How much for a vintage Fender Pro Reverb nowdays?

eBay Selling Price History for Blackface Pro Reverb (US Dollars)

Average eBay selling prices for amps in very good or better condition and with no or only common maintenance changes (caps, resistors, speakers, wires/cords).

Blackface.

Avg Model Year Price $
Year	Qty sold	Avg Price $
1964	1	662
1965	33	1,647
1966	40	1,495
1967	28	1,450
4 Years	102	1,524

Avg Monthly Price $
Month	Qty sold	Avg Price $
2009-06	4	1,375
2009-05	3	1,200
2009-04	3	1,620
2009-03	4	1,482
2009-02	8	1,234
2009-01	10	1,463
2008-12	2	1,313
2008-11	5	1,695
2008-10	3	1,330
2008-09	3	1,892
2008-08	4	1,480
2008-07	1	1,625
2008-06	5	1,609
2008-05	2	1,713
2008-04	3	1,499
2008-03	6	1,782
2008-02	7	1,764
2008-01	3	1,350
18 Months	76	1,523

Pro Reverb vintage price blackface

Silverface

Avg Model Year Price $
Year	Qty sold	Avg Price $
1967	1	1,192
1968	24	981
1969	8	936
1970	1	999
1971	6	635
1972	10	710
1973	13	787
1974	10	729
1975	5	673
1976	10	646
1977	3	691
1978	22	579
1979	11	566
13 Years	124	746

Avg Monthly Price $
Month	Qty sold	Avg Price $
2009-06	5	768
2009-05	3	783
2009-04	5	752
2009-03	4	784
2009-02	5	806
2009-01	6	714
2008-12	4	881
2008-11	7	698
2008-10	3	729
2008-09	6	728
2008-08	2	700
2008-07	6	677
2008-06	3	763
2008-05	4	837
2008-04	3	764
2008-03	14	793
2008-02	12	652
2008-01	2	1,006
18 Months	94	752

Pro Reverb vintage price (silverface)

prix vente achat fender pro reverb occassion, ebay, revente ampli fender occasion

Owner Manual Fender Pro Reverb 1972

Rare! a full copy of the 1972 Owner manual of the Fender Super Reverb and Pro Reverb amplifiers, which is  very light compaired to today’s specs books!

But just good enough to play isn’t it? Click down here:

• Super_Pro_Reverb_1972_User Manual

Fender Pro reverb manual 1972

If you have any other copy of older issue, drop me a mail, Thousand thanks

source: http://www.thevintagesound.com/ffg/

Bohemia after Dark (Album review) Cannonball Adderley (1955)

 Cannonball Adderley

• Label : Savoy Jazz
• Orig Year :  1955
• CD Universe Part number : 5588877
• Catalog number: 17166
• Release Date: Feb 11, 2003
• Studio/Live : Studio
• Mono/Stereo : Mono
• Additional Info Bonus Tracks; Remastered

 

Review

Savoy Jazz reissues are always unpredictable and this CD by Cannonball Adderley is no exception. This music has appeared on earlier CDs, including Discoveries and The Summer of ‘55, though the ever-changing total times for each track and mysteriously switching take-numbers make one wonder whether or not to keep earlier editions. In any case, valuable music by Cannonball and brother Nat Adderley (on cornet) is present, including a strong cover of Oscar Pettiford’s “Bohemia After Dark,” a barely disguised reworking of “Sweet Georgia Brown” (“With Apologies to Oscar”) and the leader’s catchy “Caribbean Cutie.” The Adderley brothers, who were making their major league jazz debut in the studio, hit one out of the park with their potent performances. The supporting cast is a good one, with Donald Byrd, Kenny Clarke, Jerome Richardson, Paul Chambers and either Horace Silver or Hank Jones on piano. If one does not already own the double-disc set The Summer of ‘55, this CD can be considered essential for any bop fan. ~ Ken Dryden, All Music Guide

Tracks

Track Title	Composers	Performers	Time
Bohemia After Dark	Oscar Pettiford	Cannonball Adderley, Kenny Clarke	(6:05)
Chasm	Cannonball Adderley, Nat Adderley	Cannonball Adderley, Kenny Clarke	(4:22)
Willow Weep for Me	Ann Ronell	Cannonball Adderley, Kenny Clarke	(6:22)
Late Entry	Cannonball Adderley, Nat Adderley	Cannonball Adderley, Kenny Clarke	(3:15)
Hear Me Talkin’ to Ya	Cannonball Adderley, Nat Adderley	Cannonball Adderley, Kenny Clarke	(9:12)
With Apologies to Oscar	Cannonball Adderley, Nat Adderley	Cannonball Adderley, Kenny Clarke	(5:43)
We’ll Be Together Again	Frankie Laine, Carl Fischer	Cannonball Adderley	(6:56)
Caribbean Cutie [Take 1][Alternate Take][*]	Cannonball Adderley	Cannonball Adderley	(5:16)

Credits

Cannonball Adderley (Sax (Alto)), Nat Adderley (Cornet), Hank Jones (Piano), Jerome Richardson (Flute), Jerome Richardson (Sax (Tenor)), Horace Silver (Piano), Steve Backer (Executive Producer), Donald Byrd(Trumpet), Ozzie Cadena (Original Session Producer), Paul Chambers (Bass), Kenny Clarke (Drums), David Alan Kogut (Art Direction), Dan Marx (Series Producer), Paul Reid III (Mastering), Paul Reid III (Reissue Engineer), Lew Herman Smythe (Liner Notes)

Morning Dance (Spyro Gyra/Jay Beckenstein)

Morning Dance is the title of the second studio album by  Spyro Gyra, released in 1979. The album cover shows an intricate and detailed colour illustration of a woodland scene with dancing fairies and other insects, being spied upon by a young woman.

Morning Dance is Spyro Gyra’s most commercially successful album. The title cut became a major radio hit (Billboard #24 pop, #1 adult contemporary.)

Spyro Gyra is an American jazz fusion band that was originally formed in the mid-1970s in Buffalo, New York, USA. With over 25 albums released and 10 million copies sold, they are among the most prolific as well as commercially successful groups of the scene. Among their most successful hit singles are “Shaker Song” and “Morning Dance”, which received significant play on popular music radio stations, and are still frequently heard nearly 30 years later on jazz and easy listening stations.

Their music, which has been influential in the development of smooth jazz, combines jazz with elements of R&B, funk and pop music. Although generally considered to be more “jazz” than “smooth”, Spyro Gyra have been praised as skilled instrumentalists and for their live performances, which average nearly 100 per year.

With the exception of alto saxophonist, songwriter & founding bandleader Jay Beckenstein and keyboardist Tom Schuman the personnel has changed somewhat over time as well as between the studio and the live stage.

 

 

Morning Dance Spyro Gyra

 

Track listing and personnel

1. “Morning Dance” (Jay Beckenstein) – 4:11

• Jay Beckenstein: Alto Saxophone
• Jeremy Wall: Electric Piano
• John Tropea: Electric and Acoustic Guitar
• Jim Kurzforder: Bass
• Ted Reinhardt: Drums
• Rubens Bassini: Congas and Percussion
• Dave Samuels: Marimba and Steel Drum

2. “Jubilee” (Jeremy Wall) – 4:31

• Jay Beckenstein: Alto Saxophone
• Jeremy Wall: Electric Piano & Synthesizers
• John Tropea: Electric Guitar
• Will Lee: Bass
• Steve Jordan: Drums
• Rubens Bassini: Congas & Percussion
• Randy Brecker: Trumpet Solo
• Dave Samuels : Marimba

3. “Rasul” (Jeremy Wall) – 3:57

• Jay Beckenstein: Soprano and Tenor Saxophone
• Jeremy Wall: Acoustic and Electric Piano
• Rick Strauss: Guitar
• Jim Kurzdorfer: Bass
• Ted Reinhardt: Drums
• John Clark: French Horn

4. “Song for Lorraine” (Jay Beckenstein) – 3:59

• Jay Beckenstein: Soprano Saxophones
• Tom Schuman: Electric and Acoustic Pianos
• Chet Catallo: Guitar
• Jim Kurzdorfer: Bass
• Eli Konikoff: Drums
• Gerardo Velez: Congas, Bongos, and Percussion
• Suzanne Ciani: Synthesizers
• Lani Groves, Diva Grey, Gordon Grody: Vocalists

5. “Starburst” (Jeremy Wall) – 4:50

• Jay Beckenstein: Tenor Saxophone (Intro)
• Jeremy Wall: Electric Piano & Synthesizers
• John Tropea: Guitar
• Will Lee: Bass
• Steve Jordan: Drums
• Rubens Bassini: Congas, Timbales & Percussion
• Michael Brecker: Tenor Saxophone Solo

6. “Heliopolis” (Jay Beckenstein) – 5:34

• Jay Beckenstein: Tenor Saxophone (Intro)
• Jeremy Wall: Electric Piano & Synthesizers
• John Tropea: Guitar
• Will Lee: Bass
• Steve Jordan: Drums
• Rubens Bassini: Congas, Timbales & Percussion
• Dave Samuels: Marimba
• Tom Schuman: Rhodes solo

7. “It Doesn’t Matter” (Chet Catallo) – 4:27

• Jay Beckenstein: Soprano Saxophones
• Tom Schuman: Electric and Acoustic Pianos
• Chet Catallo: Guitar
• Jim Kurzdorfer: Bass
• Eli Konikoff: Drums
• Suzanne Ciani: Synthesizer
• Jeremy Wall: Synthesizer
• Gerardo Velez: Congas
• Lani Groves, Diva Grey, Gordon Grody: Vocalists

8. “Little Linda” (Jeremy Wall) – (4:27)

• Jay Beckenstein: Alto Saxophone
• Jeremy Wall: Electric Piano, Acoustic Piano and Percussion
• Rick Strauss: Guitar
• Jim Kurzdorfer: Bass
• Ted Reinhardt: Drums
• Rubens Bassini: Bongos and Percussion
• Dave Samuels: Vibraphone

9. “End of Romanticism” (Rick Strauss) – 5:00

• Jay Beckenstein: Soprano Saxophone
• Jeremy Wall: Electric Piano
• Rick Strauss: Electric & 12-String Guitar
• Jim Kurzdorfer: Bass
• Ted Reinhardt: Drums
• David Samuels: Marimba
• Tom Schuman: Synthesizers Solos
• John Clark: French Horn

 

Caravan (Duke Ellington)

“Caravan” composed by Juan Tizol and first performed by Duke Ellington in 1937. Tizol also composed “Perdido” for the Ellington band. The lyrics were written by Irving Mills, but as many versions are instrumental he is sometimes not listed. The song is variously seen as the first Latin jazz song or as a Mideastern influenced jazz song. Its “exotic” sound made it of interest to Exotica musicians so it was covered by both Martin Denny and Arthur Lyman. It has appeared in two Woody Allen films, Alice and Sweet and Lowdown. Even rap musicians Redman and Busta Rhymes sampled the song heavily in their 1998 song “Da Goodness” (from Redman’s album Doc’s da Name 2000).

 

First version

 

The first version of the song was recorded on December 19, 1936, performed by Barney Bigard And His Jazzopators in Hollywood. Two takes were recorded, of which the first (Variety VA-515-1) was published.

It is noteworthy that on the Barney Bigard 78 recording, the composer of the song is listed on the record label as “Juan Tizol”.

Performers:

•  Cootie Williams (trumpet),
•  Juan Tizol (trombone),
• Barney Bigard (clarinet),
• Harry Carney (baritone sax),
• Duke Ellington (piano),
• Billy Taylor (bass)
• Sonny Greer (drums).

 

Canyon Lady (Joe Henderson)

Speaking of charisma, Henderson brings a ton of it to 1973’s Canyon Lady. Many of the small, narrow minds who comprise the jazz media would have us believe that Henderson’s electric Milestone output of the 1970s was a waste, but in fact, the tenorist was a wealthy of creativity during that decade-and Canyon Lady is a fine example. Henderson brings Latin overtones to the haunting title song and his own “Las Palmas,” and his passionate playing on the ballad “Tres Palabras” has a rather Gato Barbieri-ish quality. Canyon Lady isn’t outright Latin jazz a la Cal Tjader or Tito Puente, but the Latin element is definitely there.

• Audio CD (August 19, 1997)
• Original Release Date: October 1973
• Label: Ojc
• ASIN: B000000Z3Y

Content:

• Tres Palabras (10:09)
• Las Palmas (9:56)
• Canyon Lady (9:06)
• All Things Considered (8:37)

 

Players:

• Hadley Caliman – Flute, Sax (Tenor) 
• George Duke – Bass, Percussion, Piano, Drums, Piano (Electric) 
• Joe Henderson – Sax (Tenor), Remixing 
• Mark Levine – Piano 
• Julian Priester – Trombone 
• Luis Gasca – Bass, Percussion, Piano, Trumpet, Arranger, Conductor, Drums, Flugelhorn 
• John Heard – Bass 
• Ray Pizzi – Flute 
• Francisco Aguabella – Conga 
• Oscar Brashear – Trumpet 
• Nicholas Ten Broeck – Trombone 
• Vince Denham – Flute 
• Carmelo Garcia – Timbales 
• Eric Gravatt – Drums 
• John Heart – Bass 
• John Hunt – Trumpet 
• Victor Pantoja – Conga 
• Jim Stern – Engineer

The Cannonball Adderley Quintet – Norman Granz’ Jazz At The Philharmonic: Paris, 1960l Adderley Quintet, The – Norman Granz’ Jazz At The Philharmonic: Paris, 1960 (Bohemia after Dark)

• Label: Pablo Records

• Catalog#: PACD-5303-2
• Format CD, Album
• Country US
• Released 1997

 Credits

• Bass - Sam Jones 
• Cornet - Nat Adderley 
• Drums - Louis Hayes 
• Piano - Victor Feldman 
• Producer - Norman Granz 
• Saxophone [Alto] - Cannonball Adderley

Notes : Recorded at Salle, Paris on Nov. 25, 1960. Previously unreleased. 
Total playing time: 56:46

Songs:

 

• Introduction by Norman Granz
• Jeannine
• Dis Here
• Blue Daniel
• The Chant
• Bohemia after Dark
• Work Song

The Cannonball Adderley Quintet, – Mercy, Mercy, Mercy

• Label: Emidisc (2), Capitol Records
• Catalog#: C 048-50 710, 1C 048-50 710
• Format: Vinyl, LP, Album
• Country: Germany
• Style:  Soul-Jazz, Hard Bop

Credits:

Bass - Victor Gaskin 
Cornet - Nat Adderley 
Drums - Roy McCurdy 
Piano - Joe Zawinul 
Saxophone - Cannonball Adderley

Racklisting:

• Introduction
• Fun Written-By - Nat Adderley
• Games   Written-By - Nat Adderley
• Mercy, Mercy, Mercy   Written-By - Josef Zawinul*
• Sticks Written-By - Julian Adderley*
• Hippodelphia   Written-By - Josef Zawinul

• Sack O´Woe  Written-By  Julian Adderley

Listen Here – Eddie Harris

• Date de sortie d’origine: novembre 1992
• Label: Enja
• ASIN : B000025TZM

Liste des titres

• 1. Funkaroma
• 2. I Need Some Money
• 3. Listen Here Hi Life
• 4. People Get Funny When They Get a Little Money
• 5. Is It In?
• 6. How Can I Find Some Way to Tell You
• 7. Walkin’ the Walk
• 8. Fusion Jazz Dance

La Clef

Bobby Few biographie

 

Bobby Few

Bobby Few was born in Cleveland, Ohio, in a family of musicians: his father always listened to jazz, his mother played violin and his uncle the trumpet.

 

He came from a very religious family (his grand father was a Baptist minister) which, without a shadow of a doubt, nourished his music spiritually.

Bobby Few was only 7 when he studied piano and later musical theory and composition at the Cleveland Institute of Music. He had two private teachers of splendid reputation.

At 16, he started playing in jazz clubs in Cleveland, his hometown.

One evening, he met Ella Fitzgerald who was so touched by his tender age that she encouraged him to pursue his path.

 

Soon after, Bobby Few created his own trio and played throughout the USA.

 

In the early 60’s, urged by Albert Ayler, Bobby Few went to New York. There, he made a first record with Booker Ervin “The In Between” (BLUE NOTE) then a second one with Albert Ayler intitled “Music Is The Healing Force of the Universe” (IMPULSE), both recently reedited.

He also played with Brook Benton, a rhythm and blues singer, with whom he toured the world. Later, Bobby Few became Benton’s musical director. Moreover, he played in the 60’s at the Playboy club where they had a marvellous experience.

Then, concert after concert, Bobby Few worked with many prestigious artists such as Archie Shepp, Kenny Clarke, Frank Wright, Joe Henderson, Woody Shaw, Sunny Murray, Roland Kirk, Nat Adderley, Frank Foster, David Murray, Bill Dixon, Albert Ayler or Steve Lacy with whom he toured the world from 1980 until 1992.

During his rich and fruitful career, Bobby Few also took part in more than 70 recordings: the latest untitled “Kindred Spirits”, produced by Box Holder Records (New York), will be released in April 2005.

Bobby Few has lived in Paris since 1969, a town where he found his artistic and intellectual equilibrium. Since 1993, he has directed his own trio and quintet.

His musical influences are deeply rooted in jazz with musicians such as Erroll Garner, Thelonious Monk, McCoy Tyner or Cecil Taylor… However classical music has also played an influential role. Few says: “Classical music is one of the avenues leading to jazz because it gives a direction in the harmonic progressions of jazz.”

Thus, Bobby Few’s music is therefore the fruit of his numerous musical experiences. He is motivated by eclecticism, new sounds and new musical colours. He has succeeded in making us understand that music is universal. Thanks to his music, he sends us a message of peace, altruism and spirituality: he unites all peoples, whatever their colour, culture or origin.

The Key to Jazz” à Conflans Ste Honorine

 

Le Jazz Workshop de St Germain en Laye en concert…       Organisé par : Festival Jazz de Conflans Type : Musique/Arts - Concert Où : Conflans-Sainte-Honorine, France Quand : vendredi 13 mars de 20:00 à 23:00

Mercy Mercy Mercy

Guitare solo here

Big Band   here

Acid Jazz jackets

Charles Mingus – Ah Um – Goodbye Pork Pie Hat

Mingus Ah Um est un album de jazz signé Charles Mingus mis sur le marché en 1959. 

Il est le prolongement du mouvement

 d’évolution vers le bebop, puis le free-jazz, entammé avec Pithecanthropus Erectus 3 ans auparavant. Produit par Atlantic Records, cet album reste l’un des plus importants de Charles Mingus, et aura une influence majeure sur les artistes qui suivront.

Musiciens 

• Contrebasse : Charles Mingus
• Saxophone : Booker Ervin and John Handy
• Trombone : Willie Dennis and Jimmy Knepper
• Piano : Horace Parlan
• Batterie : Dannie Richmond

Titres 

• 1. Better git it in your soul
• 2. Goodbye pork pie hat. (Hommage à Lester Young)
• 3. Boogie stop shuffle
• 4. Self-Portrait in three colors
• 5. Open letter to duke
• 6. Bird calls
• 7. Fables of faubus
• 8. Pussy cat dues
• 9. Jelly roll
• 10. Pedal point blues
• 11. GG train
• 12. Girl of my dreams

——————————————————————–

Autre label:

Thelonious Monk Blue Note Sessions (Well you Needn’t)

Jazz pianist Thelonious Monk’s first sessions as a bandleader were recorded between 1947 and 1952, and released on Blue Note records as a series of 78 RPM singles. These singles were then compiled in later years–with additional performances from the sessions–into long-playing album formats. As Monk’s reputation and fame grew, the sessions were recompiled again and again into more complete configurations. This article details various releases of these sessions.

Thelonious Monk, foreground, performing at Expo 67in Montreal. (Credit: Library and Archives Canada)

The Sessions

The Blue Note recordings were made over the course of six different sessions. “Versions” refers only to the number of eventually-released performances; other takes may have been recorded.

All compositions by Thelonious Monk unless otherwise noted.

 

Session 1: October 15, 1947

1. Humph
2. Evonce (Idrees Sulieman – Ike Quebec) [2 versions]
3. Suburban Eyes (Ike Quebec) [2 versions]
4. Thelonious

Session 2: October 24, 1947

5. Nice Work If You Can Get It (G. Gershwin, I. Gershwin) [2 versions]
6. Ruby My Dear [2 versions]
7. Well You Needn’t [2 versions]
8. April In Paris (Vernon Duke – E. Y. Harburg) [2 versions]
9. Off Minor
10. Introspection

Session 3: November 21, 1947

11. In Walked Bud
12. Monk’s Mood
13. Who Knows? [2 versions]
14. ‘Round Midnight

Session 4: July 2, 1948

15. Evidence
16. Misterioso [2 versions]
17. Epistrophy (T. Monk – Kenny Clarke)
18. I Mean You
19. All The Things You Are (Jerome Kern – Oscar Hammerstein)
20. I Should Care (Cahn – Stordahl – Weston)[2 versions]

Session 5: July 23, 1951

21. Four in One [2 versions]
22. Criss Cross [2 versions]
23. Eronel (Monk – Sulieman – Hakim)
24. Straight, No Chaser
25. Ask Me Now [2 versions]
26. Willow Weep For Me (Ann Ronnell)

Session 6: May 30, 1952

27. Skippy [2 versions]
28. Hornin’ In [2 versions]
29. Sixteen [2 versions]
30. Carolina Moon (B. Davis – J. Burke)
31. Let’s Cool One
32. I’ll Follow You (R. Turk – F. Ahlert)

Personnel

 

• Thelonious Monk - piano
• Art Blakey - drums (sessions 1, 2, 3, 5)
• Shadow Wilson - drums (session 4)
• Max Roach - drums (session 6)
• Gene Ramey - bass (session 1, 2)
• Bob Paige – bass (session 3)
• John Simmons - bass (session 4)
• Al McKibbon - bass (session 5)
• Nelson Boyd - bass (session 6)
• Milt Jackson - vibraphone (4, 5)
• Idrees Sulieman - trumpet (session 1)
• George Taitt – trumpet (session 3)
• Kenny Dorham - trumpet (session 6)
• Danny Quebec West – alto saxophone (session 1)
• Sahib Shihab - alto saxophone (sessions 3, 5)
• Lou Donaldson - alto saxophone (session 6)
• Billy Smith – tenor saxophone (session 1)
• Lucky Thompson - tenor saxophone (session 6)
• Kenny “Pancho” Hagood – vocal (session 4, songs 19 & 20)

Singles

Blue Note 78 rpm series (12 inch 78 rpm)

BN 543 Well, You Needn’t (BN314-0)/ ‘Round About Midnight (BN321-1) 

 

Thought of the Week

Go confidently in the direction of your dreams! Live the life you’ve imagined. As you simplify your life, the laws of the universe will be simpler. — Henry David Thoreau

Jazzed in Cleveland – Pianist Bobby Few

Jazzed in Cleveland - Pianist Bobby Few

Story filed January 28, 2004

He was one of Cleveland’s leading jazz pianists in the 1950s and ‘60s, and later, Bobby Few became one of the most respected and busiest pianists in Europe. After moving to Paris in the late 1960s, Few has performed on more than 50 jazz albums.

via Jazzed in Cleveland – Part 82 – Pianist Bobby Few.