Recado Bossa Nova – Hank Mobley

Hank Mobley (tenor sax), Lee Morgan (trumpet), Harold Mabern Jr (piano), Larry Ridley (bass), Billy Higgins (drums).

Englewood Cliffs, New Jersey. June 18, 1965.

(from: "Dippin" Blue Note 4209)

Hank Mobley and Lee Morgan appeared to be inseparable. They first teamed up, in November 1956, for the spirited young trumpeter’s Savoy label debut. Morgan was 18, a veteran of Dizzy Gillespie’s Big Band and a firebrand performer. Mobley, seven years his senior, distinguished himself blowing in a highly personalized manner that frequently ran counter to the Hard Bop stampede of the time. Nonetheless, Mobley’s stance never excluded him form the best games in town, being sufficiently adaptable to score frontline employment with top draw bands of Art Blakey, Max Roach, Horace Silver and Miles Davis. Three weeks after the Savoy set, Morgan repaid Mobley in kind, sharing trumpet duties with the ubiquitous Donald Byrd on a Blue Note date, ‘Sextet’ (1540).

And, that’s the way their comradeship continued. In all, Morgan guested on seven of Hank Mobleys Blue Note outings, whilst the tenorist is to be hear on three Lee-led efforts for Alfred Lion. A founder Jazz Messenger, Mobley returned to HQ, in the spring of 59, to briefly partner Morgan for the period between Benny Golson’s departure and Wayne Shorter’s arrival. And, is on the two volums of At The Jazz Corner Of The Word’ (4015/16) direct from Birdland’s bandstand, that foreveer remains testament to their Blakey-driven process.

Recado bossa nova, hank mobley, jazz messenger, art blakey, lee morgan

Chitlins Con Carne (Midnight Blue)

Strictly speaking (from Jazz.com), “Chitlins Con Carne” is double-talk. Since chitlins are  pig guts and carne is meat, “Chitlins Con Carne” means meat with meat. This track, though, is so tasty, we’re willing to cut Kenny Burrell some slack. No doubt he was thinking of Blue Note + bossa nova, which Chef Kenny combines to culinary quintessence. Spice with Ray Barretto’s conga, simmer over Stanley Turrentine’s heated tenor sax, stir frequently with Chef Kenny’s funky guitar, and you’ll get a mouthwatering stew more delicious than meat with meat. Best served with beer con cerveza.

Musicians: Kenny Burrell (guitar), Stanley Turrentine (tenor sax), Major Holley (bass), Ray Barretto (conga), 

Composed by Kenny Burrell,  Recorded: Englewood Cliffs, NJ, January 7, 1963. 
The tune has been covered by numerous artists, including Sonny Cox, Jimmy Dawkins, Big John Patton, Otis Rush, Horace Silver, Junior Wells and, perhaps most famously, Stevie Ray Vaughan on The Sky Is Crying (1991). It is included in Hal Leonard’s Real Book, Volume I and the All Jazz Real Book by Chuck Sher.

My Jazz World: Un Blog Soul, Funk, Groovy….

Je recommande à tous un Blog  fantastique, une ressource fabuleuse de LPs, vynils que l’on ne trouve plus, ou qui n’ont pas été ré-édités: Jazz Funk, Groove, Soul, …. des disques, des musiciens oubliés ou non, que des pros, la plupart de ces disques sont entièrement téléchargeables.  

Il y a des pépites, des pépites et des pépites!! :  Dr Lonnie Smith, Rusty Bryant, Stanley Turrentine… Howard Robert…. David Liebman… Cecil McBee… et bien d’autres.

—> My Jazz World

Le Brésil est également à l’honneur, de même que de nombreux musiciens japonais. A découvrir.

Bravo  & mille merci à Smooth qui met en ligne sa collection privée de LPs (plus de 2000!) jour après jour.

Horace Silver – The Jody Grind (Album Review) 1966

Horace Silver

Jody Grind

• Release Date: 1966 11 01+1966 11 23
• Running Time: 40:40
• Label: Blue Note

Following the subtly modern bent of much of The Cape Verdean Blues, Horace Silver recommitted himself to his trademark “funky jazz” sound on The Jody Grind. Yet he also consciously chose to keep a superbly advanced front line, with players like trumpeter Woody Shaw (retained from the Cape Verdean session), altoist/flutist James Spaulding, and tenor saxophonist Tyrone Washington. Thus, of all Silver’s groove-centered records, The Jody Grind winds up as possibly the most challenging. It’s also one of the most underappreciated; Silver’s piano playing is at its rhythmic, funky best throughout, brimming over with confidence and good cheer, and evoking memories of the classic feel of his early-’60s quintet. His compositions have a similarly bright overtone, which (as the liner notes allude to) was becoming increasingly rare in mid-’60s jazz as the fury of the avant-garde and the Civil Rights upheaval began to seep into jazz’s wider consciousness. The title cut is a playful, overlooked classic on the funky side of hard bop; Silver kicks it with a tasty groove, giving the rest of the musicians plenty to play off of. The whole group absolutely burns through “Grease Piece,” a terrific hard swinger full of smoking solo statements from just about everyone on down to drum whiz Roger Humphries. Really, the whole album is packed with great grooves and tight solos, epitomizing the best virtues of Silver’s music. For those who have digested classics like Song for My Father, Blowin’ the Blues Away, and Finger Poppin’, The Jody Grind is one of the best places to go next. Steve Huey, All Music Guide

Tracks:

Title Composer Time

1 Jody Grind Silver 5:53
2 Mary Lou Silver 7:12
3 Mexican Hip Dance Silver 5:56
4 Blue Silver Silver 6:00
5 Grease Piece Silver 7:34
6 Dimples Silver 7:18

via Horace Silver Jody Grind Album Review, Songs, Rating .

The Jody Grind

The Jody Grind  is a 1966 album by the Horace Silver Quintet, led by jazz pianist Horace Silver.

Jazz Giant Marton Esquie once spoke concerning this album.”I really love many aspects in the Experimental Constructionist’ view of this album and its entire contents.”

Track listing 

1.  “The Jody Grind” – 5:53
2.  “Mary Lou” – 7:12
3.  “Mexican Hip Dance” – 5:56
4. “Blue Silver” – 6:00
5.  “Grease Piece” – 7:34
6.  “Dimples” – 7:18

Personnel

•   Horace Silver (piano)
•  Woody Shaw (trumpet)
•  James Spaulding (flute, alto sax)
•  Tyrone Washington (tenor sax)
•  Larry Ridley (bass)
•   Roger Humphries (drums)

Label:  Blue Note

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

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) 

 

The Electrifying Eddie Harris (Album review) Listen Here

THE ELECTRIFYING EDDIE HARRIS:

Recorded in New York, New York on March 14-15, 1968.

Recorded at Atlantic Recording Studios, New York, New York on April 20, 1967. Includes original release liner notes by Ray Allen, this LP is one of tenor saxophonist Eddie Harris’s most significant albums. Rolling Stone called Eddie’s hit single Listen Here a space funk classic with it’s inventive use of electronic effects also features the groovy Sham Time and the incredible Theme In Search Of A Movie New exclusive liner notes by Mitch Myers audiophile Re mastering from the original master tapes 80 gram HQ vinyl & original artwork”

2 LPs on 1 CD: THE ELECTRIFYING EDDIE HARRIS (1967)/PLUG ME IN.

Personnel:

Eddie Harris (tenor saxophone, electric saxophone); King Curtis, David Newman (tenor saxophone); Haywood Henry (baritone saxophone); Melvin Lastie, Joe Newman (trumpet); Jodie Christian (piano); Melvin Jackson (bass); Richard Smith (drums); Ray Barretto, Joe Wohletz (percussion).

Producer: Arif Mardin.
Engineer: Phil Iehle.

Personnel: Eddie Harris (electric tenor saxophone); Haywood Henry (baritone saxophone); Melvin Lastie, Jimmy Owens, Joe Newman, James Bossy (trumpet); Tom McIntosh, Garnet Brown (trombone); Jodie Christian (piano); Melvin Jackson, Ron Carter (bass); Chuck Rainey (electric bass); Richard Smith, Grady Tate (drums).

Producer: Joel Dorn.

Tracks:

• Theme In Search Of A Movie
• Listen Here
• Judie’s Theme
• Sham Time
• Spanish Bull
• I Don’t Want No One But You

Dollar Brand (Abdullah Ibrahim) Banyana Children of Africa – Ishmael

Abdullah Ibrahim (born 9 October 1934 in Cape Town, South Africa), formerly known as Adolph Johannes Brand, and as Dollar Brand, is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and ragas, to more modern jazz and other Western styles. Within jazz, his music particularly reflects the influence of Thelonious Monk and Duke Ellington.

He first received piano lessons at the age of seven, was an avid consumer of jazz records brought by American sailors, and was playing jazz professionally by 1949. In 1959 and 1960, he played alongside Kippie Moeketsi with The Jazz Epistles in Sophiatown before joining the European tour of the musical King Kong.

Children of Africa  

 

 

Banyana - Children of Africa

• Label: Enja Records
• Catalog#: enja 2070
• Format: Vinyl, LP
• Country: US
• Released: 1976
• Style: Free Jazz, Soul-Jazz

Credits: 

• Bass - Cecil McBee 
• Drums - Roy Brooks 
• Piano, Saxophone [Soprano], Vocal - Dollar Brand 
• Producer - Horst Weber , Matthias Winckelmann

 

Tracklisting:

• Banyana – The Children of Africa (1:59)
• Asr (8:14)
• Ishmael (12:14)
• The Honey-Bird (6:19)
• The Dream (6:40)
• Yukio-Khalifa (10:20)

Dizzy Gillespie Quintet – An Electrifying Evening With The Dizzy Gillespie Quintet – Night in Tunisia

Dizzy Gillespie Quintet – An Electrifying Evening With The Dizzy Gillespie Quintet

• Label: Verve Records
• Catalog#: V6-8401
• Format: Vinyl, LP, Album
• Country: US
• Released: 1961
• Style: Bop, Soul-Jazz, Latin Jazz

Credits:

 

• Bass - Bob Cunningham 
• Drums - Chuck Lampkin 
• Piano - Lalo Schifrin 
• Saxophone, Flute - Leo Wright 
• Trumpet - Dizzy Gillespie

Notes: Recorded in concert at The Museum Of Modern Art, NYC, February 9, 1961

Tracklisting:

• Kush (10:32)
• Salt Peanuts (7:02)
• Night In Tunisia (6:40)
• 11:32 (11:32)

 

Dizzy Gillespie

John Birks « Dizzy » Gillespie, né à Cheraw en Caroline du Sud le 21 octobre 1917, mort le 6 janvier 1993, était un trompettiste, compositeur et chef d’orchestre de jazz américain.

Avec Miles Davis et Louis Armstrong, il est l’un des trois plus importants trompettistes de l’histoire du jazz, ayant participé à la création du style Bebop et contribué à introduire les rythmes latino-américains dans le jazz.

Dizzy Gillespie

 

Dizzy Gillespie se distinguait en particulier par sa trompette au pavillon incliné vers le haut,il bouchait sa trompette d’un bouchon. Ses joues gonflées à bloc comme celles d’un crapaud, ainsi que sa joie de vivre et son humour ravageur qui sont pour beaucoup dans sa popularité auprès du public. En tant que musicien, il avait une technique époustouflante et une vitesse de jeu impressionnante.

Il joue avec Charlie Parker dans des clubs de jazz tels que Minton’s Playhouse et Monroe’s Uptown House ( le berceau du bebop ). Ses compositions (“Groovin’ High”, “Woody n’ You”, “Anthropology”, “Salt Peanuts”, and “A Night in Tunisia”) sonnent radicalement différemment du Swing de l’époque. Un de leurs premiers concerts (au New York’s Town Hall le 22 juin 1945) est seulement sorti en 2005. Gillespie enseigne le nouveau style à de jeunes musiciens de la 52e rue, parmi eux … Miles Davis et Max Roach.

Le groupe se sépare, après un séjour au Billy Berg Club à Los Angeles où le bebop reçoit un accueil mitigé.

Contrairement à Parker, qui aime jouer dans des petites formations et occasionnellement en tant que soliste dans des big bands, Dizzy Gillespie préfère diriger un big band; il tente l’expérience pour la première fois en 1945, mais le succès n’est pas trop au rendez-vous.

Après ses travaux avec Charlie Parker, Gillespie mène d’autres petites formations avec des musiciens tels que Milt Jackson, John Coltrane, Lalo Schifrin. Il apparaît également fréquemment en tant que soliste au Jazz at the Philharmonic sous la direction de Norman Granz.

Le 11 mars 1952, Gillespie quitte les États-Unis pour la France. Il est invité par Charles Delaunay pour jouer au Salon du Jazz. [1] Gillespie qui n’a pas d’autre engagement à Paris en profite pour créer son troisième big band. Grâce à ses succès, il peut enregistrer dans les lieux les plus prisés de Paris (comme au Théâtre des Champs-Élysées). En 1953, il revient aux États-Unis après une série de concerts et d’enregistrements.