Wes Montgomery With Wynton Kelly Trio - Smokin' At The Half Note

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label:Verve
Year Released: 1965
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Wes Montgomery & The Wynton Kelly Trio - Four On Six

Σύνθεση Μουσικών:
Wes Montgomery : Κιθάρα
Wynton Kelly: Πιάνο
Paul Chambers: Κοντραμπάσο
Jimmy Cobb: Τύμπανα

About Wes Montgomery

John Leslie "Wes" Montgomery (6 March 1925 - 15 June 1968) was an American jazz guitarist. He is generally considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino and Pat Metheny.

Montgomery was born in Indianapolis, Indiana. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning guitar at the age of 19, listening to and learning recordings of his idol, the guitarist Charlie Christian. He was known for his ability to play Christian solos note for note and was hired by Lionel Hampton for this ability.

Montgomery is often considered the greatest of modern jazz guitarists. Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes arguably put guitar on the map as a bebop or post-bop instrument. Although Johnny Smith was the guitarist in the original New York Bebop scene, and both Tal Farlow and Jimmy Raney made significant contributions in the 1950's to bebop guitar, each of these men curtailed their own output in the 1960s, creating a vacuum that Montgomery naturally filled with virtuousic playing. While many Jazz players are regarded as virtuosos, Montgomery was unique in his wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that many try to emulate.

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderly later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965-1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

Wes Montgomery died of a heartattack on June 15, 1968 in Indianapolis, Indiana, USA.

About Wynton Kelly
Wynton Kelly (December 2, 1931 – April 12, 1971) was a Jamaican-born jazz pianist, who spent his career in the United States. He is perhaps best known for working with trumpeter Miles Davis from 1959-1962.

Son of Jamaican immigrants, Kelly was born in Jamaica, and started his professional career as a teenager, initially as a member of R&B groups. After working with Lee Abrams, Cecil Payne, Dinah Washington and Dizzy Gillespie, he was a member of Miles Davis' Quintet from 1959 to 1963. He appears on Davis' seminal 1959 album Kind of Blue, replacing Bill Evans on the track "Freddie Freeloader". He likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on "Naima".

He recorded 14 titles for Blue Note in a trio (1951), and worked with Washington, Gillespie, and Lester Young during 1951-1952. After serving in the military, he worked with Washington (1955–1957), Charles Mingus (1956–1957), and the Dizzy Gillespie Big Band (1957), but he would be most famous for his stint with Miles Davis (1959–1963), recording such albums with him as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio.

Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone. Kelly had a daughter, Tracy, in 1963, with partner Anne. The track, "Little Tracy", from the LP Comin' in the Back Door, is named after Kelly's daughter. Tracy Matisak is a now a Philadelphia television personality.

Kelly's second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s.

Kelly died in Toronto, Canada, from an epileptic seizure in April 1971.

Cannonball Adderley - Money In The Pocket

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Capitol
Year Released: 1966
Album Covers: Included
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Cannonball Adderley - Money In The Pocket

Σύνθεση Μουσικών:
Cannonball Adderley: Άλτο Σαξόφωνο
Nat Adderley: Κορνέτα
Joe Zawinul: Πιάνο
Herbie Lewis: Μπάσο
Roy McCurdy: Τύμπανα

About Cannonball Adderley

Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard-bop era of the 1950s and 1960s.

Adderley is remembered for his 1966 single "Mercy Mercy Mercy", a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue (1959). He was the brother of jazz cornetist Nat Adderley, a longtime member of his band.

Originally from Tampa, Florida, Adderley moved to New York in the mid-1950s. His nickname derived originally from "cannibal," a honorific title imposed on him by high school colleagues as a tribute to his fast eating capacity.

His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.

It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.

Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.

Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.

His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.

The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success.

The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as:

• pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke, Wynton Kelly, Bill Evans
• bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin
• drummers Louis Hayes, Roy McCurdy
• saxophonists Charles Lloyd, Yusef Lateef.

The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but doing it without making artistic concessions.

By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter. In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood. In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.

Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.

Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.

Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University).

Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.

Power To The People - Joe Henderson

Rating: 5.5/10
Sound Quality: Lossless
Format: Flac
Record Label: Milestone
Year Released: 1969
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Joe Henderson - Lazy Afternoon

Σύνθεση Μουσικών:
Joe Henderson: Τενόρο Σαξόφωνο
Mike Lawrence: Τρομπέτα
Herbie Hancock: Πλήκτρα
Ron Carter: Μπάσο
Jack DeJohnette: Τύμπανα

About Joe Henderson

Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than forty years Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.

From a very large family with five sisters and nine brothers, Henderson was born in Lima, Ohio, and was encouraged by his parents and an older brother James T. to study music. He even dedicated his first album to them "for being so understanding and tolerant" during his formative years. Early musical interests included drums, piano, saxophone and composition. According to Kenny Dorham, two local piano teachers who went to school with Henderson's brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother's record collection. It seems that a hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. His first approach to the saxophone was under the tutelage of Herbert Murphy in high school. In this period of time, he wrote several scores for the school band and rock groups.

By eighteen, Henderson was active on the Detroit jazz scene of the mid-'50s, playing in jam sessions with visiting New York stars. While attending classes of flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renown teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration. He also studied music at Kentucky State College.

Shortly prior to his army induction in 1960, Henderson was commissioned by UNAC to write some arrangements for the suite "Swings and Strings", which was later performed by a ten-members orchestra and the local dance band of Jimmy Wilkins.

He spent two years (1960–1962) in the U.S. Army: firstly in Fort Benning, where he even competed in the army talent show and won the first place, then in Fort Belvoir, where he was chosen for a world tour, with a show to entertain soldiers. While in Paris, he met Kenny Drew and Kenny Clarke. Then he was sent to Maryland to conclude his draft. In 1962, he was finally discharged and promptly moved to New York. He first met trumpeter Kenny Dorham, an invaluable guidance for him, at saxophonist Junior Cook's place. That very evening, they went see Dexter Gordon playing at the Birdland. Henderson was asked by Gordon himself to play something with his rhythm section; needless to say, he happily accepted.

Although Henderson's earliest recordings were marked by a strong hard-bop influence, his playing encompassed not only the bebop tradition, but R&B, Latin and avant-garde as well. He soon joined Horace Silver's band and provided a seminal solo on the jukebox hit "Song for My Father". After leaving Silver's band in 1966, Henderson resumed freelancing and also co-led a big band with Kenny Dorham. His arrangements for the band went unrecorded until the release of Joe Henderson Big Band (Verve) in 1996.

From 1963 to 1968, Joe appeared on nearly thirty albums for Blue Note, including five released under his name. The recordings ranged from relatively conservative hard-bop sessions (Page One, 1963) to more explorative sessions (Inner Urge and Mode for Joe, 1966). He played a prominent role in many landmark albums under other leaders for the label including most of Horace Silver's swinging and soulful Song For My Father, Herbie Hancock's dark and densely orchestrated The Prisoner, Lee Morgan's hit album The Sidewinder and 'out' albums with pianist Andrew Hill (Black Fire 1963 and Point of Departure, 1964) and drummer Pete La Roca (Basra, 1965).

In 1967, there was a notable, but brief, association with Miles Davis's quintet featuring Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams, although the band was never recorded. Henderson's adaptability and eclecticism would become even more apparent in the years to follow.

Signing with Orrin Keepnews's fledgling Milestone label in 1967 marked a new phase in Henderson’s career. He co-led the Jazz Communicators with Freddie Hubbard from 1967-1968. Henderson was also featured on Hancock's Fat Albert Rotunda for Warner Bros. It was during this time that Henderson began to experiment with jazz-funk fusion, studio overdubbing, and other electronic effects. Song and album titles like Power To the People, In Pursuit of Blackness, and Black Narcissus reflected his growing political awareness and social consciousness, although the last album was named after the Powell and Pressburger film of 1947.

After a brief association with Blood, Sweat & Tears in 1971, Henderson moved to San Francisco and added teaching to his résumé. He continued to record and perform as always, but seemed to be taken for granted by jazz audiences.

Though he occasionally worked with Echoes of an Era, the Griffith Park Band and Chick Corea, Henderson remained primarily a leader throughout the 1980s. An accomplished and prolific composer, he began to focus more on reinterpreting standards and his own earlier compositions. Blue Note attempted to position the artist at the forefront of a resurgent jazz scene in 1986 with the release of the two-volume State of the Tenor recorded at the Village Vanguard in New York City. The albums (with Ron Carter on bass and Al Foster on drums) revisited the tenor trio form used by Sonny Rollins in 1957 on his own live Vanguard albums for the same label. Henderson established his basic repertoire for the next seven or eight years, with Monk's "Ask Me Now" becoming a signature ballad feature.

It was only after the release of An Evening with Joe Henderson, a live trio set (featuring Charlie Haden and Al Foster) for the Italian independent label Red Records that Henderson underwent a major career change: Verve took notice of him and in the early 1990s signed him. That label adopted a 'songbook' approach to recording him, coupling it with a considerable marketing and publicity campaign, more successfully positioned Henderson at the forefront of the contemporary jazz scene. His 1992 'comeback' album Lush Life: The Music of Billy Strayhorn was a commercial and critical success and followed by tribute albums to Miles Davis, Antonio Carlos Jobim and a rendition of the George Gershwin opera Porgy and Bess.

On June 30, 2001, Joe Henderson died due to heart failure after a long battle with emphysema.

Think! - Lonnie Smith

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Blue Note
Year Released: 1968
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Note From Dada!
Ακόμα κι αν δεν έχει τύχει να ακούσει κανείς το συγκεκριμένο δισκάκι του Lonnie Smith (πράγμα δύσκολο βέβαια... και ιδιαίτερα για τους λάτρεις της soul jazz), μια ματιά στους μουσικούς που αποτελούν το σχήμα του "Think!" είναι αρκετή για να πείσει κάθε "δύσπιστο ακροατή" ότι το εν λόγω album "απαιτεί" να του δείξει κανείς τη δέουσα...ακρόαση. Με τον Lee Morgan να "βγαίνει" απ' τα στενά όρια του hard bop και να τα καταφέρνει εξίσου καλά και σ' αυτόν τον ήχο - με τον Newman ο οποίος ούτως ή άλλως είχε απο πολύ νωρίς αρκετές "soul επιρροές" στον ήχο του και με τον "συνήθη ύποπτο" σε τέτοια album Melvin Sparks στην κιθάρα μιλάμε για μία dream team μουσικών που συμπληρώνεται από τον Marion Booker Jr. στα τύμπανα (σχεδόν πάντα συνεργός στις δουλειές του George Benson τη δεκαετία του 70), τον Henry "Pucho" Brown στα Timbales και από το δίδυμο των Willie Davis και Norberto Apellianz στα κρουστά.
Το "Think!" είναι ο παρθενικός δίσκος του Smith στη Blue Note και ο δεύτερος προσωπικός του και για τα δικά μου δεδομένα είναι απ' τους πρώτους δίσκους που μου έρχονται στο νου όταν σκέφτομαι εκείνο το "πάντρεμα" της soul μουσικής με την jazz (ίσως αμέσως μετά το "Double Barrelled Soul" της συνεργασίας των David Newman & Jack McDuff).
Ακόμα κι απ' τον τίτλο του album μπορεί κανείς να καταλάβει περι τίνος πρόκειται καθώς εδώ διασκευάζεται με εξαιρετικό τρόπο το πασίγνωστο "Think" της Aretha Franklin (το οποίο και ποστάρω ως πρόγευση). Ενδιαφέρον έχει το γεγονός ότι άλλος ένα οργανίστας της jazz -ο Jimmy McGriff- διασκεύασε μόλις ένα μήνα* αργότερα στο δίσκο του "The Worm" το κομμάτι της Franklin. Παρ' όλα αυτά νομίζω ότι η προσέγγιση του Smith είναι μακράν καλύτερη.
Το δισκάκι ανοίγει με μία σύνθεση του μεγάλου Νότιοαφρικανού τρομπετίστα Hugh Masekela το "Son Of Ice Bag" ενώ το album συμπληρώνεται από δύο συνθέσεις του ίδιου του οργανίστα (The Call Of The Wild και Slouchin') και απ' το παραδοσιακό "Three Blind Mice".

Σας φιλώ στο μόντεμ!
Radiodada

* Think (Ιούλιος 1968) - The Worm (Αύγουστος 1968)

Lonnie Smith - Think!

Lonnie Smith - Son Of Ice Bag

Σύνθεση Μουσικών:
Lonnie Smith: Hammond
Lee Morgan: Τρομπέτα
David Newman: Τενόρο Σαξόφωνο, Φλάουτο
Melvin Sparks: Κιθάρα
Marion Booker Jr.: Τύμπανα
Henry "Pucho" Brown: Timbales

Willie Davis/Norberto Apellianz: Κόνγκα, Κρουστά

About Lonnie Smith

Dr. Lonnie Smith (born July 3, 1942 in Lackawanna, New York) is a jazz Hammond B3 organist and pianist.
He was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music. He was part of several vocal ensembles in the 1950s, including the Teen Kings. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.

Smith's affinity for R&B melded with his own personal style as he became active in the local music scene. He moved to New York City, where he met George Benson, the guitarist for Jack McDuff's band. Benson and Smith connected on a personal level, and the two formed the George Benson Quartet, featuring Lonnie Smith, in 1966.

After two albums under Benson's leadership, It's Uptown and Cookbook, Smith recorded his first solo album (Finger Lickin' Good) in 1967, with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years.

After recording several albums with Benson, Smith became a solo recording artist and has since recorded over 30 albums under his own name. Numerous prominent jazz artists have joined Smith on his albums and in his live performances, including Lee Morgan, David "Fathead" Newman, King Curtis, Terry Bradds, Blue Mitchell, Joey DeFrancesco and Joe Lovano.

In 1967, Smith met Lou Donaldson, who put him in contact with Blue Note Records. Donaldson asked the quartet to record an album for Blue Note, Alligator Bogaloo. Blue Note signed Smith for the next four albums, all in the soul jazz style, including Think (with Melvin Sparks, Marion Booker, Lee Morgan and David Newman) and Turning Point (with Lee Morgan, Bennie Maupin, Melvin Sparks and Idris Muhammad). Smith also plays for college universities across the nation.

Smith's next album Move Your Hand was recorded at the Club Harlem in Atlantic City, New Jersey in August 1969. The album's reception allowed his reputation to grow beyond the Northeast. He would record another studio album Drives and one more live album Live at Club Mozambique (recorded in Detroit on May 21, 1970) before leaving Blue Note.

In the mid-1970s, Dr. Lonnie Smith converted to Sikhism. Smith has also been referred to from around that time as "Dr. Lonnie Smith" although the honorific does not represent an academic doctorate degree.

Smith toured the northeastern United States heavily during the 1970s. He concentrated largely on smaller neighborhood venues during this period. His sidemen included Ronnie Cuber, Dave Hubbard, Bill Easley and George Adams on sax, Donald Hahn on trumpet, George Benson and Larry McGee on guitars, and Joe Dukes, Sylvester Goshay, Phillip Terrell, Marion Booker, Jimmy Lovelace, Charles Crosby, Art Gore, Norman Connors and Bobby Durham on drums.

Smith has performed at several prominent jazz festivals with artists including Grover Washington, Jr., Ron Carter, Dizzy Gillespie, Lou Donaldson and Ron Holloway. He has also played with musicians outside of jazz, such as Dionne Warwick, Gladys Knight, Etta James, Joan Cartwright, and Esther Phillips.

He was named the "Organ Keyboardist of the Year" in 2003, 2004, 2005, 2008, and 2009 by the Jazz Journalist Association.

Red Clay - Freddie Hubbard

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: CTI
Year Released: 1970
Album Covers: Included
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Freddie Hubbard - Red Clay

Σύνθεση Μουσικών:
Freddie Hubbard: Τρομπέτα
Herbie Hancock: Πιάνο
Ron Carter: Μπάσο
Lenny White: Τύμπανα
Joe Hendrerson: Σαξόφωνο

Σύνθεση Μουσικών (Bonus Track - Red Caly Live):
Freddie Hubbard: Τρομπέτα
Ron Carter: Μπάσο
Billy Cobham: Τύμπανα
Stanley Turrentine: Τενόρο Σαξόφωνο
George Benson: Κιθάρα
Johnny Hammond: Ηλεκτρικό Πιάνο/Hammond
Airto Moreira: κρουστά

About Freddie Hubbard

Frederick Dewayne Hubbard (7 April 1938 – 29 December 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 60s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.

Hubbard started playing the mellophone and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.

In December 1960 Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him playing with Don Cherry.

Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard would join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.

It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.

Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil.He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the '60s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension.

Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.

In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979). Hubbard's trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.

In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.

Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.

In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award. On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star reported that Hubbard died from complications from a heart attack suffered on November 26 of the same year. Billboard magazine reported that Hubbard died in Sherman Oaks, California.

Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people."The Jazz Foundation of America’s Musicians' Emergency Fund took care of Freddie during times of illness. After his passing Mr. Hubbard’s estate requested that tax deductible donations be made in Freddie’s name to The Jazz Foundation of America.

Power Of Soul - Idris Muhammad

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: CTI
Year Released: 1974
Album Covers: Included
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Idris Muhammad - Loran's Dance

Σύνθεση Μουσικών:
Idris Muhammad: Τύμπανα
Groover Washington Jr.: Σοπράνο & Τενόρο Σαξόφωνο
Bob James: Πλήκτρα

Gary King: Ηλεκτρικό Μπάσο

Joe Beck: Κιθάρα
Ralph McDonald: Κρουστά
Randy Becker: Τρομπέτα, Flugelhorn

About Idris Muhammad

Idris Muhammad (born Leo Morris, November 13, 1939, New Orleans, Louisiana; Arabic: إدريس محمد‎) is a jazz drummer. He changed his name in the 1960s upon his conversion to Islam. He is known for his funky playing style. He has released a number of albums as leader, and has played with a number of jazz legends including Lou Donaldson, Johnny Griffin, Pharoah Sanders and Grover Washington, Jr. He has been touring and recording with pianist Ahmad Jamal since 1995. At 15 years-old, one of Muhammad's earliest recorded sessions as a drummer was on Fats Domino's 1956 hit "Blueberry Hill".

In 1966, he married Dolores "LaLa" Brooks (former member of the Crystals; she converted to Islam with him and went for a time under the name Sakinah Muhammad). They separated in 1999. Together, they have two sons and two daughters. Muhammad is an endorser of Istanbul Agop Cymbals. who issued a 22" Idris Muhammad Signature Ride in at the 2008 NAMM show in Anaheim, California.

Common Touch - Stanley Turrentine (Featuring Shirley Scott)

Rating: 5.5/10
Sound Quality: Lossless
Format: Flac
Record Label: Blue Note
Year Released: 1968
Album Covers: Included
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Note From Dada!

Ώτα μου καλησπέρα και καλή εβδομάδα.
Στα ίδια μουσικά μήκη και πλάτη με το προηγούμενο album ("Respect") του Jimmy Smith θα κινηθούμε, με έναν groovy/funk/soul/jazz δίσκο του σαξοφωνίστα Stanley Turrentine.
Μαζί του και σ' αυτον το album συμμετέχει παίζοντας Hammond η σύζυγός του, η εξαιρετική Shirley Scott η οποία υπογράφει και τη σύνθεση ενός κομματιού ("Boogaloo").
Καταλυτική επίσης είναι και η συμμετοχή του "συνήθη υπόπτου" (σε τέτοια ακούσματα) Idris Muhammad στα τύμπανα, την παρουσία του οποίου παίρνει κανείς χαμπάρι απ' τα πρώτα κιόλας μέτρα του "Buster Brown" που ανοίγει το δίσκο και που ακολουθεί σε video μορφή.
Αξιόλογη η διαδκευή πάνω στο κλάσικ του Dylan το "Blowing In The Wind" ενώ στις ωραίες στιγμές του δίσκου συγκαταλαγέται και το "Living Through It All".

Καλή ακρόαση.

Radiodada

Stanley Turrentine - Buster Brown

Σύνθεση Μουσικών:
Stanley Turrentine: Τενόρο Σαξόφωνο
Shirley Scott: Hammond
Jimmy Pond: Κιθάρα

Bob Cranshaw: Ηλεκτρικό Μπάσο

Idris Muhammad/Ray Lucas: Τύμπανα

About Stanley Turrentine

Stanley William Turrentine, also known as "Mr. T" or "The Sugar Man", (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist.

Turrentine was born in Pittsburgh's Hill District into a musical family. His father, Thomas Turrentine, Sr., was a saxophonist with Al Cooper's Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine also became a professional trumpet player.

He began his prolific career with blues and rhythm and blues bands, and was at first greatly influenced by Illinois Jacquet. In the 1950s, he went on to play with the groups of Lowell Fulson, Earl Bostic, and at the turn of the decade, Max Roach.

He married the organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader.

In the 1970s, after his professional split and divorce from Scott, Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, "Sugar" proved one of his biggest successes and a seminal recording for the label. He worked with Freddie Hubbard, Milt Jackson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s.

Turrentine lived in Ft. Washington, Maryland from the early 90s until his death. He died of a stroke in New York City on September 12, 2000 and is buried in Pittsburgh's Allegheny Cemetery.

About Shirley Scott

Shirley Scott (March 14, 1934 – March 10, 2002) was an American hard bop and soul-jazz organist. She was most known for working with her husband, Stanley Turrentine, and with Eddie "Lockjaw" Davis. She was known as 'Queen of the Organ'.

Born in Philadelphia, Pennsylvania, Scott was an admirer of Jimmy Smith, and played piano and trumpet before moving to the Hammond organ, her main instrument, though on occasion she still played piano. In the 1950s she became known for her work (1956–1959) with the saxophone player Eddie Davis, particularly on the song "In the Kitchen". She was married to Stanley Turrentine and played with him from 1960 to 1969. Later, she led her own group, mostly a trio. Saxophonist Harold Vick often played with her.

In the 1980s, she became a jazz educator and became a highly known and respected member of Pittsburgh, Pennsylvania's jazz community.

Scott died of heart failure in 2002, which was hastened by the diet drug fen-phen. Scott won an $8 million settlement in February 2000 against American Home Products, the manufacturers of the drug cocktail.

Respect / Livin' It Up - Jimmy Smith

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Verve
Year Released: 1967 (Respect), 1968 (Livin' It Up), Reissue (2010)
Album Covers: Included
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Note From Dada!
Γεια σας ώτα μου και ευτιχισμένος ο καινούργιος θρόνος.
Μία ακόμα "σύμπτυξη" δύο album σε ένα cdακι, αλλά αυτή τη φορά από τη Verve. Δύο δίσκοι του Jimmy Smith από τα τέλη της δεκαετίας των sixties που αν και κυκλοφόρησαν με μόλις έναν χρόνο διαφορά μεταξύ τους, είναι εκ διαμέτρου αντίθετοι και από αισθητικής άποψης αλλά και περιεχομένου.
Και τι εννοώ...
Ας κάνουμε λοιπόν μία εικασία.
Ας υποθέσουμε ότι κάποιος (που δεν γνωρίζει τα εν λόγω album) πηγαίνει σε ένα κατάστημα δίσκων.
Εκεί λοιπόν που ψάχνει στο ράφι με κυκλοφορίες του Smith συναντάει πρώτα το "Livin' It Up" με τον "πρωταγωνιστή" να βρίσκεται έξω από ένα πολυτελές ξενοδοχείο, να λέει "εβίβα" με μία απαστράπτουσα οδοντοστοιχία κρατώντας ένα ποτήρι σαμπάνια, δίπλα από μία μερσέντα και έχοντας για παρέα του μία μαύρη καλλονή η οποία τον συντροφευέι στην σαμπανοποσία...
Ο φανταστικός λοιπόν αγοραστής βγάζει εκτός ραφιού αυτό το δισκάκι και το αφήνει στην γωνία στα υπ' όψιν προς αγορά. Συνεχίζει λοιπόν το ψάξιμο και το επόμενο πράγμα που βλέπει μπροστά του είναι τον διάσημο κιμπορντίστα ντυμένο αλά Ralph Macio στο "Καράτε Κιντ" μπροστά από ένα Hammond να κάνει επίδειξη δύναμης και τεχνικής τρέποντας σε φυγή όλα τα τσογλάνια του "Cobra Kai" (εεεε....μην εξηγούμε και τα αυτονόητα...).
Τι κάνει λοιπόν? Καταρχήν αναφωνεί "Respect!" για ένα απ' τα καλύτερα (χιουμοριστικά) album της jazz δισκογραφίας, παρατάει φυσικά το κακαίσθητο "Livin' It Up" και τέλος κατευθύνεται προς το ταμείο (προαιρετικό).
Αν λοιπόν "η θεωρία των εξωφύλλων" έχει μία υπόσταση -δηλαδή "What You See Is What You Get"- σ' αυτήν την επανέκδοση αποδεικνύεται περίτρανα. Το "Respect" είναι από εκείνα τα πολύ καλά δισκάκια του Jimmy Smith και γενικότερα της jazz δισκογραφίας οπου η jazz αναμείχθηκε με εξαιρετικό τρόπο με την funk και soul μουσική και απέκτησε αρκετά groovy στοιχεία.
Εκτός απ' την μοναδική σύνθεση του Smith στο δίσκο το "T-Bone Steak", τα υπόλοιπα κομμάτια είναι διασκευές που προέρχονται κυρίως από τον χώρο της soul & funk μουσικής όπως το ομώνυμο "Respect" και το "Get Out My Life Woman" του Allen Toussaint ενώ το album ανοίγει με την προσέγγιση του Smith πάνω στο κλάσικ του Josef Zawinul "Mercy, Mercy, Mercy". To κλείσιμο όμως αυτής της επανέκδοσης του "Respect" είναι δυσανάλογο με το ξεκίνημα της καθώς η εταιρεία "κότσαρε" ως Bonus Track το άκρως απογοητευτικό "Mickey Mouse" (no comment!)  από ένα σινγκλάκι του καλλιτέχνη...
Τέλος το album συμπληρώνεται από το "Funky Broadway" το οποίο και "οπτικοποιήσα"...για να πάρετε μία γεύση από τον δίσκο.
Όσο αφορά τώρα το "Livin' It Up" και για να μην βάλω όλα τα κομμάτια του δίσκου στο ίδιο τσουβάλι, θα έλεγα ότι κομμάτια όπως το "Burning Spear", το "Big Boss Man" και το "Refractions" του Oliver Nelson ανήκουν στις θετικές στιγμές του δίσκου.

Καλή ακρόαση.
Σας φιλώ στο μόντεμ!

Radiodada

Jimmy Smith - Funky Broadway

Σύνθεση Μουσικών (Respect):
Jimmy Smith: Hammond
Eric Gale/Thornel Schwartz: Κιθάρα

Ron Carter/Bob Bushnell: Μπάσο

Grady Tate/Bernard Purdie: Τύμπανα

Σύνθεση Μουσικών (Livin' It Up):
Jimmy Smith: Hammond
Conte Cantoli: Τρομπέτα

Ernie Tack/Billy Byers: Τρομπόνι

Plas Johnson: Τενόρο Σαξόφωνο

Tom Scott: Σαξόφωνο

Howard Roberts: Κιθάρα

Ray Brown: Μπάσο

Carol Kaye: Fender Bass

Larry Bunker: Κρουστά

About Jimmy Smith

Jimmy Smith (December 8, 1925 [birth year is disputed and is often given as 1928] – February 8, 2005) was a jazz musician whose performances on the Hammond B-3 electric organ helped to popularize this instrument. In 2005, Jimmy Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honors that the United States bestows upon jazz musicians.Originally a pianist, Smith switched to organ in 1953 after hearing Wild Bill Davis. He purchased his first Hammond B-3 organ, rented a warehouse to practice in and emerged after little more than a year with an exciting new sound which was to completely revolutionize the way in which the instrument could be played. On hearing him playing in a Philadelphia club, Blue Note's Alfred Lion immediately signed him to the label and with his second album, also known as The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and as a leader, recorded around 40 sessions for Blue Note in just 8 years beginning in 1956. His most notable albums from this period include The Sermon!, House Party, Home Cookin' , Midnight Special, Back at the Chicken Shack and Prayer Meetin' .

Smith then signed to Verve Records label in 1962. His first album Bashin', sold well and for the first time, set Smith with a big band led by Oliver Nelson. Further Big band collaborations followed, most successfully with Lalo Schifrin for The Cat and guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo and Further Adventures Of Jimmy and Wes. Other notable albums from this period include Blue Bash and Organ Grinder's Swing with Kenny Burrell, The Boss with George Benson, Who's Afraid of Virginia Woolf?, Got My Mojo Workin, and the funky Root Down.During the 50s and 60s, Smith recorded with some of the great jazz musicians of the day such as Kenny Burrell, George Benson, Grant Green, Stanley Turrentine, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Grady Tate and Donald Bailey. In the 1970s, Smith opened his own supperclub in L.A. and played there regularly.

Smith had a career revival in the 1980s and 90s, again recording for Blue Note and Verve, and for Milestone and Elektra. Smith also recorded with other artists including Quincy Jones/Frank Sinatra, Michael Jackson, Dee Dee Bridgewater and Joey DeFrancesco. His last major album Dot Com Blues (Blue Thumb, 2000), featured many special guests such as Dr. John, B.B.King and Etta James.

Soul Trombone / Cabin In The Sky - Curtis Fuller

Rating: 5/10
Sound Quality: Lossless
Format: Flac
Record Label: Impulse
Year Released: 1961 (Soul Trombone), 1962 (Cabin In The Sky)
Album Covers: Included
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Note From Dada!
Δεν έχω πάρα πολλά δισκάκια στην δισκοθήκη μου από αυτή την σειρά "2 on 1" της Impulse αλλά αν εξαιρέσω τις επανεκδόσεις των δίσκων του Hamilton (βλ. προηγούμενο post) και κανένα δυο-τρία ακόμα δισκάκια, έχω μία αίσθηση ότι σ' αυτές τις επανκδόσεις (και πραγματικά θα προτιμούσα να κάνω λάθος...) το ένα δισκάκι είναι από καλό εώς και εξαιρετικό και το άλλο από μέτριο ως κακό.

Κι αφού λοιπόν δεν έχω πλήρη "εικόνα" των εκδόσεων αυτών, ας περιορίσω αυτή μου την "κριτική" μόνο για αυτό Cd του Curtis Fuller αποτελούμενο από το "Soul Trombone" και το "Cabin In The Sky".
Κι ενώ λοιπόν το "Soul Trombone" είναι κατά τη γνώμη μου απ' τα καλά δισκάκια του Fuller το "Cabin In The Sky" (το οποίο αγνοούσα και το άκουσα πρώτη φορά απ' αυτήν την επανέκδοση) είναι τουλάχιστον απογοητευτικό (κι από την άποψη των συνθέσεων αλλά κυρίως από την άποψη της ενορχήστρωσης)...αλλά και πάλι όπως άλλωστε συμβαίνει σ' αυτές τις περιπτώσεις μία "κολοκυθόπιτα" θα έρθει να τακτοποιήσει τις διαφορές των ουρανίσκων....
Για να πάρετε λοιπόν μία γεύση από το πολύ καλό "Soul Trombone" -που άλλωστε είναι και η "ουσία" αυτής της ανάρτησης- σας ποστάρω σε video μορφή το κομμάτι που ανοίγει τον δίσκο, το εξαιρετικό "The Clan".
Σας φιλώ στο μόντεμ!

Radiodada

Curtis Fuller - The Clan

Σύνθεση Μουσικών (Soul Trombone):
Curtis Fuller: Τρομπόνι
Freddie Hubbard: Τρομπέτα
Jimmy Heath: Τενόρο Σαξόφωνο
Cedar Walton: Πιάνο
Jumie Merritt: Κοντραμπάσο
Jimmy Cobb/Graville T.Hogan: Τύμπανα

Σύνθεση Μουσικών (Cabin In The Sky):
Curtis Fuller: Τρομπόνι
Eddie Costa: Βιμπράφωνο, Κρουστά
Hank Jones: Πιάνο
Milt Hinton, Art Davis: Κοντραμπάσο
Osie Johnson: Τύμπανα

Διεύθυνση Ορχήστρας: Manny Albam

About Curtis Fuller

Fuller's parents were Jamaican and died when he was young; he was raised in an orphanage as a result. While in Detroit he was a schoolfriend of Paul Chambers and Donald Byrd, and also knew Tommy Flanagan, Thad Jones and Milt Jackson.

After army service between 1953 and 1955 (when he played in a band with Chambers and brothers Cannonball and Nat Adderley), Fuller joined the quintet of Yusef Lateef, another Detroit musician. In 1957 the quintet moved to New York, and Fuller recorded his first sessions as a leader for Prestige Records.

Alfred Lion of Blue Note Records first heard him playing with Miles Davis in the late fifties, and featured him as a sideman on record dates led by Sonny Clark and John Coltrane; Fuller's work on the latter's Blue Train album is probably his best known recorded performance. Fuller led four dates for Blue Note, though one of these, an album with Slide Hampton, was not issued for many years. Other sideman appearances over the next decade included work on albums under the leadership of Bud Powell, Jimmy Smith, Wayne Shorter, Lee Morgan and Joe Henderson (a former room mate at Wayne State University in 1956). Fuller is particularly proud of being the only trombonist to have recorded with Coltrane, Powell and Smith, all in August or September 1957.

He was also the first trombonist to be a member of the Art Farmer-Benny Golson Jazztet, later becoming the sixth man in Art Blakey's Jazz Messengers in 1961, staying with Blakey until 1965. In the early 1960s he recorded two albums as leader for Impulse! Records, having also recorded for Savoy Records and Epic after his obligations with Blue Note had ended.

In the late sixties he was part of Dizzy Gillespie's band, and he went on to tour with Count Basie and to reunite with Blakey and Golson. He continues to perform and record.

On January 13, 2010, Curtis' wife, Catherine Rose Driscoll Fuller died.

El Chico / The Further Adventures Of El Chico - Chico Hamilton

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Impulse
Year Released: 1966
Album Covers: Included
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Note From Dada!
Όταν μιλάμε για jazz δισκογραφικές εταιρείες οι πρώτες που μου έρχονται εμένα στο νου είναι η Blue Note, η Prestige, η Riverside, η Verve και φυσικά η Impulse*. Και ενώ οι τέσσερεις πρώτες (λίγο ή πολύ) έχουν εκδώσει ένα...ικανοποιητικό μέρος των αναλογικών τους ηχογραφήσεων σε ψηφιακή μορφή (μιλάω για Cd και όχι mp3 downloading) η Impulse δεν έκανε το ίδιο, με αποτέλεσμα αν ήθελε κάποιος να ακούσει για παράδειγμα το δισκακι  του Chico Hamilton "El Chico" -καλή ώρα- ή θα έπρεπε να δώσει πολύ περισσότερα χρήματα από ένα Cdάκι για το αγοράσει (μεταχειρισμένο φυσικά...) σε βινύλιο (αν βέβαια διέθετε πικάπ) ή να το ψάξει στο  internet μπας και κανένας χριστιανός-μωαμεθανός ή λάτρης του κουμφούκιου τον είχε φωτίσει ο μεγαλοδύναμός του να το ρίπαρει και στη συνέχεια να το μοιράσει με άλλους αλλόθρησκους διαδικτυακά.
Όπως και να 'χει πάντως η Impulse είτε για ανταγωνιστικούς είτε για άλλους λόγους "αποφάσισε" τελικά να εκδόσει σε Cd κάποιους δίσκους της, σε μία σειρά υπό τον τίτλο "2 on 1" όπου δύο δίσκοι εμπεριέχονται σε ένα Cd.
Από αυτή λοιπόν τη σειρά σας ποστάρω μία απ' τις καλύτερες επανεκδόσεις που περιέχει τα "El Chico" και "The Further Adventures Of El Chico" του Chico Hamilton.
Και οι δύο δίσκοι κυκλοφόρησαν την ίδια χρονιά (1966) και πάνω-κάτω η σύνθεση των μουσικών είναι όμοια με την (αισθητή) απουσία όμως (και στα δύο αυτά album) του ως τότε "συνήθη ύποπτου" συνεργάτη του Hamilton, τον Charles Lloyd.

Εεεε...και επειδή έκανα την αρχή με τα videakια σας ποστάρω λοιπόν δύο ακόμα απ' τα χεράκια μου. Το "Strange" από το  "El Chico" και το εξαιρετικό (άσχετα αν είναι για πιο καλοκαιρινές ακροάσεις) "Got My Mojo Working".
Καλή Ακρόαση!

Radiodada

ΥΓ. Προφανώς μέσα στις σημαντικότερες jazz δισκογραφικές θα έπρεπε να αναφέρω π.χ.  την Columbia, την Atlantic και άλλες πολλές...αλλά για να μην παρεξηγηθώ αυτό το "μου έρχονται στο νου πρώτες" έχει να κάνει φυσικά με τα γούστα μου...

 

Got My Mojo Working - Chico Hamilton

Strange - Chico Hamilton

Σύνθεση Μουσικών (El Chico):

Chico Hamilton: Τύμπανα
Jimmy Cheatham: Τρομπόνι
Sadao Watanabe: Άλτο Σαξόφωνο, Φλάουτο
Gabor Szabo: Κιθάρα
Al Stinson: Κοντραμπάσο
Victor Pantoja/Willie Bobo: Κρουστά

Σύνθεση Μουσικών (The Further Adventures Of El Chico):
Chico Hamilton: Τύμπανα
Clark Terry: Τρομπέτα
Jimmy Cheatham: Τρομπόνι
Charlie Mariano: Άλτο Σαξόφωνο
Jerome Richardson: Φλάουτο. Άλτο Φλάουτο
Danny Bank: Πίκολο
Gabor Szabo: Κιθάρα
Richard Davis/Ron Carter: Κοντραμπάσο
Victor Pantoja/Willie Bobo: Κρουστά

About Chico Hamilton

Hamilton 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 band leader in 1955.

Hamilton appeared in the March Milastaire number in the film You'll Never Get Rich (1941) as part of the backing group supporting Fred Astaire, and performed on the soundtrack of the Bing Crosby/Bob Hope film Road to Bali.

Hamilton's impact on 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.

He recorded his first LP as leader in 1955 with George Duvivier and Howard Roberts for Pacific Jazz; in 1955 he formed an unusual quintet in L.A. featuring cello, flute, guitar, bass and drums. The original personnel included Buddy Collette, Jim Hall, Fred Katz and Carson Smith; Hamilton continued to tour using different personnel, 1957 to 1960; the group including Paul Horne and John Pisano was featured in the film Sweet Smell of Success in 1957; the group including Nate Gershman and Eric Dolphy appeared in the film Jazz on a Summer's Day in 1960; Dolphy marked his first recordings with Hamilton on With Strings Attached, Gongs East, The Three Faces of Chico, and That Hamilton Man.

Hamilton revamped the group in 1961 with Charles Lloyd, Gabor Szabo, George Bohanon and Albert Stinson; the group recorded for Columbia, Reprise and Impulse and also recorded the soundtrack for the industrial film Litho in 1962, the first American film to be shown behind the Iron Curtain. Hamilton formed a commercial and film production company in 1965; scored the feature films Repulsion, Mr. Rico, By Design, Liebe Auf Den Ersten Blick, Die Sonnengottin, and A Practical Man; scored for television Portrait of Willie Mays and the popular children's series Gerald McBoing Boing; and scored hundreds of commercials for TV and radio. He formed a new group with Larry Coryell, Richard Davis and Arnie Lawrence in '66 and recorded The Dealer for Impulse. Performed at Montreux and North Sea Jazz Festivals in 1972 and 1973. Formed a new "Players" group in 1975 with Arthur Blythe, Steve Turre, Barry Finnerty and Abdullah; also, wrote and performed the musical score for the movie, Coonskin, in 1975; toured with "Players" using different personnel in 1976-1980; recorded for Blue Note, Mercury Records, Nautilus and Elektra. Originating faculty member in 1987 of New School University Jazz & Contemporary Music Program.

He formed the new group "Euphoria" in 1987 with Eric Person, Cary DeNigris and Reggie Washington; recorded Euphoria in 1987; toured Europe with Euphoria '87, '88, '90. Performed at Verona, Bolzano, Vienne, Nice, North Sea and Montreux Jazz Festivals in '89 with regrouped original quintet with Buddy Collette, Fred Katz, John Pisano, Carson Smith; recorded Reunion for Soul Note. For Soul Note records Arroyo with Euphoria group, Trio! w. Eric Person, Cary DeNigris, Eric Dolphy tribute My Panamanian Friend with Euphoria group, and solo drum session Dancing to a Different Drummer. Toured Europe with Euphoria in 1994. Hamilton was the subject of a documentary film by director Julian Benedikt, Dancing to a Different Drummer.

Hamilton released Foreststorn in 2001 featuring Euphoria with Cary DeNigris on guitar, Paul Ramsey on bass, and a new two horn front line featuring Eric Lawrence on alto and soprano saxes and Evan Schwam on tenor sax, as well as special guest appearances from former band members Arthur Blythe, Steve Turre and his wife Akua Dixon, Eric Person, former Spin Doctors guitarist Eric Schenkman (a student of Chico's), Blues Traveler front man John Popper (also a student of Chico's), and Charlie Watts of The Rolling Stones. In August 2001 he performed in front of 2300 people at Lincoln Center "My Funny Valentine: A Tribute to Chico Hamilton" with Euphoria plus special guest appearances from Joe Beck, Arthur Blythe, Larry Coryell, Akua Dixon, Rodney Jones and Eric Person. In fall 2002 he released Thoughts of… with Euphoria, with special guest appearances from guitarists and former band members Joe Beck, Larry Coryell and Rodney Jones.

In 1997, Hamilton 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, he 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 Hamilton to the Presidents Council on the Arts. And in 2007, Hamilton received a Living Legacy Jazz Award as part of The Kennedy Center Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.

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 CDs on Joyous Shout! in celebration of his 85th birthday: Juniflip featuring guest appearances from Love front-man Arthur Lee, 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. In September 2007, Chico released Hamiltonia sampling his original compositions from the four albums released in 2006. Hamiltonia confirms Hamilton's status as one of the most important living jazz artists and composers.

Over the years, Hamilton has had a series of dance successes, including his signature song "Conquistadors" from his '60s Impulse album El Chico, and the Brazilian influenced song "Strut" from Hamilton's 1980 Elektra album, Nomad, which became so successful on the Northern Soul scene in the U.K. that it had its own dance. In 2002 a track titled "For Mods Only" from Hamilton's 1968 Impulse album The Dealer, was included on the Thievery Corporation's Sounds from the Verve Hi-Fi. In fall 2006, Rong Music released the 12" vinyl Kerry's Caravan from Mudd & Chico Hamilton, with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. And the recent Impulsive! Remix Project features Mark De Clive Lowe's take on Chico's '60s track "El Toro." Released December of 2007 from SoulFeast (Joaquin 'Joe' Claussell & Brian Michel Bacchus) on 12" limited edition vinyl is their recasting of Chico's classic track "Mysterious Maiden," and coming in Spring 2008 from SoulFeast is a CD & double vinyl 12" EP Chico Hamilton Presents: Alternative Dimensions of El Chico.

Stitt Meets Brother Jack - Sonny Stitt & Jack McDuff

Rating: 4/10
Sound Quality: Lossless
Format: Flac
Record Label: Prestige
Year Released: 1962
Album Covers: Included
Pass: radiodada

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Σύνθεση Μουσικών:
Sonny Stitt: Τενόρο Σαξόφωνο
Jack McDuff: Όργανο
Eddie Diehl: Κιθάρα
Arthur Taylor: Τύμπανα
Ray Barretto: Κόνγκα

Sonny Stitt & Jack McDuff - Ringin' In

About Sonny Stitt

Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts – d. July 22, 1982, Washington, D.C.) was an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest disciple of Charlie Parker. Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".

Stitt was born in Boston, Massachusetts and grew up in Saginaw, Michigan. Stitt had a musical background; his father was a college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.

In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations were more melodic/less dissonant than those of Parker (Parker considered melodic improvisations to be self-indulgent whereas Stitt did not. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.

Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker emulator. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.

Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor. He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves."

Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.

He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.

In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live At The Left Bank, recorded in 1971 and released in 2000.

Stitt, joining the Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk and bassist Al McKibbon) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22.

About Brother Jack McDuff

"Brother" Jack McDuff (September 17, 1926-January 23, 2001) was a jazz organist and organ trio bandleader who was most prominent during the hard bop and soul jazz era of the 1960s.
Born Eugene McDuffy in Champaign, Illinois, McDuff began playing bass, appearing in Joe Farrell's group. Encouraged by Willis Jackson in whose band he also played bass in the late 50s, McDuff moved to the organ and began to attract the attention of Prestige Records while still with Jackson's group. McDuff soon became a bandleader, leading groups featuring a young George Benson, Red Holloway on saxophone and Joe Dukes on drums.
McDuff recorded many classic albums on Prestige including his debut solo Brother Jack in 1960, The Honeydripper (1961), with tenor saxophonist Jimmy Forrest and guitarist Grant Green, and Brother Jack Meets The Boss (1962), featuring Gene Ammons, and Screamin’ (1962).
After his tenure at Prestige, McDuff joined the Atlantic Records label for a brief period and then in the 70s recorded for Blue Note. To Seek a New Home (1970) was recorded in England with a line-up featuring blues shouter Jimmy Witherspoon and some of Britain's top jazz musicians of the day, including Terry Smith on guitar and Dick Morrissey on tenor sax.
The decreasing interest in jazz and blues patent during the late 70s and 1980s meant that many jazz musicians went through a lean time and it wasn't until the late 1980s, with The Re-Entry, recorded for the Muse label in 1988, that McDuff once again began a successful period of recordings, initially for Muse, then on the Concord Jazz label from 1991. George Benson appeared on his mentor’s 1992 Colour Me Blue album.
Despite health problems, McDuff continued working and recording throughout the 1980s and 1990s, and toured Japan with Atsuko Hashimoto in 2000. "Captain" Jack McDuff, as he later became known, died of heart failure at the age of 74 in Minneapolis, Minnesota.