution and the Music Critics Association. He is on the faculty of the Masters Program in Jazz History and Research at Rutgers University and is Director of the Institute of Jazz Studies there.
Complete Transcript (83 pages) View PDF
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Dan Morgenstern discusses his role as the editor of Downbeat
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Dan Morgenstern describes how his family newspaper was taken away by the Nazis
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Dan Morgenstern describes escaping from Austria to Denmark
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Dan Morgenstern remembers his first encounter with jazz
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Dan Morgenstern describes jazz in Denmark
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Dan Morgenstern describes escaping to Sweden Part I
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Escaping to Sweden Part II
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Dan Morgenstern talks about becoming interested in jazz after the war
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Dan Morgenstern discusses how he began collecting jazz books
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Dan Morgenstern talks about meeting and becoming friends with Tad Dameron
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Dan Morgenstern describes booking Art Tatum for his first solo piano concert
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Dan Morgenstern describes discovering a record of Coleman Hawkins singing
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Dan Morgenstern describes his interview with Ornette Coleman
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Jimmy Owens Recorded September 10-11, 2011
Jimmy Owens is a jazz trumpeter, composer, arranger, educator, and music education consultant. His advocacy for the rights of jazz artists led to the founding of the Jazz Musician's Emergency Fund, a program of the Jazz Foundation of America. Owens attended the High School of Music and Art in New York City, and studied composition with Henry Bryant and trumpet with Donald Byrd. Owens is an active advocate for jazz artists’ rights.
Complete Transcript (76 pages) View PDF
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Jimmy Owens talks about his musical experiences in Africa
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Jimmy Owens talks about the times he spent traveling with Lionel Hampton
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Jimmy Owens discusses the business side of music
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Jimmy Owens talks about Jimmy Owens Plus
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Jimmy Owens talks about meeting Miles for the first time when he was 14
Photo by Ken Kimery
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Wendy Oxenhorn Recorded March 24, 2016
NEA Jazz Master, Wendy Oxenhorn has led a life of service to the arts and humanity. After a knee injury halted her career in ballet, Wendy Oxenhorn dedicated her life towards helping others. She co-founded Street News, a newspaper business that provided work for the unemployed and later started Children of Substance, a public program designated to assist the children of drug abusers. As the Executive Director and Vice Chairman of the Jazz Foundation of America, Wendy Oxenhorn has helped to provide struggling musicians with financial assistance, health care, and performance opportunities.
Complete Transcript (42 pages) View PDF
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Wendy Oxenhorn elaborates on her upbringing, the ending of her life in ballet, and the shift in direction that followed suit.
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Wendy Oxenhorn sheds light on the dire living conditions of the youth in New York City and the beginning of her career in social work.
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Wendy Oxenhorn speaks about her work with Children of Substance, an organization formed to help the children of substance abusers and Street News, a newspaper created to provide legitimate employment for NYC panhandlers.
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Wendy Oxenhorn elaborates on her early work with the Jazz Foundation of America, the mission of the foundation, and the strides that have been taken to assist struggling artists around the nation.
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Wendy Oxenhorn speaks about the detrimental effect events such as the 9/11 attacks and Hurricane Katrina have had on the livelihoods of countless musicians.
Photo by Shannon Finney, courtesy of National Endowment for the Arts
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Eddie Palmieri Recorded July 8, 2012
Known as one of the finest Latin jazz pianists of the past 50 years, Eddie Palmieri is also known as a bandleader of both salsa and Latin jazz orchestras. His playing skillfully fuses the rhythm of his Puerto Rican heritage with the melody and complexity of his jazz influences: his older brother Charlie, Thelonious Monk, Herbie Hancock, and McCoy Tyner. In 1988, the Smithsonian Institution's National Museum of American History in Washington, DC, recorded two of Palmieri's performances for its archives.
Complete Transcript (50 pages) View PDF
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On the term Latin Jazz
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Music can be Exciting
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Racial Profiling
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Troubles of being a Cuban in America
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Unfortunate Categorization of Latin
Photo by Ken Kimery
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Sonny Rollins Recorded February 28, 2011
With more than 50 years in jazz, Theodore "Sonny" Rollins' towering achievements on the tenor saxophone are many, and he continues to be an exciting and fiery musician in concert. He served as a sideman on sessions with Miles Davis, Thelonious Monk, Art Farmer, and the Modern Jazz Quartet. In 2010, he was elected a fellow of the American Academy of Arts and Sciences and was awarded the National Medal of Arts.
Complete Transcript (50 pages) View PDF
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Sonny Rollins talks about what attracted him to jazz
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Sonny Rollins talks about approaching established musicians during his early years
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Sonny Rollins describes what makes a good improvisation as well as his positioning on stage
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Sonny Rollins talks about his repertoire outside of the usual jazz standards
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Annie Ross Recorded January 13-14, 2011
Annie Ross was born in England, and raised in Los Angeles. She began her singing career in Europe, working with musicians such as James Moody, Kenny Clarke, and Coleman Hawkins. Between 1957 and 1962, her group Lambert, Hendricks & Ross recorded seven albums, including the one that put them in the spotlight: Sing A Song Of Basie. Ross also is an accomplished actress and has appeared in a number of films, including Superman III, Throw Mama from the Train, and Pump Up the Volume.
Complete Transcript (56 pages) View PDF
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Annie Ross discusses her experience when she first came to America at Ellis Island
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Annie Ross describes her act for a competition sponsored by MGM when she was a young girl
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Annie Ross reflects on her musical experiences in Paris
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Annie Ross describes her experience singing for Duke Ellington as a young 14 year old girl
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Annie Ross talks about her struggle and ability to overcome the substance abuse lifestyle associated with musicians
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Annie reflects on why it is so important to respect musicians
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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George Russell Recorded May 3-5, 2004
George Russell was a composer and one of the most important jazz theorists of the latter half of the 20th century. His theories on modes influenced Miles Davis and Bill Evans, leading to the creation of Davis' masterpiece, Kind of Blue. In addition to teaching and lecturing at conservatories and universities, Russell was the recipient of numerous awards, honors, and grants, including a MacArthur award, two Guggenheim fellowships, and election to the Royal Swedish Academy.
Complete Transcript (111 pages) View PDF
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Modal Thinking
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Gil Evans and Sound
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Publishing the Book
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Music and Meaning
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Gunther Schuller Recorded June 3-4, 2008
Gunther Schuller was born in New York City in 1925. At age 17, he joined the Cincinnati Symphony as principal horn. Two years later, he joined the orchestra of the Metropolitan Opera while also becoming active in the New York bebop scene, performing and recording with such greats as Ornette Coleman, Miles Davis, Dizzy Gillespie, and Charles Mingus. Schuller wrote more than 180 compositions in a wide range of styles and won the 1994 Pulitzer Prize in music forOf Reminiscences and Reflections. He also received a MacArthur Foundation Fellowship.
Complete Transcript (87 pages) View PDF
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Early introduction of Duke Ellington on the radio
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The expansion of writing for strings, French horn in jazz
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Talking about Ornette Coleman
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Gunther's development in conducting for orchestras
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Jimmy Scott Recorded September 23-24, 2008
For more than five decades, Jimmy Scott numbered among the jazz world's best singers. Billie Holiday once named him as a vocalist she admired. Scott was born in 1925 in Cleveland, Ohio, and as a child was diagnosed with Kallmann syndrome, a rare condition that prevented him from experiencing puberty. Because of his condition, his voice never changed, giving his singing an almost otherworldly sound.
Complete Transcript (66 pages) View PDF
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Jimmy Scott talks about how Lester Young launched him into performing
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Jimmy Scott is truly his own man
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Jimmy Scott plays with Charlie Parker at the famous Birdland club
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Joe Segal Recorded October 6, 2014
Joe Segal, the legendary jazz promoter, first heard jazz in his hometown of Philadelphia, Pennsylvania at the Earl Theater. After a tenure in the army Segal enrolled in Roosevelt University in Chicago where he started presenting jazz shows as a member of the student jazz club. Though he no longer holds membership to the club he still presents shows through The Jazz Showcase. Segal’s Showcase, having been established in 1947, is the oldest continuous jazz venue in the windy city. The Jazz Showcase has presented shows in over 63 venues.
Complete Transcript (45 pages) View PDF
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Joe Segal almost meeting Sidney Bechet in Philadelphia.
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Joe Segal having Charlie Parker play with the Jazz All Stars.
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Joe Segal talking about the concept of the Matinee.
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Joe Segal talking about making the Jazz Showcase a hangout for musicians, and letting them in free.
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Joe Segal talking about James Moody.
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Artie Shaw Recorded October 7-8, 1992
Immensely popular and startlingly innovative, Artie Shaw rose to prominence in the 1930s as a swing bandleader, master clarinetist, and boundary-crossing artist, who infused jazz with the influences of modern European composers. Born in 1910, he left New Haven, Connecticut, at age 15 to tour as a jazz musician. During 1938, with a swing band line-up that briefly included Billie Holiday as vocalist, he recorded Cole Porter's "Begin the Beguine," which propelled him to the forefront of big band leaders.
Complete Transcript (100 pages) View PDF
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Artie Shaw on Begin the Beguine
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Artie Shaw on a recording trick
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Artie Shaw on hiring Billie Holiday
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Artie Shaw on hiring Billy Butterfield
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Wayne Shorter Recorded September 24, 2012
Equally renowned as a composer and saxophonist, Wayne Shorter has contributed many songs to the jazz canon while helping to evolve the genre over the last 40 years. He has received nine Grammy Awards. Born in Newark, New Jersey, he is a major influence on the generations of musicians who have entered the scene since the 1970s. In 2001, he began touring and releasing recordings with a new quartet comprised of Danilo Pérez on piano, John Patitucci on bass, and Brian Blade on drums.
Complete Transcript (26 pages) View PDF
Clip 1: MP3
How to Treat People
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Charlie Parker’s Violin Book
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Removing Ego to Play Without a Net
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Showing the Struggle
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Remembering Stan Getz
Photo by Thomas Dorn
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Dr. Billy Taylor Recorded November 19, 1993
After growing up in Washington, DC, Dr. Billy Taylor earned a degree at Virginia State College. He spent the 1940s playing clubs on New York's famed 52nd Street, where he performed with the likes of Charlie Parker, Dizzy Gillespie, Stuff Smith, Slam Stewart, and Don Redman. His adroit piano playing enabled him to cross over freely from swing to the then-burgeoning modern jazz called bebop.
Complete Transcript (122 pages) View PDF
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Dr. Billy Taylor discusses the impact of Charlie Parker's death on the jazz community
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Dr. Billy Taylor describes his first paying gig as a jazz musician
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Dr. Billy Taylor discusses his motivation to play the piano as a kid
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Dr. Billy Taylor discusses Jelly Roll Morton in Washington, D.C.
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Dr. Billy Taylor talks about first learning of Dizzy Gillespie and Charlie Parker
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Dr. Billy Taylor remembers picking his major in college
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Dr. Billy Taylor recalls how his father secretly supported his college education
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Dr. Billy Taylor remembers moving to New York for the first time
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Dr. Billy Taylor talks about moving to New York and going straight to Minton's and playing with Ben Webster
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Dr. Billy Taylor describes auditioning for Ben Webster and meeting Art Tatum at the same time
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Dr. Billy Taylor describes his relationship with Charlie Parker Part I
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Dr. Billy Taylor discusses his relationship with Charlie Parker Part II
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Dr. Billy Taylor describes how he came to name one of Dizzy Gillespie's tunes
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Clark Terry Recorded June 15 and 22, 1999
Clark Terry is the consummate freelance musician, able to add a distinctive element to whatever band or jam session of which he is a part. His exuberant, swinging horn playing was an important contribution to Count Basie's and Duke Ellington's bands. In addition, his use of the flugelhorn as an alternative to trumpet influenced Art Farmer and Miles Davis, among others. As a jazz educator he was one of the earliest active practitioners to take time off from the road to enter the classroom, conducting numerous clinics and jazz camps.
Complete Transcript (150 pages) View PDF
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Clark Terry describes how Jimmie and Ernie Wilkins joined Count Basie's band
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Clark Terry on being late to an Ellington engagement
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Clark Terry talking about opening with the George Hudson band for Illinois Jacquet
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Clark Terry tells how he accidentally insulted Duke Ellington
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Clark Terry talks about playing high notes
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Toots Thielemans Recorded August 31 and September 1, 2011
Harmonica player, guitarist, and whistler Jean Baptiste "Toots" Thielemans has been credited by jazz aficionados as being among the greatest jazz harmonica players of the 20th century, improvising on an instrument better known in folk and blues music. Born in Brussels, he immigrated to the United States in 1952, getting a chance to play with Charlie Parker's All-Stars. His performance so impressed George Shearing that he invited Thielemans into his band, where he stayed until 1959.
Complete Transcript (80 pages) View PDF
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Toots talks about how he wasn’t received with open arms when he went to New York City
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Toots discusses the early influence jazz had on him
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Toots talks about impressing George Shearing at Carnegie Hall
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Toots talks about his relationship with pianists throughout his career
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Toots talks about his honors outside of music
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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McCoy Tyner Recorded December 7-8, 2011
McCoy Tyner's propulsive style of piano playing was an integral part of the John Coltrane Quartet in the early 1960s. His rich chord clusters continue to be copied by many young jazz pianists. Growing up in Philadelphia, Tyner's neighbors were jazz musicians Richie and Bud Powell, who were very influential to his piano playing. While experimenting with his sound, Tyner has eschewed the use of electric pianos, preferring the warm sound of an acoustic piano, and earned five Grammy Awards for his recordings.
Complete Transcript (83 pages) View PDF
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Tyner talking about big bands
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Tyner talking about how he wanted to try something different
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Tyner on improvising
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Tyner talking about his old home/mother’s beauty shop
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Tyner talking about orchestration
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Rudy Van Gelder Recorded November 5, 2011
Rudy Van Gelder is considered by many to be the greatest recording engineer in jazz. He has recorded practically every major jazz musician of the 1950s and 1960s on thousands of albums. The signature Van Gelder sound features a clearly defined separation among the instruments, ensuring that every sonic detail is clear and audible. This was accomplished by the strategic placement of instruments in the studio, though his exact technique has always been a closely guarded secret.
Complete Transcript (44 pages) View PDF
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Live Recording in Clubs
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Building a Studio
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Pressures of Working in the Studio
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About Coltrane
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Cedar Walton Recorded October 2-3, 2010
Cedar Walton was first taught piano by his mother, growing up in Dallas, Texas. One of Walton's most significant musical associations was with Art Blakey and the Jazz Messengers. During his years with Blakey (1961-64), Walton stepped forward as composer, contributing originals such as "Mosaic," "Ugetsu," and "The Promised Land" to the group's repertoire. Some of his compositions, including "Bolivia," "Clockwise," and "Firm Roots," have become standards.
Complete Transcript (116 pages) View PDF
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Cedar Walton talks about the feeling he received when listening to composers such as Shostakovich and Stravinsky
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Cedar Walton discusses his relationship with John Coltrane
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Cedar Walton talks about music in his current life
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Cedar talks about his work with Stevie Wonder
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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George Wein Recorded May 11, 2011
A professional pianist from his early teens, George Wein led a band in his native Boston, frequently accompanying visiting jazz musicians. In 1950, he opened his own club, formed the Storyville record label, and launched his career as a jazz entrepreneur. He is renowned for his work in organizing music festivals, and in particular for creating the Newport Jazz Festival, an event that, according to the late jazz critic Leonard Feather, started the "festival era."
Complete Transcript (44 pages) View PDF
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George Wein recounts Louis Armstrong and the All-Stars visiting his club
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George Wein on surviving in an atmosphere you love
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George Wein defines what a real jazz musician is
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George Wein describes the difference of music across cultures
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George Wein on giving talent an opportunity to be heard
Photo by Vance Jacobs, courtesy of the National Endowment for the Arts
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Frank Wess Recorded January 10, 2010
A multi-instrumentalist whose inspired solos have kept big-band jazz fresh and vital into the present, Kansas City native Frank Wess is revered as a smoothly swinging tenor saxophone player in the Lester Young tradition, as an expert alto saxophonist, and as one of the most influential, instantly recognizable flutists in jazz history.
Complete Transcript (23 pages) View PDF
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Frank Wess on connecting with the audience
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Frank Wess on improvisation and folk music
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Frank Wess on learning when to stop
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Randy Weston Recorded October 23, 2009
Pianist and composer Randy Weston has spent most of his career combining the rich music of the African continent with the African-American tradition of jazz, mixing rhythms and melodies into a musical hybrid. He toured 14 African countries with his ensemble in 1967 on a State Department tour, eventually settling in Rabat, Morocco. He later moved to Tangier, opening the African Rhythms Club in 1969. Since returning to the U.S. in 1972, he has lived in his native Brooklyn, NY.
Complete Transcript (20 pages) View PDF
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Randy Weston describes his experiences in Japan after his sister's funeral in New York, NY on September 11, 2001
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Randy Weston describes playing in Alexandria, Egypt in 2002
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Randy Weston Describes the influence of African music on Western musicians
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Randy Weston describes the Jazz festival he organized in Tangier in 1972
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Randy Weston discusses hardship and spirituality in relation to music
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Randy Weston discusses his inspiration for recording solo piano albums.
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Joe Wilder Recorded January 9, 2010
Joe Wilder grew up in Colwyn, Pennsylvania, a suburb of Philadelphia. His father was a bassist and bandleader. The trumpeter has played with a virtual Who's Who of jazz -- Louis Armstrong, Count Basie, Cab Calloway, Benny Carter, Dizzy Gillespie, Benny Goodman, Lionel Hampton, Billie Holiday, Lena Horne, Quincy Jones, John Lewis, Charles Mingus, George Russell, and Dinah Washington, to name just a few.
Complete Transcript (129 pages) View PDF
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Joe Wilder discusses bandleader Jimmie Lunceford
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Joe Wilder discusses his teaching philosophy
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Joe Wilder on going to school with clarinetist Buddy DeFranco in Philadelphia, Pa.
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Joe Wilder on musical communication and bassist Keter Betts
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Gerald Wilson Recorded February 15, 2010
Gerald Wilson's use of multiple harmonies is a hallmark of his big bands, earning him a reputation as a leading composer and arranger. He was born in 1918 in Shelby, Mississippi. After his family moved to Detroit in 1934, he was able to concentrate on his music and was soon playing professionally. He has contributed his skill as an arranger and composer to artists ranging from Duke Ellington, Stan Kenton, and Ella Fitzgerald to the Los Angeles Philharmonic to his guitarist-son Anthony.
Complete Transcript (59 pages) View PDF
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Gerald Wilson describes an experience with Duke Ellington
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Gerald Wilson describes writing the second jazz waltz in history
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Gerald Wilson discusses his Grammy award nominations
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Gerald Wilson discusses his Mexican influences and his tune "Viva Tirado"
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Gerald Wilson discusses his relationship with trumpeter Miles Davis
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Gerald Wilson discusses how he became leader of his first band in Los Angeles, California
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Gerald Wilson discusses the origins of his tune "Yard-dog Mazurka"
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Gerald Wilson discusses trumpeter Eugene Snooky Young
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Gerald Wilson discusses writing for the Los Angeles Philharmonic and meeting composer William Grant Still
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Gerald Wilson talks about his relationship with multi-instrumentalist Eric Dolphy
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Nancy Wilson Recorded December 6, 2010
Nancy Wilson began her singing career on the Columbus, Ohio, club circuit while still in high school, and in 1956 she became a member of Rusty Bryant's Carolyn Club Band. During her years recording as a solo artist with Capitol Records, she was second in sales only to the Beatles. Although she often has crossed over to pop and rhythm-and-blues recordings, she still is best known for her jazz performances. Wilson also hosted NPR's Jazz Profiles, a weekly documentary series, from 1986 to 2005.
Complete Transcript (67 pages) View PDF
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Nancy Wilson talks about her approach when singing in the studio
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Nancy Wilson talks about how the events of JFK’s assassination effected her. She always talks about singing for movies
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Nancy Wilson talks about her efforts during the Civil Rights movement beside activists such as Martin Luther King
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Nancy Wilson discusses her work for the Nixon and Johnson administration
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Nancy Wilson talks about her association with the comedian Aresnio Hall
Photo by Tom Pich, courtesy of the National Endowment for the Arts
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Phil Woods Recorded June 22-23, 2010
Born in Springfield, Massachusetts, Philip Wells Woods has devoted himself to the alto saxophone since the age of 12. Woods performed in Buddy Rich's quintet and toured Europe with Quincy Jones and the U.S.S.R. with Benny Goodman. He remains active internationally as a bandleader, composer-arranger, and soloist.
Complete Transcript (66 pages) View PDF
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Phil Woods describes meeting saxophonist Charlie Parker for the first time
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Phil Woods discusses his first saxophone lesson
Clip 3: MP3
Phil Woods discusses horn troubles and motivation
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Phil Woods on being a well-rounded musician
Clip 5: MP3
Phil Woods on composing music
Clip 6: MP3
Phil Woods on doing what you love to do
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Phil Woods on how to keep a band together
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Phil Woods recalls playing in Russia with clarinetist and bandleader Benny Goodman
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Snooky Young Recorded February 24-25, 2009
Known for his prowess with the plunger mute, Eugene Edward "Snooky" Young's trumpet playing was most often heard in the context of the big band. For 30 years, he was heard every weeknight as a member of The Tonight Show orchestra. Young led his own band in his hometown of Dayton, Ohio, and performed with both Lionel Hampton and Count Basie. His work appeared on numerous soundtracks, including The Color Purple.
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"Nick Rossi",
"View my complete profile"
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The Street Swingers , Brookmeyer/Hall/Raney, World Pacific Records 1239, 1958 A true anomaly in both image and recording locale of th...
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http://amodernist.blogspot.com/favicon.ico
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http://amodernist.blogspot.com/2013/02/the-street-swingers-1958.html
|
The Street Swingers (1958)
The Street Swingers, Brookmeyer/Hall/Raney, World Pacific Records 1239, 1958
A true anomaly in both image and recording locale of the Pacific Jazz/World Pacific record catalogue is 1958's The Street Swingers LP. Credited to Brookmeyer/Hall/Raney with Osie Johnson and Bill Crow, it is a session nominally led by valve trombonist Bob Brookmeyer (who also provided the liner notes), but featuring compositions by all 3 of the principles - the other 2 being Jim Hall and Jimmy Raney. It was recorded in New York City on December 13 and 16, 1957 at Coastal Studios with production credited to label-owner Richard Bock. The cover photo was shot by Lee Friedlander. It's all very interesting enough, but is why does this warrant our time today?
Jazz on a Summer's Day opening sequence, filmed July 3, 1958, directed by Bert Stern
For me, the image Bob Brookmeyer is a very primary jazz image. Any time I see a photograph of him or hear his name, something in me recalls seeing him in the opening minutes of Bert Stern's beautiful color celluloid document of the 1958 Newport Jazz Festival. Even if for a moment, I remember being an impressionable 19 or 20 year old kid, eager to learn more about jazz and being captivated and confused by Jimmy Giuffre's trio - which seemed to be both hip and square at the same time. Brookmeyer looked more like a U.S. Naval officer with his cropped haircut and aviator glasses - but filtered through an Ivy League lens and playing challenging but funky (yeah that's right, I called him funky) modern jazz. At the time my modest jazz record collection consisted of the basics - Miles, Monk, Coltrane, and a smattering of organ-centric Blue Notes - but here was this lanky, kind-of-goofy-looking white cat ushering me down a whole new path.
Bob Brookmeyer, unknown (possibly Lee Konitz), Bill Crow, Jim Hall, Jimmy Raney, c.1957, photo by W. Eugene Smith
So needless to say, when I spied Brookmeyer in the corner of a W. Eugene Smith photo featured in Sam Stephenson's The Jazz Loft Project book (which I mentioned a couple of weeks ago), it resonated in some subtle way. And of course, seeing Bob engaged in a jam session with two guitarists that I have been paying more and more attention to over the past year and a legendary bass player with whom I have had the pleasure to exchange a few emails, I became more and more intrigued by the candid photograph. There is certainly a feel to The Street Swingers that could only come about due to the collaborative musical experimentation that can result in the best of casual jam sessions. The LP doesn't feel like a Prestige-styled blowing session or a over-formal presentation of compositions that one might find on a Capitol Records disc. The music exists somewhere between those extremes. I began to suspect that the two recording sessions perhaps may have come as a result of the Sixth Avenue sessions.
Brookmeyer, Hall, Raney, 1957, photo by Lee Friedlander taken from the rear of the LP sleeve
After doing my basic due diligence and re-aquainting myself with the LP, I reached out to bass player Bill Crow. Bill is not only featured in the Smith photo but also on the World Pacific LP. As I did not know the exact date of the photo, I was curious how the Sixth Avenue loft fit into the story. Crow was kind enough to respond to me:
Raney and Hall played together at the loft several times, and Brookmeyer and I were there a lot, too. The two Jims would often be plugged into the same amplifier, since there was only one at the loft. Jim Hall had come to NYC with the Giuffre trio, with Jim Atlas on bass. When Giuffre found that Bob was available, he replaced Atlas with Brookmeyer.
Bill went on to tell me, "We were all living in Greenwich Village at the time, and hung out a lot together. The album was probably Bob's idea." Brookmeyer had an existing relationship with label-owner Dick Bock having had appeared on a number of Pacific Jazz sessions as both a sideman and leader before December 1957. Hall, too, had done a similar number of sessions for Bock in both roles, perhaps most notably the first Chico Hamilton Quintet LPs as well as Hall's debut disc under his own name. Brookmeyer and Raney had a history of collaboration stretching back over several years and several sessions. And Crow, of course, was a big part of the New York scene at the time.
Lee Friedlander, 1960, photo by William Claxton
One final curious detail is that of the cover photograph. I suspect most who are in interested in 20th Century photography are familiar with Lee Friedlander. And while the cover has a great Winter in New York City feel, it is far from typical Friedlander, as it is not only in color but very much a posed portrait. At the time he was still 6 years away from his first solo museum show and the notoriety that came with it. At the time, he was a commercial photographer who shot a fair number of musicians particularly due to his association with New York's Atlantic Records as a house photographer starting in 1956. The World Pacific one-off gig very likely came about as the result of his friendship with Bock's main-man behind the camera William Claxton. Clax and Lee were good friends, the latter even served as the former's best man at his 1959 wedding to Peggy Moffitt that took place in NYC. As a footnote, when I mentioned how evocative the "street scene" of the cover photo was, Bill Crow corrected me, "Actually, the photo was taken on the roof of the recording studio. Lee wanted more light."
Editor's Note: if anyone knows where Coastal Studios was/is located, drop me a line. I could find only passing references to the facility.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://glidemagazine.com/297765/record-store-day-guide-to-14-unreleased-reissued-jazz-recordings-brubeck-evans-jamal-more/
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Record Store Day Guide To 14 Unreleased & Reissued Jazz Recordings: Brubeck, Evans, Jamal & More
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2023-11-21T06:37:08+00:00
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Rather than provide our usual detailed reviews of these never-before-released and/or reissued jazz recordings, we will instead provide a summary of each
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Glide Magazine
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https://glidemagazine.com/297765/record-store-day-guide-to-14-unreleased-reissued-jazz-recordings-brubeck-evans-jamal-more/
|
Rather than provide our usual detailed reviews of these never-before-released and/or reissued jazz recordings, we will instead provide a summary of each in alphabetical order by artist. While we see some of the usual suspects such as Bill Evans, Wes Montgomery, Charles Mingus, and Oscar Peterson, we also see Les McCann, Cal Tjader, and Gil Evans among the group. Yes, it is heavy on pianists, but all are legendary. Most of these sets have terrific liner notes, historic photos, and remembrances from those who played with or admired the musicians. Expect special 180-gram and colorful vinyl on most of these releases for Record Store Day on 11-24.
NEW DISCOVERIES
Artist – Dave Brubeck Quartet
Album – The Dave Brubeck Quartet Live from the Northwest, 1959
Label – Brubeck Editions
Overview – This was recorded a year before the Quartet had their landmark Time Out album. They were innovative at the time for their rhythmic invention, spontaneous counterpoint, and telepathic group interplay. Desmond is one of the all-time great alto players in terms of tone and melody. Morello is famed for his brushwork. Brubeck is renowned for his block chord style and Wright for his innovative bass playing. You will hear all those attributes from all four here. Wally Heider who did so many famous rock recordings at Fillmore West and Winterland is the engineer, and the sound is pristine.
Location and Date Recorded – Multnomah Hotel, Portland, Oregon April 4, 1959, and nearby Clark College on April 5.
Personnel – Dave Brubeck (piano), Paul Desmond (alto saxophone), Eugene Wright (bass), Joe Morello (drums)
Must Hear Tracks – Favoring the originals – “Multnomah Blues” and “Two Part Contention” but the arrangement of “When the Saints Go Marching In’ is also dazzling.
Available Formats and Dates – CD 11/3, – LP – !!/24, Digital – 11/24
_________________________________________________________________________________________
Artist – Steve Davis and Hank Jones
Album – Steve Davis Meets Hank Jones, Volume 1
Label – Smoke Sessions
Overview – This release, with pressings limited to 500 worldwide did not appear on the official RSD list but the date coincides as does the limited number of copies. At the time Hank Jones was a month shy of 90 and had just recovered from quadruple bypass heart surgery at the end of 2006, yet none of that is discernible in his elegant performance here, in one of his last performances. Jones, a brother of Elvin and Thad, of course, embodies the history of the jazz piano. Peter Washington is best known as the bassist in the long-running Bill Charlap Trio and trombonist Davis, formerly a member of Art Blakey’s Jazz Messengers has issued over 20 albums as a leader. The set list is split into trios and duos with trio renditions of “Interface,” “Isn’t It Romantic,” and “Cry Me a River” with Davis/Jones duos on “Polka Dots and Moonbeams,” “We’ll Be Together Again,” and “But Beautiful” – all exquisite standard fare played with precision, class, and joy.
Location and Date Recorded – JLP Studio, South Orange NJ -June 17, 2008
Personnel – Steve Davis (trombone), Hank Jones (piano), Peter Washington (bass)
Must Hear Tracks – It is terrific throughout and Washington has a stellar bass solo in “Interface,” the bluesy take on “Cry Me a River” is the best trio track and it would be nigh impossible to render a ballad more beautifully than in the duo “But Beautiful.”
Available Formats and Dates – LP – !!/24, Digital – 11/24
________________________________________________________________________________________
Artist – Bill Evans Trio
Album – Tales – Live in Copenhagen (1964)
Label – Elemental Music (Zev Feldman)
Overview – One may well ask how deep is the well because this is Zev Feldman’s eleventh unearthed Bill Evans trio recording. An Evans’ recording now seems practically a given on RSD. This is special because it is the first European tour and provides an insightful listen to Evans’ lesser-known trio mates (see below). Like most Evans packages the liner notes are extensive with contributions from Evans scholar Marc Meyers and interviews with Israels and Bunker’s widow Brandyn Bunker.
Location and Date Recorded – Danish radio studio in Copenhagen on August 10 and 25, 1964.
Personnel – Bill Evans (piano), Chuck Israels (bass), Larry Bunker (drums) with Eddie Gomez (bass) and Marty Morell (drums) on Bonus Track “Round Midnight”
Must Hear Tracks – “Waltz for Debbie,” “My Foolish Heart” (2 versions) and “I Didn’t Know What Time It Was” (the only known Evans trio recording of this piece.)
Available Formats and Dates – LP – 11/24, CD -12/1
_________________________________________________________________________
Artist – Ahmad Jamal
Album – Emerald City Nights Live at the Penthouse 1966-1968
Label – Jazz Detective (Zev Feldman)
Overview – This is the final 2-LP set of previously unreleased performances by the legendary pianist. Three or four things you’ll notice right away are Jamal’s fluid touch, his command of dynamics where he can go from a hush to an explosion in just seconds, and his use of space. He never seems hurried. Just the length of these selections indicates a high level of improvisation and ample room for the musicians to solo. It comes across classy during a time when most people’s visual image of a jazz club had men and women, like the performers, dressed to the nines. This package has reflections from Jamal himself and interviews with fellow pianists Les McCann, Emmet Cohen, Monty Alexander, and Joe Alterman with essays from Zev Feldman, journalist Eugene Holley Jr., and rare photos by Don Bronstein and Chuck Stewart. The entire package was supervised by Jamal shortly before his passing.
Location and Date Recorded – September 29, 1966, August 24, 1967, August 31, 1967, April 26, 1968, at The Penthouse in Seattle, Washington
Personnel – Ahmad Jamal (piano), Jamil Nasser (bass), Frank Gant (drums)
Must Hear Tracks – Like the previous double sets Emerald City Nights: Live at the Penthouse (1963-64) and (1965-66) these offer amazing improvisation from the pianist on several stretched-out tracks. Disc One picks – “Misty” and “Mr. Lucky” – great solos from all trio members on both Disc Two picks – “Corcovado” “Dance to the Lady.”
Available Formats and Dates– 2-LP 11-24, 2-CD 11-24, Digital 11-24
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Artist – Norah Jones
Album –Playing Along
Label -Blue Note
Overview –There are a dozen collaborations of conversations and impromptu performances taken from her podcast Norah Jones Is Playing Along in a similar spirit to Marian McPartland’s Piano Jazz program from NPR. Given Jones’ genre-crossing style, the guests represent a diverse array of musical styles.
Location and Date Recorded – Various Dates
Personnel – Jeff Tweedy, Tarriona “Tank” Ball, Mavis Staples, Marc Rebillet, Chris Thile, Valerie June, Logic, Brian Blade, Rodrigo Amarante, Sasha Dobson, Lukas Nelson, Bedouine (six of each side on the LP)
Must Hear Tracks – Pick your favorite artist from the list above.
Available Formats and Dates – LP – 11-24
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Artist – Les McCann
Album(s) – Never a Dull Moment Live from Coast to Coast 1966 -1967
Label – Resonance (Zev Feldman)
Overview – For many this is the crown jewel of this year’s RSD crop, two hours, and twenty minutes of one of the iconic soul-jazz legends, all in a trio format. The sound is superb, and the title is apropos. Your feet will be tapping throughout the entire listen as McCann and his trio work their way through mostly originals with a few standards, a couple of Dizzy tunes, and soul covers as well. McCann is one of the most accessible and infectious jazz pianists who ever played as he incorporated so much blues and soul into his approach. He could even be bawdy on occasion. The only quibble is that the Penthouse recordings are taken from a radio show Jazz After Hours, so you hear host Jim Wilke a bit too often but that’s a small price to pay for the wonderful music. McCann holds the admiration of so many artists that appropriately included in the booklet for remembrances are Quincy Jones, Roberta Flack, Bonnie Raitt, Monty Alexander, Roger Kellaway, Emmet Cohen, Nathan East, Joe Alterman, and more. There are unpublished photos and essays by A. Scott Galloway and Pat Thomas.
Location and Date Recorded – A & B – Penthouse Jazz Club, Seattle January 27, 1966, C – Penthouse February 3, 1966, D -Penthouse February 10, 1966, E &F Village Vanguard NYC July 16, 1967
Personnel – Sides A, B, C, trio with Stanley Gilbert (bass) and Paul Humphrey (drums), Side D Gilbert with Tony Bazley (drums) Sides E and F Leroy Vinegar (bass) and Frank Severino (drums)
Must Hear Tracks – Penthouse – “The Grabber, “The Shampoo,” “Out in the Outhouse,” “Lavande,” Village Vanguard – “Doin’ That Thing,” “Sunny”
Available Formats and Dates– 3-LP – 11-24
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Artist – Wes Montgomery/Wynton Kelly Trio
Album – Maximum Swing: The Unissued 1965 Half Note Recordings
Label – Resonance (Zev Feldman)
Overview – This is the sixth Wes Montgomery release for Feldman. What makes this special is that Montgomery is stretching out and improvising here. His Smokin’ at the Half Note is a jazz classic but about half of it is studio recordings whereas this is 100% live. The music is drawn from radio broadcasts hosted by Alan Grant for his WABC-FM show Portraits in Jazz so you will hear a fair number of announcer spots. The band is on fire throughout and Montgomery’s technique of double-octave playing is on full display and Kelly’s comping is also special. Besides, it’s a lineup of legends considering the likes of Chambers, Cobb, Carter, and Kelly. Four of the seventeen tracks extend beyond ten minutes. Every solo is craftily built and yes, these cats, true to the title, swing their collective butts off. Yet, relative to the other Feldman-produced material here, the sound quality is not quite at his usual pristine levels. Included in the booklet is an essay from Bill Milkowski, and remembrances from Ron Carter, Herbie Hancock, Bill Frisell, Mike Stern, and Marcus Miller (who is Wynton Kelly’s cousin)
Location and Date Recorded – All recordings at Half Note, NYC September 24, November 5, November 12, November 19, and late 1965.
Personnel – Wes Montgomery (guitar), Wynton Kelly (piano) Paul Chambers (bass), Jimmy Cobb (drums) with these bassists replacing Chambers on certain dates – Ron Carter, Larry Ridley, and Herman Wright
Must Hear Tracks – “Impressions,” “Four on Six, (both versions),” “All the Things You Are, “Star Eyes”
Available Formats and Dates – 3-LP 11-24, 2-CD 12-1, Digital 12-1
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Artist – The Oscar Peterson Trio
Album – Con Alma: Oscar Peterson Trio – Live in Lugano, 1964
Label – Two Lions/Mack Avenue
Overview – This was the final performance of an extended European tour just before the trio departed for Japan for another lengthy string of concerts and is a fine representation of this trio who played together for more than six years. The program features two jazz classics, three from the Great American Songbook and one Peterson original, played to a totally enraptured and enthusiastic audience. Peterson is on the tip of anyone’s tongue when jazz piano is mentioned, and he was dubbed The Maharajah of the Keyboard by Duke Ellington. Exquisite, sublime playing from all three members of this trio with animated, swinging solos. This is the fourth unissued recording in collaboration with Kelly Peterson, Oscar’s wife, and keeper of the estate (and the flame). The liners include notes from Kelly Peterson, Celine Peterson, Jeff Hamilton, Christian McBride, and an excerpt from Oscar Peterson as well that is a ‘must read’ as he describes in great detail the talents and approach of Brown and Thigpen.
Location and Date Recorded – Teatro Apollo, Lugano, Switzerland on May 26, 1964
Personnel – Oscar Peterson (piano), Ray Brown (bass), and Ed Thigpen (drums)
Must Hear Tracks – It’s just uncanny how Peterson infuses everything he plays with blues and swing, putting his own stamp on Bill Evans’ “Waltz for Debbie” for example which features an outstanding bass line from Brown. The extensive original “Blues for My Landlady” is an even stronger example. The interplay is especially striking in the finale, Gershwin’s “It Ain’t Necessarily So.”
Available Formats and Dates – LP, CD, and digital all on 11-24
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Artist – Cal Tjader
Album – Catch the Groove: Live at the Penthouse 1963-1967
Label – Jazz Detective (Zev Feldman)
Overview – These are the first unissued recordings of vibraphonist and unlikely Latin Jazz innovator Cal Tjader in 20 years. These recordings coincide with Tjader’s Verve period during which he achieved his greatest commercial success with producer Creed Taylor pairing him with NYC jazz musicians. Here, instead, we hear Tjader with his regular working bands. Consider for example on Side A where a band comprised of no Latin members plays Afro-Cuban music. There is a wealth of music here and it is especially intriguing how Tjader’s quintets transformed standards in a Latin-jazz way. The booklet includes reflections from Feldman and Brent Fischer (son of pianist Clare Fischer) liner notes from journalist Greg Casseus, as well as interviews with Poncho Sanchez, Eddie Palmieri, Joe Locke, Gary Burton, Carl Burnett, and a statement by Tjader’s son and daughter Rob and Liz Tjader.
Location and Date Recorded – All at Penthouse, Seattle February 2, 1963, May 6, 1965, May 13, 1965, June 9, 1966, June 16, 1966, June 8, 1967
bgo) Side– A variety of quintets -Side A – Cal Tjader (vib), Clare Fischer (p), Fred Schreiber (b), Johnny Rae (dru, tim), Bill Fitch (cga, perc) Sides B & C – Cal Tjader (vib), Lonnie Hewitt (p), Terry Hilliard (b), Johnny Rae (dru, tim), Armando Peraza (cga, bgo) Sides D & E – Cal Tjader (vib), Al Zulaica (p), Monk Montgomery (b), Carl Burnett (dru, tim), Armando Peraza (cga, bgo) Side F – Cal Tjader (vib), Al Zulaica (p), Stan Gilbert (b), Carl Burnett (dru, tim), Armando Peraza (cga, bgo)
Most Impressive Accompanist(s) – The contrasting styles of the pianists – Fischer, the bluesy Hewitt, and the ever-versatile Zulaica. Schrieber’s bass solos especially on the Black Orpheus piece and the locked in rhythm tandem of Burnett and Peraza.
Must Hear Tracks – “Manha de Carnaval’’ from the film Black Orpheus, the funky original “Insight,” cult classics “Davito,” “Pantano”, and “Leyte,”” Half and Half,” “Reza, “and jazz classics “On Green Dolphin Street,” “Take the A Train,” and “I Can’t Get Started,” and “Lush Life.”
Available Formats and Dates – 3-LP, 2-CD, and Digital – all on 11-24
REISSUES/COLLECTIONS
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Artist – Gil Evans
Album – Gil Evans and Ten
Label – Prestige/Craft
When Recorded – 1957
Overview – This is renowned orchestrator and arranger Gil Evans’ first album where he played piano. In in one sense, this was a breakthrough that set the stage for Evans/Miles Davis classics such as Sketches in Spain, Miles Ahead, and others as clued by instrumentation that includes bassoon, French horn, soprano sax, and bass trombone for example. Pieces range from Leonard Bernstein to Leadbelly to Rodgers and Hat to Tadd Dameron to Evans’ original “Jambangle” for example – seven tracks that marry melody, harmony, and swing, through beautiful ensemble playing.
Personnel – Gil Evans (piano), Steve Lacy (soprano sax), Jimmy Cleveland (trombone), Louis Mucci (1st trumpet, replaced by John Carisi on “Remember”), Jake Koven – 2nd trumpet, Bart Varsalona (bass trombone), Willie Ruff (French horn), “Zeke Tolin” (alto sax), Dave Kurtzer (bassoon), Paul Chambers (bass) Nick Stabulas (drums) and Jo Jones on “Remember.”
Most Impressive Supporting Musicians – The nod goes to the two major soloists, Lacy who was one of the first to make soprano sax a major instrument, and trombonist Cleveland who’s velvet tone is a marvel, let alone his creative solos.
Must Hear Tracks – “Ella Speed,” “Big Stuff,” “Just One of Those Things,” “If You Could See Me Now,” “Jambangle”
Available Formats and Dates – LP -11-24
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Artist – Chico Hamilton
Album – The Master
Label – Enterprise (Stax)/Craft
When Recorded – 1973
Overview – This is the 50th Anniversary edition merging Hamilton’s melodic drumming with funk infused R&B southern tinge on post-bop jazz. It’s a heavy sound steeped in organ and guitar with Lowell Geroge’s slide featured. The extended jams between Lowell and Chico are especially notable.
Personnel – Chico Hamilton (drums), and from Little Feat vocalist/guitarist Lowell George, keyboardist Bill Payne, bassist Kenny Gradney, guitarist/vocalist Paul Barrere and percussionist Sam Clayton. Also, organists Jerry Aiello and Stu Gardner, and percussionist Simon Nava
Most Impressive Supporting Musicians – As per the above, the nod goes to Lowell George, but considering that Billy Payne is still active, it’s worth hearing him five decades ago too.
Must Hear Tracks – “Conquistadores 74″, “Stu”, “Feels Good”, “Fancy”, “Stacy”, “Gengis ” and “I Can Hear The Grass Grow”
Available Formats and Dates – LP – 11-24
_________________________________________________________________________________________________
Artist – Charles Mingus
Album – Incarnations
Label – Candid
Location and Date Recorded – November 11, 1960, and “All the Things You Are (all) on October 20, 1960 – both in NYC.
Overview – This is a hybrid of new discovery and reissue with alternate takes of pieces that appeared on the Candid album Reincarnation of a Love Bird (which was not released until 1988) and the 2-LP compilation from Solar Records, The Complete 1960 Nat Hentoff Sessions with one previously unreleased track “All the Things You Are (All).” You’ll note below that there are 12 musicians in addition to Mingus. Without a physical copy in hand, it is difficult to assign the musicians to specific tracks. However, half of the tracks are with a Mingus led sextet that expanded into an octet on two tracks (there are only five in all) and there is another unit, a collective that assembled in opposition to George Wein’s Newport Jazz Festival that past July dubbed The Jazz Artist Guild who released an album on Candid in 1961, entitled Newport Rebels. All but the unreleased track trace to the November session produced by Nat Hentoff. The unreleased track as many know has its roots in Art Tatum’s “All the Things You Are” which Mingus had recorded in various sessions. Liner notes are from Hank Shteamer. Mingus collectors that own his previous four Candid releases from the same year will find little new here but there are completists out there. For folks seeking high quality Mingus audio, this is nonetheless a great find.
Personnel – Charles Mingus (bass), Eric Dolphy (alto sax, bass clarinet), Booker Ervin (tenor sax), Charles McPherson (alto sax), trumpeters Ted Curson, Lonnie Hillyer, and Roy Eldridge, trombonists Jimmy Knepper and Britt Woodman, pianists Tommy Flanagan and Paul Bley and drummers Dannie Richmond and Jo Jones.
Most Impressive Supporting Musicians– Dolphy, Ervin, Curson, and McPherson
Must Hear Tracks – Dolphy and Curson blow with abandon on the bebop “Bugs” and R&R lets us hear inspired turns from McPherson and Knepper. The octet harmonies on “All the Things You Are (All)” are stunning, and sharply contrast with the blues of “R&R” Dolphy is incandescent in “Body and Soul”
Available Formats and Dates – LP, CD, and Digital all on 11-24
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Artist – Various Artists
Album – Black Jazz Records – The Complete Singles
Label – Real Gone
Overview – This set includes the extraordinarily rare singles that were cut for the label, including several unique single edits. As you glean the artists below, they are lesser-known artists to most folks, Chester Thompson, due his long tenure with Santana may be the best known. Most tracks are a melding of jazz, funk, and soul jazz heavy on Fender Rhodes, wah wah guitars, and clavinets but there are exceptions. Walter Bishop Jr. is a straight-ahead player, Doug Carn’s single has a large ensemble and Rudolph Johnson may well be the most aggressive, Coltrane-like tenor player you’ve never heard. You may notice that the Jazz is Dead series featured both Doug and Jean Carn in the past couple of years, so it is interesting to hear their early recordings. Calvin Keys is a guitarist, Kelle Patterson a vocalist, and Cleveland Eaton a bassist that few would know, given the late Henry Franklin’s stature with the label. The gatefold jacket features liner notes by Pat Thomas.
Location and Date Recorded – Various dates in the early ‘70s.
Artists – The set features selections from Gene Russell (4), Walter Bishop Jr., Doug Carn, Rudolph Johnson (2), Jean and Doug Carn (2), Calvin Keys, Chester Thompson, Kellee Patterson (2), and Cleveland Eaton
Must Hear Tracks – Doug Carn “Moonchild,” Gene Russell “Me and Mrs. Jones,” Rudolph Johnson “Mr. TJ” Jean and Doug Carn “Peace,” and Calvin Keys “Gee-Gee”
Available Formats and Dates – 2-LP -11-24
__________________________________________________________________________________
Artist – Various Artists
Album – Jazz Dispensary- At the Movies
Label – Craft
Overview – This barely qualifies as a jazz release given the prevalence of soul and R&B with its selections of songs from midnight movies. The gospel-inspired “Saturday Night” by Melvin Van Peebles, featured in the famed actor/filmmaker/composer’s musical film Don’t Play Us kicks off followed by the oft-covered Booker T. & the M.G.’s “Time Is Tight,” originally recorded for their soundtrack to the 1968 film UpTight. A standout but lesser-known “The Riot” is a soul-jazz tune from Ed Bogas and Ray Shanklin for the score to the 1972 film Fritz the Cat (an adult animated comedy based on the comic strip by R. Crumb). Side B also begins with Peebles joining a then-unknown Earth, Wind & Fire for “Sweetback’s Theme” – a lengthy instrumental from Peebles’ 1971 feature film Sweet Sweetback’s Baadasssss Song, widely credited with creating the blaxploitation genre, which also yields Ed Bogas and Ray Shanklin’s “B.J.’s Step” and B3 great Charles Earland’s “Incense of Essence.” The iconic Isaac Hayes is represented by “Joe Bell” from the 1974 crime-action film Three Tough Guys, and “Pursuit of the Pimpmobile” from Truck Turner (a 1974 blaxploitation film starring Hayes himself as a former professional football player turned bounty hunter). This is the epitome of the kind of collection only available on RSD, meant for the most ardent of collectors. There’s no viable comparison to in this writer’s opinion to the previously listed reissues of Gil Evans, Chico Hamilton, and Charles Mingus but there is clearly a niche audience for this fare.
Location and Date Recorded – Various Dates from the ‘60s and ‘70s.
Artists – Melvin Van Peebles (2), Booker T. and the MG’s, Isaac Hayes (2), Ed Bogas & Ray Shanklin (2), Charles Earland, The Blackbyrds, Steve Krantz’s Animation, Inc.
Must Hear Tracks – As in the Overview.
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The Notorious Hancock/Peacock/Shorter/Williams Bootleg
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A bootleg performance has circulated amongst jazz collectors for decades, apparently the only known recording of members of the leaderless Miles Davis 1960s quintet (Wayne Shorter, Herbie Hancock, and Tony Williams) featuring Gary Peacock on bass. I received my copy excitedly from Jacob Garchik many moons ago, at which time it was labeled as being…
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A bootleg performance has circulated amongst jazz collectors for decades, apparently the only known recording of members of the leaderless Miles Davis 1960s quintet (Wayne Shorter, Herbie Hancock, and Tony Williams) featuring Gary Peacock on bass. I received my copy excitedly from Jacob Garchik many moons ago, at which time it was labeled as being recorded at Slugs in August of 1965. I’ve alternately found copies that purport to have come from the Village Vanguard, and like eveything else is now on YouTube. The leader, date, personell, and location have each in turn been disputed, and are often reproduced without much reference, as shown here:
The tracks include “The Eye Of The Hurricane,” “Just In Time,” “Oriental Folk Song,” “Virgo,” “Fran-Dance,” and “Theme” (a quick statement of William’s “Tomorrow Afternoon”). Many educated listeners, including members of that band, have attempted to confirm the location, date, and personnel but with often puzzling and contradictory results. The bootleg is an enigma, taking people who obsess about such things down a discographical rabbit hole. I’ve been fixated on this recording for sometime, and here is what I have managed to find out and hypothesize in hopes perhaps the truth might be confirmed.
What is Known
What is certain about the recording is that it features Wayne Shorter, Herbie Hancock, and Tony Williams who are each unmistakable in their individual performances. The subject of whether or not it was indeed Peacock on bass came up while researching my doctoral dissertation on Peacock’s early 1960s New York Period. It would seem the most straight forward way to confirm this set would be to ask him directly during our interactions, but alas his response was lacking any degree of certainty:
“I recall doing the Vanguard with Miles though he might have not shown later in the week. … I’ve heard one bootleg tape but couldn’t say for sure if it was me on bass.” (Personal correspondence, Gary Peacock 2013)
In this regard Peacock is referring to his appearance at the Village Vanguard with Miles in May of 1964, shortly after debuting with the group, substituting for the absent Ron Carter. Many sources have reprinted the erroneous account in Billboard Magazine of Peacock also playing the Vanguard with Miles over Thanksgiving of 1965, which could be a source of some of the confusion, a report disproved by first hand accounts published soon after in Downbeat. Peacock had performed with the band a couple of weeks earlier in Philadelphia, but Reggie Workman was to join the band in New York for the Holiday run.
Peacock’s Fingerprint
The audibility of the bass is problematic, and does not sound professionally recorded. It is doubtful it is a radio broadcast unless excessive duplication has degraded the quality, and great pains have been taken to remove announcements and advertisements. Except for one solo on “Oriental Folk Song” the bass is difficult to identify with clarity. During this solo however we hear many of Peacock’s trademarks and unequalled virtuosity (the ballad playing on Shorter’s “Virgo” also bears striking similarity to Peacock’s work on the 1963 take of “Getting Started” recorded with Paul Bley and Paul Motian.) What also seems likely is that no one musician was the leader here, as the collection of tunes feature contributions from Hancock (“Eye of the Hurricane”), Shorter (“Virgo”, “Oriental Folk Song”), Williams (“Tomorrow Afternoon”), and Miles (“Fran Dance”), which suggests a collective presentation unlikely for a gig under a single musicians name, especially when considering the prodigious output of Hancock and Shorter in particular. The inclusion of a Davis composition completes the compositional representation of the quintet’s regular members. As the band was also known for performing the matinee sets as a quartet it seems even more likely that was the presentation here.
1964 or 1965?
It would seem logical that this recording comes from 1964 and not 1965; Perhaps the bootleg has been mislabeled and is off by a year. This seems likely based on several factors:
1964 coincides with a period where Miles was notorious for missing sets, reported as such in local press around the country (see Chris DeVito’s excellent Miles Davis Chronology). Miles missing a set or an entire gig would force the collective to put together a set of compositions that featured their writing talents in a more or less equal fashion. This would explain the sharing of space represented in the set.
Most obviously, 1964 coincides with when most of these tunes were either recorded or released (two tracks would be recorded in September on the Shorter Album Night Dreamer and Williams would record “Tomorrow Afternoon” in August with Peacock on Bass).
Peacock was with the group in May of that year, and does recall the Vanguard and Miles missing at least one set. While the poor recording quality makes it difficult to hear the Vanguard’s trademark acoustics, it seems possible based on multiple hearings.
The slight idiomatic inconsistencies in Gary’s playing could easily be attributable to some of the significant health issues he reports happening beginning about that time, and could result in the variances heard throughout the summer European tour with Albert Ayler and Don Cherry.
The sound of the group is much closer to that heard a few months earlier on “Four and More” than what would evolve into that heard in late 1965 at the Plugged Nickel. By then the musicians had become adept masters at stretching within and outside the bounds of a tune, where as here the presentation seems ironically conservative in comparison.
The cymbal Tony Willams is using, that would become famous in the ensuing years, makes its earliest appearances about March, at least before the “Point of Departure” album but after the February Four and More concert. This supports the plausibility that May is a possible recording date.
There is no published advertisement from Slugs or The Village Vanguard in August of 1965 that features Miles or this lineup of the band.
However there is one glaring issue with this hypothesis: all accounts point to Wayne Shorter not joining the band until September at the Hollywood Bowl. As Peacock was in Europe with Albert Ayler until the end of the year this means, that if it is a Miles-less band, that it would need to be from 1965. The caveat here is much of Shorter’s accounts of his first days with the band (such as being in the studio one week after his debut with Davis) are incorrect yet repeated often without scrutiny.
Peacock did perform with the band in November 1965 in Philedelphia, perhaps the source, but the strange choice of compositions recorded a year earlier remains strange considering the intense compositional activity of all the groups members. Still, when comparing what is audible of the acoustics of the performance space with the existing bootlegs of the John Coltrane Quartet from the Showboat in June of 1963 an audible similarity, personel, and timeline points to this being the most likely source of the recording. GIven that Miles was coming back from a long illness and was prone to leaving early, this is the most likely location and date.
Art Davis?!?
Perhaps if Peacock could not confirm his participation, other living members of the band could. In the Summer and Fall of 1965 each of these musicians was on temporary hiatus from the Quintet due to Davis’s forced sabbatical and related health issues. Each musician was recording individually and appearing as leaders and in various collaborative combinations. Hancock, Shorter, and Williams would rejoin the trumpeter in November, with documented performances in Philadelphia, Detroit, and the Village Vanguard before appearing at Bohemian Caverns, Washington, D.C. and recording the “Live at the Plugged Nickel” performances in Chicago that December.
Wayne Shorter, in correspondence with producer Bob Belden (personal correspondence with Belden in January 2014) apparantly reported he played the Vanguard in 1965 with the trumpet-less band and Art Davis on bass, recorded for a WBAI-Radio broadcast in August and that this is the recording in quesiton. I believe Shorter is in error here, perhaps the statement refering to another engagement with Davis on bass. The biggest reason for this is the recording itself; Art Davis has an extremely identifiable sound, as the Coltrane and Max Roach recordings from this era testify. There is little if any resemblance in tone, rhythmic concept, or facility that connects Davis to these performances. Further, where was this performance of Shorter and Davis? If advertisements are to be believed, it was not the Vanguard or Slugs during the second half of 1965.
According to the Village Voice in 1965, the only Wayne Shorter Quartet gig in August or September was at Harout’s Restaurant, not at the Vanguard. This particular gig did feature Herbie Hancock, but it was Reggie Workman on bass. No other personnel are listed. Of course musicians substitute for one another often, but with Peacock’s relocation to Boston that year to study macrobiotics the likelihood of coming back and not remembering the trip become increasigly unlikely. This draws into question whether the location on the bootleg is suspect as well, and obviously the Village Voice is hardly a detailed record of all performances. For all we know it might have been recorded in another city, but as of yet there is nothing pointing in that direction.
Tony Williams was at the Vanguard that month as a leader, but advertised with a trio, not a quartet, and would certainly feature more of his original compositions than just the closing theme of the set. Only during the week of August 26th are members of the Quintet advertised for the Vanguard, but the pressence of Ron Carter seems disqualifying.
There was a Herbie Hancock performance at the Vanguard earlier that year, but it was from May and June. For the first two weeks only Williams and Shorter are listed as sidemen. The third week it is Richard Davis (not Art Davis) that is advertised playing bass. If the performance came from this gig, then the bassist’s names have been confused (not an unheard of occurrence), and the date of the recording is off by two months. But once again, there is absolutely no way anyone could confuse Richard Davis, Art Davis, and Gary Peacock; three of the most identifiable bassists of all time, and there is nothing “Davis” about this bass playing in either respect.
Albert Stinson?
In conversations with John Patitucci the expert bassist speculated the bassist could be Albert Stinson, an intriguing hypothesis. Stinson did fill in with the Quintet in 1967 University of California (Berkeley) Jazz Festival, California, and was in the NYC area to record with Chico Hamilton and Charles Lloyd in 1965. Still, when comparing the playing heard on Charles Lloyd’s Of Course of Course (tracks with Albert from 1965), Chico Hamilton’s El Chico (1965) or Bobby Hutcherson’s Oblique (1967) there is little resemblance to the bass heard on “Oriental Folk Song.” Since there is no documented or recorded evidence of Stinson playing with members of the group between 1964-65 this hypothesis becomes increasingly remote.
Herbie Hancock
To my knowledge, Hancock has not weighed in as to the details of this recording. He is notoriously difficult to contact regarding scholarship of his career, yet his insights could be invaluable and perhaps put all of these issues to rest.
Conclusions
I believe this recording is a non-professional recording of the Miles Davis Quintet, minus Miles, but labeled with either an incorrect date or venue. Based on similar recordings done from the era, and Peacock’s confirmed participation, the November 1965 gig at the Showboat in Philadelphia is the most likely source. There were reviews written about this gig in the now extinct Philadelphia Evening Bulletin which I am trying to obtain.
I would love to hear any additional opinions on this recording, or any new information! If you have some please send it along and it will be included in a follow up blog.
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https://latinjazznet.com/news/gonzalo-rubalcaba-hamilton-de-holanda-to-release-new-album-collab/
|
en
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Gonzalo Rubalcaba & Hamilton de Holanda To Release New Album: “Collab”
|
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[
""
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[
"Danilo Navas"
] |
2024-05-31T02:31:58+00:00
|
Afro-Cuban master pianist Gonzalo Rubalcaba and iconic Brazilian mandolinist Hamilton de Holanda meet on Collab, new album releasing internationally May 31, 2024.
|
en
|
Latin Jazz Network
|
https://latinjazznet.com/news/gonzalo-rubalcaba-hamilton-de-holanda-to-release-new-album-collab/
|
Sony Music Brazil is thrilled to unveil a remarkable musical convergence of Afro-Cuban and Brazilian jazz on Collab, personified by two of its greatest exponents: the renowned Afro-Cuban pianist Gonzalo Rubalcaba, named one of the great pianists of the 20th century (Piano & Keyboard Magazine) and known for his impeccable technique and rhythmic innovation, and the virtuoso Brazilian mandolinist Hamilton de Holanda, whose skill and creativity has revolutionized the instrument and Brazilian music. Equal parts challenging and accessible, Collab is a musical journey through varied soundscapes, with each track offering a new discovery rooted in their common African ancestry. Collab will release internationally on May 31, and in the United States on July 19, 2024.
Gonzalo Rubalcaba, deeply rooted in the jazz tradition, brings with him a wealth of influences when approaching Afro-Cuban rhythms, from the pulsating energy of the batá drums (drums of African origin, from the Yoruba culture, used both in music and in Santeria) to the complex harmonies of contemporary jazz. His piano interpretation is marked by captivating fluidity and enveloping emotional intensity, combining impeccable technique with a visceral expressiveness that resonates with listeners. On the other hand, Hamilton de Holanda is a true master of the Brazilian mandolin, elevating this instrument to new heights of virtuosity and innovation, inspiring a new generation of instrumentalists. His music is saturated with the vibrant colors and rhythms of Brazil, infusing jazz with elements ranging from traditional choro to influences of samba and bossa nova, and beyond. Hamilton is recognized for his extraordinary improvisational ability, as well as his capacity to extract a surprising range of sounds from his 10-string mandolin, thus creating a truly unique musical experience.
“For many years, I’ve been listening to Gonzalo Rubalcaba. He’s one of those musicians whose sound you recognize immediately. I’ve always had the desire to play with him because I felt that he was doing things that resonated with my vision of music, especially with his national accent and international outlook,” Holanda reflected.
“Hamilton is a Maestro. I am sure that on many occasions the adjective “virtuoso” has been used to refer to him, and yes he is. But he is not only a virtuoso in terms of mastery of the instrument with which he transmits the music,” Rubalcaba shared. “He is a virtuoso of thought, a virtuoso of ideas, he is a virtuoso in many facets that go far beyond just controlling this instrument which, by the way, once again, he does, perhaps like few others do around the world.”
Earlier this year, the duo met at the legendary Criteria Studio in Miami and created the amazing Collab. The fusion of Rubalcaba‘s Afro-Cuban jazz with Holanda’s Brazilian influences creates a unique synergy. The result is music that is both rooted in tradition and innovative in its approach, a celebration of the richness and diversity of Afro-Cuban and Brazilian musical traditions. Brazilian star special guests composer and singer João Bosco, as well as harmonica player Gabriel Grossi, add additional layers of depth and meaning to the tracks, providing an even richer and more engaging auditory experience.
Rubalcaba contributed three original compositions, including the challenging “Blues Landvall,” the lyrical “Yolanda Anas,” and the emotive “Transparence.” Holanda offers his own trio of originals, including the Choro-inspired “Mandalagh,” composed for the duo, the high-flying “Flying Chicken,” and “Choro Fado,” which had its first recording on Holanda’s Latin Grammy-winning 2023 album “Maxixe Samba Groove” In addition to these originals, the album features reinterpretations of gems from the Brazilian repertoire (“Incompatibilidade de Gênios” by João Bosco and Aldir Blanc, presented in two versions—one instrumental and one sung), classic soul music (“Don’t You Worry ‘Bout a Thing” by Stevie Wonder), jazz (“Silence” by bassist Charlie Haden), and Portuguese pop (“Saudade, Saudade” by Maro & John Blanda).
“Incompatibilidade de Gênios” explores the complexities of human relationships and the dynamics between divergent personalities. João Bosco‘s interpretation, with his distinctive and expressive voice, brings new flavors to the music. On “Don’t You Worry ‘Bout a Thing,” the participation of the creative harmonica player Gabriel Grossi is a tribute to one of the greatest musicians of all time, the great Stevie Wonder.
“I am happy with the result of all the work that goes into making the album, and with the work that has had to do directly with this album that I consider as a work of chamber music. I am even more excited because we have created a platform that allows us to share with a wide and diverse audience. We have created a project that is our banner of invitation to listeners from different parts of the world,” Rubalcaba shared.
Essential in today’s world, Collab is an example of true cultural diplomacy. This meeting of cultural heritages promotes mutual understanding and cooperation in a global context, and reinforces jazz’s position as a truly universal musical genre. Afro-Latin Jazz and Brazilian Jazz are vital tributaries of jazz for the continuous evolution of the music as a truly global and multicultural art form. The genres have been fundamental to expanding the reach of jazz, introducing new rhythms, melodies, and harmonies into music, playing an important role in promoting intercultural understanding and celebrating global musical diversity. In the hands of Gonzalo Rubalcaba and Hamilton de Holanda, this musical convergence is explored in masterful form.
“Listening to the finished album, I feel a sense of gratitude for everything I experience in music and beyond,” concludes Holanda.
|
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https://www.jazzdisco.org/pacific-jazz-records/discography-1955-1956/
|
en
|
Pacific Jazz Records Discography: 1955-1956
|
https://www.jazzdisco.org/favicon.ico
|
https://www.jazzdisco.org/favicon.ico
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[] |
[] |
[] |
[
""
] | null |
[
"Jazz Discography Project"
] | null |
Pacific Jazz Records (founded 1952, Los Angeles; Richard Bock and Roy Harte), record company and label.
|
en
|
/favicon.ico
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https://www.jazzdisco.org/pacific-jazz-records/discography-1955-1956/
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1955
Bud Shank - Bob Brookmeyer Quintet With String Quintet
Bob Brookmeyer, valve trombone; Bud Shank, alto sax; Claude Williamson, piano; Buddy Clark, bass; Larry Bunker, drums; with Sam Caplan, Benny Gill, Marshall Sosson, violin; Lou Kievman, viola; Ray Kramer, cello.
Low LifePacific Jazz PJ LP-20, PJ-1213; Mosaic MS-010 Rustic Hop- With The Wind And The Rain In Your Hair- Low Life (alternate take)Pacific Jazz JWC-500, JWC-EP-1000, PJ-LA892-H; Mosaic MS-010
* Pacific Jazz PJ-1213 Bud Shank, Bob Brookmeyer - Strings And Trombones 1956
= World Pacific PJ-1213 - 1958
* Pacific Jazz JWC-500 Various Artists - Jazz West Coast 1956
= World Pacific JWC-500 - 1958
* Pacific Jazz PJ-LA892-H Various Artists - Jazz: The 50's Vol. I 1978
* Mosaic MS-010 Bud Shank And Bob Cooper - Mosaic Select 2004
* Pacific Jazz PJ LP-20 Bud Shank And Bob Brookmeyer 1955
* Pacific Jazz JWC-EP-1000 Various Artists - Jazz West Coast 1956
Chet Baker Quintet With Strings
Chet Baker, trumpet, vocal; Bud Shank, flute; Russ Freeman, piano; Red Mitchell, bass; Bob Neel, drums; with Ray Kramer, Ed Lustgarten, Kurt Reher, Eleanor Slatkin, cello; Corky Hale, harp; Frank Campo, Johnny Mandel, Marty Paich, arranger.
Grey DecemberPacific Jazz EP4-33, PJ-1202, HFS-1, CDP 7 97160 2 I Wish I KnewPacific Jazz EP4-33, PJ-1202, CDP 7 97160 2 Someone To Watch Over MePacific Jazz EP4-30, PJ-1202, CDP 7 97160 2 This Is Always-
* Pacific Jazz PJ-1202 Chet Baker Sings And Plays 1955
= World Pacific PJ-1202 - 1958
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz CDP 7 97160 2 Chet Baker - Grey December 1992
* Pacific Jazz EP4-33 Chet Baker Sings And Plays 1955
* Pacific Jazz EP4-30 Chet Baker Sings And Plays 1955
Chet Baker Quintet With Strings + Joe Pass?
add + an overdub: Joe Pass, guitar.
Someone To Watch Over MeWorld Pacific WP-1826
* World Pacific WP-1826, ST-1826 Chet Baker Sings 1964
Fred Katz Quintet With Ensemble
Paul Horn, flute, clarinet, alto sax, piccolo; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums; with Herbie Harper, Joe Howard, Dick Noel, trombone #2-4; Harry Klee, flute #2-4; Julie Jacobs, oboe #2-4; Marty Berman, bassoon #2-4; Willy Schwartz, clarinet #2-4.
1.Lord RandallPacific Jazz PJ-1231; Crown CLP 5310 2.Suite For Horn: AllegroPacific Jazz PJ-1231 3.Suite For Horn: Zen- 4. ST-1900Suite For Horn: Science-FictionPacific Jazz X-637, PJ-1231 5.Pluck ItPacific Jazz PJ-1231; Crown CLP 5310 6.Classical Katz- 7. ST-1899LomaPacific Jazz X-637, PJ-1231 8.GranadaPacific Jazz PJ-1231 9.Katz-UpPacific Jazz PJ-1231; Crown CLP 5310 10.MontunaPacific Jazz PJ-1231; Crown CLP 5341
* Pacific Jazz PJ-1231 The Music Of Fred Katz - Zen 1957
= World Pacific PJ-1231 - 1958
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Crown CLP 5310, CST 310 Chico Hamilton With Paul Horn
* Crown CLP 5341, CST 341 The Great Chico Hamilton Featuring Paul Horn
* Pacific Jazz X-637 Fred Katz - Loma / Science-Fiction 1957
Chet Baker Quartet
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums.
DaybreakPacific Jazz EP4-33, PJ-1202; Mosaic MR4-122 Just Friends- I Remember YouPacific Jazz EP4-30, PJ-1202; Mosaic MR4-122 Let's Get Lost- Long Ago And Far AwayPacific Jazz PJ-1202; Mosaic MR4-122 You Don't Know What Love Is-
* Pacific Jazz PJ-1202 Chet Baker Sings And Plays 1955
= World Pacific PJ-1202 - 1958
* Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman 1987
* Pacific Jazz EP4-33 Chet Baker Sings And Plays 1955
* Pacific Jazz EP4-30 Chet Baker Sings And Plays 1955
Bud Shank - Bill Perkins Quintet
Bill Perkins, alto, tenor sax, flute; Bud Shank, alto, tenor, baritone sax, flute; Hampton Hawes, piano; Red Mitchell, bass; Mel Lewis, drums.
ParadisePacific Jazz EP4-34, PJ-1205, 7243 4 93159 2 1 Fluted ColumnsPacific Jazz PJ-1205, 7243 4 93159 2 1 I Hear Music- Royal Garden BluesPacific Jazz PJ-1205, JWC-502, 7243 4 93159 2 1 A Sinner Kissed An AngelPacific Jazz EP4-34, PJ-1205, 7243 4 93159 2 1 It Had To Be YouPacific Jazz EP4-34, PJ-1205, JWC-500, JWC-EP-1000, PJ-LA892-H, 7243 4 93159 2 1 Fluted Columns (alternate take)Pacific Jazz EP4-34, HFS-1, PJ-LA892-H, 7243 4 93159 2 1
* Pacific Jazz PJ-1205 Bud Shank/Shorty Rogers 1955
= World Pacific PJ-1205 - 1958
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* Pacific Jazz JWC-500 Various Artists - Jazz West Coast 1956
= World Pacific JWC-500 - 1958
* Pacific Jazz PJ-LA892-H Various Artists - Jazz: The 50's Vol. I 1978
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz 7243 4 93159 2 1 Bud Shank/Bill Perkins 1998
* Pacific Jazz JWC-EP-1000 Various Artists - Jazz West Coast 1956
* Pacific Jazz EP4-34 Bud Shank/Bill Perkins 1955
Hampton Hawes Trio
Hampton Hawes, piano; Red Mitchell, bass; Mel Lewis, drums.
I Hear Music (trio version)Pacific Jazz JWC-501, JWC-506, 7243 4 93159 2 1
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
* Pacific Jazz 7243 4 93159 2 1 Bud Shank/Bill Perkins 1998
Jack Montrose Sextet
Conte Candoli, trumpet; Jack Montrose, tenor sax, arranger; Bob Gordon, baritone sax; Paul Moer, piano; Ralph Pena, bass; Shelly Manne, drums.
Listen, HearPacific Jazz EP4-37, PJ-1208 Bewitched, Bothered And BewilderedPacific Jazz EP4-38, PJ-1208, JWC-504 CredoPacific Jazz EP4-38, PJ-1208 PrettyPacific Jazz EP4-37, PJ-1208
* Pacific Jazz PJ-1208 Jack Montrose Sextet 1956
= World Pacific PJ-1208 - 1958
* Pacific Jazz JWC-504 Various Artists - Rodgers And Hart Gems 1957
= World Pacific JWC-504 - 1958
* Pacific Jazz EP4-37 Jack Montrose Sextet 1956
* Pacific Jazz EP4-38 Jack Montrose Sextet 1956
Jack Montrose Sextet
same personnel.
Some Good Fun BluesPacific Jazz PJ-1208, JWC-502 Fools Rush InPacific Jazz PJ-1208 Speakeasy- That Old Feeling-
* Pacific Jazz PJ-1208 Jack Montrose Sextet 1956
= World Pacific PJ-1208 - 1958
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
Chico Hamilton Quintet
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
I Want To Be HappyPacific Jazz PJ-1209, DJ-1 SpectacularPacific Jazz EP4-39, PJ-1209 Free FormPacific Jazz PJ-1209, HFS-1 Walking Carson BluesPacific Jazz EP4-39, PJ-1209 Buddy BooPacific Jazz PJ-1209 Walking Carson Blues (shortened version)Pacific Jazz JWC-502
* Pacific Jazz PJ-1209 Chico Hamilton Quintet 1956
= World Pacific PJ-1209 - 1958
= Pacific Jazz PJ-39 Chico Hamilton Quintet - Spectacular! 1962
= Pacific Jazz ST-20143 - 1968
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Pacific Jazz DJ-1 Various Artists - Disc Jockey Edition 1955
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* Pacific Jazz EP4-39 Chico Hamilton Quintet 1956
Chico Hamilton Quintet
same personnel.
Gone With The WindMosaic MQ9-175 Topsy- Undecided- My Old Flame- The Saint- It Don't Mean A Thing-
* Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
Fred Katz Trio
Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass.
Stella By StarlightPacific Jazz JWC-503; Mosaic MQ9-175
* Pacific Jazz JWC-503 Various Artists - Ballads For Backgrounds 1956
= World Pacific JWC-503 - 1958
* Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
Chico Hamilton Quintet
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
A Nice DayPacific Jazz EP4-40, PJ-1209, HFS-1, PJ-100; Jazztone (US) J 1264 My Funny ValentinePacific Jazz EP4-40, PJ-1209; Jazztone (US) J 1264 ST-1779Blue SandsPacific Jazz 45-628, EP4-40, PJ-1209; Jazztone (US) J 1264 The SagePacific Jazz PJ-1209; Jazztone (US) J 1264 ST-1780The Morning AfterPacific Jazz 45-628, EP4-40, PJ-1209, HFS-1, DJ-1; Jazztone (US) J 1264
* Pacific Jazz PJ-1209 Chico Hamilton Quintet 1956
= World Pacific PJ-1209 - 1958
= Pacific Jazz PJ-39 Chico Hamilton Quintet - Spectacular! 1962
= Pacific Jazz ST-20143 - 1968
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz PJ-100 Various Artists - 24 Great Jazz Groups: On Mike! 1963
* Jazztone (US) J 1264 Chico Hamilton Quintet, Laurindo Almeida Quartet - Delightfully Modern 1950s
* Pacific Jazz DJ-1 Various Artists - Disc Jockey Edition 1955
* Pacific Jazz EP4-40 Chico Hamilton Quintet 1956
* Pacific Jazz 45-628 Chico Hamilton - Blue Sands / The Morning After 1956
Chet Baker Quartet
Chet Baker, trumpet; Dick Twardzik, piano; Jimmy Bond, bass; Peter Littman, drums.
RondetteBarclay (F) 84009; Pacific Jazz EP4-47, PJ-1218; EmArcy (F) 837 474-2 Mid-Forte (as Mid-Fort E)Barclay (F) 84009; Pacific Jazz PJ-1218; EmArcy (F) 837 474-2 Sad Walk- Re-SearchBarclay (F) 84009; EmArcy (F) 837 474-2 Just DuoBarclay (F) 84009; Pacific Jazz EP4-47; EmArcy (F) 837 474-2
* Barclay (F) 84009 Chet Baker Quartet 1955
* Pacific Jazz PJ-1218 Chet Baker In Europe 1956
= World Pacific PJ-1218 - 1958
* EmArcy (F) 837 474-2 Chet Baker - Chet In Paris Volume 1 - Featuring Dick Twardzik 1988
* Pacific Jazz EP4-47 Chet Baker In Europe 1956
Chet Baker Quartet
same personnel.
Piece CapriceBarclay (F) 84009; Pacific Jazz PJ-1218; EmArcy (F) 837 474-2 Pomp- The Girl From GreenlandBarclay (F) 84009; Pacific Jazz PJ-1218, PJ-37; EmArcy (F) 837 474-2 BrashBarclay (F) 84009; EmArcy (F) 837 474-2
* Barclay (F) 84009 Chet Baker Quartet 1955
* Pacific Jazz PJ-1218 Chet Baker In Europe 1956
= World Pacific PJ-1218 - 1958
* Pacific Jazz PJ-37 Richard Twardzik - The Last Set 1962
* EmArcy (F) 837 474-2 Chet Baker - Chet In Paris Volume 1 - Featuring Dick Twardzik 1988
Chet Baker Quartet
Chet Baker, trumpet; Gerard Gustin, piano; Jimmy Bond, bass; Bert Dahlander, drums.
29249-2SummertimeBarclay (F) 84017; Pacific Jazz EP4-47, PJ-1218, JWC-501, ST-20138; EmArcy (F) 837 475-2 29250-2You Go To My HeadBarclay (F) 84017; Pacific Jazz PJ-1218; EmArcy (F) 837 475-2 29251-1TenderlyBarclay (F) 84017; Pacific Jazz EP4-47, PJ-1218, ST-20138; EmArcy (F) 837 475-2 29247-1Lover ManBarclay (F) 84017; EmArcy (F) 837 475-2 29245-2Small HotelBarclay (F) 84017; Pacific Jazz PJ-1218, ST-20138; EmArcy (F) 837 475-2 29248-8Autumn In New YorkBarclay (F) 84017; Pacific Jazz PJ-1218; EmArcy (F) 837 475-2 29246-2These Foolish ThingsBarclay (F) 84017; EmArcy (F) 837 475-2 29244-3I'll Remember April-
* Barclay (F) 84017 Chet Baker Quartet 1956
* Pacific Jazz PJ-1218 Chet Baker In Europe 1956
= World Pacific PJ-1218 - 1958
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz ST-20138 Chet Baker Plays And Sings 1968
* EmArcy (F) 837 475-2 Chet Baker - Chet In Paris Volume 2 - Everything Happens To Me 1988
* Pacific Jazz EP4-47 Chet Baker In Europe 1956
Chico Hamilton Quintet
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
CaravanWorld Pacific WP-1287 Tea For Two- Fast Flute- Change It- Cute Little Deal- A Mood- This Is Your Day- I'll Keep Loving You- Crazy Rhythm-
* World Pacific WP-1287 The Original Chico Hamilton Quintet 1960
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
Jack Sheldon Quintet
Jack Sheldon, trumpet; Joe Maini, alto sax; Kenny Drew, piano; Leroy Vinnegar, bass; Lawrence Marable, drums.
ContourPacific Jazz JWC-501, PJ-LA892-H; Blue Note CDP 7 84439 2; Pacific Jazz (J) CJ28-5159 Leroy's BluesPacific Jazz JWC-502; Blue Note CDP 7 84439 2; Pacific Jazz (J) CJ28-5159 It's Only A Paper MoonWorld Pacific JWC-508; Blue Note CDP 7 84439 2; Pacific Jazz (J) CJ28-5159
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz PJ-LA892-H Various Artists - Jazz: The 50's Vol. I 1978
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* World Pacific JWC-508 Various Artists - The Hard Swing 1958
* Blue Note CDP 7 84439 2 Talkin' & Walkin' With The Kenny Drew Quartet 1989
* Pacific Jazz (J) CJ28-5159 Talkin' & Walkin' With The Kenny Drew Quartet
Cy Touff Octet
Harry Edison, Conrad Gozzo, trumpet; Cy Touff, bass trumpet; Richie Kamuca, tenor sax; Matt Utal, baritone, alto sax; Russ Freeman, piano; Leroy Vinnegar, bass; Chuck Flores, drums.
Keester ParadePacific Jazz X-339, EP4-43, PJ-1211; World Pacific PJM-410; Pacific Jazz HFS-1, PJ-42, PJ-LA892-H TNTPacific Jazz PJ-1211; World Pacific PJM-410; Pacific Jazz PJ-42 What Am I Here ForPacific Jazz X-339, PJ-1211; World Pacific PJM-410, WP-1257; Pacific Jazz PJ-42 Groover Wailin'Pacific Jazz PJ-1211; World Pacific PJM-410; Pacific Jazz PJ-42, HFS-1 Keester Parade (alternate version)Pacific Jazz HFS-1
* Pacific Jazz PJ-1211 Cy Touff, His Octet And Quintet 1956
= World Pacific PJ-1211 - 1958
* World Pacific PJM-410, WPM-410 Cy Touff - Havin' A Ball 1958
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz PJ-42 Richie Kamuca, Cy Touff, Johnny Mandel, Harry Edison, Leroy Vinnegar - Keester Parade 1962
* Pacific Jazz PJ-LA892-H Various Artists - Jazz: The 50's Vol. I 1978
* World Pacific WP-1257, STEREO-1015 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
= World Pacific JWC-514 - 1959?
* Pacific Jazz EP4-43 Cy Touff, His Octet And Quintet 1956
* Pacific Jazz X-339 Cy Touff, Richie Kamuca - Keester Parade / What Am I Here For 1962
Cy Touff Quintet
Cy Touff, bass trumpet; Richie Kamuca, tenor sax; Pete Jolly, piano; Leroy Vinnegar, bass; Chuck Flores, drums.
Prez-EncePacific Jazz PJ-1211; World Pacific PJM-410; Pacific Jazz PJ-42 Half Past Jumpin' TimePacific Jazz EP4-43, PJ-1211; World Pacific PJM-410 A Smooth OnePacific Jazz EP4-43, PJ-1211; World Pacific PJM-410; Pacific Jazz PJ-42 Primitive CatsPacific Jazz PJ-1211, PJ-42 It's Sand, ManPacific Jazz JWC-501, PJ-42
* Pacific Jazz PJ-1211 Cy Touff, His Octet And Quintet 1956
= World Pacific PJ-1211 - 1958
* World Pacific PJM-410, WPM-410 Cy Touff - Havin' A Ball 1958
* Pacific Jazz PJ-42 Richie Kamuca, Cy Touff, Johnny Mandel, Harry Edison, Leroy Vinnegar - Keester Parade 1962
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz EP4-43 Cy Touff, His Octet And Quintet 1956
Kitty White With Corky Hale
Kitty White, vocal; with Bud Shank, flute; Corky Hale, harp; and others.
Autumn LeavesPacifica PL-802, P-2002; Pacific Jazz DJ-1 Glad To Be UnhappyPacifica PL-802, P-2002; Pacific Jazz JWC-504 That's AllPacifica PL-802, P-2002 I'm Glad There Is You- My ShipPacifica P-2002 My RomancePacifica PL-802, P-2002; Pacific Jazz JWC-504 YesterdaysPacifica P-2002 If I Should Lose YouPacifica PL-802, P-2002 I See Your Face Before MePacifica PL-802, P-2002; Pacific Jazz DJ-1 Long Ago And Far AwayPacifica P-2002 Everyday's A Sad Old Day- Black Is The ColorPacifica PL-802, P-2002
* Pacifica P-2002 Kitty White - A Moment Of Love 1956
= World Pacific P-2002 - 1958
= World Pacific WP-1406 Kitty White - Intimate 1961
* Pacific Jazz DJ-1 Various Artists - Disc Jockey Edition 1955
* Pacific Jazz JWC-504 Various Artists - Rodgers And Hart Gems 1957
= World Pacific JWC-504 - 1958
* Pacifica PL-802 Kitty White 1955
1956
Chico Hamilton Quintet
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
JonalahPacific Jazz EP4-45, PJ-1216 ChrissiePacific Jazz PJ-1216 The WindPacific Jazz EP4-45, PJ-1216 Gone Lover (When Your Lover Has Gone)Pacific Jazz PJ-1216 The Ghost-
* Pacific Jazz PJ-1216 Chico Hamilton Quintet In Hi Fi 1956
= World Pacific PJ-1216 - 1958
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Pacific Jazz EP4-45 Chico Hamilton Quintet In Hi Fi 1956
Bud Shank - Bob Cooper Quintet
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
When Lights Are LowPacific Jazz PJ-1219; Mosaic MS-010 That Old Devil Moon- The Nearness Of You- How Long Has This Been Going On / Tea For Two- Lullaby Of Birdland- Somebody Loves Me- Moonlight In Vermont- The King-
* Pacific Jazz PJ-1219 Bud Shank Quartet In Concert - Jazz At Cal-Tech 1956
= World Pacific PJ-1219 - 1958
* Mosaic MS-010 Bud Shank And Bob Cooper - Mosaic Select 2004
Bud Shank Quartet
Bud Shank, alto sax, flute; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
Bag Of BluesPacific Jazz EP4-44, PJ-1215, JWC-501; World Pacific WP-1286 Nature BoyPacific Jazz PJ-1215, JWC-503; World Pacific WP-1286 All This And Heaven TooPacific Jazz PJ-1215 JubilationPacific Jazz PJ-1215; World Pacific WP-1286 Do Nothin' Till You Hear From MePacific Jazz EP4-44, PJ-1215; World Pacific WP-1286 Nocturne For FlutePacific Jazz EP4-44, PJ-1215, HFS-1; World Pacific WP-1286 Walkin'Pacific Jazz PJ-1215; World Pacific WP-1286 CariocaPacific Jazz PJ-1215
* Pacific Jazz PJ-1215 The Bud Shank Quartet 1956
= World Pacific PJ-1215 - 1958
= Mosaic MR7-180 The Pacific Jazz Bud Shank Studio Sessions (1956-61)
= Mosaic MD5-180 - 1998
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* World Pacific WP-1286, STEREO-1286 Bud Shank - Flute N' Alto 1960
* Pacific Jazz JWC-503 Various Artists - Ballads For Backgrounds 1956
= World Pacific JWC-503 - 1958
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz EP4-44 The Bud Shank Quartet 1956
Chico Hamilton Trio
Jim Hall, guitar; George Duvivier, bass; Chico Hamilton, drums.
Blues On The RocksPacific Jazz PJ-1220, JWC-502; Crown CLP 5341 Skinned StringsPacific Jazz PJ-1220; Crown CLP 5341 Porch LightPacific Jazz PJ-1220; Crown CLP 5310 Autumn Landscape-
* Pacific Jazz PJ-1220 Chico Hamilton Trio 1956
= World Pacific PJ-1220 - 1958
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* Crown CLP 5341, CST 341 The Great Chico Hamilton Featuring Paul Horn
* Crown CLP 5310, CST 310 Chico Hamilton With Paul Horn
The Bill Perkins Octet
Stu Williamson, trumpet, valve trombone; Carl Fontana, trombone; Bud Shank, alto sax; Bill Perkins, tenor sax; Jack Nimitz, baritone sax, bass clarinet; Russ Freeman, piano; Red Mitchell, bass; Mel Lewis, drums.
Song Of The IslandsPacific Jazz EP4-48, PJ-1221, JWC-501 One Hundred Years From TodayPacific Jazz PJ-1221, JWC-503 Zing ZangPacific Jazz EP4-48, PJ-1221 Let Me See- Let Me See (alternate take)World Pacific WP-1257
* Pacific Jazz PJ-1221 The Bill Perkins Octet - On Stage 1956
= World Pacific PJ-1221 - 1958
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz JWC-503 Various Artists - Ballads For Backgrounds 1956
= World Pacific JWC-503 - 1958
* World Pacific WP-1257, STEREO-1015 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
= World Pacific JWC-514 - 1959?
* Pacific Jazz EP4-48 The Bill Perkins Octet - On Stage 1956
Jack Lidstrom And His Dixielanders
Jack Lidstrom, trumpet; Folke Rabe, trombone; Ove Lind, clarinet; Bjorn Milder, piano; Gunnar Almstedt, bass; Lars Parmenius, drums.
mr1001Struttin' With Some BarbecueMetronome (Swd) MEP 180; World Pacific PJ-1235 mr1002Snag It- mr1003I've Got A Feeling I'm FallingMetronome (Swd) MEP 180
* World Pacific PJ-1235 Jack Lidstrom Stompers - Look Dad! They're Comin' Down Our Street (In Hi-Fi) 1958
* Metronome (Swd) MEP 180 Introducing Jack Lidstrom And His Dixielanders 1956
John Lewis Duo And Bill Perkins Trio
Bill Perkins, tenor sax #1,3,4,6; John Lewis, piano; Jim Hall, guitar #1,3-6; Percy Heath, bass; Chico Hamilton, drums.
1. ST-1891Love Me Or Leave MePacific Jazz X-633, EP4-46, PJ-1217 2. ST-1892I Can't Get StartedPacific Jazz X-633, PJ-1217, JWC-503, JWC-506 3.Easy LivingPacific Jazz PJ-1217, JWC-501 4.2 Degrees East-3 Degrees WestPacific Jazz EP4-46, PJ-1217, JWC-502, HFS-1, PJ-100 5.SkylarkPacific Jazz PJ-1217 6.Almost Like Being In LovePacific Jazz EP4-46, PJ-1217
* Pacific Jazz PJ-1217 John Lewis, Percy Heath, Bill Perkins, Chico Hamilton, Jim Hall - Grand Encounter - 2 Degrees East-3 Degrees West 1956
= World Pacific PJ-1217 - 1958
= Pacific Jazz PJ-44 John Lewis, Percy Heath, Chico Hamilton, Jim Hall, Bill Perkins - 2 Degrees East, 3 Degrees West 1962
= Pacific Jazz ST-20144 - 1968
* Pacific Jazz JWC-503 Various Artists - Ballads For Backgrounds 1956
= World Pacific JWC-503 - 1958
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* Pacific Jazz HFS-1 Various Artists - Assorted Flavors Of Pacific Jazz: A Hi-Fi Sampler $1.98 1956
* Pacific Jazz PJ-100 Various Artists - 24 Great Jazz Groups: On Mike! 1963
* Pacific Jazz EP4-46 John Lewis, Percy Heath, Bill Perkins, Chico Hamilton, Jim Hall - Grand Encounter - 2 Degrees East-3 Degrees West 1956
* Pacific Jazz X-633 John Lewis, Bill Perkins - Love Me Or Leave Me / John Lewis - I Can't Get Started 1956
Chico Hamilton Quintet
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
Sleepy Slept Here (Santa Monica)Pacific Jazz PJ-1216 Taking A Chance On LovePacific Jazz PJ-1216, PJ-10108 ST-1887The SquimpPacific Jazz X-631, EP4-45, PJ-1216 TopsyPacific Jazz PJ-1216, JWC-501, PJ-10108, PJ-LA894-H SleepPacific Jazz EP4-45, PJ-1216, PJ-10108
* Pacific Jazz PJ-1216 Chico Hamilton Quintet In Hi Fi 1956
= World Pacific PJ-1216 - 1958
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Pacific Jazz PJ-10108, ST-20108 Chico Hamilton - Jazz Milestones Series 1966
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz PJ-LA894-H Various Artists - Jazz: The 50's Vol. II 1978
* Pacific Jazz EP4-45 Chico Hamilton Quintet In Hi Fi 1956
* Pacific Jazz X-631 Chico Hamilton - The Squimp / Mr. Jo Jones 1957
The Bill Perkins Octet
Stu Williamson, trumpet, valve trombone; Carl Fontana, trombone; Bud Shank, alto sax; Bill Perkins, tenor sax; Jack Nimitz, baritone sax, bass clarinet; Russ Freeman, piano; Red Mitchell, bass; Mel Lewis, drums.
For Dancers OnlyPacific Jazz EP4-48, PJ-1221 Just A ChildPacific Jazz PJ-1221 As They Reveled- When You're Smiling-
* Pacific Jazz PJ-1221 The Bill Perkins Octet - On Stage 1956
= World Pacific PJ-1221 - 1958
* Pacific Jazz EP4-48 The Bill Perkins Octet - On Stage 1956
Bud Shank - Russ Freeman Quartet
Bud Shank, flute, alto sax; Bill Perkins, tenor sax #1; Russ Freeman, piano; Carson Smith, bass; Shelly Manne, drums.
1.Brother, Can You Spare A DimeWorld Pacific JWC-507; Pacific Jazz 7243 4 93159 2 1 2.Blues In The NightPacific Jazz JWC-502, 7243 4 93159 2 1 3.Bojangles Of HarlemPacific Jazz JWC-501, 7243 4 93159 2 1 4.It's A New WorldPacific Jazz JWC-505, 7243 4 93159 2 1
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Pacific Jazz JWC-502 Various Artists - The Blues 1956
= World Pacific JWC-502 - 1958
* Pacific Jazz JWC-501 Various Artists - Jazz West Coast Vol. 2 1956
= World Pacific JWC-501 - 1958
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
* Pacific Jazz 7243 4 93159 2 1 Bud Shank/Bill Perkins 1998
Chet Baker Quartet
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Peter Littman, drums.
S-1871 | ST-1871That Old FeelingPacific Jazz 45-630, PJ-1222; World Pacific DJ-2; Mosaic MR4-122 It's Always YouPacific Jazz PJ-1222; Mosaic MR4-122 I've Never Been In Love Before- S-1873 | ST-1873My BuddyPacific Jazz 45-630, PJ-1222, ST-20138; Mosaic MR4-122
* Pacific Jazz PJ-1222 Chet Baker Sings 1956
= World Pacific PJ-1222 - 1958
* World Pacific DJ-2 Various Artists - Disc Jockey Edition: A Taste Of The Best From World Pacific 1958
* Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman 1987
* Pacific Jazz ST-20138 Chet Baker Plays And Sings 1968
* Pacific Jazz 45-630, X-630 Chet Baker - That Old Feeling / My Buddy 1956
Chet Baker Quartet + Joe Pass
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Peter Littman, drums; + an overdub: Joe Pass, guitar.
That Old FeelingWorld Pacific WP-1826 My Buddy- It's Always You-
* World Pacific WP-1826, ST-1826 Chet Baker Sings 1964
Chet Baker And Crew
Chet Baker, trumpet; Phil Urso, tenor sax #1-18; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums; Bill Loughbrough, chromatic tympani #1,9,12.
1.To Mickey's MemoryPacific Jazz PJ-1224, PJ-LA894-H 2.Slightly Above ModeratePacific Jazz PJ-1224 3.HalemaPacific Jazz PJ-1224; Crown CLP 5317 4.RevelationPacific Jazz PJ-1224 5.Something For Liza- 6.Lucius Lu (as Lucius Lou)Pacific Jazz PJ-1224; Crown CLP 5317 7.Worrying The Life Out Of MePacific Jazz PJ-1224 8.Medium Rock- 9.To Mickey's Memory (alternate take)Pacific Jazz 7243 5 82671 2 9 10.Jumpin' Off A Clef (as Jumpin' Off A Cliff)World Pacific JWC-508; Crown CLP 5317; Pacific Jazz 7243 5 82671 2 9 11.Chippyin'World Pacific JWC-508; Pacific Jazz 7243 5 82671 2 9 12.Pawnee JunctionCrown CLP 5317; Pacific Jazz 7243 5 82671 2 9 13.Music To Dance To (as Music To Dance By)World Pacific STEREO-1009; Pacific Jazz 7243 5 82671 2 9 14.Line For LyonsPacific Jazz 7243 5 82671 2 9 15.Extra MildWorld Pacific JWC-510; Jazztone (US) J 1253; Crown CLP 5317 16.A Night On Bop MountainJazztone (US) J 1253 17.Down- 18.TabuJazztone (US) J 1253; Pacific Jazz PJ-75 19.I Can't Get StartedPacific Jazz JWC-505
* Pacific Jazz PJ-1224 Chet Baker And Crew 1956
= World Pacific PJ-1224, STEREO-1004 - 1958
= World Pacific STEREO-1224 - 1960
= Pacific Jazz 7243 5 82671 2 9 - 2003
* Pacific Jazz PJ-LA894-H Various Artists - Jazz: The 50's Vol. II 1978
* Crown CLP 5317, CST 317 Chet Baker Quintette 1963
* World Pacific JWC-508 Various Artists - The Hard Swing 1958
* World Pacific STEREO-1009 Various Artists - Jazz West Coast Vol. 4 1958
* World Pacific JWC-510 Various Artists - Jazz West Coast Vol. 4 1958
* Jazztone (US) J 1253 Gerry Mulligan Quartet With Lee Konitz, Chet Baker Quintet - Mulligan And Baker! 1950s
* Pacific Jazz PJ-75 Gerry Mulligan, Chet Baker - Timeless 1963
= Pacific Jazz ST-20146 Gerry Mulligan And Chet Baker - Timeless 1968
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
James Clay Quartet
James Clay, tenor sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
In A Sentimental MoodPacific Jazz JWC-505; Blue Note CDP 7 84440 2
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
* Blue Note CDP 7 84440 2 The Lawrence Marable Quartet Featuring James Clay - Tenorman 1989
Art Pepper - Chet Baker Sextet
Chet Baker, trumpet #1,2; Art Pepper, alto sax; Richie Kamuca, tenor sax #1,2; Pete Jolly, piano #1-3; Leroy Vinnegar, bass; Stan Levey, drums.
1.Tynan TimePacific Jazz PJ-LA896-H; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 2.Minor Yours- 3.Ol' Croix (as Old Croix)World Pacific JWC-507; Pacific Jazz PJ-60, PJ-LA896-H; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 4.I Can't Give You Anything But LovePacific Jazz JWC-505, PJ-60; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 5.The Great LieMosaic MR3-105; Pacific Jazz CDP 7 92931 2
* Pacific Jazz PJ-LA896-H Art Pepper Plays Shorty Rogers And Others 1978
* Mosaic MR3-105 The Complete Pacific Jazz Small Group Recordings Of Art Pepper 1983
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Pacific Jazz PJ-60 Art Pepper - The Artistry Of Pepper 1962
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
* Pacific Jazz CDP 7 92931 2 Chet Baker, Art Pepper - The Route 1989
Chet Baker - Art Pepper Sextet
Chet Baker, trumpet; Art Pepper, alto sax #1-3,5; Richie Kamuca, tenor sax #1-3,5; Pete Jolly, piano; Leroy Vinnegar, bass; Stan Levey, drums.
1.The RouteWorld Pacific JWC-509; Crown CLP 5317; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 2.Sonny BoyPlayboy PB #1958; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 3.Little GirlWorld Pacific JWC-507; Pacific Jazz PJ-LA896-H; Mosaic MR3-105; Pacific Jazz CDP 7 92931 2 4.Sweet LorrainePacific Jazz CDP 7 92931 2 5.The Route (edited version)World Pacific JWC-513
* World Pacific JWC-509 Various Artists - The Blues Vol. 2: Have Blues, Will Travel 1958
* Crown CLP 5317, CST 317 Chet Baker Quintette 1963
* Mosaic MR3-105 The Complete Pacific Jazz Small Group Recordings Of Art Pepper 1983
* Playboy PB #1958 The Playboy Jazz All-Stars Vol. 2 1958
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Pacific Jazz PJ-LA896-H Art Pepper Plays Shorty Rogers And Others 1978
* World Pacific JWC-513, STEREO-1021 Various Artists - The Blues In Stereo 1959
* Pacific Jazz CDP 7 92931 2 Chet Baker, Art Pepper - The Route 1989
Richie Kamuca Quartet
Richie Kamuca, tenor sax; Pete Jolly, piano; Leroy Vinnegar, bass; Stan Levey, drums.
If I Should Lose YouPacific Jazz JWC-505, CDP 7 92931 2
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
* Pacific Jazz CDP 7 92931 2 Chet Baker, Art Pepper - The Route 1989
Pete Jolly Trio
Pete Jolly, piano; Leroy Vinnegar, bass; Stan Levey, drums.
Younger Than SpringtimePacific Jazz JWC-506, CDP 7 92931 2
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
* Pacific Jazz CDP 7 92931 2 Chet Baker, Art Pepper - The Route 1989
Chet Baker Quartet
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Lawrence Marable, drums.
Like Someone In LovePacific Jazz PJ-1222; Mosaic MR4-122 My Ideal-
* Pacific Jazz PJ-1222 Chet Baker Sings 1956
= World Pacific PJ-1222 - 1958
* Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman 1987
Chet Baker Quartet + Joe Pass
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Lawrence Marable, drums; + an overdub: Joe Pass, guitar.
Like Someone In LoveWorld Pacific WP-1826
* World Pacific WP-1826, ST-1826 Chet Baker Sings 1964
Richie Kamuca - Bill Perkins Quintet
Richie Kamuca, Bill Perkins, tenor sax; Pete Jolly, piano; Red Mitchell, bass; Stan Levey, drums.
Cotton TailLiberty LRP-3051 I Want A Little Girl- Blues For Two- Indian Summer- Don't Be That Way- Oh! Look At Me Now- Spain- Pick A Dilly-
* Liberty LRP-3051 Tenors Head-On Featuring Bill Perkins And Richie Kamuca
= Pacific Jazz CDP 0777 7 97195 2 5 - 1992
Hoagy Carmichael With Johnny Mandel Orchestra
Harry Edison, Conrad Gozzo, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Irv Cottler, drums; Hoagy Carmichael, vocal; Johnny Mandel, arranger, conductor.
Georgia On My MindPacific Jazz PJ-1223 New Orleans- Baltimore Oriole-
* Pacific Jazz PJ-1223 Hoagy Carmichael - Hoagy Sings Carmichael 1957
= World Pacific PJ-1223 - 1958
= Pacific Jazz CDP 7 46862 2 - 1988
Johnny Mandel Orchestra
omit Carmichael.
Georgia On My Mind (instrumental)World Pacific STEREO-106, WP-1257, HFS-2; Pacific Jazz CDP 7 46862 2
* World Pacific WP-1257, STEREO-1015 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
= World Pacific JWC-514 - 1959?
* World Pacific HFS-2 Various Artists - Something For Both Ears! $2.98 1959
= World Pacific WP-1291, STEREO-1291 Various Artists - Swingin' Like Sixty Vol. 3: Something For Both Ears 1960
* Pacific Jazz CDP 7 46862 2 Hoagy Carmichael - Hoagy Sings Carmichael 1988
* World Pacific STEREO-106 Johnny Mandel - Georgia On My Mind / Bill Holman - Hooray For Love 1959
Hoagy Carmichael With Johnny Mandel Orchestra
Harry Edison, Conrad Gozzo, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Ralph Pena, bass; Irv Cottler, drums; Hoagy Carmichael, vocal; Johnny Mandel, arranger, conductor.
Memphis In JunePacific Jazz PJ-1223 Two Sleepy People- Lazy River-
* Pacific Jazz PJ-1223 Hoagy Carmichael - Hoagy Sings Carmichael 1957
= World Pacific PJ-1223 - 1958
= Pacific Jazz CDP 7 46862 2 - 1988
Johnny Mandel Orchestra
+ overdubs: Bill Holman, tenor sax; replaces Carmichael.
Lazy RiverWorld Pacific PJM-410
* World Pacific PJM-410, WPM-410 Cy Touff - Havin' A Ball 1958
Hoagy Carmichael With Johnny Mandel Orchestra
Don Fagerquist, Ray Linn, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Nick Fatool, drums; Hoagy Carmichael, vocal; Johnny Mandel, arranger, conductor.
Winter MoonPacific Jazz PJ-1223 Skylark- ST-1889Rockin' ChairPacific Jazz X-632, PJ-1223 ST-1890Ballad In Blue-
* Pacific Jazz PJ-1223 Hoagy Carmichael - Hoagy Sings Carmichael 1957
= World Pacific PJ-1223 - 1958
= Pacific Jazz CDP 7 46862 2 - 1988
* Pacific Jazz X-632 Hoagy Carmichael - Old Rockin' Chair / Ballad In Blue 1957
Jimmy Rowles Quartet
Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Nick Fatool, drums.
We'll Be Together AgainPacific Jazz JWC-506; Mosaic MS-019
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
* Mosaic MS-019 Russ Freeman, Richard Twardzik, Jimmy Rowles, Clare Fischer - The Pacific Jazz Piano Trios - Mosaic Select 2005
Jack Lidstrom And His Hep Cats
Jack Lidstrom, trumpet; Jan Bark, trombone; Stig Eriksson, clarinet; Bjorn Milder, piano; Sture Nordin, bass; Lars Parmenius, drums.
ST-2005Lazy RiverMetronome (Swd) MEP 224; World Pacific PJ-1235, X-645 New Orleans StompMetronome (Swd) MEP 224; World Pacific PJ-1235 Ol' Man MoseMetronome (Swd) MEP 224 Joplin's Sensation-
* World Pacific PJ-1235 Jack Lidstrom Stompers - Look Dad! They're Comin' Down Our Street (In Hi-Fi) 1958
* Metronome (Swd) MEP 224 Jack Lidstrom And The Hep Cats - Lazy River 1957
* World Pacific X-645 Jack Lidstrom - Ole Miss / Lazy River 1958
Chet Baker Big Band
Chet Baker, trumpet; Bob Burgess, trombone; Fred Waters, alto sax; Phil Urso, alto, tenor, baritone sax; Bob Graf, tenor sax; Bill Hood, baritone sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
MythePacific Jazz PJ-1229 Chet- Not Too Slow- Phil's Blues- Dinah- V-Line-
* Pacific Jazz PJ-1229 Chet Baker Big Band 1957
= World Pacific PJ-1229 - 1958
Phil Urso Quartet
Phil Urso, tenor sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
It's Only A Paper MoonPacific Jazz JWC-505
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
Bobby Timmons Trio
Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
Autumn In New YorkPacific Jazz JWC-506
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
Phil Urso - Bob Burgess Quintet
Bob Burgess, trombone; Phil Urso, alto sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
Too Marvelous For WordsWorld Pacific JWC-507
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
Chet Baker Big Band
Chet Baker, trumpet; Bob Burgess, trombone; Fred Waters, alto sax; Phil Urso, alto, tenor, baritone sax; Bob Graf, tenor sax; Bill Hood, baritone sax; Bobby Timmons, piano; James Bond, bass; James McKean, drums.
Worrying The Life Out Of MePacific Jazz PJ-1229
* Pacific Jazz PJ-1229 Chet Baker Big Band 1957
= World Pacific PJ-1229 - 1958
Chico Hamilton Quintet
Paul Horn, alto, tenor sax, flute, clarinet; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums.
I Know (Theme)Pacific Jazz PJ-1225 Chanel #5- Beanstalk- September Song- Siete-CuatroPacific Jazz PJ-1225, 88134, PJ-10108 ST-1888Mr. Jo JonesPacific Jazz X-631, PJ-1225 I Know (Theme)Pacific Jazz PJ-1225 ST-1895Satin DollPacific Jazz X-635; World Pacific S-209; Pacific Jazz PJ-1225, 88134, PJ-10108 LillianPacific Jazz PJ-1225 Reflections- Soft WindsWorld Pacific STEREO-102; Pacific Jazz PJ-1225, PJ-10108 CaravanWorld Pacific STEREO-102; Pacific Jazz PJ-1225, PJ-10108; World Pacific HFS-2 I Know (Theme)Pacific Jazz PJ-1225, PJ-10108 Mr. Smith Goes To TownWorld Pacific JWC-507; Mosaic MQ9-175
* Pacific Jazz PJ-1225 Chico Hamilton Quintet 1957
= World Pacific PJ-1225, STEREO-1005 - 1958
= World Pacific STEREO-1225 - 1960
= Mosaic MQ9-175, MD6-175 The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet 1997
* Pacific Jazz PJ-10108, ST-20108 Chico Hamilton - Jazz Milestones Series 1966
* World Pacific HFS-2 Various Artists - Something For Both Ears! $2.98 1959
= World Pacific WP-1291, STEREO-1291 Various Artists - Swingin' Like Sixty Vol. 3: Something For Both Ears 1960
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* World Pacific S-209 Chico Hamilton - Satin Doll / Bud Shank, Laurindo Almeida - Choro In "A" 1959
* Pacific Jazz 88134 Chico Hamilton - Siete Cuatro / Satin Doll 1966
* Pacific Jazz X-631 Chico Hamilton - The Squimp / Mr. Jo Jones 1957
* Pacific Jazz X-635 Chico Hamilton - Satin Doll / Jim Hall - Stella By Starlight 1957
* World Pacific STEREO-102 Chico Hamilton - Soft Winds / Caravan 1958
Chet Baker Big Band
Chet Baker, Conte Candoli, Norman Faye, trumpet; Frank Rosolino, trombone; Art Pepper, Bud Shank, alto sax; Bill Perkins, Phil Urso, tenor sax; Bobby Timmons, piano; James Bond, bass; Lawrence Marable, drums.
A Foggy DayPacific Jazz PJ-1229 Darn That Dream- ST-1898TenderlyPacific Jazz X-636, PJ-1229; World Pacific WP-1257; Mosaic MR3-105
* Pacific Jazz PJ-1229 Chet Baker Big Band 1957
= World Pacific PJ-1229 - 1958
* World Pacific WP-1257, STEREO-1015 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
= World Pacific JWC-514 - 1959?
* Mosaic MR3-105 The Complete Pacific Jazz Small Group Recordings Of Art Pepper 1983
* Pacific Jazz X-636 Carl Perkins - Too Close For Comfort / Chet Baker - Tenderly 1957
Bill Perkins Quintet
Richie Kamuca, tenor sax; Bill Perkins, tenor sax, bass clarinet, flute; Hampton Hawes, piano; Red Mitchell, bass; Mel Lewis, drums.
Just FriendsPacific Jazz PJM-401, CDP 0777 7 97195 2 5 All Of Me- Limehouse Blues- Solid De Sylva- Sweet And Lovely-
* Pacific Jazz PJM-401 Bill Perkins, Art Pepper, Richie Kamuca - Just Friends 1957
= World Pacific WPM-401 - 1958
* Pacific Jazz CDP 0777 7 97195 2 5 Tenors Head-On Featuring Bill Perkins And Richie Kamuca 1992
Chet Baker - Art Pepper Sextet
Chet Baker, trumpet; Art Pepper, alto sax; Phil Urso, tenor sax; Carl Perkins, piano; Curtis Counce, bass; Lawrence Marable, drums.
For Minors OnlyWorld Pacific PJ-1234; Mosaic MR3-105 Minor YoursWorld Pacific EP4-65, PJ-1234; Mosaic MR3-105 Resonant EmotionsWorld Pacific EP4-66, PJ-1234; Mosaic MR3-105 Tynan Time- Picture Of HeathWorld Pacific EP4-51, PJ-1234; Mosaic MR3-105 For Miles And Miles- C.T.A.World Pacific EP4-65, PJ-1234; Pacific Jazz PJ-60; Mosaic MR3-105
* World Pacific PJ-1234 Chet Baker And Art Pepper - Playboys 1958
= Pacific Jazz PJ-18 Chet Baker, Art Pepper, Phil Urso - Picture Of Heath 1961
* Mosaic MR3-105 The Complete Pacific Jazz Small Group Recordings Of Art Pepper 1983
* Pacific Jazz PJ-60 Art Pepper - The Artistry Of Pepper 1962
* World Pacific EP4-65 Chet Baker And Art Pepper - Playboys 1958
* World Pacific EP4-66 Chet Baker And Art Pepper - Playboys 1958
* World Pacific EP4-51 Chet Baker And Art Pepper - Playboys 1958
Russ Freeman - Chet Baker Quartet
Chet Baker, trumpet; Russ Freeman, piano; Leroy Vinnegar, bass; Shelly Manne, drums.
ST-1903Love NestPacific Jazz X-639; World Pacific PJ-1232, JWC-507; Pacific Jazz PJ-75, PJ-LA894-H; Mosaic MR4-122 Fan TanWorld Pacific PJ-1232; Mosaic MR4-122 Summer Sketch- An Afternoon At Home- Say When- ST-1904Lush LifePacific Jazz X-639; World Pacific PJ-1232; Mosaic MR4-122 Amblin'World Pacific PJ-1232; Mosaic MR4-122 Hugo Hurwhey-
* World Pacific PJ-1232 Quartet: Russ Freeman Chet Baker 1957
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Pacific Jazz PJ-75 Gerry Mulligan, Chet Baker - Timeless 1963
= Pacific Jazz ST-20146 Gerry Mulligan And Chet Baker - Timeless 1968
* Pacific Jazz PJ-LA894-H Various Artists - Jazz: The 50's Vol. II 1978
* Mosaic MR4-122, MD3-122 The Complete Pacific Jazz Studio Recordings Of The Chet Baker Quartet With Russ Freeman 1987
* Pacific Jazz X-639 Russ Freeman, Chet Baker - Love Nest / Lush Life 1957
Bud Shank Quartet
Bud Shank, alto sax, flute; Claude Williamson, piano, celeste; Don Prell, bass; Chuck Flores, drums.
A Night In TunisiaPacific Jazz PJ-1230; World Pacific WP-1286 TertiaPacific Jazz PJ-1230; Crown CLP 5311 All Of YouPacific Jazz PJ-1230 ThemePacific Jazz PJ-1230; Crown CLP 5311 Jive At FivePacific Jazz PJ-1230; World Pacific WP-1286 Softly, As In A Morning SunrisePacific Jazz PJ-1230 Polka Dots And MoonbeamsPacific Jazz PJ-1230; World Pacific JWC-507, WP-1286 The Lamp Is LowPacific Jazz PJ-1230 TangerinePlayboy PB #1957; Mosaic MR7-180
* Pacific Jazz PJ-1230 Bud Shank Quartet 1957
= World Pacific PJ-1230 - 1958
= Mosaic MR7-180 The Pacific Jazz Bud Shank Studio Sessions (1956-61)
= Mosaic MD5-180 - 1998
* World Pacific WP-1286, STEREO-1286 Bud Shank - Flute N' Alto 1960
* Crown CLP 5311, CST 311 Bud Shank
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Playboy PB #1957 The Playboy Jazz All-Stars 1957
Chet Baker - Bud Shank With Johnny Mandel/Bill Holman Orchestra
Chet Baker, Don Fagerquist, Ray Linn, trumpet; Milt Bernhart, trombone; Charlie Mariano, Herbie Steward, alto sax; Bud Shank, alto sax, flute; Bill Holman, Richie Kamuca, tenor sax; Pepper Adams, baritone sax; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.
ST-1907 | SX-512Jimmy's ThemeWorld Pacific X-641, STEREO-107, P-2005, WP-1257 The SearchWorld Pacific P-2005
Chet Baker, trumpet; Bud Shank, alto sax, flute; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums.
Lost Love-
Chet Baker, Don Fagerquist, Ray Linn, trumpet; Milt Bernhart, trombone; Charlie Mariano, Herbie Steward, alto sax; Bud Shank, alto sax, flute; Bill Holman, Richie Kamuca, tenor sax; Pepper Adams, baritone sax; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.
People- The Movie Star- SX-513Fairmont, IndianaWorld Pacific STEREO-107, P-2005
Chet Baker, trumpet; Bill Holman, tenor sax; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums.
Rebel At WorkWorld Pacific P-2005
Chet Baker, Don Fagerquist, Ray Linn, trumpet; Milt Bernhart, trombone; Charlie Mariano, Herbie Steward, alto sax; Bud Shank, alto sax, flute; Bill Holman, Richie Kamuca, tenor sax; Pepper Adams, baritone sax; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.
Success And Then What- ST-1908Let Me Be LovedWorld Pacific X-641, P-2005 HollywoodWorld Pacific P-2005 Let Me Be Loved (vocal version)Pacific Jazz (J) TOCJ-5315
* World Pacific P-2005 Chet Baker And Bud Shank - Theme Music From "The James Dean Story" 1957
= Pacific Jazz (J) TOCJ-5315 -
* World Pacific WP-1257, STEREO-1015 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
= World Pacific JWC-514 - 1959?
* World Pacific X-641 Chet Baker, Bud Shank - Jimmy's Theme / Let Me Be Loved 1957
* World Pacific STEREO-107 Chet Baker, Bud Shank - Jimmy's Theme / Fairmont 1959
Bud Shank - Bob Cooper Quintet
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Howard Roberts, guitar; Don Prell, bass; Chuck Flores, drums.
Gypsy In My SoulPacific Jazz PJ-1226; Mosaic MS-010 I Want To Be Happy- ST-1894What'll I DoPacific Jazz X-634, PJ-1226; Mosaic MS-010 Sweet Georgia BrownWorld Pacific WP-1277, JWC-507; Mosaic MS-010
* Pacific Jazz PJ-1226 Bud Shank, Bob Cooper - Flute 'N Oboe 1957
= World Pacific PJ-1226 - 1958
* World Pacific WP-1277 Bud Shank, Bob Cooper - Blowin' Country 1959
* World Pacific JWC-507 Various Artists - Jazz West Coast Vol. 3 1958
* Mosaic MS-010 Bud Shank And Bob Cooper - Mosaic Select 2004
* Pacific Jazz X-634 Bud Shank, Bob Cooper - What'll I Do / Tequila Time 1957
Bud Shank - Bob Cooper Quintet With String Quartet
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Howard Roberts, guitar; Don Prell, bass; Chuck Flores, drums; with Benny Gill, Eudice Shapiro, violin; Millard Thomas, viola; Ray Kramer, cello.
They Didn't Believe MePacific Jazz PJ-1226; World Pacific WP-1827; Mosaic MS-010 In The Blue Of Evening- ST-1893Tequila TimePacific Jazz X-634, PJ-1226; Mosaic MS-010 I Can't Get StartedPacific Jazz PJ-1226; World Pacific WP-1827; Mosaic MS-010 Blues For Delilah- Sunset And Wine-
* Pacific Jazz PJ-1226 Bud Shank, Bob Cooper - Flute 'N Oboe 1957
= World Pacific PJ-1226 - 1958
* World Pacific WP-1827, ST-1827 The Bud Shank/Bob Cooper Orchestra - Flute, Oboe And Strings 1964
* Mosaic MS-010 Bud Shank And Bob Cooper - Mosaic Select 2004
* Pacific Jazz X-634 Bud Shank, Bob Cooper - What'll I Do / Tequila Time 1957
Gerry Mulligan Quartet
Bob Brookmeyer, valve trombone, piano; Gerry Mulligan, baritone sax, piano; Bill Crow, bass; Dave Bailey, drums.
Bweebida BwobbidaWorld Pacific EP4-56; Pacific Jazz PJ-1228 ST-1902Birth Of The BluesPacific Jazz X-638; World Pacific EP4-64; Pacific Jazz PJ-1228 Baubles, Bangles And BeadsWorld Pacific EP4-64; Pacific Jazz PJ-1228 Rustic Hop- Open CountryWorld Pacific EP4-63; Pacific Jazz PJ-1228 Storyville StoryWorld Pacific EP4-56; Pacific Jazz PJ-1228 ST-1901That Old FeelingPacific Jazz X-638; World Pacific EP4-64; Pacific Jazz PJ-1228 Bike Up The Strand / Utter ChaosWorld Pacific EP4-63; Pacific Jazz PJ-1228 Blues At The RootsWorld Pacific JWC-513; Pacific Jazz PJ-8, CDP 7 94472 2 Ide's SidePacific Jazz CDP 7 94472 2 I Can't Get Started- Frenesi- Flash- Honeysuckle Rose- Limelight / Utter Chaos- Utter ChaosPlayboy PB #1957
* Pacific Jazz PJ-1228 Gerry Mulligan Quartet Recorded In Boston At Storyville 1957
= World Pacific PJ-1228 - 1958
= World Pacific STEREO-1228 - 1960
= Pacific Jazz CDP 7 94472 2 - 1990
* World Pacific JWC-513, STEREO-1021 Various Artists - The Blues In Stereo 1959
* Pacific Jazz PJ-8 The Genius Of Gerry Mulligan 1960
= Pacific Jazz ST-20140 - 1968
* Playboy PB #1957 The Playboy Jazz All-Stars 1957
* World Pacific EP4-56 Gerry Mulligan Quartet Recorded In Boston At Storyville Vol. 1 1957
* World Pacific EP4-64 Gerry Mulligan Quartet Recorded In Boston At Storyville 1957
* World Pacific EP4-63 Gerry Mulligan Quartet Recorded In Boston At Storyville 1957
* Pacific Jazz X-638 Gerry Mulligan - That Old Feeling / Birth Of The Blues 1957
Bill Perkins Quintet
Art Pepper, alto sax #1-4; Bill Perkins, tenor sax; Jimmy Rowles, piano; Ben Tucker, bass; Mel Lewis, drums.
1.A Foggy DayPacific Jazz PJM-401, PJ-60; Mosaic MR3-105 2.Diane-A-Flow- 3.What Is This Thing Called Love- 4.Zenobia- 5.Angel EyesPacific Jazz JWC-505, 7243 4 93159 2 1
* Pacific Jazz PJM-401 Bill Perkins, Art Pepper, Richie Kamuca - Just Friends 1957
= World Pacific WPM-401 - 1958
* Pacific Jazz PJ-60 Art Pepper - The Artistry Of Pepper 1962
* Mosaic MR3-105 The Complete Pacific Jazz Small Group Recordings Of Art Pepper 1983
* Pacific Jazz JWC-505 Various Artists - Solo Flight 1957
= World Pacific JWC-505 - 1958
* Pacific Jazz 7243 4 93159 2 1 Bud Shank/Bill Perkins 1998
Jimmy Rowles Trio
Jimmy Rowles, piano; Ben Tucker, bass; Mel Lewis, drums.
Sonny SpeaksPacific Jazz JWC-506, 7243 4 93159 2 1; Mosaic MS-019
* Pacific Jazz JWC-506 Various Artists - Jazz Pianists Galore 1957
= World Pacific JWC-506 - 1958
* Pacific Jazz 7243 4 93159 2 1 Bud Shank/Bill Perkins 1998
* Mosaic MS-019 Russ Freeman, Richard Twardzik, Jimmy Rowles, Clare Fischer - The Pacific Jazz Piano Trios - Mosaic Select 2005
Bill Thompson Plays The Mighty Wurlitzer Pipe Organ
Bill Thomson as Bill Thompson, The Mighty Wurlitzer pipe organ.
In The Still Of The NightPacifica P-2001 Easy To Love- Tell Me That You Love Me Tonight- I'll Remember April- We'll Be Together Again- Flamingo- Autumn Leaves- Dancing On The Ceiling- Falling In Love With Love- All The Things You Are-
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https://londonjazzcollector.wordpress.com/2020/12/03/chico-hamilton-chic-chic-chico-1965-impulse/
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Chico Hamilton: chic* chic chico (1965) Impulse!
|
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2020-12-03T00:00:00
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UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again - Chico at Montreux 1971 added at foot of post. Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly. Selection 1: What's…
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https://secure.gravatar.com/blavatar/9a26151a09d74cf317a93f0f4516d01313d99bf4c1d10b317a001cc310792efa?s=32
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LondonJazzCollector
|
https://londonjazzcollector.wordpress.com/2020/12/03/chico-hamilton-chic-chic-chico-1965-impulse/
|
UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again – Chico at Montreux 1971 added at foot of post.
Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly.
Selection 1: What’s New (Haggart/ Burke (1939) – UK re-mastered from copy tape, EMI pressing, Hayes Middlesex.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2020/12/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-a82_emi-uk-mono.mp3
. . .
Selection 2: What’s New (Haggart/ Burke, 1939), Sparton Canadian press with US Van Gelder metal.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2019/06/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-sparton-van-gelder-a82-mono.mp3
. . .
Both editions are mono. The crunch is the difference between original Van Gelder master (Canada) and UK EMI remastering. If you can’t hear any difference (MP3 320kbps through headphones) that is a compliment to EMI.
Artists:
John Anderson, trumpet; Lou Blackburn, trombone; Henry Sigismonti, French horn; Bill Green, flute, piccolo; Harold Land, tenor sax; Gabor Szabo, guitar; Albert Stinson, bass; Chico Hamilton, drums, recorded Los Angeles, CA, January 4, 1965
Chamber jazz instrumentation, which includes piccolo, flute and french horn. Interesting choice of Harold Land on tenor, and of course the guitar of Gabor Szabo. Long term Chico collaborator, Szabo has been described as “One of the most original guitarists to emerge in the 1960s, mixing his Hungarian heritage and a distinctive sound with advanced jazz settings.” (All Music) “Not essential, but this album has its strong moments”, says AllMusic, who come up short on Hungarian dining-out recommendations. Not at LJC, Goulash-jazz, Hungarian menu spoken here:
(Scene cuts to 1980’s Soho scene, London )
I learned to navigate a Hungarian menu at Soho’s Gay Hussar restaurant in the 1980s, then a favourite haunt of Westminster’s plotting and scheming Socialist elite. (The People’s Party always seems to dine well). Owner and host Victor advances.
Has sir chosen?
I’ll have the Debreceni kolbász (smoked sausage).
And to drink, sir?
The Egri Bikavér? (Bull’s Blood)
Good choice, sir.
The taste of everything here still haunts me today, especially their signature dessert: piped chestnut puree topped with whipped cream, and finished with a glass of Tokaj (five puttonyos) – “Wine of Kings, and King of Wines” , according to the Tokaj Tourist Board.
A table at the Gay Hussar didn’t actually require you to hold rank in the Hungarian cavalry, nor to be gay, as best I recall. It was more like a Gentleman’s Club, just a few hundred yards from Ronnie Scotts, who didn’t require you to be Scottish either, though in the era of London’s most feared gangsters, Ronnie and Reggie Kray, saying you were “a friend of Ronnie’s” on the door never did any harm.
Back to Gabor Szabo.
On the eve of the Hungarian uprising in 1958 , Szabo and family fled to America, settling in California, which was then part of the United States. Gabor attended Berklee College, Boston, then joined Chico Hamilton’s innovative quintet featuring Charles Lloyd , where he perfected his “agile, near-free runs” (All Music). Gabor Szabo was a melodic player, rather than the chordal style favoured in jazz guitar at the time. A guitarist describes Szabo’s style as “filled with cool idiosyncratic elements: clanging open strings; dissonance, articulate jazz runs; Spanish, gypsy, sitar and Hungarian influences; subtle use of feedback as musical colour and all delivered on a Martin flattop with a Dearmond pickup – 180° away from every other jazz guitarist at the time, and since“
After Szabo and Chico parted company, Hamilton recruited Larry Coryell, a jazz rock guitarist whose style does very little for me.
After recording on Hamilton’s El Chico and Further Adventures of El Chico, Szabo established himself as leader in his own right, putting out a series of albums for Impulse including Gypsy ’66, Spellbinder, Sorcerer, More Sorcery, and Jazz Raga. Szabo’s exotic ethno-folk-jazz must have been an interesting novelty in its day. Familiarity with world sounds is more widespread today, perhaps the novelty has worn off, as a sample from The Sorcerer (1967) below suggests. I quite like the “Space” track, which puts me in mind of a long opening for Grace Slick and Jefferson Airplane, where it would sound more at home.
I can live without these Impulse titles, however, I do get an unexpected craving for a Hungarian take away.
Among this body of work, Szabo pursued a variety of musical directions which pleased the eclectic experience-hungry young audiences on the West Coast.
Interest in pop-psychology was running high In the 1970s with the cult of self-improvement, (which later moved on to the less-demanding cult of home improvement). Szabo joined the Church of Scientology, allegedly in pursuit of a rehab program, but fell out with the Church over its asset demands. However a well-known jazz keyboard player is still hanging in there, Chick, Chick, Chick…
Szabo’s career was cruelly cut short by illness in the 1980s, at the age of only 45. Hamilton outlived him by a margin of two years to one, departing in 2013, aged 92 . The Gay Hussar closed its doors in 2018, age 55. Its planned renaissance as a modern English/ French fine dining venture hangs on the fate of London’s recovery, currently on life-support. I understand Ronnie Scotts too is planning to re-open its doors in early December, including a gig by our own national treasure Simon Spillett. I wish them all every success.
Music
I was aware of Chico Hamilton, but despite his Impulse label pedigree, the production and line-up rarely appealed. A drummer as band-leader? OK, Art Blakey, it can work. The real issue is the place of the guitar. I don’t have a problem with guitarists like Billy Bauer, Grant Green or Kenny Burrell, who fit in the jazz tradition. Szabo no doubt has some fans out there, it has a certain rhythmic and harmonic quality, but jazz-ragas feels very dated. Szabo was later replaced by jazz-rock pioneer guitarist Larry Coryell, and guitar would feature in many of Chico’s later line-ups.
In the selection “What’s New” Gabor does a lengthy guitar introduction with acoustic effects, wandering into some introspective noodling and after ages, around 2:35, Harold Land butts in to remind everyone this is meant to be a jazz session, puts in a passionate solo with artful references to the composition, melody, and chord changes, like a pro. Salvages it for me, love Harold Land.
A reprise of Chico’s later Impulse albums repeats the same formula of latino-fusion-jazz-funk, a steam-roller percussion beat, overlaid with funky guitar accents, and a happy sort-of-repeating tune on top. One tune morphs into another, more of the same background soundtrack feel. Hamilton took the next logical step of forming a commercial and film production company, and went on to score numerous feature films, and hundreds of anonymous commercials for TV and radio. Not to belittle commercial work, a guy’s-gotta-eat, but his output seems low on original artistic content, an re-arranger of well established ideas rather than an innovator.
Vinyl:
UK issue of Impulse A 82 , mono, EMI remastering and pressing
Sparton Impulse Canada label – original metal VAN GELDER pedigree
UK Liner Notes
Canadian Gatefold – wins by a (s)mile!
Collector’s Corner
Canada’s Sparton label was fortunate to be on the Columbia distribution list for original metal. Below is an example of another Sparton Impulse, this time stereo, with RVG Stereo stampers:
As for Chico, I am far from won over by his discography, or his partnership with Szabo’s guitar, however a quick look over my namesake city, London, Ontario, has been an eyeopener.
London, Ontario. Fun Facts #1:
Impulse Records were manufactured and distributed in Canada by Sparton Records, of London, Ontario. Utilitarian industrial building, like any other.
Maybe its because I’m a Londoner…but just who are these people to adopt the name of my town? I wanted to find out more.
London, Ontario, known as The Forest City, was the birthplace of Justin Bieber (150m followers on Instagram). With a population in the ’60s of only 170,000, London Ontario was also home to the largest known concentration of serial killers in the world, with least six active killers between 1959 and 1984.
Over the course of 25 years, London Ontario was shaken by 29 gruesome murders, thirteen of whom were attributed to three killers who were eventually caught and convicted: Gerald Thomas Archer, known as the London Chamber Maid Slayer, Christian McGee, known as the Mad Slasher, and Russell Johnson, known as The Balcony Killer. Where’s Sherlock when you need him? At 221B Baker Street, in the other London, of course.
A century or more before these events, the town of London was primed to become the capital of Upper Canada, later Ontario, but that honour eventually went to Toronto, previously named York. A tale of two cities, London Ontario also enjoys a river named The Thames (below, left) Real Thames, England (below right)
In 1838 the British government located its Ontario peninsular garrison in London, in order to repel anyone foolish enough to mistakenly attack the wrong London. In a run of bad luck, five years previously London suffered an outbreak of Cholera, and not long after, a fire destroyed much of the town, which was then largely constructed of wooden buildings. One of the first casualties of the fire was the town’s only fire engine. Bummer, should have seen that one coming.
London, Ontario landmarks included Blackfriars Bridge, Crystal Palace Barracks, the district of Kensington which was renamed London West. The headquarters of The Royal Canadian Regiment remains at Wolseley Barracks on Oxford Street. London, Ontario is a chilling doppelganger of London, England, the place names are the same but everyone has the wrong accent, like an episode of The Outer Limits.
Fast forward to modern international relations. Spurning its long and faithful relationship with Great Britain and The Commonwealth, Canada embarked on a long and steamy affair with France, co-habitating partner of Germany, and co-leader of the European Union, which Great Britain has just left.
All of which goes to show, you just never know who your real friends are, until you find you don’t actually have any.
LJC London – England.
Are any Chico albums worth seeking out? Have I been too harsh on Chico or Gabor? Or indeed, Canada? Thoughts welcome, as always.
UPDATE December 5, 2020: Harry M has the photos, as always, our man was there – Montreux 1971, Chico working up a sweat. Interesting microphones too, everywhere..
Photo Credits: Harry M
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chico hamilton – Jerry Jazz Musician
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“Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of “edu-tainment.” As often as possible, we pose one question via e mail to a small number of prominent and diverse people. The question is designed to provoke a lively response that will potentially include the memories and/or opinion of those solicited.
What three or four songs best epitomize the era of the Civil Rights Movement?
Featuring Bruce Lundvall, Chico Hamilton, Gerald Early, Juan Williams, Arthur Kempton and others…
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Pacific Jazz Records (founded 1952, Los Angeles; Richard Bock and Roy Harte), record company and label.
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The Original Pacific Jazz 1200 series (12 inch LP)
PJ-1201 Gerry Mulligan - California Concerts 1955
Jon Eardley, trumpet; Gerry Mulligan, baritone sax, piano; Red Mitchell, bass; Chico Hamilton, drums.
Blues Going Up Little Girl Blue Piano Blues Yardbird Suite
Jon Eardley, trumpet; Gerry Mulligan, baritone sax; Red Mitchell, bass; Larry Bunker, drums; featuring guests: Bob Brookmeyer, valve trombone, piano; Zoot Sims, tenor sax.
Western Reunion I Know, Don't Know How Red Door
** also released on World Pacific PJ-1201 in 1957; Pacific Jazz PJ-50 in 1962, ST-20145 in 1968.
PJ-1202 Chet Baker Sings And Plays 1955
Chet Baker, trumpet, vocal; Bud Shank, flute; Russ Freeman, piano; Red Mitchell, bass; Bob Neel, drums; with Ray Kramer, Ed Lustgarten, Kurt Reher, Eleanor Slatkin, cello; Corky Hale, harp; Frank Campo, Johnny Mandel, Marty Paich, arranger.
Grey December I Wish I Knew Someone To Watch Over Me This Is Always
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums.
Daybreak Just Friends I Remember You Let's Get Lost Long Ago And Far Away You Don't Know What Love Is
** also released on World Pacific PJ-1202 in 1958.
PJ-1203 Chet Baker Quartet - Jazz At Ann Arbor 1955
same personnel.
Line For Lyons Lover Man My Funny Valentine Maid In Mexico Stella By Starlight My Old Flame Headline Russ Job
** also released on World Pacific PJ-1203 in 1958.
PJ-1204 Laurindo Almeida Quartet 1955
Bud Shank, alto sax; Laurindo Almeida, guitar; Harry Babasin, bass; Roy Harte, drums.
Tocata Hazardous Carinoso (as Carinosa) No No Noctambulism Blue Baiao
same personnel.
Atabaque Amor Flamenco PJ-379Stairway To The Stars Acertate Mas Terra Seca PJ-374Speak Low Inquietacao Baa-Too-Kee
** also released on World Pacific PJ-1204 in 1958. and on Brazilliance, World Pacific WP-1412 in 1961, WPS-21412 in 1969. and on Laurindo Almeida, Bud Shank - Brazilliance Vol. 1, World Pacific CDP 7 96339 2.
PJ-1205 Bud Shank/Shorty Rogers 1955
Shorty Rogers, flugelhorn; Bud Shank, alto sax, alto flute; Jimmy Rowles, piano; Harry Babasin, bass; Roy Harte, drums.
Casa De Luz Lotus Bud Left Bank Shank's Pranks Jasmine Just A Few
Bill Perkins, alto, tenor sax, flute; Bud Shank, alto, tenor, baritone sax, flute; Hampton Hawes, piano; Red Mitchell, bass; Mel Lewis, drums.
Paradise Fluted Columns I Hear Music Royal Garden Blues A Sinner Kissed An Angel It Had To Be You
** also released on World Pacific PJ-1205 in 1958.
PJ-1206 The Trumpet Artistry Of Chet Baker 1955
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Larry Bunker, drums.
PJ-256Imagination
same personnel.
No Ties (12" LP take) All The Things You Are Bea's Flat Moon Love (12" LP take) PJ-291Happy Little Sunbeam
Chet Baker, trumpet; Herb Geller, alto, tenor sax; Jack Montrose, tenor sax; Bob Gordon, baritone sax; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums.
Moonlight Becomes You Goodbye (alternate take)
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums.
Russ Job (alternate take)
Chet Baker, trumpet; Bob Brookmeyer, valve trombone; Bud Shank, baritone sax; Russ Freeman, piano; Carson Smith, bass; Shelly Manne, drums.
PJ-1653Tommyhawk (as Tommy Hawk)
same personnel.
Little Man, You've Had A Busy Day PJ-1666I'm Glad There Is You
** also released on World Pacific PJ-1206 in 1958.
PJ-1207 Gerry Mulligan Quartet 1955
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Bob Whitlock, bass; Chico Hamilton, drums.
PJ-209-1Lullaby Of The Leaves
same personnel.
PJ-223Aren't You Glad You're You PJ-219-8Frenesi PJ-218-1Nights At The Turntable
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Carson Smith, bass; Larry Bunker, drums.
PJ-242Makin' Whoopee PJ-240Cherry
same personnel.
Swinghouse (12" LP take) Jeru
same personnel.
I May Be Wrong (12" LP take) I'm Beginning To See The Light (12" LP take) The Nearness Of You Tea For Two
** also released on World Pacific PJ-1207 in 1958.
PJ-1208 Jack Montrose Sextet 1956
Conte Candoli, trumpet; Jack Montrose, tenor sax, arranger; Bob Gordon, baritone sax; Paul Moer, piano; Ralph Pena, bass; Shelly Manne, drums.
Listen, Hear Bewitched, Bothered And Bewildered Credo Pretty
same personnel.
Some Good Fun Blues Fools Rush In Speakeasy That Old Feeling
** also released on World Pacific PJ-1208 in 1958.
PJ-1209 Chico Hamilton Quintet 1956
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
I Want To Be Happy Spectacular Free Form Walking Carson Blues Buddy Boo
same personnel.
A Nice Day My Funny Valentine ST-1779Blue Sands The Sage ST-1780The Morning After
** also released on World Pacific PJ-1209 in 1958. and on Chico Hamilton Quintet - Spectacular!, Pacific Jazz PJ-39 in 1962, ST-20143 in 1968.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
PJ-1210 Gerry Mulligan Quartet - Paris Concert 1956
Bob Brookmeyer, valve trombone; Gerry Mulligan, baritone sax; Red Mitchell, bass; Frank Isola, drums.
V8181Bernie's Tune V8182Walkin' Shoes
same personnel.
V8188Five Brothers V8183The Lady Is A Tramp Utter Chaos #1
same personnel.
V8184Moonlight In Vermont V8185Laura V8186Love Me Or Leave Me V8187Come Out Wherever You Are Utter Chaos #2
** also released on World Pacific PJ-1210 in 1958.
PJ-1211 Cy Touff, His Octet And Quintet 1956
Harry Edison, Conrad Gozzo, trumpet; Cy Touff, bass trumpet; Richie Kamuca, tenor sax; Matt Utal, baritone, alto sax; Russ Freeman, piano; Leroy Vinnegar, bass; Chuck Flores, drums.
Keester Parade TNT What Am I Here For Groover Wailin'
Cy Touff, bass trumpet; Richie Kamuca, tenor sax; Pete Jolly, piano; Leroy Vinnegar, bass; Chuck Flores, drums.
Prez-Ence Half Past Jumpin' Time A Smooth One Primitive Cats
** also released on World Pacific PJ-1211 in 1958.
PJ-1212 Trio Russ Freeman/Richard Twardzik 1956
Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums.
You Stepped Out Of A Dream At Last
same personnel.
Yesterday's Gardenias Bock's Tops Don't Worry 'Bout Me Backfield In Motion
Richard Twardzik, piano; Carson Smith, bass; Peter Littman, drums.
A Crutch For The Crab Albuquerque Social Swim Bess, You Is My Woman Yellow Tango 'Round Midnight I'll Remember April
** also released on Pacific Jazz (J) TOCJ-9347 in 2001.
** part of Russ Freeman, Richard Twardzik, Jimmy Rowles, Clare Fischer - The Pacific Jazz Piano Trios - Mosaic Select, Mosaic MS-019 in 2005.
PJ-1213 Bud Shank, Bob Brookmeyer - Strings And Trombones 1956
Bob Enevoldsen, Maynard Ferguson, Stu Williamson, valve trombone; Bud Shank, alto sax; Claude Williamson, piano; Joe Mondragon, bass; Shelly Manne, drums; Bob Cooper, arranger.
You Don't Know What Love Is Sing Something Simple
same personnel.
PJ-1635 | PJ-369Wailing Vessel Valve In Head Cool Fool PJ-1634 | PJ-370Little Girl Blue
Bob Brookmeyer, valve trombone; Bud Shank, alto sax; Claude Williamson, piano; Joe Mondragon, bass; Larry Bunker, drums; with Sam Cytron, Milton Feher, Tibor Zelig, violin; Myron Sandler, viola; Paul Bergstrom, cello.
When Your Lover Has Gone You Are Too Beautiful
Bob Brookmeyer, valve trombone; Bud Shank, alto sax; Claude Williamson, piano; Buddy Clark, bass; Larry Bunker, drums; with Sam Caplan, Benny Gill, Marshall Sosson, violin; Lou Kievman, viola; Ray Kramer, cello.
Low Life Rustic Hop With The Wind And The Rain In Your Hair
** also released on World Pacific PJ-1213 in 1958.
PJ-1214 Jack Montrose - Arranged By Montrose 1956
Jack Montrose, tenor sax, arranger; Bob Gordon, baritone sax; Paul Moer, piano; Joe Mondragon, bass; Billy Schneider, drums.
Meet Mr. Gordon Onion Bottom Tea For Two
same personnel.
PJ-385What A Difference A Day Makes For Sue Love Is Here To Stay
Clifford Brown, trumpet; Stu Williamson, valve trombone; Zoot Sims, tenor sax; Bob Gordon, baritone sax; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums; Jack Montrose, arranger.
Joy Spring Daahoud
Clifford Brown, trumpet; Stu Williamson, valve trombone; Zoot Sims, tenor sax; Bob Gordon, baritone sax; Russ Freeman, piano; Carson Smith, bass; Shelly Manne, drums; Jack Montrose, arranger.
PJ-1648Tiny Capers PJ-1650Gone With The Wind Blueberry Hill
** also released on World Pacific PJ-1214 in 1958.
PJ-1215 The Bud Shank Quartet 1956
Bud Shank, alto sax, flute; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
Bag Of Blues Nature Boy All This And Heaven Too Jubilation Do Nothin' Till You Hear From Me Nocturne For Flute Walkin' Carioca
** also released on World Pacific PJ-1215 in 1958.
** part of The Pacific Jazz Bud Shank Studio Sessions (1956-61), Mosaic MR7-180, MD5-180 in 1998.
PJ-1216 Chico Hamilton Quintet In Hi Fi 1956
Chico Hamilton, drums.
Drums West
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
Jonalah Chrissie The Wind Gone Lover (When Your Lover Has Gone) The Ghost
same personnel.
Sleepy Slept Here (Santa Monica) Taking A Chance On Love ST-1887The Squimp Topsy Sleep
** also released on World Pacific PJ-1216 in 1958.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
PJ-1217 John Lewis, Percy Heath, Bill Perkins, Chico Hamilton, Jim Hall - Grand Encounter - 2 Degrees East-3 Degrees West 1956
Bill Perkins, tenor sax #1,3,4,6; John Lewis, piano; Jim Hall, guitar #1,3-6; Percy Heath, bass; Chico Hamilton, drums.
1. ST-1891Love Me Or Leave Me 2. ST-1892I Can't Get Started 3.Easy Living 4.2 Degrees East-3 Degrees West 5.Skylark 6.Almost Like Being In Love
** also released on World Pacific PJ-1217 in 1958. and on John Lewis, Percy Heath, Chico Hamilton, Jim Hall, Bill Perkins - 2 Degrees East, 3 Degrees West, Pacific Jazz PJ-44 in 1962, ST-20144 in 1968.
PJ-1218 Chet Baker In Europe 1956
Chet Baker, trumpet; Dick Twardzik, piano; Jimmy Bond, bass; Peter Littman, drums.
Rondette Mid-Forte (as Mid-Fort E) Sad Walk
same personnel.
Piece Caprice Pomp The Girl From Greenland
Chet Baker, trumpet; Gerard Gustin, piano; Jimmy Bond, bass; Bert Dahlander, drums.
29249-2Summertime 29250-2You Go To My Head 29251-1Tenderly 29245-2Small Hotel 29248-8Autumn In New York
** also released on World Pacific PJ-1218 in 1958.
PJ-1219 Bud Shank Quartet In Concert - Jazz At Cal-Tech 1956
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
When Lights Are Low That Old Devil Moon The Nearness Of You How Long Has This Been Going On / Tea For Two Lullaby Of Birdland Somebody Loves Me Moonlight In Vermont The King
** also released on World Pacific PJ-1219 in 1958.
PJ-1220 Chico Hamilton Trio 1956
Howard Roberts, guitar; George Duvivier, bass; Chico Hamilton, drums.
PJ-329Broadway Street Of Drums PJ-332Nuttye
same personnel.
We'll Be Together Again Uganda Lollypop
Jim Hall, guitar; George Duvivier, bass; Chico Hamilton, drums.
Blues On The Rocks Skinned Strings Porch Light Autumn Landscape
** also released on World Pacific PJ-1220 in 1958.
PJ-1221 The Bill Perkins Octet - On Stage 1956
Stu Williamson, trumpet, valve trombone; Carl Fontana, trombone; Bud Shank, alto sax; Bill Perkins, tenor sax; Jack Nimitz, baritone sax, bass clarinet; Russ Freeman, piano; Red Mitchell, bass; Mel Lewis, drums.
Song Of The Islands One Hundred Years From Today Zing Zang Let Me See
same personnel.
For Dancers Only Just A Child As They Reveled When You're Smiling
** also released on World Pacific PJ-1221 in 1958.
PJ-1222 Chet Baker Sings 1956
Chet Baker, trumpet, vocal; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums.
PJ-310The Thrill Is Gone
Chet Baker, trumpet, vocal; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums.
But Not For Me Time After Time PJ-360I Get Along Without You Very Well There Will Never Be Another You PJ-362Look For The Silver Lining My Funny Valentine I Fall In Love Too Easily
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Peter Littman, drums.
S-1871 | ST-1871That Old Feeling It's Always You I've Never Been In Love Before S-1873 | ST-1873My Buddy
Chet Baker, trumpet, vocal; Russ Freeman, piano, celeste; James Bond, bass; Lawrence Marable, drums.
Like Someone In Love My Ideal
** also released on World Pacific PJ-1222 in 1958.
PJ-1223 Hoagy Carmichael - Hoagy Sings Carmichael 1957
Harry Edison, Conrad Gozzo, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Irv Cottler, drums; Hoagy Carmichael, vocal; Johnny Mandel, arranger, conductor.
Georgia On My Mind New Orleans Baltimore Oriole
Ralph Pena, bass; replaces Mondragon.
Memphis In June Two Sleepy People Lazy River
Don Fagerquist, Ray Linn, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Nick Fatool, drums; Hoagy Carmichael, vocal; Johnny Mandel, arranger, conductor.
Winter Moon Skylark ST-1889Rockin' Chair ST-1890Ballad In Blue
** also released on World Pacific PJ-1223 in 1958; Pacific Jazz CDP 7 46862 2 in 1988.
PJ-1224 Chet Baker And Crew 1956
Chet Baker, trumpet; Phil Urso, tenor sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums; Bill Loughbrough, chromatic tympani #1.
1.To Mickey's Memory 2.Slightly Above Moderate 3.Halema 4.Revelation 5.Something For Liza 6.Lucius Lu (as Lucius Lou) 7.Worrying The Life Out Of Me 8.Medium Rock
** also released on World Pacific PJ-1224 in 1958, STEREO-1004 in 1958, STEREO-1224 in 1960; Pacific Jazz 7243 5 82671 2 9 in 2003.
PJ-1225 Chico Hamilton Quintet 1957
Paul Horn, alto, tenor sax, flute, clarinet; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums.
I Know (Theme) Chanel #5 Beanstalk September Song Siete-Cuatro ST-1888Mr. Jo Jones I Know (Theme) ST-1895Satin Doll Lillian Reflections Soft Winds Caravan I Know (Theme)
** also released on World Pacific PJ-1225 in 1958, STEREO-1005 in 1958, STEREO-1225 in 1960.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
PJ-1226 Bud Shank, Bob Cooper - Flute 'N Oboe 1957
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Howard Roberts, guitar; Don Prell, bass; Chuck Flores, drums.
Gypsy In My Soul I Want To Be Happy ST-1894What'll I Do
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Howard Roberts, guitar; Don Prell, bass; Chuck Flores, drums; with Benny Gill, Eudice Shapiro, violin; Millard Thomas, viola; Ray Kramer, cello.
They Didn't Believe Me In The Blue Of Evening ST-1893Tequila Time I Can't Get Started Blues For Delilah Sunset And Wine
** also released on World Pacific PJ-1226 in 1958.
PJ-1227 Jim Hall - Jazz Guitar 1957
Carl Perkins, piano; Jim Hall, guitar; Red Mitchell, bass.
Stompin' At The Savoy Things Ain't What They Used To Be This Is Always Thanks For The Memory Tangerine ST-1896Stella By Starlight 9:20 Special Deep In A Dream Look For The Silver Lining Seven Come Eleven
** also released on World Pacific PJ-1227 in 1958.
PJ-1228 Gerry Mulligan Quartet Recorded In Boston At Storyville 1957
Bob Brookmeyer, valve trombone, piano; Gerry Mulligan, baritone sax, piano; Bill Crow, bass; Dave Bailey, drums.
Bweebida Bwobbida ST-1902Birth Of The Blues Baubles, Bangles And Beads Rustic Hop Open Country Storyville Story ST-1901That Old Feeling Bike Up The Strand / Utter Chaos
** also released on World Pacific PJ-1228 in 1958, STEREO-1228 in 1960; Pacific Jazz CDP 7 94472 2 in 1990.
PJ-1229 Chet Baker Big Band 1957
Chet Baker, trumpet; Bob Burgess, trombone; Fred Waters, alto sax; Phil Urso, alto, tenor, baritone sax; Bob Graf, tenor sax; Bill Hood, baritone sax; Bobby Timmons, piano; James Bond, bass; Peter Littman, drums.
Mythe Chet Not Too Slow Phil's Blues Dinah V-Line
Chet Baker, trumpet; Bob Burgess, trombone; Fred Waters, alto sax; Phil Urso, alto, tenor, baritone sax; Bob Graf, tenor sax; Bill Hood, baritone sax; Bobby Timmons, piano; James Bond, bass; James McKean, drums.
Worrying The Life Out Of Me
Chet Baker, Conte Candoli, Norman Faye, trumpet; Frank Rosolino, trombone; Art Pepper, Bud Shank, alto sax; Bill Perkins, Phil Urso, tenor sax; Bobby Timmons, piano; James Bond, bass; Lawrence Marable, drums.
A Foggy Day Darn That Dream ST-1898Tenderly
** also released on World Pacific PJ-1229 in 1958.
PJ-1230 Bud Shank Quartet 1957
Bud Shank, alto sax, flute; Claude Williamson, piano, celeste; Don Prell, bass; Chuck Flores, drums.
A Night In Tunisia Tertia All Of You Theme Jive At Five Softly, As In A Morning Sunrise Polka Dots And Moonbeams The Lamp Is Low
** also released on World Pacific PJ-1230 in 1958.
** part of The Pacific Jazz Bud Shank Studio Sessions (1956-61), Mosaic MR7-180, MD5-180 in 1998.
PJ-1231 The Music Of Fred Katz - Zen 1957
Paul Horn, flute, clarinet, alto sax, piccolo; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums; with Herbie Harper, Joe Howard, Dick Noel, trombone #2-4; Harry Klee, flute #2-4; Julie Jacobs, oboe #2-4; Marty Berman, bassoon #2-4; Willy Schwartz, clarinet #2-4.
1.Lord Randall 2.Suite For Horn: Allegro 3.Suite For Horn: Zen 4. ST-1900Suite For Horn: Science-Fiction 5.Pluck It 6.Classical Katz 7. ST-1899Loma 8.Granada 9.Katz-Up 10.Montuna
** also released on World Pacific PJ-1231 in 1958.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
World Pacific 1200 series (12 inch LP)
PJ-1232 Quartet: Russ Freeman Chet Baker 1957
Chet Baker, trumpet; Russ Freeman, piano; Leroy Vinnegar, bass; Shelly Manne, drums.
ST-1903Love Nest Fan Tan Summer Sketch An Afternoon At Home Say When ST-1904Lush Life Amblin' Hugo Hurwhey
PJ-1233 Bob Brookmeyer Quintet - Traditionalism Revisited 1957
Bob Brookmeyer, valve trombone, piano; Jimmy Giuffre, clarinet, tenor, baritone sax; Jim Hall, guitar; Joe Benjamin, bass; Dave Bailey, drums.
ST-1909Santa Claus Blues Some Sweet Day Louisiana ST-1910Sweet Like This Jada Don't Be That Way
Bob Brookmeyer, valve trombone, piano; Jimmy Giuffre, clarinet, tenor, baritone sax; Jim Hall, guitar; Ralph Pena, bass; Dave Bailey, drums.
Truckin' Honeysuckle Rose
PJ-1234 Chet Baker And Art Pepper - Playboys 1958
Chet Baker, trumpet; Art Pepper, alto sax; Phil Urso, tenor sax; Carl Perkins, piano; Curtis Counce, bass; Lawrence Marable, drums.
For Minors Only Minor Yours Resonant Emotions Tynan Time Picture Of Heath For Miles And Miles C.T.A.
** also released on Chet Baker, Art Pepper, Phil Urso - Picture Of Heath, Pacific Jazz PJ-18 in 1961.
PJ-1235 Jack Lidstrom Stompers - Look Dad! They're Comin' Down Our Street (In Hi-Fi) 1958
Jack Lidstrom, trumpet; Folke Rabe, trombone; Ove Lind, clarinet; Bjorn Milder, piano; Gunnar Almstedt, bass; Lars Parmenius, drums.
mr1001Struttin' With Some Barbecue mr1002Snag It
Jack Lidstrom, trumpet; Jan Bark, trombone; Stig Eriksson, clarinet; Bjorn Milder, piano; Sture Nordin, bass; Lars Parmenius, drums.
ST-2005Lazy River New Orleans Stomp
Jack Lidstrom, trumpet; Jan Bark, trombone; Stig Eriksson, clarinet; Bjorn Milder, piano; Lars Holmgren, bass; Anders Burman, drums.
ST-2004Ole Miss Blue Turning Grey Over You Squeeze Me Big Butter And Egg Man
same personnel.
Once In A While Blues A La Faz Potato Head Blues Wild Man Blues
PJ-1236 Sidney Bechet Has Young Ideas 1958
Sidney Bechet, soprano sax; Martial Solal, piano; Lloyd Thompson, bass; Al Levitt, drums.
These Foolish Things Pennies From Heaven Once In A While I Only Have Eyes For You Jeepers Creepers The Man I Love I Never Knew Exactly Like You
Sidney Bechet, soprano sax; Martial Solal, piano; Pierre Michelot, bass; Kenny Clarke, drums.
Embraceable You All The Things You Are It Don't Mean A Thing All Of Me Wrap Your Troubles In Dreams Rose Room
** also released on Sidney Bechet, Martial Solal - When A Soprano Meets A Piano, Inner City IC 7008 in 1979.
PJ-1237 The Gerry Mulligan Songbook Vol. 1 1958
Lee Konitz, alto sax; Allen Eager, Zoot Sims, tenor, alto sax; Al Cohn, tenor, baritone sax; Gerry Mulligan, baritone sax; Freddie Green, guitar; Henry Grimes, bass; Dave Bailey, drums.
Four And One Moore Crazy Day Turnstile Sextet Disc Jockey Jump Venus De Milo Revelation
** also released on World Pacific STEREO-1001 in 1958, STEREO-1237 in 1960. and on The Gerry Mulligan Songbook, Pacific Jazz 7243 8 33575 2 9 in 1995.
PJ-1238 Chico Hamilton Quintet - South Pacific In Hi-Fi 1958
Paul Horn, alto sax, flute; Fred Katz, cello; John Pisano, guitar; Harold Gaylor, bass; Chico Hamilton, drums.
A Wonderful Guy This Nearly Was Mine Dites Moi Some Enchanted Evening Bali Ha'i ST-2012There Is Nothing Like A Dame ST-2013Younger Than Springtime Happy Talk A Cockeyed Optimist Honey Bun I'm Gonna Wash That Man Right Out Of My Hair
** also released on World Pacific STEREO-1003 in 1958, STEREO-1238 in 1960.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
PJ-1239 Brookmeyer, Hall, Raney - The Street Swingers 1958
Bob Brookmeyer, valve trombone, piano; Jim Hall, Jimmy Raney, guitar; Bill Crow, bass; Osie Johnson, drums.
Arrowhead Street Swinger Hot Buttered Noodling Musicale Du Jour Raney Day Jupiter
PJ-1240 The Montgomery Brothers And 5 Others 1958
Freddie Hubbard, trumpet #1,3,4,6; Waymon "Punchy" Atkinson, Alonzo "Pookie" Johnson, tenor sax #1,3,4,6; Buddy Montgomery, vibes; Joe Bradley, piano #1-4,6; Wes Montgomery, guitar; Monk Montgomery, Fender electric bass; Paul Parker, drums.
1.Sound Carrier 2.Lois Ann 3.Bud's Beaux Arts 4.Bock To Bock 5.All The Things You Are 6.Billie's Bounce
PJ-1241 Gerry Mulligan Quartet - Reunion With Chet Baker 1958
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Henry Grimes, bass; Dave Bailey, drums.
Reunion When Your Lover Has Gone Stardust My Heart Belongs To Daddy ST-2019Jersey Bounce The Surrey With The Fringe On Top Ornithology Travelin' Light
** also released on World Pacific STEREO-1007 in 1958, STEREO-1241 in 1960; Pacific Jazz CDP 7 46857 2. and on Gerry Mulligan - Reunion With Chet Baker, Pacific Jazz PJ-47 in 1962, ST-47 in 1962.
PJ-1242 Chico Hamilton Trio Introducing Freddy Gambrell 1958
Freddie Gambrell as Freddy Gambrell, piano; Ben Tucker, bass; Chico Hamilton, drums.
Lullaby Of The Leaves Reservation Blues (as Blues Reservation) These Foolish Things Ex-Ray's Friends Devil's Demise You're The Cream In My Coffee Midnight Sun Five Minutes More
** also released on World Pacific STEREO-1242 in 1960.
PJ-1243 The Mastersounds - Kismet 1958
Buddy Montgomery, vibes; Richie Crabtree, piano; Wes Montgomery, guitar #1,3-8; Monk Montgomery, Fender electric bass; Benny Barth, drums.
1.Overture: Not Since Nineveh / Olive Tree / Stranger In Paradise / And This Is My Beloved / Night Of My Nights / Sands Of Time 2. ST-2029 | SX-505Gesticulate And Rhymes Have I 3.Olive Tree 4.Not Since Nineveh 5.Baubles, Bangles And Beads 6. SX-504Fate 7.And This Is My Beloved 8. ST-2028Stranger In Paradise
** also released on World Pacific STEREO-1010 in 1959, STEREO-1243 in 1960. and on The Mastersounds With Wes Montgomery - Kismet, Pacific Jazz PJ-10130 in 1967, ST-20130 in 1967.
PJ-1244 Various Artists - Jazz Canto Vol. I: An Anthology Of Poetry And Jazz 1958
John Carradine, read; Walt Whitman, words; with Fred Katz Orchestra.
Poets To Come
Hoagy Carmichael, read; William Carlos Williams, words; with Ralph Pena Quintet.
Tract
Ben Wright, read; Dylan Thomas, words; with Fred Katz Orchestra.
In My Craft Or Sullen Art
John Carradine, read; Lawrence Lipton, words; with Chico Hamilton Quintet.
Night Song For The Sleepless
Ben Wright, read; Dylan Thomas, words; with Jack Montrose Orchestra.
Lament
Bob Dorough, read; Lawrence Ferlinghetti, words; with Bob Dorough Quintet.
Dog
Hoagy Carmichael, read; William Carlos Williams, words; with Bob Hardaway.
Young Sycamore
Bob Dorough, read; Langston Hughes, words; with Bob Dorough Quintet.
Daybreak In Alabama / Night And Morn / The Dreamkeeper
Roy Glenn, read; Philip Whalen, words; with Gerry Mulligan Quartet.
Big High Song For Somebody
** also released on Poetry And Jazz, World Pacific WP-1409 in 1961.
WP-1245 Charlie Mariano And Jerry Dodgion Sextet - Beauties Of 1918 1958
Jerry Dodgion, alto sax, flute; Charlie Mariano, alto sax, recorder; Victor Feldman, vibes; Jimmy Rowles, piano; Monte Budwig, bass; Shelly Manne, drums.
After You've Gone When Johnny Comes Marching Home Deep River Till We Meet Again K-K-K-Katy Till The Clouds Roll By Over There Ja Da Hello, Central, Give Me No Man's Land
** also released on World Pacific STEREO-1014 in 1959.
WP-1246 Gil Evans - New Bottle Old Wine 1958
Johnny Coles, Louis Mucci, Ernie Royal, trumpet; Joe Bennett, Tom Mitchell, Frank Rehak, trombone; Julius Watkins, French horn; Harvey Phillips, tuba; Cannonball Adderley, alto sax; Jerry Sanfino, reeds; Gil Evans, piano, arranger, conductor; Chuck Wayne, guitar; Paul Chambers, bass; Art Blakey, drums.
St. Louis Blues King Porter Stomp Lester Leaps In 'Round Midnight
Bill Barber, tuba; Phil Bodner, reeds; Philly Joe Jones, drums; replaces Phillips, Sanfino, Blakey.
Willow Tree
Art Blakey, drums; replaces Jones.
Struttin' With Some Barbecue
Clyde Reasinger, trumpet; replaces Royal.
Manteca Bird Feathers
** also released on World Pacific STEREO-1011 in 1959. and on Gil Evans Orchestra Featuring Cannonball Adderley, World Pacific WP-1298 in 1960, STEREO-1298 in 1960; Pacific Jazz PJ-40 in 1962, ST-40 in 1962.
** part of Pacific Standard Time, Blue Note BN-LA461-H2 in 1975.
WP-1247 Art Blakey, Benny Barth, Chico Hamilton, Chatur Lal - Drums On Fire! 1958
Jon Eardley, trumpet; Gerry Mulligan, baritone sax, piano; Red Mitchell, bass; Chico Hamilton, drums.
Bark For Barksdale
Bill Hardman, trumpet; Jackie McLean, alto sax; Sam Dockery, piano; Spanky DeBrest, bass; Art Blakey, drums.
Ritual
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Caravan
Chatur Lal, tabla.
Tabla Solo (Variations In Tintal)
WP-1248 Ravi Shankar - India's Master Musician 1959
Ravi Shankar, sitar; N.C. Mullick, tamboura; Chatur Lal, tabla.
Kafi Holi (Color Festival) Dhun (Folk Airs) Mishra Piloo (In Thumri Style) Raga Puriya Dhanashri (Jhaptal 10) Raga Charu Keshi (Tintal)
** also released on World Pacific STEREO-1013 in 1959, WP-1422 in 1963, ST-1422 in 1963.
WP-1249 Chet Baker - Pretty/Groovy 1959
Chet Baker, trumpet; Russ Freeman, piano; Bob Whitlock, bass; Bobby White, drums.
PJ-225The Lamp Is Low (as Pavane For A Dead Princess)
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Larry Bunker, drums.
Long Ago And Far Away (12" LP take) Carson City Stage Easy To Love Batter Up
same personnel.
The Thrill Is Gone (12" LP take) Band Aid
Chet Baker, trumpet; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums.
Winter Wonderland (LP take)
Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums; + an overdub: Jimmy Giuffre, clarinet #4; Bill Perkins, tenor sax #1-3,5.
1.Look For The Silver Lining 2.Time After Time 3.My Funny Valentine 4.There Will Never Be Another You 5.But Not For Me
Chet Baker, trumpet, vocal; Dave Wheat, guitar; Russ Savakus, bass.
Trav'lin' Light
WP-1250 David Allen/Bill Holman Orchestra - Let's Face The Music And Dance! 1958
David Allen, vocal; with Jimmy Rowles, piano, arranger; Johnny Mandel, arranger; Bill Holman, arranger, director; and others.
Hooray For Love Shake Down The Stars You Send Me ST-2026Impossible I Like The Likes Of You ST-2027Can't Help It Sittin' On The Top Of The World They All Laughed Life Is Just A Bowl Of Cherries I've Got The Sun In The Morning Yours Sincerely Let's Face The Music And Dance
** also released on David Allyn With The Bill Holman Orchestra - Yours Sincerely, Discovery DS-916 in 1985.
WP-1251 Bud Shank, Len Mercer Strings - I'll Take Romance 1958
Bob Brookmeyer, valve trombone; Bud Shank, alto sax; Claude Williamson, piano; Joe Mondragon, bass; Larry Bunker, drums; with Sam Cytron, Milton Feher, Tibor Zelig, violin; Myron Sandler, viola; Paul Bergstrom, cello.
When Your Lover Has Gone Out Of This World You Are Too Beautiful
Giulio Libano, trumpet; Appio Squajella, flute, French horn; Glauco Masetti, alto sax; Bud Shank, alto sax, flute; Eraldo Volonte, tenor sax; Fausto Pepetti, baritone sax; Bruno De Filippi, guitar; Don Prell, bass; Jimmy Pratt, drums; with unidentified harp and strings, Len Mercer, arranger, conductor.
I'll Take Romance These Foolish Things Deep Purple How Deep Is The Ocean What A Difference A Day Made Someone To Watch Over Me Embraceable You Smoke Gets In Your Eyes
WP-1252 The Mastersounds - Flower Drum Song 1959
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Overture Love Look Away You Are Beautiful Sunday Grant Avenue Chop Suey A Flower I'm Going To Like It Here
** also released on World Pacific STEREO-1012 in 1959, STEREO-1252 in 1960.
WP-1253 Annie Ross Sings A Song With Mulligan! 1959
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Henry Grimes, bass; Dave Bailey, drums; Annie Ross, vocal.
This Time The Dream's On Me Let There Be Love Between The Devil And The Deep Blue Sea How About You It Don't Mean A Thing
Art Farmer, trumpet; Gerry Mulligan, baritone sax; Bill Crow, bass; Dave Bailey, drums; Annie Ross, vocal.
I Feel Pretty I've Grown Accustomed To Your Face All Of You Give Me The Simple Life This Is Always
** also released on World Pacific STEREO-1020 in 1959, STEREO-1253 in 1960; Pacific Jazz CDP 7 46852 2 in 1988.
WP-1254 Bud And Travis, Barbara Dane, Rolf Cahn, Lynn Gold - A Night At The Ash Grove - Saturday Night At Coffee House 1959
Barbara Dane, guitar, vocal.
Away! Away! Away! With Rum, By Gum!
Bud Dashiell, Travis Edmonson, guitar, vocal.
La Bamba
Lynn Gold, guitar, vocal.
Tinafto
Bud Dashiell, guitar, vocal.
Johnny, I Hardly Knew You
Lynn Gold, Sol Gold, guitar, vocal.
Orcha Bamidbar
Barbara Dane, guitar, vocal.
Don't Sing Love Songs
Rolf Cahn, Carl Granich, guitar, vocal.
The Ship Titanic
Bud Dashiell, Travis Edmonson, guitar, vocal.
Le Chanson De La Framboise
Lynn Gold, guitar, vocal.
The Quiet Land Of Erin
Rolf Cahn, guitar, vocal.
Yarrow
Barbara Dane, guitar, vocal.
How Long Blues
Rolf Cahn, guitar, vocal.
Seguriyas
WP-1255 Reflections With Gerald Heard 1959
Gerald Heard, spoken word.
Selected Verses From The Book Of Psalms After A Prayer Of Rabbia After A Prayer Of St. Bernard Of Clairvaux After A Prayer Of Fenelon From The Gelasian Sacramentary A Prayer Of Cleanthes Paraphrased From The Tao Te Ching Of Lao Tzu Selected Verses From De Adherendo Deo St. Augustine Paraphrased From The Upanishads Selected Verses From Hertha Selected Verses From The Higher Pantheism After A Prayer By St. Anselm Selected Verses From I Am The Way
** part of Explorations / Reflections / Indications, World Pacific WP-1417 in 1962.
WP-1256 Freddie Gambrell With Ben Tucker 1959
Freddie Gambrell, piano; Ben Tucker, bass.
Feudin' And Fightin' Who You Yesterdays Summer House Anything Goes Indian Love Call Without A Song Linda Falling In Love With Love When I Fall In Love Opus 116 Stomping At The Savoy
WP-1257 Various Artists - The Sound Of Big Band Jazz In Hi-Fi! 1959
Harry Edison, Conrad Gozzo, trumpet; Cy Touff, bass trumpet; Richie Kamuca, tenor sax; Matt Utal, baritone, alto sax; Russ Freeman, piano; Leroy Vinnegar, bass; Chuck Flores, drums.
What Am I Here For
Stu Williamson, trumpet, valve trombone; Carl Fontana, trombone; Bud Shank, alto sax; Bill Perkins, tenor sax; Jack Nimitz, baritone sax, bass clarinet; Russ Freeman, piano; Red Mitchell, bass; Mel Lewis, drums.
Let Me See (alternate take)
Harry Edison, Conrad Gozzo, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Irv Cottler, drums; Johnny Mandel, arranger, conductor.
Georgia On My Mind (instrumental)
Chet Baker, Conte Candoli, Norman Faye, trumpet; Frank Rosolino, trombone; Art Pepper, Bud Shank, alto sax; Bill Perkins, Phil Urso, tenor sax; Bobby Timmons, piano; James Bond, bass; Lawrence Marable, drums.
ST-1898Tenderly
Chet Baker, Don Fagerquist, Ray Linn, trumpet; Milt Bernhart, trombone; Charlie Mariano, Herbie Steward, alto sax; Bud Shank, alto sax, flute; Bill Holman, Richie Kamuca, tenor sax; Pepper Adams, baritone sax; Claude Williamson, piano; Monte Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.
ST-1907 | SX-512Jimmy's Theme
Don Fagerquist, trumpet; Stu Williamson, valve trombone; Red Callender, tuba; Art Pepper, alto sax; Bill Holman, tenor sax; Bud Shank, baritone sax; Russ Freeman, piano; Monte Budwig, bass; Shelly Manne, drums; Shorty Rogers, arranger, conductor.
Bunny
Lee Konitz, alto sax; Allen Eager, Zoot Sims, tenor, alto sax; Al Cohn, tenor, baritone sax; Gerry Mulligan, baritone sax; Freddie Green, guitar; Henry Grimes, bass; Dave Bailey, drums.
Disc Jockey Jump (alternate take)
with unidentified large orchestra, Johnny Mandel, arranger, conductor.
Dearly Beloved (instrumental)
Johnny Coles, Louis Mucci, Ernie Royal, trumpet; Joe Bennett, Tom Mitchell, Frank Rehak, trombone; Julius Watkins, French horn; Harvey Phillips, tuba; Cannonball Adderley, alto sax; Jerry Sanfino, reeds; Gil Evans, piano, arranger, conductor; Chuck Wayne, guitar; Paul Chambers, bass; Art Blakey, drums.
Lester Leaps In (alternate take)
Jimmy Rowles, piano, arranger; Johnny Mandel, arranger; Bill Holman, arranger, director; and others.
Hooray For Love (instrumental)
** also released on World Pacific JWC-514 in 1959?, STEREO-1015 in 1959.
WP-1258 Chico Hamilton Quintet - Ellington Suite 1959
Paul Horn, alto sax, flute; Buddy Collette, tenor, alto sax; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
Take The "A" Train / Perdido Everything But You Lucky So And So Azure I'm Beginning To See The Light In A Mellow Tone Sittin' And A Rockin' In A Sentimental Mood Day Dream It Don't Mean A Thing
** also released on World Pacific STEREO-1016 in 1959, STEREO-1258 in 1960.
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
WP-1259 Bud Shank - Holiday In Brazil 1959
Bud Shank, alto sax, flute; Laurindo Almeida, guitar, arranger; Gary Peacock, bass; Chuck Flores, drums.
Simpatico Rio Rhapsody Nocturno Little Girl Blue Choro In "A" Mood Antigua The Color Of Her Hair Lonely I Didn't Know What Time It Was Carioca Hills
** also released on World Pacific STEREO-1018 in 1959, STEREO-1259 in 1960. and on Brazilliance Vol. 2, World Pacific WP-1419 in 1962, ST-1419 in 1962.
** part of Laurindo Almeida, Bud Shank - Brazilliance Vol. 2, World Pacific CDP 7 96102 2.
WP-1260 The Mastersounds - Ballads And Blues 1959
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Blues Medley: Bluesology / Purple Sounds / Fontessa Heidi Little Stevie Solar How Deep Is The Ocean Monk's Ballad E6706Mint Julep E6707The Champ
** also released on World Pacific STEREO-1019 in 1959.
WP-1261 Sonny Payne, Mel Lewis, Benny Barth, Armando Peraza, Ray Mosca - More Drums On Fire! 1959
same personnel.
I'm Going To Like It Here
Zoot Sims, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Sonny Payne, drums.
Clap Hands, Here Comes Charley
Zoot Sims, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums.
Brushes
Freddie Gambrell, piano; Ben Tucker, bass; Ray Mosca, drums; Armando Peraza, bongos.
Artistry In Rhythm
Freddie Gambrell, piano; Ben Tucker, bass; Armando Peraza, bongos.
Triste
** also released on World Pacific STEREO-1022 in 1959.
WP-1262 Freddie Gambrell Featuring Paul Horn - Mikado 1959
Paul Horn, flute; Freddie Gambrell, piano; Dempsey Wright, guitar; Ben Tucker, bass; Ray Mosca, drums; Armando Peraza, bongos.
Overture / Mi-ya-sa-ma The Flowers That Bloom In The Spring Tit-Willow A Wand'ring Minstrel, I Behold The Lord High Executioner Three Little Maids From School Are We I Am So Proud The Sun Whose Rays Are All Ablaze If You Want To Know Who We Are
** also released on World Pacific STEREO-1023 in 1959.
WP-1263 Buddy Bregman And His Dance Band! - Swingin' Standards 1959
Conte Candoli, Al Porcino, Ray Triscari, Stu Williamson, trumpet; Joe Howard, Frank Rosolino, Lloyd Ulyate, trombone; George Roberts, bass trombone; Bob Cooper, Bill Holman, Richie Kamuca, tenor sax; Bill Perkins, baritone sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums; Buddy Bregman, leader, arranger.
My Buddy All Of You In A Mellow Tone I Love Paris It's All Right With Me
John Audino, trumpet; Marshall Cram, trombone; replaces Candoli, Ulyate.
Too Close For Comfort Baubles, Bangles, And Beads Imagination My Heart Stood Still Just In Time
** also released on World Pacific STEREO-1024 in 1959.
WP-1264 Lambert, Hendricks And Ross - The Swingers! 1959
Zoot Sims, tenor sax; Russ Freeman, piano; Freddie Green, guitar; Ed Jones, bass; Sonny Payne, drums; Jon Hendricks, Dave Lambert, Annie Ross, vocal.
Airegin Babe's Blues Jackie Swingin' Till The Girls Come Home Four Little Niles Where
Zoot Sims, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Ed Jones, bass; Sonny Payne, drums; Jon Hendricks, Dave Lambert, Annie Ross, vocal.
Dark Cloud Now's The Time Love Makes The World Go 'Round
** also released on World Pacific STEREO-1025 in 1959; Affinity (E) AFF 131 in 1984.
WP-1265 Bud Shank - Slippery When Wet (Soundtrack) 1959
Bud Shank, alto sax, flute; Billy Bean, guitar; Gary Peacock, bass; Chuck Flores, drums.
Mook's Theme Surf Pipers The Surf And I Up In Velseyland Surf For Two Slippery When Wet Going My Wave Old King Nep's Tune Walkin' On The Water Soupsville
** also released on World Pacific STEREO-1265 in 1960.
** part of The Pacific Jazz Bud Shank Studio Sessions (1956-61), Mosaic MR7-180, MD5-180 in 1998.
WP-1266 Paul Horn Four - Impressions! 1959
Paul Horn, flute, alto sax, clarinet; Gene Estes, vibes; John Pisano, guitar; Lyle Ritz, bass.
Maid With The Flaxen Hair (Debussey) Mist The Little Shepherd Berceuse (Stravinsky) Waltz #2 (Ravel) Waltz #3 (Ravel) Pavanne For A Dead Princess (Ravel) Greensleeves Baltimore Oriole Good Bait Green Dolphin Street
WP-1267 Jimmy Witherspoon - Singin' The Blues 1959
Gerald Wilson, trumpet; Jimmy Allen, Teddy Edwards, tenor sax; Hampton Hawes, piano; Herman Mitchell, guitar; Jimmy Hamilton, bass; Jimmy Miller, drums; Jimmy Witherspoon, vocal.
When I've Been Drinkin' All That's Good It Ain't What You're Thinkin' Wee Baby Blues Times Have Changed There's Good Rockin' Tonight
Harry Edison, trumpet; Jimmy Allen, Teddy Edwards, tenor sax; Henry McDode, piano; Herman Mitchell, guitar; Jimmy Hamilton, bass; Jimmy Miller, drums; Jimmy Witherspoon, vocal.
S.K. Blues Then The Lights Go Out Spoon's Blues Ain't Nobody's Business Sweets' Blues
** also released on There's Good Rockin' Tonight!, World Pacific WP-1402 in 1960.
WP-1268 Indications With Gerald Heard 1959
Gerald Heard, spoken word.
What Is Love? Side I What Is Love? Side II
** part of Explorations / Reflections / Indications, World Pacific WP-1417 in 1962.
WP-1269 The Mastersounds - In Concert 1959
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Stomping At The Savoy Medley: In A Sentimental Mood / Our Very Own / These Foolish Things Love For Sale Star Eyes Two Different Worlds Somebody Loves Me
** also released on World Pacific STEREO-1026 in 1959, STEREO-1269 in 1960.
WP-1270 Gil Evans Orchestra - Great Jazz Standards 1959
Johnny Coles, Louis Mucci, Allen Smith, trumpet; Bill Elton, Curtis Fuller, Dick Lieb, trombone; Bob Northern, French horn; Bill Barber, tuba; Steve Lacy, soprano sax; Al Block, woodwinds; Gil Evans, piano, arranger, conductor; Chuck Wayne, guitar; Dick Carter, bass; Dennis Charles, drums.
Davenport Blues Straight, No Chaser Django
Johnny Coles, Louis Mucci, Danny Stiles, trumpet; Jimmy Cleveland, Curtis Fuller, Rod Levitt, trombone; Earl Chapin, French horn; Bill Barber, tuba; Steve Lacy, soprano sax; Budd Johnson, tenor sax, clarinet; Ed Caine, woodwinds; Gil Evans, piano, arranger, conductor; Ray Crawford, guitar; Tommy Potter, bass; Elvin Jones, drums.
Ballad Of The Sad Young Men Joy Spring Chant Of The Weed La Nevada (theme)
** also released on World Pacific STEREO-1027 in 1959, STEREO-1270 in 1960. and on Gil Evans And His Orchestra - America's #1 Arranger, Pacific Jazz PJ-28 in 1961, ST-28 in 1961.
** part of Pacific Standard Time, Blue Note BN-LA461-H2 in 1975.
WP-1271 The Mastersounds - Jazz Showcase 1959
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Un Poco Loco Wes' Tune Lover Dexter's Deck If I Should Lose You That Old Devil Moon The Queen And I Spring Is Here Water's Edge Drum Tune
** originally released on World Pacific PJM-403 in 1957.
WP-1272 The Mastersounds - The King And I 1959
same personnel.
Medley: I Have Dreamed / The Puzzlement / Something Wonderful Dance Of The Siamese Children ST-2001Getting To Know You My Lord And Master Medley: Hello Young Lovers / Whistle A Happy Tune We Kiss In The Shadows ST-2000Shall We Dance Epilogue
** originally released on World Pacific PJM-405 in 1958.
WP-1273 Lee Konitz Plays With The Gerry Mulligan Quartet 1959
Chet Baker, trumpet; Lee Konitz, alto sax; Gerry Mulligan, baritone sax; Carson Smith, bass; Larry Bunker, drums.
Too Marvelous For Words PJ-236 | ST-2006Lover Man I'll Remember April These Foolish Things All The Things You Are
same personnel.
ST-2007Almost Like Being In Love PJ-235Sextet Broadway
Chet Baker, trumpet; Lee Konitz, alto sax; Gerry Mulligan, baritone sax; Joe Mondragon, bass; Larry Bunker, drums.
PJ-237I Can't Believe That You're In Love With Me PJ-238Lady Be Good
** originally released on World Pacific PJM-406 in 1958.
WP-1274 The Wide Weird World Of Shorty Petterstein - More Interviews Of Our Time 1959
Shorty Petterstein, Alan Watts, spoken word.
ST-2022A History Of Jazz ST-2023Origin Of Jazz Terms "Do You Want A Little Lovin'?" Chess (The New 3-Dimensional Variety) Rock 'N' Roll Interview With Jump Calkenburger George's Mother (The Classic Psychopath) Guitar For Sale Telephone Therapy (Another Service Of Your Telephone) Drums In The Typewriter (Woodrow Leafer) "A Visit To My Best Girl" Mental Blockages - I Couldn't Remember The Words Breaking The Habit (An Easy Way) "Quiet, Children" - Childhood Traumas Self Analysis - A Frank Admission It's No Laughing Matter
** originally released on World Pacific WPM-412 in 1958.
WP-1275 The Jazz Messengers Featuring Art Blakey - Ritual 1959
Bill Hardman, trumpet; Jackie McLean, alto sax; Sam Dockery, piano; Spanky DeBrest, bass; Art Blakey, drums.
Sam You Made The Bridge Too Long (as Sam's Tune) Once Upon A Groove Touche
same personnel.
Scotch Blues Comments By Art Blakey Ritual Wake Up
** originally released on Pacific Jazz PJM-402 in 1957.
WP-1276 Annie Ross - Gypsy 1959
Conte Candoli, Pete Candoli, trumpet; Frank Rosolino, trombone; Herb Geller, alto sax; Richie Kamuca or Stan Getz, tenor sax; Bill Perkins, baritone sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums; Annie Ross, vocal; Buddy Bregman, arranger.
Overture Everything's Coming Up Roses You'll Never Get Away Some People All I Need Is A Boy Small World Together Let Me Entertain You Reprise
** also released on World Pacific STEREO-1028 in 1959, STEREO-1276 in 1960, WP-1808 in 1962, ST-1808 in 1962.
WP-1277 Bud Shank, Bob Cooper - Blowin' Country 1959
Bud Shank, alto sax, flute; Bob Cooper, tenor sax, oboe; Howard Roberts, guitar; Don Prell, bass; Chuck Flores, drums.
Sweet Georgia Brown
Bud Shank, flute, alto sax; Bob Cooper, oboe, tenor sax, arranger; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
Mutual Admiration Society Two Lost Souls I've Grown Accustomed To Her Face Just In Time Dinah As Long As There's Music ST-2025Steve Allen Theme Love Nest Blowin' Country
WP-1278 Kimio Eto - Koto Music 1959
Kimio Eto, koto.
Midori No Asa (Bright Morning) Omoide (Song Of Remembrance) Kazoe Uta (Song Of Children At Play) Choryu (The Current) Kibo No Hikari (A Light Of Hope) Midare (Classical Instrumental Piece) Haru No Sugata (Mood Of Early Spring)
** also released on World Pacific STEREO-1278 in 1960, WP-1423 in 1963, ST-1423 in 1963.
WP-1279 Lord Buckley - Way Out Humor 1959
Lord Buckley, spoken word.
Supermarket Horse's Mouth Black Cross Lions The Naz My Own Railroad Willie The Shake God's Own Drunk
** also released on Lord Buckley In Concert, World Pacific WP-1815 in 1964.
WP-1280 The Mastersounds - Happy Holidays From Many Lands 1959
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Arre, Borriquita Pobre Gitanilla Deck The Halls Bells For Charla Caroling, Caroling Noel Nouvelet Campone Di Natale Jingle Bells Medley: White Christmas / The Christmas Song / Rudolph The Red Nose Reindeer / Oh, Tannenbaum / We Wish You A Merry Christmas
** also released on World Pacific STEREO-1030 in 1959, STEREO-1280 in 1960.
WP-1281 Bud Shank - Latin Contrasts 1959
Bud Shank, alto sax, flute; Laurindo Almeida, guitar, arranger; Gary Peacock, bass; Chuck Flores, drums.
Harlem Samba North Of The Border Sunset Baion 'Round About Midnight Toro Dance Serenade For Alto Xana Lyn Blowing Wild Gershwin Prelude Frio Y Color
** also released on World Pacific STEREO-1281 in 1960. and on Brazilliance Vol. 3, World Pacific WP-1425 in 1963, ST-1425 in 1963.
** part of Laurindo Almeida, Bud Shank - Brazilliance Vol. 2, World Pacific CDP 7 96102 2.
WP-1282 Sarita & Co. - Flamenco Singing And Dancing 1959
Sarita Heredia, guitar, gourd, pitos, castanets, vocal.
Reumba Gitana Tango Zapateado Guajiras Fandango De Huelva Allegrias Rosas Candelorio Tarantas
** also released on World Pacific STEREO-1282 in 1960. and on Sarita Heredia At The Matador - Flamenco Fire!, World Pacific WP-1427 in 1963, ST-1427 in 1963.
WP-1283 Jon Hendricks - A Good Git-Together 1959
Pony Poindexter, alto sax, vocal; Buddy Montgomery, vibes; Gildo Mahones, piano; Wes Montgomery, guitar; Ike Isaacs, bass; Jimmy Wormworth as Jimmy Wormsworth, drums; Bill Perkins, tambourine; Jon Hendricks, vocal.
Everything Started In The House Of The Lord I'll Die Happy Minor Catastrophe B-2058 | 5710Everything Started In The House Of The Lord
Nat Adderley, cornet; Cannonball Adderley, alto sax; Gildo Mahones, piano; Wes Montgomery, guitar; Monk Montgomery, Fender electric bass; Walter Bolden, drums; Jon Hendricks, vocal.
Music In The Air Pretty Strange The Shouter Social Call Out Of The Past
Pony Poindexter, alto sax; Gildo Mahones, piano; Wes Montgomery, guitar; Monk Montgomery, Fender electric bass; Walter Bolden, drums; Jon Hendricks, vocal.
Feed Me A-2058 | 5709A Good Git-Together
** also released on World Pacific STEREO-1283 in 1960.
WP-1284 The Mastersounds - Play Horace Silver 1960
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Ecaroh Enchantment Nica's Dream Doodlin' Moonrays Buhania
** also released on World Pacific STEREO-1284 in 1960.
WP-1285 Annie Ross - A Gasser! 1959
Zoot Sims, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums; Annie Ross, vocal.
Everything I've Got Belongs To You I Didn't Know About You I Don't Want To Cry Anymore I Was Doin' Allright You Took Advantage Of Me
Zoot Sims, tenor sax; Russ Freeman, piano; Billy Bean, guitar; Monte Budwig, bass; Mel Lewis, drums; Annie Ross, vocal.
Invitation To The Blues Lucky Day
Zoot Sims, tenor sax; Russ Freeman, piano; Billy Bean, guitar; Monte Budwig, bass; Frank Capp, drums; Annie Ross, vocal.
Nobody's Baby
Bill Perkins, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums; Annie Ross, vocal.
You're Nearer Lucky So And So
** also released on World Pacific STEREO-1285 in 1960.
WP-1286 Bud Shank - Flute N' Alto 1960
Bud Shank, alto sax, flute; Claude Williamson, piano; Don Prell, bass; Chuck Flores, drums.
Bag Of Blues Nature Boy Jubilation Do Nothin' Till You Hear From Me Nocturne For Flute Walkin'
Bud Shank, alto sax, flute; Claude Williamson, piano, celeste; Don Prell, bass; Chuck Flores, drums.
A Night In Tunisia Jive At Five Polka Dots And Moonbeams
** also released on World Pacific STEREO-1286 in 1960.
WP-1287 The Original Chico Hamilton Quintet 1960
Buddy Collette, tenor, alto sax, clarinet, flute; Fred Katz, cello; Jim Hall, guitar; Carson Smith, bass; Chico Hamilton, drums.
Caravan Tea For Two Fast Flute Change It Cute Little Deal A Mood This Is Your Day I'll Keep Loving You Crazy Rhythm
** part of The Complete Pacific Jazz Recordings Of The Chico Hamilton Quintet, Mosaic MQ9-175 in 1997, MD6-175 in 1997.
WP-1288 Joe Newman - Countin' Five In Sweden 1960
Joe Newman, trumpet; Al Grey, trombone; Frank Wess, tenor sax, flute; Nat Pierce, piano; Eddie Jones, bass; Sonny Payne, drums.
Slats Feather's Nest
Joe Newman, trumpet; Al Grey, trombone; Frank Wess, tenor sax, flute; Nat Pierce, piano; Eddie Jones, bass; Sonny Payne, drums; with Putte Wickman, clarinet #4.
1.Cute 2.The Sleeper 3.Ballad Medley: Easy Living / September Song / Don't Blame Me 4.When The Saints Go Marching In
** originally released on Metronome (Swd) MLP 15018 in 1959.
WP-1289 Various Artists - Swingin' Like Sixty Vol. 1: The Singers/The Swingers 1960
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Henry Grimes, bass; Dave Bailey, drums; Annie Ross, vocal.
How About You
Gerald Wilson, trumpet; Jimmy Allen, Teddy Edwards, tenor sax; Hampton Hawes, piano; Herman Mitchell, guitar; Jimmy Hamilton, bass; Jimmy Miller, drums; Jimmy Witherspoon, vocal.
There's Good Rockin' Tonight
Johnny Coles, Louis Mucci, Danny Stiles, trumpet; Jimmy Cleveland, Curtis Fuller, Rod Levitt, trombone; Earl Chapin, French horn; Bill Barber, tuba; Steve Lacy, soprano sax; Budd Johnson, tenor sax, clarinet; Ed Caine, woodwinds; Gil Evans, piano, arranger, conductor; Ray Crawford, guitar; Tommy Potter, bass; Elvin Jones, drums.
La Nevada (theme) (short version)
Zoot Sims, tenor sax; Russ Freeman, piano; Freddie Green, guitar; Ed Jones, bass; Sonny Payne, drums; Jon Hendricks, Dave Lambert, Annie Ross, vocal.
Airegin (alternate take)
Zoot Sims, tenor sax; Russ Freeman, piano; Jim Hall, guitar; Monte Budwig, bass; Mel Lewis, drums; Annie Ross, vocal.
Everything I've Got Belongs To You
Teddy Edwards, tenor sax; Joe Castro, piano; Leroy Vinnegar, bass; Billy Higgins, drums; Gloria Smyth, vocal.
Gee Baby, Ain't I Good To You
Buddy Montgomery, piano; Wes Montgomery, guitar; Monk Montgomery, Fender electric bass; Louis Hayes, drums.
6555Summertime
Gerald Wilson, trumpet; Harold Land, tenor sax; Jackie Davis, organ; Jim Hall, guitar; Curtis Counce, bass; Nat Morris Jr., drums.
E6599Blowin' The Blues
Pony Poindexter, alto sax; Gildo Mahones, piano; Wes Montgomery, guitar; Monk Montgomery, Fender electric bass; Walter Bolden, drums; Jon Hendricks, vocal.
Feed Me
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Doodlin' (alternate take)
Donald Sleet, trumpet; Daniel Jackson, tenor sax; Terry Trotter, piano; Herbie Lewis, bass; Lenny McBrowne, drums.
Soul Sisters
Les McCann, piano; Leroy Vinnegar, bass; Ron Jefferson, drums.
6161 (13186)Vacushna
WP-1290 Various Artists - Swingin' Like Sixty Vol. 2: Around The World 1960
Bud Shank, alto sax, flute; Laurindo Almeida, guitar, arranger; Gary Peacock, bass; Chuck Flores, drums.
Choro In "A"
Bob Dorough, read; Langston Hughes, words; with Bob Dorough Quintet.
Daybreak In Alabama
Ravi Shankar, sitar; N.C. Mullick, tamboura; Chatur Lal, tabla.
Dhun (Folk Airs) Mishra Piloo (In Thumri Style)
Bud Dashiell, Travis Edmonson, guitar, vocal.
La Bamba
Lynn Gold, guitar, vocal.
The Quiet Land Of Erin
Sonny Terry, harmonica, vocal; Brownie McGhee, guitar, vocal.
Livin' With The Blues
Paul Horn, flute, alto sax, clarinet; Gene Estes, vibes; John Pisano, guitar; Lyle Ritz, bass.
Greensleeves
Kimio Eto, koto.
Choryu (The Current) Midare (Classical Instrumental Piece)
Sarita Heredia, guitar, gourd, pitos, castanets, vocal.
Fandango De Huelva
WP-1291 Various Artists - Swingin' Like Sixty Vol. 3: Something For Both Ears 1960
Harry Edison, Conrad Gozzo, trumpet; Jimmy Zito, bass trumpet; Harry Klee, Art Pepper, alto sax; Mort Friedman, tenor sax; Marty Berman, baritone sax; Jimmy Rowles, piano; Al Hendrickson, guitar; Joe Mondragon, bass; Irv Cottler, drums; Johnny Mandel, arranger, conductor.
Georgia On My Mind (instrumental)
Paul Horn, alto, tenor sax, flute, clarinet; Fred Katz, cello; John Pisano, guitar; Carson Smith, bass; Chico Hamilton, drums.
Caravan
Chet Baker, trumpet; Gerry Mulligan, baritone sax; Henry Grimes, bass; Dave Bailey, drums.
Ornithology
Lee Konitz, alto sax; Allen Eager, Zoot Sims, tenor, alto sax; Al Cohn, tenor, baritone sax; Gerry Mulligan, baritone sax; Freddie Green, guitar; Henry Grimes, bass; Dave Bailey, drums.
Revelation
Jerry Dodgion, alto sax, flute; Charlie Mariano, alto sax, recorder; Victor Feldman, vibes; Jimmy Rowles, piano; Monte Budwig, bass; Shelly Manne, drums.
2050The Vamp's Blues (as Seeburg Blues)
Paul Horn, alto sax, flute; Fred Katz, cello; John Pisano, guitar; Harold Gaylor, bass; Chico Hamilton, drums.
Bali Ha'i
Johnny Coles, Louis Mucci, Ernie Royal, trumpet; Joe Bennett, Tom Mitchell, Frank Rehak, trombone; Julius Watkins, French horn; Harvey Phillips, tuba; Cannonball Adderley, alto sax; Jerry Sanfino, reeds; Gil Evans, piano, arranger, conductor; Chuck Wayne, guitar; Paul Chambers, bass; Art Blakey, drums.
'Round Midnight
Jimmy Rowles, piano, arranger; Johnny Mandel, arranger; Bill Holman, arranger, director; and others.
Hooray For Love (instrumental)
Buddy Montgomery, vibes; Richie Crabtree, piano; Monk Montgomery, Fender electric bass; Benny Barth, drums.
Sunday
same personnel.
E6707The Champ
** originally released on Something For Both Ears! $2.98, World Pacific HFS-2 in 1959.
WP-1292 Oooo Oooo!! Eddie Condon All Stars - Tiger Rag! And All That Jazz* 1960
Rex Stewart, cornet; Cutty Cutshall, trombone; Herb Hall, clarinet; Bud Freeman, tenor sax; Gene Schroeder, piano; Eddie Condon, guitar; Leonard Gaskin, bass; George Wettling, drums.
Ostrich Walk Livery Stable Blues Lazy Daddy Sensation Rag Reisenweber Rag Bluin' The Blues Lazy River Tiger Rag
** also released on World Pacific STEREO-1292 in 1960.
WP-1293 Gloria Smyth - Like Soul! 1960
Teddy Edwards, tenor sax; Joe Castro, piano; Leroy Vinnegar, bass; Billy Higgins, drums; Gloria Smyth, vocal.
I'll Be Over Gee Baby, Ain't I Good To You
Donald Sleet, trumpet #1,3,4; Daniel Jackson, tenor sax #1,3,4; Terry Trotter, piano; Herbie Lewis, bass; Lenny McBrowne, drums #1,3,4; Gloria Smyth, vocal.
1.Running Wild 2.Motherless Child 3.Sometimes I'm Happy 4.It Don't Mean A Thing
Teddy Edwards, tenor sax #2,3; Ronnie Ball, piano; Ben Tucker, bass; Al Levitt, drums; Gloria Smyth, vocal.
1. E6160Billy 2.Sittin' And Sighnin' 3.Bye Bye Blackbird
Teddy Edwards, tenor sax; Les McCann, piano; Leroy Vinnegar, bass; Ron Jefferson, drums; Gloria Smyth, vocal.
Imagination I'll Remember April E6159When You're Smiling Time After Time
** also released on World Pacific STEREO-1293 in 1960.
WP-1294 Sonny Terry And Brownie McGhee - Blues Is A Story 1960
Sonny Terry, harmonica, vocal; Brownie McGhee, guitar, vocal.
Key To The Highway Lose Your Money Louise Sportin' Life New Harmonica Breakdown Prison Bound Livin' With The Blues Blowing The Blues Baby, Please Don't Go Twelve Gates To The City Pawnshop Blues Brownie's Guitar Blues
** also released on World Pacific STEREO-1294 in 1960.
WP-1295 David Allen Sings The Music Of Jerome Kern 1960
David Allen, vocal; with unidentified large orchestra, Johnny Mandel, arranger, conductor.
ST-2009A Sure Thing Dearly Beloved I'm Old Fashioned Lovely To Look At The Way You Look Tonight The Folks Who Live On The Hill Long Ago And Far Away I've Told Every Little Star All In Fun ST-2008In Love In Vain
** originally released on David Allen Sings Jerome Kern - A Sure Thing, World Pacific WPM-408 in 1958.
WP-1296 Brownie McGhee, Lightnin' Hopkins, Big Joe Williams, Sonny Terry - Down South Summit Meetin' 1960
Sonny Terry, harmonica, vocal; Lightnin' Hopkins, Brownie McGhee, Big Joe Williams, guitar, vocal.
Ain't Nothin' Like Whiskey Penitentiary Blues If You Steal My Chickens First Meeting How Long Have It Been Wimmin From Coast To Coast
** also released on World Pacific STEREO-1296 in 1960. and on Lightnin' Hopkins With Brownie McGhee, Sonny Terry And Big Joe Williams - First Meetin', World Pacific WP-1817 in 1963, ST-1817 in 1963.
WP-1297 Don Randi Trio - Feelin' Like Blues 1960
Don Randi, piano; Hershey Hamel, bass; Gene Stone, drums.
Feelin' Like Blues Summertime Ja Da Fallout Buddaha's Mood Cheek To Cheek Blues For Miti
** also released on World Pacific STEREO-1297 in 1960.
WP-1298 Gil Evans Orchestra Featuring Cannonball Adderley 1960
Johnny Coles, Louis Mucci, Ernie Royal, trumpet; Joe Bennett, Tom Mitchell, Frank Rehak, trombone; Julius Watkins, French horn; Harvey Phillips, tuba; Cannonball Adderley, alto sax; Jerry Sanfino, reeds; Gil Evans, piano, arranger, conductor; Chuck Wayne, guitar; Paul Chambers, bass; Art Blakey, drums.
St. Louis Blues King Porter Stomp Lester Leaps In 'Round Midnight
Bill Barber, tuba; Phil Bodner, reeds; Philly Joe Jones, drums; replaces Phillips, Sanfino, Blakey.
Willow Tree
Art Blakey, drums; replaces Jones.
Struttin' With Some Barbecue
Clyde Reasinger, trumpet; replaces Royal.
Manteca Bird Feathers
** originally released on Gil Evans - New Bottle Old Wine, World Pacific WP-1246 in 1958.
WP-1299 Kimio Eto Featuring Bud Shank - Koto And Flute 1960
Kimio Eto, koto; featuring Bud Shank, flute.
Haru No Umi (Suite) Part 1: Haru No Umi Haru No Umi (Suite) Part 2: Haru No Otozure Haru No Umi (Suite) Part 3: Tanima No Suisha
Kimio Eto, koto.
Soyo Kaze (as Joyo Kaze) March Chidori No Kyoku (as Chi Dori) Yachiyo Jishi (as Yachi-Yo Jishi) Yorokobi Lullaby (3 Versions)
** also released on World Pacific STEREO-1299 in 1960, WP-1424 in 1963, ST-1424 in 1963.
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Chico Hamilton Trio
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1956 studio album by Chico Hamilton Trio
Chico Hamilton TrioStudio album by
Chico Hamilton Trio
Released1956RecordedDecember 6, 1953, October 2, 1954 and February 8, 1956
Hollywood, CAGenreJazzLabelPacific Jazz PJ-1220[1]ProducerRichard BockChico Hamilton chronology
Chico Hamilton Quintet in Hi Fi
(1956) Chico Hamilton Trio
(1956) Chico Hamilton Quintet
(1956)
Chico Hamilton Trio is an album by drummer and bandleader Chico Hamilton, recorded at sessions in 1953, 1954 and 1956 released on the Pacific Jazz label.[2][3] The album features Hamilton's first recordings for Pacific Jazz from 1953 and 1954, six tracks originally released on a 10-inch album, along with an additional four recordings from 1956.
Reception
[edit]
Professional ratingsReview scoresSourceRatingAllMusic[4]Disc[5]The Penguin Guide to Jazz Recordings[6]
The AllMusic review by Michael G. Nastos states: "An entry point recording for Chico Hamilton, it displays his savory good common sense well before being more trend and fashion conscious, as psychedelia and fusion took over commercialized jazz."[4]
Track listing
[edit]
"Blues on the Rocks" (George Duvivier) - 3:05
"Street of Drums" (Chico Hamilton) - 3:20
"We'll Be Together Again" (Carl T. Fischer, Frankie Laine) - 2:50
"Skinned Strings" (Hamilton, Duvivier) - 5:12
"Nuttye" (Jimmy Cheatham) - 2:27
"Porch Light" (Duvivier) - 3:58
"Broadway" (Billy Bird, Teddy McRae, Henri Woode) - 3:03
"Autumn Landscape" (Duvivier) - 3:45
"Uganda" (Hamilton, Duvivier) - 4:45
"Lollypop" (Gerald Wiggins, Hamilton) - 2:14
Recorded at Sound Stage Studio, Hollywood on December 6, 1953 (tracks 2, 5 & 7) and October 2, 1954 (tracks 3, 9 & 10) and Music Box Theatre, Hollywood, on February 8, 1956 (tracks 1, 4, 6 & 8)
Personnel
[edit]
Chico Hamilton - drums
Jim Hall (tracks 1, 4, 6 & 8), Howard Roberts (tracks 2, 3, 5, 7, 9 & 10) - guitar
George Duvivier - bass
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The Chico Hamilton Quintet was a unique Fifties chamber-jazz ensemble. Hamilton was the drummer -- ordinarily an odd choice to lead this kind of group, but Hamilton was probably the most musical drummer in jazz, equal to his contemporary, Shelly Manne, in subtlety and finesse, but tempered by his seven years with singer Lena Horne into a greater musical sensitivity. A west coast jazz deejay, Sleepy Stein, said of Hamilton, “this man plays music, not drums.”
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Chico Hamilton Quintet
The Chico Hamilton Quintet was a unique Fifties chamber-jazz ensemble. Hamilton was the drummer -- ordinarily an odd choice to lead this kind of group, but Hamilton was probably the most musical drummer in jazz, equal to his contemporary, Shelly Manne, in subtlety and finesse, but tempered by his seven years with singer Lena Horne into a greater musical sensitivity. A west coast jazz deejay, Sleepy Stein, said of Hamilton, “this man plays music, not drums.” The Quintet was equally unique in its instrumentation and its focus on musical forms more commonly associated with classical music than jazz. Yet the Quintet depended on spontaneous improvised interplay between its musicians. They were Buddy Collette (saxes, flutes, oboe, clarinet), Jim Hall (guitar), Fred Katz (cello), and Carson Smith (bass). This lineup of instruments survived several turnovers in personnel, as Paul Horn replaced Collette, and was himself much later replaced by Eric Dolphy; John Pisano replaced Hall; Hal Gaylor replaced Smith; and Nate Gershman replaced Katz (at the same time Dolphy came in). When eventually Hamilton hired Charles Loyd to replace Dolphy, he also abandoned the original Quintet format and its music. In its original form the Quintet was a musical equal to its contemporary, the Modern Jazz Quartet. Both played chamber jazz: subtle, contrapuntal music to which each instrument contributed its own line. With the array of instrumentation available to it, the Quintet could cover a broader territory, ranging from the blues propelled by a tenor sax -- or a walking bass -- to something more ethereal from oboe and cello. The “chamber” aspects of the music had less to do with the unusual instrumentation itself than with its dynamics and subtle tonal shadings. The Quintet played in a softer, quieter range than most jazz groups, thus forcing its audiences to stop talking to each other and listen more closely to the music. This was immediately obvious with their first album, The Chico Hamilton Quintet Featuring Buddy Collette (Pacific Jazz PJ-1209), which was recorded in August, 1955 and released later that year. Side one was recorded in a studio on August 23rd, but side two was recorded in a Long Beach club, The Strollers, on August 4th, only a few weeks after the Quintet’s formation, and the club ambience is clearly audible. This album was one of the first 12-inch LPs released by Richard Bock’s Pacific Jazz label, and is now valued at $30 to $75 by collectors, depending on its condition. The gig at The Strollers was originally for only two weeks, but stretched into eight months, giving the Quintet a residency which allowed them to settle in and grow. Then radio station KFOX began a series of live broadcasts from the club, and once the first album was released the Quintet began to acquire a national following. (Copies of tapes from those broadcasts, recorded off the air by jazz fans on home equipment, are very rare and highly valued by collectors. None has been released as a commercial recording.) Down Beat magazine gave the first album a five-star (its top rating) review. On January 4th, 1956 the Quintet was back in the studio, recording their second album, The Chico Hamilton Quintet In Hi-Fi (PJ-1216). The “Fi” is in fact no higher than on the first album, but “Hi-Fi” was just coming into existence as a sales buzz-word, and a number of record labels of the time were incorporating it into their album titles. Indeed, the monophonic recordings of Bock’s Pacific Jazz label were exemplary, setting standards rarely exceeded since then. By now the Quintet had half a year of playing behind it and its style had matured. Richard Bock was also developing a West Coast Artist Series for his album covers, and this album was the fifth in the series. The cover photograph shows the Quintet in the background and in the foreground a sculptor and his abstract sculpture. The sculptor was identified only as “Vito,” and in the photo his hands are blurred with movement as he apparently continues to sculpt. This album is also valued at $30 to $75, depending on its condition. That was to be the last album recorded by the original Quintet. Buddy Collette got a job with the Jerry Fielding orchestra on the Groucho Marx radio and TV shows. Jim Hall left to join the Jimmy Giuffre 3. Multi-reed man Paul Horn replaced Collette and guitarist John Pisano replaced Hall. The revamped Quintet went into Los Angeles’ Forum Theatre to record the next album on October 21st and 24th. Richard Bock liked the acoustics there, and the recording bears out his judgment. This album, released in early 1957, was called Chico Hamilton Quintet (PJ-1225), a startlingly uninspired title and the third Quintet album to have essentially the same name. It was recorded in both mono and stereo, although the stereo version was not released until 1958, when the album was reissued on Bock’s new successor to the Pacific Jazz label, World Pacific (ST-1005). The album’s cover was a striking abstract painting which seemed to evoke a bass or cello and drums in its images, and was by Keith Finch – the 6th in the West Coast Artist Series. The original Pacific Jazz release is valued at $30 to $75, depending on its condition, but the World Pacific reissues (in both mono and stereo) are worth less to collectors, ranging from $20 to $50. The mono version is worth more than the stereo version. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Statistics:
41,112plays
5,785listners
277top track count
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https://djungelochjazz.se/en-ca/products/the-chico-hamilton-trio-chico-hamilton-trio
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The Chico Hamilton Trio ~ Chico Hamilton Trio
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The Chico Hamilton Trio - Chico Hamilton Trio på vinyl finns till försäljning hos Djungel & Jazz skivbutik i Stockholm och Online
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Djungel & Jazz
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https://djungelochjazz.se/en-ca/products/the-chico-hamilton-trio-chico-hamilton-trio
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More from the Artist: Chico Hamilton |
Product type: Second Hand vinyl
Comments: Record has lots of shallow hairlines and marks. Residue from tape on edges. Wear on spine.
Media Condition: Very Good (VG)
Sleeve Condition: Very Good (VG)
Label: Pacific Jazz |
Format: Vinyl, LP, 10", Album
Country: US
Release Year: 1955
Genre: Jazz |
Style: Cool Jazz |
Release ID: r4759777
When you buy second hand vinyl records from Djungel & Jazz, you should always feel secure in our grade and comments of the product's condition. Normally we do not sell vinyl records where the grade of the media is below VG condition, however, we can sell sleeves with a slightly lower grade, with the argument that you don't listen to the sleeve.
The majority of our records are visually graded. In many cases, we also listen to the record, and you will find our verdict on the condition of the vinyl record in the comments. If necessary, we wash the disc in our ultrasonic washer and place it in a new antistatic inner sleeve.
We always try to mention the details and deviations that are essential to know about each individual vinyl record. Please read the comments for the rationale for our grading of the specific vinyl record.
Below is a brief explanation of how we grade vinyl records and record sleeves. Should a record be incorrectly graded by us, Djungel & Jazz offers a Grading Guarantee that allows you to return the record and receive a full refund. Please read more about our Grading Guarantee and how to proceed here.
Mint (M)
Absolutely perfect in every way. Probably never played, possibly even still sealed.
Near Mint (NM or M-)
An NM or M- record has probably hardly ever been played and the vinyl will play absolutely flawlessly, without any interference during playback. We are sparing with higher ratings than this, as we believe that no record is ever completely perfect. The record should not show any obvious signs of use.
Possible signs of light handling may be present to the sleeve. An LP cover should not have creases, folds, cracks in the seams, punched holes or other noticeable similar defects.
Very Good Plus (VG+)
A record in this condition will show some signs of having been played and handled by a previous owner who took good care of it. Any defects must be of a cosmetic nature and not affect playback to any great extent. The record surfaces may show some signs of use and may show small wear or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are "okay". The label may have some ring wear or discoloration, but it should be barely noticeable. "Spindle marks" may occur.
Covers and inner sleeves will have some wear, slightly turned-up corners or a small cracks in some seam. An LP sleeve may show slight signs of wear and may be marked by a punched hole, an indentation or a cut corner. In general, if it weren't for a couple of small things wrong with it, it would be NM/M- instead.
Very Good (VG)
Many of the flaws found in a VG+ record will be more noticeable in a VG record. Surface noise can be noticeable when you play it, especially in soft passages, during the intro and fade-out of a song, but will not overpower the music otherwise. Groove wear is starting to show, as well as light scratches that can be felt with a fingernail that might affect the sound.
Labels may be torn from writing or have tape or stickers (or their remnants) attached. The same applies to picture cases or LP cases. However, it will not have all these problems at the same time.
Good Plus (G+) & Good (G)
A record in this condition can be played through without skipping. It may have significant surface noise, scratches and visible groove wear. Although the disc can be played without skips, noticeable surface noise and clicking sounds will certainly occur.
A sleeve or inner sleeve will likely have cracks in the seams, especially at the bottom or on the back. Tape, writing, annular wear or other imperfections will be present.
Poor (P) & Fair (F)
The record may be cracked, severely warped, and cannot be played through without skipping or repeating itself. Djungel & Jazz does not sell records with this rating.
The sleeve is probably water damaged, torn along all three seams or heavily damaged by wear and writing. The LP sleeve barely holds the LP inside. Inner pockets are torn, wrinkled and scribbled.
Generic
The term Generic is given to album covers that have no printing. Mostly solid black or white. Sometimes with a hole showing the records label on both sides.
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Category: Jazz History
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The Faine jazz CD collection.
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faine books
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http://www.fainebooks.com/1/category/jazz-history
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Wayne Shorter. 2006. Photo credit: Tom Beetz.
When most jazz fans think of Wayne Shorter, they are likely to conjure up one or more of his Blue Note albums (e.g., Juju), and/or one or more of his Miles Davis albums (e.g., Miles Smiles), and/or one or more of his Weather Report albums (e.g., Heavy Weather). My first thoughts, however, run to Native Dancer, that hybridized, outlier collaboration with musicians from Brazil. When the LP came out in 1975, I bought six copies and gave five to friends—I loved it that much.
Wayne had featured several Brazilian rhythm tracks on previous albums. Still, as Shorter biographer Michelle Mercer wrote,
No one was prepared for the deeply affecting sound of Wayne’s Native Dancer recording. It was unlike any Brazilian music most Americans had ever heard. The record’s first few notes introduced a voice, one that had to be the most potent falsetto on the planet [belonging] to Brazilian pop star and composer Milton Nascimento [to which] Wayne married jazz to Milton’s melodies in a kind of holy union that made other Brazilian jazz efforts of the time [Jazz Samba, Getz /Gilberto] seem like one-night stands. (1)
Having first learned of Nascimento from jazz pianist Herbie Hancock, Wayne covered one of the singer/songwriter’s tunes on a Blue Note album in 1970. Inevitability, one often realizes, dictated a shared recording date. With his Portugese wife Ana Maria’s encouragement, Wayne arranged to have Milton and two musical associates stay at his house in Malibu where they lived, and worked for two weeks, going to the studio to record Native Dancer on September 12, 1974.
Shorter recognized that if you have a one-of-a-kind singer, one who had assimilated the bossa nova of his fellow countrymen, along with the Gregorian chants of his remote Catholic church in the hinterlands, into a self-styled alto yodel (some called it) or his female voice (Milton called it), then a hybrid album—not a jazz album, not a Brazilian album—but a hybrid should be made. And that’s what Wayne did.
Along with him and Herbie Hancock, there were three Brazilians:
Milton, Wagner [Tiso], and Robertinho [Silva]. There were also two players from the pop scene, Dave McDaniel, a bassist with Joe Cocker, and Jay Graydon, a guitarist, producer, and songwriter. There was Dave Amaro, [Brazilian singer] Flora Purim’s guitarist, on a couple of tunes, and [husband, percussionist] Airto [Moreira] on most of them. The engineer was Rob Fabroni, who had worked with The Band and other rock groups. And finally, Jim Price, a multi-instrumentalist who had worked with the Rolling Stones, produced the record. (2)
The album opens with “Ponta De Areia,” a singsong, nursery school melody over an unusual 9/8-meter sung by Milton in his liquid, instrumental-like wordless falsetto voice. Heard underneath is a shadow piano melody by Herbie. The other singer on the date, Wayne, enters smoothly on his soprano saxophone, repeating the childlike melody before he joins Milton in a duet. “Ponta” ends as it begins except for Waynish obligatos underneath.
Perhaps fearing the first-track exotica might be a bit much for first-time listeners, Wayne follows “Ponta” with his own composition, “Beauty and the Beast.” A solid toe-tapper that begins with hesitant, funky block chords by Herbie that segues into a strong, melodic statement by Wayne, then alternates back and forth between the two as the tune continues; ostensibly one is “Beauty,” the other, Beast.” At song’s end they are one in the same.
Nascimento sings “Tarde” clearly, softly, yet another display of his tremendous vocal range. For this luxurious mood piece, Wayne pulls out his first instrument—tenor sax—and plays a romantic solo over a Hammond organ cushion. Milton reenters with a sweeping, wordless falsetto behind Wayne’s tenor excursions, pauses for a spell, then returns with an even higher-pitched falsetto.
Hancock later remarked, “After Wayne soloed, when Milton would come back in, you couldn’t even tell it was a voice. Because when Wayne played, it sang, and Milton’s singing has an instrumental quality to it.” (3)
Milton begins “Miracle of the Fishes” wordlessly, wailing away, then slips in some lyrics along with the wail as Wayne, on tenor again, joins in with gusto. The free-spirited pair soar off together, not so much as an energetic vocal/sax duo, but more like a saxophone cutting contest that might take place on the fringes of avant jazz. The backup musicians (organ, guitar, drums, percussion) are exceptional in this unrestrained, up-tempo romp.
Shorter is back on soprano for the lovely ballad “Diana,” named for the newborn daughter of Flora Purim and Airto, ably supported by pianist Hancock.
Nascimento wrongly titled “From the Lonely Afternoons”—should have been “Lovely” or “Happy.” The singer-songwriter sails a wordless vocal over the band’s jumping, finger-snapping groove that compels Wayne on tenor to spread a Coltraneish flurry of notes over the head-bobbing musical stew. At the close, other voices (members of the band?) join Milton before Wayne declares “Good Afternoon.”
Critic Howard Mandel, who awarded Native Dancer five stars in DownBeat magazine, was especially enamored by the saxist’s homage to his wife “Ana Maria,” writing, "A lovely line is offered again and again with the slightest embellishment, gradually blossoming into a large, encompassing circle that Hancock laces with sweeping and graceful runs.” (4)
As revealed by Shorter biographer Mercer:
Milton sang “Lilia” with wordless vocals [as he did on several others], which was for him a style born of necessity and perfected under pressure. Under Brazil’s military dictatorship in the sixties and seventies, the ruling regime monitored pop music, censoring anything seemingly rebellious . . . When Milton recorded [an album] in 1973, the censors denied clearance on several of its songs. His record company asked him to write new lyrics. But Milton didn’t want to play the military’s editing game . . . So Milton protested by singing without words, using his voice in an instrumental role. (5)
And did he ever on “Lilia.” A trebly “LaLaLaAyeAyeAyeYa-eeea” wail over a bouncy organ-piano-guitar broken 5/4 meter rhythm–his “alto yodel almost indistinguishable from Shorter’s airily ethereal soprano sound, which draws the song to a climax by ringing out one tone against a shifting rhythm bed.” (6) Whew!
Wayne’s soprano settles into a gentler approach on Hancock’s introspective “Joanna’s Theme,” which closes the album. The four non-Nascimento tunes on the recording—this one, plus “Diana,” “Ana Maria,” and “Beauty and the Beast”—are collectively gorgeous and belong on this intriguing album, largely because of the uncanny similarity between the principal soloists’ voices.
This album has little precedent (that I can think of). Jazz musicians have worked with vocalists from the very beginning, but mostly in a backup role, and either way, too. Instrumentalists backing up the vocalist, or the opposite, singers backing up the front line instruments. For example, choral groups have backed up trumpeter Donald Byrd, pianist Andrew Hill, and guitarist Kenny Burrell.
As for the other way around, we can turn to, of course, Duke Ellington and “Creole Love Call,” the Ellington composition best known for its vocal by singer Adelaide Hall. It was the first 100 percent nonverbal scat vocal in jazz. (7) Duke followed up on the use of the human voice as an instrument, especially on “Mood Indigo,” with its famed tri-part opening. In recent times, soprano saxophonist Steve Lacy would often use the voice of wife, Irene Aebi, along with the other frontline instruments.
Simply put, Native Dancer is one of the greatest albums of the late 20th century; and for this alone, Wayne Shorter deserves to be a Kennedy Center honoree.
Michelle Mercer, Footprints: The Life and Work of Wayne Shorter (New York: Jeremy Tarcher/Penquin, 2007), 164.
Mercer, Footprints, 169.
Mercer, Footprints, 173.
Howard Mandel, Wayne Shorter, Native Dancer review, DownBeat magazine, 1965.
Mercer, Footprints, 171.
Mandel, Native Dancer Review, DownBeat.
Ann Powers, Good Booty: Love and Sex, Black & White, Body and Soul In American Music (New York: Dey Street Books, 2017), 27.
The Faine jazz CD collection.
Continuing from part 3, here are five more personal favorites from my collection of jazz CDs.
Charles Lloyd | Passin’ Thru | Blue Note
Saxophone/flute player Charles Lloyd burst onto the California jazz scene in the mid-1960s on the strength of (1) albums Dreamweaver (1966) and Forest Flower (1967) featuring his first great quartet Keith Jarrett (piano), Cecil McBee (bass), and Jack DeJohnette (drums), and (2) the group’s appearances at Bill Graham's youth-filled Fillmore clubs.
After several years of pop adulation Lloyd entered into a period of (what should we call it) semi-retirement.
Lloyd’s real resurgence began in the 1990s when he signed onto the ECM label, recording sixteen albums with them followed by a stint with Blue Note into 2020, recording five albums.
The bulk of these albums feature Lloyd’s second great quartet (also known as the new quartet) Jason Moran (piano), Reuben Rogers (bass), and Eric Harland (drums). The best of which, in my opinion, is the highly entertaining Passin’ Thru (2017).
The album opens with Lloyd’s composition “Dreamweaver,” also recorded by his first quartet. The second quartet’s take is longer (by six minutes) and more complex, as Tom Jurek wrote:
"The version commences with a modal, post-Coltrane intro as the saxophonist explores tones and space before the drummer Harland checks into its groove, one that touches on the blues, folk music, a pop-style chorus and gospel before moving off to explore Eastern modalities, post-bop, and (some) dissonances before circling back to its lovely melody."
The following tracks reflect the various genres and styles mentioned above, singularly and collectively.
“Nu Blues” is a be-boppin’ swinger by the Jason Moran Bop Trio. Moran is rollin’ the keys like Bud Powell, Rogers is Ray Brown or Oscar Pettiford walkin’ the bass, and Harland is bebop originator Kenny Clarke keepin’ time on his ride cymbal, kickin’ the bass drum, and adding his own polyrhythmic textures. Tenorman Lloyd joins the Trio and its throwback time to a 1950s Norman Granz Jazz at the Philharmonic concert battlin’ it out with Flip Phillips and Illinois Jacquet.
Well, that’s the way I heard it.
“How Can I Tell You” is about as close the new quartet could get to a late-night slow dance dreamy ballad. Moran’s (almost) cocktail piano and the drummer’s use of brushes sets the mood for the leader’s lyrical saxophone offering to the song’s inspiration, singer Billie Holiday.
On “Tagor” Lloyd stirs the bluesy stew prepared by his rhythm mates with his Eastern sounding flute. At the start Moran strums the piano strings like a guitar, Rogers adds a Motown melodic bass line, and the drummer drives “Tagor” forward with a snare and hi-hat attack.
At the mid-point, with no loss of drive, Moran moves to the keyboard to pound out a funky chording interval over a rock-and-roll backbeat. Start to finish this is a hand-clapper.
The title track opens with unaccompanied bass and then, boom!, the band takes off with a high energy up-tempo dance-like excursion into bop. Moran’s piano and Lloyd’s tenor solo engage Roger’s and Harland’s rhythms with startling athletic lyricism.
Bordering on playful and/or novelty, “Passin’ Thru” is a crowd pleasin’ groove.
The album closes on a respectful note with “Shiva’s Prayer.” A beautiful unaccompanied piano piece by Moran, with lovely arco bass playing by Rogers, and soft drums by Harland.
Then quiet.
Sonny Sharrock | Ask the Ages | Axiom
Scott Yanow in his ultimate guide to the great jazz guitarists opined, "Sonny Sharrock was the first truly avant-garde guitarist in jazz. . . When Sharrock burst on the scene in the mid-1960s, he was not only free in his choice of notes but in . . . his use of feedback and distorted sounds. He preceded Derek Bailey and Jimi Hendrix. During an era when few jazz guitarists even acknowledged rock, Sharrock was playing explosive solos that made him the Pharoah Sanders of the guitar.”
Interesting, then, that he would pair up with saxophonist Sanders, along with bass player Charrette Moffet and drummer Elvin Jones in 1991 to record Ask the Ages, the consensus definitive and most essential album of Sharrock’s career.
This is unquestionably a free jazz album, how could it not be with Sonny Sharrock, Pharoah Sanders, and Elvin Jones ripping it up as if it was 1965.
Yet it is something else again, appealing and accessible to a wide range of music fans. Proof of this can be found on google: type in “rateyourmusic.com Ask the Ages,” select the top entry, and read the 45 reviews, and you’ll see what I mean.
Ask the Ages has six original Sharrock compositions: two scorchers “Promises Kept” and “Many Mansions,” two mellow and melodic “Who Does She Hope to Be” and “Once Upon a Time,” and two in-betweeners, “Little Rock” and “As We Used to Sing.” It is the mellow tunes (and secondarily the in-betweeners) that make this album so appealing with “Who Does She Hope to Be” generally favored over “Once Upon a Time.”
But for my money, the latter is the exceptional track.
While each instrument is heard in “Once Upon a Time,” it is the collective daresay “symphonic” — like sound that matters.
Sonny’s guitar, chording Hendrix-like and soloing at the same time (dubbing may have been involved); Pharoah’s tenor sax, offering a repetitive hummable figure; and Elvin’s non-stop striking of his drums with mallets, yes, with mallets not sticks or hands, creating a rhythmically throbbing pattern. Occasionally, Sonny spices the group’s malleting stew with a memorable Santana-like guitar line.
Overall, a never-to-be forgotten, compelling track.
Frank Sinatra | Live in Australia 1959 | Blue Note
While Sinatra’s time capsule albums are Wee Small Hours in the Morning, Songs for Swinging Lovers, Only the Lonely, and a few others, the “Jazziest” is Frank Sinatra with the Red Norvo Quintet Live In Australia 1959.
A rare album where Frank sings his well-known fan favorites, not as originally recorded with a large studio orchestra, mind you, but backed by a small jazz combo live.
From Will Friedwall’s liner notes:
“He just melted into it . . . He took responsibility (like a conductor) he beat off the group and everything, he did his own thing, and the band played great for him . . . [Alto/flute] player Jerry Dodgion elaborated: the informal format also encouraged Sinatra to vary both the program and the arrangements themselves . . . He could be different every night which is more in keeping with a jazz group.”
Some might argue that Sinatra’s performance with Count Basie’s band captured live in Las Vegas tops that in Australia 1959.
For me, Ol’ Blue Eyes' best live album is Australia 1959.
Frank Sinatra | The Concert Sinatra | Reprise
In the entire recording oeuvre of Frank Sinatra there is nothing like The Concert Sinatra, an album of extended performances by Frank and a 73-piece symphony orchestra arranged and conducted by Nelson Riddle.
The recording features eight tunes (lyrics by Oscar Hammerstein on all but one.) These are not the vocal offerings of familiar Sinatra poses, the finger-snappin’ swingin’ bachelor or the down-and-out sad sack propped against the lamppost.
No, this is the full-voiced light classicist in the manner of contemporaries Todd Duncan, Howard Keel, Gordan McRae, or (almost) Paul Robeson.
In other words, Frank gets as close as an American pop singer can to the bel canto style.
On no other album does Sinatra reveal such strength in his lower register and overall dynamic range. This album is in a class by itself. Discussions of what category it belongs to: jazz, pop jazz, pop, or Broadway — are irrelevant.
It’s simply incandescent.
No male interpretive singer of the 20th century other than Frank Sinatra could have pulled this off.
Wilson and Adderley | Nancy Wilson/Cannonball Adderley | Capitol
I bought this CD for two reasons: one, my fondness for the classic Adderley Quintet (Cannonball (Alto), brother Nat (Cornet), Sam Jones (Bass), and Louis Hayes (Drums) with Joe Zawinal (Piano); and two, my piqued curiosity after I read an article in Downbeat magazine in 2004, listing the best jazz vocalist albums chosen by 73 jazz singers (21 male, 52 female).[1] At the top, number one, was the album Nancy Wilson/Cannonball Adderley originally recorded in 1961.
After multiple listenings, I came around to understanding the record’s appeal to the Downbeat singers, helped along by Nancy Wilson’s statement in the album’s liner notes that she considered her vocals on the album “as a sort of easy-going third horn.”[2]
Jazz singers (all singers?) in particular desperately want to be a thoroughly integrated member of the band — not off to the side or out front, but in the mix. And that, in fact, was what Nancy was in this instance and what the DownBeat singers heard and no doubt wished for themselves.
The album is doubly interesting because it is not entirely a vocal album, five of the 12 tracks are instrumentals by the quintet (every one outstanding) especially Cannon’s alto solo on the trumpet warhorse “I Can’t Get Started” and the brothers cookin’ on “Teaneck,” but it is the seven Wilson tracks that caught the ears of the DownBeaters.
Highlights for me are the gentle cornet playing by Nat behind Wilson on “Save Your Love for Me” and Nat’s tune “The Old Country;” and Cannon’s bopish swinging sax duet with Nancy (and Nat) on “Never Will I Marry” and “Happy Talk.”
Sam Jones bass is superb, especially on “A Sleeping Bee.”
“Singers” All-Time Favorite Vocal Jazz Albums, DownBeat, June 2004, 48.
Ron Grevatt, original liner notes, Nancy Wilson/Cannonball Adderley, Capitol Records, 2004, Compact Disc, CDP 077778120421.
The Faine jazz CD collection.
Continuing from part 2, here are more personal favorites from my collection of 440 jazz CDs.
Roswell Rudd | MALIcool | Soundscape
Most often identified with the jazz avant-garde of the 1960s, trombonist Roswell Rudd, together with West African (Malian) musicians, formed a cross-cultural ensemble to create an original sound neither jazz nor traditional African.
The result: MALIcool.
Rudd’s usual thick trombone sounds, growls, smears, and boozy blats along with his warm tone dances its way among the sonic wonderland of Malian instruments — kora (12-string harp), ngoni (plucked lute), balaphone (Afro vibes), guitar, bass, and djembe (hand drum).
After reconciling the two musical systems (7-tone open form with 12-tone closed form), arrangements for the most part were deliberately sparse, leaving room for everyone to improvise.
The album’s songs could not have been more varied: Thelonious Monk’s “Jackie-ing,” a traditional Welsh folk song, a re-imagining of Gershwin’s “Summertime,” and Beethoven’s “Ode to Joy,” and several African traditional numbers.
A close listen to the album’s ten tunes, specifically to the strings (kora, ngoni, and guitar) will let you know where country blues came from, ditto the balafon, where swing-era vibist Lionel Hampton came from.
John Ephland of DownBeat magazine wrote: “Jazz purists will no doubt scoff at this meeting of musical souls. No matter how you slice and dice it, this music, modest at times, is still a ballsy bit of panache, a marriage of seemingly disparate worlds into something that works.”
I agree, besides, most jazz purists did not scoff. Released in 2002, MALIcool made it onto various Top Ten lists of the year.
John Hollenbeck | Songs I Like a Lot | Sunnyside
Drummer/arranger John Hollenbeck has put together a stunning album with cohorts Gary Versace (piano/organ), Kate McGarry and Theo Beckman (vocalists), and the 16-piece Frankfort Radio Big Band (five winds, four trumpets, four trombones, three rhythm — drums, electric and acoustic guitar, and bass.)
After a first listen, you will like Hollenbeck’s songs too, starting with the majestically arranged “Wichita Lineman.” The Jimmy Webb classic begins with a softly picked guitar line over a clarinet/flute chorus.
The crystalline pure voice of McGarry sings the first verse. An instrumental interval precedes Beckman’s take on the second verse before a rhythmic chording of piano, flute, and winds support a lengthy electric guitar solo.
The prominent role Hollenbeck assigns to the guitar here is perhaps a tribute to Glen Campbell’s and Wrecking Crew regular Carol Kaye’s guitar playing on the original hit version. Additional instruments and the vocalists enter the fray, a new but related melody develops, and the guitar makes a final statement before the coda: a gorgeous instrumental passage with voices in harmony and flutes a flutter.
John Kelman (All About Jazz) concluded: “It’s a song that’s been covered many times before but never so cinematically.”
Next up: “Canvas” by English singer-songwriter Imogen Heap from her 2009 album Ellipse.
The track begins with a riffing guitar followed by an instrumental statement of the melody. McGarry enters alone and then is doubled by Beckman giving voice to rather a singular melody that leads to a magnificent trombone solo. Hollenbeck’s drumming is persistent throughout, upping the tempo and the song’s energy at the close.
John Kelman again hits the nail on the head when he wrote, “If Wichita Lineman” is cinematic then Hollenbeck’s arrangement of Webb’s ‘The Moon Is a Harsh Mistress’ is positively IMAX.”
The arranger’s take on this lesser-known Webb tune is a sprawling 14-minute wall of compelling sound. The piece begins with just McGarry’s voice and piano before a layer of flutes and winds softly insinuate themselves into the arrangement.
The tempo picks up, and then guitar, drums and other instruments join in, piano becomes more dominant, volume steadily builds, drums more active. McGarry and Beckman join in, build, build, voices ooohing and aaahing.
Then a cooldown led by a lone clarinet before the entire orchestra climbs back up the aural staircase to greet a tenor saxophone solo at the top.
Beckman re-enters voicing the melody. McGarry joins him as the full orchestra roars into a symphonic ending with wind instruments mirroring the violins. Trust me, this is better heard than read.
“Man of Constant Sorrow,” whew!
The traditional folk tune’s tempestuous intro — low growly brass and winds and Hollenbeck’s tumultuous drums — lead to a second section of quick-strummed acoustic guitar and Beckman’s delivery of “Sorrow’s” first verse with McGarry’s repeating last line.
A killer lengthy tenor sax solo follows as Hammond organ punctuates the never-wavering strumming and drumming. Beckman sings the second verse.
McGarry repeats the last line as before. Alto sax solo follows, other instruments join in, low horns and organ chug away along with Hollenbeck’s constantly churning drums.
Beckman sings the final verse, and with McGarry, sings the last line “Meet you on that golden shore” 10 times! For the coda, organ, full orchestra, drums, vocalists go crazy, or as one critic put it, “Go Dixieland in the sixth dimension.” In other words, go free, like maybe Charlie Haden and the Liberation Orchestra.
Who could have imagined such an ending for a circa 1900 mountain folk song? John Hollenbeck, that’s who.
Free jazz originator Ornette Coleman’s “All My Life” originally sung by Indian singer-songwriter Asha Puhli in Coleman’s Science Fiction (1972) album is given a much different treatment by Hollenbeck.
Vocal honors to Kate McGarry, and what a lovely melody it is. At the outset, she sings over simple
piano accompaniment before the orchestra enters with a paraphrase. McGarry continues on with light orchestra backing, passing the baton to the band for a round of overlapping solos.
Then, with busy drums underneath, singer and orchestra carry the melody together, with the latter becoming progressively more dominant. The song ends with multiple instruments soloing.
Through it all, Ornette’s attractive melody is never far from listeners’ ears.
“Fall’s Lake,” a song from the indie-electronic artist Nubukazu Takemura featuring clarinet and distorted-sounding vocalists is not as interesting as the others. Too arty.
Hollenbeck’s song “Chapel Falls” closes the album in a relaxed mood. It starts with a repetitive piano figure underneath a sing-songy melody that is subsequently repeated by various sections of the band creating an ear-catching soundscape.
In essence, a mid-tempo toe-tapper, a good closer.
Bruce Hornsby | Camp Meeting | Legacy
This is not, repeat not, a novelty album — far from it.
Pop/country singer-pianist Hornsby can indeed play jazz piano, especially in the company of heavyweights Christian McBride (bass) and Jack DeJohnette (drums).
The trio tackles familiar themes from the jazz songbook — “Solar” (Miles), “Giant Steps” (Coltrane), “Straight No Chaser,” (Monk), “Un Poco Loco,” (Powell), “We’ll Be Together Again,” (Fischer/Lane), and two Hornsby originals. The album’s standout track is his “Camp Meeting”: a slow-building churchified romp worthy of FM radio play. The interplay between pianist and bassist is extraordinary.
Jazz Times critic Steve Greenlee commented, “The music stretches and contracts, it races, it gallops and It rumbles. It sounds like Keith Jarrett and Chick Corea and Bill Evans, all of them and none of them.”
Precisely, it sounds like Bruce Hornsby.
Andrew Hill | Passing Ships | Blue Note
In my opinion, the uniquely gifted Andrew Hill (1931–2009) never received his due as a jazz composer or pianist beyond the narrow jazz critical elite.
Regarding the former, people are quick to name Duke Ellington, Billy Stayhorn, Tadd Dameron, Charles Mingus, John Lewis, Thelonious Monk, Bill Evans, Benny Golson, Wayne Shorter for example, but never Andrew Hill.
Similarly, when bop and post-bop pianists are discussed, people will offer up the likes of Bud Powell, Horace Silver, Mal Waldron, Paul Bley, Cecil Taylor, and Carla Bley but never Andrew Hill.
This, even though he recorded 51 mostly highly rated albums (31 as leader featuring top-flight musicians) and even though he received many prestigious awards, for example DownBeat Hall of Fame, NEA Jazz Master, Jazz Journalist Association Lifetime Achievement, and the first Doris Duke Foundation Award for Jazz Composers. Andrew, it appears, was about as famous as Whistler’s father.
One last sad note, in Whitney Balliett’s voluminous 880-page Collected Works: A Journal of Jazz 1952–2001 there is not one mention of — you guessed it — Andrew Hill.
As for me, I fell in love with his 1960s Blue Note LPs (Black Fire, Smokestack, Judgement, Point of Departure, Compulsion) and one, Passing Ships, recorded in 1969 that was belatedly released on CD 34 years later.
Andrew surrounded himself with rhythm (Ron Carter, bass, Lenny White, drums) and six horns: (Woody Shaw and Dizzy Reese, trumpets), (Julian Preister, trombone), (Bob Northern, french horn), (Howard Johnson, tuba and bass clarinet), (Joe Farrell, soprano and tenor, and other winds) — a nonet performing seven original compositions.
This is a personal favorite even though it has obvious flaws. The recording and mixing are sub-par and Andrew’s arrangements for large ensemble are, while ambitious, sloppily executed at times (perhaps due to inadequate rehearsal time).
Andrew compensated for this by, as always, his appealing quirky, idiosyncratic compositions and outstanding soloing by everyone, especially Farrell, Shaw, and himself. Listen to the first tracks “Sideways,” “Passing Ships,” Plantation Bag,” and “Noontide.”
Ask yourself whether anyone of these compositions could make a hard bop playlist along with tracks by hard boppers Art Blakey, Horace Silver, Lee Morgan, Benny Golson, Jackie McLean, Donald Byrd, Bobby Timmons or Cannonball Adderley. You bet, most would, especially “Plantation Bag.”
Andrew Hill | Live at Montreux | Freedom
Live at Montreux (1975) is an excellent introduction to Andrew the solo pianist starting with the jagged, jaunty and delightful “Snake Hip Waltz” followed by the darker but still accessible “Nefertisus.”
The longest track on the album is the abstract and challenging yet entertaining eighteen-minute “Relativity.”
The pianist’s stylistic influences — stride, boogie-woogie, post-bop, and avant-garde are on full display. The album concludes with Andrew’s five-minute sketch of the melodic contours of Duke Ellington’s supreme contribution to the American hymnal “Come Sunday.”
The Faine jazz CD collection.
In part 1 of this blog series, I wrote about my collection of 440 jazz CDs I acquired from the mid-1980s to the present — the CD Era — noting that 124 of them consisted of multiple buys from 16 artists: 14 from trumpeter Miles Davis down to five each from saxophonists Cannonball Adderley, Ornette Colman, Chico Freeman, Charles Lloyd, and pianist Keith Jarett and Mal Waldron.
Starting here in part 2, I discuss in some detail personal favorites from the collection in no particular order.
Ella Fitzgerald | Ella in Berlin/Mack The Knife | Verve
William F. Lee’s Jazz Singers Biographical Dictionary claims Fitzgerald was considered by many to be the finest female jazz singer of all time.
Taken at face value (ignoring those who considered her a pop singer) evidence for “the finest female jazz singer ever” can be found in her famous “Song Book” albums where she recorded definitive studio orchestra versions of the American Songbook composers Berlin, Gershwin, Arlen, Ellington, Kern, Mercer, Porter, and Rodgers and Hart. But even more important are the many concert/nightclub stage recordings where her highness is backed by a small jazz combo.
In this regard, one only has to look no further than the best of the lot, Grammy-winning Ella in Berlin backed by the Paul Smith Quartet. Ella’s assured sense of rhythm and close rapport with the musicians is evident throughout, on the slow ballads as well as the virtuoso scat numbers. The program is superbly varied.
Thirteen songs equally divided between slow, medium, and up-tempo numbers.
Gershwin’s “Summertime” is sung straight with minimum vibrato, while his “Lorelie” is a slow tempo swinger.
On “Our Love Is Here to Stay” (Gershwin again) and personal favorite “Gone with the Wind” her instrumental phrasing comes to the fore, leaving little doubt that she is an ambrosial class singer; at times stuttering a word into three or four syllables, speeding up or slowing down a line, creating new interesting melodies while still paying homage to the source.
But it is “Mack the Knife” and “How High the Moon” that elevate this album to precious metal status, and likely entry into the Library of Congress National Recording Registry someday. Ella’s “Mack” surpasses both the Louis Armstrong and Bobby Darin versions. Hard to believe because she forgets the lyrics at the outset but continues by making up her own whimsical lyrics as she goes along, picking them out of the air — wonderin’ what’s the next chorus to this song now, somethin’ ‘bout cash, trash, you won’t recognize it, it’s a surprise it — even mentioning the prior Darin and Armstrong recordings, scatting a delightful imitation of Satch.
This four-minute lighthearted musical improvisation, believe it or not, won best song by a female at the 1960 Grammy Award.
And to think, the next song, the last one in the concert, topped Ella’s rendition of “Mack.” Her take on “High the Moon” is a masterclass in scatting. Few jazz singers, male or female, have come this close to perfection, considering that the racehorse tempo of “Moon” is sustained over seven minutes.
The Paul Smith Quartet deserves high praise for the stellar support throughout, especially pianist Smith and drummer Gus Johnson.
Keith Jarrett Trio | Somewhere | ECM
Keith Jarrett is one of the most widely admired jazz pianists on the planet — primarily known for his Koln Concert album, the best-selling solo album in jazz history.
The Koln did the trick for most, but for me, it was his Standards Trio albums with bassist Gary Peacock and drummer Jack DeJohnette.
Beyond reproach are the trio’s renditions of songs from the Great American Songbook (like “Blame It On My Youth,” “Body and Soul,” and “I Thought About You”) and the jazz repertory (“Woody ‘n You,” “Things Ain’t What They Used to Be,” and “Oleo”).
Especially beyond reproach are the occasional compositions of their own, typically mesmerizing trance-inducing vamps that for me were always an album highlight (like “The Cure,” on the The Cure, “Sunprayer” on Tribute One, and “U Dance” on Tribute Two). Perhaps the best of these appears on the 2013 album Somewhere.
Jarrett’s reading of the Leonard Bernstein–Stephen Sondheim “Somewhere/Everywhere” theme appropriately begins gentle and sublime, then at the five-minute mark of the 19-minute extravaganza, it gets “reconstructed and reshaped . . . into the driving, hypnotic improvisational ostinato coda Jarrett calls ‘Everywhere,’ with breathtaking chord voicings, forceful middle-register bass flourishes, and awe-inspiring tom-tom and cymbal work by DeJohnette; the track’s conclusion is drenched in royal gospel and regal blues” that fades into the distance, a chance for the audience to catch its breath before erupting into a rush of explosive shouts and applause.
The stage mic captures a round of laughter from the trio, as if to say, “How the hell did we pull this one off!”
Chico Freeman | Spirit Sensitive |
India Navigation
On Spirit Sensitive saxophonist Chico Freeman lends his pure sound and articulate relatable improvisations to 10 memorable songs composed by the following:
Great American Song Book composers Vernon Duke “Autumn In New York,” and Rodgers and Hart “It Never Entered My Mind,” as well as seven jazz musician composers: Thad Jones “A Child Is Born,” pianists Duke Ellington “Don’t Get Around Much Anymore” and Horace Silver “Peace,” bassist Cecil McBee “Closer to You Alone,” guitarist Luis Bonfa “Carnival,” singer Patti Austin “You Don’t Have to Say You’re Sorry,” and tenor saxophonist John Coltrane “Lonnie’s Lament” and “Wise One.”
All the jazz songs (save for those by Coltrane) have lyrics and are a testimony if you will, to their euphoniousness.
Freeman plays tenor on all of the above, except for “You Don’t Have to Say.” Chico is sensitively supported by bassist Cecil McBee, pianist John Hicks, and drummer Billy Hart, although the drums appear to be improperly recorded, the only flaw on the album.
Drum issue aside, this is one of the most beautifully realized albums. It starts with quality material and proceeds with masterful interpretations.
Perhaps I am overly biased in my opinion here, largely because (truth be told) my absolute favorite song is Patti Austin’s “You Don’t Have to Say You're Sorry,” and my favorite instrumental version is by Chico Freeman.
I first took notice of Austin in 1976 upon the release of her first album, End of the Rainbow, with the self-composed “You don’t have to say you’re sorry / but I sure do wish you would.”
I have played the song numerous times over the years and bought the album for friends. Chico plays it on soprano saxophone with minimal but perfectly placed jazz flourishes.
Tearfully gorgeous. Ms. Austin, I’m certain, would agree.
Darcy James Argue | Infernal Machines |
New Amsterdam
Spring 2009 saw the release of Infernal Machines by Darcy James Argue, composer/conductor of an 18-person swing-size big band called Secret Society (five winds, five trumpets/fluegelhorns, four trombones and four rhythm — drums along with acoustic and electric piano, guitar and bass.)
But Glen Miller, Tommy Dorsey it was not, nor was it ’50s Stan Kenton, ’60s Don Ellis, or even ’90s Maria Schneider. But what was it?
No ordinary big band album, that’s for sure. But critics loved it, though some struggled a bit to describe it.
To me, Machines offered a cornucopia of sounds, some familiar, some not, some loud, some soft, floating above shifting rhythms with an overall steady pulse.
Karl Ackerman (All About Jazz) said it more succinctly: “The sound is both complex and nuanced at the same time.” He also said, “Each influence blends seamlessly into the next without disrupting the content of the piece” — in effect, “a blending of new classical, indie rock and jazz.”
Larry Blumenthal (Wall Street Journal) described the band as “elegant in its combination of disparate influences from distorted electric guitar to magisterial wind instrument arrangements to minimalist rhythms.”
I concluded that Argue’s writing reflected the whole of contemporary music, as he sees it, into big band music for today.
Machines is art music created by an exceptionally talented composer/arranger executed by extraordinary competent musicians that remains as fresh and revolutionary today as when it was recorded. Argue’s debut album therefore belongs in every jazz fan's collection.
It telleth the future.
Birchmere, 2006. Photo: Rudi Riet from Washington, DC.
The Birchmere nightclub in Alexandria, Virginia, is one of the most famous musical spaces in America. Birthed some 50 years ago, the club has occupied three locations, all in Alexandria. Its current spot on Mount Vernon Avenue has 100 tables that seat 500 people, each with clear sightlines to the stage, set with menus and signs on the tables to remind people to keep quiet during the performance.
Ticket prices are reasonable, and there is ample free parking. Artists are likewise treated with respect in a comfy greenroom: a separate dressing room with a washer and dryer.
The Birchmere premiered as a bluegrass music club, and its history evolved into diverse entertainment, which is an understatement: can you believe bluegrass, country, western, folk (both European and American), rock, blues, R&B, gospel, funk, Celtic, zydeco, pop, and jazz (the focus of this blog)?
The Birchmere presents one or two artists just about every night of the week to mostly sold-out crowds. In sum, an iconic room with an excellent sound system that facilitates the connection between artists and the audience.
In their book, All Roads Lead to the Birchmere: America’s Legendary Music Hall, authors Gary Oelze (original and current owner) and Stephen Moore (musician, writer) devote a chapter to jazz that they call “Jazz Hands.”
The chapter profiles the 12 artists listed below. Biographical information is provided, along with a photograph taken at the club, an anecdote or two about their experience, and audience reaction. Another list is provided (names only) of artists who have appeared at the hall over the years.
Any jazz fan scanning the lists of artists below would likely conclude “pretty damn good, especially for a club that’s not a jazz club per se”:
Other jazz artists who appeared at the Hall over the years include Gato Barberie (saxophone), Hugh Masekala (trumpet), Blue Note 75 All-Stars (tribute band), Jeff Lorber (keyboards), Kenny G. (saxophone), Najee (saxophone), Pieces of a Dream (jazz fusion), Preservation Hall Jazz Band (DixielandDixieland), Rachel Ferrell (singer), Robbin Ford (guitar) among many others.*
While jazz was not the dominant musical genre played at the Birchmere by any means, it was fairly represented. A decent mix of known stars and up-and-comers could count on their performances being well advertised on the club marquee, in well-placed newspaper ads, on the radio, and in recent years on the internet to followers numbering in the hundreds of thousands.
The result: well-attended shows and an uptick in name recognition. The latter is not to be overlooked. Birchmere attendees are known to be a mite more open-minded than most fans—they will attend an event outside their genre comfort zones simply because if it’s at the Birchmere, it has to be good. Not bad for a music hall not necessarily known as a jazz club.
A gig at the Birchmere is a resume-topper second only to Madison Square Garden and a few other performances spaces. In an era when jazz is not as popular as it once was—dropping from 13 percent in recorded music sales in 1960 to 1 percent today—thank goodness, the road to America’s Legendary Music Hall is still open and well-paved.
CODA
I highly recommend the referenced book below. No matter your specific musical preferences, you’ll come across numerous artists and songs that helped define your life one way or another. Moreover, I guarantee you’ll learn interesting facts about artists and songs you never knew before.
Duke Ellington at his first East Room appearance on March 27, 1968. Photo credit: LBJ Presidential Library, Robert Knudsen.
John F. Kennedy was the first president in modern White House history to sponsor jazz events. The first was a concert featuring the Newport Jazz All-Stars, Dave Brubeck Quartet, and the Tony Bennett Trio assembled on the Washington Monument grounds (Sylvan Theater) on August 28, 1962; and the second, a concert by the Paul Winter Sextet in the East Room on November 19, 1962.[1]
The jazz ice was broken. America’s musical poor sister was finally recognized.
It was up to the successor president, Lyndon B. Johnson, to act on the jazz precedent set by JFK. And did he ever!
As if to make up for the long oversight, the Johnson administration hosted 16 jazz events during its 62-month run. Jazz had finally received its just due by a president and first lady whose musical tastes would not be described as refined but who believed it their duty to showcase the widest possible range of artistic expression at the nation’s showroom.
LBJ invited such notable jazz luminaries as Duke Ellington, Stan Getz, Sarah Vaughan, Charlie Byrd, and Dave Brubeck. See more details below:
JAZZ EVENTS AT THE JOHNSON WHITE HOUSE
LBJ made up for the decades of official neglect of America’s premier jazz composer by inviting Ellington and his orchestra to give the final performance at the White House Festival of the Arts on June 14, 1965.
On an erected stage on the South Lawn, Duke presented sections of what would become his Far East Suite, followed by selections from his tone statement on the African American plight in America — Black, Brown and Beige (1943), featuring the lovely hymn “Come Sunday.”
He closed out the concert with an Ellington 12-hit-song medley that included “Solitude,” “Sophisticated Lady,” “I’m Beginning to See the Light,” and “Caravan.”
Duke Ellington at President Johnson’s Festival of the Arts on June 14, 1965. Members of the orchestra: Duke Ellington (p), Rufus Jones (dms), John Lamb (b), Cat Anderson (tp), Ray Nance (tp), Cootie Williams (tp), Lawrence Brown (tb), Buster Cooper (tb), Chuck Connors (tb), Paul Gonsalves (ts), Jimmy Hamilton (cl), Johnny Hodges (as), Russell Procope (as), and Harry Carney (bs). Photo credit: LBJ Presidential Library, Robert Knudsen. Photo credit: LBJ Presidential Library, Robert Knudsen.
From the sound recording available at the Library of Congress, Washington, DC, here is a transcript of the event:
Opening Remarks by Dancer Gene Kelly
Historians tell us jazz began in New Orleans, and some historians tell us it began at a certain spot called Congo Square, a dusty lot down there. That may be so, I really don’t know, but I know it’s a long road from Congo Square to Carnegie Hall, and a longer musical way still.
But jazz made it, riding on the well-tailored coattails of Duke Ellington some twenty-two years ago. He and the great artists of his ensemble took Lady Jazz out of her off-the-racks cotton dress and put her in a long velvet gown.
Ladies and Gentlemen, if there had never been a Duke Ellington, jazz would have had to invent him. So it’s with pride I present the Duke.
The Duke Ellington Orchestra
“Take the ‘A’ Train”
[Applause follows.]
Duke Ellington Introduction
Thank you very much, Ladies and Gentlemen. That’s a warm welcome. Our first selection we would like to do is a result of our visit to the Far East a year and a half ago; we went to the Far East for the State Department on a cultural exchange program. And, of course, it was a tremendous inspiration to us all on being exposed to the beauty and enchantment of the Orient.
And so as a result, we wrote a suite of numbers. We would like to play some of them now. We would like to say this is being done also in gratitude for the great people of the State Department Foreign Service office, who guided us so magnificently through the tour. It is called “Impressions of the Far East”:
The Duke Ellington Orchestra
“Amad” feature for Lawrence Brown (tb)
“Agra” ballad feature for Harry Carney (bs)
“Bluebird of Delhi” feature for Jimmy Hamilton (cl)
[Applause follows.]
Duke Ellington Introduction
Thank you. And now we would like to go from “Impressions of the Far East” to “Black, Brown and Beige,” which of course was done originally in 1943, and hasn’t really been done until this year in our concert appearances. This is our tone parallel to the history of the Negro in America.
Tonight, we should like to do a suggestion of the work song theme and the spiritual theme, and a development of the two into a sort of montage. “Black, Brown and Beige”:
The Duke Ellington Orchestra
Work theme
Spiritual “Come Sunday” theme feature for Ray Nance (v) and Johnny Hodges (as)
Work and spiritual theme montage for trumpet, Harry Carney (bs), and Lawrence Brown (tb)
Lady Bird Johnson Wrap-Up
May I thank all the artists who have made this a rich, full, varied day for us all. It’s been wonderful. And now I’d like to have you all go to the tents for a bit of refreshment. I expect some of you need a hot cup of coffee. Perhaps you’d like to view the art in the garden and the east corridor. Thank you all.
[Applause follows.]
Lady Bird Johnson thanked Ellington and his orchestra at the close of their formal set following the daylong celebratory Festival of the Arts on June 14, 1965. After the First Lady departed, Duke addressed the crowd remaining on the South Lawn: “We have a request for several of the things we have written and we’d like to play some of them for you.” With that, Duke and the band offered a medley of Ellington song hits. Photo credit: USIA World (newspaper).
Duke Ellington Encore Introduction
I hate to impose on you like this, Ladies and Gentlemen, but we have a request for several of the things we have written and we’d like to play some of them for you that have become popular here.
The Duke Ellington Orchestra
“Solitude”
“I’ve Got It Bad” feature for Johnny Hodges (as)
“Don’t Get Around Much Anymore” feature for Duke (p)
“In the Mood”
“I’m Beginning to See the Light” (uptempo)
“Sophisticated Lady” feature for Harry Carney (bs)
“Caravan” (uptempo)
“The Opener” (uptempo feature for Paul Gonsalves [ts], Buster Cooper [tb], and Cat Anderson [tp])
“Things Ain’t What They Used to Be”
Total time: 44:44 minutes.
This and subsequent text is excerpted from Edward Allan Faine, Ellington at the White House, 1969 (Takoma Park, MD: IM Press, 2013), 24, 25, 32, and 211–214.
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Graded on a Curve: The Chico Hamilton Quintet, The Complete Pacific Jazz Recordings
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On the 25th of November, the great jazz bandleader and drummer Chico Hamilton died at the age of 92. In addition to his various groups, he was also a composer, teacher, abettor of numerous up-and-coming players, and an all-around class-act. He left a large body of work behind to remember him by, but his greatest achievements on record were made with
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The Vinyl District
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https://www.thevinyldistrict.com/storefront/2013/12/graded-curve-complete-pacific-jazz-recordings-chico-hamilton-quintet/
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On the 25th of November, the great jazz bandleader and drummer Chico Hamilton died at the age of 92. In addition to his various groups, he was also a composer, teacher, abettor of numerous up-and-coming players, and an all-around class-act. He left a large body of work behind to remember him by, but his greatest achievements on record were made with his Quintet of the 1950s.
It’s been a few years since I’ve watched it, but I can still vividly recall one of my favorite scenes from Jazz on a Summer’s Day, Bert Stern’s indispensible documentary covering the 1958 Newport Jazz Festival. It occurs early in the film but seems to be happening around dusk, though the timeframe is ambiguous in large part due to the moment taking place not on the festival’s stage or in the audience but in the attic of a nearby house.
In that setting, Chico Hamilton, mallets in hand, rehearses on his drums in preparation for his Quintet’s appearance later that evening. I’m fairly certain a cigarette is clasped between his lips, though I wouldn’t wager anything substantial on that recollection. Without a shadow of a doubt though, Hamilton is practicing shirtless.
Stripping partially down was unquestionably just a common-sense maneuver, since even in tony Newport the attics get humid in the summertime. But it also provided a rare glimpse of a jazzman shaping his art in an everyday manner from deep inside the Great Commercial Era of Modern Jazz. It’s a period that’s become so idealized, mostly by folks born after its dissolution, with its great musicians so heroic, essentially because they defined and elevated a fascinating and incomparable epoch, that a very minor action like the taking off of clothes when hot can seem like a big deal.
Heroic perhaps, but ultimately as human as anybody, and when this fact hits home the worth of the 1950s jazz scene is only intensified. Later in Jazz on a Summer’s Day, the footage cuts to Hamilton on the bandstand with his group, the great Eric Dolphy amongst their number on flute, Stern’s cameras pointed at a variety of strategic angles with the most important focused directly on the drummer.
The film captures his intense, at times severe concentration as he delivers the cyclical rhythms of “Blue Sands,” one of the Quintet’s signature tunes. One sees not an angel gifted with brilliance from the musical gods and making it all look easy, but a man at work navigating the dangers of the complexities in his unit’s invention.
Having a bad night in a club was unfortunate but manageable. This, however, was Newport, and while the event was still a fledgling shindig, the ceremony that accompanied it was already apparent. Even though they’d played there before and were riding the tail-end of their popular peak, Hamilton knew full-well the cameras were documenting the Quintet as they brought the West Coast not just to the hard-bop turf of the East, but to the sail-boating milieu of upper-crust New England.
In terms of myth-breaking and raw humanity, the best jazz film I’ve encountered is Thomas Reichman’s 1968 verité doc Mingus, but the above snippets are nothing to sneeze at. They draw attention to and paint a complete human picture of a vastly important figure, and while his considerable fame shrunk as the music’s retail fortunes declined, Hamilton’s engagement with jazz continued until the end of his life.
While he’d studied with the great rhythm specialist Jo Jones (not to be confused with Philly Joe Jones), made his recording debut with that great jive-slinging hepcat Slim Gaillard, toured with Lionel Hampton, Charlie Barnet and Count Basie, and in 1946 landed the house-drummer spot at Los Angeles club Billy Berg’s, Hamilton’s first major gig began two years later when he commenced extensive live support behind vocalist Lena Horne.
But most important to his eventual long reign as a leader was his role in Gerry Mulligan’s original pianoless quartet of 1952, a group that famously included the trumpeter Chet Baker. With all due respect to Miles Davis’ cornerstone Birth of the Cool sessions, it was this combo that really kick-started West Coast Cool, and it was directly down to a combination of accessibility and experimentation.
The lack of the piano as an anchoring presence meant that bassist Bob Whitlock’s role increased dramatically, making it crucial that he be clearly heard. Thus, Hamilton’s execution needed to be much softer than usual, and this shift in implementation was a prime aspect in how the Mulligan band impacted one of the two main threads in ‘50’s jazz.
And that quieter sensibility encompassed a lot. Softer meant greater ease for audience engagement, but it also meant the attendees had to be quiet and listen. The playing was so strong that nobody complained, and furthermore it was so approachable that hardly anybody noticed the experimental nature; instead they just heard music.
As Cool Jazz surged in popularity largely on the shoulders of the young and handsome (and Caucasian) Baker, this amiable nature gained it a rep as the soundtrack to bachelor playboys and buxom starlets jetting to-and-fro in sleek convertibles on the Pacific Coast Highway. This isn’t a total fabrication, but it is greatly exaggerated, and nothing illustrates this better than an extensive dip into the work of Hamilton’s five-piece group.
The drummer’s debut as a leader actually came via trio with bassist George Duvivier and guitarist Howard Roberts in 1953, but shortly thereafter he assembled his Quintet, which was immediately notable for its intriguing instrumental complexion. Along with Hamilton on drums, there was Carson Smith on bass, the great Jim Hall on guitar, the now somewhat undersung Buddy Collette on saxophone, clarinet and flute, and most importantly, Fred Katz on cello.
While there’s never any doubt that Hamilton is in charge of the Quintet’s creative direction, in many ways it’s Katz that gives the band their distinct flavor, a sound that was unique even inside the realms of the Cool. The cellist was classically trained (he’d studied under Pablo Casals) and yet was adept enough at jazz that he could back-up and gain accolades from Horne (which is where he met Hamilton). And his playing was the largest part of why they came to be dubbed “chamber-jazz.”
This term was often employed as something other than a compliment. To be sure, the sound was miles away from hard-bop, but it’s also readily clear that what they were creating was, if wildly accessible, also serious music. Once in motion they recorded frequently, even appearing as performers in Alexander Mackendrick’s ’57 film classic Sweet Smell of Success, though Hall’s replacement on guitar John Pisano lost his spot in the movie to a fictional character.
Buddy Collette also left the band, with Paul Horn and then Dolphy stepping in and filling the void with no loss of momentum. In 1997, the peerless jazz reissue label Mosaic compiled a 6CD/9LP box set under the self-explanatory title The Complete Pacific Jazz Recordings of the Chico Hamilton Quintet. The music it contained, indeed everything made for Richard Bock’s high-profile label, underscores both Hamilton’s stature as a jazz great and the sheer vitality of this group throughout its existence.
Mosaic releases are smartly conceived, glorious-looking packages, but they are also limited editions, so the possibility of picking up one of these sets without dropping a hefty sack of coin is very unlikely. But much of music found here is widely available in some new or used physical format and also widely obtainable digitally, so getting to hear a great portion of this box’s contents isn’t as difficult as one might think.
It would take a book (or at least something comparable to Mosaic’s terrific accompanying liners) to do justice to the wealth of individual tracks herein, so a few broader impressions will follow instead. Yes, selecting one of the LPs (most temptingly ‘55’s outstanding The Chico Hamilton Quintet) that helps to shape this collection would have been a perfectly fine way to pay tribute to Hamilton and spotlight his music from this period, but as strong as the albums could be (and as sterling as the debut surely is), from my perspective the individual releases don’t really serve the group best.
Again, as easy-going as it all was (at least on the surface), this is still experimental music, using a different sense of spontaneity than the post-bop improvisational model, and because of this, the recordings benefit greatly from being heard across the span of sessions, shifts in personnel, and years. Frankly, not everything in the Quintet’s oeuvre wields the same level of effectiveness, which is the norm when you’re experimenting.
Some have complained that the music here is at times kitschy, but I don’t really agree. It is occasionally quite close to the climes of exotica, but unlike many, I don’t consider the best of that genre to be kitsch. And I rate this music as better than the best in exotica (yeah, even better than the best of Martin Denny), so there’s that gristle to chew on.
My ranking stems largely from their instrumental skill and the sweet and often gentle (though not genteel) sound they provide. Jack the volume way up on a Clifford Brown/Max Roach Quintet record, and the result will certainly still raise a little ruckus, and the gesture would be in no way improper. Doing the same to the majority of what’s in this box would simply be the act of a philistine.
Appropriateness of environment is a necessity here, and that fact extends to home listening. The sound of applause at the end of many of these cuts only emphasizes this fact; it’s indicative of an audience in the frame of mind of a concert hall, not a club date. Of course, this band could play in both, though they obviously attracted a different crowd than the post-boppers pulled in.
I cite the Brown/Roach group above for a reason, in part due to the wildly contrasting styles, but also because during the Quintet’s first New York engagement they were playing directly across the street from each other. In the notes to this box, it’s mentioned that Hamilton felt that much of the ‘50s Coastal jazz friction stemmed from just this situation. There’s no doubt that chamber-jazz rubbed many the wrong way, with quite a few hearing it as a slap in the face to form’s swing/blues imperative.
But these guys didn’t invent chamber-jazz. For starters, there was John Kirby’s band of ’38-‘41. Surely when Katz is in full bloom, especially on “Concerto Petite,” they completely exit the realm of gritty funk (and masculinity) that is long been associated with the East Coast sound. However, when the clarinet steps in, it can be remindful of Artie Shaw’s small groups, and that’s very choice, though I can’t imagine too many of the era’s hard-bop partisans felt the same way. If Katz basically turns “Concerto Petite” into longhair music, he could also be playful, and yes, he could swing. (Please see “Katz-Up” for proof.)
Sure, those with a complete aversion to flute in a jazz context might find a large portion of this box problematic. Then again, I once felt the same way. And to be clear, I still mostly do, but along with Dolphy and Roland Kirk and the use of the silver stick in the free jazz setting, I find the flute that’s here pretty easy to swallow.
And the instrument is played by Collette and Horn, but only on three tracks by Dolphy. Hamilton didn’t record exclusively for Pacific Jazz (for one example, the music for Sweet Smell of Success was issued by Decca, and their pseudonymous appearance on Ken Nordine’s first Word Jazz effort was made for the Dot label), so this is by no means everything the Quintet laid down on wax.
But this does hold a major chunk of their discography, and listening across the 18 sides of this baby, rather than becoming excessive, delivers a study in a form of jazz that unlike its main competitor really has no current equivalent. Also, it shows off their range very well. “Walking Carson Blues” (here twice, one reading sourced from the first LP and the other from a recovered live recording of the Quintet’s second lineup, with this version previously appearing only on a compilation) makes it plain they could play effectively in the style of the title, but also on their own terms.
Additionally, the takes of Ellington standards (I’m very fond of a ’55 live date’s “It Don’t Mean a Thing if It Ain’t Got That Swing” and plum knocked-out by a ’56 “Caravan”) are just dandy and the early stuff as a whole hits the spot every time I hear it. On the downside, it’s true that the jazzing-up of the score to the musical South Pacific (capitalizing on the success of Shelley Manne and Andre Previn’s treatment of My Fair Lady) isn’t amongst my favorite parts of this box. If an experimenter, Hamilton also wasn’t averse to putting bread into his pocket and vittles on the table, for he did have a family to support.
Heard isolated, the South Pacific cuts are almost kind of a drag. But if played between the first LP in this set and last, that one featuring the ’59 Ellington Suite disc along with the three cuts with Dolphy, it becomes apparent how little their creative fertility dropped across their run. That’s ultimately chalked up to Hamilton of course. Not only was he a fantastic drummer (his playing on “Blue Sands” alone lands him in my personal canon), but maybe his strongest characteristic was his ear.
He could recognize a great tune, quickly ascertain vital players on the rise (along with Dolphy, there’s Charles Lloyd and Larry Coryell), and understood what would and wouldn’t work under his ensemble’s unusual makeup. Along with the trio of Jimmy Giuffre (which Hall left Hamilton to join), the music here gives proof (if one still somehow requires it) to just how deep and varied the West Coast scene actually was. Giuffre’s band specialized in a type of folk-jazz, while Hamilton’s remained fairly close to that chamber template, but the two styles remain quite complimentary.
This box is a massive dose of the man and his group at the absolute top of their game. Investing in it is not recommended for those with a casual interest in jazz, but for anybody that desires a firm knowledge of the music of this era, seeking out the core components of this set in some form is a must. Chico Hamilton might not be a household name, but it’s musicians like him who provide jazz with its eternal kick. That he lived to 92 years of age cheers me deeply. Knowing that his music will survive for much longer makes me even happier.
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Gonzalo Rubalcaba & Hamilton de Holanda To Release New Album: “Collab”
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2024-05-31T02:31:58+00:00
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Afro-Cuban master pianist Gonzalo Rubalcaba and iconic Brazilian mandolinist Hamilton de Holanda meet on Collab, new album releasing internationally May 31, 2024.
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en
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Latin Jazz Network
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https://latinjazznet.com/news/gonzalo-rubalcaba-hamilton-de-holanda-to-release-new-album-collab/
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Sony Music Brazil is thrilled to unveil a remarkable musical convergence of Afro-Cuban and Brazilian jazz on Collab, personified by two of its greatest exponents: the renowned Afro-Cuban pianist Gonzalo Rubalcaba, named one of the great pianists of the 20th century (Piano & Keyboard Magazine) and known for his impeccable technique and rhythmic innovation, and the virtuoso Brazilian mandolinist Hamilton de Holanda, whose skill and creativity has revolutionized the instrument and Brazilian music. Equal parts challenging and accessible, Collab is a musical journey through varied soundscapes, with each track offering a new discovery rooted in their common African ancestry. Collab will release internationally on May 31, and in the United States on July 19, 2024.
Gonzalo Rubalcaba, deeply rooted in the jazz tradition, brings with him a wealth of influences when approaching Afro-Cuban rhythms, from the pulsating energy of the batá drums (drums of African origin, from the Yoruba culture, used both in music and in Santeria) to the complex harmonies of contemporary jazz. His piano interpretation is marked by captivating fluidity and enveloping emotional intensity, combining impeccable technique with a visceral expressiveness that resonates with listeners. On the other hand, Hamilton de Holanda is a true master of the Brazilian mandolin, elevating this instrument to new heights of virtuosity and innovation, inspiring a new generation of instrumentalists. His music is saturated with the vibrant colors and rhythms of Brazil, infusing jazz with elements ranging from traditional choro to influences of samba and bossa nova, and beyond. Hamilton is recognized for his extraordinary improvisational ability, as well as his capacity to extract a surprising range of sounds from his 10-string mandolin, thus creating a truly unique musical experience.
“For many years, I’ve been listening to Gonzalo Rubalcaba. He’s one of those musicians whose sound you recognize immediately. I’ve always had the desire to play with him because I felt that he was doing things that resonated with my vision of music, especially with his national accent and international outlook,” Holanda reflected.
“Hamilton is a Maestro. I am sure that on many occasions the adjective “virtuoso” has been used to refer to him, and yes he is. But he is not only a virtuoso in terms of mastery of the instrument with which he transmits the music,” Rubalcaba shared. “He is a virtuoso of thought, a virtuoso of ideas, he is a virtuoso in many facets that go far beyond just controlling this instrument which, by the way, once again, he does, perhaps like few others do around the world.”
Earlier this year, the duo met at the legendary Criteria Studio in Miami and created the amazing Collab. The fusion of Rubalcaba‘s Afro-Cuban jazz with Holanda’s Brazilian influences creates a unique synergy. The result is music that is both rooted in tradition and innovative in its approach, a celebration of the richness and diversity of Afro-Cuban and Brazilian musical traditions. Brazilian star special guests composer and singer João Bosco, as well as harmonica player Gabriel Grossi, add additional layers of depth and meaning to the tracks, providing an even richer and more engaging auditory experience.
Rubalcaba contributed three original compositions, including the challenging “Blues Landvall,” the lyrical “Yolanda Anas,” and the emotive “Transparence.” Holanda offers his own trio of originals, including the Choro-inspired “Mandalagh,” composed for the duo, the high-flying “Flying Chicken,” and “Choro Fado,” which had its first recording on Holanda’s Latin Grammy-winning 2023 album “Maxixe Samba Groove” In addition to these originals, the album features reinterpretations of gems from the Brazilian repertoire (“Incompatibilidade de Gênios” by João Bosco and Aldir Blanc, presented in two versions—one instrumental and one sung), classic soul music (“Don’t You Worry ‘Bout a Thing” by Stevie Wonder), jazz (“Silence” by bassist Charlie Haden), and Portuguese pop (“Saudade, Saudade” by Maro & John Blanda).
“Incompatibilidade de Gênios” explores the complexities of human relationships and the dynamics between divergent personalities. João Bosco‘s interpretation, with his distinctive and expressive voice, brings new flavors to the music. On “Don’t You Worry ‘Bout a Thing,” the participation of the creative harmonica player Gabriel Grossi is a tribute to one of the greatest musicians of all time, the great Stevie Wonder.
“I am happy with the result of all the work that goes into making the album, and with the work that has had to do directly with this album that I consider as a work of chamber music. I am even more excited because we have created a platform that allows us to share with a wide and diverse audience. We have created a project that is our banner of invitation to listeners from different parts of the world,” Rubalcaba shared.
Essential in today’s world, Collab is an example of true cultural diplomacy. This meeting of cultural heritages promotes mutual understanding and cooperation in a global context, and reinforces jazz’s position as a truly universal musical genre. Afro-Latin Jazz and Brazilian Jazz are vital tributaries of jazz for the continuous evolution of the music as a truly global and multicultural art form. The genres have been fundamental to expanding the reach of jazz, introducing new rhythms, melodies, and harmonies into music, playing an important role in promoting intercultural understanding and celebrating global musical diversity. In the hands of Gonzalo Rubalcaba and Hamilton de Holanda, this musical convergence is explored in masterful form.
“Listening to the finished album, I feel a sense of gratitude for everything I experience in music and beyond,” concludes Holanda.
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3
| 18
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https://raggywaltz.com/2020/02/13/the-chico-hamilton-special-chico-hamilton-columbia-cl-1619/
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en
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The Chico Hamilton Special // Chico Hamilton (Columbia CL 1619)
|
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2020-02-13T00:00:00
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Marching right along with the special Black History Month celebration, here's an album that I got early in my record-collecting career and one that shows how musically diverse black Americans could be, even in one style of music like jazz. In other words, here's an album from a fellow Californian and musical innovator, Chico Hamilton.…
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en
|
It's A Raggy Waltz
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https://raggywaltz.com/2020/02/13/the-chico-hamilton-special-chico-hamilton-columbia-cl-1619/
|
Marching right along with the special Black History Month celebration, here’s an album that I got early in my record-collecting career and one that shows how musically diverse black Americans could be, even in one style of music like jazz. In other words, here’s an album from a fellow Californian and musical innovator, Chico Hamilton. To the music!
The Music
The Tune: “Don’t Get Lost”
The Tune: “New Rhumba”
Recorded: 28 November, 1960 in Hollywood, CA
Personnel:
Chico Hamilton – Drums
Nate Gershman – Cello
Robert Haynes – Bass
Harry Pope – Guitar
Charles Lloyd – Alto Sax & Flute
1960
President Eisenhower signs the Civil Rights Act of 1960, which is supposed to strengthen and address loopholes in the Civil Rights Act of 1957. Many states and the entire South continue to bar black Americans from voting anyway.
In Boynton v. Virginia ,the Supreme Court rules unconstitutional the segregation of bus terminals. This sets up the movement known as the Freedom Riders, a mixed group of Americans that tested this ruling the following year.
That black Americans should be at the forefront of every stylistic permutation of jazz shouldn’t be a surprise, yet when you sit down and think about it, there was a black person involved at each and every turn. Take Chico Hamilton, for example. In spite of West Coast ‘cool’ jazz being known as ‘white’ jazz, Chico was at the epicenter when Gerry Mulligan tapped him to be the drummer in his quartet with Chet Baker in 1952. This piano-less group of course went on to become a national phenomenon and launched the West Coast sound. In fact, Mulligan’s quartet was the first group recorded by an indie record label on the West Coast named Pacific Jazz. Pacific Jazz went on to be a major conduit by which West Coast jazz was released. That album, Pacific Jazz’s first, prominently featured all four of the Gerry Mulligan Quartet’s smiling faces, together and in close proximity (released two years before integration was officially legal).
In 1955, Chico Hamilton formed what would be the most signature West Coast-ish jazz group of all time. Retaining Mulligan’s piano-less idea, Hamilton built a band with a bass, a guitar, a sax (or flute or clarinet depending on the tune), and… a cello. This unorthodox instrumentation (for a jazz group) took the country by storm, and two years later Hamilton’s group was prominently featured in the Tony Curtis/Burt Lancaster movie ‘Sweet Smell of Success’. Chico Hamilton was a big deal and a persistent example of black excellence in a generally anemic chapter of jazz’s history.
When Hamilton first formed his group, it was more of a chamber music type of group, playing heavily arranged dainty charts with limited space for out and out blowing. By 1960, Hamilton was moving in a more progressive, edgy sound. Enter this album.
Recorded in the fall of 1960, this edition of the Chico Hamilton Quintet swings extrovertedly and firmly. Much of this has to do with soon-to-be-famous reedman Charles Lloyd, in addition to streamlined arrangements and increased blowing. Lloyd wails on his alto sax and even on his flute manages to bring some grit to the music. The cello plays a more supportive role on this album, used to full effect to add color and texture to the proceedings. Dig it’s singing lines and elegant accents in “New Rhumba” or it’s hip work in the album opener “Don’t Get Lost”.
The inclusion of “New Rhumba” (written by Ahmad Jamal) and “Lady Bird” (written by Tad Dameron) is largely why I bought this album, but the whole record has moments of excitement. “Don’t Get Lost” is a jaunty minor blues that sounds like something that would play while Perry Mason walked moodily down the streets of Los Angeles at night in the rain. Two-thirds of the tune features Lloyd’s cool then fiery alto sax, followed by laid-back and breezy guitar solo by Harry Pope, complete with rich chords. Hamilton’s drumming is tasty and firm, nudging everything along without being pushy. One of my favorite aspects of his drum style is his tendency to be felt more than heard. Other than a rare drum solo, he largely stays in a supportive role- a rarity in drummer-led groups.
The rest of the music continues to highlight either Pope’s guitar or Lloyd’s sax/flute. “Autumn Leaves” largely features Pope, with some haunting vocal work by Hamilton in tandem with Gershman’s cello, while “Lady Bird” is a succinct, ultra-cool thing featuring the string section. That is, guitar, cello, and bass only.
I own quite a few Chico Hamilton records, and this one is probably my favorite. Caught between his relatively conservative early years on Pacific Jazz and his increasingly avant garde music on Impulse in the 60’s, the music on the grooves of this LP strikes a perfect balance between the two worlds. But don’t take my word for it. Listen to the two cuts above and hear for yourself!
The Cover
Raggy Waltz Rating: B
I really don’t have much to say about the artwork. It’s a great shot of Mr. Hamilton in striking black and white. But boy is that a busy front cover. From liner notes to song titles, there’s a lot going on. So much so that…
The Back
I have never read these liner notes in one sitting. In fact, now that I think about it, I don’t believe I’ve ever read them in their entirety. These may be the most copious set of notes ever to appear on a Columbia album, and considering the amount of stuffy prose that has graced their many classical music albums, this is quite an accomplishment. The bits that I have read however point to an interesting and enjoyable hour or so of reading. 4 stars for content, 2.9 stars for amount of content.
The Vinyl
Ah, Columbia’s classic 6-eye labels, at once both delightfully retro yet strikingly modern. This familiar (and oddly comforting) label design graced turntables from the mid-1950’s thru to the early 1960’s. Despite “hi-fi” being plastered on every record cover, very few record labels made records with truly high fidelity sound. Columbia was one of the rare examples of truly hi-fi sound, and in the 1950’s their 6-eye labels were a sign of audiophile listening.
My copy is a delicious first press in Columbia’s punchy mono. If I’m being honest and truly objective, my most life-like records in my collection are on the Columbia label, and if I’m being brutally honest, the best sounding mono records in my collection are on Columbia. Specifically, Columbia’s mono records from the late 1950’s and the entire 60’s are stupendous. Even if they weren’t recorded in their 30th Street Cathedral Studio, like this album, Columbia knew how to record music. With this album in particular, the engineers somehow managed to make it sound like it was recorded late at night. Maybe it’s the intimate closeness of the music (Lloyd’s flute and alto in particular) coupled with the sibilant splashiness of Hamilton’s cymbals, or even the overall haziness of the recording, but I just can’t see this music being made on a hot sunny day.
The Place of Acquisition
When I came back home for the summer of 2015, I headed to the new record store in town, a place named, appropriately enough, Redlands Vinyl. Walking in that rainy day, I discovered this record in the jazz section. I was shocked because I didn’t know Chico Hamilton had recorded for Columbia. Seeing “Lady Bird” and “New Rhumba” on the cover (as well as the amount of liner notes), I grabbed it. The vinyl looked great, the price was great ($10), and since I was in Southern California, it just seemed right to buy a fellow Southern Californian’s record. I’m glad I did.
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“Mayu Saeki with Chico Hamilton and Euphoria” by Dave Kaufman
|
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“Mayu Saeki with Chico Hamilton and Euphoria” image by Dave Kaufman. All Rights Reserved. View more jazz images at All About Jazz Photo Gallery.
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en
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https://www.allaboutjazz.com/icon/favicon.ico
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All About Jazz Gallery
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https://www.allaboutjazz.com/photos/image-58021
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Home » Jazz Pictures » Image
Mayu Saeki with Chico Hamilton and Euphoria
© Dave Kaufman. All Rights Reserved.
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Uploaded: 2011-01-10
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https://www.jazzmusicarchives.com/artist/chico-hamilton
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CHICO HAMILTON
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[
"CHICO HAMILTON",
"post bop",
"cool jazz",
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"world fusion",
"funk jazz",
"latin rock/soul",
"soul jazz",
"rnb",
"pop/art song/folk",
"latin jazz",
"jazz related soundtracks",
"acid jazz fusion",
"music",
"top albums",
"discography",
"biography",
"official website",
"pictures",
"videos from YouTube",
"related forum topics",
"shouts",
"news",
"tour dates and events",
"live auctions",
"online shopping sites",
"reviews",
"ratings",
"discography",
"studios",
"live",
"compilations (boxset)",
"EPs on CD",
"Vinyl",
"LP",
"cassette",
"videos",
"Blu-ray",
"DVD",
"VHS"
] | null |
[] | null |
CHICO HAMILTON is a post bop, cool jazz, hard bop, world fusion, funk jazz, latin rock/soul, soul jazz, rnb, pop/art song/folk, latin jazz, jazz related soundtracks, acid jazz fusion music artist. This page includes CHICO HAMILTON's : biography, official website, pictures, videos from YouTube, related forum topics, shouts, news, tour dates and events, live auctions, online shopping sites, detailled reviews and ratings and the full discography of albums: studios, live, compilations (boxset), EPs on CD, Vinyl / LP or cassette and videos released on Blu-ray, DVD or VHS
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/faviconJMA.ico?nocache=1
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JazzMusicArchives.com
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https://www.jazzmusicarchives.com/artist/chico-hamilton
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877
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https://thebluemoment.com/2019/04/07/guidi-plays-ferre/
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Guidi plays Ferré
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2019-04-07T00:00:00
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Léo Ferré's "Avec le temps" is one of the most exquisite sad songs ever written (Avec le temps va tout s'en va / On oublie le visage et l'on oublie la voix...). Giovanni Guidi is a lyric poet of the piano. The combination of the two, assembled for the title track of Guidi's new album,…
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en
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https://s1.wp.com/i/favicon.ico
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thebluemoment.com
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https://thebluemoment.com/2019/04/07/guidi-plays-ferre/
|
Léo Ferré’s “Avec le temps” is one of the most exquisite sad songs ever written (Avec le temps va tout s’en va / On oublie le visage et l’on oublie la voix…). Giovanni Guidi is a lyric poet of the piano. The combination of the two, assembled for the title track of Guidi’s new album, is a natural. The pianist’s touch is at its most effecting on a piece like this, with never a note wasted as he searches for the song’s essence. But it’s not just him and Ferré. It’s Thomas Morgan, the double bassist who combines Gary Peacock’s ardent fluidity with Charlie Haden’s deep soul, suffused with a pensive quality that is all his own. It’s also João Lobo, who adds a dimension that makes this group something more than a conventional piano trio, his discreet splashes, scrapes and sussurations disrupting the perfection in a subtle and highly creative way.
It’s a seductive start, but the album has much more to offer. On the second track, guests appear. The first is the guitarist Roberto Cecchetto, whose opening duet with Morgan on the modal “15th of August” reminds me of Gabor Szabo and Al Stinson in that great Chico Hamilton group of the early ’60s. The comparison extends to the other guest, Francesco Bearzatti, who turns up later in the same piece, playing tenor saxophone with some of the contemplative quality of the mature Charles Lloyd, like a Coltrane who finally found that inner peace. Lobo’s playing behind Morgan’s thrumming figures on the closing section of this is so stunning that you just don’t want it to stop.
Gradually the album travels further out, very interestingly so as Bearzatti’s Aylerish squalls on “Postludium and a Kiss” add another disruptive element to roil the prevailing balladry before, in a thrilling process, the other musicians rise to match his energy. “No Taxi”, by the trio, turns in another direction, towards a meeting of Thelonious Monk’s angles and Lennie Tristano’s seamless flow, with Bearzatti playing the Charlie Rouse/Warne Marsh role. “Caino” is a pre-dawn tone poem, with fine shading from Cecchetto’s guitar, and “Johnny the Liar” feels like a continuation of the same dream-state. “Ti Stimo”, a Guidi favourite, has a lovely rustic simplicity that Bill Frisell would enjoy, and “Tomasz” — a dedication to the late trumpeter Tomasz Stanko — finds the trio summoning the ravishing beauty heard on their previous albums, City of Broken Dreams and This Is The Day, both released, like this new one, on ECM.
As far as I know, Guidi, Morgan and Lobo have played together in London only twice, both times at the Rosenfeld Porcini art gallery. Someone should bring them back as soon as possible. This is one of the finest groups in contemporary jazz, and Avec le temps is not to be missed.
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“Nick Demopoulos with Chico Hamilton and Euphoria” by Dave Kaufman
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“Nick Demopoulos with Chico Hamilton and Euphoria” image by Dave Kaufman. All Rights Reserved. View more jazz images at All About Jazz Photo Gallery.
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Home » Jazz Pictures » Image
Nick Demopoulos with Chico Hamilton and Euphoria
© Dave Kaufman. All Rights Reserved.
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Uploaded: 2011-01-10
Size: 1,626 x 1,080 pixels
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https://dereksmusicblog.com/2013/12/14/chico-hamilton-with-paul-horn-chico-hamilton-with-paul-horn/
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN. From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians…
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https://dereksmusicblog.com/2013/12/14/chico-hamilton-with-paul-horn-chico-hamilton-with-paul-horn/
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians of his generation. Chico could hold is own alongside Charlie Mingus, Illinois Jacquet and Dexter Gordon. After high school, Chico was a member of Lionel Hampton’s band, where he played alongside fellow Los Angeles’ native Dexter Gordon. Not long after that, Chico made his recording debut, as Slim Gaillard’s drummer. During that period, where Chico was the resident drummer in Billy Berg’s nightclub. Unfortunately, just as Chico Hamilton’s career was taking off, he had to spend four years in the US Navy.
Between 1942 and 1946, Chico Hamilton has to spend four years in the US Navy. Like so many musicians, their careers were interrupted by the war years. These were four years they’d never get back. So when Chico came out the Navy, it was a case of making up for lost time. That’s when Chico’s career began. Within a few years, Chico Hamilton went from sideman to bandleader at Pacific Jazz. That’s where he recorded the tracks that can be found on Chico Hamilton With Paul Horn, which was recently released by Boplicity, a subsidiary of Ace Records. Before I tell you about Chico Hamilton With Paul Horn, I’ll tell you about Chico’s career.
After leaving the Navy, Chico played alongside Count Basie and was a member of Lester Young’s studio band. Not long after that, Chico joined forces with Charlie Mingus and Dexter Gordon. They knew each other well and were a potent partnership. Soon, Chico was getting calls to work with some of the biggest names in music, including Wardell Grey, Nat King Cole, Lena Horne, Sammy Davis Jr. Then as the forties drew to a close, and a new decade dawned, music changed.
Miles Davis’ seminal classic Birth Of The Cool, which was released in 1949, proved a game-changer. It heralded the birth of West Coast Jazz. Featuring a band that included saxophonist Gerry Mulligan, Birth Of The Cool’s importance can’t be understated. The effect it had, sent shockwaves through music. By the early fifties, bebop was no longer King. Replacing it, was the West Coast Jazz. This would prove a crucial development in Chico’s career.
In 1952, saxophonist Gerry Mulligan hired Chico as a member of the Gerry Mulligan Quartet. Featuring trumpeter Chet Baker, bassist Carson Smith, saxophonist Gerry Mulligan and Chico on drums. They recorded for two of the newly founded labels, Pacific Jazz and Fantasy. For the next few years, the Gerry Mulligan Quartet were one of the finest purveyors of West Coast Jazz. Chico’s performances were lauded. So it’s no surprise that Chico went from sideman to bandleader in 1955.
Chico Hamilton Quintet was released in 1955, on Pacific Jazz. It featured a rhythm section of Chico on drums, bassist Carson Smith and guitarist Jim. Fred Katz played cello and Buddy Collette clarinet, flute, trumpet and alto saxophone. Critical acclaim, plaudits and praise accompanied the release of Chico Hamilton Quintet. Later in 1955, Chico released another album. Billed as the Chico Hamilton Trio, their eponymous album was released on Pacific Jazz. With the Cool School at the peak of its popularity, Chico was riding the crest of a wave.
During 1956, Chico was just as busy. He was working as a sideman and released two albums. There was also another album from the Chico Hamilton Trio. Then the Chico Hamilton Quintet released their sophomore albums. The Chico Hamilton Quintet In Hi-Fi. By then, there had been changes in the lineup.
Musicians like Paul Horn, Eric Dolphy and Howard Roberts all came and went. Despite the changes in lineup, the quality never suffered. Still, Chico was one of the golden boys of the Cool School. The eight tracks on Chico Hamilton With Paul Horn were recorded during this period. When West Coast jazz was no longer the musical flavor of the month, Pacific Jazz sold a number of unreleased tracks to Modern Records. Chico Hamilton With Paul Horn was released in 1963, on Modern Records’ Crown Records imprint. That was still to come. Chico had one more year left at Pacific Jazz.
1957 saw Chico working just as hard. He accompanied Tony Bennett, Fred Katz, John Lewis and Corky Hale. The Chico Hamilton Quintet released their third album, Pacific Jazz Presents. It was released on Pacific Jazz, and would be the last album he’d release for West Coast. Between the release of Pacific Jazz Presents and Chico Hamilton With Paul Horn in 1963, Chico would drift from label to label.
During the next five years, the Chico Hamilton Quintet released albums on World Pacific, Warner Bros, Columbia and Impulse, where Chico recorded some of the finest music of his career. The Chico Hamilton Quintet made a brief return to Pacific Jazz, releasing The Spectacular in 1962. As for the Chico Hamilton Trio, they released one more album on World Pacific. Chico hadn’t lost his appetite for making music. Whether it was as a bandleader or sideman, Chico was still one of the hardest working musicians in jazz. In 1963, he was about to enter one of the most productive periods of his career at Impulse. The first was at Pacific Jazz, where he recorded the eight tracks that became Chico Hamilton With Paul Horn.
Chico Hamilton With Paul Horn features eight songs were recorded over several sessions. This includes a quartet of tracks penned by Fred Katz, Pluck It, Katz Up, Crazy Cats a.k.a. Classical Katz and Lord Randell. Bassist George Duviver wrote Porch Light and Autumn Landscape. Lolly Pop was written by Chico and Gerald Hamilton with Gerald Wiggins. These tracks became Chico Hamilton With Paul Horn.
Very little is known album the lineup that appeared on Chico Hamilton With Paul Horn. Paul Horn only plays on the final four tracks. Bassist George Duviver is joined by either Jim Hall or Howard Robbins on guitar. They’re joined by Chico on drums. Chico Hamilton With Paul Horn is an enthralling insight into the music of Chico Hamilton, one of jazz’s finest drummers, which I’ll tell you about.
Opening Chico Hamilton With Paul Horn is Porch Light. Chico’s drums and George Duviver’s bass drive the arrangement along. George leaves spaces, Chico fills them. Above them is a cinematic guitar solo. Shakers are ever-present adding an atmospheric sound. Soon, it’s time for the solos. Everyone gets the chance to showcase their skills. It’s George’s bass and the guitar that steal the show. If I’d to choose between the two, the mesmeric guitar solo comes out on top. If only we knew who they were?
Autumn Landscape has a pensive, wistful sound. The guitar is at the heart of the arrangement. It provides a melancholy sound, one whose beauty tugs at your heartstrings. Rolls of bold, dramatic drums from Chico open the track. Then when the guitar enters, it’s very different from the previous track. Played with power and aggression, experimental and free jazz shine through. Then it’s all change. The band veer between a more traditional and experimental sound. It’s as if Chico and his band are pushing musical boundaries. Dramatic, bold, melodic, avant-garde and thunderous, are ways to describe this track.
Lolly Pop bursts into life. The rhythm section join forces with the guitar. It’s played at breathtaking speed. Fluid and accurate, you’re enthralled by this mesmeric solo. Somehow, Chico manages to keep up. He plays with brushes, adding crashing cymbals and drum rolls as he adds drama and flamboyance, as he goes head to head with the guitar. Good as Chico’s playing is, he’s overshadowed by some of the best guitar playing on Chico Hamilton With Paul Horn.
Paul Horn makes his debut on Pluck It. He plays clarinet, as the track unfolds in short, sharp and urgent bursts. He joins the bass, which propels the arrangement along. The guitar playing is muted, almost subdued. Later, it’s more like the sound of earlier tracks. Chico meanwhile, is content to let other people take centre-stage. Here, it’s bassist George Duviver and Paul Horn. Their playing veers between urgent, abrupt and fluid on an enthralling track.
Katz Up is the quite different to anything that’s gone before. That’s down to the cello, which ensures the arrangement swings along. It has a scratchy lo-fi sound. Then there’s the clarinet that’s played fluidly. The rhythm section provide the heartbeat, aided and abetted by the guitar. Together they create a swinging track, that occasionally and briefly, heads in the direction of avant-garde and free jazz.
Crazy Cats a.k.a. Classical Katz is a fusion of jazz and classical music. Paul Horn produces his best performance on Chico Hamilton With Paul Horn. He plays a soul-searching solo. Accompanied by a cello, which adds a classical influence, they prove a potent partnership. They force each other to greater heights. Inspiring each other, they play their part in what’s one of the album’s highlights.
Closing Chico Hamilton With Paul Horn is Lord Randall. Heartbreaking, emotive and dramatic describes this track. It has a cinematic quality. That’s down to the cello and flute. They play starring roles, painting pictures. You can imagine Lord Randell preparing to head off to fight in a war. The sombre tones supplied by the cello could well be some tragedy that’s befallen him. The guitar, it adds a melancholy quality, while the bass sounds like an army marching into battle. For over seven magical minutes, Chico and his band create what’s best described as an epic example of musical theatre.
Chico Hamilton With Paul Horn featured eight tracks Chico recorded for Pacific Jazz. Once West Coast jazz was no longer as popular, and the Cool School was out, Pacific Jazz sold a whole host of unreleased tracks to Modern Records. They were released on Modern Records’ Crown Records imprint in 1963. Sadly, Chico Hamilton With Paul Horn wasn’t a commercial success. By then jazz had moved on and Chico was now signed to Impulse, where he’d enjoy one of the most successful periods of his career. However, Chico Hamilton With Paul Horn is an important musical document.
Featuring music that’s variously dramatic, bold, challenging, melodic, melancholy and cinematic, Chico Hamilton With Paul Horn is full of subtleties and surprises. Sometimes, the music briefly heads in the direction of avant-garde, bebop, experimental and free jazz and. Other times the Cool School is back in business. Then on the seven-minute cinematic opus Lord Randall classical music has influenced Chico. Quite simply, Lord Randall is the highlight of Chico Hamilton With Paul Horn. If you close your eyes, Chico and Paul paint pictures. Lord Randall becomes a story waiting to be told or a film to be made. Crazy Cats a.k.a. Classical Katz is another track where there’s a classical influence. It sees jazz and classical music unite seamlessly. These two tracks are just two reasons why Chico Hamilton With Paul Horn which was recently released by Boplicity, a subsidiary of Ace Records is well worth discovering.
Whether you’re a fan of Chico Hamilton, Paul Horn, West Coast jazz or just jazz music in general, then Chico Hamilton With Paul Horn will be a welcome addition to your record collection. Why? Well, Chico Hamilton With Paul Horn features some hidden gems from Pacific Jazz’s back-catalogue and features music from one of the most successful period in Chico Hamilton’s career. During his time at Pacific Jazz, Chico Hamilton had established a career as a pioneering musician who pushed musical boundaries. The eight tracks on Chico Hamilton With Paul Horn are proof of that. Standout Tracks: Porch Light, Autumn Landscape, Crazy Cats a.k.a. Classical Katz and Lord Randal.
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chico hamilton – Jerry Jazz Musician
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2007-12-29T18:31:57-08:00
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“Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of “edu-tainment.” As often as possible, we pose one question via e mail to a small number of prominent and diverse people. The question is designed to provoke a lively response that will potentially include the memories and/or opinion of those solicited.
What three or four songs best epitomize the era of the Civil Rights Movement?
Featuring Bruce Lundvall, Chico Hamilton, Gerald Early, Juan Williams, Arthur Kempton and others…
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Trio! Live @ Artpark by Chico Hamilton: Listen on Audiomack
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Stream Trio! Live @ Artpark, an album by Chico Hamilton. Release Date: September 30, 2008.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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All Things West Coast Jazz And The Surrounding Scene*
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Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers...
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en
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/
|
Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers promoting the music of his own label "Pacific Jazz Records".
These vinyl LP's were issue in a series as mentioned in the header with the prefix on the Cat # "JWC".
It started with JWC-500 up to JWC-514. Most original LP's are oop. Many have been reissued in Japan by King Record Co., Ltd on vinyl and also on CD on diffrent other labels.
I plan to present the complete series here (vinyls only) with cover and content.
Thanks
Volume 1: Title "Jazz West Coast" An Anthology Of California Music - Cat# JWC-500
Content:
- A1 Chet Baker Ensemble "Bockhanal"
- A2 Gerry Mulligan Quartet "Soft Shoe"
- A3 Clifford Brown Ensemble "Tiny Capers"
- A4 Zoot Sims Quartet "I'll Remember April"
- A5 Bud Shank and 3 Trombones "Wailing Vessel"
- A6 Chet Baker Quartet "Happy Little Sunbeam"
- A7 Bill Perkins & Bud Shank "It Had To Be You"
- B1 Bud Shank and Bob Brookmeyer "Low Life"
- B2 Chet Baker Quintert "There Will Never Be Another You"
- B3 Bud Shank and Shorty Rogers "Lotus Bud"
- B4 Gerry Mulligan Quartet "Darn That Dream"
- B5 Laurindo Almeida Quartet "Speak Low"
- B6 Bob Gordon & Jack Montrose "Two Can Play"
- B7 Lee Konitz Plays With The Gerry Mulligan Quartet "Oh Lady be Good"
Volume 6: "Solo Flight" - Cat# JWC-505
Album is missing in my collection
Here is a link from Discogs
A1 –Art Pepper With Leroy Vinnegar And Stan Levey I Can't Give You Anything But Love 4:00
A2 –James Clay With Bobby Timmons, James Bond* And Peter Clay In A Sentimental Mood 3:27
A3 –Lee Konitz With The Gerry Mulligan Quartet* Too Marvelous For Words 3:36
A4 –Bill Perkins With Jimmy Rowles, Ben Tucker And Mel Lewis Angel Eyes 3:37
A5 –Richie Kamuca With Pete Jolly, Leroy Vinnegar And Stan Levey If I Should Lose You 4:18
B1 –Chet Baker With Bobby Timmons, James Bond* And Peter Littman I Can't Get Started 3:06
B2 –Bobby Brookmeyer* With John Williams (14), Red Mitchell And Frank Isola Isn't It Romantic 2:34
B3 –Bud Shank And Russ Freeman With Carson Smith And Shelly Manne It's A New World 4:38
B4 –Phil Urso With Bobby Timmons, James Bond* And Peter Littman It's Only A Paper Moon 4:42
B5 –Harry Edison With Arnold Ross, Joe Comfort And Alvin Stoller September In The Rain 2:53
Volume 7: "Pianists Galore" - Cat# JWC-506 - original issue 1957 - jap. reissue Cast# K18P 9223 in 1983
Content:
- A1 Carl Perkins (p), Jim Hall (g), Red Mitchell (b) "Too Close For Comfort"
- A2 Jimmy Rowles Quartet "We'll Be Together again"
- A3 Russ Freeman Trio "Laugh,Cry"
- A4 Richard Twardzik (p), Carson Smith (b), Peter Littman (dr) "Bess, You Is My Woman"
- A5 Hampton Hawes Trio " I hear Music"
- B1 Jimmy Rowles Trio "Sonny Speaks"
- B2 Bobby Timmons Trio "Autumn In New York"
- B3 John Lewis (p), Pery Heath (b), Chico Hamilton (dr) "I Can't Get Started"
- B4 Pete Jolly Trio "Younger Than Springtime"
- B5 Al Haig Trio "Taking A Chance On Love"
Volume 8: "JAZZ WEST COAST Vol . 3" - Cat# JWC-507 - reissue on jap. CD TOCJ -5618
All recorded in 1957
Content:
1. Gerry Mulligan Sextet "There Will Never Be Another You"
2. Chico Hamilton Quintet "Mr. Smith Goes To Town"
3. Bud Shank Qúartet "Polka Dots And Moon Beams"
4. Art Pepper Quartet "Old Croix"
5. Chet Baker Sextet "Little Girl"
6. Russ Freeman - Chet Baker Quartet "Love Nest"
7. Bud Shank - Bob Cooper Quintet "Sweet Georgia Brown"
8. Jim Hall Trio "Things Ain't What They Used To Be"
9. Phil Urso - Bob Burgess Quintet "Too Marvelous For Words
10. Russ Freeman - Bill Perkins Quintet "Brother Can You Spare A Dime"
Yes I do agree. The West Coast has a lot of smaller labels with first rate music. I do like those professionals playing also in the film studios inbetween.
Zhanks for the reply.
I posted these same photos in a Chet Baker thread a couple of weeks ago but I figure this may also be a suitable place for them.
Here's a Japanese-issued coffee table book signed by William Claxton. My copy also includes autographs of West Coast jazz giants Russ Freeman, Bill Perkins, Bud Shank, Gerry Mulligan, and Jack Montrose. In the 90s, I attended 2 or 3 editions of the West Coast Jazz Festival down in Redondo and/or Hermosa Beach. Anyway, I kept some flyers and programs of the event and will post them here (as soon as I locate them!). I also took lots of photographs (some good, many not so). The nice thing about this event is that there were Q&A forums where you can have interaction with the musicians. I met and/or saw perform the likes of Charlie Haden, Harold Land, Paul Bley, Teddy Edwards, Gerry Mullligan, Maynard Ferguson, Leroy Vinnegar, Lou Levy, Lennie Niehaus, Gerald Wilson, Russ Freeman, Jimmy Giuffre, Herb Geller, Stan Levey, Conte Candoli, Larance Marable, Howard Rumsey, Claude Williamson, and Mr. Dave Brubeck among a few others.
Those were great times. Many of the musicians I mentioned are no longer with us.
Just sharing.
Hi and thanks for the messaga and the photos.
Have that beautifulbook myself but not signed by the author.
Beside jazz records I do collect also cover art books and have a lot of those even very rare Items by Manek Daver and all label books from the swiss company OLMS Verlag. The good thing is you live near the source and I am living in Europe.
BTW from William Claxton I own another great book "The Art Of Jazz Photography - CLAXOGRAPHY" published 1995.
My favorite cover art artist is David Stone Martin.
The heaviest book in my stock dealing with jazz and photography is the heavy coffetable book "Jazz Life" from the TASCHEN company edited by William Claxton and Joachim Ernst Berendt (the late german jazz critic) . If you ever come across this jewel grab it even it is very pricy.
Anyway congrats for beeing on the spot and taking snapshots and sharing your experiences.
I missed that Chet Baker thread but have a couple of records from him. My favorite West Coast big band is Shorty Rogers.
Thanks again.
I am familiar with the books you mentioned. I love 'em cover art books but I only have 5 of them: 2 West Coast/California; one Blue Note; one New York album covers; and the Pete Turner (CTI) book. Speaking of Shorty Rogers, one year he was set to appear at the festival but had to beg off due to illness. If memory serves me right, he died while the festival was ongoing in November 1994. I don't have much of his recorded output but one west coast jazz record I like is "Wherever the Five Winds Blow" by Shorty's quintet with Giuffre.
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https://store.everythingjazz.com/collections/lp/products/chico-hamilton-the-dealer-lp-verve-by-request-series
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en
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Chico Hamilton: The Dealer LP (Verve By Request Series)
|
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Impulse!, 1967 Led by drummer and bandleader Chico Hamilton, The Dealer features appearances from Archie Shepp, Charles Lloyd and, notably, the recording debut of guitarist Larry Coryell, who lends a bluesy edge to a solid and mellow soul-jazz outing. Tracklist & Credits - 1LP Side A The Dealer For Mods Only A Trip
|
en
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Everything Jazz Store
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https://store.everythingjazz.com/products/chico-hamilton-the-dealer-lp-verve-by-request-series
|
Looks like you are in .
Would you like to visit your local store?
Take me there
Take me there
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If you are using a screen reader and are having problems using this website, please call 866-682-4413 for assistance.
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877
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dbpedia
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0
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https://music.apple.com/us/artist/chico-hamilton/55602
|
en
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âChico Hamilton
|
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[] |
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[
"listen",
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Listen to music by Chico Hamilton on Apple Music. Find top songs and albums by Chico Hamilton including Daydream, Goodbye Baby Blues and more.
|
en
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/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/us/artist/chico-hamilton/55602
| |||||
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https://www.caffelena.org/2023/02/12/february-13-19/
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February 13
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[
"Sarah Craig"
] |
2023-02-12T00:00:00
|
Romantic jazz for Valentine's Day followed by a great line-up of blues, folk, pop, kids shows, open mics and more.
|
en
|
Caffe Lena
|
https://www.caffelena.org/2023/02/12/february-13-19/
|
Greetings – Music and love go hand in hand, so I hope your Valentine’s Day celebration includes a special soundtrack. Certainly, you can’t go wrong with jazz if you’re looking for a cozy evening with someone special. Chuck Lamb’s JAZZ at Caffe Lena series brings the best of NYC to Saratoga every month, and lucky are we that he’s bringing Eric Person to sit in with the band on Valentine’s Day.
The rest of the week is looking wonderful and busy, so don’t wait til the last minute if you’d like to join us for blues, opera, folk, pop and more!
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https://www.allmusic.com/album/chico-hamilton-trio-mw0000875212
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
|
https://www.allmusic.com/updated
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https://escortbabylon.net/provider_list/last_post/chicago/1
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Escort Babylon: Reviews of Escorts
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Browse Chicago escorts, travel companions, escort agencies, strippers, massage parlors and other adult performers with reviews, rating and photos in Escort Babylon
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https://jazzresearch.com/tag/chico-hamilton/
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Chico Hamilton Archives
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Jazz Research
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https://jazzresearch.com/tag/chico-hamilton/
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Don Jim was present at over three dozen broadcasts of Stars of Jazz. His 35mm color slides captured rare photos of the songbirds who appeared on the series.
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Tiffany Club – 1956/1957 Shelly Manne and His Men continued to be the headline attraction through December 1955 at Tiffany Club and were carried over into January of 1956. The continuing engagement included a special “New Year’s Eve Gala” at the club with favors, hats, horns, and noisemakers. Manne’s working quintet comprised Stu Williamson […]
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The club space at 5510 Hollywood Boulevard was vacant for nearly a year after Maynard Sloate closed Jazz City. It gained new life in February of 1958 when Carl Greene opened Jazz Cabaret.
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Billie Holiday and the Pete Jolly Trio engagement from December of 1956 continued into the first few days of January 1957. Corky Hale provided piano accompaniment to Lady Day with Pete Jolly’s rhythm section of Bob Bertaux and Bob Neel continuing rhythm backup to Corky Hale and Billie Holiday.
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The Australian Jazz Quartet/Quintet engagement that began in June carried over to July 5, 1956. The Chet Baker Quintet opened the following day, Friday, July 6, 1956. The Chet Baker Quintet appeared on Stars of Jazz the next Monday, July 9th, with the addition of Bill Loughborough on boo-bams, a percussion instrument consisting of calf skin stretched over varying lengths of timber bamboo. Chet would frequently play boo-bams during the engagement at Jazz City.
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The December 28, 1955, issue of Down Beat magazine ran a short column announcing a series of West Coast bookings for Miles Davis’s current combo with Paul Chambers, Philly Joe Jones, Red Garland, and John Coltrane. The new quintet had a recent release on the Prestige label, MILES, that featured the new quintet. Miles Davis’s new quintet opened at Jazz City on Friday, January 6, 1956. The quintet’s engagement ran through Thursday, January 19, 1956. Prior to heading north to San Francisco for their booking at the Black Hawk, Paul Chambers joined a combo led by Kenny Drew for Jane Fielding’s second album for Herb Kimmel’s Jazz:West label.
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Jazz City patrons were treated to jazz vocals in February 1955 when the Chet Baker Quintet appeared at the club. Chet had introduced vocals in his sets after the successful introduction of this facet of his talents on his first vocal album, Chet Baker Sings, PJLP-11. Jazz vocals continued to be an attraction when Jackie Cain and Roy Kral joined the Conte Candoli Quintet at Jazz City in May of 1955.
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The Modern Jazz Quartet had an extended gig at Jazz City in Hollywood during the first half of February, 1956 before moving on to the Blackhawk in San Francisco later that month. Dick Bock approached John Lewis during their Jazz City appearance and asked Lewis if he would be available and willing to organize a […]
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https://imusic.co/music/0602458940800/chico-hamilton-2024-the-dealer-lp
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Chico Hamilton · The Dealer (LP) [Verve By Request Series edition] (2024)
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LP (VINYL RECORDS) "The Dealer" [Verve By Request Series edition] by Chico Hamilton.
Genre: Jazz. Released Apr 26.
Weighs 225 g and measures 316 mm x 312 mm x 5 mm.
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https://imusic.co/music/0602458940800/chico-hamilton-2024-the-dealer-lp
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Tell your friends about this item:
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https://theweekendpollution.wordpress.com/2011/02/05/something-for-the-weekend-the-chico-hamilton-quintet-blue-sands-live-at-the-1958-newport-jazz-festival/
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36. Something for the Weekend: The Chico Hamilton Quintet “Blue Sands (live at the 1958 Newport Jazz Festival)”
|
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[
"Leigh O'Gorman"
] |
2011-02-05T00:00:00
|
Those that know me, should know that I have a great love of jazz; especially percussion driven works from the 1940's through to the late-60's. Its driving precision often held a sort of manic fluidity in check; like sheer madness surrounding a column of calm. As one of my favourite musicians of all time, Chico…
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https://s1.wp.com/i/favicon.ico
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The Weekend Pollution
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https://theweekendpollution.wordpress.com/2011/02/05/something-for-the-weekend-the-chico-hamilton-quintet-blue-sands-live-at-the-1958-newport-jazz-festival/
|
Those that know me, should know that I have a great love of jazz; especially percussion driven works from the 1940’s through to the late-60’s.
Its driving precision often held a sort of manic fluidity in check; like sheer madness surrounding a column of calm. As one of my favourite musicians of all time, Chico Hamilton was that calm.
Hamilton was born in Los Angeles of 1921 and although his drumming provided something of a high-wire stability in numerous bands during his early years, he would not find his feet as a band leader in his own right until 1955.
Until that point, he had been an associate of the likes of Charles Mingus, Buddy Collette, Dexter Gordon, while also enjoying spells performing with Lionel Hampton, Count Basie, Nat King Cole, Billie Holiday and Sammy Davis Jr.
There was even a turn as the drummer for Fred Astaire’s backing group in the film You’ll Never Get Rich in the early-40’s.
When the Chico Hamilton Quintet did formulate, it came to a somewhat unusual format. Rather than being brass led – as many jazz bands at the time were – Hamilton created a group that contained cello, flute, double-bass and guitar; however there was rarely a lead. Often on albums, lead instruments would alter per song and in some cases would flirt from player to player.
The line-up, devoid of sharp sounding instruments help give birth to west coast jazz, also know as “cool jazz” and in this time, Hamilton produced some of the finest jazz albums ever recorded.
It would be a period that spawned long players such as The Chico Hamilton Quintet featuring Buddy Collette (1955), Truth featuring Eric Dolphy (1959) and the truly magnificent El Chico (1966). A series of fabulous albums was topped off by The Dealer (also 1966), released on Impulse Recordings.
There were a number of fine recordings in those years, but rarely is that collection of four ever topped.
In the 60’s, the formula of Hamilton’s band altered somewhat and began to assume more of a hard bop and avant-garde feel. This was aided by the addition of Charles Lloyd, Gabor Szabo, Arnie Lawrence, Albert Stinson, Richard Davis, Archie Shepp and George Bohanon to his band at various points.
Following the this period, Hamilton began a film production company, where upon he scored numerous movies; including Litho, Repulsions, By Design, Mr Rico and Liebe Auf Den Ersten Blick amongst others.
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https://www.walmart.com/ip/Chico-Hamilton-Trio-CD/670519418
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Robot or human?
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Activate and hold the button to confirm that you’re human. Thank You!
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https://www.freshsoundrecords.com/chico-hamilton-albums/5421-plays-south-pacific-ellington-suite-2-lps-on-1-cd.html
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Plays South Pacific & Ellington Suite (2 LP on 1 CD)
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Buy Plays South Pacific & Ellington Suite (2 LP on 1 CD) by Chico Hamilton on Blue Sounds Store. Released by Fresh Sound Jazz City Series.
|
en
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/img/favicon.ico?1718181534
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Blue Sounds
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https://www.freshsoundrecords.com/chico-hamilton-albums/5421-plays-south-pacific-ellington-suite-2-lps-on-1-cd.html
|
THIS PRODUCT IS NOT AVAILABLE FOR SALE IN THE U.S.
Includes a 16-page booklet with accurate recording details, original liner-notes and rare photos.
The Chico Hamilton Quintetin the first of the two albums included reshapes eleven pieces of the popular Broadway show South Pacific into new patterns of sound and rhythm. Chico explained that they had kept the jazz sounds wherever we felt there should be jazz. The tunes were extremely difficult to arrange because the majority were both good and simple; one of the hardest things in music is to retain simplicity. The arrangements of Paul Horn, Hal Gaylor, John Pisano, Carson Smith and Calvin Jackson left us one of the happiest renditions of this show.
On the second album, the original Hamilton quintet, plus Paul Horn, reunited to play a fine collection of Ellington originals with the understanding and rare perspicacity only they could provide. The group operates entirely within a flexible framework, provided by Carson Smiths arrangements. The men are all highly capable, and the solo work is very good. Buddy Collette's tenor and Jim Halls lucid guitar are great assets to this set. Ellington's subject matter, combined with Hamilton's brilliant colors, produced a set that is as delightful as it is intriguing.
All the music you will find here is attractive and very much alive; you have two fabulous groups led by Hamilton to thank for it.
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The Chico Hamilton Trio ~ Chico Hamilton Trio
|
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The Chico Hamilton Trio - Chico Hamilton Trio på vinyl finns till försäljning hos Djungel & Jazz skivbutik i Stockholm och Online
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Djungel & Jazz
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https://djungelochjazz.se/en-us/products/the-chico-hamilton-trio-chico-hamilton-trio
|
More from the Artist: Chico Hamilton |
Product type: Second Hand vinyl
Comments: Record has lots of shallow hairlines and marks. Residue from tape on edges. Wear on spine.
Media Condition: Very Good (VG)
Sleeve Condition: Very Good (VG)
Label: Pacific Jazz |
Format: Vinyl, LP, 10", Album
Country: US
Release Year: 1955
Genre: Jazz |
Style: Cool Jazz |
Release ID: r4759777
When you buy second hand vinyl records from Djungel & Jazz, you should always feel secure in our grade and comments of the product's condition. Normally we do not sell vinyl records where the grade of the media is below VG condition, however, we can sell sleeves with a slightly lower grade, with the argument that you don't listen to the sleeve.
The majority of our records are visually graded. In many cases, we also listen to the record, and you will find our verdict on the condition of the vinyl record in the comments. If necessary, we wash the disc in our ultrasonic washer and place it in a new antistatic inner sleeve.
We always try to mention the details and deviations that are essential to know about each individual vinyl record. Please read the comments for the rationale for our grading of the specific vinyl record.
Below is a brief explanation of how we grade vinyl records and record sleeves. Should a record be incorrectly graded by us, Djungel & Jazz offers a Grading Guarantee that allows you to return the record and receive a full refund. Please read more about our Grading Guarantee and how to proceed here.
Mint (M)
Absolutely perfect in every way. Probably never played, possibly even still sealed.
Near Mint (NM or M-)
An NM or M- record has probably hardly ever been played and the vinyl will play absolutely flawlessly, without any interference during playback. We are sparing with higher ratings than this, as we believe that no record is ever completely perfect. The record should not show any obvious signs of use.
Possible signs of light handling may be present to the sleeve. An LP cover should not have creases, folds, cracks in the seams, punched holes or other noticeable similar defects.
Very Good Plus (VG+)
A record in this condition will show some signs of having been played and handled by a previous owner who took good care of it. Any defects must be of a cosmetic nature and not affect playback to any great extent. The record surfaces may show some signs of use and may show small wear or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are "okay". The label may have some ring wear or discoloration, but it should be barely noticeable. "Spindle marks" may occur.
Covers and inner sleeves will have some wear, slightly turned-up corners or a small cracks in some seam. An LP sleeve may show slight signs of wear and may be marked by a punched hole, an indentation or a cut corner. In general, if it weren't for a couple of small things wrong with it, it would be NM/M- instead.
Very Good (VG)
Many of the flaws found in a VG+ record will be more noticeable in a VG record. Surface noise can be noticeable when you play it, especially in soft passages, during the intro and fade-out of a song, but will not overpower the music otherwise. Groove wear is starting to show, as well as light scratches that can be felt with a fingernail that might affect the sound.
Labels may be torn from writing or have tape or stickers (or their remnants) attached. The same applies to picture cases or LP cases. However, it will not have all these problems at the same time.
Good Plus (G+) & Good (G)
A record in this condition can be played through without skipping. It may have significant surface noise, scratches and visible groove wear. Although the disc can be played without skips, noticeable surface noise and clicking sounds will certainly occur.
A sleeve or inner sleeve will likely have cracks in the seams, especially at the bottom or on the back. Tape, writing, annular wear or other imperfections will be present.
Poor (P) & Fair (F)
The record may be cracked, severely warped, and cannot be played through without skipping or repeating itself. Djungel & Jazz does not sell records with this rating.
The sleeve is probably water damaged, torn along all three seams or heavily damaged by wear and writing. The LP sleeve barely holds the LP inside. Inner pockets are torn, wrinkled and scribbled.
Generic
The term Generic is given to album covers that have no printing. Mostly solid black or white. Sometimes with a hole showing the records label on both sides.
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https://open.spotify.com/playlist/37i9dQZF1DZ06evO2oOkkt
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This Is Chico Hamilton Quintet
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Playlist · This Is Chico Hamilton Quintet · 50 songs · 94 likes
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https://open.spotify.com/playlist/37i9dQZF1DZ06evO2oOkkt
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https://www.instagram.com/jazzphotoarchives/p/C8KMo6cu0tv/
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https://www.last.fm/music/The%2BChico%2BHamilton%2BTrio
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en
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The Chico Hamilton Trio music, videos, stats, and photos
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2024-02-10T00:00:00
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Listen to music from The Chico Hamilton Trio like Autumn Landscape, Buddy Boo & more. Find the latest tracks, albums, and images from The Chico Hamilton Trio.
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Last.fm
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https://www.last.fm/music/The%2BChico%2BHamilton%2BTrio
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https://markweber.free-jazz.net/2012/06/05/the-coda-interview-with-fred-katz-1979/
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The Coda interview with Fred Katz | 1979
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2012-06-05T00:00:00
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The professor of Anthropology: Fred Katz | March 20, 1979 | Photo by Mark Weber Interview done during April 1979 at Fred’s Fullerton home. Also speaking is Fred’s wife of 38 years, Lil…
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Mark Weber
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https://markweber.free-jazz.net/2012/06/05/the-coda-interview-with-fred-katz-1979/
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The professor of Anthropology: Fred Katz | March 20, 1979 | Photo by Mark Weber
Interview done during April 1979 at Fred’s Fullerton home. Also speaking is Fred’s wife of 38 years, Lillian.
MARK WEBER: You’ve been studying anthropology all along?
FRED KATZ: Well, more or less. Just as a guy I’ve been interested in a lot of things. The way I got involved with this was, I used to take the cello out to play at the Gas House, Venice Beach, and one day there was a guy there who was an anthropologist at Cal State Northridge, and he asked me to write a score for a little movie called “The Puppet’s Dream,” a very beautiful animated film, very clever, very fantastic, we got a couple of awards for it. As we walked out of the studio I said to him very casually that it would be very nice to teach here at this school. He thought that was a great idea and being the head of the anthropology department the next thing you know I found myself teaching primitive music. It was almost like a lark. I got so involved with it they finally made me assistant professor and then I came over to Cal State Fullerton and all of that.
But you know what’s interesting, the anthropologist who got me started in the academic life is a guy by the name of Ted Carpenter, a very famous, internationally-known anthropologist, and he wanted me to teach half in music and half in anthropology — he was forming an anthropology department and he wanted some creative people in it. But the music department turned me down (laughing), because I didn’t have a degree! So he got bugged by that and said all right I’m going to make you a full time anthropologist. So I’m a full professor of anthropology now, this is really a wild story! A professor that never went to college!
So what I teach is anthropology, a jazz history course, which I know a little bit about, aesthetics and symbolism, you know things that I’ve always loved. I teach about Jewish mysticism which has pervaded much of my life, and ethnological musics — I pretty much teach what I damn please. Do you believe that story? It’s unbelieveable!
Mark: What are some of the earliest musics that you have come across? Music, say, maybe during the period that Fraser is dealing with in “The Golden Bough.” Say like 15,000 years ago.
Fred: Well it would never be that old. Of course they had to have something. The first instruments had to be flute-like arrangements, you know, playing with grass or reeds in the mouth.
Fred’s thinking, “Ah, Longbottom Leaf from the Shire” | March 20, 1979 | Photo by Mark Weber
Mark: The Lascaux Cave paintings in the Pyrenees in southwestern France have a depiction of a man playing either a flute or a mouth-bow, they haven’t decided yet. That dates to 15,000 B.C.
Fred: Sure. It had to be something like that first. The drum is a very sophisticated instrument. You know to hollow out and burn the wood, then stretch skins is very involved. And the idea of rhythm, a constant metered time, is of extreme sophistication. In Africa right now there are tribes that don’t use any drums. You know some of the first rhythms probably came about as hunters sitting in wait for prey found the sound the string of their bow makes. You know an interesting thing about rhythm; most people feel uncomfortable when music has no easily dis-cernable rhythm, like when they listen to some avant-garde thing. That would be an interesting study.
But for us to say anything about the earliest music, it would have to be written down. In ancient Greek music they have a fragment of what they call a Delphic hymn, it’s a hymn and only a fragment in an old notation. Now some of the ancient Tibetan music that I’ve heard is very interesting. Probably the most primitive maybe would be the Vedda people in Ceylon where they have maybe two or three notes. But surprisingly primitive music, even though it sounds very primitive when you first hear it, when you analyze it it is a little more complicated than you think. There are a lot of primitive chants, one-note, two-note, maybe three-note sorts of things. The oldest piece of music that is actually around is in the Bible. When you study the Bible in Hebrew, over every word they have what you call a cantalation motif, and they might be one-note, two-note depending on the amount of syllables, there are 27, what they call tropal motifs. And these have already been translated into music so that you can recite the entire Bible as a musical composition.
So that’s probably the earliest notated music. As a matter of fact, when you go to a synagogue temple and you hear all those melodies, they come from those early motifs. Eventually those melodies got involved with the Gregorian chant. Mark: Didn’t the Greeks sort of complicate music a little bit? Where the musics before them were closer to what we have now. Fred: Well yes, but they didn’t have any of the complex harmonies that we have now or the polyphony that we have now. It was pretty much monophonic-melodic, maybe they might have antiphons, you know like one voice against another, but nowhere near the complication that we have since the ninth or tenth century, much less now, now it’s another world. Very few people know about that Hebrew thing. I think that a lot of the basic melodies that came out of the church, which is the story of Western music, came from those ancient motifs. I’ve written a lot of jazz things based upon that idea.
Mark: You did a liturgical service, in 1964?
Fred: The last one I did was about St. Francis of Assisi. I’ve written a couple of Jewish services where I used a cantor as a jazz vocalist, and a jazz group, and there was also dancing. I did a service of “Song of Solomon” which is as you know some pretty raunchy poetry, yeah you better believe it! Some very erotic poetry that he did.
Mark: Did you record any of that?
Fred: No, I never bothered to record it. It’s all in the cosmic air (laughing), floating around, somebody’s dancing to it now. I don’t know where in the hell it is. And you know something else that I did, I did a Bar Mitzvah with my son, Hyman. See in the Jewish tradition at 13 years old you do a Bar Mitzvah, a Rite of Passage, but actually it’s not that way because you can do a Bar Mitzvah at any age. It means to be committed to Judaism, so I did it at age 50. With my son who was 13 at the time, we had a whole jazz Bar Mitzvah, and Paul (Horn) played, and some other good players. I eventually played for Paul’s Bar Mitzvah. It’s interesting, the story between Paul and myself. He joined Chico Hamilton’s group in Philadelphia and was so nervous that I thought he was going to have a heart attack because at that time Chico’s group was a big thing.
He was always a good player. In my mind, all of the things or most of the things that I ever wrote for him I wrote for clarinet because that to me is his best instrument. He’s an incredible clarinet player and I’m sorry that he doesn’t use it more. I wrote a piece for him called Siddhartha, the story of Buddha, for clarinet and string quartet, you should hear that playing, it’s beautiful. You know when you’re on the road you talk and you think, et cetera. I got involved with Zen and then Paul got involved with Zen, then later on after we had left the group the next thing you know Paul got involved with Maharishi. So Paul became very much involved with Cosmic Consciousness and all of that stuff. Then Paul initiated me into meditation. Our lives are really intertwined a lot.
Buddy Collette & Fred Katz | May 9, 1981 | Photo by Mark Weber
Buddy Collette-Fred Katz Quintet | May 9, 1981 | Los Angeles Press Club, 600 N. Vermont Avenue | Llew Matthews, piano; Paul Humphrey, drums; Nathan East, bass | Photo by Mark Weber
Buddy Collette-Fred Katz Quintet | May 9, 1981 | Photo by Mark Weber
Buddy Collette-Fred Katz Quintet | May 9, 1981 | Photo by Mark Weber
Mark: Is that when Buddy Collette left the group, in Philadelphia?
Fred: Yes, he was doing a lot of studio work, that sort of thing and it was very hard for him to be away from his home and his family. That is probably the reason that I lefttoo. Not so much the money, I was just away from my family for so long, six to eight months at a time. My kids were just growing up and all of that. I left in New York, about 1960 I think.
Mark: What is the status of all of those records you’ve made? The ones on Pacific Jazz and Decca and Warner Brothers. Who owns them?
Fred: (looking at the Jepsen Discography) Yes, I’ve forgotten about a lot of this stuff. There’s more than this. And then of course there’s the two I did with Ken Nordine, “Word Jazz” and “Son of Word Jazz”. That was one of the first times that jazz and poetry and prose were done together, it was very important. The electronics on The Sound Museum were done by a guy by the name of James Cunningham, and the voices on The Flipperty Jib were ours, we were singing. I’ll tell you man, we had so many laughs. If you can imagine, we had Chico Hamilton and myself and a couple other guys singing this damned thing that I wrote, (humming) It broke us up so much every time we tried to sing this thing. I never will forget that.
Mark: So Chico Hamilton is on “Word Jazz”? Is he Forest Horn?
Fred: Yes. You see Chico’s real name is Forest-orn Hamilton, but they didn’t mention his name, something with the contract. As a matter of fact, something that should be on that list too, I did an album with Milt Bernhart, you know the solo trombone player with Stan Kenton, he was around in the sixties. Great player! I shared the writing with Calvin Jackson, a great piano player and a great, great arranger. It was one of my privileges in life that I was able to help him when I had the chance. He happened to be a great arranger in those days, you see he was black, so it made it hard. He went up to Canada and made a very big reputation for himself there, that’s where I met him.
I was with Lena Horne and he was in the audience one night and afterwards he came up and we talked and I found him to be very nice. He wrote a concerto that he played with the Toronto Symphony Orchestra. His arrangements are just absolutely impeccable! As a matter of fact he wrote a couple of arrangements for me, for one of my albums, and they’re beautiful. He never seemed to be able to crack through this god-damned system. I don’t know what happened to him, I think he might be living in San Diego. You know I also wrote the music for an album with Carmen McRae. And there’s one I did with Harpo Marx, Harpo and I were very close.
Mark: How about the beginnings of the Chico Hamilton group?
Fred: Well I was playing with Lena and Chico was playing with Lena and that’s where we met. Then I came back (here) and later he came back and I was playing piano for a girl who was going for stardom, she was a big vocal star and she got married and that didn’t work out and so on. So I was in L.A. and I called up Chico and asked if he wanted to play with this chick at Mocambo’s which was still active in those days and he said sure. I was playing piano, although Chico knew me as a cellist. It’s kind of an involved story but I’ll try to cut it short. In New York City (I come from New York City), Lena came in to play a vaudeville gig at a place called the Capital Theater. This is a pretty long time ago! And I was asked to play the cello in the orchestra, a little string group. Now, Phil Moore was one of the top arrangers in the country, composer, vocal coach. He wrote a beautiful symphonic arrangement of Frankie And Johnny, like a saga, and in it I had a cello cadenza.
So I played the cadenza at the rehearsal and I remember Chico looking over at me. I didn’t know Chico then, in fact I wasn’t involved with jazz then at all. We did five shows a day in vaudeville and I would always play that cadenza perfectly, I never made a mistake and Chico came over to me and said, “Hey man that’s really great! That’s the first time that we’ve heard that cadenza really played, and so consistently.” Near the end of the gig Lena comes over to me and tells me how much she appreciates me playing that cadenza. At the end of the gig we have this little cast party, so I sit down at the piano, you know just kibbutzing around, playing standards. Believe it or not two or three weeks later I get a call from Lena Home’s manager asking me if I’d care to join Lena as her musical director and pianist. That started my whole new life and at that time Chico was still playing with her. All right, now to carry that whole thing on further, Chico left Lena, I was here for other reasons, we got together like I said with that girl and one day we were sitting at this bar and Chico said he’d like to form a group but he wanted to form it with maybe a different instrument, French horn maybe and I said, “French horn is okay but why not cello?”
So we got together at Chico’s house, Buddy Collette, eventually Carson Smith, Jimmy Hall who at that time was working as a librarian, he was bald, I think he was born bald. We started fooling around with little tunes like My Funny Valentine. And we all wrote, Buddy’s a fine writer and Jim Hall is a much better writer than he has been given credit for. Last time I saw Jimmy a couple of years ago I really bawled the hell out of him. I said, “How could you not keep writing?” Because Jimmy Hall is a very fine composer, but he never writes and it just infuriates the hell out of me. So we kept playing and one day Chico says, “Hey I got this gig down in Long Beach at this little joint.” A bar where sailors, pimps, prostitutes and whatever would come in. The Strollers. You know just to play, we didn’t even have a book. The book that we used was written by a guy named Bob Hardaway, a very fine tenor man, he was very big in those days. Every once in a while he would come and play with us.
In six months’ time the owner loved us so much that he tore off one half of the room and made a little sitting room out of it. This was a bar! The worst kind of place you can imagine, you know right on the waterfront. And one half of our first album was made there, the other half in the studio. And that’s how it started. As soon as the record came out we were big stars, it was incredible. And we started out originally just to see what the cello would sound like. In those days I was playing both cello and piano; I’d be sitting at the piano on a round stool where I usually played the swinging things and for the arranged I would turn around and play the cello. And then one day after rehearsal we decided that the piano sound had been done so much that it would be better to concentrate on the cello so we could build the sound. That’s the first time where a cellist was really developed in jazz, as a classical player would be.
Fred Katz, cello; Father James Peronne, alto sax; Althea B. McLaren, sculptor | April 20, 1979 | Southwest Community Center/YMCA, Fullerton | (note the bust of Fred by Althea on top the piano) | Photo by Mark Weber
Fred Katz, cello; Father James Perrone, alto saxophone; Fred’s son Hyman Katz, flute | April 20, 1979 | Fullerton, California | Photo by Mark Weber
Mark: Oscar Pettiford came along around that time.
Fred: Yes, but all of those guys really weren’t good players with the bow. They did pizzicatto but not arco. But I came to the cello as a thoroughly trained classical cellist and they came to it by just fooling around, and in some instances with it tuned like a bass.
Mark: Did you ever cross paths with Eric Dolphy in that band?
Fred: Sure, and that’s another album that’s not listed in that book. I wrote an album for Eric Dolphy with strings, called “With Strings Attached”. When I left the group there was a cellist, Mate Gershman, who replaced me. He never played jazz, he only played what was written down, a,fine player who eventually did a lot of studio work. At the rehearsal in order to showNate what was happening I played and that’s how I met Eric. Chico asked me to write an album for the group and I did four pieces, Eric with strings and two especially for Eric, Modes and Nature By Emerson. To me those two pieces were some of the best I’d ever written for a player. He was a very warm, charming and sweet guy, full of life and love, just a wonderful man.
Mark: Did Frank Rosolino ever step into that band?
Fred: No. I was shocked by his suicide. I couldn’t believe that. He was very swinging, funny, mischievous, twinkle in his eye, practical joker, that’s how I knew Frank. You know I loved Frank very much, I always remember him with a smile, always a joke, always with a kibbutz. Broke my heart. You know who substituted for us when Buddy Collette couldn’t play was Don Byas. He played with us in Arizona. And of course our book had a lot of written things in it, classical, avant garde and all of that but when Don was there all we did was standards, standards all nightlong. Oh wow! What a player!
Mark: How about Lenny Bruce?
Fred: Yes we played with Lenny a couple of times, when he was just getting started. There was this little place called The Interlude and we were the featured group, or we shared billing. I n those days he was doing pretty much straight comedy; a couple of years later he was Lenny Bruce, you know what I mean? As I remember Lenny, he was a very hip guy and a terrific jazz lover and a swinging comic, but not at all the social commentator that he became several years later. We talked a couple of times over a cup of coffee. He was very quiet offstage; he was never really “on” offstage. He loved jazz and the musicians. There seemed to be a cameraderie among the jazz audience then, young people 17 and 18 up to 60 & 70-year-old people.
I mean we would often be invited to their homes. It was really a jazz age, there was really an appreciation of the art of improvisation. Now there’s no jazz consciousness that seems to really be going on. In my jazz class I make the point that it is one of the greatest crimes in our country that we have to teach young people what jazz is. Here we are, the country where it all happened and we have to teach young people what jazz is, something’s wrong. In the ’40s and ’50s the audiences were very hip, very jazz-wise. Now the audiences seem naive and innocent, they don’t really know what’s happening.
Althea B. McLaren & Fred Katz | April 20, 1979 | Photo by Mark Weber
Fred Katz & Father James Perrone | April 20, 1979 | Photo by Mark Weber
Lil: But every once in a while you meet some young people that are really on to it.
Fred: Oh sure. Teaching here I’ve come across quite a few kids that are really good jazz players. Surprisingly enough in this little town of Fullerton.
Lil: Fred started Tim Weisberg into jazz. Did you tell him about Jerry? Unbelievable singer!
Fred: Yes, this terrific kid who is a sensational singer, as good as any of the great bop and scat singers I’ve heard, her name is Jerry Hagen and you’ve got to be hearing of her. Mark: What was Ornette Coleman doing around Los Angeles back in the ’50s? Fred: Around 1954 I did a concert that evolved into another album I did that’s not mentioned there. I did an album entitled “Jazz Canto” where I was one of the arrangers, composers for writing jazz behind great poetry with Larry Lipton. You know Lawrence Lipton?
Mark: Yes, the fellow that wrote the column “Radio Free America” in the L.A. Free Press during the ’60s.
Fred: Larry and I were very dear friends, did a lot of things together. And we did a concert called “Jazz Canto”, that was his title. I shared the writing on that one. I did the music for Dylan Thomas’ and Walt Whitman’s poetry. That’s a beautiful record. Anyway, we did this concert at the Ebony Showcase and that night Ornette played. I had never heard of Ornette Coleman and I remember this crazy guy started to play this weird kind of jazz (laughing) and I said, “What is this? Man, what is happening?” At first I thought, “Oh well, he’s out of his skull”, but then the more I listened to him the more I loved it. I met him very casually that night, and I think that night — I don’t remember exactly, maybe Ornette could tell you — I wrote a piece where Ornette’s playing clarinet. I don’t remember what group he played with.
Lil: It was kind of a pick up group I think. 1956 I think, you were still with Chico then.
Fred: I wrote some music for Larry Lipton’s poem on nuclear power and all of that stuff, he was way ahead of his time. And I remember Ornette playing that night. I said, “What is this? A plastic alto?” I couldn’t believe that! It was beautiful. What is he doing now?
Mark: I don’t know. He lives in New York City. His last couple of albums are kind of strange, sort of Ornette-rock. On one of the records there is a piece with him playing with Moroccan musicians, out in the street jamming with them, that is kind of interesting.
Fred: I bet it is! (laughter) You’ve got to listen to it all man, you know. If he was doing it there has to be a reason for it. I try to suspend judgement.
Lil: What’s Johnny Pisano doing these days? I haven’t heard from him. He was with Herbie Alpert.
Fred: I spoke with Johnny about a year ago. As far as I know he was going around with Peggy Lee and doing studio gigs.
Mark: He says in Leonard Feather’s Encyclopedia of Jazz that his favorite guitar solo is on your composition Zen.
Fred: I think that is one of the most beautiful, perfect solos ever played. Every time I hear it I get the chills. It’s like a perfect musical composition. No 16th notes, no running around, no technique just pure lyricism. Which is what I think jazz is all about. You see I think a lot of kids want to sound like Parker and Coltrane, those are their gods, not so much Coleman. I say to them, “You’re playing a lot of notes, but you’re not playing any musical ideas.” I mean, to blow is to play a musical idea, not to play a lot of notes, that’s not what jazz is all about. Charlie Parker was a great technician but if you listen to Bird long enough you hear that every one of those runs goes to a musical idea. It’s lyric! Jazz is lyric, it’s not just a series of rhythmic ideas, it’s a lyric world. The phrases have got to be like a rainbow. You don’t have to play a lot of notes to be good, it’s musical ideas that count. Jim Hall is a perfect example. Jim Hall is not a great technician, as compared to, for example, Joe Pass. But every note that Jimmy plays has got something about it, it’s beautiful man! It’s like a diamond in a setting. And that’s the solo on Zen. As a matter of fact that’s what started Paul Horn really I think in his career because Zen was basically built around Paul. That was the first time that he was ever really featured that way. I have great respect for his talents.
Mark: I read somewhere that you have played with Erroll Garner.
Fred: No. We’ve shared the same bill but never played together. We shared the bill at Basin Street East: Chico Hamilton, Erroll Garner and Max Roach. Dig that man! When we played Erroll used to say, “Fred would you play My Funny Valentine?” He just loved the way I played Funny Valentine. When I played it he would sit there beaming, saying “Man this is groovy!” And when I’d play that last run (scatting) he’d flip out and jump out of the chair.
Lil: That was Dinah Shore’s favorite too.
Fred: Yeah. You know another album that’s not listed in there is the album I did with Sidney Poitier. It’s called “Poitier Meets Plato”.
Lil: They re-issued it and called it “Journeys Into The Mind”, they use it in a lot of psychology classes.
Mark: We haven’t spoken much about Ken Nordine yet. What year were those records done? “Word Jazz” and “Son of Word Jazz”.
Fred: 1957 and ’58. The first one was done as a tax write-off. We were in Chicago then, playing at a place there. And some people came in to hear us and they asked me if I would make an album with this guy Ken Nordine, that he only had a few days. So I got together with him. A very strange guy, but also a genius. Ken has got tapes that nobody has ever heard that would blow your mind away. An authentic American prose genius. We met at a cocktail party and then we went to his house and listened to some of his tapes, and decided on these particular things. I started to work on it Tuesday evening and by Friday morning all of the music was written. And then we did it Friday. That’s when I almost had a breakdown. I had worked for 72 hours without a break to meet that deadline. You see, in this business you never say “no”, you always say “sure”. As soon as I got done with a score the copyist took it. Then the next thing you know is this thing kicked off.
April 20, 1979 | visitation of the muse of improvisation | Photo by Mark Weber
Lil: It was one of the top selling albums.
Fred: Yes, and on one of his TV specials Fred Astaire took My Baby and danced to it, with Barry Chase. For the second album, I was in L.A. so he sent me his tape and, like the Sidney Poitier one, I did it to his tape. It’s easier for me to put music onto the voice than to put a voice onto the music. I did an album on Warner Brothers, “Folk Music For Far Out Folk”. I took American folk songs like Foggy Foggy Dew, and then a tune by Leadbelly, some American-Hebraic 17th-18th century melodies, an African piece, and wrote jazz things based upon each one of them. On the back of the album was poetry by Larry Lipton and there was an original oil painting that I commissioned on the cover. I had complete control over that album. By the way, to be fair: you know Paul Winter’s Consort also had a cellist who would improvise; not in the jazz tradition but more or less in a modal sort of way. He did some nice things, I liked his playing. This was in the ’60s and even now maybe. I have a lot of respect for Paul Winter. Obviously we had a lot of influence on him.
Mark: So you were pretty busy during the ’50s?
Fred: Oh yes. I did TV and film scores, TV commercials, I wrote a concerto….
Lil: He did the commercial, “Self styling Adorn….” (singing and laughing).
Fred: I did that one in about ten minutes.
Mark: What’s Carson Smith doing these days?
Fred: Last I heard Carson was in Las Vegas gigging in the various casinos and stuff.
Mark: His younger brother, Putter Smith plays on Wednesday nights up in Sierra Madre with John Tirrabasso.Gary Foster and Dave Koonse.
Fred: You’re kidding. I remember him as a little person.
Lil: Remember, he used to wear that little sailor suit. Carson was a beautiful player.
Fred: He’s another cat that never achieved recognition. Carson is one of the greatest, finest lyric bass players ever. Through our group he began to write music. He had never written before that. I wrote a piece for Ramsey Lewis called Seven Valleys, based upon the Ba’hai religion and he recorded it on what was called then Arco Records. Later on he started to do the rock thing and that’s when the bass player, Eldee Young and the drummer Red Holt left him. They didn’t want to play that stuff. Jazz is the most extraordinary world of all. Sometimes when I talk about it in class I wish I could be more eloquent to express the extraordinary world of improvisation, where you sort of go into this semi-meditative trance. It’s the world of the mystic, because every time you play you’re exploring things you’ve never done before.
Of course you repeat certain phrases that you like and certain things that feel good on the instrument. But still, every time you play it’s a new world and for that reason it can be very intense, because you’re always in a new area of cosmic awareness. To me it’s the world of spontaneity and joy, it really is. It’s a joyous world and also a very hard world. It’s a very lonely world because when you’re playing you are all by yourself, really. I compare the world of the mystic to the world of jazz. I play with a priest every once in a while, Father James Perrone.
San Bernardino Freeway heading toward Los Angeles (downtown in distance) | May 9, 1981 | Photo by Mark Weber
Lil: Before he became a priest he used to be in all the big bands. [Asking Father James later I found that he had been in the bands of Ben Pollack, Tony Pastor and Teddy Powell. He was a saxophonist and vocalist, or crooner as Fred added. Also had an association with Don Fagerquist].
Fred: We meet at a monastery and supply the music for a dance workshop and their liturgy. We do a whole series of improvisations based upon Christian and Hebraic poetry. The highlight of the week is when we meet in the chapel where the monks usually pray, and play for them. The first time, the woman involved with the dancing said, “Gee,Fred, when are you and Jim going to rehearse with us?” I said, “We will never rehearse with you. When the performance is ready we’ll play.” And she said, “Well how can you do that?” And I said, “Don’t worry about that Carla.”(laughing) That was seven years ago and we’ve never rehearsed anything. We just see the dance movements and she shows us the poetry. Maybe she’ll say, “I need something exciting here, or something pastoral here, something mystical here.” I say, “You got it. Whatever you do we’ll be there.” And she says, “Freddie, you’re driving me crazy.”
I always tell her she should never worry about it because the improvisor is always ready, there’s an ever-flowing source of music ready to come out. And Jim is a very special guy: a priest of the streets, and he plays like a dream. Do you know what the jazz man is to me? He’s literally an unceasing fountain of music. It’s extraordinary that you have these guys who can play music any time; day, night, sick or whatever and whenever, it’s always music. I’ve played jazz a lot of years and this is the truth: I don’t know how it works. When I sit down to play the cello or the piano, I don’t know why my fingers to go certain places. It’s a mystery, an adventure. It’s a glorious world. And it bugs me to no end that jazz is so ignored. It should be taught at all levels of school, from kindergarten on up. The music of America. I worked with the mentally disturbed and I used jazz as a technique. I had people improvising the blues. If they only knew maybe two or three chords, it didn’t matter.
We did free form. If they couldn’t play an instrument I’d say, “Play a cup” or “Play the ash tray.” You know, just play and feel what you want to do, it doesn’t have to be a big musical composition. Anything spontaneous, just to make sound. We had some of the most dramatic cures ever documented. It was called the CATA Program, 1965. I had people improvising poetry and doing sounds with their voices, and we put it on tape and when they heard it back they thought, “Look what I’m capable of doing!” We were supposed to get funded to continue but we never did.
Lil: Remember that guy in the catatonic state?
Fred: Near-catatonic.
Lil: He just sat and stared. After the first night Fred got him up and he was playing the strings on the piano. And when Fred had them improvise a dance this kid started dancing. It was like a miracle. For two years nobody was able to break through. And now he was able to go out and get a job. He walked everywhere, and before he couldn’t walk. Now he was the first one to the sessions.
Fred: And when the program was over he came over to me and hugged me for half an hour and cried. It was unbelieveable. It was the greatest experience of my life. But that’s what I think jazz can do and it’s being ignored. Because you see, jazz is spontaneous; sure, you have to know your chops and all of that, but it’s also a spontaneous thing that comes out of you. And what could be more curing for a person than to be spontaneous? Because mental illness is in fact a blockage of spontaneous action, a blockage of love, a blockage of tenderness. That’s what jazz can really do. If I had more time maybe I should be involved more with that. I think that is maybe what happens to a really hip audience: whether they know it or not, as they are following the blowing, they are blowing, too.
Fred Katz in his office @ Fullerton College | March 20, 1979 | Photo by Mark Weber
Original graphic by Ken Nordine in the Fred Katz collection
This interview was taken from CODA The Jazz Magazine, Issue Number 176 – 1980
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Home » Jazz Articles » Building a Jazz Library » Drummers as Bandleaders: An Alternative Top Ten Albums
Drummers as Bandleaders: An Alternative Top Ten Albums
I didn't sit down to write politically inspired material, but I was turning on my TV and seeing tower blocks burning and people being deported and the National Health Service on the brink of collapse. I was responding to what was around me. There's a lot of darkness.
Moses Boyd
Drummers have been key members of every band which has changed the course of jazz history, from Max Roach with Charlie Parker to Elvin Jones with John Coltrane and onwards. Yet drummers have been the leaders of a surprisingly small proportion of landmark bands themselves. Chick Webb in the 1920s was the first of the few.
But with every decade that passes, the distinction between "front line" and "rhythm section" becomes more blurred. One consequence is that there will be a corresponding increase in drummers as bandleaders. You can feel the graph rising right now. At the time of writing (spring 2020), three extraordinary albums led by drummers have been released in the last four months alone.
Most jazz libraries will contain a few high-profile drummer-led albums. Likely items include Art Blakey's Moanin' (Blue Note, 1958), or one of the other albums Blakey recorded during Blue Note's pomp; Max Roach's We Insist! (Candid, 1961) or M'Boom (Strata-East, 1973); Tony Williams' Life Time (Blue Note, 1964) or, if Williams' fusion era is preferred, Tony Williams Lifetime's Emergency! (Polydor, 1969); and, more recently, Terri Lyne Carrington's The Mosaic Project (Concord, 2011).
There are plenty of other goodies out there, too. Here are ten of them. A few are well known, most of them less so. Hopefully, you will find one or two new favourites among them.
DRUMMERS AS BANDLEADERS: OFF THE BEATEN PATH
Chico Hamilton Quintet
Chico Hamilton Quintet
Pacific Jazz, 1955
For a brief period in the mid 1960s, Californian chamber jazz was quite a thing. But like so-called West Coast cool, with which it was frequently conflated, it received a hammering from the East Coast jazz establishment, and disappeared almost as quickly as it had arrived. The truth is, much chamber jazz was as anaemic as the critics labelled it. At its best, however, it extended the tonal and compositional possibilities of jazz.
This album by Los Angeles' Chico Hamilton, his debut as leader, sounds as beguiling in 2020 as it must have done sixty-five years ago. The material is strong: six tunes are in-band originals, one is a freely improvised track and three are imaginatively arranged covers (Rodgers & Hart's "My Funny Valentine," Youmans & Caesar's "I Want To Be Happy" and the traditional "Walking Blues"). The lineup is characterful: Buddy Collette on flute, saxophones and clarinet, Jim Hall on electric guitar, Fred Katz on cello and Carson Smith on drums. The album catches Collette and Hall on the first rungs of distinguished careers.
Hamilton had a knack for spotting emerging talent. His 1963 album Man From Two Worlds (Impulse!) features Charles Lloyd and includes the first recording of Lloyd's signature tune "Forest Flower." The sleeve of 1966's The Dealer (Impulse!) announces it is "introducing Larry Coryell."
Roy Haynes Quartet
Out Of The Afternoon
Impulse!, 1962
During his seventy-year recording career, Roy Haynes has produced many delights, and Out Of The Afternoon, made on the cusp of Roland Kirk's transition from underground figure to major star, is among the greatest.
Kirk, who plays tenor saxophone, manzello, stritch and a variety of flutes, bursts out of the gate on the Artie Shaw-composed opener, "Moon Ray," and overall the album is as thrilling as Kirk's contemporaneous own-name Mercury debut, We Free Kings. The key difference is the composing credits. The Mercury set was mostly written by Kirk, the Haynes album is a mixture of standards and Haynes originals: among them Haynes' storming "Long Wharf" and covers of Bart Howard's "Fly Me To The Moon" and Leo Robin and Ralph Rainger's "If I Should Lose You," which is not so much recalibrated as torn apart by Kirk's tumultuous stritch solo.
Such is the impact of Kirk's playing that Out Of The Afternoon is in all but name a Kirk album, buttressed by the superb rhythm section of Haynes, pianist Tommy Flanagan and bassist Henry Grimes.
Dannie Richmond's "In" Crowd
"In" Jazz For The Culture Set
Impulse!, 1965
Charles Mingus' drummer from the mid 1950s until Mingus passed in 1979, Dannie Richmond's inimitable style, which marshalled fierce forward motion and delicacy and nuance, is a vital part of over forty albums recorded by the composer and bandleader. Richmond was also, by the by, a sartorialist of the first order, possibly the best dressed man in twentieth century jazz other than Miles Davis.
"In" Jazz For The Culture Set is unlike any of Richmond's work with Mingus. The opening track is Gary McFarland's "High Camp," which could also have served as the title of the album. If the credits did not include Bob Thiele, you might almost imagine Impulse!'s founding producer, Creed Taylor, had made a brief return to the label. The vibe is lounge jazz given substance by a stellar cast of musicians: guitarist Jimmy Raney, harmonica player Toots Thielemans, pianist Jaki Byard, bassist Cecil McBee and percussionists Willie Bobo and Victor Pantoja.
The nine tracks include McFarland's "Pfoofnick," Raney's "Freedom Ride," Byard's "The Berkeley Underground," George Weiss' "John Kennedy Memorial Waltz" and Chuck Berry's "Sweet Little Sixteen." A curiosity which does not extend the boundaries of jazz, but of interest because it was led by a drummer who did.
Guy Warren Of Ghana
Afro-Jazz
Columbia, 1969
In the 1960s and early 1970s, the drummer and composer Guy Warren was part of a school of progressively inclined, culturally adventurous London-based jazz musicians which also included trumpeter Ian Carr, tenor saxophonist Don Rendell, guitarist Amancio D'Silva and pianist Michael Garrick, who are all heard on Afro-Jazz.
The album is a precursor of the so-called world jazz which emerged in the late 1970s and even of the culturally inclusivist stylings of the 2020 alternative London jazz scene. Warren plays kit drums and an array of hand drums and percussion, supported by second kit drummer Trevor Tomkins from the Carr / Rendell band. All but one tune was written by Warren. The album was so far ahead of its time that it sold only a few hundred copies.
Other Warren albums to look out for are his debut, Africa Speaks America Answers (Decca, 1956), and African Rhythms: The Exciting Soundz Of Guy Warren And His Talking Drum (Decca, 1962). But anything with Warren's name on it is a-grade, even the album of library music titled Native Africa which he made for business-to-business label KPM in 1969.
Roy Brooks
The Free Slave
Muse, 1972
Roy Brooks' The Free Slave is one of the neglected masterpieces of spiritual jazz. Detroit-born Brooks spent the first few years of the 1960s with Horace Silver. He then spent three years with Yusef Lateef, when he shifted his trajectory from hard bop to spiritual jazz: Brooks' debut album, Beat, released by Motown subsidiary Jazz Workshop in 1964, included the Alice Coltrane-composed "Soulsphere."
Brooks suffered from mental health issues throughout his life and was off radar for much of the late 1960s. He returned to view in the early 1970s. The Free Slave was recorded live at Baltimore's Left Bank Jazz Society with tenor saxophonist George Coleman, trumpeter Woody Shaw, pianist Hugh Lawson (also heard on Beat) and bassist Cecil McBee. Three of the four tracks were written by Brooks.
At the time of the disc's release, Brooks could not get arrested. Neither could two albums he went on to make with Roy Brooks & The Artistic TruthEthnic Expression and Black Survival (1973 and 1974, Im-Hotep). Both those titles were rereleased at the start of the 2010s. But extraordinarily, Brooks' chef d'ouvre, The Free Slave, has only been reissued once, in 1998. It is worth its weight in gold (and changes hands for almost as much).
Joe Chambers
The Almoravid
Muse, 1974
Joe Chambers is well known to fans of classic-era Blue Note, where he made his name as a sideman and composer on important albums led by players such as Wayne Shorter, Andrew Hill, Bobby Hutcherson, Joe Henderson, Sam Rivers and Freddie Hubbard.
Like Roy Brooks' The Free Slave, Chambers' own-name debut, The Almoravid, is a spiritual-jazz treasure from Joe Field's Muse label, which in the early to mid 1970s ploughed a similar furrow to Strata-East (which gets a Buildng a Jazz Library Top Ten here). The album title refers to the Maghrebi Berber dynasty which governed modern day Morocco and southern Spain in the eleventh century. Chambers leads a percussion-heavy band which also includes Cedar Walton on piano, Cecil McBee and Richard Davis, on acoustic and electric bass respectively, and, on Joe Zawinul's "Early Minor," Harold Vick on tenor saxophone. Four of the remaining five tracks were written by Chambers, one by Andrew Hill.
Tom Rainey Trio
Pool School
Clean Feed, 2010
Remarkably, Pool School is the first album to be released under his own name by Downtown ninja of subtlety Tom Rainey. His bandmates are guitarist Mary Halvorson and saxophonist Ingrid Laubrock, each in 2010 an emerging new NYC star on her instrument (Laubrock was already a succes d'estime in London, from where she had recently relocated). Both musicians can create intensely visceral music yet are equally at home on more cerebral material, be it pre-composed or improvised, and both are also sonic adventurers who have significantly extended the vocabularies of their instruments. Stir in Rainey's yin / yang rhythmatism and fascination follows.
The album has echoes of Laubrock's collective-improv suite, Sleepthief (Intakt, 2009), on which Rainey made up a trio with pianist Liam Noble. But variety of atmosphere and form is a hallmark of the set. The 12 tracks move adroitly between the composed and the improvised, the inside and the outside, the sun lounger and the deep end.
Gard Nilssen's Supersonic Orchestra
If You Listen Carefully The Music Is Yours
Odin, 2020
Fasten your seat belt, please. Get ready for the full tilt, barely tamed monster that is Gard Nilssen' sixteen-piece Supersonic Orchestra. Audacious and experimentalist, Supersonic flouts convention and, in particular, realigns the relationship between pre-composition and improvisation in orchestral jazz.
If You Listen Carefully The Music Is Yours was recorded live at the Molde International Jazz Festival in 2019, where Nilssen was Artist in Residence. The band's uniquely configured, all-star lineup features three drummers, three double bassists and ten horn players, most of them saxophonists.
Nilssen composed and arranged the album with Andre Roligheten, his colleague in the trio Acoustic Unity. Their approach is sweepingly original, revolutionary even, but there are references to jazz history within it. The disc opens with a feral uproar in which Sun Ra-esque space chords punctuate free-blown ensemble eruptions, devices Ra used to kick off Arkestra performances. Later there are echoes of the eighteen-piece band John Coltrane put together for Africa/Brass (Impulse!, 1961): the otherworldly tumult generated by Coltrane's lineup is mirrored by Supersonic's horn section.
Ted Poor
You Already Know
Impulse!, 2020
Ted Poor's fifth album and Impulse! debut is evidence that the once mighty label, which had been allowed to become little more than a platform for underwhelming reissue programs, is on the rebound. The process was kickstarted in 2018 when British reed player Shabaka Hutchings' Sons of Kemet's magnificent Your Queen Is A Reptile was released by the label. Another of Hutchings' bands, The Comet Is Coming, followed Sons Of Kemet to Impulse! in 2019, and a third, Shabaka & the Ancestors , did so in 2020.
The entrancing You Already Know is the perfect polar opposite to Gard Nilssen's If You Listen Carefully The Music Is Yours. While Nilssen drives the epic Supersonic Orchestra, Poor is accompanied only by alto saxophonist Andrew D'Angelo.
You Already Know has its own sorts of grandeur and abandon, however, but it is a simpler and more intimate affair. Each of the nine tracks, which clock in at an average four-and-a-bit minutes apiece, plays with a rhythmic motif and a melodic one in mostly linear fashion. Some tracks are upbeat and urgent, others more reflective. It is the sort of album which gives minimalist jazz a good name.
Moses Boyd
Dark Matter
Exodus, 2020
As half of the ferocious semi-free duo Binker and Moses, in which he is partnered with tenor saxophonist Binker Golding, Moses Boyd is among the most prominent of the musicians who are reinvigorating the London jazz scene. He has also proved himself as a producer, starting in 2017 with singer Zara McFarlane's exquisite jazz / reggae set Arise (Brownswood). Dark Matter moves Boyd's production skills along several more notches.
Boyd and his contemporaries are enriching British jazz with styles such as Afrobeat, reggae, dub andBoyd's specialitygrime. His first commercial success was the dance single "Rye Lane Shuffle" in 2016, and the breathtakingly inventive and politically savvy Dark Matter builds on its eclectic blueprint. The album features fellow London luminaries including tenor saxophonist Nubya Garcia, pianist Joe Armon-Jones and tuba player Theon Cross, though you would hardly recognise them, such is the extent of Boyd's post-production transformations.
In years to come we may point to Dark Matter as the start of Boyd's emergence as a kind of new Quincy Jones, a hit maker with jazz sensibilities. Meanwhile, the album affirms Boyd as a major-league producer, one who is at home in dance music as he is in the post-John Coltrane jazz tradition, weaving them into a smoking-hot new synthesis.
Photo: Moses Boyd.
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Chico Hamilton covered Broadway, People Will Say We're in Love, Serene, The Second Time Around and other songs. Chico Hamilton originally did Broadway, Serene, People Will Say We're in Love, The Second Time Around and other songs. Chico Hamilton wrote Jim Jeannie.
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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The 100 Jazz Albums That Shook The World
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2024-01-01T00:00:00
|
Not just another “greatest jazz albums” list of favourite recordings and biggest sellers but a fully annotated look at the albums that actually changed jazz and changed lives
|
en
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/media/74202/jwfavicon.jpg
|
Jazzwise
|
https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
|
The list featured below was originally published in the August 2006 issue of Jazzwise magazine and quickly established itself as a key reference for anyone interested in exploring the rich history of jazz on record.
We have now taken the concept much further with a new publication – The 100 Jazz Albums That Shook The World – a 100-page definitive guide to the most important and influential jazz albums that have gone on to change and shape the course of the music from the 1920s to the present day.
The 100 Jazz Albums That Shook The World is exclusively available in print and includes new in-depth editorial on each album from Jazzwise's acclaimed team of writers, plus in-depth features on the making of the top three albums, a look at the albums that almost made the cut and a guide to buying the featured titles on LP and CD.
Order your copy today at: www.magsubscriptions.com
2006 List
100
Polar Bear: Held On The Tips of Fingers (Babel)
Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Rec. 2004-2005
Such was the brilliance of Polar Bear’s Held On The Tips Of Fingers, the band’s second release, it almost won the 2005 Mercury Music Prize. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music. A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Rochford’s music was aptly called “the sound of the future” even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Held On The Tips Of Fingers twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as ‘Bear Town’ or the drum ’n’ bass drenched ‘Fluffy’. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. (TB)
99
The Bad Plus: These Are The Vistas (Columbia)
Ethan Iverson (p), Reid Anderson (b) and Dave King (d). Rec. 2003
Very few jazz groups today set out to mess with your head. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. That’s what’s so refreshing about the Bad Plus. They barge in, do things a jazz piano trio isn’t supposed to do, such as play Blondie’s ‘Heart of Glass’ or Kurt Cobain’s ‘Smells Like Teen Spirit.’ To get inside these songs, and their own well thought-out originals, they may inflict a bit of grievous bodily harm on the musical structures, but at least they give you a musical experience you won’t forget easily. (SN)
98
Courtney Pine: Journey To The Urge Within (Antilles)
Courtney Pine (ts, ss, b-cl), Kevin Robinson (t), Ray Carless (bar s), Orphy Robinson (vb), Julian Joseph (p), Roy Carter (ky), Gary Crosby (b), Mark Mondesir (d), Cleveland Watkiss and Susaye Greene (v). Rec. 1986
Journey to the Urge Within heralded the arrival of Courtney Pine at the head of a new generation of British jazz musicians. A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the 1960s, he was compared to the charismatic Wynton Marsalis in the USA as a spokesman for a new breed of technically accomplished young jazzers. Pine’s music was powerful, intense and in the tradition of the great tenor saxophonists such as Coltrane and Rollins. Figuring in the Top 40, an unprecedented achievement for a British jazz album, it went silver, helping to trigger the 1980s jazz boom. (SN)
97
Tomasz Stanko: Soul Of Things (ECM)
Tomasz Stanko (t), Marcin Wasilewski (p), Slawomir Kurkiewicz (b) and Michal Miskiewicz (d). Rec. 20I01
It could have been Stanko masterpieces Litania or Leosia that made this list, but Soul of Things, with a trio of young Polish musicians he mentored since their early teens, is his best selling album for ECM and more than any other brought him to the attention of international audiences. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. An album of precisely focused moods, fragments of melody are crafted into masterful compositions shaped by the timeless elegance of Stanko’s trumpet and the copacetic playing of his young protégés. (SN)
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96
Medeski, Martin and Wood: Combustication (Blue Note)
John Medeski (ky), Chris Wood (b), Billy Martin (d) and DJ Logic. Rec. 1998
Since the group’s formation in 1992, many welcomed Medeski Martin and Wood as a flight from a largely conservative jazz mainstream while others believed they’d flown the coop entirely. In their own way this Hammond B-3 organ trio of the sort that has been around in jazz for at least 50 years pushed at the boundaries of jazz with rollicking grooves and extended keyboard improvisations. This might be edgy music, but it is body music just the same, try ‘Coconut Boogaloo’ or ‘Sugar Craft’ then see if you can stop popping your fingers. As they reveal here, they delight shaking up mainstream values by going back to the chicken shack, 21st century style. (SN)
95
Wynton Marsalis: Black Codes From The Underground (Columbia)
Wynton Marsalis (t), Branford Marsalis (ss, ts), Kenny Kirkland (p), Charnett Moffett (b) and Jeff Watts (d). Rec. 1985
Black Codes marks the time in young Wynton’s career when he moved from being a Blakey/Hancock prodigy and started to stake out his own ground. This first batch of musical territory had already been trampled underfoot by various members of the Miles Davis and John Coltrane ascendancy, including both leaders, but Marsalis brings his own considerable musical personality to bear on the situation and plays with great invention throughout. He would shift from this base in future but this sets out his aesthetic stall nicely. (KS)
94
Cassandra Wilson: Blue Light ’Til Dawn (Blue Note)
Cassandra Wilson (v), Charlie Burham (vn), Brandon Ross, Gib Walton, Chris Whitley (g), Kenny Davis, Lonnie Plaxico (b), Kevin Johnson, Lance Carter, Cyro Baptista and Bill McClellan (d, perc) plus others. Rec. 1993
Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson’s blue light in 1993. Jazz and blues roots have often been vocal starting points for revivals of every type, so it’s appropriate that Wilson, with her burnished alto voice, should reach in that direction to find not only a crossover audience but establish a new consensus alongside the Great American Songbook to underpin her artistic credibility. That she has more or less continued on that path suggests it works for her on every level. It also points the way for those who follow. (KS)
93
Jan Johanssen: Jazz Pa Svenska (Megafon)
Jan Johansson (p) and Georg Riedel (b). Rec. 1962-64
A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. Taking ages old Swedish folk melodies from Svenska Låtar and then interpreting them from a jazz perspective, Johansson’s carefully nuanced sound, the gradation of his touch, the exquisite detail of every note revealed by the meticulous recording quality captured a unique approach to jazz that has become widely influential. Players such as Mike Brecker, Tommy Smith, Jan Garbarek, Esbjörn Svensson, Tord Gustavsen all were to come under the spell of the Nordic Tone. (SN)
92
Sarah Vaughan: Sarah Vaughan (EmArcy)
Sarah Vaughan (v), Clifford Brown (t), Herbie Mann (f), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Rec. 1954
Vaughan was a by-word for vocal worship among her peers and musical associates by the late 1940s, but little she recorded before this album consistently showed her true worth to jazz. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by – well, by Sassy, Ella and Billie, truth be told. She may later have equalled this in other settings, but here the gauntlet was well and truly thrown down. (KS)
91
Music Improvisation Company: Music Improvisation Company (ECM)
Jamie Muir (perc), Hugh Davies (elec), Evan Parker (ss), Derek Bailey (el g) and Christine Jeffrey (v). Rec. Aug 1970
MIC represents the point of separation between free jazz and free improv. From their perspective, a whole series of trajectories are visible – in Evan Parker’s case the use of live electronics and increasing reliance on soprano leading eventually to the Electro-Acoustic Ensemble. It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation. Strange, disturbing yet oddly attractive.(DH)
90
Charlie Haden: Liberation Music Orchestra (Impulse!)
Haden (b), Don Cherry, Michael Mantler (t), Roswell Rudd (tb), Bob Northern (Fr hn), Howard Johnson (tba), Perry Robinson (cl), Gato Barbieri, Dewey Redman (ts), Sam Brown (g), Carla Bley (p, arr), Paul Motian and Andrew Cyrille (d). Rec. 1969
Jazz and politics have always been entwined, but rarely in the music’s history have the links spelt out on record. The 1960s was a decade when that orthodoxy was reversed, with Charlie Haden’s debut album at the decade’s end being one of the most explicit endorsements of leftist sentiments to be found in the entire jazz world. Sentiments of any persuasion are no proof of quality, but the compositions – from Haden, Bley and Ornette Coleman, among others – are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to. (KS)
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89
Jackie McLean: Let Freedom Ring (Blue Note)
Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962
McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions (‘Melody For Melonae’) an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould. (KS)
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88
Joe Harriott-John Mayer Double Quintet: Indo-Jazz Suite (EMI Columbia)
Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965
Ravi Shankar’s 1962 Improvisations, with Bud Shank, and Don Ellis’ unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as “highly provocative” it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott’s quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed. (JN)
87
Django Reinhardt: Rétrospective 1934-53 (Saga)
Django Reinhardt (g), the Quintette du Hot Club de France, Loulou Gasté, Joseph Reinhardt, Emmanuel Vées (g), Louis Vola, Coleridge Goode (b), Hubert Rostaing, André Ekyan (cl), Alix Combelle (ts), Gianni Safrred (p), Aurelia de Carolis (d) and many others. Rec. 1934-1953
The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound. By contrast, this compact little high-quality cardsleeve box of three CDs, accompanied by a magnificent 75-page booklet in French and English which contains lavish photographs and discographical details, is by some distance the best one-step intro Django’s staggering genius. Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars. (KS)
86
Steps Ahead: Steps Ahead (Elektra/Musician)
Michael Brecker (ts), Eliane Elias (p), Mike Mainieri (vb), Eddie Gomez (b) and Peter Erskine (d). Rec. 1983
A star-studded line-up this might have been, however, by the time they came to make their debut on an American label, Steps Ahead had forged a powerful group identity that critics were dubbing “the new acoustic fusion.” Much of this was down to a repertoire comprising original, ad hoc song forms that seldom employed straight ahead rhythms. Take ‘Both Sides of the Coin’ that uses a latin rhythm and a rondo form, whereas ‘Loxodrome’ presented an advanced contemporary vehicle for improvisation. Yet promoters would still say why not just play a 12-bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away. (SN)
85
Krzysztof Komeda: Astigmatic (Polskie - Nagrania Muza)
Krzysztof Komeda (p), Tomasz Stanko (t), Zbigniew Namyslowski (as), Gunter Lenz (b) and Rune Carlson (d). Rec. 1965
Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. Stanko himself has said that this is an album that could “never have been made in America”, pointing to Komeda’s day job as a composer for more than 40 films. “Film dictates untypical construction,” Stanko has recalled. Indeed, the quintet responds to Komeda’s compositions with audible glee – there is measured intensity here but also the unmistakable glow of inspiration. (SN)
84
Anthony Braxton: For Alto (Delmark)
Anthony Braxton (as). Rec. 1969
While the song titles – dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins – gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital. Braxton’s alto saxophone is like the sound of acid dripped from the beating wings of hummingbirds, a charmingly corrosive caress. Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. Downbeat awarded For Alto five stars and called it “revolutionary.” They were right. (KLG)
83
Diana Krall: Love Scenes (Impulse!)
Diana Krall (v, p), Russell Malone (g) and Christian McBride (b).
Rec. 1997Where would female jazz vocals be today without Diana Krall? An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. However, Krall is the genuine article on every level, whether you’re talking about texture, taste, integrity, inventiveness or musicianship. Whatever setting she’s chosen for herself in the past decade, it’s been apposite. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto. No wonder people listened. (KS)
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82
Steve Coleman And Five Elements: The Tao Of Mad Phat: Fringe Zones (RCA/Novus)
Steve Coleman (as), Andy Milne (p, ky) David Gilmore (g), Reggie Washington (el b), Roy Hargrove (t), Josh Roseman (tb), Kenny Davis (b) and Junior “Gabu” Wedderburn (perc). Rec. 1993
Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)
81
Eberhard Weber: The Colours of Chloë (ECM)
Weber (b, cello, ocarina), Rainer Bruninghaus (p, syn), Ack van Rooyen (flhn), Peter Giger, Ralf Hübner (d, perc), and the cellos of the Südfunk Orchestra Stuttgart. Rec. 1973
Eberhard Weber’s debut album was one of the most significant opening volleys of ECM’s arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. Entrancing. (KS)
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80
John Surman: Tales Of The Algonquin (Deram)
John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971
As much Canadian John Warren’s album as fellow baritone player John Surman’s, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren’s success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy. (DH)
79
Oliver Nelson: The Blues And The Abstract Truth (Impulse!)
Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961
For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including ‘Stolen Moments’) and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché. (KS)
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78
Betty Carter: The Audience With Betty Carter (Betcar)
Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979
Listening to this album is a cathartic experience. ‘Sounds’ is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is ‘My Favorite Things’ taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter’s singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums. (SN)
77
Art Tatum: The Genius of Art Tatum No.1 (Clef 1953)
Art Tatum (p). Rec. 1953
For decades Tatum was every jazz pianist’s first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum’s death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum’s popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener. This first of the series is a solo recital. All the Tatum Clefs and Verves are now available on Granz’s last-owned label, Pablo. (KS)
76
Charles Lloyd: Dream Weaver (Atlantic)
Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966
Voted “new star” by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd’s subsequent LPs Forest Flower and Love-In became two of jazz’s biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. (JN)
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75
Oscar Peterson: Night Train (Verve)
Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962
By 1962 Peterson’s trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group’s leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from ‘C Jam Blues’ to ‘Moten Swing’ and ‘The Hucklebuck’. Canadiana Suite may be Peterson’s creative high water point, but Night Train defines him. (KS)
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74
Herbie Hancock: The New Standard (Verve)
Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996
From the opening ‘New York Minute’ this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. ‘New York Minute’ is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit. (SN)
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73
Roland Kirk: Rip, Rig & Panic (Limelight)
Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965
Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard’s playing and is consistently taking risks in everything he’s doing. I Talk With The Spirits, his flute album, came next and gave the world ‘Serenade to a Cuckoo’, while 1968’s Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer’s delight. (KS)
72
Thelonious Monk: The Genius Of Modern Music, Vol. 1 (Blue Note)
Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947
These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they’d done these three sessions in little more than a month, just to get the first small-group versions of ‘Round Midnight’, ‘Ruby My Dear’, ‘Thelonious’ and ‘In Walked Bud’ among others. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. Yet the miraculous Blakey is at his early best. (BP)
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71
Wayne Shorter: Speak No Evil (Blue Note)
Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964
Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter’s essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he’d even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… (KS)
Feature: Wayne Shorter – Music of the Spheres
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70
Dollar Brand (Abdullah Ibrahim): African Marketplace (Elektra/Musician)
Dollar Brand (Abdullah Ibrahim) (ss, kys, p), Gary Chandler (t), Malindi Blyth Mbityana, Craig Harris (tb), Carlos Ward (as), Jeff Jaywarrah King, Dwayne Armstrong (ts), Kenny Rogers (bs), Lawrence Lucie (bjo), Cecil McBee (b), Miguel Pomier and Andre Strobert (d, perc). Rec. 1980
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
69
Stan Tracey: Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood (EMI/Columbia)
Stan Tracey (p), Bobby Wellins (ts), Jeff Clyne (b) and Jackie Dougan (d). Rec. 8 May 1965
Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching, Tracey’s eight pieces provide a remarkable insight into Thomas’ great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. With its jaunty, picaresque tunes and assured playing that reflected Thomas’ saucy, roguish book, the album is a wonderfully humorous work that extended the boundaries in a hugely subtle way. After this, there would always be more to jazz than just blowing. (DH)
68
Esbjörn Svensson Trio: From Gagarin’s Point Of View (ACT)
Esbjörn Svensson (p), Dan Berglund (b) and Magnus Öström (d). Rec. 1999
It was not as if the Esbjörn Svensson Trio came out of nowhere. They’ve been around since 1991 refining a distinctive collective voice that prompted a name change to EST. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing. (SN)
Feature EST – Three Falling Three
67
John Handy: Live At Monterey Jazz Festival (Columbia)
John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965
Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane’s classic quintet with Eric Dolphy, the two side-long pieces open with Handy’s mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco’s legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed. (JN)
66
Gil Evans: The Individualism of Gil Evans (Verve)
Gil Evans (p, arr, comp) with, among others, Johnny Coles, Ernie Royal, Thad Jones, Bernie Glow (t), Frank Rehak, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b) and Elvin Jones (d). Rec. 1963-4
A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. This album is his most ambitious and deeply satisfying, covering his love of Kurt Weill, the blues, Spanish music and swaggering self-penned pieces, all of them dripping in the translucent arrangements that make you feel you’ve entered a uniquely magical musical land the moment the orchestra makes a sound. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original. The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music. (KS)
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65
Gerry Mulligan: Gerry Mulligan Quartet (Pacific Jazz)
Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). Rec. 1952
Mulligan first made a significant contribution to recorded jazz through his arrangements for Miles’ so-called Birth of the Cool sessions for Capitol, but it was the 1952 pianoless quartet that hit the headlines and made him (as well as trumpeter sidekick Chet Baker) virtually overnight jazz celebrities. This album covers the initial (and best) sides the Mulligan Quartet cut, for Pacific Jazz, including ‘Bernie’s Tune’, ‘Freeway’ and ‘Walkin’ Shoes’, where the uncanny empathy between Mulligan and Baker is constantly underlined by the firmly resilient beat of Chico Hamilton. West coast jazz in its infancy and at its most joyously infectious. This is a Japanese CD reissue which more than doubles the original vinyl playing time. (KS)
64
Brad Mehldau: Art Of The Trio Vol.3 (Warner)
Brad Mehldau (p), Larry Grenadier (b) and Jorge Rossy (d). Rec. 1998
Voted best jazz album of 1998 by The Guardian and part three of a musical odyssey that comprises five volumes stretching from 1996-2000. More so than his previous albums, this was the one that put him on the map, as much for a version of ‘Exit Music (For A Film)’ that turned Radiohead into Beethoven as his deeply haunting version of Nick Drake’s ‘River Man’ that hipped a legion of young jazzers to two fresh new sources of repertoire. Here Mehldau’s improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. In the process they lay to rest Bill Evans soundalike comparisons once and for all. (SN)
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63
Archie Shepp: Four For Trane (Impulse!)
Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964
Shepp was a member of Cecil Taylor’s 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp – Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release. (KS)
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62
Count Basie: The Atomic Mr Basie (Roulette)
Count Basie (p), Thad Jones, Joe Newman, Wendell Culley, Snooky Young (t), Benny Powell, Henry Coker, Al Grey (tb), Marshall Royal (as, cl), Frank Wess (as, ts), Frank Foster, Eddie “Lockjaw” Davis (ts), Charlie Fowlkes (bar s), Freddie Green (g), Eddie Jones (b), Sonny Payne (d) and Neal Hefti (arr). Rec. 1957
First issued simply as Basie and illustrated with “a tasteful” mushroom cloud it certainly had an explosive enough impact as it was his first album to capture the rich ensemble sound as well as the beat. Some of the charts wear better than others, but the overall feel is timeless. ‘Kid From Red Bank’ featuring stride piano from the leader and ‘Whirly-Bird’’s shouting tenor saxophone by Lockjaw epitomise the uptempos, while ‘Splanky’ and Newman-and-Thad’s ‘Duet’ do it for the blues. And ‘Li’l Darlin‚’ proves emphatically that smoochy doesn’t have to mean smoo-ooth. (BP)
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61
Miles Davis: Birth of the Cool (Capitol)
Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). Rec. 1949-50
The wonder of Miles’ career is the sheer amount of times he seized the moment, grabbed the right people, and got them to deliver their best creative thoughts for him. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. The world is changed, part one. (KS)
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60
Peter Brötzmann Octet: Machine Gun (FMP)
Peter Brötzmann (ts, bar s), Evan Parker, Willem Breuker (ts), Fred Van Hove (p), Peter Kowald, Buschi Niebergall (b), Han Bennink and Sven Johansson (d). Rec. May 1968
Political statement, samizdat reflection on events or Janovian primal scream? Surely one of the most extreme albums ever recorded it’s a musical manifesto from the European free jazz underground, an answering call to like-minds across the Atlantic and rallying cry for those at home. The title track features “solos” by the three horn players and pianist Van Hove, each as ferocious as the other. ‘Responsible’, for all its atonal howling, ends with a fabulous latin vamp while ‘Music For Han Bennink’ squeals and yelps with joy. Machine Gun leaves you shaken to the core. (DH)
59
Coleman Hawkins: Body And Soul (RCA Bluebird)
Hawkins (ts) and many others. Rec. 1939-56
The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet – in such a long and protean career, how do you get all the best bits on one label? With Bechet it’s still impossible. With Hawk, you can just about do it. The great man’s original ‘Body And Soul’ masterpiece from 1939 is here, plus a telling number of tracks showing how he paced all the changes in jazz with ease and continued to grow artistically through the decades. The best of the later Hawk is on Verve, but this intro is nicely rounded. (KS)
58
Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach (EmArcy)
Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Rec. 1954
Timing is everything. For two years this group was the cutting edge of modern jazz: by spring 1956 they had Sonny Rollins as the resident tenor alongside Clifford Brown’s dazzlingly innovative trumpet: Miles and Coltrane were still playing catch-up in their quintet. Then, a car crash claimed Brown and pianist Richie Powell and it was all over. This powerful set, containing classic interpretations of post-bop standards such as ‘Daahaud’, ‘Joy Spring’ and ‘Parisienne Thoroughfare’ is still the starting-point for post-Parker bop and mandatory listening for any subsequent trumpeter. The CD contains two alternative takes adding 10 more minutes of music. (KS)
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57
Horace Silver: Song For My Father (Blue Note)
Silver (p), Blue Mitchell, Carmell Jones (t), Junior Cook, Joe Henderson (ts), Gene Taylor, Teddy Smith (b), Roy Brooks and Roger Humphries (d). Rec. 1963-64
For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)
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56
Art Ensemble of Chicago: A Jackson in Your House (BYG/Actuel)
Lester Bowie (t, flhn, perc), Roscoe Mitchell (ss, as, bs, cl, fl, whistles, steel drum, perc), Joseph Jarman (ss, as, cl, oboe, mba, siren, g) and Malachi Favors (b, el b, banjo, log drum and perc). Rec. 1969
A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. This was the record that showed that the sonic riot of the avant-garde wasn’t incompatible with riotous humour. Using anything from Dixieland riffs to bluesy drawls to classical intermezzi, AEoC create a mix-tape in which tempo, mood and idiom become shifting sands on a strange and beautiful landscape. Imagine William Burroughs cutting up sheet music instead of text and having skilled players somehow make the fragments sound coherent. A deeply subversive but sophisticated work that must have been highly informative to anyone from Zappa to Zorn. (KLG)
55
John Coltrane: Ascension (Impulse!)
Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965
Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts – even John Lennon told interviewers “of course I’ve heard Ascension” when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane’s supporting musicians a clear indication of the times it was made in, yet it’s a titanic date that changed jazz forever. (KS)
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54
Lester Young: Lester Young/Buddy Rich Trio (Verve)
Young (ts), Nat King Cole (p) and Buddy Rich (d). Rec. 1946
Young was past his creative peak by the time vinyl LPs became the norm for recording purposes, but luckily a young Norman Granz snuck this session in during 1946 while Young was signed elsewhere, then sat on it until he signed Young himself in 1952. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. With the spotlight for once firmly on Young himself, the intimate date exhibits all Young’s soul, elusive melodic and rhythmic invention, down-home drive and unearthly delicacy and shows just why he was Charlie Parker’s early idol. (KS)
53
Pharoah Sanders: Karma (Impulse!)
Sanders (ts) Leon Thomas (v, perc), James Spaulding (fl), Julius Watkins (Fr hn), Lonnie Liston Smith (p), Richard Davis, Reggie Workman, Ron Carter (b), Freddie Waits, William Hart (d) and Nathaniel Betis (perc). Rec. 1969
What a sleeve! The saxophonist’s meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Coming out of the universal consciousness of mentor John Coltrane and borrowing some of the celestial majesty of his widow Alice, Sanders gets modal-hymnal on the enduring ‘The Creator Has A Master Plan’ and dazzlingly abstract on ‘Colors’. These heady cosmic grooves fed the creative fire of anyone from Roy Ayers to Lonnie Liston Smith in the 1970s and inspired the more discerning purveyors of pro-tools instrumental music such as The Cinematic Orchestra in the millennium. (KLG)
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52
John McLaughlin: Extrapolation (Marmalade)
John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). Rec. 1969
The 1960s was a decade when British jazz emerged with a strong identity with classic albums from the likes of Mike Westbrook, Michael Garrick, Don Rendell-Ian Carr Quintet and Mike Gibbs to name but a few. But Extrapolation is the most prophetic, not only as a stepping stone in McLaughlin’s career – from Extrapolation to Tony Williams’ Lifetime to Bitches Brew to the Mahavishnu Orchestra are indeed surprisingly small strides – but for how change in jazz in the late 1960s and early 1970s would shape up. This mixture of freedom (often “time, no changes”) and structure as well as the increasing sense of identity in McLaughlin’s playing framed by Surman and Oxley make for compelling listening. (SN)
51
John Zorn: Naked City (Elektra/Nonesuch)
John Zorn (as), Bill Frisell (g), Wayne Horvitz (ky), Fred Frith (b) and Joey Baron (d). Rec. 1989
This is a superb example of post modern jazz. Zorn, the arch post modernist, expropriated practices, fragments and signifiers of different, sometimes alien music and relocated them within his own brash expressionism. Thus there’s fleeting references to jazz, blues, surf guitars, film noir moods, country music plus short, sharp noise shocks all made possible by Bill Frisell’s versatile guitar. Using segue-like channel zapping on TV, one mood is thrust in harsh disjunction with another. The only thing certain about postmodernism is uncertainty, so we should pay attention to this music, because uncertainty in an uncertain world is shaping all of us. (SN)
50
Lennie Tristano: Tristano (Atlantic)
Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). Rec. 1955
Theorist, teacher, creative thinker and virtuoso pianist, Tristano had advanced and very firmly held views about what constituted good playing practice. He expected his musicians to adhere to such views and accept whatever discipline he imposed. That it worked for others can be heard in Lee Konitz and Warne Marsh, and that it was influential can be discerned through Bill Evans’s absorption of Tristano’s methods. But Tristano’s own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, ‘Requiem’, and his controversial multi-tracking of his own piano lines, ‘Line Up’, providing a brief moment when everyone sat up and took notice. (KS)
49
Dizzy Gillespie: Shaw ’Nuff (Musicraft)
Gillespie (t), Charlie Parker, Sonny Stitt (as), Dexter Gordon (ts), Clyde Hart, John Lewis, Frank Paparelli (p), Milt Jackson (vb), Chuck Wayne (g), Ray Brown, Curly Russell, Slam Stewart (b), Sid Catlett, Kenny Clarke, Cozy Cole, Shelly Manne (d) and Sarah Vaughan (v) plus many others. Rec. 1945-6
Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)
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48
Sun Ra: The Heliocentric Worlds of Sun Ra Volume 1 (ESP-Disk)
Sun Ra (p, mba, cel, perc), Chris Capers (t), Teddy Nance (tb), Bernard Pettaway (b tb), Danny Davis (f, as), Marshall Allen (picc, as, perc), Robert Cummings (bcl, perc), John Gilmore (ts, perc), Pat Patrick (bs, perc), Ronnie Boykins (b) and Jimhmi Johnson (perc). Rec. 1965
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
47
Sonny Rollins: The Bridge (RCA Victor)
Rollins (ts), Jim Hall (g), Bob Cranshaw (b), Ben Riley and Harry Saunders (d). Rec. 1962
There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)
Feature Sonny Rollins: Albums That Shook The World
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46
Andrew Hill: Point of Departure (Blue Note)
Hill (p), Kenny Dorham (t), Eric Dolphy (f, as, bcl), Joe Henderson (ts, f), Richard Davis (b) and Tony Williams (d). Rec. 1964
Hill’s is of course a multi-faced talent – a brilliant pianist and improviser, he is also one of jazz’s outstanding composer-arrangers. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late 1920s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed. Depending on which CD version you come across this can be a straight version of the vinyl original or contain two extra alternative takes. (KS)
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45
John Coltrane: Impressions (Impulse!)
Coltrane (ss, ts), Eric Dolphy (bcl, as), McCoy Tyner (p), Reggie Workman, Art Davis, Jimmy Garrison (b) and Elvin Jones (d). Rec. 1961 and 1963
This was Coltrane’s second scoop into the Aladdin’s cave of music he’d made at the Village Vanguard in November 1961. The first, released as At The Village Vanguard in 1962, had whipped up a storm of criticism and, through the blues ‘Chasin’ The Trane’, served notice to a new generation about the music to come. This one went even further – India threw open the floodgates to the east in jazz, while ‘Impressions’ is 14 minutes of solid gold inspiration from Trane and Elvin. The 1963 studio fillers, ‘Up Against The Wall’ and ‘After The Rain’, are two exquisite musical punctuation points. (KS)
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44
George Russell: The Jazz Workshop (RCA Victor)
George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956
One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition – with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. (DH)
43
Miles Davis: Sketches Of Spain (Columbia)
Davis (t, flhn), orchestra and Gil Evans (cond, arr). Rec. 1960
Miles already had two bona-fide large-group masterpieces for Columbia down in the plus column with Miles Ahead and Porgy & Bess by the time he and Gil Evans assembled this finely-drawn re-workings of classical pieces of music generally associated with Spain. At its core is the brooding central movement from Rodrigo’s Concierto de Aranjuez, but the poignant lyricism and incandescent colours Miles and Gil invest the other pieces, including a rare Evans original, with a singularity of vision and intent that makes this a burningly bright and unified achievement. Once more they’d broken the mould, for themselves and everyone else. (KS)
Review Miles Davis – Sketches Of Spain (50th Anniversary Edition) ★★★★★
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42
Stan Getz: Focus (Verve)
Getz (ts), Roy Haynes (d), chamber string group and Hershey Kay (cond). Rec. 1961
Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers. Getz’s commission to his favourite arranger/composer Eddie Sauter was completely open-ended. What Sauter delivered was a suite that stood up as music independently of anything Getz might add melodically but that left him plenty of room to create the most gorgeous tapestry of sound and emotion, interweaving between all the richness of Sauter’s lean, expressive scores. Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe. (KS)
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41
Chick Corea: Return To Forever (ECM)
Corea (el p), Joe Farrell (f, ss), Stanley Clarke (el b), Airto Moreira (d, perc) and Flora Purim (v). Rec. 1972
By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
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40
Billie Holiday: At JATP (Clef/Verve)
Holiday (v), Howard McGhee, Buck Clayton (t), Trummy Young (tb),Willie Smith (as), Illinois Jacquet, Wardell Gray, Coleman Hawkins, Lester Young (ts), Milt Raskin, Ken Kersey, Tommy Tucker (p), Charles Mingus, Al McKibbon (b), J.C. Heard and Jackie Mills (d). Rec. 1945-47
People call Billie Holiday THE voice of jazz. However, her discography on vinyl is convoluted: her 1930s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the 1960s to appear in any ordered way and the 1990s to appear substantially on CD. Ditto her 1940s Deccas. By the time she settled with Verve in 1952 her voice had darkened and lost its suppleness. This set of live performances from the mid-40s, however, finds her in good musicianly company, vocally at a peak and expressively in the mood to sweep all before her across a classic selection of material, including ‘Strange Fruit’ and ‘Billie’s Blues’. The CD configuration more than doubles the amount of material originally available on vinyl, though the sound quality on some of the “new” tracks is not exactly brilliant. (KS)
39
Tony Williams Lifetime: Emergency! (Polydor)
Tony Williams (d), Larry Young (org) and John McLaughlin (g). Rec. 1969.
This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. Today, the mere mention of jazz-rock prompts cries from establishment critics of “sell-out,” but if this is selling-out, then maybe they should consider another line of work. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it. (SN)
38
Cannonball Adderley: Somethin’ Else (Blue Note)
Adderley (as), Miles Davis (t), Hank Jones (p), Sam Jones (b) and Art Blakey (d). Rec. 1959
Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. In a sense it was a vale to what had passed between the altoist and Miles Davis during the time they shared the bandstand in the Miles Davis Sextet, complete with Miles’ compulsive borrowings from Ahmad Jamal and the delicate balance struck between the beautiful simplicity of the emerging modernist simplicity and Cannon’s natural ebullience. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. The Blue Note RVG version contain an extra track from this session. (KS)
Review Cannonball Adderley – Somethin' Else
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37
Charles Mingus: The Black Saint And The Sinner Lady (Impulse!)
Rolf Ericson, Richard Williams (t), Quentin Jackson (tb), Don Butterfield (tba), Jerome Richardson (fl, ss, bar s), Dick Hafer (fl, ts), Charlie Mariano (as), Jaki Byard (p), Jay Berliner (g), Charles Mingus (b, p) and Dannie Richmond (d). Rec. 1963
Maybe you have to acquire a taste for Mingus before getting to this, but I’ve known people with significant non-Mingus backgrounds fall headlong for it at first hearing. Whether you come from Ellington or from Coltrane or from blues-bands, there’s stuff from this almost continuous suite to captivate you. Even techno fans – no sampling as such – will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano (later of ECM and all points east), and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself. (BP)
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36
Ella Fitzgerald: Sings The Cole Porter Songbook (Verve)
Fitzgerald (v) and the Buddy Bregman Orchestra. Rec. 1956
Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until 1956 to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them (initially as volumes one and two) on an unsuspecting but quickly enraptured public. The idea caught on and Ella kept doing composer songbooks well into the 1960s. Nobody did it better, even though it could be said that Sinatra’s studious avoidance of such anthologies produced the greater individual legacy. (KS)
Feature Ella Fitzgerald: essential recordings
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35
Duke Ellington: Ellington At Newport (Columbia)
Ellington (p), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (t), Britt Woodman, Quentin Jackson, John Sanders (tb), Johnny Hodges, Russell Procope (as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bar s), Jimmy Woode (b) and Sam Woodyard (d). Rec. 1956
Ellington often acknowledged that the 1956 Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. Apart from the on-site near-riot after the conclusion of ‘Diminuendo And Crescendo in Blue’, this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. The fact that 60 per cent of the original (including just about all of The Festival Suite) was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later. The original vinyl had just three tracks: this was also the original CD configuration. A later two-CD version combines much improved sound with the complete festival appearance, plus studio extras. (KS)
Feature: Such Sweet Thunder: inside Duke Ellington's literary world
34
Woody Herman: The Thundering Herds (Columbia)
Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reeds), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rowles (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Tough and Don Lamond (d). Rec. 1945-47
The 1945-47 Herman bands – they came to be known as the First and Second Herds – were 1940s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough. This set, first pulled together on vinyl in the 1960s and re-jigged many times on LP and CD since, preserves the best of a truly great big band and its leader. (KS)
33
Jan Garbarek: Afric Pepperbird (ECM)
Jan Garbarek (ts, fl), Terje Rypdal (g), Arild Andersen (b) and Jon Christensen (d). Rec. 1970
From the opening track ‘Scarabee’, the jazz world outside Scandinavia was introduced to a Nordic sensibility in jazz, the Nordic Tone. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. Garbarek combines the intensity of Albert Ayler and the economy of Dexter Gordon but reinscribes them with Nordic folkloric allusions, to produce, in producer Manfred Eicher’s words “an alternative to the American approach to jazz,” an approach he champions to this day. (SN)
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32
Jimmy Smith: A New Sound, A New Star (Blue Note)
Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). Rec. 1956
It’s that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. From the off, Blue Note was looking for commercial success and his version of ‘The Champ’, though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade. (KS)
31
Pat Metheny: Bright Size Life (ECM)
Pat Metheny (g), Jaco Pastorius (b) and Bob Moses (d). Rec. 1975
The first blooming of Metheny’s great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton’s group of the day. At this stage of career (he was 21) Metheny indulged Pastorius somersaulting on to the stage and doing back flips off his speaker cabinet, and this mixture of Pastorius’ exuberance and Metheny’s intensity, moderated by the impeccable taste of Bob Moses lends a freshness to this album that makes it seem as if it were recorded yesterday. (SN)
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30
Stan Getz/Joao Gilberto: Getz/Gilberto (Verve)
Getz (ts), Joao Gilberto (v, g), Antonio Carlos Jobim (p), Tommy Williams (b), Milton Banana (perc) and Astrud Gilberto (v). Rec. 1963
Funnily enough, this spring 1963 session was close to Getz’s last serious stab at bossa nova – he’d already had massive success with Jazz Samba and Jazz Samba Encore – but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album’s release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved, and it was achieved by the towering genius of Tom Jobim’s tunes and spare piano accompaniment, Gilberto’s uniquely intimate voice and guitar, a rhythm section that breathes life and colour, all of it topped by the supreme melodist, Stan Getz. All that plus Joao’s wife Astrud as a last minute show stealer and you have a classic on your hands. (KS)
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29
Herbie Hancock: Maiden Voyage (Blue Note)
Freddie Hubbard (t), George Coleman (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d). Rec. 1965
A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis (and playing as well as he would at any point of career) it contained two Hancock originals that would assume quickly the status of jazz standards. The binary 34-bar ‘Dolphin Dance’ and the modal 32-bar ‘Maiden Voyage’, with its pre-arranged rhythmic structure that is maintained throughout, will probably be played as long as jazz itself. Add to that ‘Little One’, previously recorded by Davis on ESP, and you have the concept album to end all concept albums. (SN)
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28
Art Blakey: Moanin’ (Blue Note)
Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). Rec. 1958
Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in 1956. By 1958 he’d gone through a number of versions of the band, with this becoming the blueprint version for the next half a decade. With Benny Golson and Bobby Timmons supplying hard bop anthems such as the title tune, ‘Along Came Betty’ and ‘Blues March’, and the front line soloists refining their long, elaborate post-bop lines into the shorter and more pithy soul-based hard bop lines of the late 1950s, this Blakey band, and this Blakey album, defined soul jazz. (KS)
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27
Cecil Taylor: At The Café Montmartre (Debut)
Taylor (p), Jimmy Lyons (as) and Sunny Murray (d). Rec. 1962
Taylor had been a thorn in the modern US jazz world’s side since the mid 1950s with his uncompromising approach to music-making, but up until this live date recorded in Copenhagen by the Danish Debut label he’d not made the decisive steps into free playing that would revolutionise the very basis of jazz rhythm. Here, Taylor, Lyons and Murray race pell-mell into music without metric boundaries, throwing open a Pandora’s box of possibilities that would be investigated intensely by every jazz avant-gardist worldwide for the next 20 years. Additionally, Taylor’s supercharged playing on this date was the first glimpse on record of his ability to sustain such white heat over Coltrane-like stretches of playing time. (KS)
26
Bud Powell: The Genius of Bud Powell (Clef/Verve)
Powell (p), Ray Brown (b) and Buddy Rich (d).
Rec. 1950-51Two Herculean trio tunes – ‘Tea For Two’ and ‘Hallelujah’, both taken at breakneck speeds – make up the 1950 contribution here. With the benefit of extra CD space we get treated to two extra takes of ‘Tea For Two’, giving us an object lesson in how Powell developed his material as well as maintaining his incredible improvisational creativity. But the real jewels on this album are the eight solo selections recorded in February 1951. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening. (KS)
25
Modern Jazz Quartet: Fontessa (Atlantic)
John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). Rec. 1956
It’s difficult at this distance, with so much noise and fury intervening, to credit the radicalism of John Lewis’ brief for the Modern Jazz Quartet, but back in 1956 they were doing stunningly new things in jazz in just about every musical area – form, content, arrangement, interplay and theory. They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade. (KS)
24
Wes Montgomery: The Incredible Jazz Guitar of Wes Montgomery (Riverside)
Wes Montgomery (g), Tommy Flanagan (p), Percy Heath (b) and Albert Heath (d). Rec. 1960
Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound – sensitive on ballads but incisive on fast tempos. His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. The effect was stunning and like Charlie Christian two decades earlier, his innovations were to open up new possibilities for the guitar and be the inspiration for a new generation of guitar players, including George Benson, Pat Martino and Larry Coryell, who once played Wes’ own solo on ‘D Natural Blues’ to a surprised Wes. Every track on this album is a classic and his songs ‘West Coast Blues’ and ‘Four on Six’ have become part of the jazz canon. (CA)
Review Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery ★★★★★
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23
Frank Sinatra: Songs For Swingin’ Lovers (Capitol)
Frank Sinatra (v), Nelson Riddle (arr, cond) and big band. Rec. 1955-56
Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best. Additionally – and crucially – he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra’s balladry. This classic mid-50s session puts Frankie’s jazz credentials perfectly in order and throws down the gauntlet for everyone else. (KS)
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22
Jelly Roll Morton: Volume 1 (JSP)
Morton (p, comp, arr), George Mitchell (c), Edward Kid Ory (tb), Omer Simeon, Barney Bigard, Darnell Howard, Johnny Dodds (cl), Stump Evans (as), Johnny St Cyr (bj), John Lindsay (b), Andrew Hilaire, Baby Dodds (d) and others. Rec. 1926-28
As with Sidney Bechet, it’s devilishly hard to find a single compilation of Morton that covers all the essentials. This one doesn’t quite, but does it better than most, and also does it under the auspices of remastering from original 78s by John R.T. Davies, whose expertise in this area is legendary. Morton’s miraculous flowering in this period has to be heard to be believed, with his arrangements of his own and others’ tunes so multi-faceted, so imaginative and full of incredible creative drive as to be a collective body of genius to place alongside that of Ellington and – much later – Mingus or Gil Evans. Except he did it first. (KS)
21
Ahmad Jamal: But Not For Me - At The Pershing (Argo)
Jamal (p), Israel Crosby (b), Vernell Fournier (d). Rec. 1958
Jamal’s ideas about integrated and disciplined trio interplay had already deeply influenced jazz’s inner circle of musicians while his piano-guitar-bass trio was around throughout the early 1950s. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in 1958. Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. The highlight may have been ‘Poinciana’, but every track is an object lesson in how to draw the best from a tune. That it was no flash in the pan is shown by the music’s drawing power and continuing fascination today, as well as its ability to influence every new generation of pianists. (KS)
20
Weather Report: Heavy Weather (Columbia)
Joe Zawinul (ky), Wayne Shorter (ts, ss), Jaco Pastorius (b), Alex Acuña (d) and Manolo Badrena (perc). Rec. 1976
Sometimes, when listening to Weather Report at their best and this is one of their very best, it’s worth pinching yourself as a reminder that at their heart, this band comprised one of jazz’s most basic jazz configurations. It’s simply, saxophone, piano, bass, drums and percussion. Then, listen to ‘Birdland’, later covered by Manhattan Transfer and Maynard Ferguson, and wonder. Listen to the boost Pastorius gives the band, especially on his own compositions ‘Havona’ and ‘Teen Town.’ Reaching number 30 on the Billboard album chart, even today Heavy Weather remains as stunning in its overall effect as the day it was made. (SN)
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19
Ornette Coleman: Free Jazz (Atlantic)
Ornette Coleman (as), Freddie Hubbard, Don Cherry (t), Eric Dolphy (b cl), Scott LaFaro, Charlie Haden (b), Ed Blackwell and Billy Higgins (d). Rec. 1960
This one turned everyone around. Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today. Some CD issues of this album contain the 17-minute rehearsal version of ‘Free Jazz’, called ‘First Take’, as a bonus. (KS)
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18
Dave Brubeck: Time Out (Columbia)
Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). Rec. 1959
Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Secondly, he’s a distinctive composer with a knack for melody, as this fine album demonstrates, even if the defining tune, ‘Take Five’, is a Desmond composition. It’s also important to stress Brubeck’s commitment to collective invention within his group: still an unusual thing in jazz in 1959. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing. (KS)
Review The Dave Brubeck Quartet – Time Out (50th Anniversary Legacy Edition) ★★★★★
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17
Herbie Hancock: Head Hunters (Columbia)
Herbie Hancock (ky), Bennie Maupin (saxes, fl, b cl), Paul Jackson (b), Harvey Mason (d) and Bill Summers (perc). Rec. 1973
It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. Inspired by Sly and the Family Stone’s ‘Thank You (Falettinme Be Mice Elf Agin)’ there’s even a tribute track on it called ‘Sly’. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. ‘Chameleon’, the single taken from the album (also a biggie for Maynard Ferguson), sped up the Billboard chart to number 13 and made this one of the biggest selling jazz albums of all time. (SN)
Review Herbie Hancock – Head Hunters
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16
Albert Ayler Trio: Spiritual Unity (ESP-Disk)
Ayler (ts), Gary Peacock (b) and Sunny Murray (d). Rec. 1964
Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything. The sheer wildness of Ayler’s sound, execution and ideas (hysterical trilling way above the normal range of the saxophone combined with body-blow honks and sonic booms from its very depths) was unprecedented, as was the frenetic free-rhythm accompaniment from Peacock and Murray. It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best. (KS)
15
Mahavishnu Orchestra: Inner Mounting Flame (Columbia)
John McLaughlin (g), Jerry Goodman (vln), Jan Hammer (key), Rick Laird (b) and Billy Cobham (d). Rec. 1972
Formed in 1971, the original Mahavishnu Orchestra remains guitarist John McLaughlin’s greatest achievement. It lit up the night sky for almost two years, everything was played at 500mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone. McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Even they didn’t realise how great they were until it was all over. (SN)
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14
Duke Ellington: The Blanton-Webster Band (RCA Bluebird)
Ellington (p), Wallace Jones, Cootie Williams, Ray Nance (t), Rex Stewart (ct), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v tb), Barney Bigard (cl), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (bs, bcl) Fred Guy (g), Billy Strayhorn (p), Jimmy Blanton (b), Sonny Greer (d), Ivie Anderson, Herb Jeffries (v) and others. Rec. 1940-1942
This 3-CD pack was first issued in the mid-1980s spotlighting Ellington’s most fertile and ground-breaking music. During the three years covered by this set Ellington and his musical doppelgänger Billy Strayhorn turned jazz composition and arranging inside out, often using the simplest of ideas and materials, as only genius can, but also presenting immensely sophisticated ideas in a guise instantly grasped by their legions of fans. That they had the assistance of such stars as Hodges, Williams, Bigard, Webster and Blanton only added to the music’s lustre: it remains an imperishable treasure. The slimline 3-CD 2003 RCA reissue titled Never No Lament: The Blanton Webster Band benefits from the latest remastering and research and is the version to get. (KS)
13
Louis Armstrong: Complete Hot Fives and Sevens (Columbia)
Armstrong (ct, v), Honore Dutrey, Edward Kid Ory, J.C. Higginbotham, Jack Teagarden (tb), Johnny Dodds, Don Redman, Jimmie Noone (cl), Barney Bigard, Happy Caldwell (ts), Lonnie Johnson (g), Johnny St Cyr (bj), Lil Hardin, Earl Hines (p), Baby Dodds, Zutty Singleton (d) and others. Rec. 1925-1930
If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong’s Hot Fives and Sevens reach out into the music’s future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. This music is bursting at the seams with vitality, Armstrong’s every solo seeming to overflow with uncontrollable invention delivered with an urgency that is never manic, always confident, forever breathtaking in its conception. Within this admirably packaged 4-CD set from 2000 (easily the best collective incarnation of this music on disc) Armstrong’s accompanying groups expand to meet his conception as the years go by while Louis himself keeps making that big picture bigger. (KS)
Feature Ten of the best Louis Armstrong albums
12
Eric Dolphy: Out to Lunch (Blue Note)
Dolphy (f, as, b cl), Freddie Hubbard (t), Bobby Hutcherson (vb), Richard Davis (b) and Tony Williams (d). Rec. 1964
Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on ‘Alone Together’. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times. Of course, he remains the group’s most gripping player (he wrote all the material too) and his imitation of a drunk on ‘Straight Up And Down’ remains unsurpassed except by himself. What would he have done next? (KS)
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11
John Coltrane: Giant Steps (Atlantic)
Coltrane (ts), Tommy Flanagan, Cedar Walton, Wynton Kelly (p), Paul Chambers (b), Lex Humphries, Art Taylor and Jimmy Cobb (d). Rec. 1959|
It’s pretty difficult to overestimate the influence this single album – or even more narrowly, its title track – has had on the development of jazz since its release: certainly the saxophone-bearing members of the world’s jazz community have found it and endlessly renewing font of inspiration. More recently, pianists have delved into re-arrangements of Coltrane’s elegant and distinctive compositions. The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players. Some CD versions have as many as eight bonus tracks. (KS)
Feature John Coltrane – Giant Steps
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10
Keith Jarrett: The Köln Concert (ECM)
Keith Jarrett (p). Rec. 1975
Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter 1960s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early 1970s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the 1970s, although his creativity continued to diversify and deepen. An adept at solo recitals (his Facing You for ECM in 1970 was a strong harbinger), he began a series of in-concert recitals for Manfred Eicher’s label that attracted acclaim and increasing public interest, but no-one was prepared for what happened to The Köln Concert when it appeared. A long series of intensely rhythmical improvisations that became hypnotic and endlessly repeatable on turntables throughout the world, the album became a runaway bestseller by word of mouth, rapidly escaping the confines of the jazz listeners’ community and spreading into the living rooms of people who never ever listened to, let alone owned, another jazz album. This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre. (KS)
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9
Miles Davis: Bitches Brew (Columbia)
Miles Davis (t), Wayne Shorter (ss), Bennie Maupin (b cl), Joe Zawinul, Chick Corea (el p), John McLaughlin (g), Dave Holland (b), Harvey Brooks (el b), Lenny White, Jack DeJohnette (d), Don Alias (perc) and Jumma Santos (shaker). Rec. 1969
From whatever perspective you choose to view the 1960s – from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May 1968 to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music – established values were being openly questioned, upturned and in general shaken up. So in a decade when the leitmotif was change, it’s arguable that Bitches Brew was the album that shook the music world up most. After all, combining jazz and rock? Yes, there had been albums before Bitches Brew that did just that, but Miles Davis’ position in the jazz world sanctioned the union between two seemingly opposed bedfellows. With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. From the title track with Davis, Shorter and Maupin emerging from the matrix of the mix before being swallowed up by this swirling electrical brew, to ‘Miles Runs the Voodoo Down’ with the trumpeter on the heels of Hendrix, the sound of jazz was changed forever. (SN)
Review Miles Davis – Bitches Brew (40th Anniversary Deluxe Edition) ★★★★★
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8
Charlie Parker: Bird: The Complete Original Master Takes. The Savoy Recordings (Savoy Jazz)
Parker (as, ts), Miles Davis (t), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (p), Tiny Grimes (g, v), Curley Russell, Tommy Potter (b), Harold West and Max Roach (d) plus others. Rec. 1945-48
Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the 1940s is a latter-day compilation of the original 78rpm singles. Early vinyl attempts to collate his best material were haphazard at best, especially from the original Savoy company, so it wasn’t until the 1960s and 70s that things got in any way organised and proper chronological reissues were successfully brought to market. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. For those who want to know and shiver to the thrills of encountering earth-moving genius for the first time, master takes only, then this 2-CD set from the 1980s is the best entry point: you get Parker’s own approved performance, you get just the Savoys and you get superior remastering across just two CDs rather than five or six. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day. (KS)
Feature Charlie Parker – Bird Lives!
7
Charles Mingus: Mingus Ah Um (Columbia)
Mingus (b), Jimmy Knepper/Willie Dennis (tb), John Handy (as, ts), Shafi Hadi (as), Booker Ervin (ts), Horace Parlan (p) and Dannie Richmond (d). Rec. 1959
Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. Ah Um’s release came in the same year as his first evening appearance at the Newport Festival and the start of his record-breaking residency with Eric Dolphy.
The present album, however, was a studio venture with a specially constituted group familiar with Mingus’ working quintets. Ervin’s contributions, for instance, ‘Fables Of Faubus’‚ and the gospelised opener ‘Better Git It In Your Soul’, are a definition of “hot”, while Knepper on the deliberately old-fashioned ‘Jelly Roll’‚ makes it satirical and serious at the same time. Similar things apply to ‘Bird Calls’‚ and ‘Goodbye Pork Pie Hat’, where Handy pays oblique homage to Parker and Lester Young respectively but don’t ignore the crucial reactions of the crisply recorded Richmond. Novice producer Teo Macero’s tight editing allowed for more tunes and more user-friendly presentation than on Blues And Roots. (BP)
Review: Charles Mingus – Mingus Ah Um (50th Anniversary Edition) ★★★★★
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6
Thelonious Monk: Brilliant Corners (Riverside)
Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Rec. 1956
Recording of Brilliant Corners began 50 years ago next month, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Unlike his first two Riverside releases, respectively of Ellington standards and a bunch of other jazz standards, this was nearly all Monk’s own tunes and three of the four were new, none more so than the extraordinary title-track which gave so much trouble to the all-star cast who’d never seen it before. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. The less well-known Ernie Henry was in the pianist’s regular quartet and a post-Parker deviant comparable to Jackie McLean, while Pettiford was a pioneer bopper beloved of Monk except when they disagreed. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane. (BP)
Feature Thelonious Monk: essential recordings
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5
Sonny Rollins: Saxophone Colossus (Prestige)
Rollins (ts), Tommy Flanagan (p), Doug Watkins (b) and Max Roach (d). Rec. 1956
Was Sonny Rollins ready in 1956? Was he ready! Apart from this masterpiece, he also lead from the front on Plus 4, an album featuring the Brown/Roach Quintet of the day in all but name, plus Tenor Madness (the title track featuring a head-on with Coltrane) and the exquisite Plays For Bird. But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals. Rollins himself was clearly inspired enough by such material as ‘St Thomas’ and ‘The Moritat’ from Threepenny Opera to still be playing them in concert 50 years later. Nevertheless, it is tempting to call these original recordings definitive, if only because they do in fact define the essence of Rollins’ approach to improvisation, wringing every nuance and variation he can from the theme and its associated melodic and rhythmic patterns. The blues ‘Blue 7’ was famously dissected for such methodology by Gunther Schuller back at the time of Saxophone Colossus’ initial release but that failed to stop Rollins from another two years of super-human saxophone playing before his dramatic retirement in 1959. This is still the biggest-selling jazz album of all time in Japan. (KS)
Feature Sonny Rollins: Albums That Shook The World
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4
Bill Evans Trio: Sunday At The Village Vanguard (Riverside)
Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961
None of the three men that made this music one fine June day in 1961 had any inkling of the impact it would have down the years: on listening to the playbacks LaFaro did mention to Evans that he thought they’d got pretty close to optimum performance, but that was about it. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. This album became Evans’ own personal choice of what he thought best represented the trio through the spectrum of LaFaro’s prodigiously gifted bass playing. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives (and in some cases, their careers). Why? Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be. This is hardly to downgrade Evans’ own contributions, all of which retain their depth and freshness today. The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up. (KS)
Feature: Ten life-changing jazz piano trio recordings
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3
Ornette Coleman: The Shape of Jazz To Come (Atlantic)
Coleman (as), Don Cherry (t), Charlie Haden (b), Billy Higgins (d). Rec. 1959
I don’t know what it was about Ornette that led record company executives to go for the overkill on the album names, but by the time Atlantic released this, the altoist’s debut on the label, he’d already had albums on Contemporary called Something Else!!!! and Tomorrow Is The Question. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. Of course it was a complete red herring, because although Ornette did have a profound influence on subsequent jazz developments, it was an oblique one compared with that of Coltrane’s or Eric Dolphy’s or Miles Davis’. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach. He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Later we all learned that he’d cut his musical teeth on tenor in Texas R&B bands and it all made sense: at the time it sounded as if Attila the Hun had been resurrected at the Five Spot and in Atlantic’s recording studios and was in no mood to do deals. Ornette never did, either, bless him. (KS)
Review: Ornette Coleman – Original Album Series ★★★★★
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2
John Coltrane: A Love Supreme (Impulse!)
Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964
No matter how many times you approach this album it’s always greater than the sum of whatever parts you compile. Yes, it’s perfect, yes, it’s ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album’s achievement. You can’t lay it at the door of Coltrane’s aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme.
This is a very powerful part of the album’s pull, as is the tautness of each selection’s form, and it must also account for the hold it has sustained magically over listeners who otherwise venture rarely into any form of jazz, including the progressive rock fans of the late 60s and onwards. Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture. Nothing could be the same again. It still isn’t.(KS)
Review: John Coltrane – A Love Supreme: The Complete Masters ★★★★
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1
Miles Davis: Kind of Blue (Columbia)
Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959
Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, explains why Kind of Blue tops the list:
How does one properly gauge impact? There’s no smouldering crater in the case of Kind of Blue, Miles’ melancholy, modal-jazz masterwork. The 1959 disc didn’t arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all “best of” lists, nudging aside so many rock, pop and hip-hop recordings.
Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5,000 copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. Often it’s the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused.
But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. A once-in-a-lifetime line up that makes the term “all-star” seem inadequate: trumpeter Davis, plus sax men John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb.
Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. At a time when the music had “gotten thick” as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence.
The motivation behind going “modal” in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
Kind of Blue became the improviser’s bible upon its release in late 1959. For one of its joint creators – John Coltrane – it pointed the way forward: he led much of the jazz world into the 1960s after his modal lessons with Miles. At Coltrane’s side pianist McCoy Tyner adapted Bill Evans’ innovation of quartal harmony, the use of fourths on ‘So What’, to legendary results.
At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
“I think the implications of Kind of Blue we now feel everywhere, but it wasn’t as deep as they became over time,” says saxophonist Dave Liebman. “Name me some music where you don’t hear echoes of it,” Herbie Hancock challenges.
“I hear it everywhere – it becomes hard to separate the modality that exists in rock ’n’ roll, some of it could be directly from Kind of Blue.”
Write a book with as narrow a focus as one jazz album (let’s say Kind of Blue) and, trust me, one ends up thinking and rethinking the subject years after publication. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Yet, especially in the mainstream press, the music chosen for those “best this” and “most that” lists simply falls in line with a long-established view with no question and little explanation.
For this reason and for others, I’m not a fan of top 10 lists. Or of 20, 100, or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. At least in my view.
Of the many ideas I gathered for my book on Kind of Blue, there is one quote in particular that comes to mind whenever the subject of relative value arises.
“If you like Kind of Blue, turn it over, look who plays on it,” says keyboardist Ben Sidran. “If you particularly like the piano, go buy a Bill Evans record, buy a Wynton Kelly record. If you like the alto playing, buy a Cannonball Adderley record. That one record – it’s not even six degrees of separation – is maybe two degrees of separation from every great jazz record.”
My own introduction to Kind of Blue took place in 1976, a time when my teenage ears were filled with post-Woodstock rock, and the first bursts of punk. Springsteen was a recent discovery as was Bob Marley. One day a mate whose musical taste I trusted implicitly yanked a worn copy of Miles’ LP out of my father’s collection – which I avoided as a matter of principle and teenage independence. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. I also came to realise how narrowly I had been casting for new sounds. I had been standing on the shore of a vast ocean of musical possibilities, yet fishing in one small inlet.
I didn’t fully realise it then, but Kind of Blue helped me see the vastness before me and rejoice in its expanse. I’ve been sailing the waters, listening and learning, ever since.
If those 5,000 per week sales figures are any indication, I’m not alone. As a measure of impact – I can think of nothing more significant than the music that first unmoors one from preconceptions and the need to stay in one place. For this alone, for serving for so many as a portal to an entire world of creative music, I agree that Kind of Blue continues to earn its status as a number one.
Feature: Miles Davis – Kind of Blue
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https://www.grimygoods.com/2022/07/28/vintage-gold-chico-hamilton-the-enigmatic-jazz-drummer-and-band-leader/
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en
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Vintage Gold: Chico Hamilton, the Enigmatic Jazz Drummer and Band Leader
|
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[
"Patricia Sanchez"
] |
2022-07-28T00:00:00
|
<p>During his decades-long career, Afro-Mexican drummer and band leader Foreststorn “Chico” Hamilton would become incredibly influential in the ever changing and growing genre of jazz music. A subtle, yet creative drummer, he is best remembered for the series of quintents he led throughout 1955-1965. During that time, he and his jazz bands would play such […]</p>
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https://www.grimygoods.com/wp-content/themes/grimiergoods/favicon.ico
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Grimy Goods
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https://www.grimygoods.com/2022/07/28/vintage-gold-chico-hamilton-the-enigmatic-jazz-drummer-and-band-leader/
|
During his decades-long career, Afro-Mexican drummer and band leader Foreststorn “Chico” Hamilton would become incredibly influential in the ever changing and growing genre of jazz music. A subtle, yet creative drummer, he is best remembered for the series of quintents he led throughout 1955-1965. During that time, he and his jazz bands would play such fusions as cool jazz, post bop, and more, combining unique elements of multiple genres to create a larger than life sound. Hamilton’s music and band leadership exemplifies a great high point for jazz music in the 1950s and 1960s.
Hamilton, born and raised in Los Angeles in a multi-racial household, first picked up drumming in high school, and soon, he was playing with other talented peers, many of whom would go on to become fine musicians themselves, including Dexter Gordon, Illinois Jacquet, Charles Mingus, Ernie Royal, Buddy Collette and Jack Kelso.
Hamilton’s overall sound is hard to encapsulate in any one mode, mood or even genre. Approaching composition (of a song or band) with a broad and sweeping style, his music moves quickly, spryly and with gusto. His 1965 album El Chico features an array of fun and challenging compositions that blend an unorthodox pairing of genres such as bossa, swing and rumba, all meeting at the intersection of jazz.
A great drummer, though with a more laid back approach than some of his contemporaries, Hamilton was even more keen at spotting other talented players in the jazz scene. His quintets and other bands were highly sought after and featured other prominent players in the music scene; his first album as a band leader in 1955 was formed with George Duvivier (double bass) and Howard Roberts (guitar).
That same year, he formed the Chico Hamilton Quintet, a rather unusual construction featuring cello, flute, saxes, clarinet, bass and drums. This band is arguably considered one of the last important West Coast jazz bands and essential to the formation of the cool jazz music scene that sprouted in California during that time.
MUST-SEE UPCOMING CONCERTS IN LA!
The Chico Hamilton Quintet was extremely popular, and their performance during “Jazz on a Summer’s Day,” a concert film set at the 1958 Newport Jazz Festival in Rhode Island, was a particularly memorable performance for the group and a standout scene in the documentary film.
Throughout his career, Hamilton also wrote and composed music for major motion pictures and for commercials including the films “Sweet Smell of Success” (1957), where the band itself was also featured in the film, and “Repulsion” (1965). His tracks “The Sage” and “Blue Sand” were also featured in two of PT Anderson’s films; the former in “Boogie Nights” (1997) and the latter in “Licorice Pizza” (2021).
Now passed on, Hamilton’s music is still finding an audience amongst jazz lovers and those who love eclectic, timeless music. The ebb an flow of his career never deterred him from continuing with his music, and as musical tasted changed, he adjusted and found outlets to stay relevant and in the scene, even if it was behind the screen of motion pictures.
His music can be found on many streaming platforms including Spotify and Apple Music, and many of his songs can be found on YouTube.
Words: Patti Sanchez
This post may contain affiliate links. Ads and affiliate links are how independent blogs like Grimy Goods can operate. Thank you for supporting our work and being a part of our music community.
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/
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All Things West Coast Jazz And The Surrounding Scene*
|
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Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers...
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/
|
Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers promoting the music of his own label "Pacific Jazz Records".
These vinyl LP's were issue in a series as mentioned in the header with the prefix on the Cat # "JWC".
It started with JWC-500 up to JWC-514. Most original LP's are oop. Many have been reissued in Japan by King Record Co., Ltd on vinyl and also on CD on diffrent other labels.
I plan to present the complete series here (vinyls only) with cover and content.
Thanks
Volume 1: Title "Jazz West Coast" An Anthology Of California Music - Cat# JWC-500
Content:
- A1 Chet Baker Ensemble "Bockhanal"
- A2 Gerry Mulligan Quartet "Soft Shoe"
- A3 Clifford Brown Ensemble "Tiny Capers"
- A4 Zoot Sims Quartet "I'll Remember April"
- A5 Bud Shank and 3 Trombones "Wailing Vessel"
- A6 Chet Baker Quartet "Happy Little Sunbeam"
- A7 Bill Perkins & Bud Shank "It Had To Be You"
- B1 Bud Shank and Bob Brookmeyer "Low Life"
- B2 Chet Baker Quintert "There Will Never Be Another You"
- B3 Bud Shank and Shorty Rogers "Lotus Bud"
- B4 Gerry Mulligan Quartet "Darn That Dream"
- B5 Laurindo Almeida Quartet "Speak Low"
- B6 Bob Gordon & Jack Montrose "Two Can Play"
- B7 Lee Konitz Plays With The Gerry Mulligan Quartet "Oh Lady be Good"
Volume 6: "Solo Flight" - Cat# JWC-505
Album is missing in my collection
Here is a link from Discogs
A1 –Art Pepper With Leroy Vinnegar And Stan Levey I Can't Give You Anything But Love 4:00
A2 –James Clay With Bobby Timmons, James Bond* And Peter Clay In A Sentimental Mood 3:27
A3 –Lee Konitz With The Gerry Mulligan Quartet* Too Marvelous For Words 3:36
A4 –Bill Perkins With Jimmy Rowles, Ben Tucker And Mel Lewis Angel Eyes 3:37
A5 –Richie Kamuca With Pete Jolly, Leroy Vinnegar And Stan Levey If I Should Lose You 4:18
B1 –Chet Baker With Bobby Timmons, James Bond* And Peter Littman I Can't Get Started 3:06
B2 –Bobby Brookmeyer* With John Williams (14), Red Mitchell And Frank Isola Isn't It Romantic 2:34
B3 –Bud Shank And Russ Freeman With Carson Smith And Shelly Manne It's A New World 4:38
B4 –Phil Urso With Bobby Timmons, James Bond* And Peter Littman It's Only A Paper Moon 4:42
B5 –Harry Edison With Arnold Ross, Joe Comfort And Alvin Stoller September In The Rain 2:53
Volume 7: "Pianists Galore" - Cat# JWC-506 - original issue 1957 - jap. reissue Cast# K18P 9223 in 1983
Content:
- A1 Carl Perkins (p), Jim Hall (g), Red Mitchell (b) "Too Close For Comfort"
- A2 Jimmy Rowles Quartet "We'll Be Together again"
- A3 Russ Freeman Trio "Laugh,Cry"
- A4 Richard Twardzik (p), Carson Smith (b), Peter Littman (dr) "Bess, You Is My Woman"
- A5 Hampton Hawes Trio " I hear Music"
- B1 Jimmy Rowles Trio "Sonny Speaks"
- B2 Bobby Timmons Trio "Autumn In New York"
- B3 John Lewis (p), Pery Heath (b), Chico Hamilton (dr) "I Can't Get Started"
- B4 Pete Jolly Trio "Younger Than Springtime"
- B5 Al Haig Trio "Taking A Chance On Love"
Volume 8: "JAZZ WEST COAST Vol . 3" - Cat# JWC-507 - reissue on jap. CD TOCJ -5618
All recorded in 1957
Content:
1. Gerry Mulligan Sextet "There Will Never Be Another You"
2. Chico Hamilton Quintet "Mr. Smith Goes To Town"
3. Bud Shank Qúartet "Polka Dots And Moon Beams"
4. Art Pepper Quartet "Old Croix"
5. Chet Baker Sextet "Little Girl"
6. Russ Freeman - Chet Baker Quartet "Love Nest"
7. Bud Shank - Bob Cooper Quintet "Sweet Georgia Brown"
8. Jim Hall Trio "Things Ain't What They Used To Be"
9. Phil Urso - Bob Burgess Quintet "Too Marvelous For Words
10. Russ Freeman - Bill Perkins Quintet "Brother Can You Spare A Dime"
Yes I do agree. The West Coast has a lot of smaller labels with first rate music. I do like those professionals playing also in the film studios inbetween.
Zhanks for the reply.
I posted these same photos in a Chet Baker thread a couple of weeks ago but I figure this may also be a suitable place for them.
Here's a Japanese-issued coffee table book signed by William Claxton. My copy also includes autographs of West Coast jazz giants Russ Freeman, Bill Perkins, Bud Shank, Gerry Mulligan, and Jack Montrose. In the 90s, I attended 2 or 3 editions of the West Coast Jazz Festival down in Redondo and/or Hermosa Beach. Anyway, I kept some flyers and programs of the event and will post them here (as soon as I locate them!). I also took lots of photographs (some good, many not so). The nice thing about this event is that there were Q&A forums where you can have interaction with the musicians. I met and/or saw perform the likes of Charlie Haden, Harold Land, Paul Bley, Teddy Edwards, Gerry Mullligan, Maynard Ferguson, Leroy Vinnegar, Lou Levy, Lennie Niehaus, Gerald Wilson, Russ Freeman, Jimmy Giuffre, Herb Geller, Stan Levey, Conte Candoli, Larance Marable, Howard Rumsey, Claude Williamson, and Mr. Dave Brubeck among a few others.
Those were great times. Many of the musicians I mentioned are no longer with us.
Just sharing.
Hi and thanks for the messaga and the photos.
Have that beautifulbook myself but not signed by the author.
Beside jazz records I do collect also cover art books and have a lot of those even very rare Items by Manek Daver and all label books from the swiss company OLMS Verlag. The good thing is you live near the source and I am living in Europe.
BTW from William Claxton I own another great book "The Art Of Jazz Photography - CLAXOGRAPHY" published 1995.
My favorite cover art artist is David Stone Martin.
The heaviest book in my stock dealing with jazz and photography is the heavy coffetable book "Jazz Life" from the TASCHEN company edited by William Claxton and Joachim Ernst Berendt (the late german jazz critic) . If you ever come across this jewel grab it even it is very pricy.
Anyway congrats for beeing on the spot and taking snapshots and sharing your experiences.
I missed that Chet Baker thread but have a couple of records from him. My favorite West Coast big band is Shorty Rogers.
Thanks again.
I am familiar with the books you mentioned. I love 'em cover art books but I only have 5 of them: 2 West Coast/California; one Blue Note; one New York album covers; and the Pete Turner (CTI) book. Speaking of Shorty Rogers, one year he was set to appear at the festival but had to beg off due to illness. If memory serves me right, he died while the festival was ongoing in November 1994. I don't have much of his recorded output but one west coast jazz record I like is "Wherever the Five Winds Blow" by Shorty's quintet with Giuffre.
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https://musicboard.app/artist/139254593/releases
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Musicboard is the social network for music-lovers. Keep track of all the music you listen to and grow your passion for music with friends. Write reviews, rate albums, compile lists, and more.
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https://daily.jstor.org/algerian-war-cause-celebre-anticolonialsm/
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en
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The Algerian War: Cause Célèbre of Anticolonialism
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2022-06-29T14:15:00+00:00
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On July 5, 1962, Algeria declared its independence after 132 years of French occupation. The transition was chaotic and violent, but inspired revolutionaries worldwide.
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en
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JSTOR Daily
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https://daily.jstor.org/algerian-war-cause-celebre-anticolonialsm/
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The icon indicates free access to the linked research on JSTOR.
On July 5, 1962, Algeria—the country that is today the largest in Africa and the central country in the area of North Africa known as the Maghrib—celebrated the end of a seven-and-a-half-year-long war for its independence. At the time, the struggle was well known to the outside world. It had been the subject of Italian filmmaker Gillo Pontecorvo’s 1966 film “The Battle of Algiers.” Heroes such as Djamila Bouhired—the central character of the 1958 film by Egyptian film-maker Youssef Chahine —and real-world spokespeople such as Frantz Fanon were equally familiar to those abroad. One of the aims of the National Liberation Front (FLN), the group that had launched the Algerian Revolution on November 1, 1954, had been to internationalize the conflict, inscribe it in the context of the Cold War to gain support in the Eastern Bloc, and bring the case up for discussion at the United Nations so that France would lose support for its occupation. In this regard, the Algerian War was a success.
The Evian agreements of March 18, 1962 and the cease-fire they instituted, ended the war between the French army and the Algerian National Liberation Army (ALN) and began a “transitional period,” which ended with the referendum of self-determination on July 1, 1962. The resounding “yes” vote led to the transfer of sovereignty from the French to the Algerian authorities on July, 3 and to the official celebration of Independence on July 5. The date of July 5th had been deliberately chosen by the Algerian provisional Government as a historical reference to July 5, 1830, when the city of Algiers had surrendered to the French occupiers: it thus marked 1962 as a reversal of French occupation, which had lasted for 132 years. A few days after the founding of the People’s Democratic Republic of Algeria, in September, Ahmed Ben Bella—its soon to be first president—declared that colonization had been “an accident in history,” and that Independence thus closed a digression, or a parenthesis, in the country’s history.
This timing of the accession to Independence meant that the French authorities were no longer (officially) present when the Algerians finally celebrated their newly gained freedom. The festivities were photogenic: many journalists photographed or filmed them, in the capital city, Algiers, and to a lesser extent in the rest of the country. According to many witnesses whom I interviewed for my book, Algérie, 1962, the Algerian authorities tried discouraging festivities from beginning before July 5, with very limited success. Many witnesses remember several days of festivities during which, they say, “even the women didn’t come back for the night” and during which revellers sometimes hopped onto a truck — lost in singing and chanting — and before they realized it, found themselves in cities far from home. Historian Ouarda Siari-Tengour insists that parties went on, almost without interruption, from the cease-fire of March 19 to the summer.
However, the celebrations were not entirely joyous, but contained a share of mourning and sadness. After the ceasefire, Algerian families began reuniting as combatants demobilized and left the maquis—the areas in which they had been fighting—or as political prisoners were freed from French prisons or detention camps and returned to their regions of origin. Their return was always an opportunity to celebrate; but those who returned were often bearers of bad news about other combatants or activists who had been killed during the war. Celebrations for the return of a child, a father, a sister, or of a neighbor often alternated in rapid succession with occasions for bereavement and mourning, and the invention of rituals performed in the absence of a body.
During the festivities, collective bereavement was expressed even with crowds marching together with their index fingers pointing towards the sky, in a gesture that, for Muslims, expresses the belief in the oneness of God. While everyone remembers some of the more joyous slogans of the time (“Tahiya al-Jazair!”, “Long live Algeria!”), they also sang: “May God have mercy on the martyrs,” thus expressing the massive collective mourning of those who died during war.
The process of ending the war and ending colonization was far from peaceful. In a colony where 10 % of the total population had been composed of French men and women (known as the “pieds-noirs”) who were accustomed to benefiting from superior rights to those of the native Algerian population, the approach of Independence and the promise of a Republic based on equal rights caused considerable anxiety. The cease-fire and the unavoidable approach of Independence fueled the violence of the pro-French Algeria Organisation Armée Secrète (OAS). The OAS aimed to derail the process of independence by launching last-ditch waves of violence against Algerians, as well as against the French who chose to leave the country and were accused of treason. By increasing the level of chaos, the OAS paradoxically accelerated the breakdown of French Algeria and the rapid departure of the French. Of the million pieds-noirs living in the country at the end of the war, 650,000 left the country in 1962 alone. In France, this exodus is the best-known aspect of the history of Algerian Independence, since most of them resettled in France. Their story is of course a tragic one of displacement and loss of the country in which most of them were born. Several associations in France today continue to promote this tragic vision of Algerian Independence.
In cities where the European population had been the largest, such as Algiers ( which became the capital in1962) or Oran, in the west of the country, OAS violence besieged Algerian neighborhoods with snipers and mortar shells. William Porter, the American consul to Algeria as well as the Swiss International Committee of the Red-Cross who visited these neighborhoods were appalled at the level of violence.
Violence and chaos also developed in the interstice between the two sovereignties. As the French army slowly retreated, Algerian locals and informal authorities formed under the leadership of the handfuls of combatants who had survived the end of the war inside the country. Forms of banditry appeared, as well as kidnappings and revengeful violence against those who were—rightly or wrongly—accused of having worked for the French army, or supporting French occupation. Such violence in particular against these so-called harkis, Algerian auxiliaries of the French Army, led many to leave Algeria for France.
Despite this new form of violence, the transitional period from the cease-fire in March to Independence in July marked the end of the war, and created opportunities for many of those who had supported the anticolonialist cause to travel to the country. American or British students, volunteers of NGOs, Lebanese, or Egyptian communists, and French anticolonialists could finally travel to Algeria to see it with their own eyes.
Algeria’s attractiveness for revolutionaries and activists did not begin with Independence: Even while it was waging its war for Independence, the FLN supported other Independence struggles. African leaders such as South-African Nelson Mandela or Angolese Mario de Andrade had trained on the FLN bases in Oujda, Morocco, at the beginning of 1962. Upon his liberation, in 1990, one of Mandela’s very first trips abroad included Algeria as a celebration of this link. Struggles in the rest of the world resonated with the Algerians too: during the celebrations of July 1962, various slogans referenced independent states yet to come, such as that of Mozambique, Angola, or Palestine. Cuba’s support of the Algerian Revolution eventually developed into technical assistance when the country sent its first medical brigade to Algeria in 1963. Algiers was progressively transforming into the Mecca of revolutionaries that it would represent in the 1960s and 1970s.
Not only did activists long to visit a country that was becoming a model for anticolonial struggles, but many also came to contribute to its success. In addition to being a cause célèbre of anticolonialism, Algeria became a land of experiments in socialism and self-management. In the context of the Cold War and with the support given by the Eastern Bloc to the struggle against colonization, the FLN had strong socialist influences that were made more visible in the FLN platform adopted in June 1962 during a meeting in Tripoli (Libya).
The rapid departure of the French left many industrial companies as well as farms without owners or managers, allowing them to put into place some of the objectives sketched out in the FLN platform adopted in June 1962 during a meeting in Tripoli (Libya). The platform called for the country’s rapid industrialization as well as agrarian reform that would give ownership of the land to those who farm it. But in the spring of 1962, without waiting for a permanent Algerian government to be put into place, workers spontaneously self-organized for the harvests, and self-management committees were created. René Dumont, a French agronomist interested in questions of development, traveled to Algeria in December 1962 and January 1961 on a mission for the Algerian government to analyze the situation and make suggestions as to how this spontaneous self-management could develop. Algeria appeared as a country-wide spontaneous experimentation that the rest of the world could learn from.
Much of the research about Algeria’s first years of Independence was produced by men and women who had travelled to Algeria in this effervescent and utopian time. Sociologists and political scientists described agriculture, industrialization, socialism, and the transformations that were being tested on a national scale as experiences that would inspire the rest of the world. In contrast, several of their books, written after their departure from Algeria, are infused with nostalgia or disappointed that the country had not remained the land of utopias.
Later, in the 1980s and the 1990s, fewer foreign authors would write about Algeria and much of the work would focus on the rise of Islamism and the question of the reemergence of violence within Algerian society. In the meantime, many of the articles produced during the early, heady days of independence are so connected to this revolutionary and anticolonial fervor that they are often treated as primary sources documenting the moment of independence, when Algeria was the center of the world.
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https://www.afrobarometer.org/countries/algeria/
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en
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Algeria
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Algeria has participated in two Afrobarometer surveys in 2013 and 2015. Surveys are conducted in Arabic and French. A national partner is yet to be chosen. Previous surveys were conducted by Arab...
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Algeria has participated in two Afrobarometer surveys in 2013 and 2015. Surveys are conducted in Arabic and French. A national partner is yet to be chosen. Previous surveys were conducted by Arab barometer on behalf of Afrobarometer.
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https://www.afrobarometer.org/countries/algeria/
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Algeria
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Algeria has participated in two Afrobarometer surveys in 2013 and 2015. Surveys are conducted in Arabic and French. A national partner is yet to be chosen. Previous surveys were conducted by Arab...
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Algeria has participated in two Afrobarometer surveys in 2013 and 2015. Surveys are conducted in Arabic and French. A national partner is yet to be chosen. Previous surveys were conducted by Arab barometer on behalf of Afrobarometer.
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ANF/ ARPCE Label and Certification
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All necessary radio certifications and label information for Algeria. Our experience guarantees you a cost-efficient certification process. Contact us!
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https://ib-lenhardt.com/assets/ico/favicon.ico
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IB-Lenhardt AG
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https://ib-lenhardt.com/type-approval/algeria
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Download our comprehensive guide now, which shows you all the requirements for successful certification. Learn all about administrative and technical documents, as well as country-specific requirements.
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https://en.wikipedia.org/wiki/Module:Location_map/data/Algeria
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Module:Location map/data/Algeria
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Location map of Algeria name Algeria border
coordinates 37.8 -9.45 ←↕→ 12.75 18.25 map center image Algeria location map.svg image1 Algeria relief location map.jpg
Module:Location map/data/Algeria is a location map definition used to overlay markers and labels on an equirectangular projection map of Algeria. The markers are placed by latitude and longitude coordinates on the default map or a similar map image.
Usage
These definitions are used by the following templates when invoked with parameter "Algeria":
{{Location map|Algeria |...}}
{{Location map many|Algeria |...}}
{{Location map+|Algeria |...}}
{{Location map~|Algeria |...}}
Map definition
name = Algeria
Name used in the default map caption
image = Algeria location map.svg
The default map image, without "Image:" or "File:"
image1 = Algeria relief location map.jpg
An alternative map image, usually a relief map, which can be displayed via the relief or AlternativeMap parameters
top = 37.8
Latitude at top edge of map, in decimal degrees
bottom = 18.25
Latitude at bottom edge of map, in decimal degrees
left = -9.45
Longitude at left edge of map, in decimal degrees
right = 12.75
Longitude at right edge of map, in decimal degrees
Alternative map
The {{Location map}}, {{Location map many}}, and {{Location map+}} templates have parameters to specify an alternative map image. The map displayed as image1 can be used with the relief or AlternativeMap parameters. Examples may be found below or in the following:
Template:Location map#Relief parameter
Template:Location map+/relief
Template:Location map#AlternativeMap parameter
Template:Location map+/AlternativeMap
Precision
Longitude: from West to East this map definition covers 22.2 degrees.
At an image width of 200 pixels, that is 0.111 degrees per pixel.
At an image width of 1000 pixels, that is 0.0222 degrees per pixel.
Latitude: from North to South this map definition covers 19.55 degrees.
At an image height of 200 pixels, that is 0.0978 degrees per pixel.
At an image height of 1000 pixels, that is 0.0196 degrees per pixel.
Examples using location map templates
{{Location map | Algeria | width = 180 | lat_deg = 36.7 | lon_deg = 3.22 | label = Algiers }}
{{Location map many | Algeria | relief = yes | width = 180 | caption = Two locations in Algeria | lat1_deg = 36.7 | lon1_deg = 3.22 | label1 = Algiers | pos1 = bottom | lat2_deg = 22.79 | lon2_deg = 5.52 | label2 = Tamanrasset | pos2 = bottom }}
{{Location map+ | Algeria | AlternativeMap = Algeria relief location map.jpg | width = 180 | caption = Two locations in Algeria | places = {{Location map~ | Algeria | lat_deg = 36.7 | lon_deg = 3.22 | label = Algiers | position = bottom }} {{Location map~ | Algeria | lat_deg = 22.79 | lon_deg = 5.52 | label = Tamanrasset | position = bottom }} }}
See also
Location map templates
Template:Location map, to display one mark and label using latitude and longitude
Template:Location map many, to display up to nine marks and labels
Template:Location map+, to display an unlimited number of marks and labels
Creating new map definitions
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https://apnews.com/article/africa-parades-algiers-algeria-c5164567dccc719addb8810fd41a17fb
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en
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Algeria marks 60 years of independence with military parade
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2022-07-05T18:44:43+00:00
|
Algeria is celebrating 60 years of independence from France with nationwide ceremonies, a pardon of 14,000 prisoners and its first military parade in years.
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en
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/apple-touch-icon.png
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AP News
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https://apnews.com/article/africa-parades-algiers-algeria-c5164567dccc719addb8810fd41a17fb
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ALGIERS, Algeria (AP) — Algeria celebrated 60 years of independence from France on Tuesday with nationwide ceremonies, a pardon of 14,000 prisoners and its first military parade in decades.
Opposition figures and pro-democracy activists called the elaborate celebrations an effort to distract attention from Algeria’s economic and political troubles by glorifying the army, and called for the release of political prisoners.
The events mark the country’s official declaration of independence on July 5, 1962, after a brutal seven-year war that ended 132 years of colonial rule. The war, which Algerian officials say killed around 1.5 million people, remains a point of tension in relations between Algeria and France.
Russian-made warplanes whizzed overhead, armored vehicles rolled through central Algiers, and warships were decked out in the city harbor. Algerian flags flew from buildings across the country, and patriotic songs rang out from loudspeakers.
“A day of glory for a new era” was the official slogan of the celebration, which includes concerts, sports events, lectures and photo exhibits retracing the horrors of the war.
Previous presidents abandoned holding military parades, but President Abdelmadjid Tebboune revived the tradition for this anniversary, for the first time in 38 years.
The military show of force took place amid growing tensions between Algeria and Morocco over the disputed Western Sahara region, and with a resurgent threat from Islamic extremists in the Sahel region on Algeria’s southern edge.
Tebboune began the ceremony by laying a wreath at a monument to “martyrs of the revolution,” and inaugurated a monument dedicated to foreigners who joined the fight for Algerian independence. He then mounted a military vehicle and greeted representatives of Algeria’s armed forces while waving to crowds who chanted: “One, Two, Three, Long Live Algeria!”
Palestinian President Mahmoud Abbas, the leader of Hamas and the presidents of Tunisia, Niger, Congo and Ethiopia took part in Tuesday’s anniversary events, standing on a platform erected in front of the Grand Mosque of Algiers.
In a speech, Tebboune underlined that “the Algerian army, heir to the National Liberation Army, constitutes the protective shield of Algeria.”
Opposition figures, and those involved in 2019 protests that helped overthrow Tebboune’s long-serving predecessor Abdelaziz Bouteflika, weren’t invited to the ceremonies.
The country’s oldest opposition party, FFS, issued a statement saying that, “60 years after independence, we are seeing more disappointments than fulfilled promises. We are facing the same problems of political instability, economic fragility.”
Journalist Karim Tabbou, active in the Hirak pro-democracy movement, said Algerians’ freedoms “are under constant threat.” Tabbou has been repeatedly arrested and is currently under court supervision.
“All the spectacles of illusion, all the cosmetics can’t hide the reality of a country eaten away by the corruption of a political system that considers that management by security alone is the only way to govern Algerians,” he said on independent broadcaster Radio M.
The president signed decrees Monday announcing pardons for thousands of prisoners, primarily those convicted of common crimes suffering severe illnesses or who are registered for exams aimed at improving their education.
It wasn’t immediately clear whether political prisoners would be among those freed.
More than 300 Hirak participants, journalists and political activists are currently held in Algerian prisons, according to the National Committee for Freedom of Detainees, a group of volunteer lawyers campaigning for their release.
The presidential statement announcing the pardons mentioned measures for the benefit of “young people prosecuted and detained for having committed acts of assembly and related actions.” The official news agency APS cited a presidential official as saying that included Hirak activists arrested during protests or for posts online deemed as “threatening public order.”
The presidential statement also mentions a draft law under development that would allow for the release of political activists or jailed journalists, as a result of Tebboune’s outreach consultations in recent months with various political players.
APS said the law would also concern certain Algerian figures in exile, and people in prison since the “black decade” of the 1990s, when security forces fought an Islamic insurgency in a conflict that left hundreds of thousands dead. Such a measure could include Islamist figures who have fled Algeria or who are serving prison terms for terrorist crimes committed in the 1990s.
Louisa Kanache, whose journalist husband Mohamed Mouloudj has been detained since September on charges of threatening state security and diffusing fake news on Facebook, said she was excited by the president’s statement, but uncertain whether her husband would be freed.
“Even lawyers don’t know how to read the presidential statement,” she said. “I’m torn between hope of seeing the end of the tunnel, and worry.”
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https://www.citigroup.com/global/about-us/global-presence/algeria
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Our presence in Algeria is a clear demonstration of the Algerian government's determination to attract foreign investment and to direct the national economy increasingly towards foreign markets. We have had a significant involvement in Algeria for many years in areas such as correspondent banking, trade finance and corporate finance. As a reflection of the importance of this relationship, a representative office was established in Algiers in 1991, and in 1997 we were the first foreign institution to apply for and obtain a commercial banking license. Our full-fledged branch opened for business in 1998.
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The use of the "name" tag across Algeria
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[] |
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[
""
] | null |
[
"Superadlen (Adlen Attia)",
"SomeoneElse (Andy Townsend)",
"yamada-as",
"Algebre_gama (Algebre gama)"
] |
2015-06-01T22:42:32+00:00
|
Hello everyone in Algeria,
I’m writing this on behalf of OSM’s Data Working Group. A question has been asked recently about the use of “name” tags within various areas within Algeria, and I was asked to raise this in t…
|
en
|
OpenStreetMap Community Forum
|
https://community.openstreetmap.org/t/the-use-of-the-name-tag-across-algeria/72256
|
Hello everyone in Algeria,
I’m writing this on behalf of OSM’s Data Working Group. A question has been asked recently about the use of “name” tags within various areas within Algeria, and I was asked to raise this in this forum. The problem is that in some places in Algeria, the “name” tag has swapped between French, Arabic and combinations such as “French then Arabic” and “Arabic then French” over the years.
As this document describes:
http://wiki.osmfoundation.org/w/images/d/d8/DisputedTerritoriesInformation.pdf
OpenStreetMap tries to follow the “On The Ground” rule - if the majority of people in an area refer to it as “Name A” instead of “Name B”, then the name within OSM should be “Name A” (though of course other language names can co-exist, and all communities are free to make their own maps from OSM data using name:ar, name:ber, name:fr or another name).
There’s no need for the “name” tag to have the same language across a country. To take an example closer to where I live, in a predominantly Welsh-speaking part of Wales the “name” of http://www.openstreetmap.org/way/24433881 is the same as the Welsh name (name:cy), whereas in a predominantly English-speaking part, the name of http://www.openstreetmap.org/way/4801016 is the same as the “name:en”. Of course, communities worldwide can decide to do something different - for example, the Belgian community decided to use both languages in the “name” field of http://www.openstreetmap.org/relation/2404021 (though that’s quite rare and can be confusing for those that do not know what is happening).
What the Data Working Group would like to encourage would be for people to record all the names for a place that are in use, including where relevant Arabic (name:ar), Berber (name:ber), French (name:fr) and any others that might apply. This is in addition to whatever is chosen as for the “name” tag. Having all names recorded means that maps that can show multiple languages (of which http://mlm.jochentopf.com/ is a proof-of-concept example) can show the correct language when someone switches to that language.
Best Regards,
Andy Townsend (SomeoneElse), on behalf of OpenStreetMap’s Data Working Group.
Google translate to French: https://translate.google.com/translate?sl=en&tl=fr&js=y&prev=_t&hl=en&ie=UTF-8&u=http%3A%2F%2Fforum.openstreetmap.org%2Fviewtopic.php%3Fpid%3D506642%23p506642&edit-text=, Arabic: https://translate.google.com/translate?hl=en&sl=en&tl=ar&u=http%3A%2F%2Fforum.openstreetmap.org%2Fviewtopic.php%3Fpid%3D506642%23p506642
Hi guys, and thanks for this discussion
I always thought that one should use the country’s official language for the name tag, and the other name tags for any eventual translations, would be better especially for mobile application users because so many names displayed on a small screen would really look very ugly, but that’s just my opinion. If OpenStreetMap’s Data Working Group decides to use multiple names standard, then I will be using that as well even though I really don’t completely agree with it.
I understand that using Arabic names can be tedious for a lot of contributors, but I also really wish that my country’s official language would appear on its map. I’m doing all I can to accomplish that, but I can’t do much because of my crappy internet.
Hi,
I was invited in the conversation, in fact I’m editing Waze map most of the time, and ocasionally OSM too as I find that it is complementary.
As I don’t know arabic, I edited everything in french in the beginning.
Then I asked the local community about what they like, and finally I started to rename cities with the french name and the arabic name (Waze doesn’t support localization for map elements).
In fact there are not 2 but 3 languages at least in algeria:
The algerian arabic that most algerian speaks. It is not official arabic, people can speak algerian arabic and not understand the official arabic.
From what I know is that most people speak that algerian arabic everyday.
Old people who went to school before independency can read and write french, but most of the time are unable to read or write arabic.
According to Wikipedia 11 million people older than 5 year understand french. It is a lot but not everybody.
The school is now in arabic so young people can read and write arabic, but university is in french, so educated people unsually speaks french.
After that I don’t know the community of editors of OSM in algeria, but are they able to write arabic ? If not, what is the solution ?
From my experience on Waze, only very few local editors are active, and 90% are working in French (maybe because I created the map in french in the beginning I don’t know).
And in the update requests from end users, 90% are also in french.
Another thing, I don’t know very well the east of the country but it seems arabic is less important there, for a lot of cities you even don’t find the arabic name on Wikipedia.
Hi again
I also just noticed that if you download Tunis’s offline map on Android OSMand app, you can see that if you use only Arabic on a map, it displays correctly, but if you use a combination of French and Arabic, the Arabic part shows those ugly rectangles.
See for yourselves :
If it was for me, I will only use Arabic in *name *tag, French in name:fr and I will even make an effort to add name:ber even if I really don’t speak Berberian. If only I have a decent internet …
East or west, they’re all the same. The lack of Arabic translations in Wikipedia does not reflect our interest to our language, it simply reflects our disinterest to online voluntary contributions (and that because of a lot of other reasons), if I may say.
Our dialect is a mixture of Arabic and French, and I can guaranty that 99% of educated people (not to brag, but me being one of them in an educative environment) you are talking about can perfectly understand Arabic as well as French.
Cordially.
I have to admit, one thing that surprised me when I looked at the map in Algeria was the lack of “name:fr” in some places where the “name” is in French - having it also in name:fr would make it easier for multilingual maps to recognise the language of the “name” tag (this was based by having a look at nodes with various tags using Overpass in part of Algeria - http://overpass-turbo.eu/s/9V4 - change the
node["name:fr"]({{bbox}});
part of the query to “name:ar” or “name:ber” to see other languages).
Unfortunately the layers available on the openstreetmap.org front page don’t easily allow the selection of map tiles showing different languages, though it is possible to create your own using something like the instructions at https://switch2osm.org/serving-tiles/manually-building-a-tile-server-14-04/ and then use a bit of browser trickery to insert those tiles in place of one of the layers on osm.org - http://wiki.openstreetmap.org/wiki/User:SomeoneElse/Your_tiles_from_osm.org).
A number of different OSM regions have created maps “in their own style” and their own language - if you look at the map at openstreetmap.de for example you’ll see German names for places in central Europe that have many names in different languages. If anyone would like to try and render Algerian map tiles showing name:ar, name:ber or name:fr locally it should be possible on a regular PC, since Algeria doesn’t have a huge amount of data in it in OSM, though obviously hosting that somewhere that other people can see it would involve some ongoing expense. If anyone wants to try and set up a tile server for a particular language please ask (either me directly, or on help.openstreetmap.org, or on IRC http://wiki.openstreetmap.org/wiki/IRC).
Hi,
SomeoneElse was writing to us on behalf of OSM’s Data Working Group and not on behalf of the Algerian Government that never opened data to public. SomeoneElse noticed that there is a problem in the algerian OSM Map.
Link : http://wiki.openstreetmap.org/wiki/FR:Data_working_group
Now, I have to replay to our friend abdeldjalil : I’m against all the double names separated by a “-” in the tag “name:” but I’m okay to submit a request to the OSM Working Data Group to study this case.
Last time I was reading something about ISO2 and ISO3 concerning “naming”, sorting and filtering.
Abdeldjalil, I contribute to name the places that I know more in arabic, don’t worry I’m even okay to write the name of all the villages and POI’s in japanese, this is not a problem.
I think that it’s okay to name some places in arabic using the generic tag “name:” but other places and POI’s doesn’t actually have an “arabic” name but can be only transliterated into arabic.
Now, I have to add something that may be seem “bizarre” but, if one day, we have to push the OSM algerian map to be adopted as an OpenGov plateform (leaf) I’m sorry to say that everything must be written in arabic … and here I agree with you.
Yes I contribute in arabic using “name:ar” but everywhere else I use latin … may some OSM Contributors add “name:ar” to all the POI’s we’ve created before :
This is a “Kabyle” land and the name of every village is written in latin in the real world but I added “name:ar” may be “someone else” will take benefit of the arabic tagging. Why not ? I’m not against.
This Kabyle area has a “name:ar” and no “name:ber”
But I’m against naming like this : “الطاهير - Taher” or even more “الطاهير Taher” or tri-naming in arabic-dash-french-dash-berber.
Because if we consider OSM as a big database then name:fr=Taher is corresponding to name:ar=الطاهير and never a “mix-humburger” of names is corresponding to a single name written in an ISO standardized language.
To avoid what we call “War Map Edits”, I was asking … So what’s the solution ?
an ar.openstreetmap.org like Wiki is doing ? Will you name all the chinese villages in arabic ?
A Leaf server hosted is Algeria ? A good Idea (the best) but who is gonna host it ? Algeria Telecom ? Not even in your dreams ! None is supporting the movement of Free Open Source Software here !
Yes I have already read this : http://blog.jochentopf.com/2012-06-24-choosing-a-language.html
Edit August 27th, 2015 :
Signalisation routière bilingue (wiki fr) : https://fr.wikipedia.org/wiki/Signalisation_routi%C3%A8re_bilingue
Bilingual sign (wiki en) : https://en.wikipedia.org/wiki/Bilingual_sign
Jochen Topf
I think, latin alphabet should be a fallback and the user must be free to render/filter/sort using a name:iso if he wants since there still a problem in displaying a “mixed lang. name” in some plateformes such as Android (square caracters).
In the future, to propote berber language over all the territories of Algeria, the administration will show the locations in tri lingual names. Do you imagine the length of “name:” tag ?
There will be even War Edits to have “name:” first name in arabic, then berber, then fr. Other contributor will come to revert them to : Berber, Arabic, then french. So the problem is not yet solved.
Have a nice day … and fun on OSM
Salutations amicales.
|
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8952
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https://www.fragomen.com/countries/algeria.html
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en
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Fragomen, Del Rey, Bernsen & Loewy LLP
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Whether your company is sending employees to Algeria or expanding your worldwide footprint—Fragomen is here to help. Our experienced immigration professionals partner with businesses of all sizes to develop immigration strategies that can help you achieve your goals.
Algeria’s immigration system provides limited options for employers of foreign nationals. While business visitors may obtain a…
|
en
|
Fragomen - Immigration attorneys, solicitors, and consultants worldwide - Algeria
|
https://www.fragomen.com/countries/algeria.html
|
Whether your company is sending employees to Algeria or expanding your worldwide footprint—Fragomen is here to help. Our experienced immigration professionals partner with businesses of all sizes to develop immigration strategies that can help you achieve your goals.
Algeria’s immigration system provides limited options for employers of foreign nationals. While business visitors may obtain a Business Visa to stay in Algeria for up to 90 days, they are advised to limit their stay to 15 days. Foreign nationals whose stay exceeds 90 days require a Residence Permit.
There are two main work authorization types: Annex 13 Declaration (valid for 15 days with permissible extensions for a maximum stay of 90 days over a 12-month period); and Work Permit (valid for one year, with permissible extensions). Both types of permits are processed locally and each province (wilaya) may apply its own interpretation of the requirements.
Fragomen can also consult on citizenship matters and, as permitted within the confines of local law, may be able to offer citizenship assistance.
|
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https://www.aljazeera.com/features/2020/5/3/iconic-algerian-singer-and-berber-idol-idir-dies-at-70
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en
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Iconic Algerian singer and Berber idol Idir dies at 70
|
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2020-05-03T00:00:00
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Hamid Cheriet, better known as Idir, was a champion for the Kabylie region and its Berber language.
|
en
|
/favicon_aje.ico
|
Al Jazeera
|
https://www.aljazeera.com/features/2020/5/3/iconic-algerian-singer-and-berber-idol-idir-dies-at-70
|
Algerian singer Idir, who gave voice to his native Kabylie and its Berber language, has died in Paris aged 70.
Idir, whose real name was Hamid Cheriet, died from lung disease after being hospitalised on Friday.
A post on his official Facebook page on Saturday announced the death.
“We regret to announce the death of our father (of us all), Idir,” the post read.
Idir was born on October 25, 1949, in Ait Lahcene, near the Kabylie capital of Tizi Ouzou in northern Algeria.
He studied to be a geologist but in 1973 was tapped as a surprise last-minute replacement for the Kablyie diva Nouara on Radio Algiers to sing “A Vava Inouva,” a lullaby set to acoustic guitar and an ode to the rich oral traditions of Berber mountain villages.
The song became a huge success in Algeria and beyond, but Idir had no idea because soon after the recording he was drafted for mandatory military service.
“I came at the right time, with the right songs” that evoked the rhythms of daily life he had heard since a baby, Idir told AFP news agency in a 2013 interview.
He travelled to Paris to record his first album, also titled “A Vava Inouva,” in 1975. But after a series of tours and another album, he decided to abandon the music industry until 1991, when the release of a compilation album relaunched his career.
Installed in France, he became an impassioned advocate of his native Kabylie while also defending multiculturalism and immigration as they became key issues in his adopted country’s 2007 presidential race.
“When you belong to a minority, you start believing that you’re vulnerable, that the powerful can eat you up because even though your culture exists, it doesn’t have the means to develop and survive,” he said in a 2017 interview.
After a 38-year absence he returned to Algeria in January 2018 for a Berber new year concert in the capital and the next year defended the popular uprisings against longtime leader Abdelaziz Bouteflika, who resigned in April 2019.
“I loved everything about these protests: the intelligence of these youths, their humour, their determination to remain peaceful,” Idir said at the time.
“I admit that these moments were like a breath of fresh air. And since I have pulmonary fibrosis, I know what I’m talking about.”
|
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https://www.aljazeera.com/gallery/2023/7/4/history-illustrated-ghost-of-the-algerian-war
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History Illustrated: Ghost of the Algerian war
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2023-07-04T00:00:00
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The many years France spent as a colonial power in Algeria has shaped its relationship to the North African nation today
|
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Al Jazeera
|
https://www.aljazeera.com/gallery/2023/7/4/history-illustrated-ghost-of-the-algerian-war
|
History Illustrated is a weekly series of insightful perspectives that puts news events and current affairs into historical context using graphics generated with artificial intelligence.
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https://afrikanheroes.com/2022/05/09/here-are-the-new-rules-for-obtaining-a-startup-label-in-algeria/
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en
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Here Are The New Rules For Obtaining A Startup Label In Algeria
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2022-05-09T00:00:00
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In a news release, Algeria’s Ministry Delegate to the Prime Minister in charge of the knowledge economy and startups presented new rules for establishing the innovative character of a company and obtaining the “Startup” label in the North African country. According to the release, to obtain the “Startup” label, the Ministry Delegate to the Prime
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en
|
Afrikan Heroes - uplifting and inspiring African startups
|
https://afrikanheroes.com/2022/05/09/here-are-the-new-rules-for-obtaining-a-startup-label-in-algeria/
|
In a news release, Algeria’s Ministry Delegate to the Prime Minister in charge of the knowledge economy and startups presented new rules for establishing the innovative character of a company and obtaining the “Startup” label in the North African country.
According to the release, to obtain the “Startup” label, the Ministry Delegate to the Prime Minister responsible for the knowledge economy and start-ups has introduced “four objective standards making it possible to establish the innovative character of the company’s activity” since the last revision of the legal framework.
“A single standard is sufficient for the company to receive the “Startup” label,” states the news release.
Read also Recently Funded Algerian Ride-hailing Startup Yassir Expands To Senegal
The qualifications include spending on research and development (if the firm spends 15% of its revenue on R&D), the caliber of the founding members (if half of the founding team possess a doctorate or higher), and intellectual property (if the company obtains an invention patent or a nationally or internationally registered program).
The final requirement is to present a prototype. According to the press release, the applicant for the label must “present at least one prototype of the submitted innovation,” which can “take several forms, such as an electronic platform in final or demo version, a prototype of the product if it is industrialized, a link to the application of the company concerned, or an illustrative video.”
Read also Egyptian Fintech Startup Khazna Obtains Final Approval From Central Bank Of Egypt
In addition to tax incentives, the “Startup” title provides help from the assigned ministry as well as the option of getting investment, according to the press release. The label is requested by registering on the website www.startup.dz.
Startup label Algeria Startup label Algeria
Charles Rapulu Udoh
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8952
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https://apnews.com/article/algeria-ramadan-beef-imports-94e9a4ee5bc6aef51d8f9208f3a36028
|
en
|
Excitement and skepticism meet Algeria’s decision to import beef to meet high demand during Ramadan
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2024-03-11T08:29:39+00:00
|
Algeria is importing massive amounts of beef and lamb to ensure it is available to consumers who can't afford locally sourced red meat.
|
en
|
/apple-touch-icon.png
|
AP News
|
https://apnews.com/article/algeria-ramadan-beef-imports-94e9a4ee5bc6aef51d8f9208f3a36028
|
ALGIERS, Algeria (AP) — Algeria is importing massive amounts of beef and lamb to confront an explosion in demand for meat expected throughout the Muslim holy month of Ramadan, hoping to stabilize prices as the country’s economy continues to struggle.
The oil-rich North African nation is among countries working to import food and fuel, hoping to meet the requirements of Algerians preparing nightly feasts as their families break their sunrise-to-sunset fasts.
For Algerians flocking to new imported meat stores staffed by butchers in white coats, the arrival of beef from as far away as Australia has raised both excitement and skepticism.
“The opening of stores like this one is a breath of fresh air for those who can’t afford to buy local meat. As you’ve seen, the product is of high quality, and so much the better,” retired teacher Rabah Belahouane said after waiting in line at a new store for 30 minutes.
By importing food products, Algeria hopes to avoid skyrocketing prices affecting those who can’t afford locally sourced red meat. Such inflation plagued the country as recently as last year when the onion supply couldn’t keep up with demand. Neighboring Tunisia plans to import bananas from Egypt while Mali plans to accept donated fuel from Russia.
For Algeria, the decision to import 100,000 tons of red meat this Ramadan reverses a previous policy banning the import of the products. That policy was designed to help bolster domestic producers but has sparked pushback as the price of local meat spiked.
“It’s the president’s decision to reopen imports to permit ordinary citizens to be able to eat meat at a reasonable price and not have to put up with butchers who sell local beef, albeit of higher quality, at impossible prices,” Algeria’s Commerce Minister Tayeb Zitouni said last week.
The import plan comes as meat prices remain high relative to the median income and minimum wage in Algeria which has struggled to tame inflation and rising cost of living.
Butchers understand that their prices present challenges for consumers nationwide but disagree with officials like Zitouni who blame them.
“Local meat is expensive. It’s unfortunately become a luxury product, but that isn’t butchers’ fault or reason to unfairly single them out,” said Salim Lamari, the 40-year-old owner of a family butchery east of Algiers.
He said that butchers depended on livestock farmers who had to raise their prices amid drought and spikes in the price of animal feed.
The crisis led Algeria — where politicians have long been skeptical of imports — to grant new import licenses to private businesses and the state entities governing the meat industry.
The country has expanded existing contracts with meat suppliers in Argentina and begun importing from Brazil, Spain, Italy, Ireland, Russia and Australia as the first week of Ramadan begins.
The meat has been vacuum-packed and shipped to be distributed nationwide in refrigerated vehicles.
Though many have jostled to purchase meat at a fraction of the domestic price ahead of the holy month, the Ministry of Agriculture has repeatedly told local media that detractors questioning the meat’s quality were peddling propaganda.
With its large meat-eating population, Algeria imports an average of 103,889 head of cattle per year, including breeding stock, fattening cattle and beef cattle, according to figures from the World Organization for Animal Health published before the Ramadan surge.
Algeria is also importing beans and onions to deal with recurring supermarket shortages and avoid price spikes that happened during last year’s holy month.
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https://en.wikipedia.org/wiki/History_of_Algeria
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en
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History of Algeria
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2001-06-28T13:01:08+00:00
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https://en.wikipedia.org/wiki/History_of_Algeria
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Much of the history of Algeria has taken place on the fertile coastal plain of North Africa, which is often called the Maghreb. North Africa served as a transit region for people moving towards Europe or the Middle East, thus, the region's inhabitants have been influenced by populations from other areas, including the Carthaginians, Romans, and Vandals. The region was conquered by the Muslims in the early 8th century AD, but broke off from the Umayyad Caliphate after the Berber Revolt of 740. During the Ottoman period, Algeria became an important state in the Mediterranean sea which led to many naval conflicts. The last significant events in the country's recent history have been the Algerian War and Algerian Civil War.
Prehistory
Main article: Prehistoric Central North Africa
Evidence of the early human occupation of Algeria is demonstrated by the discovery of 1.8 million year old Oldowan stone tools found at Ain Hanech in 1992.[1] In 1954 fossilised Homo erectus bones were discovered by C. Arambourg at Ternefine that are 700,000 years old. Neolithic civilization (marked by animal domestication and subsistence agriculture) developed in the Saharan and Mediterranean Maghrib between 6000 and 2000 BC. This type of economy, richly depicted in the Tassili n'Ajjer cave paintings in southeastern Algeria, predominated in the Maghrib until the classical period.
Numidia
Main articles: Numidia and North Africa during Antiquity
Numidia (Berber: Inumiden; 202–40 BC) was the ancient kingdom of the Numidians located in northwest Africa, initially comprising the territory that now makes up modern-day Algeria, but later expanding across what is today known as Tunisia, Libya, and some parts of Morocco. The polity was originally divided between the Massylii in the east and the Masaesyli in the west. During the Second Punic War (218–201 BC), Masinissa, king of the Massylii, defeated Syphax of the Masaesyli to unify Numidia into one kingdom. The kingdom began as a sovereign state and later alternated between being a Roman province and a Roman client state.
Numidia, at its largest extent, was bordered by Mauretania to the west, at the Moulouya River,[2] Africa to the east (also exercising control over Tripolitania), the Mediterranean Sea to the north, and the Sahara to the south. It was one of the first major states in the history of Algeria and the Berbers.
War With Rome
By 112 BC, Jugurtha resumed his war with Adherbal. He incurred the wrath of Rome in the process by killing some Roman businessmen who were aiding Adherbal. After a brief war with Rome, Jugurtha surrendered and received a highly favourable peace treaty, which raised suspicions of bribery once more. The local Roman commander was summoned to Rome to face corruption charges brought by his political rival Gaius Memmius. Jugurtha was also forced to come to Rome to testify against the Roman commander, where Jugurtha was completely discredited once his violent and ruthless past became widely known, and after he had been suspected of murdering a Numidian rival.
War broke out between Numidia and the Roman Republic and several legions were dispatched to North Africa under the command of the Consul Quintus Caecilius Metellus Numidicus. The war dragged out into a long and seemingly endless campaign as the Romans tried to defeat Jugurtha decisively. Frustrated at the apparent lack of action, Metellus' lieutenant Gaius Marius returned to Rome to seek election as Consul. Marius was elected, and then returned to Numidia to take control of the war. He sent his Quaestor Sulla to neighbouring Mauretania in order to eliminate their support for Jugurtha. With the help of Bocchus I of Mauretania, Sulla captured Jugurtha and brought the war to a conclusive end. Jugurtha was brought to Rome in chains and was placed in the Tullianum.[3]
Jugurtha was executed by the Romans in 104 BC, after being paraded through the streets in Gaius Marius' Triumph.[4]
Independence
The Greek historians referred to these peoples as "Νομάδες" (i.e. Nomads), which by Latin interpretation became "Numidae" (but cf. also the correct use of Nomades).[5][6] Historian Gabriel Camps, however, disputes this claim, favoring instead an African origin for the term.[7]
The name appears first in Polybius (second century BC) to indicate the peoples and territory west of Carthage including the entire north of Algeria as far as the river Mulucha (Muluya), about 160 kilometres (100 mi) west of Oran.[8]
The Numidians were composed of two great tribal groups: the Massylii in eastern Numidia, and the Masaesyli in the west. During the first part of the Second Punic War, the eastern Massylii, under their king Gala, were allied with Carthage, while the western Masaesyli, under king Syphax, were allied with Rome. The Kingdom of Masaesyli under Syphax extended from the Moulouya river to Oued Rhumel.[9]
However, in 206 BC, the new king of the eastern Massylii, Masinissa, allied himself with Rome, and Syphax of the Masaesyli switched his allegiance to the Carthaginian side. At the end of the war, the victorious Romans gave all of Numidia to Masinissa of the Massylii.[8] At the time of his death in 148 BC, Masinissa's territory extended from the Moulouya to the boundary of the Carthaginian territory, and also southeast as far as Cyrenaica to the gulf of Sirte, so that Numidia entirely surrounded Carthage (Appian, Punica, 106) except towards the sea. Furthermore, after the capture of Syphax the king in modern day Morocco with his capital based in Tingis, Bokkar, had become a vassal of Massinissa.[10][11][12] Massinissa had also penetrated as far south beyond the Atlas to the Gaetuli and Fezzan was part of his domain.[13][14]
In 179 B.C. Masinissa had received a golden crown from the inhabitants of Delos as he had offered them a shipload of grain. A statue of Masinissa was set up in Delos in honour of him as well as an inscription dedicated to him in Delos by a native from Rhodes. His sons too had statues of them erected on the island of Delos and the King of Bithynia, Nicomedes, had also dedicated a statue to Masinissa.[15]
After the death of the long-lived Masinissa around 148 BC, he was succeeded by his son Micipsa. When Micipsa died in 118 BC, he was succeeded jointly by his two sons Hiempsal I and Adherbal and Masinissa's illegitimate grandson, Jugurtha, who was very popular among the Numidians. Hiempsal and Jugurtha quarrelled immediately after the death of Micipsa. Jugurtha had Hiempsal killed, which led to open war with Adherbal.[16]
Phoenician traders arrived on the North African coast around 900 BC and established Carthage (in present-day Tunisia) around 800 BC. During the classical period, Berber civilization was already at a stage in which agriculture, manufacturing, trade, and political organization supported several states. Trade links between Carthage and the Berbers in the interior grew, but territorial expansion also resulted in the enslavement or military recruitment of some Berbers and in the extraction of tribute from others.
The Carthaginian state declined because of successive defeats by the Romans in the Punic Wars, and in 146 BC, the city of Carthage was destroyed. As Carthaginian power waned, the influence of Berber leaders in the hinterland grew.
By the 2nd century BC, several large but loosely administered Berber kingdoms had emerged. After that, king Masinissa managed to unify Numidia under his rule.[17][18][19]
Roman empire
Main articles: North Africa during Antiquity and Mauretania Caesariensis
Christianity arrived in the 2nd century. By the end of the 4th century, the settled areas had become Christianized, and some Berber tribes had converted en masse.
After the fall of the Western Roman Empire, Algeria came under the control of the Vandal Kingdom. Later, the Eastern Roman Empire (also known as the Byzantine Empire) conquered Algeria from the Vandals, incorporating it into the Praetorian prefecture of Africa and later the Exarchate of Africa.
Medieval Muslim Algeria
Main article: Medieval Muslim Algeria
From the 8th century Umayyad conquest of North Africa led by Musa bin Nusayr, Arab colonization started. The 11th century invasion of migrants from the Arabian peninsula brought oriental tribal customs. The introduction of Islam and Arabic had a profound impact on North Africa. The new religion and language introduced changes in social and economic relations, and established links with the Arab world through acculturation and assimilation.
The second Arab military expeditions into the Maghreb, between 642 and 669, resulted in the spread of Islam. The Umayyads (a Muslim dynasty based in Damascus from 661 to 750) recognised that the strategic necessity of dominating the Mediterranean dictated a concerted military effort on the North African front. By 711 Umayyad forces helped by Berber converts to Islam had conquered all of North Africa. In 750 the Abbasids succeeded the Umayyads as Muslim rulers and moved the caliphate to Baghdad. Under the Abbasids, Berber Kharijites Sufri Banu Ifran were opposed to Umayyad and Abbasids. After, the Rustumids (761–909) actually ruled most of the central Maghrib from Tahirt, southwest of Algiers. The imams gained a reputation for honesty, piety, and justice, and the court of Tahirt was noted for its support of scholarship. The Rustumid imams failed, however, to organise a reliable standing army, which opened the way for Tahirt's demise under the assault of the Fatimid dynasty.
The Fatimids left the rule of most of Algeria to the Zirids and Hammadid (972–1148), a Berber dynasty that centered significant local power in Algeria for the first time, but who were still at war with Banu Ifran (kingdom of Tlemcen) and Maghraoua (942-1068).[20] This period was marked by constant conflict, political instability, and economic decline. Following a large incursion of Arab Bedouin from Egypt beginning in the first half of the 11th century, the use of Arabic spread to the countryside, and sedentary Berbers were gradually Arabised.
The Almoravid ("those who have made a religious retreat") movement developed early in the 11th century among the Sanhaja Berbers of southern Morocco. The movement's initial impetus was religious, an attempt by a tribal leader to impose moral discipline and strict adherence to Islamic principles on followers. But the Almoravid movement shifted to engaging in military conquest after 1054. By 1106, the Almoravids had conquered the Maghreb as far east as Algiers and Morocco, and Spain up to the Ebro River.
Like the Almoravids, the Almohads ("unitarians") found their inspiration in Islamic reform. The Almohads took control of Morocco by 1146, captured Algiers around 1151, and by 1160 had completed the conquest of the central Maghrib. The zenith of Almohad power occurred between 1163 and 1199. For the first time, the Maghrib was united under a local regime, but the continuing wars in Spain overtaxed the resources of the Almohads, and in the Maghrib their position was compromised by factional strife and a renewal of tribal warfare.
In the central Maghrib, the Abdalwadid founded a dynasty that ruled the Kingdom of Tlemcen in Algeria. For more than 300 years, until the region came under Ottoman suzerainty in the 16th century, the Zayanids kept a tenuous hold in the central Maghrib. Many coastal cities asserted their autonomy as municipal republics governed by merchant oligarchies, tribal chieftains from the surrounding countryside, or the privateers who operated out of their ports. Nonetheless, Tlemcen, the "pearl of the Maghrib," prospered as a commercial center.
Berber dynasties
According to historians of the Middle Ages, the Berbers were divided into two branches, both going back to their ancestors Mazigh. The two branches, called Botr and Barnès were divided into tribes, and each Maghreb region is made up of several tribes. The large Berber tribes or peoples are Sanhaja, Houara, Zenata, Masmuda, Kutama, Awarba, Barghawata ... etc. Each tribe is divided into sub tribes. All these tribes had independent and territorial decisions.[21]
Several Berber dynasties emerged during the Middle Ages: - In North and West Africa, in Spain (al-Andalus), Sicily, Egypt, as well as in the southern part of the Sahara, in modern-day Mali, Niger, and Senegal. The medieval historian Ibn Khaldun described the follying Berber dynasties: Zirid, Banu Ifran, Maghrawa, Almoravid, Hammadid, Almohad Caliphate, Marinid, Zayyanid, Wattasid, Meknes, Hafsid dynasty, Fatimids.[21]
The invasion of the Banu Hilal Arab tribes in the 11th century sacked Kairouan, and the area under Zirid control was reduced to the coastal region, and the Arab conquests fragmented into petty Bedouin emirates.[a]
Maghrawa Dynasty
Main article: Maghrawid Dynasty
The Maghrawa or Meghrawa (Arabic: المغراويون) were a large Zenata Berber tribal confederation whose cradle and seat of power was the territory located on the Chlef in the north-western part of today's Algeria, bounded by the Ouarsenis to the south, the Mediterranean Sea to the north and Tlemcen to the west. They ruled these areas on behalf of the Umayyad Caliphate of Cordoba at the end of the 10th century and during the first half of the 11th century. The Maghrawa confederation of zanata Berbers supposedly originated in the region of modern Algeria between Tlemcen and Tenes.[22]
The confederation of Maghrawa were the majority people of the central Maghreb among the Zenata (Gaetuli). Both nomadic and sedentary, the Maghrawa lived under the command of Maghrawa chiefs or Zenata. Algiers has been the territory of the Maghrawa since ancient times.[23] The name Maghrawa was transcribed into Greek by historians. The great kingdom of the Maghrawa was located between Algiers, Cherchell, Ténès, Chlef, Miliana and Médéa. The Maghrawa imposed their domination in the Aurès.[24][when?] Chlef and its surroundings were populated by the Maghrawa according to Ibn Khaldun.[25] The Maghrawa settled and extended their domination throughout the Dahra and beyond Miliana to the Tafna wadi near Tlemcen,[when?] and were found as far away as Mali.[citation needed]
The Maghrawa were one of the first Berber tribes to submit to Islam in the 7th century.[26] They supported Uqba ibn Nafi in his campaign to the Atlantic in 683. They defected from Sunni Islam and became Kharijite Muslims from the 8th century, and allied first with the Idrisids, and, from the 10th century on, with the Umayyads of Córdoba in Al-Andalus. As a result, they were caught up in the Umayyad-Fatimid conflict in Morocco and Algeria. Although they won a victory over the allies of the Fatimids in 924, they soon allied with them. When they switched back to the side of Córdoba, the Zirids briefly took control over most of Morocco,[27][25] and ruled on behalf of the Fatimids. In 976/977 the Maghrawa conquered Sijilmasa from the Banu Midrar,[28] and in 980 were able to drive the Miknasa out of Sijilmasa as well.[25]
The Maghrawa reached their peak under Ziri ibn Atiyya (to 1001), who achieved supremacy in Fez under Umayyad suzerainty, and expanded their territory at the expense of the Banu Ifran in the northern Maghreb – another Zenata tribe whose alliances had shifted often between the Fatimids and the Umayyads of Córdoba.[29] Ziri ibn Atiyya conquered as much as he could of what is now northern Morocco and was able to achieve supremacy in Fez by 987.[28] In 989 he defeated his enemy, Abu al-Bahār, which resulted in Ziri ruling from Zab to Sous Al-Aqsa, in 991 achieving supremacy in the western Maghreb.[30][28] As a result of his victory he was invited to Córdoba by Ibn Abi 'Amir al-Mansur (also Latinized as Almanzor), the regent of Caliph Hisham II and de facto ruler of the Caliphate of Córdoba.[25] Ziri brought many gifts and Al-Mansur housed him in a lavish palace, but Ziri soon returned to North Africa.[31][29] The Banu Ifran took advantage of his absence and, under Yaddū, managed to capture Fez.[25][full citation needed] After a bloody struggle, Ziri reconquered Fez in 993 and displayed Yaddū's severed head on its walls.[citation needed]
A period of peace followed, in which Ziri founded the city of Oujda in 994 and made it his capital.[32][29] However, Ziri was loyal to the Umayyad caliphs in Cordoba and increasingly resented the way that Ibn Abi 'Amir was holding Hisham II captive while progressively usurping his power. In 997 Ziri rejected Ibn Abi 'Amir's authority and declared himself a direct supporter of Caliph Hisham II.[31][29] Ibn Abi 'Amir sent an invasion force to Morocco.[31] After three unsuccessful months, Ibn Abi 'Amir's army was forced to retreat to the safety of Tangiers, so Ibn Abi 'Amir sent a powerful reinforcements under his son Abd al-Malik.[citation needed] The armies clashed near Tangiers, and in this battle, Ziri was stabbed by an African soldier who reported to Abd al-Malik that he had seriously wounded the Zenata leader. Abd al-Malik pressed home the advantage, and the wounded Ziri fled, hotly pursued by the Caliph's army. The inhabitants of Fez would not let him enter the city, but opened the gates to Abd al-Malik on 13 October 998. Ziri fled to the Sahara, where he rallied the Zenata tribes and overthrew the unpopular remnants of the Idrisid dynasty at Tiaret. He was able to expand his territory to include Tlemcen and other parts of western Algeria, this time under Fatimid protection. Ziri died in 1001 of the after-effects of the stab wounds. He was succeeded by his son Al-Mu'izz, who made peace with Al-Mansur, and regained possession of all his father's former territories.[citation needed]
A revolt against the Andalusian Umayyads was put down by Ibn Abi 'Amir, although the Maghrawa were able to regain power in Fez. Under the succeeding rulers al-Muizz (1001–1026), Hamman (1026–1039) and Dunas (1039), they consolidated their rule in northern and central Morocco.[citation needed]
Internal power struggles after 1060 enabled the Almoravid dynasty to conquer the Maghrawa realm in 1070 and put an end to their rule. In the mid 11th century the Maghrawa still controlled most of Morocco, notably most of the Sous and Draa River area as well as Aghmat, Fez and Sijilmasa.[28] Later, Zenata power declined. The Maghrawa and Banu Ifran began oppressing their subjects, shedding their blood, violating their women, breaking into homes to seize food and depriving traders of their goods. Anyone who tried to ward them off was killed.[33]
Zirid Dynasty
Main article: Zirid Dynasty
The Zirid dynasty (Arabic: الزيريون, romanized: az-zīriyyūn), Banu Ziri (Arabic: بنو زيري, romanized: banū zīrī), or the Zirid state (Arabic: الدولة الزيرية, romanized: ad-dawla az-zīriyya)[34] was a Sanhaja Berber dynasty from modern-day Algeria which ruled the central Maghreb from 972 to 1014 and Ifriqiya (eastern Maghreb) from 972 to 1148.[35][36]
Descendants of Ziri ibn Manad, a military leader of the Fatimid Caliphate and the eponymous founder of the dynasty, the Zirids were emirs who ruled in the name of the Fatimids. The Zirids gradually established their autonomy in Ifriqiya through military conquest until officially breaking with the Fatimids in the mid-11th century. The rule of the Zirid emirs opened the way to a period in North African history where political power was held by Berber dynasties such as the Almoravid dynasty, Almohad Caliphate, Zayyanid dynasty, Marinid Sultanate and Hafsid dynasty.[37]
Under Buluggin ibn Ziri the Zirids extended their control westwards and briefly occupied Fez and much of present-day Morocco after 980, but encountered resistance from the local Zenata Berbers who gave their allegiance to the Caliphate of Cordoba.[40][41] To the east, Zirid control was extended over Tripolitania after 978 and as far as Ajdabiya (in present-day Libya).[44] One member of the dynastic family, Zawi ibn Ziri, revolted and fled to al-Andalus, eventually founding the Taifa of Granada in 1013, after the collapse of the Caliphate of Cordoba.[36] Another branch of the Zirids, the Hammadids, broke away from the main branch after various internal disputes and took control of the territories of the central Maghreb after 1015.[45] The Zirids proper were then designated as Badicides and occupied only Ifriqiya between 1048 and 1148.[46] They were based in Kairouan until 1057, when they moved the capital to Mahdia on the coast. The Zirids of Ifriqiya also intervened in Sicily during the 11th century, as the Kalbids, the dynasty who governed the island on behalf of the Fatimids, fell into disorder.[48]
The Zirids of Granada surrendered to the Almoravids in 1090,[49] but the Badicides and the Hammadids remained independent during this time. Sometime between 1041 and 1051 the Zirid ruler al-Mu'izz ibn Badis renounced the Fatimid Caliphs and recognized the Sunni Muslim Abbasid Caliphate. In retaliation, the Fatimids instigated the migration of the Banu Hilal tribe to the Maghreb, dealing a serious blow to Zirid power in Ifriqiya. In the 12th century, the Hilalian invasions combined with the attacks of the Normans of Sicily along the coast further weakened Zirid power. The last Zirid ruler, al-Hasan, surrendered Mahdia to the Normans in 1148, thus ending independent Zirid rule. The Almohad Caliphate conquered the central Maghreb and Ifriqiya by 1160, ending the Hammadid dynasty in turn and finally unifying the whole of the Maghreb.
Origins and establishment
The Zirids were Sanhaja Berbers, from the sedentary Talkata tribe,[54] originating from the area of modern Algeria. In the 10th century this tribe served as vassals of the Fatimid Caliphate, an Isma'ili Shi'a state that challenged the authority of the Sunni Abbasid caliphs. The progenitor of the Zirid dynasty, Ziri ibn Manad (r. 935–971) was installed as governor of the central Maghreb (roughly north-eastern Algeria today) on behalf of the Fatimids, guarding the western frontier of the Fatimid Caliphate. With Fatimid support Ziri founded his own capital and palace at 'Ashir, south-east of Algiers, in 936.[57] He proved his worth as a key ally in 945, during the Kharijite rebellion of Abu Yazid, when he helped break Abu Yazid's siege of the Fatimid capital, Mahdia.[61] After playing this valuable role, he expanded 'Ashir with a new palace circa 947.[57] In 959 he aided Jawhar al-Siqili on a Fatimid military expedition which successfully conquered Fez and Sijilmasa in present-day Morocco. On their return home to the Fatimid capital they paraded the emir of Fez and the “Caliph” Ibn Wasul of Sijilmasa in cages in a humiliating manner.[63][64][65] After this success, Ziri was also given Tahart to govern on behalf of the Fatimids. He was eventually killed in battle against the Zanata in 971.[67]
When the Fatimids moved their capital to Egypt in 972, Ziri's son Buluggin ibn Ziri (r. 971–984) was appointed viceroy of Ifriqiya. He soon led a new expedition west and by 980 he had conquered Fez and most of Morocco, which had previously been retaken by the Umayyads of Cordoba in 973.[68] He also led a successful expedition to Barghawata territory, from which he brought back a large number of slaves to Ifriqiya.[70] In 978 the Fatimids also granted Buluggin overlordship of Tripolitania (in present-day Libya), allowing him to appoint his own governor in Tripoli. In 984 Buluggin died in Sijilmasa from an illness and his successor decided to abandon Morocco in 985.[71][72]
Buluggin's successors and the first divisions
After Buluggin's death, rule of the Zirid state passed to his son, Al-Mansur ibn Buluggin (r. 984–996), and continued through his descendants. However, this alienated the other sons of Ziri ibn Manad who now found themselves excluded from power. In 999 many of these brothers launched a rebellion in 'Ashir against Badis ibn al-Mansur (r. 996–1016), Buluggin's grandson, marking the first serious break in the unity of the Zirids.[73] The rebels were defeated in battle by Hammad ibn Buluggin, Badis' uncle, and most of the brothers were killed. The only remaining brother of stature, Zawi ibn Ziri, led the remaining rebels westwards and sought new opportunity in al-Andalus under the Umayyads Caliphs of Cordoba, the former enemies of the Fatimids and Zirids.[73][74] He and his followers eventually founded an independent kingdom in al-Andalus, the Taifa of Granada, in 1013.[75][76]
After 1001 Tripolitania broke away under the leadership of Fulful ibn Sa'id ibn Khazrun, a Maghrawa leader who founded the Banu Khazrun dynasty, which endured until 1147.[77][78] Fulful fought a protracted war against Badis ibn al-Mansur and sought outside help from the Fatimids and even from the Umayyads of Cordoba, but after his death in 1009 the Zirids were able to retake Tripoli for a time. The region nonetheless remained effectively under control of the Banu Khazrun, who fluctuated between practical autonomy and full independence, often playing the Fatimids and the Zirids against each other.[79][80] The Zirids finally lost Tripoli to them in 1022.
Badis appointed Hammad ibn Buluggin as governor of 'Ashir and the western Zirid territories in 997. He gave Hammad a great deal of autonomy, allowing him to campaign against the Zanata and control any new territories he conquered. Hammad constructed his own capital, the Qal'at Bani Hammad, in 1008, and in 1015 he rebelled against Badis and declared himself independent altogether, while also recognizing the Abbasids instead of the Fatimids as caliphs. Badis besieged Hammad's capital and nearly subdued him, but died in 1016 shortly before this could be accomplished. His son and successor, al-Mu'izz ibn Badis (r. 1016–1062), defeated Hammad in 1017, which forced the negotiation of a peace agreement between them. Hammad resumed his recognition of the Fatimids as caliphs but remained independent, forging a new Hammadid state which controlled a large part of present-day Algeria thereafter.
Apogee in Ifriqiya
The Zirid period of Ifriqiya is considered a high point in its history, with agriculture, industry, trade and learning, both religious and secular, all flourishing, especially in their capital, Qayrawan (Kairouan).[85] The early reign of al-Mu'izz ibn Badis (r. 1016–1062) was particularly prosperous and marked the height of their power in Ifriqiya. In the eleventh century, when the question of Berber origin became a concern, the dynasty of al-Mu'izz started, as part of the Zirids' propaganda, to emphasize its supposed links to the Himyarite kings as a title to nobility, a theme that was taken the by court historians of the period.[87] Management of the area by later Zirid rulers was neglectful as the agricultural economy declined, prompting an increase in banditry among the rural population.[85] The relationship between the Zirids their Fatimid overlords varied - in 1016 thousands of Shiites died in rebellions in Ifriqiya, and the Fatimids encouraged the defection of Tripolitania from the Zirids, but nevertheless the relationship remained close. In 1049 the Zirids broke away completely by adopting Sunni Islam and recognizing the Abbasids of Baghdad as rightful Caliphs, a move which was popular with the urban Arabs of Kairouan.[88][89]
In Sicily the Kalbids continued to govern on behalf of the Fatimids but the island descended into political disarray during the 11th century,[48] inciting the Zirids to intervene on the island. In 1025 (or 1021[90]), al-Mu'izz ibn Badis sent a fleet of 400 ships to the island in response to the Byzantines reconquering Calabria (in southern Italy) from the Muslims, but the fleet was lost in a powerful storm off the coast of Pantelleria.[90][91] In 1036, the Muslim population of the island request aid from al-Mu'izz to overthrow the Kalbid emir Ahmad ibn Yusuf al-Akhal, whose rule they considered flawed and unjust.[48] The request also contained a pledge to recognize al-Mu'izz as their ruler.[90] Al-Mu'izz, eager to expand his influence after the fragmentation of Zirid North Africa, accepted and sent his son, 'Abdallah, to the island with a large army.[90][48] Al-Akhal, who had been in negotiations with the Byzantines, requested help from them. A Byzantine army intervened and defeated the Zirid army on the island, but it then withdrew to Calabria, allowing 'Abdallah to finish off al-Akhal.[48] Al-Akhal was besieged in Palermo and killed in 1038.[90][48][61] 'Abdallah was subsequently forced to withdraw from the island, either due to the ever-divided Sicilians turning against him or due to another Byzantine invasion in 1038, led by George Maniakes.[90] Another Kalbid amir, al-Hasan al-Samsam, was elected to govern Sicily, but Muslim rule there disintegrated into various petty factions leading up to the Norman conquest of the island in the second half of the 11th century.[48][90]
Hilalian invasions and withdrawal to Mahdia
The Zirids renounced the Fatimids and recognized the Abbasid Caliphs in 1048-49, or sometime between 1041 and 1051.[61][b] In retaliation, the Fatimids sent the Arab tribes of the Banu Hilal and the Banu Sulaym to the Maghreb. The Banu Sulaym settled first in Cyrenaica, but the Banu Hilal continued towards Ifriqiya. The Zirids attempted to stop their advance towards Ifriqiya, they sent 30,000 Sanhaja cavalry to meet the 3,000 Arab cavalry of Banu Hilal in the Battle of Haydaran of 14 April 1052.[94] Nevertheless, the Zirids were decisively defeated and were forced to retreat, opening the road to Kairouan for the Hilalian Arab cavalry.[94][95][96] The resulting anarchy devastated the previously flourishing agriculture, and the coastal towns assumed a new importance as conduits for maritime trade and bases for piracy against Christian shipping, as well as being the last holdout of the Zirids.[95] The Banu Hilal invasions eventually forced al-Mu'izz ibn Badis to abandon Kairouan in 1057 and move his capital to Mahdia, while the Banu Hilal largely roamed and pillaged the interior of the former Zirid territories.
As a result of the Zirid withdrawal, various local principalities emerged in different areas. In Tunis, the shaykhs of the city elected Abd al-Haqq ibn Abd al-Aziz ibn Khurasan (r. 1059-1095) as local ruler. He founded the local Banu Khurasan dynasty that governed the city thereafter, alternately recognizing the Hammadids or the Zirids as overlords depending on the circumstances.[97][98] In Qabis (Gabès), the Zirid governor, al-Mu'izz ibn Muhammad ibn Walmiya remained loyal until 1062 when, outraged by the expulsion of his two brothers from Mahdia by al-Mu'izz ibn Badis, he declared his independence and placed himself under the protection of Mu'nis ibn Yahya, a chief of Banu Hilal.[99] Sfaqus (Sfax) was declared independent by the Zirid governor, Mansur al-Barghawati, who was murdered and succeeded by his cousin Hammu ibn Malil al-Barghawati.
Al-Mui'zz ibn Badis was succeeded by his son, Tamim ibn al-Mu'izz (r. 1062-1108), who spent much of his reign attempting to restore Zirid power in the region. In 1063 he repelled a siege of Mahdia by the independent ruler of Sfax while also capturing the important port of Sus (Sousse). Meanwhile, the Hammadid ruler al-Nasir ibn 'Alannas (r. 1062-1088) began to intervene in Ifriqiya around this time, having his sovereignty recognized in Sfax, Tunis, and Kairouan. Tamim organized a coalition with some of the Banu Hilal and Banu Sulaym tribes and succeeded in inflicting a heavy defeat on al-Nasir at the Battle of Sabiba in 1065. The war between the Zirids and Hammadids continued until 1077, when a truce was negotiated, sealed by a marriage between Tamim and one of al-Nasir's daughters. In 1074 Tamim sent a naval expedition to Calabria where they ravaged the Italian coasts, plundered Nicotera and enslaved many of its inhabitants. The next year (1075) another Zirid raid resulted in the capture of Mazara in Sicily; however, the Zirid emir rethought his involvement in Sicily and decided to withdraw, abandoning what they had briefly held.[104] In 1087, the Zirid capital, Mahdia, was sacked by the Pisans. According to Ettinghausen, Grabar, and Jenkins-Madina, the Pisa Griffin is believed to have been part of the spoils taken during the sack. In 1083 Mahdia was besieged by a chief of the Banu Hilal, Malik ibn 'Alawi. Unable to take the city, Malik instead turned to Kairouan and captured that city, but Tamim marched out with his entire army and defeated the Banu Hilal forces, at which point he also brought Kairouan back under Zirid control. He went on to capture Gabès in 1097 and Sfax in 1100. Gabès, however, soon declared itself independent again under the leadership of the Banu Jami', a family from the Riyahi branch of the Banu Hilal.[99]
Tamim's son and successor, Yahya ibn Tamim (r. 1108-1116), formally recognized the Fatimid caliphs again and received an emissary from Cairo in 1111. He captured an important fortress near Carthage called Iqlibiya and his fleet launched raids against Sardinia and Genoa, bringing back many captives. He was assassinated in 1116 and succeeded by his son, 'Ali ibn Yahya (r. 1116-1121). 'Ali continued to recognize the Fatimids, receiving another embassy from Cairo in 1118. He imposed his authority on Tunis, but failed to recapture Gabès from its local ruler, Rafi' ibn Jami', whose counterattack he then had to repel from Mahdia.[99] He was succeeded by his son al-Hasan in 1121, the last Zirid ruler.[61]
End of Zirid rule
During the 1130s and 1140s the Normans of Sicily began to capture cities and islands along the coast of Ifriqiya. Jerba was captured in 1135 and Tripoli was captured in 1146. In 1148, the Normans captured Sfax, Gabès, and Mahdia.[77] In Mahdia, the population was weakened by years of famine and the bulk of the Zirid army was away on another campaign when the Norman fleet, commanded by George of Antioch, arrived off the coast. Al-Hasan decided to abandon the city, leaving it to be occupied, which effectively ended the Zirid dynasty's rule. Al-Hasan fled to the citadel of al-Mu'allaqa near Carthage and stayed there for a several months. He planned to flee to the Fatimid court in Egypt but the Norman fleet blocked his way, so instead he headed west, making for the Almohad court of 'Abd al-Mu'min in Marrakesh. He obtained permission from Yahya ibn al-'Aziz, the Hammadid ruler, to cross his territory, but after entering Hammadid territory he was detained and placed under house arrest in Algiers. When 'Abd al-Mu'min captured Algiers in 1151, he freed al-Hasan, who accompanied him back to Marrakesh. Later, when 'Abd al-Mu'min conquered Mahdia in 1160, placing all of Ifriqiya under Almohad rule, al-Hasan was with him. 'Abd al-Mu'min appointed him governor of Mahdia, where he remained, residing in the suburb of Zawila, until 'Abd al-Mu'min's death in 1163. The new Almohad caliph, Abu Ya'qub Yusuf, subsequently ordered him to come back to Marrakesh, but al-Hasan died along the way in Tamasna in 1167.[61]
Hammadid Dynasty
Main article: Hammadid dynasty
The Hammadid dynasty (Arabic: الحمّاديون) was a branch of the Sanhaja Berber dynasty that ruled an area roughly corresponding to north-eastern modern Algeria between 1008 and 1152. The state reached its peak under Nasir ibn Alnas during which it was briefly the most important state in Northwest Africa.[111]
The Hammadid dynasty's first capital was at Qalaat Beni Hammad. It was founded in 1007, and is now a UNESCO World Heritage Site. When the area was sacked by the Banu Hilal tribe, the Hammadids moved their capital to Béjaïa in 1090.
Almohad Caliphate
The Almohad Caliphate ( ; Arabic: خِلَافَةُ ٱلْمُوَحِّدِينَ or دَوْلَةُ ٱلْمُوَحِّدِينَ or ٱلدَّوْلَةُ ٱلْمُوَحِّدِيَّةُ from
Arabic: ٱلْمُوَحِّدُونَ, romanized: al-Muwaḥḥidūn, lit. 'those who profess the unity of God'[112][113][114]: 246 ) was a North African Berber Muslim empire founded in the 12th century. At its height, it controlled much of the Iberian Peninsula (Al Andalus) and North Africa (the Maghreb).[115][116][117]
The Almohad docrtine was founded by Ibn Tumart among the Berber Masmuda tribes, but the Almohad caliphate and its ruling dynasty were founded after his death by Abd al-Mu'min al-Gumi,[119][120][121][122] which was born in the Hammadid region of Tlemcen, Algeria.[123] Around 1120, Ibn Tumart first established a Berber state in Tinmel in the Atlas Mountains.[115] Under Abd al-Mu'min (r. 1130–1163) they succeeded in overthrowing the ruling Almoravid dynasty governing Morocco in 1147, when he conquered Marrakesh and declared himself caliph. They then extended their power over all of the Maghreb by 1159. Al-Andalus soon followed, and all of Muslim Iberia was under Almohad rule by 1172.[124]
The turning point of their presence in the Iberian Peninsula came in 1212, when Muhammad III, "al-Nasir" (1199–1214) was defeated at the Battle of Las Navas de Tolosa in the Sierra Morena by an alliance of the Christian forces from Castile, Aragon and Navarre. Much of the remaining territories of al-Andalus were lost in the ensuing decades, with the cities of Córdoba and Seville falling to the Christians in 1236 and 1248 respectively.
The Almohads continued to rule in Africa until the piecemeal loss of territory through the revolt of tribes and districts enabled the rise of their most effective enemies, the Marinids, from northern Morocco in 1215. The last representative of the line, Idris al-Wathiq, was reduced to the possession of Marrakesh, where he was murdered by a slave in 1269; the Marinids seized Marrakesh, ending the Almohad domination of the Western Maghreb.
Origins
The Almohad movement originated with Ibn Tumart, a member of the Masmuda, a Berber tribal confederation of the Atlas Mountains of southern Morocco. At the time, Morocco, western Algeria and Spain (al-Andalus), were under the rule of the Almoravids, a Sanhaja Berber dynasty. Early in his life, Ibn Tumart went to Spain to pursue his studies, and thereafter to Baghdad to deepen them. In Baghdad, Ibn Tumart attached himself to the theological school of al-Ash'ari, and came under the influence of the teacher al-Ghazali. He soon developed his own system, combining the doctrines of various masters. Ibn Tumart's main principle was a strict unitarianism (tawhid), which denied the independent existence of the attributes of God as being incompatible with His unity, and therefore a polytheistic idea. Ibn Tumart represented a revolt against what he perceived as anthropomorphism in Muslim orthodoxy. His followers would become known as the al-Muwaḥḥidūn ("Almohads"), meaning those who affirm the unity of God.
After his return to the Maghreb c. 1117, Ibn Tumart spent some time in various Ifriqiyan cities, preaching and agitating, heading riotous attacks on wine-shops and on other manifestations of laxity. He laid the blame for the latitude on the ruling dynasty of the Almoravids, whom he accused of obscurantism and impiety. He also opposed their sponsorship of the Maliki school of jurisprudence, which drew upon consensus (ijma) and other sources beyond the Qur'an and Sunnah in their reasoning, an anathema to the stricter Zahirism favored by Ibn Tumart. His antics and fiery preaching led fed-up authorities to move him along from town to town. After being expelled from Bejaia, Ibn Tumart set up camp in Mellala, in the outskirts of the city, where he received his first disciples – notably, al-Bashir (who would become his chief strategist) and Abd al-Mu'min (a Zenata Berber, who would later become his successor).
In 1120, Ibn Tumart and his small band of followers proceeded to Morocco, stopping first in Fez, where he briefly engaged the Maliki scholars of the city in debate. He even went so far as to assault the sister[citation needed] of the Almoravid emir ʿAli ibn Yusuf, in the streets of Fez, because she was going about unveiled, after the manner of Berber women. After being expelled from Fez, he went to Marrakesh, where he successfully tracked down the Almoravid emir Ali ibn Yusuf at a local mosque, and challenged the emir, and the leading scholars of the area, to a doctrinal debate. After the debate, the scholars concluded that Ibn Tumart's views were blasphemous and the man dangerous, and urged him to be put to death or imprisoned. But the emir decided merely to expel him from the city.
Ibn Tumart took refuge among his own people, the Hargha, in his home village of Igiliz (exact location uncertain), in the Sous valley. He retreated to a nearby cave, and lived out an ascetic lifestyle, coming out only to preach his program of puritan reform, attracting greater and greater crowds. At length, towards the end of Ramadan in late 1121, after a particularly moving sermon, reviewing his failure to persuade the Almoravids to reform by argument, Ibn Tumart 'revealed' himself as the true Mahdi, a divinely guided judge and lawgiver, and was recognized as such by his audience. This was effectively a declaration of war on the Almoravid state.
On the advice of one of his followers, Omar Hintati, a prominent chieftain of the Hintata, Ibn Tumart abandoned his cave in 1122 and went up into the High Atlas, to organize the Almohad movement among the highland Masmuda tribes. Besides his own tribe, the Hargha, Ibn Tumart secured the adherence of the Ganfisa, the Gadmiwa, the Hintata, the Haskura, and the Hazraja to the Almohad cause. Around 1124, Ibn Tumart erected the ribat of Tinmel, in the valley of the Nfis in the High Atlas, an impregnable fortified complex, which would serve both as the spiritual center and military headquarters of the Almohad movement.
For the first eight years, the Almohad rebellion was limited to a guerilla war along the peaks and ravines of the High Atlas. Their principal damage was in rendering insecure (or altogether impassable) the roads and mountain passes south of Marrakesh – threatening the route to all-important Sijilmassa, the gateway of the trans-Saharan trade. Unable to send enough manpower through the narrow passes to dislodge the Almohad rebels from their easily defended mountain strong points, the Almoravid authorities reconciled themselves to setting up strongholds to confine them there (most famously the fortress of Tasghîmût that protected the approach to Aghmat, which was conquered by the Almohads in 1132[114]), while exploring alternative routes through more easterly passes.
Ibn Tumart organized the Almohads as a commune, with a minutely detailed structure. At the core was the Ahl ad-dār ("House of the Mahdi:), composed of Ibn Tumart's family. This was supplemented by two councils: an inner Council of Ten, the Mahdi's privy council, composed of his earliest and closest companions; and the consultative Council of Fifty, composed of the leading sheikhs of the Masmuda tribes. The early preachers and missionaries (ṭalaba and huffāẓ) also had their representatives. Militarily, there was a strict hierarchy of units. The Hargha tribe coming first (although not strictly ethnic; it included many "honorary" or "adopted" tribesmen from other ethnicities, e.g. Abd al-Mu'min himself). This was followed by the men of Tinmel, then the other Masmuda tribes in order, and rounded off by the black fighters, the ʻabīd. Each unit had a strict internal hierarchy, headed by a mohtasib, and divided into two factions: one for the early adherents, another for the late adherents, each headed by a mizwar (or amzwaru); then came the sakkakin (treasurers), effectively the money-minters, tax-collectors, and bursars, then came the regular army (jund), then the religious corps – the muezzins, the hafidh and the hizb – followed by the archers, the conscripts, and the slaves. Ibn Tumart's closest companion and chief strategist, al-Bashir, took upon himself the role of "political commissar", enforcing doctrinal discipline among the Masmuda tribesmen, often with a heavy hand.
In early 1130, the Almohads finally descended from the mountains for their first sizeable attack in the lowlands. It was a disaster. The Almohads swept aside an Almoravid column that had come out to meet them before Aghmat, and then chased their remnant all the way to Marrakesh. They laid siege to Marrakesh for forty days until, in April (or May) 1130, the Almoravids sallied from the city and crushed the Almohads in the bloody Battle of al-Buhayra (named after a large garden east of the city). The Almohads were thoroughly routed, with huge losses. Half their leadership was killed in action, and the survivors only just managed to scramble back to the mountains.[126]
Ibn Tumart died shortly after, in August 1130. That the Almohad movement did not immediately collapse after such a devastating defeat and the death of their charismatic Mahdi, is likely due to the skills of his successor, Abd al-Mu'min.[127]: 70 Ibn Tumart's death was kept a secret for three years, a period which Almohad chroniclers described as a ghayba or "occultation". This period likely gave Abd al-Mu'min time to secure his position as successor to the political leadership of the movement.[127]: 70 Although a Zenata Berber from Tagra (Algeria),[128] and thus an alien among the Masmuda of southern Morocco, Abd al-Mu'min nonetheless saw off his principal rivals and hammered wavering tribes back to the fold. In an ostentatious gesture of defiance, in 1132, if only to remind the emir that the Almohads were not finished, Abd al-Mu'min led an audacious night operation that seized Tasghîmût fortress and dismantled it thoroughly, carting off its great gates back to Tinmel.[citation needed] Three years after Ibn Tumart's death he was officially proclaimed "Caliph".[129]
In order to neutralise the Masmudas, to whom he was a stranger, Abd al-Mumin relied on his tribe of origin, the Kumiyas (a Berber tribe from Orania), which he integrated massively into the army and within the Almohad power.[131][132] He thus appointed his son as his successor and his other children as governors of the provinces of the Caliphate.[133] The Kumiyas would later form the bodyguard of Abd al Mumin and his successor. In addition, he also relied on Arabs, representatives of the great Hilalian families, whom he deported to Morocco to weaken the influence of the Masmuda sheikhs. These moves have the effect of advancing the Arabisation of the future Morocco.
Al-Andalus
Abd al-Mu'min then came forward as the lieutenant of the Mahdi Ibn Tumart. Between 1130 and his death in 1163, Abd al-Mu'min not only rooted out the Almoravids, but extended his power over all northern Africa as far as Egypt, becoming amir of Marrakesh in 1147.
Al-Andalus followed the fate of Africa. Between 1146 and 1173, the Almohads gradually wrested control from the Almoravids over the Moorish principalities in Iberia. The Almohads transferred the capital of Muslim Iberia from Córdoba to Seville. They founded a great mosque there; its tower, the Giralda, was erected in 1184 to mark the accession of Ya'qub I. The Almohads also built a palace there called Al-Muwarak on the site of the modern day Alcázar of Seville.
The Almohad princes had a longer and more distinguished career than the Almoravids. The successors of Abd al-Mumin, Abu Yaqub Yusuf (Yusuf I, ruled 1163–1184) and Abu Yusuf Yaqub al-Mansur (Yaʻqūb I, ruled 1184–1199), were both able men. Initially their government drove many Jewish and Christian subjects to take refuge in the growing Christian states of Portugal, Castile, and Aragon. Ultimately they became less fanatical than the Almoravids, and Ya'qub al-Mansur was a highly accomplished man who wrote a good Arabic style and protected the philosopher Averroes. In 1190–1191, he campaigned in southern Portugal and won back territory lost in 1189. His title of "al-Manṣūr" ("the Victorious") was earned by his victory over Alfonso VIII of Castile in the Battle of Alarcos (1195).
From the time of Yusuf II, however, the Almohads governed their co-religionists in Iberia and central North Africa through lieutenants, their dominions outside Morocco being treated as provinces. When Almohad emirs crossed the Straits it was to lead a jihad against the Christians and then return to Morocco.[136]
Holding years
In 1212, the Almohad Caliph Muhammad 'al-Nasir' (1199–1214), the successor of al-Mansur, after an initially successful advance north, was defeated by an alliance of the four Christian kings of Castile, Aragón, Navarre, and Portugal, at the Battle of Las Navas de Tolosa in the Sierra Morena. The battle broke the Almohad advance, but the Christian powers remained too disorganized to profit from it immediately.
Before his death in 1213, al-Nasir appointed his young ten-year-old son as the next caliph Yusuf II "al-Mustansir". The Almohads passed through a period of effective regency for the young caliph, with power exercised by an oligarchy of elder family members, palace bureaucrats and leading nobles. The Almohad ministers were careful to negotiate a series of truces with the Christian kingdoms, which remained more-or-less in place for next fifteen years (the loss of Alcácer do Sal to the Kingdom of Portugal in 1217 was an exception).
In early 1224, the youthful caliph died in an accident, without any heirs. The palace bureaucrats in Marrakesh, led by the wazir Uthman ibn Jam'i, quickly engineered the election of his elderly grand-uncle, Abd al-Wahid I 'al-Makhlu', as the new Almohad caliph. But the rapid appointment upset other branches of the family, notably the brothers of the late al-Nasir, who governed in al-Andalus. The challenge was immediately raised by one of them, then governor in Murcia, who declared himself Caliph Abdallah al-Adil. With the help of his brothers, he quickly seized control of al-Andalus. His chief advisor, the shadowy Abu Zayd ibn Yujjan, tapped into his contacts in Marrakesh, and secured the deposition and assassination of Abd al-Wahid I, and the expulsion of the al-Jami'i clan.
This coup has been characterized as the pebble that finally broke al-Andalus. It was the first internal coup among the Almohads. The Almohad clan, despite occasional disagreements, had always remained tightly knit and loyally behind dynastic precedence. Caliph al-Adil's murderous breach of dynastic and constitutional propriety marred his acceptability to other Almohad sheikhs. One of the recusants was his cousin, Abd Allah al-Bayyasi ("the Baezan"), the Almohad governor of Jaén, who took a handful of followers and decamped for the hills around Baeza. He set up a rebel camp and forged an alliance with the hitherto quiet Ferdinand III of Castile. Sensing his greater priority was Marrakesh, where recusant Almohad sheikhs had rallied behind Yahya, another son of al-Nasir, al-Adil paid little attention to this little band of misfits.
Zayyanid Dynasty
Main article: Kingdom of Tlemcen
The Kingdom of Tlemcen or Zayyanid Kingdom of Tlemcen (Arabic: الزيانيون) was a Berber[138][139] kingdom in what is now the northwest of Algeria. Its territory stretched from Tlemcen to the Chelif bend and Algiers, and at its zenith reached Sijilmasa and the Moulouya River in the west, Tuat to the south and the Soummam in the east.[140][141][142]
The Tlemcen Kingdom was established after the demise of the Almohad Caliphate in 1236, and later fell under Ottoman rule in 1554. It was ruled by sultans of the Zayyanid dynasty. The capital of the Tlemcen kingdom centred on Tlemcen, which lay on the primary east–west route between Morocco and Ifriqiya. The kingdom was situated between the realm of the Marinids the west, centred on Fez, and the Hafsids to the east, centred on Tunis.
Tlemcen was a hub for the north–south trade route from Oran on the Mediterranean coast to the Western Sudan. As a prosperous trading centre, it attracted its more powerful neighbours. At different times the kingdom was invaded and occupied by the Marinids from the west, by the Hafsids from the east, and by Aragonese from the north. At other times, they were able to take advantage of turmoil among their neighbours: during the reign of Abu Tashfin I (r. 1318–1337) the Zayyanids occupied Tunis and in 1423, under the reign of Abu Malek, they briefly captured Fez.[145]: 287 In the south the Zayyanid realm included Tuat, Tamentit and the Draa region which was governed by Abdallah Ibn Moslem ez Zerdali, a sheikh of the Zayyanids.[146][147][140]
Rise to power (13th century)
The Bānu ʿabd āl-Wād, also called the Bānu Ziyān or Zayyanids after Yaghmurasen Ibn Zyan, the founder of the dynasty, were leaders of a Berber group who had long been settled in the Central Maghreb. Although contemporary chroniclers asserted that they had a noble Arab origin, he reportedly spoke in Zenati dialect and denied the lineage that genealogists had attributed to him.[148][149][150] The town of Tlemcen, called Pomaria by the Romans, is about 806m above sea level in fertile, well-watered country.
Tlemcen was an important centre under the Almoravid dynasty and its successors the Almohad Caliphate, who began a new wall around the town in 1161.
Yaghmurasen ibn Zayyan (1235–83) of the Bānu ʿabd āl-Wād was governor of Tlemcen under the Almohads. He inherited leadership of the family from his brother in 1235. When the Almohad empire began to fall apart, in 1235, Yaghmurasen declared his independence. The city of Tlemcen became the capital of one of three successor states, ruled for centuries by successive Ziyyanid sultans. Its flag was a white crescent pointing upwards on a blue field. The kingdom covered the less fertile regions of the Tell Atlas. Its people included a minority of settled farmers and villagers, and a majority of nomadic herders.
Yaghmurasen was able to maintain control over the rival Berber groups, and when faced with the outside threat of the Marinid dynasty, he formed an alliance with the Emir of Granada and the King of Castile, Alfonso X.[157] According to Ibn Khaldun, "he was the bravest, most dreaded and honourable man of the 'Abd-la-Wadid family. No one looked after the interest of his people, maintained the influence of the kingdom and managed the state administration better than he did." In 1248 he defeated the Almohad Caliph in the Battle of Oujda during which the Almohad Caliph was killed. In 1264 he managed to conquer Sijilmasa, therefore bringing Sijilmasa and Tlemcen, the two most important outlets for trans-Saharan trade under one authority.[158][159] Sijilmasa remained under his control for 11 years.[160] Before his death he instructed his son and heir Uthman to remain on the defensive with the Marinid kingdom, but to expand into Hafsid territory if possible.
14th century
For most of its history the kingdom was on the defensive, threatened by stronger states to the east and the west. The nomadic Arabs to the south also took advantage of the frequent periods of weakness to raid the centre and take control of pastures in the south.
The city of Tlemcen was several times attacked or besieged by the Marinids, and large parts of the kingdom were occupied by them for several decades in the fourteenth century.
The Marinid Abu Yaqub Yusuf an-Nasr besieged Tlemcen from 1299 to 1307. During the siege he built a new town, al-Mansura, diverting most of the trade to this town. The new city was fortified and had a mosque, baths and palaces. The siege was raised when Abu Yakub was murdered in his sleep by one of his eunuchs.
When the Marinids left in 1307, the Zayyanids promptly destroyed al-Mansura. The Zayyanid king Abu Zayyan I died in 1308 and was succeeded by Abu Hammu I (r. 1308–1318). Abu Hammu was later killed in a conspiracy instigated by his son and heir Abu Tashufin I (r. 1318–1337). The reigns of Abu Hammu I and Abu Tashufin I marked the second apogee of the Zayyanids, a period during which they consolidated their hegemony in the central Maghreb.[160] Tlemcen recovered its trade and its population grew, reaching about 100,000 by around the 1330s. Abu Tashufin initiated hostilities against Ifriqiya while the Marinids were distracted by their internal struggles. He besieged Béjaïa and sent an army into Tunisia that defeated the Hafsid king Abu Yahya Abu Bakr II, who fled to Constantine while the Zayyanids occupied Tunis in 1325.[163][164]
The Marinid sultan Abu al-Hasan (r. 1331–1348) cemented an alliance with Hafsids by marrying a Hafsid princess. Upon being attacked by the Zayyanids again, the Hafsids appealed to Abu al-Hasan for help, providing him with an excuse to invade his neighbour. The Marinid sultan initiated a siege of Tlemcen in 1335 and the city fell in 1337. Abu Tashufin died during the fighting. Abu al-Hasan received delegates from Egypt, Granada, Tunis and Mali congratulating him on his victory, by which he had gained complete control of the trans-Saharan trade. In 1346 the Hafsid Sultan, Abu Bakr, died and a dispute over the succession ensued. In 1347 Abu al-Hasan annexed Ifriqiya, briefly reuniting the Maghrib territories as they had been under the Almohads.
However, Abu al-Hasan went too far in attempting to impose more authority over the Arab tribes, who revolted and in April 1348 defeated his army near Kairouan. His son, Abu Inan Faris, who had been serving as governor of Tlemcen, returned to Fez and declared that he was sultan. Tlemcen and the central Maghreb revolted. The Zayyanid Abu Thabit I (1348-1352) was proclaimed king of Tlemcen. Abu al-Hasan had to return from Ifriqiya by sea. After failing to retake Tlemcen and being defeated by his son, Abu al-Hasan died in May 1351. In 1352 Abu Inan Faris recaptured Tlemcen. He also reconquered the central Maghreb. He took Béjaïa in 1353 and Tunis in 1357, becoming master of Ifriqiya. In 1358 he was forced to return to Fez due to Arab opposition, where he fell sick and was killed.
The Zayyanid king Abu Hammu Musa II (r. 1359–1389) next took the throne of Tlemcen. He pursued an expansionist policy, pushing towards Fez in the west and into the Chelif valley and Béjaïa in the east. He had a long reign punctuated by fighting against the Marinids or various rebel groups. The Marinids reoccupied Tlemcen in 1360 and in 1370.[141] In both cases, the Marinids found they were unable to hold the region against local resistance. Abu Hammu attacked the Hafsids in Béjaïa again in 1366, but this resulted in Hafsid intervention in the kingdom's affairs. The Hafsid sultan released Abu Hammu's cousin, Abu Zayyan, and helped him in laying claim to the Zayyanid throne. This provoked an internecine war between the two Zayyanids until 1378, when Abu Hammu finally captured Abu Zayyan in Algiers.
The historian Ibn Khaldun lived in Tlemcen for a period during the generally prosperous reign of Abu Hammu Musa II, and helped him in negotiations with the nomadic Arabs. He said of this period, "Here [in Tlemcen] science and arts developed with success; here were born scholars and outstanding men, whose glory penetrated into other countries." Abu Hammu was deposed by his son, Abu Tashfin II (1389–94), and the state went into decline.
Decline (late 14th and 15th centuries)
In the late 14th century and the 15th century, the state was increasingly weak and became intermittently a vassal of Hafsid Ifriqiya, Marinid Morocco or the Crown of Aragon. In 1386 Abu Hammu moved his capital to Algiers, which he judged less vulnerable, but a year later his son, Abu Tashufin, overthrew him and took him prisoner. Abu Hammu was sent on a ship towards Alexandria but he escaped along the way when the ship stopped in Tunis. In 1388 he recaptured Tlemcen, forcing his son to flee. Abu Tashufin sought refuge in Fez and enlisted the aid of the Marinids, who sent an army to occupy Tlemcen and reinstall him on the throne. As a result, Abu Tashufin and his successors recognized the suzerainty of the Marinids and paid them an annual tribute.
During the reign of the Marinid sultan Abu Sa'id, the Zayyanids rebelled on several occasions and Abu Sa'id had to reassert his authority.[171]: 33–39 After Abu Sa'id's death in 1420 the Marinids were plunged into political turmoil. The Zayyanid emir, Abu Malek, used this opportunity to throw off Marinid authority and captured Fez in 1423. Abu Malek installed Muhammad, a Marinid prince, as a Zayyanid vassal in Fez.[145]: 287 [171]: 47–49 The Wattasids, a family related to the Marinids, continued to govern from Salé, where they proclaimed Abd al-Haqq II, an infant, as the successor to the Marinid throne, with Abu Zakariyya al-Wattasi as regent. The Hafsid sultan, Abd al-Aziz II, reacted to Abu Malek's rising influence by sending military expeditions westward, installing his own Zayyanid client king (Abu Abdallah II) in Tlemcen and pursuing Abu Malek to Fez. Abu Malek's Marinid puppet, Muhammad, was deposed and the Wattasids returned with Abd al-Haqq II to Fez, acknowledging Hafsid suzerainty.[145]: 287 [171]: 47–49 The Zayyanids remained vassals of the Hafsids until the end of the 15th century, when the Spanish expansion along the coast weakened the rule of both dynasties.
By the end of the 15th century the Kingdom of Aragon had gained effective political control, intervening in the dynastic disputes of the amirs of Tlemcen, whose authority had shrunk to the town and its immediate neighbourship. When the Spanish took the city of Oran from the kingdom in 1509, continuous pressure from the Berbers prompted the Spanish to attempt a counterattack against the city of Tlemcen (1543), which was deemed by the Papacy to be a crusade. The Spanish under Martin of Angulo had also suffered a prior defeat in 1535 when they attempted to install a client ruler in Tlemcen. The Spanish failed to take the city in the first attack, but the strategic vulnerability of Tlemcen caused the kingdom's weight to shift toward the safer and more heavily fortified corsair base at Algiers.
Tlemcen was captured in 1551 by the Ottoman Empire under Hassan Pasha. The last Zayyanid sultan's son escaped to Oran, then a Spanish possession. He was baptized and lived a quiet life as Don Carlos at the court of Philip II of Spain.[citation needed]
Under the Ottoman Empire Tlemcen quickly lost its former importance, becoming a sleepy provincial town. The failure of the kingdom to become a powerful state can be explained by the lack of geographical or cultural unity, the constant internal disputes and the reliance on irregular Arab-Berber nomads for the military.[138]
Kingdom of Beni Abbas
Main article: Kingdom of Beni Abbas
Kingdom of Kuku
Main article: Kingdom of Kuku
Christian conquest of Spain
Main article: Reconquista
The final triumph of the 700-year Christian conquest of Spain was marked by the fall of Granada in 1492. Christian Spain imposed its influence on the Maghrib coast by constructing fortified outposts and collecting tribute. But Spain never sought to extend its North African conquests much beyond a few modest enclaves. Privateering was an age-old practice in the Mediterranean, and North African rulers engaged in it increasingly in the late 16th and early 17th centuries because it was so lucrative. Until the 17th century the Barbary pirates used galleys, but a Dutch renegade of the name of Zymen Danseker taught them the advantage of using sailing ships.[173]
Algeria became the privateering city-state par excellence, and two privateer brothers were instrumental in extending Ottoman influence in Algeria. At about the time Spain was establishing its presidios in the Maghrib, the Muslim privateer brothers Aruj and Khair ad Din—the latter known to Europeans as Barbarossa, or Red Beard—were operating successfully off Tunisia. In 1516 Aruj moved his base of operations to Algiers but was killed in 1518. Khair ad Din succeeded him as military commander of Algiers, and the Ottoman sultan gave him the title of beglerbey (provincial governor).
Spanish enclaves
The Spanish expansionist policy in North Africa began with the Catholic Monarchs and the regent Cisneros, once the Reconquista in the Iberian Peninsula was finished. That way, several towns and outposts in the Algerian coast were conquered and occupied: Mers El Kébir (1505), Oran (1509), Algiers (1510) and Bugia (1510). The Spanish conquest of Oran was won with much bloodshed: 4,000 Algerians were massacred, and up to 8,000 were taken prisoner. For about 200 years, Oran's inhabitants were virtually held captive in their fortress walls, ravaged by famine and plague; Spanish soldiers, too, were irregularly fed and paid.[174]
The Spaniards left Algiers in 1529, Bujia in 1554, Mers El Kébir and Oran in 1708. The Spanish returned in 1732 when the armada of the Duke of Montemar was victorious in the Battle of Aïn-el-Turk and retook Oran and Mers El Kébir; the Spanish massacred many Muslim soldiers.[175] In 1751, a Spanish adventurer, named John Gascon, obtained permission, and vessels and fireworks, to go against Algiers, and set fire, at night, to the Algerian fleet. The plan, however, miscarried. In 1775, Charles III of Spain sent a large force to attack Algiers, under the command of Alejandro O'Reilly (who had led Spanish forces in crushing French rebellion in Louisiana), resulting in a disastrous defeat. The Algerians suffered 5,000 casualties.[176] The Spanish navy bombarded Algiers in 1784; over 20,000 cannonballs were fired, much of the city and its fortifications were destroyed and most of the Algerian fleet was sunk.[177]
Oran and Mers El Kébir were held until 1792, when they were sold by the king Charles IV to the Bey of Algiers.
Regency of Algiers
Main article: Regency of Algiers
The Regency of Algiers[c] (Arabic: دولة الجزائر, romanized: Dawlat al-Jaza'ir[d]) was a state in North Africa lasting from 1516 to 1830, until it was conquered by the French. Situated between the regency of Tunis in the east, the Sultanate of Morocco (from 1553) in the west and Tuat[186][187] as well as the country south of In Salah[188] in the south (and the Spanish and Portuguese possessions of North Africa), the Regency originally extended its borders from La Calle in the east to Trara in the west and from Algiers to Biskra,[189] and afterwards spread to the present eastern and western borders of Algeria.[190]
It had various degrees of autonomy throughout its existence, in some cases reaching complete independence, recognized even by the Ottoman sultan.[191] The country was initially governed by governors appointed by the Ottoman sultan (1518–1659), rulers appointed by the Odjak of Algiers (1659–1710), and then Deys elected by the Divan of Algiers from (1710-1830).
Establishment
From 1496, the Spanish conquered numerous possessions on the North African coast: Melilla (1496), Mers El Kébir (1505), Oran (1509), Bougie (1510), Tripoli (1510), Algiers, Shershell, Dellys, and Tenes.[192] The Spaniards later led unsuccessful expeditions to take Algiers in the Algiers expedition in 1516, 1519 and another failed expedition in 1541.
Around the same time, the Ottoman privateer brothers Oruç and Hayreddin—both known to Europeans as Barbarossa, or "Red Beard"—were operating successfully off Tunisia under the Hafsids. In 1516, Oruç moved his base of operations to Algiers. He asked for the protection of the Ottoman Empire in 1517, but was killed in 1518 during his invasion of the Zayyanid Kingdom of Tlemcen. Hayreddin succeeded him as military commander of Algiers.[193]
In 1551 Hasan Pasha, the son of Hayreddin defeated the Spanish-Moroccan armies during a campaign to recapture Tlemcen, thus cementing Ottoman control in western and central Algeria.[194]
After that, the conquest of Algeria sped up. In 1552 Salah Rais, with the help of some Kabyle kingdoms, conquered Touggourt, and established a foothold in the Sahara.[195]
In the 1560s eastern Algeria was centralized, and the power struggle which had been present ever since the Emirate of Béjaïa collapsed came to an end.
During the 16th, 17th, and early 18th century, the Kabyle Kingdoms of Kuku and Ait Abbas managed to maintain their independence[196][197][198] repelling Ottoman attacks several times, notably in the First Battle of Kalaa of the Beni Abbes. This was mainly thanks to their ideal position deep inside the Kabylia Mountains and their great organisation, and the fact that unlike in the West and East where collapsing kingdoms such as Tlemcen or Béjaïa were present, Kabylia had two new and energetic emirates.
Base in the war against Spain
Hayreddin Barbarossa established the military basis of the regency. The Ottomans provided a supporting garrison of 2,000 Turkish troops with artillery.[199] He left Hasan Agha in command as his deputy when he had to leave for Constantinople in 1533.[200] The son of Barbarossa, Hasan Pashan was in 1544 when his father retired, the first governor of the Regency to be directly appointed by the Ottoman Empire. He took the title of beylerbey.[200] Algiers became a base in the war against Spain, and also in the Ottoman conflicts with Morocco.
Beylerbeys continued to be nominated for unlimited tenures until 1587. After Spain had sent an embassy to Constantinople in 1578 to negotiate a truce, leading to a formal peace in August 1580, the Regency of Algiers was a formal Ottoman territory, rather than just a military base in the war against Spain.[200] At this time, the Ottoman Empire set up a regular Ottoman administration in Algiers and its dependencies, headed by Pashas, with 3-year terms to help considate Ottoman power in the Maghreb.
Mediterranean privateers
Despite the end of formal hostilities with Spain in 1580, attacks on Christian and especially Catholic shipping, with slavery for the captured, became prevalent in Algiers and were actually the main industry and source of revenues of the Regency.[201]
In the early 17th century, Algiers also became, along with other North African ports such as Tunis, one of the bases for Anglo-Turkish piracy. There were as many as 8,000 renegades in the city in 1634.[201][202] (Renegades were former Christians, sometimes fleeing the law, who voluntarily moved to Muslim territory and converted to Islam.) Hayreddin Barbarossa is credited with tearing down the Peñón of Algiers and using the stone to build the inner harbor.[203]
A contemporary letter states:
"The infinity of goods, merchandise jewels and treasure taken by our English pirates daily from Christians and carried to Algire and Tunis to the great enriching of Mores and Turks and impoverishing of Christians"
— Contemporary letter sent from Portugal to England.[204]
Privateers and slavery of Christians originating from Algiers were a major problem throughout the centuries, leading to regular punitive expeditions by European powers. Spain (1567, 1775, 1783), Denmark (1770), France (1661, 1665, 1682, 1683, 1688), England (1622, 1655, 1672), all led naval bombardments against Algiers.[201] Abraham Duquesne fought the Barbary pirates in 1681 and bombarded Algiers between 1682 and 1683, to help Christian captives.[205]
Political Turmoil (1659-1713)
The Agha period
In 1659 the Janissaries of the Odjak of Algiers took over the country, and removed the local Pasha with the blessing of the Ottoman Sultan. From there on a system of dual leaders was in place. There was first and foremost the Agha, elected by the Odjak, and the Pasha appointed by the Ottoman Sublime Porte, whom was a major cause of unrest.[206] Of course, this duality was not stable. All of the Aghas were assassinated, without an exception. Even the first Agha was killed after only 1 year of rule. Thanks to this the Pashas from Constantinople were able to increase the power, and reaffirm Turkish control over the region. In 1671, the Rais, the pirate captains, elected a new leader, Mohamed Trik. The Janissaries also supported him, and started calling him the Dey, which means Uncle in Turkish.[207]
Early Dey period (1671-1710)
In the early Dey period the country worked similarly to before, with the Pasha still holding considerable powers, but instead of the Janissaries electing their own leaders freely, other factions such as the Taifa of Rais also wanted to elect the deys. Mohammed Trik, taking over during a time instability was faced with heavy issues. Not only were the Janissaries on a rampage, removing any leaders for even the smallest mistakes (even if those leaders were elected by them), but the native populace was also restless. The conflicts with European powers didn't help this either. In 1677, following an explosion in Algiers and several attempts at his life, Mohammed escaped to Tripoli leaving Algiers to Baba Hassan.[208] Just 4 years into his rule he was already at war with one of the most powerful countries in Europe, the Kingdom of France. In 1682 France bombarded Algiers for the first time.[209] The Bombardment was inconclusive, and the leader of the fleet Abraham Duquesne failed to secure the submission of Algiers. The next year, Algiers was bombarded again, this time liberating a few slaves. Before a peace treaty could be signed though, Baba Hassan was deposed and killed by a Rais called Mezzo Morto Hüseyin.[210] Continuing the war against France he was defeated in a naval battle in 1685, near Cherchell, and at last a French Bombardment in 1688 brought an end to his reign, and the war. His successor, Hadj Chabane was elected by the Raïs. He defeated Morocco in the Battle of Moulouya and defeated Tunis as well.[211] He went back to Algiers, but he was assassinated in 1695 by the Janissaries whom once again took over the country. From there on Algiers was in turmoil once again. Leaders were assassinated, despite not even ruling for a year, and the Pasha was still a cause of unrest. The only notable event during this time of unrest was the recapture of Oran and Mers-el-Kébir from the Spanish.
Coup of Baba Ali Chaouche, and independence
Baba Ali Chaouche, also written as Chaouch, took over the country, ending the rule of the Janissaries. The Pasha attempted to resist him, but instead he was sent home, and told to never come back, and if he did he will be executed. He also sent a letter to the Ottoman sultan declaring that Algiers will from then on act as an independent state, and will not be an Ottoman vassal, but an ally at best.[212] The Sublime Porte, enraged, tried to send another Pasha to Algiers, whom was then sent back to Constantinople by the Algerians. This marked the de facto independence of Algiers from the Ottoman Empire.
Danish–Algerian War
Main article: Danish–Algerian War
In the mid-1700s Dano-Norwegian trade in the Mediterranean expanded. In order to protect the lucrative business against piracy, Denmark–Norway had secured a peace deal with the states of Barbary Coast. It involved paying an annual tribute to the individual rulers and additionally to the States.
In 1766, Algiers had a new ruler, dey Baba Mohammed ben-Osman. He demanded that the annual payment made by Denmark-Norway should be increased, and he should receive new gifts. Denmark–Norway refused the demands. Shortly after, Algerian pirates hijacked three Dano-Norwegian ships and allowed the crew to be sold as slaves.
They threatened to bombard the Algerian capital if the Algerians did not agree to a new peace deal on Danish terms. Algiers was not intimidated by the fleet, the fleet was of 2 frigates, 2 bomb galiot and 4 ship of the line.
Algerian-Sharifian War
Main article: Algerian-Sharifian conflicts
In the west, the Algerian-Cherifian conflicts shaped the western border of Algeria.[214]
There were numerous battles between the Regency of Algiers and the Sharifian Empires for example: the campaign of Tlemcen in 1551, the campaign of Tlemcen in 1557, the Battle of Moulouya and the Battle of Chelif. The independent Kabyle Kingdoms also had some involvement, the Kingdom of Beni Abbes participated in the campaign of Tlemcen in 1551 and the Kingdom of Kuku provided Zwawa troops for the capture of Fez in 1576 in which Abd al-Malik was installed as an Ottoman vassal ruler over the Saadi Dynasty.[215][216] The Kingdom of Kuku also participated in the capture of Fez in 1554 in which Salih Rais defeated the Moroccan army and conquered Morocco up until Fez, adding these territories to the Ottoman crown and placing Ali Abu Hassun as the ruler and vassal to the Ottoman sultan.[217][218][219] In 1792 the Regency of Algiers managed to take possession of the Moroccan Rif and Oujda, which they then abandoned in 1795 for unknown reasons.[220]
Barbary Wars
During the early 19th century, Algiers again resorted to widespread piracy against shipping from Europe and the young United States of America, mainly due to internal fiscal difficulties, and the damage caused by the Napoleonic Wars.[201] This in turn led to the First Barbary War and Second Barbary War, which culminated in August 1816 when Lord Exmouth executed a naval bombardment of Algiers, the biggest, and most successful one.[221] The Barbary Wars resulted in a major victory for the American, British, and Dutch Navy.
Political status
1516-1567
In between 1516 and 1567, the rulers of the Regency were chosen by the Ottoman sultan. During the first few decades, Algiers was completely aligned with the Ottoman Empire, although it later gained a certain level of autonomy as it was the westernmost province of the Ottoman Empire, and administering it directly would have been problematic.[222]
1567-1710
During this period a form of dual leadership was in place, with the Aghas sharing power and influence with a Pasha appointed by the Ottoman sultan from Constantinople.[223] After 1567, the Deys became the main leaders of the country, although the Pashas still retained some power.[224]
1710-1830
After a coup by Baba Ali Chaouch, the political situation of Algiers became complicated.
Relation with the Ottoman Empire
Some sources describe it as completely independent from the Ottomans,[225][226][227] albeit the state was still nominally part of the Ottoman Empire.[228]
Cur Abdy, dey of Algiers shouted at an Ottoman envoy for claiming that the Ottoman Padishah was the king of Algiers ("King of Algiers? King of Algiers? If he is the King of Algiers then who am I?").[229][230]
Despite the Ottomans having no influence in Algiers, and the Algerians often ignoring orders from the Ottoman sultan, such as in 1784.[191] In some cases Algiers also participated in the Ottoman Empire's wars, such as the Russo-Turkish War (1787–1792),[231] albeit this was not common, and in 1798 for example Algiers sold wheat to the French Empire campaigning in Egypt against the Ottomans through two Jewish traders.
In some cases, Algiers was declared to be a country rebelling against the holy law of Islam by the Ottoman Caliph.[232] This usually meant a declaration of war by the Ottomans against the Deylik of Algiers.[232] This could happen due to many reasons. For example, under the rule of Haji Ali Dey, Algerian pirates regularly attacked Ottoman shipments, and Algiers waged war against the Beylik of Tunis,[233] despite several protests by the Ottoman Porte, which resulted in a declaration of war.
It can be thus said that the relationship between the Ottoman Empire and Algiers mainly depended on what the Dey at the time wanted. While in some cases, if the relationship between the two was favorable, Algiers did participate in Ottoman wars,[231] Algiers otherwise remained completely autonomous from the rest of the Empire similar to the other Barbary States.
French rule
Main article: French rule in Algeria
19th century colonialism
French conquest of Algeria
Date1830–47Location
Algeria
Belligerents France Ottoman Empire
Arabs and BerbersCasualties and losses 3,336 killed in action[234]
92,329 dead from disease 825,000 killed
North African boundaries have shifted during various stages of the conquests. The borders of modern Algeria were expanded by the French, whose colonization began in 1830 (French invasion began on July 5). To benefit French colonists (many of whom were not in fact of French origin but Italian, Maltese, and Spanish) and nearly the entirety of whom lived in urban areas, northern Algeria was eventually organized into overseas departments of France, with representatives in the French National Assembly. France controlled the entire country, but the traditional Muslim population in the rural areas remained separated from the modern economic infrastructure of the European community.
As a result of what the French considered an insult to the French consul in Algiers by the Day in 1827, France blockaded Algiers for three years. In 1830, France invaded and occupied the coastal areas of Algeria, citing a diplomatic incident as casus belli. Hussein Dey went into exile. French colonization then gradually penetrated southwards, and came to have a profound impact on the area and its populations. The European conquest, initially accepted in the Algiers region, was soon met by a rebellion, led by Abdel Kadir, which took roughly a decade for the French troops to put down. By 1848 nearly all of northern Algeria was under French control, and the new government of the French Second Republic declared the occupied lands an integral part of France. Three "civil territories"—Algiers, Oran, and Constantine—were organized as French départements (local administrative units) under a civilian government. During the "Pacification of Algeria", which lasted until 1903, the French perpetrated atrocities which included mass executions of civilians and prisoners and the use of concentration camps;[235] many estimates indicates that the native Algerian population fell by one-third in the years between the French invasion and the end of fighting in the mid-1870s due to warfare, disease and starvation.[236]
In addition to enduring the affront of being ruled by a foreign, non-Muslim power, many Algerians lost their lands to the new government or to colonists. Traditional leaders were eliminated, coopted, or made irrelevant, and the traditional educational system was largely dismantled; social structures were stressed to the breaking point. From 1856, native Muslims and Jews were viewed as French subjects not citizens.
However, in 1865, Napoleon III allowed them to apply for full French citizenship, a measure that few took, since it involved renouncing the right to be governed by sharia law in personal matters, and was considered a kind of apostasy; in 1870, the Crémieux Decree made French citizenship automatic for Jewish natives, a move which largely angered many Muslims, which resulted in the Jews being seen as the accomplices of the colonial power by anti-colonial Algerians. Nonetheless, this period saw progress in health, some infrastructures, and the overall expansion of the economy of Algeria, as well as the formation of new social classes, which, after exposure to ideas of equality and political liberty, would help propel the country to independence.
During the colonization France focused on eradicating the local culture by destroying hundreds years old palaces and important buildings. It is estimated that around half of Algiers, a city founded in the 10th century, was destroyed. Many segregatory laws were levied against the Algerians and their culture.
Rise of Algerian nationalism and French resistance
A new generation of Islamic leadership emerged in Algeria at the time of World War I and grew to maturity during the 1920s and 1930s. Various groups were formed in opposition to French rule, most notable the National Liberation Front (FLN) and the National Algerian Movement.
Colons (colonists), or, more popularly, pieds noirs (literally, black feet) dominated the government and controlled the bulk of Algeria's wealth. Throughout the colonial era, they continued to block or delay all attempts to implement even the most modest reforms. But from 1933 to 1936, mounting social, political, and economic crises in Algeria induced the indigenous population to engage in numerous acts of political protest. The government responded with more restrictive laws governing public order and security. Algerian Muslims rallied to the French side at the start of World War II as they had done in World War I. But the colons were generally sympathetic to the collaborationist Vichy regime established following France's defeat by Nazi Germany. After the fall of the Vichy regime in Algeria (November 11, 1942) as a result of Operation Torch, the Free French commander in chief in North Africa slowly rescinded repressive Vichy laws, despite opposition by colon extremists.
In March 1943, Muslim leader Ferhat Abbas presented the French administration with the Manifesto of the Algerian People, signed by 56 Algerian nationalist and international leaders. The manifesto demanded an Algerian constitution that would guarantee immediate and effective political participation and legal equality for Muslims. Instead, the French administration in 1944 instituted a reform package, based on the 1936 Viollette Plan, that granted full French citizenship only to certain categories of "meritorious" Algerian Muslims, who numbered about 60,000. In April 1945 the French had arrested the Algerian nationalist leader Messali Hadj. On May 1 the followers of his Parti du Peuple Algérien (PPA) participated in demonstrations which were violently put down by the police. Several Algerians were killed. The tensions between the Muslim and colon communities exploded on May 8, 1945, V-E Day, causing the Sétif and Guelma massacre. When a Muslim march was met with violence, marchers rampaged. The army and police responded by conducting a prolonged and systematic ratissage (literally, raking over) of suspected centers of dissidence. According to official French figures, 1,500 Muslims died as a result of these countermeasures. Other estimates vary from 6,000 to as high as 45,000 killed. Many nationalists drew the conclusion that independence could not be won by peaceful means, and so started organizing for violent rebellion.
In August 1947, the French National Assembly approved the government-proposed Organic Statute of Algeria. This law called for the creation of an Algerian Assembly with one house representing Europeans and "meritorious" Muslims and the other representing the remaining 8 million or more Muslims. Muslim and colon deputies alike abstained or voted against the statute but for diametrically opposed reasons: the Muslims because it fell short of their expectations and the colons because it went too far.
Algerian War of Independence (1954–1962)
Main article: Algerian War of Independence
The Algerian War of Independence (1954–1962), brutal and long, was the most recent major turning point in the country's history. Although often fratricidal, it ultimately united Algerians and seared the value of independence and the philosophy of anticolonialism into the national consciousness.
In the early morning hours of November 1, 1954, the National Liberation Front (Front de Libération Nationale—FLN) launched attacks throughout Algeria in the opening salvo of a war of independence. An important watershed in this war was the massacre of Pieds-Noirs civilians by the FLN near the town of Philippeville in August 1955. Which prompted Jacques Soustelle into calling for more repressive measures against the rebels. The French authorities claimed that 1,273 "guerrillas" died in what Soustelle admitted were "severe" reprisals. The FLN subsequently, giving names and addresses, claimed that 12,000 Muslims were killed. After Philippeville, all-out war began in Algeria. The FLN fought largely using guerrilla tactics whilst the French counter-insurgency tactics often included severe reprisals and repression.
Eventually, protracted negotiations led to a cease-fire signed by France and the FLN on March 18, 1962, at Evian, France. The Evian accords also provided for continuing economic, financial, technical, and cultural relations, along with interim administrative arrangements until a referendum on self-determination could be held. The Evian accords guaranteed the religious and property rights of French settlers, but the perception that they would not be respected led to the exodus of one million pieds-noirs and harkis.
Abusive tactics of the French Army remains a controversial subject in France to this day. Deliberate illegal methods were used, such as beatings, mutilations, hanging by the feet or hands, torture by electroshock, waterboarding, sleep deprivation and sexual assaults, among others.[237][239][240] French war crimes against Algerian civilians were also committed, including indiscriminate shootings of civilians, bombings of villages suspected of helping the ALN,[241] rape,[242] disembowelment of pregnant women,[243] imprisonment without food in small cells (some of which were small enough to impede lying down),[244] throwing prisoners out of helicopters to their death or into the sea with concrete on their feet, and burying people alive.[237][245][246][247]
The FLN also committed many atrocities, both against French pieds-noirs and against fellow Algerians whom they deemed as supporting the French. These crimes included killing unarmed men, women and children, rape and disembowelment or decapitation of women and murdering children by slitting their throats or banging their heads against walls.[249]
Between 350,000 and 1 million Algerians are estimated to have died during the war, and more than 2 million, out of a total Muslim population of 9 or 10 million, were made into refugees or forcibly relocated into government-controlled camps. Much of the countryside and agriculture was devastated, along with the modern economy, which had been dominated by urban European settlers (the pied-noirs). French sources estimated that at least 70,000 Muslim civilians were killed or abducted and presumed killed, by the FLN during the Algerian War. Nearly one million people of mostly French, Spanish and Italian descent left the country at independence due to the privileges that they lost as settlers and their unwillingness to be on equal footing with indigenous Algerians [250] along with them left most Algerians of Jewish descent and those Muslim Algerians who had supported a French Algeria (harkis). 30–150,000 pro-French Muslims were also killed in Algeria by FLN in post-war reprisals.
Independent Algeria
Main article: History of Algeria (1962-1999)
Ben Bella presidency (1962–65)
The Algerian independence referendum was held in French Algeria on 1 July 1962, passing with 99.72% of the vote. As a result, France declared Algeria independent on 3 July. On 8 September 1963, the first Algerian constitution was adopted by nationwide referendum under close supervision by the National Liberation Front (FLN). Later that month, Ahmed Ben Bella was formally elected the first president of Algeria for a five-year term after receiving support from the FLN and the military, led by Colonel Houari Boumédiène.
However, the war for independence and its aftermath had severely disrupted Algeria's society and economy. In addition to the destruction of much of Algeria's infrastructure, an exodus of the upper-class French and European colons from Algeria deprived the country of most of its managers, civil servants, engineers, teachers, physicians, and skilled workers. The homeless and displaced numbered in the hundreds of thousands, many suffering from illness, and some 70 percent of the workforce was unemployed.[252] The months immediately following independence witnessed the pell-mell rush of Algerians and government officials to claim the property and jobs left behind by the European colons. For example in the 1963 March Decrees, President Ben Bella declared all agricultural, industrial, and commercial properties previously owned and operated by Europeans vacant, thereby legalizing confiscation by the state.
The military played an important role in Ben Bella's administration. Since the president recognized the role that the military played in bringing him to power, he appointed senior military officers as ministers and other important positions within the new state, including naming Colonel Boumédiène as defence minister.[253] These military officials played a core role into implementing the country's security and foreign policy.
Under the new constitution, Ben Bella's presidency combined the functions of chief of state and head of government with those of supreme commander of the armed forces. He formed his government without needing legislative approval and was responsible for the definition and direction of its policies. There was no effective institutional check on the president's powers. As a result, opposition leader Hocine Aït-Ahmed quit the National Assembly in 1963 to protest the increasingly dictatorial tendencies of the regime and formed a clandestine resistance movement, the Socialist Forces Front (Front des Forces Socialistes—FFS), dedicated to overthrowing the Ben Bella regime by force.
Late summer 1963 saw sporadic incidents attributed to the FFS, but more serious fighting broke out a year later, and the army moved quickly and in force to crush a rebellion. Minister of Defense Boumédiène had no qualms about sending the army to put down regional uprisings because he felt they posed a threat to the state. However, President Ben Bella attempted to co-opt allies from among these regional leaders in order to undermine the ability of military commanders to influence foreign and security policy. Tensions consequently built between Boumédiène and Ben Bella, and in 1965 the military removed Ben Bella in a coup d'état, replacing him with Boumédiène as head of state.
The 1965 coup and the Boumédienne military regime
Main article: 1965 Algerian coup d'état
On 19 June 1965, Houari Boumédiène deposed Ahmed Ben Bella in a military coup d'état that was both swift and bloodless. Ben Bella "disappeared", and would not be seen again until he was released from house arrest in 1980 by Boumédiène's successor, Colonel Chadli Bendjedid. Boumédiène immediately dissolved the National Assembly and suspended the 1963 constitution. Political power resided in the Nation Council of the Algerian Revolution (Conseil National de la Révolution Algérienne—CNRA), a predominantly military body intended to foster cooperation among various factions in the army and the party.
Houari Boumédiène's position as head of government and of state was initially insecure, partly because of his lack of a significant power base outside of the armed forces. He relied strongly on a network of former associates known as the Oujda group, named after Boumédiène's posting as National Liberation Army (Armée de Libération Nationale—ALN) leader in the Moroccan border town of Oujda during the war years, but he could not fully dominate his fractious regime. This situation may have accounted for his deference to collegial rule.
Over Boumédiène's 11-year reign as Chairman of the CNRA, the council introduced two formal mechanisms: the People's Municipal Assembly (Assemblée Populaires Communales) and the People's Provincial Assembly (Assemblée Populaires de Wilaya) for popular participation in politics. Under Boumédiène's rule, leftist and socialist concepts were merged with Islam.
Boumédiène also used Islam to opportunistically consolidate his power.[254] On one hand, he made token concessions and cosmetic changes to the government to appear more Islamic, such as putting Islamist Ahmed Taleb Ibrahimi in charge of national education in 1965 and adopting policies criminalizing gambling, establishing Friday as the national holiday, and dropping plans to introduce birth control to paint an Islamic image of the new government. But on the other hand, Boumédiène's government also progressively repressed Islamic groups, such as by ordering the dissolution of Al Qiyam.
Following attempted coups—most notably that of chief-of-staff Col. Tahar Zbiri in December 1967—and a failed assassination attempt on 25 April 1968, Boumédiène consolidated power and forced military and political factions to submit. He took a systematic, authoritarian approach to state building, arguing that Algeria needed stability and an economic base before building any political institutions.
Eleven years after Boumédiène took power, after much public debate, a long-promised new constitution was promulgated in November 1976. The constitution restored the National Assembly and gave it legislative, consent, and oversight functions.[255] Boumédiène was later elected president with 95 percent of the cast votes.
Bendjedid rule (1978–92), the 1992 Coup d'État and the rise of the civil war
Boumédiène's death on 27 December 1978 set off a struggle within the FLN to choose a successor. A deadlock occurred between two candidates was broken when Colonel Chadli Bendjedid, a moderate who had collaborated with Boumédiène in deposing Ahmed Ben Bella, was sworn in on February 9, 1979. He was re-elected in 1984 and 1988. After the violent 1988 October Riots, a new constitution was adopted in 1989 that eradicated the Algerian one-party state by allowing the formation of political associations in addition to the FLN. It also removed the armed forces, which had run the government since the days of Boumédiène, from a role in the operation of the government.
Among the scores of parties that sprang up under the new constitution, the militant Islamic Salvation Front (Front Islamique du Salut—FIS) was the most successful, winning a majority of votes in the June 1990 municipal elections, as well as the first stage of the December national legislative elections.
The surprising first round of success for the fundamentalist FIS party in the December 1991 balloting caused the army to discuss options to intervene in the election. Officers feared that an Islamist government would interfere with their positions and core interests in economic, national security, and foreign policy, since the FIS has promised to make a fundamental re-haul of the social, political, and economic structure to achieve a radical Islamist agenda. Senior military figures, such as Defence Minister Khaled Nezzar, Chief of the General Staff Abdelmalek Guenaizia, and other leaders of the navy, Gendarmerie, and security services, all agreed that the FIS should be stopped from gaining power at the polling box. They also agreed that Bendjedid would need to be removed from office due to his determination to uphold the country's new constitution by continuing with the second round of ballots.[256]
On 11 January 1992, Bendjedid announced his resignation on national television, saying it was necessary to "protect the unity of the people and the security of the country".[257] Later that same day, the High Council of State (Haut Comité d'Etat—HCE), which was composed of five people (including Khaled Nezzar, Tedjini Haddam, Ali Kafi, Mohamed Boudiaf and Ali Haroun), was appointed to carry out the duties of the president.
The new government, led by Sid Ahmed Ghozali, banned all political activity at mosques and began stopping people from attending prayers at popular mosques. The FIS was legally dissolved by Interior Minister Larbi Belkheir on 9 February for attempting "insurrections against the state".[256] A state of emergency was also declared and extraordinary powers, such as curtailing the right to associate, were granted to the regime.
Between January and March, a growing number of FIS militants were arrested by the military, including Abdelkader Hachani and his successors, Othman Aissani and Rabah Kebir.[256] Following the announcement to dissolve the FIS and implement a state of emergency on 9 February, the Algerian security forces used their new emergency powers to conduct large scale arrests of FIS members and housed them in 5 "detention centers" in the Sahara. Between 5,000 (official number) and 30,000 (FIS number) people were detained.[256]
This crackdown led to a fundamental Islamic insurgency, resulting in the continuous and brutal 10 year-long Algerian
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EF English Proficiency Index
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Discover the EF English Proficiency Index score for Algeria
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https://www.ef.edu/epi/regions/africa/algeria/
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Take the EF Standard English Test and get an accurate assessment of your English level from home
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https://www.nytimes.com/topic/destination/algeria
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Algeria
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News about Algeria, including commentary and archival articles published in The New York Times.
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In the ring, only one thing matters for Imane Khelif: the gold medal.
Khelif weathered two weeks of distractions, breezing to the gold medal in women’s boxing.
By Andrew Das and Gabriela Bhaskar
Boxer in Controversy Over Eligibility Lets Her Gloves Do the Talking
Imane Khelif, of Algeria, moved past questions about her eligibility with a unanimous decision over her Thai opponent. She will now fight for a gold medal.
By Emmanuel Morgan
Italian Boxer Quits Bout, Sparking Furor Over Gender at Olympics
The Italian, Angela Carini, stopped fighting only 46 seconds into her matchup against Imane Khelif of Algeria, who had been barred from a women’s event last year.
By Tariq Panja and Jeré Longman
Why the Top Gymnast in France Is Competing for Algeria
A bitter fight with the French gymnastics federation threatened the Olympic hopes of Kaylia Nemour. Dual nationality offered a way out.
By Laura Cappelle and James Hill
France Aligns With Morocco on Western Sahara, Angering Algeria
President Emmanuel Macron said Paris would support Morocco’s plan, which gives the disputed territory limited autonomy but keeps it under Moroccan control.
By Aida Alami and Aurelien Breeden
New Cease-Fire Proposal Circulates at U.N., Driven by Outrage Over Israel’s Strike on a Tent Camp
Algeria, the only Arab representative in the current makeup of the Security Council, drafted the resolution.
By Farnaz Fassihi
Maurice El Medioni, Pianist Who Fused Jewish and Arab Music, Dies at 95
An Algerian, he combined the music of his Sephardic roots with Arab traditions, incorporating boogie-woogie and other influences to create a singular style.
By Adam Nossiter
Marnia Lazreg, Muslim Scholar Who Critiqued the Veil, Is Dead at 83
A sociologist in New York, she examined the power dynamics and difficult history of her native land from a feminist and anticolonial perspective.
By Adam Nossiter
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World Report 2023: Algeria
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Human Rights Watch
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https://www.hrw.org/world-report/2023/country-chapters/algeria
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Algerian authorities continued their crackdown on dissent despite a lull in anti-government protests through restrictions on freedoms of expression, association, assembly, and movement. Activists, human rights defenders, journalists, and lawyers have been prosecuted for their peaceful activism, opinions, or in connection to their professions. Around 250 individuals were being held in prison for their participation in peaceful protest, activism, or expression as of October, of which one-third were in pre-trial detention, according to national rights groups.
Authorities have increasingly used charges related to terrorism, after expanding an already overly broad definition of the crime in June 2021, to prosecute human rights defenders, activists, and other critics. They have also taken legal action to dissolve or else restrict the activities of civil society organizations and opposition political parties.
Political Rights and Freedom of Expression
On February 19, Faleh Hammoudi, head of the Tlemcen office of the Algerian League for the Defense of Human Rights (LADDH), was arrested. He was sentenced to three years in prison for “offending public bodies,” “spreading fake news” that might harm public safety, and “running an unregistered association,” according to the National Committee for the Liberation of Detainees (CNLD). Hammoudi was provisionally released on March 30. Upon appeal, he was sentenced on May 15 to a one-year suspended prison term.
Authorities have prosecuted at least eight members of LADDH for their activism or expression, including four—Kaddour Chouicha, Djamila Loukil, Saïd Bouddour, and Hassan Bouras —on unsubstantiated terrorism-related charges.
Zaki Hannache, a human rights defender known for his activism in the Hirak pro-reform movement and for his monitoring of arrests and trials of other activists, was arrested on January 18. As of November, Hannache was under investigation for unsubstantiated charges of “apology for terrorism,” “spreading false news,” “obtaining funds in order to undermine the security of the state,” and “undermining national unity.” He was granted provisional release on March 30.
On April 24, Hakim Debbazi, a Hirak activist, died in custody in unclear circumstances. Debbazi was arrested on February 20 and held in pretrial detention in connection to a Facebook post related to the Hirak protest movement. He was charged with “inciting an unarmed gathering,” “offending public officials” and “publishing content that might “harm the national interest.” His family filed a legal suit against the Algerian state for manslaughter after his death. Algerian authorities said Debbazi died of natural causes, citing a government autopsy report.
Two lawyers, Abdelkadir Chohra and Yacine Khelifi, have been imprisoned for denouncing Debbazi’s suspicious death in custody. Authorities arrested Chohra on May 14 and Khelifi on May 30 in connection to a video published on Facebook about the activist’s death and detention conditions in Algerian prisons. Both lawyers were charged with “spreading fake news” among others. On August 15, they were sentenced to six-month suspended prison terms and released, according to the CNLD.
In an effort to crush dissenting voices, authorities also targeted activists and critics in Algeria’s diaspora. Between January and April, they imposed arbitrary travel bans on at least three Algerian-Canadian activists. The dual nationals were blocked for months from leaving Algeria.
On March 24, Mohamed Benhalima, a former military officer and activist who fled to Spain in 2019 fearing reprisals for his participation in the Hirak movement, was deported to Algeria. Spain twice rejected Benhalima’s asylum application despite the UN Refugee Agency’s opinion that he faced a credible risk of torture and that Algeria’s criminalization of peaceful opposition was recognized internationally.
In May, Benhalima was notified that he had been sentenced to death in absentia by a military court. Prosecuted in dozens of cases on terrorism-related charges and espionage among others, Benhalima was jailed and tried for his videos posted on social media related to alleged state corruption. On June 19, he declared in court that he had been subjected to torture. On September 4, he was sentenced to a total of 12 years in prison in connection with three separate cases, according to El Watan newspaper. In 2021, a court sentenced Benhalima to 10 years in prison in absentia for his online publications related to the army.
Freedom of Association and Assembly
On September 1, authorities closed the headquarters of Santé Sidi El Houari, a group focused on preserving the cultural and historical heritage of the city of Oran. The governor of Oran had filed a complaint against the association in May, alleging "foreign funding without the approval of the competent authorities.” On December 19, the administrative court of Oran issued a judgment in favor of the association, opposing its dissolution.
An Algiers court dissolved Rassemblement Action Jeunesse (RAJ), a prominent civic association, on October 13, 2021, after an Interior Ministry complaint that its activities were contrary to the objectives of Law 12-06 related to associations and the group’s bylaws. In April, RAJ activists appealed the decision to the highest administrative court in Algeria. RAJ has openly supported the Hirak movement and authorities have since prosecuted 13 of its members, imprisoning at least 10.
In April 2021, another association known for its support of the Hirak protest movement, SOS Beb El Oued, was shut down by the authorities after 21 years of activity, and its president Nacer Meghnine imprisoned for his activism.
The Algerian legal framework related to associations is restrictive and breaches the right to freedom of association. Under law 12-06, the authorities have broad discretion to withhold legal recognition from nongovernmental associations, requiring groups to obtain a registration receipt before they can legally operate. The law also forbids associations from receiving any foreign funding, cooperating with, or seeking membership in foreign organizations without the government’s agreement and empowers the government to suspend an association if it “interferes with the internal affairs of the state or violates national sovereignty.”
Women and Girls’ Rights
Algeria’s Family Code contains discriminatory provisions against women and restricts women’s rights. The code allows men to divorce their spouses unilaterally without explanation but requires women to apply to courts for a divorce on specified grounds.
Féminicides Algérie, a civil society initiative monitoring femicides, reported that by October, 34 women and girls were killed in 2022 by their husbands, ex-husbands, neighbors, brothers, fathers, sons, or other family members.
Article 326 of the penal code, a colonial-era relic, allows a man who abducts a minor to escape prosecution if he marries his victim.
A 2015 law amended the penal code to make assault of a spouse punishable by up to 20 years in prison and a life sentence for injuries resulting in death. However, it contains loopholes that allow convictions to be dropped or sentences reduced if victims pardon their perpetrators. The law also does not set out any measures to prevent abuse or protect survivors, such as protection orders.
There were no laws to ensure unmarried pregnant girls and adolescent mothers, who are exposed to threats of criminal punishment, can remain in school. Corporal punishment of children is prohibited in schools but not in the home and remains common.
Migrants and Refugees
During 2022, Algerian authorities continued arbitrary and collective expulsions to Niger of migrants of multiple nationalities, including children, often without individual screenings or due process. Migrants reported cases of violence, theft of their belongings, arbitrary detention, poor treatment in detention, and other mistreatment by Algerian authorities during arrests, detention, and expulsions to land borders. Algerian authorities expelled at least 14,000 migrants to Niger between January and May 2022, according to Doctors Without Borders.
The collective expulsions were carried out in inhumane conditions, and in violation of Algeria’s obligations under international and regional refugee and human rights law. As in prior years, most expelled migrants, including some who had suffered serious mistreatment, were abandoned in the desert at the Algeria-Niger border.
Though a party to the African and UN refugee conventions, Algeria lacks a national asylum law and protection framework.
Sexual Orientation and Gender Identity
Same-sex relations are punishable under Article 338 of the penal code by up to two years in prison. Article 333 increases the penalty up to three years in prison for public indecency if it involves “acts against nature with a member of the same sex,” whether between men or women.
Restrictions on freedom of assembly, and association under Law 12-06 hinder the work of lesbian, gay, bisexual, and transgender (LGBT) groups. This law poses risks to those who want to form or become active in LGBT groups, as well as to human rights organizations that otherwise might support such activities.
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Climate Change Knowledge Portal
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This page presents a high-level insight into extreme events and how extreme events differ from mean climate. Extremes are often related to different physical processes than those that govern long-term means. While an average change in precipitation is primarily due to circulation changes, extremes are much more sensitive to the thermodynamic state and conditions during specific days. Therefore, it is important to compare and contrast trends and projections in means against those of rare events.
Extremes only occur in a conjunction of several preconditions. For example, extreme rainfall requires maximized (“potential”) moisture transport into the region, high temperatures (or large temperature gradients) and significant instability of the atmosphere. An alignment of these “ingredients” is relatively rare. Under climate change, however, some of these conditions might see a systematic increase in occurrence, which is particularly true for temperatures across the globe. If that one condition – higher temperatures – is more often fulfilled, then the chance for a combined occurrence can also increase. Warmer temperatures are especially important for precipitation because the Clausius-Clapeyron-Relationship dictates that for every 1ºC of increased air temperature, that air’s potential to carry moisture increases by 7%. Thus, the warmer the air, the much more moisture it “can” carry, and therefore if rain were to form, much more water could be tapped into.
Where exactly the most extreme precipitation then might happen is also somewhat uncertain as current local conditions over a broader region can dictate the dynamical process of triggering an event, although sometimes physical settings (e.g., topography) can lead to areas with higher likelihood of occurrence. Overall, extreme events have to be seen as requiring a set of pre-conditions tied with a probabilistic element of initiation. This is why extreme thunderstorms can affect one place, while a few kilometers away there is hardly any precipitation registered.
In summary: (1) Extreme precipitation events might show different signs and commonly larger magnitudes of change when compared to mean precipitation. (2) In a warmer world, the potential of air to carry moisture goes up exponentially, and thus the potential for heavier precipitation goes up. This means that intense events will likely recur more frequently, which can negatively affect the flooding risk. Only in areas where the occurrence of precipitation goes down significantly can the trend towards heavier rainfall be overcome and return periods of large events increase rather than decrease.
This page is designed to offer the user high-level insight into how CMIP6 models represent extreme events at global and country scales. The visualizations present different perspectives on historical conditions as well as future scenarios to enable understanding of shifts in extreme events. The baseline climate (Historical Period, 1985-2014, centered on 2000) can be compared with future time periods and scenarios, centered on 2025, 2050, 2075 as well as 2085 (using data to the end of the century). Please note, the presented extreme indicators offer qualitative projection results, which directly reflect global model output, and should not be mistaken for location-specific (“station-level”) extremes.
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/themes/cckp/favicon.ico
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https://climateknowledgeportal.worldbank.org/country/algeria/extremes
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This page presents a high-level insight into extreme events and how extreme events differ from mean climate. Extremes are often related to different physical processes than those that govern long-term means. While an average change in precipitation is primarily due to circulation changes, extremes are much more sensitive to the thermodynamic state and conditions during specific days. Therefore, it is important to compare and contrast trends and projections in means against those of rare events.
Extremes only occur in a conjunction of several preconditions. For example, extreme rainfall requires maximized (“potential”) moisture transport into the region, high temperatures (or large temperature gradients) and significant instability of the atmosphere. An alignment of these “ingredients” is relatively rare. Under climate change, however, some of these conditions might see a systematic increase in occurrence, which is particularly true for temperatures across the globe. If that one condition – higher temperatures – is more often fulfilled, then the chance for a combined occurrence can also increase. Warmer temperatures are especially important for precipitation because the Clausius-Clapeyron-Relationship dictates that for every 1ºC of increased air temperature, that air’s potential to carry moisture increases by 7%. Thus, the warmer the air, the much more moisture it “can” carry, and therefore if rain were to form, much more water could be tapped into.
Where exactly the most extreme precipitation then might happen is also somewhat uncertain as current local conditions over a broader region can dictate the dynamical process of triggering an event, although sometimes physical settings (e.g., topography) can lead to areas with higher likelihood of occurrence. Overall, extreme events have to be seen as requiring a set of pre-conditions tied with a probabilistic element of initiation. This is why extreme thunderstorms can affect one place, while a few kilometers away there is hardly any precipitation registered.
In summary: (1) Extreme precipitation events might show different signs and commonly larger magnitudes of change when compared to mean precipitation. (2) In a warmer world, the potential of air to carry moisture goes up exponentially, and thus the potential for heavier precipitation goes up. This means that intense events will likely recur more frequently, which can negatively affect the flooding risk. Only in areas where the occurrence of precipitation goes down significantly can the trend towards heavier rainfall be overcome and return periods of large events increase rather than decrease.
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https://adst.org/2016/10/algerias-struggle-independence/
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Algeria’s Struggle for Independence – Association for Diplomatic Studies & Training
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https://adst.org/2016/10/algerias-struggle-independence/
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The modern-day People’s Democratic Republic of Algeria is now a proud, sovereign state in North Africa that readily influences the region. However, before 1962, Algeria had been a French colony, dating back to the French invasion of Algiers in 1830. Following a brutal conquest that some termed as genocide, France began a policy of “civilizing” their new North African colony. To help assimilate Algeria, the colony was administered as an integral part of France and thus split into three département of the nation. The motto of Algeria would soon be: L’Algerie c’est la France (Algeria is France).
Under this new administration, the French implemented new laws and policies that were aimed at “civilizing” the country. As a part of the département system, Algeria would have representatives in the French National Assembly. However, only Algerians who have accepted French law and rejected Sharia law were allowed to vote for these representatives, which caused problems as a high percentage of the Algerian populace was Muslim.
Eventually, these policies inevitably created an elite class that left out the natives and most of the populace. As time passed, a growing number of the Muslim populace became disillusioned with French rule and their lack of political and economic status in the colonial system. What began as a clamor for greater autonomy soon erupted into an all-out war for independence.
Beginning in 1954, the Front de Libération Nationale (FLN) waged war against France to gain their independence. The conflict was devastating enough to cause the collapse of the Fourth Republic in France and brought about its successor, the Fifth Republic, now headed by the WWII war hero Charles de Gaulle.
Now in charge, de Gaulle in 1962 held a referendum on Algerian self-determination, which was approved by the majority of the populace in both France and Algeria. Finally, on March 18, 1962, the Évian Accords were signed, ushering in a newly independent Algeria and thus ending the 8-year long Algerian War.
Wells Stabler was a political officer in Paris during the closing days of the Algerian War and witnessed an attempted coup d’état against President de Gaulle by French generals who opposed his Algerian policy. He was interviewed by Charles Stuart Kennedy beginning in February 1991. Frank G. Wisner recounts his time as a junior officer in Algiers, Algeria right after Algerian independence and the chaos that had enveloped the country. He was interviewed by Richard L. Jackson beginning in March 1998.
Walter L. Cutler describes the difficulty of maintaining U.S.-Algerian relations after independence when he was a political officer in Algiers. He was interviewed by Charles Stuart Kennedy beginning in July 2010. Philip Birnbaum was a Project Officer with the United States Agency for International Development (USAID) in Algiers where he explains the difficulty of establishing an aid mission in a country with deep-seated suspicion of the West. He was interviewed by W. Haven North beginning in February 1996.
“These five generals and a good many of the units in Algeria turned against de Gaulle and rebelled against the central authority”
Wells Stabler, Political Officer, Embassy Paris, 1960-1965
STABLER: From the time I got there in 1960 and ’61, one of the major issues that de Gaulle had to deal with was this problem of Algeria. That had become an amazingly difficult thorn in the French side, the rebellion in Algeria, the inability of the French, in spite of large French forces, to bring it under control.
There were very strong feelings on the part of many Frenchmen that it must always be “Algerie Francaise.” Finally de Gaulle, recognizing that this was certainly not going to be resolved by force of arms, declared that he was going to leave Algeria for the Algerians.
He had gone down to Algeria at some point and had made a speech from a balcony and, of course he was rather good sometimes with conundrums and the famous statement he made as he addressed the crowd, mostly French settlers or “pieds noirs” [a person of European origin who lived in Algeria during French rule, especially one who returned to Europe after Algeria was granted independence] and said, “Je vous ai compris,” — I have understood you.
No one to this day really ever knew what he meant by that…I have understood that Algeria must remain French or I have understood that we aren’t going to win this one and Algeria will become independent?
As a result of all this tension, there was the famous revolt of the generals in Algeria in the early fall of 1961. This was a very serious matter because these five generals and a good many of the units in Algeria turned against de Gaulle and rebelled against the central authority.
That night Michel Debre , who was then the French Prime Minister – a Gaullist, of course, and a very faithful servant of de Gaulle – appeared on television…It was a wild appearance, he was unshaven…and he urged the citizens of Paris to go by whatever means, horseback, car, whatever, out to Orly and Le Bourget, the two big airports, to prevent the landing of the aircraft that was expected to bring troops from Algeria to seize power in Paris. It was a very tense moment.
I was in the Embassy and we heard noise of tanks coming across the Pont de la Concorde by the Assemblé Nationale on the Place de la Concorde . One really didn’t know at that point whether these were tanks of the forces loyal to the generals or what they were.
I think, if I recall correctly, the general view was that de Gaulle would probably carry the day because of his extreme basic popularity in France. While there were many Frenchmen who probably were — what they used to call “pieds noirs” in Algeria — or had served in Algeria and had strong feelings in that direction about Algeria, but they didn’t represent the majority of the French people.
I think most of us probably felt that it was most unlikely that the generals would carry the day and that de Gaulle would be successful in putting this down.
Everything happened very quickly. Everything was over very quickly. The tense moment was that night and once nothing developed there then it was sort of down-hill as far as the generals were concerned. The only way they could have imposed their will was by pushing de Gaulle out of office–by capturing de Gaulle. That didn’t happen. Once that failed, then the rebellion, itself, began to peter out as far as Algeria was concerned.
“We were batting with three strikes against us on the Algerian field of the day”
Frank G. Wisner, Junior Officer, Algiers, Algeria, 1962-1964
WISNER: The Algerian war for independence, the liberation struggle for Algeria, was winding down. The French and the Algerians had reached an accord at Evian. There was a transitional regime in Algiers as I began my studies in Tangier, and there broke out at that moment a fierce, fierce struggle between the provisional government of the Algerian Revolution which was based in Tunis and the military which had allied itself with the previous group of Algerian political leaders the French had arrested some years earlier.
Algeria was for a number of months swept with internecine, bloody warfare until the provisional government was dislodged and the [Ahmed] Ben Bella regime [leader of an underground opposition movement, who became President of Algeria in 1963], backed by [Houari] Boumedienne, was in charge. That was the Algiers that I arrived in. I was assigned there, in 1962.
The setting was further that the French had left, thousands of French residents had left the country, and the economy was absolutely flat. (Photo shows French pied noirs at Maison-Blanche airport in Algiers.) A new, quite radical regime was taking over, but right down to basic services in the marketplace, the plumbers, the technicians, most of them were French and they had all picked up and gone.
It was very hard to get things done in Algiers. You had a modern city that didn’t have the technical capacity and on top of this was layered a decision to not only declare Algerian independence, but the new leaders wanted to socialize it.
There was a huge ideological struggle underway from straight Algerian nationalists to pure Algerian communists with Trotskyites and other European leftists who had come down to be part of it. The Russians and their Eastern European allies, the Cubans, the Chinese, Che Guevara, arrived during all of this period with everybody wrestling for the soul of the Algerian Revolution, what was to be its course and direction.
The United States was in an anomalous position. We were regarded in a number of ways, none of them particularly friendly, of course, constantly recalling that the United States, notably President Kennedy, had stood by Algeria in the later days of the revolution.
Kennedy had been the first Senator to speak out for Algerian independence, but for the great majority of the Algerian War our concerns about European stability had led us to at least try to accommodate the French who were determined to maintain their role in Algeria. So we carried a bit of the memory of our association with France.
Since the new Algerians of one stripe or another had decided either for national security purposes or for ideological reasons to align themselves with the then-East Bloc, the existence of the Cold War and the position of the Americans in it created a further tension.
Third, there was a sort of inherent diffidence about the United States, born of the high degree of French culture that had been part of Algerian life. A diffidence about American culture, and you could hear many of the same arguments you heard in France in the late ’40s or ’50s about American culture and its failures coming out the mouths of Algerians. It added a patina of discomfort to the American-Algerian relationship.
Fourth, Algeria was trying to make its way inside the Arab world. It had never been there really and, while I was there, [Egyptian leader] Nasser came to try to put his banner of Arab nationalism on top of the Algerian puzzle….
But our tensions with Egypt, the outcome of the Suez War, our increasing estrangement from Egypt and the Arab national cause, as it was defined then, and the confrontation with Israel also played to our disadvantage. So we were batting with three strikes against us on the Algerian field of the day.
It was a tough time for the United States, though. We were under constant criticism with hostile intelligence operations all around us, not only sanctioned by the local regime. We were the country’s major aid provider, particularly food assistance. The French were the major financial assistance provider. But we were constantly hammered in the press, criticized for sending poisoned food to Algeria.
“Very suspicious of the West”
Walter L. Cutler, Political Officer, Algiers, Algeria, 1962-1965
CUTLER: People were not lined up to go to Algiers. Every night on the evening news you would see billowing smoke coming out of the city as the OAS (Organisation de l’armée secrete) and the FLN (Front de Libération Nationale, logo at left) and everybody else tried to take the place apart.
It was the French extremists, primarily the pieds- noir, the right-wingers, the extremists who really did not agree with de Gaulle’s policy of letting Algeria become independent. They tried to resist it, and even tried to foment a revolution within France, which didn’t work.
And then, when it became evident that they were not going to prevail, they decided that if they couldn’t have Algeria, they would lay waste to the country. So they went around doing as much damage as they could.
I arrived in September of 1962. Actually, I was assigned out there as an Economic Officer at first, because that was the only slot available. The consulate general was going through the pains of quick growth into an embassy. And so, for bureaucratic reasons, I went out as an Economic Officer, where I did serve for several months as the only Economic Officer there.
I arrived just after independence had been granted in July of 1962. I arrived in September. The situation was, in a word, difficult.
So many French, a million French, had left so quickly that the country was virtually on its back. Security was minimal. Most of the utilities hardly worked. So many of the houses had been blown up.
A huge influx of diplomats, as all countries rushed to set up 14 embassies. And even though so many French had left, housing was very short. The embassy didn’t have the facilities to handle this rather sizeable increase in personnel. The motor pool was virtually non-existent.
The French had largely disappeared. They had an embassy there. They had a number of people who had a lot of things to sort out with the Algerians. For example, the whole question of housing, what they called the “biens vacants” and these were houses or commercial establishments that had been abandoned by the French. The French had left to save their own lives. And yet there was still a legal question as to really who owned the property. That problem persisted for years. Gradually the country began to pick itself up off the floor. It was not easy.
[President] Ben Bella, who had been in a French jail for so long, had almost forgotten his Arabic. He used to speak down in the city square, and I remember his first speeches were more French than Arabic, then they became sort of half and half, but in due course, he regained his native tongue.
There was an effort made to make Algeria an authentic Islamic country and to rid the country of the remnants of the French. This went on all the time we were there.
The environment was difficult for us, because (and perhaps quite understandably) a number of the Algerian nationalists who had taken over had very fresh memories of very bitter fighting with the French. They tended to associate the United States, through NATO, as an ally of the French, and, therefore, they believed that we were supporting the French in many ways. As a matter of fact, some of the military equipment, they claimed, was American, obtained by the French through NATO and used or misused in Algeria.
I think we were a little concerned as to the direction in which that first government might go. There was a brand of Arab Socialism that was spreading in the area. And Nasser was very much the hero to the Algerians. He had been very supportive of the Algerian revolution.
When he came to Algiers, it was perhaps the greatest festive occasion during the whole three years that I was there, even though it ended in tragedy. The very day he arrived, the Foreign Minister of Algeria, a man named Khemisti, who had been shot in the head six months before in front of the Parliament building and had lain in a coma for all those months, died. Nasser stayed only a brief time and then went home. The whole country had been decked out for an extended visit by Nasser, and the fervor was unmatched, really.
Yes, I think there was some concern on our part as to this new government: Highly ideological in outlook on things. Highly nationalistic. Very suspicious of the West because of the experience they had had. Very heady from the standpoint of having won their independence against all odds. And highly supported by the Soviet Bloc countries.
Many of the teachers replacing the French, who had all left, were Bulgarians. Many were Egyptians. But there were a lot of East Bloc people pouring into that country, and, in, those days, that was of concern to us. Algeria had a somewhat strategic location, and it had a lot of oil.
We were trying to get across to the Algerians that we in the United States wanted to work with them. We understood what they had been through. And to persuade them that, if they had to align themselves in any direction, the best way to go was with the West and not the East, to put it baldly.
Contacts were difficult in those days, very difficult. Many Algerians felt that the better part of wisdom was not to be in direct touch with any foreigners. There was a fair degree of xenophobia.
“About 1 million French people left within 7 or 8 months. The economy just came to a screeching halt.”
Philip Birnbaum, Project Officer, USAID, Algiers, Algeria, 1963-1964
BIRNBAUM: This was in the summer of 1963. Harry said, “I’d like you to come over to Algeria and join us.” And we decided we would go. Actually, Harry took three people from the Tunis Mission, Leo Rasmussen, who was an excellent agricultural technician, and a woman named Joyce Mallinger, who was concerned with public health and education, bilingual, a very capable person. So we were going make this nucleus of a great little AID program in Algeria.
This was a year after independence. The Algerians were very xenophobic. The first thing they said was, “We’re too proud to have an AID mission, so all of you will have to be part of the embassy.” So I received a commission as a Foreign Service officer. I was made second secretary of the embassy. They wanted an extremely low profile. So, in effect, Harry was the Mission Director, but that title could not be used.
It was really a state of chaos. Once Algeria was declared independent, about 1 million French people left within 7 or 8 months. The French not only controlled the whole private sector, they had all the top government positions, and more importantly, they filled all the minor positions. The guy who read the gas meter in the utility company was a Frenchman. The women who worked the switchboard in the telephone company were all French. So the economy just came to a screeching halt.
Another sign of the chaos…The standard practice was for the embassy to sign a lease, and then the house came under the protection of the U.S. Embassy, and they would put up a sign in French and Arabic to that effect.
But at that time the countryside was overrun by people who fought in the revolution and who had weapons. They had a practice called “bien vacant.” If a piece of property was empty, they just moved in, that was that.
Well, that’s just what happened to our house rented by the Embassy before we even got to Algiers. Some guy with a machine gun took it over, and the Embassy never got the lease money or its furniture back.
William Porter was the Ambassador, and Frank Wisner, who [later was] our Ambassador to India, was a very junior officer in the Embassy…. At every staff meeting the Ambassador would say, “Frank, when are you going to get Birnbaum’s house back? When are you going to go down to the police station and tell these guys to do their job?”
And Frank would say to me, “Phil, you’re never going to get that house back. You had better look for another place. The Algerian police are even afraid to go up there.”
So that was the situation. Frenchmen, who had sent out their families would go to work in the morning, and when they came home at night, their apartment or their houses would be occupied, and there was nothing they could do, but get on a plane and get out.
The first thing Ben Bella did was to declare Algeria an Islamic country. All the women were put into veils and no Algerian could be served alcohol in cafes, although pre-independence Algeria was the most open and “Frenchified” country in all of North Africa.
Next, they decided their economic model was to be the Soviet model, with very heavy industrialization. They had the gas and oil revenues and they were going to build all these factories. Agriculture was taken for granted.
The country was overrun by Russian and East Bloc technicians, and so we were in the minority. Of course, the French were not talking to them, but one very interesting fact was that the oil was treated as an external resource. All the oil and gas earnings were paid into France, and then a percentage was sent back to Algeria. But the French presence disappeared. We also had travel restrictions. You couldn’t go 20 miles outside of Algiers without a permit.
So it was a very tight situation, and the question was what kind of an AID program could we mount there? There were few Algerian technicians, and they were in the process of setting up ministries.
You would go to the Ministry, and you would see people typing with one finger, and an Algerian counterpart would complain to you that “I can’t get a call through to a town 20 miles down the road. The operators tell me that the phones are broken, but I know she doesn’t know which part of the switchboard to plug in to reach the town. The phones are not broken.” It was really unbelievable.
“We made a noble effort, but we couldn’t compete with their anti-West emotions”
Transportation had broken down. There were literally people starving to death in one part of Algeria in the Constantine area, where people were eating leaves and berries. In another part of the country there was wheat, but transportation was inoperative.
So, we started one of the biggest feeding programs in the world with the CRS [Catholic Relief Services], Lutherans, and CARE. About 2 million Algerians were being fed via an enormous PL 480 food program [which permitted the President to authorize the shipment of surplus commodities to “friendly” nations, either on concessional or grant terms and allowed the federal government to donate stocks to religious and voluntary organizations for use in their overseas humanitarian programs]. And we also were trying to start some agricultural projects.
I remember at a staff meeting Harry Lennon said, “Mr. Ambassador, I really think that Ben Bella doesn’t realize how large a feeding program we are running. Not that he has to tell us thank-you, but he ought to be aware of what’s going on, and how important this program is, for keeping this country going.”
Ambassador Porter was bilingual in French, and was an Arabist, so it wasn’t a question of communication. He said, “OK, when I see Ben Bella next, I’ll make this point.”
And it was very interesting, although the Algerians have this love-hate relationship with the French, they always admired French sophistication. And here is Ambassador Porter explaining to Ben Bella how we’re providing food for 2 million people, including food for work programs in addition to feeding of children and mothers.
And all Ben Bella could say was, “Aucune objection.” “I have no objection.”
One thing you have to keep in mind was that they had this very bloody struggle for independence from the French. Algerians remembered very well that when President Kennedy was a senator, he came out in support of Algerian independence.
The Algerians at that time were looking to demonstrate to the French that they had friends. For Americans, we felt that this was a very important country, given all those natural resources, and we knew the Soviets were very interested in getting into Algeria.
It was part of the Cold War syndrome. If we could establish a footing there, perhaps we could influence the government.
But our relations went downhill, and they expelled the United States. I don’t remember the exact time schedule, sometime in 1965- 66 when we were represented by the Swiss, as the Algerians just moved more and more toward the Soviet Union. Algeria became one of the most vocal members of the North-South dialogue, heaping criticism on the industrialized countries.
The Algerians fought a very bloody war of independence. They claim 1 million people were killed. Perhaps that’s an exaggeration, but surely a few hundred thousand or more were killed. They were supported in the war by Nasser and by the East bloc countries, because they always made it their business to support revolutionary movements.
We were supporting the French. All the equipment that the French Army had — from napalm to fighter bombers — were American. If one stood back and said, “Well, what’s going to happen if they win the war, and get independence, which way are they going to go?”
The chances of the U.S. having a relationship with them were slim. It didn’t take much hindsight to see that. They said, “We know who our friends are, who supported us.”
This was a war against colonialism, against imperialism, and in their minds, also against capitalism. So I think the die was cast. We made a noble effort, but we couldn’t compete with their anti-West emotions.
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Algeria's Imane Khelif, ensnared in political controversy, will box for Olympic gold
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2024-08-06T00:00:00
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A boxing federation claims Khelif failed two unspecified gender tests in recent years. Olympic officials say the tests were illegitimate. Khelif will face China's Yang Liu in Friday's gold medal bout.
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https://www.sdpb.org/2024-08-06/algerias-imane-khelif-ensnared-in-political-controversy-will-box-for-olympic-gold
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NPR is in Paris for the 2024 Summer Olympics. For more of our coverage from the Games head to our latest updates.
PARIS — Imane Khelif, the Algerian boxer at the center of political controversy over participation in women's sports, will compete for the Olympic gold medal in women's boxing.
Away from Paris, criticism has erupted over the past week around Khelif's participation in the Olympics amid claims that she failed two gender eligibility tests administered by a boxing federation — tests that Olympic officials have dismissed as "illegitimate" as they have defended her participation.
But in the stands of Roland-Garros Stadium, dozens of Algerian flags hung over the seats, as hundreds of men and women dressed in green and red cheered raucously for Khelif.
Over three rounds in the ring Tuesday, Khelif traded blows with her opponent, Thailand's Janjaem Suwannapheng, in the 66kg weight class semifinal. With her win (a unanimous decision by the five judges), Khelif is set to compete Friday in the gold medal match, in which she will face China's Yang Liu.
"I don’t care about criticism. I care about competition. God willing, I will perform well in the final," Khelif told reporters after Tuesday's bout. "I will do everything I can to make it enjoyable to watch around the world."
After the official raised her hand to declare her victory, Khelif danced joyfully in the ring as Algerian fans roared their approval.
The political controversy around Khelif that erupted over the past week centers on a decision last year by the International Boxing Association to disqualify her and another female boxer from some competitions by claiming that they had failed two unspecified gender eligibility tests. The second boxer, Lin Yu-ting of Taiwan, is also competing in the Olympics.
Khelif, 25, is a woman and has competed for years in women's boxing, in which she has accumulated a typical record of wins and losses against her female competition.
"They were born as girls, registered as female passports, have fought at the senior level for six years with no issues," International Olympic Committee spokesperson Mark Adams said on Sunday.
But the Russia-linked boxing federation has refused to release any details about those tests, and the disqualification was announced shortly after Khelif defeated a Russian boxer.
In a chaotic press conference Monday, IBA officials raised more questions than they answered about the tests. IBA president Umar Kremlev, speaking by videoconference from Russia, said through a translator that their tests had shown elevated levels of testosterone — but that claim directly contradicted a previous statement from the IBA that said the boxers had not undergone a testosterone exam.
The IOC says the IBA shared the results of the tests, which Olympic officials have denounced as they continue to defend the boxers' participation.
"The method of the testing, the idea of the testing — which kind of happened overnight — none of it was legitimate," Adams said. The IOC broke ties with the IBA last year over long-standing concerns about corruption.
Still, the controversy has led to a swell of harassment online targeted at Khelif and Lin, who will compete in her own semifinal in a different weight class on Wednesday. Earlier in the tournament, Algerian Olympic officials filed a complaint with the IOC to protest harmful posts made online by one of Khelif's competitors; the IOC ordered the competitor to remove them.
"It can destroy people, it can kill people’s thoughts, spirit and mind. It can divide people. And because of that, I ask them to refrain from bullying," Khelif said Sunday in an interview with SNTV, a sports news service.
At the stadium, fans of Algeria said they rejected the claims against Khelif and decried the online harassment that has surrounded her. "I think she is really brave to get into the ring today despite the relentless campaign against her," said Abdelslam Afs. "We are all here to support her."
Another fan, the Algiers-born Yacine Bouzydy, said he originally hadn't planned to attend Tuesday's bout, as he doesn't closely follow sports. But when he heard about the controversy surrounding Khelif, he decided to attend to show his support and "give her energy," he said.
"Algeria is quite a conservative country to France and to other European countries. But for this specific story, the role has changed somehow," he said.
"I can imagine that it was very, very hard for her to go beyond this and to compete and to win the bronze medal, at least," Bouzydy said. "I hope it will end with a gold medal. And even if not, Algerian people are very happy."
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Reporting assistance provided by Fatima al-Kassab in Paris and NPR's Linah Mohammed in Washington, D.C.
Copyright 2024 NPR
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Algeria's History
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Algeria officially The People's Democratic Republic of Algeria, is a country in the Maghreb region of North Africa on the Mediterranean coast. The country is bordered in the northeast by Tunisia, in the east by Libya and in the west by morocco, in the southwest by Western Sahara, Mauritania, and Mali, in the southeast by Niger, with an estimated population of 37.9 million. Its Arabic name, Al Jazair means the islands.
Important phases of Algerian History
Discovering and understanding Algeria is synonym of patience. Through painful successions, its history was written. Its different historical phases should be known to understand this country.
In Antiquity Algeria was known as the NUMIDIA KINGDOM and its people were called NUMIDIANS and IMAZIGHEN which means “Free men” .
At the turn of Europe and Africa, over the centuries, people came. Some have taken root, others left their imprints.
In 1250 BC, Phoenician traders arrived on the North African coast around and established “Carthage” ( in present-day Tunisia).
As Carthaginian power declined because of successive defeats by the Romans in the Punic Wars, the influence of Numidian leaders in the hinterland grew.
The one who succeeded to unify Numidia under his rule was the famous king MASSINISSA. He made CIRTA (nowadays Constantine, the 3rd city of Algeria); the Capital of his Kingdom.
Jugurtha (160 B.C - 105 B.C.) was Masinissa's popular ambitious grandson. He tried to unify Numidia again but after a war against the Romans he was executed in 105 B.C.
Roman rule
(106 B.C- 430)
By 106 B.C, after defeating King Jugurtha of Numidia, Romans gained control of Algeria, specially the Tell Atlas region and part of the haut Plateaus. The rest of present-day Algeria remained under Numidians rulers and was outside Roman rule.
Under Rome, the cities were built up and impressive public works were constructed, specially Tipaza and Timgad.
By the 5th cent, Roman civilization in Algeria had been eroded by incursions of Numidians and the destruction wreaked by the Vandals in 430–431, marked the end of effective Roman control.
TIPAZA
Tipaza is the ancient city with historic Numidian mausoleum and the exceptional Punic, Roman and Christian ruins along the Mediterranean coast. Since 1982, it has been inscribed on the World Heritage List of UNESCO.
Between 430 and 533, other invaders came from the North of Europe and named Vandale.They established their first State in Algeria, with Bejaia as Capital. After one century of existence, Vandale’s people integrated the Algerian population.
In 534, Byzantins tried to impose their influence in the region. They stayed in Algeria until the arrival of Islam.
Arrival of Islam
When Muslim Arabs came to Algeria in the mid-7th century, a large number of locals converted to the new faith.
The introduction of Islam and Arabic had a profound impact on North Africa. The new religion and language introduced changes in social and economic relations, established links with a rich culture, and provided a powerful idiom of political discourse and organization.
Raïs Palace:
also called Bastion 23 is one of the most important historical monuments of the city of Algiers. It is, moreover, one of the last witnesses which attest to the physical extension of Casbah of Algiers to the sea during the Ottoman period. Since 1992, it has been inscribed on the World Heritage List of UNESCO.
French Rule
In 1830, the French invaded Algeria, capturing the capital port city of Algiers and by 1834, Algeria became a French colony. In 1848, it was declared by the French constitution of 1848 to be an integral part of French territory, a french Department, and divided into three French departments (Algiers, Oran and Constantine).
Algerian Resistance
The French faced many oppositions. The most important one was the resistance of El Amir Abd el-Kader in the West of Algeria, from 1832 to 1847.
He is a great hero of the contemporary history of Algeria.
After the first World War and collective awareness, the resistance started to be organized by the:
Organization of religious and intellectual associations;
Creation of political partis. The most important one was the ‘’North African Star” (Étoile Nord-Africaine), in Paris, in 1926 with Messali Hadj as leader. It was the first to call for Algerian independence.
After the second world war, an important event will mark the beginning of the end of the French colonization.
On 8th May 1945, Algerian demonstrators came out to the street, in Sétif and Guelma regions, carrying Algerian Nationalist flags and calling for the independence. More than 20 thousands Algerians were killed by the French forces.
Those massacres marked the beginning of the Algerian war of independence and are considered as one of the great turning points in colonial history.
Algerian Revolution
On 1st November, 1954, attacks across Algeria marked the beginning of the independence struggle, which was led by the National Liberation Front (FLN) and only ended in July 1962 with the country’s formal declaration of independence from France.
During those eight years, 1.5 million Algerians died.
Algerian Independence
The Algerian Revolution came to an end with the signature of the Evian Accords that marked the end of 130 years of French colonial rule in Algeria; on the 5th July 1962.
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