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Jazz LPs - New Arrival 24 May 2010 article

 

Jazz LPs - New Arrival  24 May 2010

แผ่นเสียงแจ๊สเข้าใหม่  - 24 พฤษภาคม 2553

สมาชิกมีส่วนลด 10% และฟรีค่าจัดส่งทั่วประเทศ

 

1. John Coltrane  / Lush Life (reissue)
     Prestige 7188 / OJC-131 / 1984 re

     Grading :  New Copy / Still Sealed

     Price : 800 Baht

 1958 / 4 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hzfexqtgldte

Review

by

Lush Life (1958) is among John Coltrane's best endeavors on the Prestige label. One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass), and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener "Like Someone in Love." Coltrane doesn't have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of "I Love You" is the tenor's prevalent capacity for flawless, if not downright inspired on-the-spot "head" arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that "Trane's Slo Blues" is actually a fairly evident derivation (or possibly a different take) of "Slowtrane." But don't let the title fool you as the mid-tempo blues is undergirded by a lightheartedness. May provides a platform for Coltrane's even keeled runs before the tenor drops out, allowing both May and then Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo — which he does to great effect.

The practically quarter-hour reading of Billy Strayhorn's "Lush Life" is not only the focal point of this album, it is rightfully considered as one of Coltrane's unqualified masterworks. The performance hails from January 10, 1958 as Coltrane sits in with Red Garland (piano), Donald Byrd (trumpet), Paul Chambers (bass), and Louis Hayes (drums). Coltrane handles the tune's delicate complexities with infinite style and finesse. Garland similarly sparkles at the 88s, while Byrd's solo offers a bit of a tonal alternative. It should be noted that the reading here does not include a vocal from Johnny Hartman. That version can be found on the ever imaginatively monikered John Coltrane & Johnny Hartman

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

Like Someone in Love

Burke, VanHeusen

5:00

 

 

2

I Love You

Porter

5:33

 

 

3

Trane's Slo Blues

Coltrane

6:05

 

4

Lush Life

Strayhorn

14:00

 

 

5

I Hear a Rhapsody

Baker, Fragos, Gasparre

6:01

 

indicates

Track Pick

 

 



2. Sonny Rollins / Way Out West (reissue)
    Contemporary  S7530 / OJC-337 / 1988 /

    Grading : New Copy / Still Sealed

    Price : 800 Baht

1957 / 5 Stars allmusic guide / album pick

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:dzfrxqqald0e

Review

by Scott Yanow

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.]

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

I'm an Old Cowhand (From the Rio Grande)

Mercer

5:42

 

 

2

I'm an Old Cowhand (From the Rio Grande) [alternate take/*]

Mercer

10:09

 

 

3

Solitude

DeLange, Ellington, Mills

7:52

 

 

4

Come, Gone

Rollins

7:53

 

 

5

Come, Gone [alternate take/*]

Rollins

10:29

 

 

6

Wagon Wheels

DeRose, Hill

10:11

 

 

7

There Is No Greater Love

Jones, Symes

5:17

 

8

Way Out West

Rollins

6:30

 

 

9

Way Out West [alternate take/*]

Rollins

6:37

 

indicates

Track Pick

3. Charlie Byrd / Charlie Byrd Self titled
  Direct To Disc Recording -- Limited Edition

 Crystal Clear Records : 45 RPM / 1977 / U.S.A.
 Grading : Vinyl : Near Mint- / Cover : Near Mint-

 Price : 800 Baht

 Personnel : Charlie Byrd – guitar / Joe Byrd –bass /

                    Wayne Phillips-drums / Paula Hatcher-flute /

                    Bill Reichenbach-trombone

Track Listings : Moliendo Café / Old Hymn / At Seventeen /

                           Swing / It’s All Clear to Me Now



 4. Charlie Byrd / Mr. Guitar
     Riverside  RM450 / mono / Blue Microphone Label

     Grading : Vinyl : VG+++ /  Cover : VG++ (has light ringwear)

     Price : 800 Baht

1962/ 4.5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wcfexqwgld0e

Review

by Richie Unterberger

A delightful trio outing with an adroit and light feel, also featuring Keter Betts on bass and Bertell Knox on drums. Byrd's playing combines jazz swing with influences from both Spanish guitar and classical music on a session comprised of both Byrd originals and covers, usually of Gershwin and Ellington tunes. Betts and Knox are both nimble players who flesh out Byrd's arrangements without encumbering them, Knox exhibiting a deft touch on the snares in particular. Byrd swings pretty hard on numbers like "Gypsy in My Soul," and gets more into the Spanish sound on the original "Funky Flamenco"; there is one chance for the musicians to stretch out into more space, on the six-minute "Lay the Lily Low." It sounds like this album was a substantial influence upon the noted eclectic British folk guitarist Davy Graham, whose debut LP from the early '60s, Guitar Player, has arrangements that are similar to much of what's on Mr. Guitar.

 

Tracks

 

 

 

 

Title

Composer

Time

 

 

1

Blues for Felix

Byrd

3:00

 

2

Gypsy in My Soul

Boland, Jaffe

2:57

 

 

3

In a Mellow Tone

Ellington, Gabler

3:16

 

 

4

Prelude to a Kiss

Ellington, Gordon, Mills

4:45

 

 

5

Travelin' On

 

2:36

 

 

6

Play Fiddle Play

 

3:37

 

7

Funky Flamenco

 

2:51

 

 

8

My One and Only

Gershwin, Gershwin, Wood

2:47

 

 

9

Mama, I'll Be Home Someday

Byrd

3:16

 

 

10

How Long Has This Been Going On?

Gershwin, Gershwin

3:43

 

 

11

Who Cares?

Gershwin, Gershwin

2:15

 

12

Lay the Lily Low

 

5:51

 

indicates

Track Pick



5. Charlie Byrd, Barney Kessel, & Herb Ellis 
   Great Guitars -- Recorded Live At The Concord Summer Festival
   Concord Jazz CJ-4 / 1974 / Original White Label

   Grading : Vinyl : Near Mint- / Cover: VG+ (NOTE: Cover has some light stains and warpage from moisture.)

   Price : 700 Baht

1974 / 4 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3zfrxqtgldje

Review

by Scott Yanow

Charlie Byrd was teamed up with Barney Kessel and Herb Ellis (along with bassist Joe Byrd and drummer John Rae) for this rather exciting concert. While Ellis and Kessel have three unaccompanied duets, the inclusion of Byrd (thought of as a Brazilian specialist rather than a bopper) is the wild card that makes this set a major success. While Byrd is excellent on his features "Charlie's Blues" and "O Barquinho," it is the three stomps featuring all the guitarists ("Undecided," "Topsy" and "Benny's Bugle") that are most memorable.

 

Tracks

 

 

 

 

Title

Composer

Time

 

 

1

Undecided

Robin, Shavers

6:48

Composed by:

Robin, Shavers

Performed by:

Johnny Rae, Byrd, Joe Byrd, Herb Ellis

 

 

 

2

O Barquinho

Boscoli, Menescal

4:54

Composed by:

Boscoli, Menescal

Performed by:

Johnny Rae, Joe Byrd, Byrd

 

 

 

 

3

Slow Burn

Kessel

5:40

Composed by:

Kessel

Performed by:

Barney Kessel, Byrd, Herb Ellis, Joe Byrd

 

 

 

4

Charlie's Blues

Byrd

8:30

Composed by:

Byrd

Performed by:

Byrd, Joe Byrd, Barney Kessel, Herb Ellis

 

 

 

 

5

Topsy

Battle, Durham

6:46

Composed by:

Battle, Durham

Performed by:

Johnny Rae, Barney Kessel, Joe Byrd, Byrd

 

 

 

 

6

Latin Groove

Kessel

4:52

Composed by:

Kessel

Performed by:

Byrd, Herb Ellis, Barney Kessel

 

 

 

 

7

Down Home Blues

Ellis, Kessel

4:04

Composed by:

Ellis, Kessel

Performed by:

Barney Kessel, Byrd, Herb Ellis

 

 

 

 

8

H and B Guitar Boogie

Ellis, Kessel

4:18

Composed by:

Ellis, Kessel

Performed by:

Byrd, Barney Kessel, Herb Ellis

 

 

 

9

Benny's Bugle

Goodman

7:11

Composed by:

Goodman

Performed by:

Barney Kessel, Johnny Rae, Byrd, Joe Byrd

 

 

 

6. John Coltrane / Soultrane (reissue)

     Prestige 7142 / OJC-021 / 1982
     Grading : New Copy / Still Sealed

     Price : 750 Baht

1958 / 4 Statrs allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jzfrxqtgldte

 

Review

by Lindsay Planer

In addition to being bandmates within Miles Davis' mid-'50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums). This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane's Lush Life album. Soultrane offers a sampling of performance styles and settings from Coltrane and crew. As with a majority of his Prestige sessions, there is a breakneck-tempo bop cover (in this case an absolute reworking of Irving Berlin's "Russian Lullaby"), a few smoldering ballads (such as "I Want to Talk About You" and "Theme for Ernie"), as well as a mid-tempo romp ("Good Bait"). Each of these sonic textures displays a different facet of not only the musical kinship between Coltrane and Garland but in the relationship that Coltrane has with the music. The bop-heavy solos that inform "Good Bait," as well as the "sheets of sound" technique that was named for the fury in Coltrane's solos on the rendition of "Russian Lullaby" found here, contain the same intensity as the more languid and considerate phrasings displayed particularly well on "I Want to Talk About You." As time will reveal, this sort of manic contrast would become a significant attribute of Coltrane's unpredictable performance style. Not indicative of the quality of this set is the observation that, because of the astounding Coltrane solo works that both precede and follow Soultrane — most notably Lush Life and Blue Train — the album has perhaps not been given the exclusive attention it so deserves.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

Good Bait

Basie, Dameron

12:05

 

 

2

I Want to Talk About You

Eckstine

10:52

 

 

3

You Say You Care

Robin, Styne

6:14

 

 

4

Theme for Ernie

Lacey

4:56

 

 

5

Russian Lullaby

Berlin

5:30

 

indicates

Track Pick

 


7. Miles Davis / Cookin' With The Miles Davis Quintet (reissue)
   Prestige 7094 / OJC-128 / 1984/

  Grading:  New Copy / Still Sealed

   Price : 800 Baht

1956 / 4.5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:acfrxqqrldae

Review

by Scott Yanow

The third LP volume of music taken from the Miles Davis Quintet's stay at the Plugged Nickel in Chicago finds the young group (comprised of Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams) stretching out on "If I Were a Bell," "Stella by Starlight," "Walkin'" and "Miles," whipping through the melodies quickly and then really tearing into the chord changes a la Ornette Coleman. Rarely again would Miles Davis be captured on record playing standards; the emphasis was shifting to continuous medleys full of original material.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

My Funny Valentine

Hart, Rodgers

6:04

Composed by:

Hart, Rodgers

Performed by:

Davis, Miles Quintet

 

 

 

 

2

Blues by Five

Garland

10:23

Composed by:

Garland

Performed by:

Davis, Miles Quintet

 

 

 

3

Airegin

Rollins

4:26

Composed by:

Rollins

Performed by:

Davis, Miles Quintet

 

 

 

4

Tune Up/When the Lights Are Low

Carter, Davis, Williams

13:09

Composed by:

Carter, Davis, Williams

Performed by:

Davis, Miles Quintet

 

 

 

indicates

Track Pick

 

 



 8. Miles Davis / Relaxin' With The Miles Davis Quintet (reissue)
     Prestige 7129 / OJC-190 / 1985

     Grading : New Copy / Still Sealed

     Price : 800 Baht

1957 / 5 Stars allmusic

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:azfoxqygld0e

Review

by Lindsay Planer

Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates — from May and October of 1956 — which would generate enough music to produce four separate long-players: Cookin', Relaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet — who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) — to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" — from the play Guys and Dolls — includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

If I Were a Bell

Loesser

8:14

 

 

2

You're My Everything

Dixon, Warren, Young

5:18

 

 

3

I Could Write a Book

Hart, Rodgers

5:09

 

4

Oleo

Rollins

5:53

 

 

5

It Could Happen to You

Burke, VanHeusen

6:36

 

 

6

Woody 'N You

Gillespie

4:59

 

indicates

Track Pick



 9. Miles Davis / Workin' With The Miles Davis Quintet (reissue)

     Prestige 7166 / OJC-296 / 1987
    Grading :  New Copy / Still Sealed

     Price : 800 Baht

1959 / 5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fifoxqtgld6e

Review

by Lindsay Planer

Workin' is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin' and Relaxin', Workin' is the product of not one — as mythology would claim — but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin' is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers' solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" — a brief and mostly improvised tune — indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin', the final Miles Davis Quintet recording to have been culled from these historic sessions.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

It Never Entered My Mind

Hart, Rodgers

5:26

Composed by:

Hart, Rodgers

Performed by:

Davis, Miles Quintet

 

 

 

 

2

Four

Davis

7:15

Composed by:

Davis

Performed by:

Davis, Miles Quintet

 

 

 

3

In Your Own Sweet Way

Brubeck

5:45

Composed by:

Brubeck

Performed by:

Davis, Miles Quintet

 

 

 

 

4

The Theme [Take 1]

Davis

2:01

Composed by:

Davis

Performed by:

Davis, Miles Quintet

 

 

 

 

5

Trane's Blues

Coltrane

8:35

Composed by:

Coltrane

Performed by:

Davis, Miles Quintet

 

 

 

 

6

Ahmad's Blues

Jamal

7:27

Composed by:

Jamal

Performed by:

Davis, Miles Quintet

 

 

 

 

7

Half Nelson

Davis

4:47

Composed by:

Davis

Performed by:

Davis, Miles Quintet

 

 

 

 

8

The Theme [Take 2]

Davis

1:04

Composed by:

Davis

Performed by:

Davis, Miles Quintet

 

 

 

indicates

Track Pick

10. Miles Davis All Stars / Walkin' (reissue)
      Prestige 7076 / OJC-213 / 1986

      Grading :  New Copy / Still Sealed

      Price : 800 Baht

1954  / 4.5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:aifuxqtgldhe

Review

by Lindsay Planer

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music — as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson — who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

Walkin'

Carpenter

13:28

Composed by:

Carpenter

Performed by:

Davis, Miles Sextet, Davis, Miles All Stars

 

 

 

 

2

Blue 'N' Boogie

Gillespie, Paparelli

8:20

Composed by:

Gillespie, Paparelli

Performed by:

Davis, Miles All Stars, Davis, Miles Sextet

 

 

 

3

Solar

Davis

4:45

Composed by:

Davis

Performed by:

Davis, Miles Quintet, Davis, Miles All Stars

 

 

 

 

4

You Don't Know What Love Is

DePaul, Raye

4:24

Composed by:

DePaul, Raye

Performed by:

Davis, Miles Quintet, Davis, Miles All Stars

 

 

 

 

5

Love Me or Leave Me [#]

Donaldson, Kahn

6:56

Composed by:

Donaldson, Kahn

Performed by:

Davis, Miles Quintet, Davis, Miles All Stars

 

 

 

indicates

Track Pick

 



11. Bill Evans / How My Heart Sings (reissue)

      Riverside 9473 / OJC-369 / 1989

     Grading :  New Copy

     Price : 800 Baht

 

1962/ 4 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gzfexqugld0e

Review

by Thom Jurek

Recorded in May and June of 1962, at the same time as the Moonbeams sessions, How My Heart Sings shows a different side of the Bill Evans Trio than that all-ballads album. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans' own words, the band's desire was to "provide a more singing sound" in this material. The set begins with a lyrical waltz in the title track. Evans himself comments in the liner notes that it "contains a delightful 4/4 interlude framed by a delightful 3/4 lyric line." Nowhere does he discuss his solo that literally ripples in delicate waves off the middle register, and Motian's stick work shimmies up the rhythm and allows it to truly dance and sing. There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian's drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter's "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evan's chromatic language. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark. [The 1992 OJC CD adds an alternate take of "In Your Own Sweet Way" as a bonus track.]

 

Tracks

 

 

 

 

Title

Composer

Time

 

 

1

How My Heart Sings

Zindars

4:59

 

 

2

I Should Care

Cahn, Stordahl, Weston

4:55

 

 

3

In Your Own Sweet Way [Take 1]

Brubeck

6:59

 

 

4

In Your Own Sweet Way [*]

Brubeck

5:54

 

 

5

Walkin' Up

Evans

4:57

 

 

6

Summertime

Gershwin, Gershwin, Heyward

6:00

 

 

7

34 Skidoo

Evans

6:22

 

 

8

Ev'rything I Love

Porter

4:13

 

 

9

Show-Type Tune

Evans

4:22



12.Chico Freeman / Peaceful Heart, Gentle Spirit
     Contemporary 14005 / 1981 / Original Label

     Grading : Vinyl : Very Good+++ / Cover : VG++

     Price : 650 Baht

1981 / 4.5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gzfexqugldte

Review

by Scott Yanow

Chico Freeman (a tenor saxophonist who on this date also plays soprano, flute, alto flute, clarinet and bass clarinet) recorded many sessions in the late '70s and early '80s but this is one of his very best. Utilizing an unusual instrumentation (flutist James Newton, pianist Kenny Kirkland, vibraphonist Jay Hoggard, cello, bass, drums and two percussionists), Freeman infuses his five challenging — but generally logical — compositions with rich tone colors and shades. This music is stimulating and represents one of the highpoints of Freeman's rather streaky career.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

 

Peaceful Heart Gentle Spirit

 

 

 

2

 

Freedom Swing Song

 

 

 

 

3

 

Look Up

 

 

 

 

4

 

Nina's Song Dance

 

 

 

 

5

 

Morning Prayer

 

 

 

indicates

Track Pick



 13. Stan Getz /  Didn't We

       VerveV6-8780 / Original MGM Label
       Grading : Vinyl : Near Mint- / Cover: Very Good+++

       Price :  750 Baht

1969 / 3 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jcfoxqegldhe

Review

by Thom Jurek

The year 1969 was a time of explosion and implosion in jazz. Expansively, the music was in the heat of a worldwide free jazz boom, domestically Miles Davis was fusing jazz with rock and funk, and the soul-jazz minor revolution was getting new wings in the form of its reliance on funk themes. Stan Getz couldn't care less. Didn't We is an unabashedly romantic and even sentimental collection of American popular songs given the Getz ballad and midtempo treatment via his gorgeous smoky tenor and an orchestra lushly arranged and conducted by Johnnie Pate. Here are ten songs given deluxe emotional readings with inimitable phrasing by Getz, who was at his height as a melodic improviser here. Whether it be the now legendary version of Jimmy Webb's title track, Goffin/King's "Go Away Little Girl," Johnny Mandel's "Mandy Is Two," Benny Golson's "I Remember Clifford," or Mercer/Mandel's "Emily," Getz's deep well of lyricism elevates these songs above their former contexts and replaces them in the jazz pantheon with grace, verve, and aplomb.

 

Tracks

 

 

 

 

Title

Composer

Time

 

1

Didn't We

Webb

3:34

 

 

2

The Shining Sea

Lee, Mandel

3:13

 

 

3

The Night Has a Thousand Eyes

Bernier, Brainin

4:48

 

4

Go Away Little Girl

Goffin, King

3:30

 

 

5

Heartstrings

Jackson

5:52

 

 

6

I Remember Clifford

Golson

3:21

 

 

7

Try to Understand

Pate

2:38

 

8

Emily

Mandel, Mercer

3:39

 

 

9

Mandy Is Two

McGrath, Mercer

3:50

 

 

10

What's New

Burke, Haggart

4:11

 

indicates

Track Pick

Releases



 14. Stan Getz / Dynasty

       Verve  V6-8802-2 (2 Record Set) / Original MGM Label
       Grading : Vinyl : Very Good+++ / Cover : VG+ (Cover has light ringwear and a cut corner.)

Price : 800 Baht

1971 / 4 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jnfqxzykldhe

Review

by Michael G. Nastos

When Stan Getz visited Paris to witness the French Open tennis matches, he would hang out at the Blue Note nightclub to hear how the locals did it, being told their jazz scene was not up to snuff. In London, he would pick up the European band he heard in Paris for an engagement at Ronnie Scott's. Because of his stature, Getz was able to grab the very best musicians the continent could provide, in this case the brilliant Belgian guitarist René Thomas, organist Eddy Louiss from Martinique, and French classical and jazz drummer Bernard Lubat. Bringing no charts of his own, Getz was happy to play the music of his bandmates, choosing virtually no standards, and fitting in beautifully with nary a hint of brandishing his famed ego to the proceedings. This original two-fer LP has been reissued on a double CD, a whopping 88 minutes of highlights over a three day span during an unprecedented three week engagement from this club date at the legendary venue owned the British fellow tenor saxophonist Scott. Perhaps there are some recordings with this combo featuring Scott sitting in with Getz, but that will have to wait for another recording. This one is excellently documented by Beatles producer George Martin, as every instrument is cleanly articulated and heard in pure, balanced form. Getz sounds comfortable and relaxed from the outset on one of five compositions brought by Louiss on "Dum! Dum," a light and breezy but mysterious tune with an implied bossa nova beat, while the title track is a blues shuffle road song, slightly funky, and a good test in regards to the dynamism of the quartet. Louiss, as gifted a jazz organist as any, digs in with splendid two fisted chords on his popping, fairly bluesy "Song for Martine," a tune just for fun that slips back into bossa. While Thomas is most outstanding on his incredible solos, he has room to contribute his "Ballad for Leo," not at all a ballad as the stabbing tones of the organist fire up everybody in a 6/8 framework. "Theme for Emmanuel" is as pretty a song as it gets, with the pristine, classical type free time repeat lines of Thomas opening up, then deferring to the swelling organ of Louiss as a foundation before busting out into the only hard bop swinger of the performance. The lone standard "Invitation" exploits another no time motif that only slightly builds in volume with the small organ of Louiss backing the consistently great guitar lines of Thomas. A truly sweet ballad, "Mona" is written by Albert Mangelsdorff in a manner that refutes the unabashed persona of the author/trombonist, as the silver lined threads of the organ weave through the extremely difficult, molasses slow rhythm. Getz himself is somewhat sublimated, playing his familiar melodically liquid and spare lines as heads and tails, likely in awe of the incredible band he stands alongside, and clearly reveres. He does a nice duet with Thomas on "Ballad for My Dad" waxing poetically over the repeat choruses of the masterful Thomas. Long out of print, Dynasty represents an interesting period in the artistic life of Getz, well out of pure bop, in between his commercial successes with Brazilian music, and on the verge of another phase of his life with fusion pioneers like Chick Corea. This is highly recommended, a solid effort from top to bottom. One quibble — the name Eddy Louiss is constantly misspelled as Louise in credits, though it is correct in the liner notes.

 

Tracks

 

 

 

 

Title

Composer

Time

 

 

1

Dum! Dum!

Louise

13:18

 

 

2

Ballad for Leo

Thomas

9:15

 

 

3

Our Kind of Sabi

Louise

17:08

 

 

4

Mona

Mangelsdorff

8:30

 

 

5

Theme for Emmanuel

Thomas

11:25

 

 

6

Invitation [From Invitation]

Kaper

4:37

 

 

7

Ballad for My Dad

Louise, Thomas

3:12

 

 

8

Song for Martine

Louise

10:52

 

 

9

Dynasty

Louise

9:42

15. Stan Getz / Eloquence

      VSP Verve VSPS-2 / Original MGM Label
      Grading : Vinyl : Near Mint- / Cover : Near Mint-

       Price : 700 Baht

1966 / 3 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hzfqxq8gldje

Review

by Scott Yanow

On this budget LP, Stan Getz is featured in four settings. Both "Jumpin' at the Woodside" and "Cherokee" find Getz and vibraphonist Lionel Hampton jamming at ferocious tempos while the ballads "It Never Entered My Mind" and "I Hadn't Anyone 'Til You" put the emphasis on Getz's beautiful tone. This set is rounded out by two numbers with trumpeter Roy Eldridge that originated from a session led by guitarist Herb Ellis. This good sampler of Verve sessions deserves to be reissued in full.



16. Stan Getz / Greatest Hits

      Prestige PR 7337 / 1964
     Grading : Sealed

     Price : 800 Baht

1963 / 4.5 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3cfixqegldhe



17. Stan Getz / Reflections

      Verve V-8554 / mono / Original MGM Label
      Grading : Vinyl : Near Mint- / Cover : VG+ (NOTE: Cover has a cutout hole and some ringwear.)

Price  : 800 Baht

1964 / 3 Stars allmusic guide

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gzfrxq8gldje

Review

by Pemberton Roach

Though in 1963 some purists considered Reflections to be certain evidence that Stan Getz had sold out and abandoned "real jazz" completely, the album is actually, while perhaps not a masterpiece, an artful and intriguing sidebar to the tenor saxophonist's now celebrated bossa nova period. Getz was always a sublimely smooth and lyrical player who had already recorded in an orchestral setting on the groundbreaking Focus, and had a number one pop hit with Jazz Samba. It was only natural, then, that he would want to combine the two concepts. Although Reflections does at times bear the slight stench of easy listening (sweeping strings, a Lawrence Welk-like vocal chorus), it's definitely not elevator music. Getz is in as fine form as ever, and the restrictive pop-based song structures challenge him to use his creative faculties in interesting ways. It's a true master musician who can make Bob Dylan's "Blowin' in the Wind" swing without descending into schmaltzy Trini Lopez territory or losing any of the tune's original melancholic urgency. There are a few tracks, of course, where Getz jumps back into a more straight-ahead and cool jazz bag. The Lalo Schifrin tune "Nitetime Street" features an appropriately bluesy and brooding guitar solo from Kenny Burrell, and Getz's take on "Love" is a wild Latin romp that matches the vitality of anything on his Gilberto/Jobim collaborations. A highly underrated and oft-ignored album, Reflections should be re-evaluated and viewed not as an acceptance of crass commercialism, but as a daring and brilliant artist's attempt to find pure music by blurring the boundaries between jazz and pop.

 

Tracks

 

 

 

 

Title

Composer

Time

 

 

1

Moonlight in Vermont

Blackburn, Suessdorf

2:25

 

2