Thelonious Monk Live at the Village Gate 1963

Rec. at The Village Gate, N.Y. City. Probably summer, 1962 (or Nov. 12, 1963)
Although Xanadu suggests Nov. 12, 1963 for this concert, most experts think that the summer of 1962 is more probable.

Thelonious Monk - piano Charlie Rouse - tenor sax John Ore - bass Frankie Dunlop - drums

1. Rhythm-A-Ning
2. Body and Soul
3. Evidence
4. I'm Getting Sentimental Over You
5. Body and Soul (Second Version)
6. Jackie-Ing

MP3
FLAC pt 1 - pt 2

We now have many recordings of this quartet from this period in much better sound. So some might consider this one to be a relatively minor entry in Monk's discography. But they would be wrong. While probably no Monk concert could be categorized as "ordinary," this one is rather extraordinary. From the lead-off track, Rhythm-A-Ning, Monk leaves little doubt that this is not going to be business as usual. While Monk was often content to play Rhythm-A-Ning in the 60s with only minor variations in his solos, this version is highly unusual, not like any other recording of the song. The highlight of the concert for me comes on "I'm Getting Sentimental Over You." Monk's solo here is just a beauty of spontaneous construction. Of the 23 versions that I count in my collection of Monk playing I'm Getting Sentimental Over You, this one is my favorite.

Thanks to Kubla's Crib

Gene Norman presents Max Roach and Clifford Brown

Gene Norman presents Max Roach and Clifford Brown in Concert at "California Club", Los Angeles, CA
on April, 1954
Clifford Brown (tp) Teddy Edwards (ts -1,3) Carl Perkins (p) George Bledsoe (b) Max Roach (d)
on August 30, 1954
Clifford Brown (tp) Harold Land (ts) Richie Powell (p) George Morrow (b) Max Roach (d)

10'LP GNP 5 - April, 1954
1- All God's Chillun Got Rhythm
2- Tenderly
3- Sunset Eyes
4- Clifford's Axe

10'LP GNP 7 - August 30, 1954
1- Jordu
2- I Can't Get Started
3- I Get a Kick Out of You
4- Parisian Throughfare

download
Max Roach and Clifford Brown - In Concert 10'LP GNP 5
Max Roach and Clifford Brown - In Concert 10'LP GNP 7

Thanks to HotBeatJazz

Harold Land At The Cellar 1958

Recorded live at The Cellar, Vancouver, Canada, on November 1958


Harold Land tenor sax Elmo Hope piano Scott LaFaro bass Lennie McBrowne drums

01. Cherokee (Noble) 18:58
02. Just Friends (Klenner, Lewis) 19:39
03. Scene Is Clean (Dameron) 1:17
04. Big Foot (Parker) 27:44
05. Come Rain or Come Shine (Arlen, Mercer) 11:57

mediafire

The Cellar Jazz Club

Joe Gordon on trumpet, Jerry Fuller on drums, Freddy Scheiber on bass, Bob Nixon on piano

Harold Land 1960 with Joe Peters on drums and Clarence Jones on bass

Harold Land on tenor sax and Amos Trice on piano - bill boyle album

(lt-rt) Don Friedman, Ben Tucker, Billy Higgins, Don Cherry, Ornette Coleman, Nov. 1957.

Photo courtesy of Wally Lightbody

Ornette Coleman, Ben Tucker, bass (hidden) and Billy Higgins. Photo courtesy of Wally Lightbody

You better read the devoted blog The Original Cellar Jazz Club in Vancouver.

...

Jazz Live At 'Jazz Bei Freddy' - 1977

Recorded Live at 'Jazz Bei Freddy'in Wien, Austria in January 1977

Leo Wright - alto sax and flute, Fritz Pauer - piano, Jimmy Woode - bass, Tony Inzelaco - drums

01 - I'll Remember April
02 - Just Friends
03 - It Could Happen to You
04 - Blues for D.S. 'Don't Move'

ape+cover (LP) : 293 MB
part1 - part2 - part3 - part4

Thanks to moha

Dave Brubeck at Storyville : 1954

Recorded at "Storyville" Club, Boston, MA, December, 1953* and March 30, 1954**
and Los Angeles, CA, July 22, 1954***

Paul Desmond (as) Dave Brubeck (p) Ron Crotty *, Bob Bates ** (b) Joe Dodge (d)

1. On the Alamo 10:43*
2. Don't Worry 'Bout Me 6:50*
3. Here Lies Love 5:48***
4. Gone with the Wind 8:15**
5. When You're Smiling (The Whole World Smiles with You) 9:50***
6. Back Bay Blues 6:28 **

ape (LP rip) 174 MB - part 1 and part 2 and scan

Thanks to mohaoffbeat

Strange Fruit

This is a new split-second capture from a famous jazz session and photo shoot: the Commodore Records session of April 20, 1939, where Billie Holiday recorded STRANGE FRUIT, YESTERDAYS, I GOTTA RIGHT TO SING THE BLUES, and FINE AND MELLOW. The musicians are bassist Johnny Williams, trumpeter Frank Newton, altoist Stanley Payne, and tenorist Kenneth Hollon. Billie is holding a long-noted syllable; is it the “Yes” in YESTERDAYS? And she is very young, very beautiful, also giving herself up to the music, her hands folded, her eyes almost-shut, Peterson’s lighting capturing her mouth, chin, and throat. What distinguishes this portrait from others at this session is Billie’s lovely and obviously-treasured fur coat. I find it ironic, seventy years after the session, that there is such a gap between Billie in her fur — which she deserved more than anyone — and the material she sings with such deep emotion. One song, most famous, describes lynchings in the South; another describes a “fine and mellow” lover who doesn’t treat his woman well; a third and fourth describe bygone happinesses, all gone now, and the blues one sings when one’s lover has left. And Billie sang these four songs as if her heart would break . . . wearing that fur coat. Later in the session, of course, she got warm and took it off. And no doubt the irony didn’t occur to her and she would have laughed it off if someone pointed it out, “Lady, you look too good to be singing those blues!”

from JAZZ LIVES : CHARLES PETERSON’S VISION

Strange Fruit

Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black body swinging in the Southern breeze,
Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant South,
The bulging eyes and the twisted mouth,
Scent of magnolia sweet and fresh,
And the sudden smell of burning flesh!

Here is a fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for a tree to drop,
Here is a strange and bitter crop.

Harlem Odyssey

"This LP contains interesting (if erratically recorded) live performances from a variety of Harlem clubs during 1940-41. Documented by Jerry Newman, the album gives listeners examples of Billie Holiday (who sings two numbers from Minton's Playhouse), Tab Smith (in a six-reed octet), trombonist Jack Teagarden (doing his usual rendition of "Basin Street Blues"), pianist Art Tatum (in a unique duo version of "All the Things You Are" with altoist Murray McEachern), and five jam session numbers from Minton's with trumpeter Joe Guy, pianist Thelonious Monk and drummer Kenny Clarke. This somewhat historic music is not for general collectors but completists and connoisseurs of the era will enjoy it. "

1. I Cried for You
2. Fine and Mellow
3. On the Sunny Side of the Street
4. Body and Soul
5. Basin Street Blues
6. All the Things You Are
7. Rhythm Riff
8. Nice Work If You Can Get It
9. Down
10. I Found A Million Dollar Baby
11. You're A Lucky Guy

Personnel (Tom Lord):
Tracks 1-2: Floyd "Horsecollar" Williams (as) unknown (p), (b), Billie Holiday (vcl).
Tracks 3-4: Herbie Fields (cl) Tab Smith, Willie Smith (as) Buddy Tate, Joe Thomas, Elmer "Skippy" Williams (ts) unknown p and d
Track 5: Charlie Teagarden (tp) Jack Teagarden (tb,vcl) Danny Polo (cl) Dave Bowman (p) unknown (b) Paul Collins (d)
Track 6: Murray McEachern (as) Art Tatum (p)
Tracks 7 - 10: Joe Guy (tp) Al Sears (ts-Down and I Found) Thelonious Monk (p) Nick Fenton (b) Kenny Clarke (d)
Track 11: Joe Guy (tp) unknown (cl,ts) Thelonious Monk (p) poss. Nick Fenton (b) poss. Kenny Clarke (d)

download

"This is not my rip, and it's mp3 vbr only, but despite the crackles and one-dimensional sound, this offers a unique glimpse at what was happening uptown in the formative years 1940-1941. We get several tracks with the obscure Joe Guy, Billie Holiday's lover backed by Monk on four tracks, including one of my favorite songs (You're A Lucky Guy). Listen to Monk's solo on Lucky Guy; after 4 bars or so playing it straight, he begins to sound like the Monk that eventually emerged. All in all, it's a little taste of what was going down in the Harlem clubs back then."

Deep Thanks to Otis Foster from Kubla's Crib

Remember Small's Paradise

Small's Paradise Nightclub, 1940

A long-running Harlem jazz club, closed in 1986

Today's jazz clubs could take some notes from their early predecessors since the bright lights, style and joi de vivre is definitely an element missing (except for maybe Lenox Lounge). Small's Paradise was one of the top ballroom and Jazz clubs of Harlem that provided glamour and music to famous locals and visiting revelers from lower Manhattan. Opened in 1925 by Ed Small during a time of Prohibition, Small's was a sort of hot and heavy speakeasy that downtowners in the know would come to for a night of Jazz, dancing and drink. The club was one of the first to have an open door policy so the crowd also included Harlem's brightest luminaries and faithful locals.

Small's stayed open until 1986 with a brief ownership by Wilt Chamberlain. Nowadays, the Thurgood Marshall Academy has taken over the structure in which the Charleston was once famous. Today, instead of dancing feet, pancakes are being flipped at a house of pancakes that has moved into the street level space of the building. The Small's Building is at 2294 Seventh Avenue/Adam Clayton Powell at 135th Street.

Small‘s Paradise jazz club in Harlem, c. 1928.
Courtesy of the Frank Driggs Collection.

via: harlem bespoke

Babs Gonzales - Sunday Afternoon at Small's Paradise

Babs Gonzales - Sunday Afternoon at Small's Paradise
mp3 320 Kbps | 91 MB

Recorded live at the Great Harlem Club Small's Paradise, New York City, 1962

Babs Gonzales voice, vocals, Johnny Griffin tenor sax, Clark Terry trumpet, flugelhorn,
Horace Parlan piano, Buddy Catlett bass, Ben Riley drums

01. Introduction - Satin Doll
02. Oop-Pop-A-Da
03. Le Moody Mood Pour Amour
04. Integration
05. Be-Bop Santa Claus
06. Dem Jive New York People
07. 'Round About Midnight
08. Keep An Ugly Woman
09. St Louis Blues

rapidshare

Dauntless/Audio Fidelity Records(USA) #DS6311(LP) and Dauntless/Fresh Sound Records(Spain) #DC6005(CD)
and on Chiaroscuro Records (LP #CR2025).

Ray Brown Trio Live At Starbucks in 1999

Recorded live at Starbucks, Seattle, Washington on September 22-23, 1999

Ray Brown bass Geoff Keezer piano Karriem Riggins drums

01. Up There (Brown) 4:02
02. When I Fall in Love (Heyman, Young) 7:09
03. Brown Bossa (Brown) 3:53
04. Our Delight (Dameron) 4:20
05. Lament (Johnson) 8:10
06. Mainstem (Ellington) 3:53
07. Love You Madly (Ellington) 2:33
08. Caravan (Ellington, Mills, Tizol) 5:29
09. This House Is Empty Now/I Should Care (Bacharach, Cahn, MacManus) 7:19
10. Lester Leaps In (Young) 4:46
11. Starbucks Blues (Brown) 8:36

part 1 - part 2

Thanks to brownweb

Gerry Mulligan & Chet Baker at Carnegie Hall Concert in 1974

Recorded live at Carnegie Hall, New York, November 24, 1974.

Gerry Mulligan - baritone sax Chet Baker - trumpet Ed Byrne - trombone Bob James - piano
John Scofield - guitar Ron Carter - bass Harvey Mason - drums Dave Samuels - vibraphone, percussion

1. Line For Lyons
2. Margarine (previously unreleased)
3. For An Unfinished Woman
4. My Funny Valentine
5. Song For Strayhorn
6. It's Sandy At The Beach
7. K-4 Pacific
8. There Will Never Be Another You
9. Bernie's Tune

part 1 - part 2

At this 1974 concert baritonist Gerry Mulligan and trumpeter Chet Baker had one of their very rare reunions; it would be only the second and final time that they recorded together after Mulligan's original quartet broke up in 1953. Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine."

Gerry Mulligan and Chet Baker

Gerry Mulligan and Chet Baker, November 1974 during rehearsal for concert at Carnegie Hall "Reunion with Chet Baker". Organized by Don Friedman.
Photographs by Franca R. Mulligan

Chet Baker & Gerry Mulligan : El Viento Sagrado
por Diego Fischerman

Sidney Bechet

Portrait of Sidney Bechet, Freddie Moore, and Lloyd Phillips, Jimmy Ryan's (Club), New York, N.Y., ca. June 1947
photography by William P. Gottlieb

The Library of Congress