Charlie Mingus Sextet Live In Oslo 1964

Charlie Mingus Sextet Live In Oslo 1964
Avi : 64kbps : 448 x 336 : 441mb
59 min

Recorded at University Aula , Oslo, Norway

Charlie Mingus bass Eric Dolphy alto sax Clifford Jordan tenor sax Johnny Coles trumpet Jaki Byard piano Danny Richmond drums

part 1 - part 2

Charles Mingus - Right Now (1964)

Charles Mingus - Right Now: Live At The Jazz Workshop (1964)
Label: OJC
MP3 @192kbs : 67mb

Recorded live at The Jazz Workshop in San Francisco, CA on June 2 & 3, 1964

Charles Mingus bass John Handy alto sax (#1) Clifford Jordan tenor sax Jane Getz piano Dannie Richmond drums

1. New Fables 23:18
2. Meditation (For A Pair Of Wire Cutters) 23:42

Soon after Charles Mingus finished touring Europe with his band (the unit that featured Eric Dolphy), he recorded this CD, performed live at The Jazz Workshop in San Francisco. With tenor-saxophonist Clifford Jordan and drummer Dannie Richmond still in the group but Jane Getz replacing pianist Jaki Byard and altoist John Handy filling in for Dolphy on one song, the band performs excellent versions of "Meditations on Integration" and "New Fables," both of which are over 23 minutes long. Although not up to the passionate level of the Mingus-Dolphy Quintet, this underrated unit holds its own.

dl@filesonic

Thanks to Cool-Jazzger

Jessica Williams Live At Yoshi's 2003

Mp3@320 kbps. Scans

Recorded on July 9 & 10, 2003 at Yoshi's at Jack London Square, Oakland, CA.

Jessica Williams - piano Ray Drummond - bass Victor Lewis - drums

volume one
1. I'm Confessin' [That I Love You] (Daugherty, Neiburg, Reynolds) - 7:21
2. Say It [Over and Over Again] (Loesser, McHugh) - 6:20
3. You Say You Care (Robin, Styne) - 7:01
4. Tutu's Promise (Williams) - 9:30
5. Heather (Cobham) - 6:29
6. Alone Together (Dietz, Schwartz) - 11:26
7. Poem in G minor (Williams) - 8:33
8. I Want to Talk About You (Eckstine, Rachel) 6:11
9. Mysterioso (Monk) 8:05

volume two
1. Flamenco Sketches (Davis) - 8:52
2. Why Do I Love You (Hammerstein, Kern) - 8:56
3. Spoken Softly (Williams) - 6:49
4. Elbow Room (Williams) - 8:06
5. Soldaji (Williams) - 5:16
6. Paul's Pal (Rollins) - 8:16
7. Dear Gaylord (Williams) - 7:46
8. Lulu's Back in Town (Dubin, Warren) - 6:46
9. Summertime (Gershwin, Heyward) - 8:29

vol. one - part1 - part2 -- vol. two - 1part

Password: Jazzsi

Thanks to Jasapaal - Jazzsi

Lennie Tristano At The Cafe Bohemia

from L to R: Bill Harris, Denzil Best, Flip Phillips, Billy Bauer, Chubby Jackson, Lennie Tristano
The Pied Piper (Later Café Bohemia), New York, August 22, 1947.

Lennie Tristano Live At The Café Bohemia 1947

Lennie Tristano All Stars Live At The Cafe Bohemia
Label: Rare Live Recordings (only for collectors)
MP3@320 Kb/s : 122.45 Mb - Time: 75:15

Recorded live at the Cafe Bohemia, New York City, on August 22, 1947.
Lineup on tracks #1-5:
Lennie Tristano piano, Bill Harris trombone, Flip Phillips tenor sax, Billy Bauer guitar, Chubby Jackson bass, Denzil Best drums.
[Pianist Argonne Thornton replaces Tristano on track 5 only]

Recorded at the "Look Up & Live" TV Broadcast, from the Half Note, New York City, June 6, 1964.
Lineup on tracks #6-8:
Lennie Tristano piano, Lee Konitz alto sax, Warne Marsh tenor sax, Sonny Dallas bass, Nick Stabulas drums.


01. What Is This Thing Called Love (13:52)
02. Just You, Jus Me (10:45)
03. A Knight In The Village (9:42)
04. Medley: Body And Soul / Sweet Lorraine (4:05)
05. Flip Meets Bill (10:38)

06. Subconscious-Lee (6:19) (*) Bonus Track
07. 317 East 32nd (9:55) (*) Bonus Track
08. Background Music (9:59) (*) Bonus Track

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A rarely heard jam session presented here for the first time ever on CD.
This exciting compilation (which might more accurately have been called "Live at the Pied Piper and the Half Note") should come as a pleasant surprise to early modern jazz lovers, especially those who admire the work of pianist and philosopher Lennie Tristano. Tracks 1-5, credited to trombonist Bill Harris & His All Stars, were recorded in live performance on August 22, 1947 inside the Pied Piper at 15 Barrow Street in New York City's West Village. These tracks were released on LP in the '70s as Jazz Showcase 5001, A Knight in the Village. The Pied Piper mainly featured old-school jazz players like Wilbur De Paris and James P. Johnson, and wouldn't become the Café Bohemia until 1949 when it was purchased by one James Garofolo, who didn't adopt a rigorously progressive jazz policy until six years later. Bill Harris was a modernist associated with the bop-addled Woody Herman and Charlie Ventura bands. Tristano and tenor saxophonist Flip Phillips received feature billing, with the rest of the All-Stars, consisting of guitarist Billy Bauer, bassist Chubby Jackson, and drummer Denzil Best. On "Flip Meets Bill," Tristano was replaced by Argonne Thornton, who was on the verge of changing his name to Sadik Hakim. He is remembered for his work with Charlie Parker, Dizzy Gillespie, Dexter Gordon, and Lester Young, a master improviser who was one of Tristano's personal heroes.

The rest of the material presented here was recorded inside the Half Note at 289 Hudson Street on June 6, 1964 for use in a Look Up & Live television broadcast narrated by Dr. William Hamilton. Originally released on Tristano's Jazz Records label, tracks 6-8 feature saxophonists Lee Konitz and Warne Marsh with bassist Sonny Dallas and drummer Nick Stabulas. If part of this lineup rings a few bells, note that in 1961, Konitz, Dallas, and Stabulas (as well as Elvin Jones) made a bunch of studio recordings for Verve which were released in 2007 on Universal's deluxe three-CD "Elite Edition" of Motion. That package, which fairly bristles with alternate takes, is recommended as a vibrant counterpart to this double reissue of uncommon location recordings which feature the predictably unpredictable Lennie Tristano.

2008 release, a rarely heard jam session available for the first time on CD. Features Modern Jazz piano genius Lennie Tristano playing with an all-star group including trombonist Bill Harris and tenor saxophonist Flip Phillips. As a bonus, the complete soundtrack from a rare TV broadcast featuring Tristano with Warne Marsh and Lee Konitz has been added. Eight tracks. RLR.

John Coltrane Quartet - The 1962 Graz Concert

Recorded at 'Stefaniensaal',Graz Austria in November 28, 1962.

Line-up:

John Coltrane - tenor saxophone McCoy Tyner - piano Elvin Jones - drums Jimmy Garrison - bass

01 -Bye Bye Blackbird (23:38)
02 - The Inchworm (12:31)
03 - Autumn Leaves (10:34)
04 - Every Time We Say Goodbye (06:54)
05 - Mr. P.C. (19:26)

01 - I Want To Talk About You (14:02)
02 - Impressions (20:55)
03 - My Favorite Things (23:30)

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The complete 1962 Graz Concert by the John Coltrane Quartet is historically noted for one particular item: this recording from the Austrian city contains the only known performance of "Autumn Leaves" by this group. Coltrane played it often during his tenure in Miles Davis' quintet, and in solo performances with pickup bands in Europe earlier, but other than on this occasion, it's nowhere else in his oeuvre. The date has been released either in whole or in part before, back in 1999 on Great Britain's Charly imprint, and part of it appeared on a collection from various European live dates known as Sheets of Sound as well as on a rather dodgy bootleg entitled Spiritual on the Delta imprint. The music is terrific. The eight tracks that cover two discs offer the band the opportunity to really stretch out. This standard is a perfect example as Coltrane switches from tenor to soprano. Elsewhere, such as on "My Favorite Things," "Impressions," and "I Want to Talk About You," you can hear the fullness of the direction the band was heading to, before A Love Supreme was even recorded. There is a beautiful reading of "Every Time We Say Goodbye" and real workouts on "Mr. P.C." and "Bye Bye Blackbird," which clocks in at a whopping 23 minutes. The sound is not improved on this version; if you already have the Charly set, there is no need for a second purchase -- it's radio broadcast quality. If you don't have it, however, and consider yourself a fan, it's available again in the 21st century, so snag it because the performance is dynamite.
by Thom Jurek in All Music Guide

Stolen Moments: The Monterey Jazz Festival

Johnny Hodges in 1960

Miriam Makeba in 1960 singing "Evolution of the Blues. She had just come from South Africa

Duke Ellington and Paul Gonsalves in 1960. The photo was taken during one of Paul's extended solos.

Monk, Dizzy Gillespie, and Gerald Wilspn backstage in 1963

Miles Davis having a cigarette lit by Harry James on the backstage in 1963

Miles Davis and Steve McQueen on backstage in 1963

Mingus in 1964

Monk in 1964

Teddy Edwards in 1964

Louie Bellson in 1966

Duke Ellington, 1966

Arranger and Composer Gil Evans in 1966; Evans was warming up in a large rehearsal hall backstage

Jackie McLean in 1966

Elvin Jones in 1966

Woody Herman in 1966 or 1967

photos were taken by Jim Marshall using his Leica M4

Nina Simone Live At Ronnie Scott's London 1984

Nina Simone - Live At Ronnie Scott's [1984] - DRG 91428

Flac+Cue+Log+Artwork (252 Mb) | MP3@320+Artwork (110 Mb)

Live concert at Ronnie Scott's Club in Soho, London on November 17, 1984

Nina Simone vocals, piano - Paul Robinson drums

01. God, God, God . 6:50
02. If You Knew . 2:39
03. Mr. Smith . 2:30
04. Fodder On Her Wings . 6:05
05. Be My Husband . 4:06
06. I Loves You, Porgy . 2:41
07. The Other Woman . 2:19
08. Mississippi Goddam / Moon Over Alabama . 6:42
09. For A While . 4:41
10. See Line Woman . 2:54
11. I Sing Just To KnowI'm Alive . 1:11
12. My Baby Just Cares For Me . 3:38

MP3@320+Artwork (110 Mb)

part 1 | part 2 FileFactory - Rapidshare part 1 | part 2

Flac+Cue+Log+Artwork (252 Mb)

part 1 | part 2 | part 3 FileFactory - Rapidshare part 1 | part 2 | part3

.rar files have 3% recovery record and are interchangeable

Chet Baker & Lee Konitz In Concert [1974]

Chet Baker & Lee Konitz - In Concert


India Navigation IN 1052 - Released: 1974

Live Recording at "Ornette's Club", Woodstock, NY, April, 1974


Chet Baker
 Trumpet, Lee Konitz Alto Saxophone, 
Michael Moore Bass, 
Beaver Harris
 Drums

1. Airegin (Sonny Rollins)
2. Au Privave (Charlie Parker)

3. Body And Soul (Oscar Micheaux)

4. Willow Weep For Me (Ann Ronell)

5. Walkin'


mediafire 94Mb

David Murray Quartet Live at the Lower Manhattan Ocean Club 1977

David Murray Quartet Live at the Lower Manhattan Ocean Club Vol.1& 2


India Navigation IN 1032 and IN 1044 - CD reissue IN 1032 CD



Recorded live at the Lower Manhattan Ocean Club, NYC December 31 1977

David Murray tenor sax, soprano sax on 2, Lester Bowie trumpet, Fred Hopkins bass, Phillip Wilson drums


vol 1


1. Nevada's Theme (David Murray) 11:23


2. Bechet's Bounce (David Murray) 7:32


3. Obe (Lawrence"Butch" Morris) 18:12


4. Let The Music Take You (David Murray) 3:36

vol2


1. For Walter Norris (Lawarence"Butch" Morris) 23:24

2. Santa Barbara And Crenshaw Follies (David Murray) 12:20


download

mp3s @320kbps

Part 1 | Part 2

This post is a rip of a CD reissue of two LPs collecting together the music performed by a Murray led quartet at a Manhattan club on New Year's eve in 1977. You can almost smell the seafood in the club's name! It re-unites the rhythm section of Hopkins and Wilson from Murray's earlier India Navigation recording from eighteen months before, and adds Lester Bowie.

Bowie is the link between the three most powerful groupings of musicians who came together in New York in the late 1970s to transform the established free jazz movement into the new music scene. Bowie had been active in both St Lois and Chicago in the collectives that became BAG and AACM respectively, and here in New York he is one of the earliest to play with musicians, who like Murray had come from LA. Inspired by the Black Arts movement and the idea of musical collectives they had nurtured these ideas in major black communities in the US, but ultimately moved to new York, often after sojourns in Europe.

Bob Cummins was one of those jazz lovers and small-scale entrepreneurs who captured much of the vibrant energy of the scene on his India Navigation label in the 1970s. He seemed to earn his living as a lawyer, and spent it on recording live performances in the lofts and small venues, and then releasing the recordings. He died in September 2000, but small bursts of CD reissues seem to appear from time to time. Not sure why and how, but I'm always glad of the opportunity to listen to more. This one seems to be out of print as far as I can tell. It was certainly hard to find a copy when it was first re-released.

I haven't got the original vinyl LPs, but the CD liner notes say there's nearly seven minutes taken off 'Santa Barbara And Crenshaw Follies', and by my calculations there's possibly over two minutes less on 'For Walter Norris' if the timings on LP and CD can be believed (they can't usually). The CD notes also talk about an unreleased track. many of these tracks were staples of Murray's repertoire, and you get the usual personal dedications, rich textures and sometimes inspired themes. I'm very fond of this recording. I hope you enjoy it too.

David Murray

Lester Bowie's Brass Fantasy

Lester Bowie's Brass Fantasy - The Fire This Time
Released: 1992 | Label: In & Out | CD 1995

Recorded live on 1 May 1992 at the Moonwalker Club, Aarburg, Switzerland

Lester Bowie, Tony Barrero, E.J. Allen, Gerald Braxel – Trumpet, Frank Lacy, Luis Bonilla — Trombone, Vincent Chancey — French Horn, Bob Stewart – Tuba, Famoudou Don Moye – Percussion, Vinnie Johnson — Drums

    1.    "Night Time (Is the Right Time)" (Herman) - 2:54
    2.    "For Louis" (Wilson) - 7:13
    3.    "Journey Towards Freedom" (Allen) - 10:55
    4.    "Remember the Time" (Jackson) - 8:32
    5.    "Strange Fruit" (Lewis) - 9:15
    6.    "Siesta for the Fiesta" (Lunceford) - 4:14
    7.    "Night Life" (Purse) - 10:29
    8.    "Black or White" (Jackson) - 7:19
    9.    "Three for the Festival" (Kirk) - 6:06
   10.    "The Great Pretender" (Ram) - 7:33

 MP3 @320 kbps |  168.5 MB
Part 1 | Part 2

FLAC | 455 MB
Part 1 | Part 2 | Part 3 | Part 4 | Part 5

Thanks to Garina

Billie Holiday at the Storyville Club 1951

Billie singing into the mike at the George Wein's Storyville Club in the Copley Square Hotel in Boston. Sharing the same bill with the Stan Getz Quintet.

28 october 1951, Storyville Club, Copley Square Hotel, Boston
Radio Broadcast from WMEX

www.billieholiday.be

Billie Holiday & Stan Getz at "Storyville" 1951

HotBeatJazz 10' Series - Billie Holiday & Stan Getz - Billie And Stan 10'LP Dale LP 25 (1951)

Recorded live at "Storyville Club", Boston, MA, October 29, 1951
Billie Holiday (vo) Stan Getz (ts) Al Haig (p) Jimmy Raney (g) Teddy Kotick (b) Tiny Kahn (d)

1- You're driving me crazy
2- Lover come back to me
3- Ain't nobody's bizzness if I do

Recorded live at "Storyville Club", Boston, MA, October 31, 1951
Billie Holliday (vo) Buster Harding (p) John Fields (b) Marquis Foster (d)

4- He's funny that way
5- Miss Brown to you
6- Detour ahead
7- Billie's blues
8- Them there eyes

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Thanks to hot beat jazz

Charlie Parker – Complete Bird at the Open Door (1953)

Live at the Open Door in Greenwich Village, N. Y. C., Sunday, July 26, 1953

Charlie Parker alto sax 
Benny Harris trumpet 
Al Haig piano 
Charles Mingus bass 
Art Taylor drums

1. Out Of Nowhere 3:02

2. Star Eyes 3:53

3. Cool Blues 4:42

4. East Of The Sun 3:23

5. The Song Is You 6:06

6. 52nd Street Theme (I) 2:39

7. Ornithology 3:20

8. Scrapple From The Apple 3:26

9. My Old Flame 4:18

10. My Little Suede Shoes 2:17

11. I Remember You 3:03

12. All The Things You Are 4:13

13. Just You, Just Me 1:58

14. I’ll Remember April (I) 4:15

15. Hot House 3:21

16. 52nd Street Theme (II) 3:00

17. I Cover The Waterfront 2:27

18. This Time The Dream’s On Me 4:14

19. I’ll Remember April (II)

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mp3@224kbps

REVIEW:

This is a recording by Bird’s wife Chan of a 4-set performance at the Open Door in Greenwich Village in July 1953. It’s mostly just the heads and Bird’s soloes and chases. The recording quality is reasonably good, at least by the standards of such amateur nightclub recordings. There’s lots of audience noise but Bird is easily heard, along with the drummer (Art Taylor). The pianist (Al Haig) and bassist (Charles Mingus) are often poorly audible. It’s a typical performance for Bird during the twilight of his career: virtuosity trumps inspiration. That’s not to say there’s no innovation: despite having heard so many of his soloes, I’m still amazed at how easily Bird inserts quotes in harmonically and rhythmically adventurous spots. But these moments are relatively few, and the overall impression is of someone trapped in his past, stitching soloes together from oft-repeated personal cliches. The lack of another horn on most of these tracks to provide a competitive stimulus may have contributed to the staleness. In fact, for someone who’s listened to a lot of Bird, some of these soloes are almost (dare I say it?) boring! Bird was by all accounts aware that he was in a musical rut: he talked of studying composition with Varese, for example; but he never progressed beyond the stage of endless reinvention of soloes on traditional vehicles like the blues and standard ballads. Other jazz greats faced a similar dilemma, and some were able to progress. For example, Duke Ellington wrote more extended concert pieces; Louis Armstrong became an ambassador of jazz, travelling for the State Department, and found some commercial crossover success late in his career; Miles Davis and John Coltrane never stopped exploring new musical frontiers. But Bird remained stuck, most likely because the demands and consequences of his heroin addiction got in the way. A little more than a year and a half after this recording he was dead, his career and home life in ruins. It’s sad to think what might have been.

Thanks to Raz - jazz is my life

Charlie Parker

Charles Parker, Jr.
(August 29, 1920 – March 12, 1955)

Jutta Hipp At The Hickory House 1956

Recorded at the "Hickory House", N. Y. C. in April 5 1956

Jutta Hipp piano Peter Ind bass Ed Thigpen drums

CD1
01. Introduction by Leonard Feather
02. Take Me in Your Arms
03. Dear Old Stockholm
04. Billie's Bounce
05. I'll Remember April
06. Lady Bird
07. Mad About the Boy
08. Ain't Misbehavin'
09. These Foolish Things
10. Jeepers Creepers
11. The Moon Was Yellow

CD2
01. Gone with the Wind
02. After Hours
03. The Squirrel
04. We'll Be Together Again
05. Horacio
06. I Married an Angel
07. Moonlight in Vermont
08. Star Eyes
09. If I Had You
10. My Heart Stood Still

Jutta Hipp At The Hickory House (1956) [2CD] {2007 Japan RVG, TOCJ-7041/42}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 457 Mb | MP3 @320 -> 189 Mb
Full Artwork @ 300 dpi (jpg) -> 21 Mb
© 2007 Blue Note Japan | TOCJ-7041/42 | 24-bit remaster

FileSonic or FileServe
p.s. the files are interchangeable...

At the Hickory House is a thoroughly appealing collection of lightly swinging small-combo jazz that draws equally from hard bop and soul-jazz. There's a soulful lilt to Jutta Hipp's playing that keeps it engaging and enjoyable. The rhythm section of Peter Ind (bass) and Ed Thigpen (drums) largely stay out of the way, letting Hipp dictate the tempo and mood of the pieces, and she has a knack for creating infectious, swinging interpretations of jazz and pop standards that are enjoyable and easy to listen to. Vol. 1 contains such staples as "Dear Old Stockholm," "Billie's Bounce," "Mad About the Boy," "Ain't Misbehavin'" and "These Foolish Things," all of which are performed with verve and style, making the record a wonderful little gem.

Jutta Hipp at the Hickory House, Vol. 2 has the same infectious spirit and sense of fun as the first volume. Taken from the same date, this ten-track album features such standards as "Moonlight in Vermont," "After Hours," "If I Had You" and "My Heart Stood Still," all of which are given swinging, spirited interpretations by Hipp and her rhythm section of bassist Peter Ind and drummer Ed Thigpen. As with the first volume of At the Hickory House, Vol. 2 is another thoroughly enjoyable set of swinging soul-jazz and should appeal to fans of Horace Silver and the Three Sounds.

Thanks to ruskaval

The Jazz Crusaders Live Newport & Pacific Jazz Festivals 1966

The Jazz Crusaders Live Newport & Pacific Jazz Festivals – The Festival Album 1966

Recording information:
Pacific Jazz Festival, Costa Mesa, CA (1966)
Newport Jazz Festival, Newport, RI (1966)
Shelly's Manne-Hole, Los Angeles, CA (1968)

The Jazz Crusaders:
Wilton Felder saxophone, tenor saxophone Wayne Henderson trombone Joe Sample piano, keyboards Stix Hooper drums
on double bass
Herbie Lewis (Pacific Jazz Festival), Jimmy Bond (Newport Jazz Festival), Buster Williams (Shelly Manne's Hole)

01. Introduction
at the Pacific Jazz Festival

02. Trance Dance
03. Summer’s Madness
at the Newport Jazz Festival

04. Young Rabbits
05. Freedom Sound
at Shelly Manne's Hole

06. Wilton’s Boogaloo
07. Half And Half

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The Festival Album was the only live set by the Jazz Crusaders not recorded at the Lighthouse. As such, it is a compilation of performances recorded at the Pacific Jazz and Newport Festivals in 1966. The band had two different bass players during these gigs: Jimmy Bond was at the Newport Festival, while Herbie Lewis joined for the Pacific Jazz Festival. The band was well established everywhere but in New York, bewilderingly, and had recorded a dozen records, all of which were popular. And it's easy to see why. The version of Ken Cox's "Trance Dance" that opens the set showcases all of the band's strengths: solid hard bop chops and arrangements with a deep accent on the blues as it was emerging into soul-jazz. Soloists Joe Sample, Wayne Henderson, and Wilton Felder are all in fine form here. The deep groove on "Summer's Madness" by the trio is actually the signature piece of the Jazz Crusaders' sound at the time. Sample's "Freedom Sound," from the Pacific Jazz gig, illustrates the deep lyricism at the heart of the band's front line. The CD version contains two bonus tracks recorded later that year at Shelly Manne's Hole, with Buster Williams on bass. The sound gels here to make something truly unique, as evidenced by the funkier than funky "Wilton's Boogaloo," with killer solos by the saxophonist and Henderson, and a smoking beat by Stix Hooper. It's loose, in the pocket and freewheeling -- and over 11 minutes in length! The set closes with the driving "Half and Half" by Charles Davis, which is a vamp on "My Favorite Things," with a knotty arrangement, a sprightly tempo, and features some incredible snare and cymbal work by Hooper. ~ Thom Jurek

The Jazz Crusaders Live At The Lighthouse ’66

Recorded live at The Lighthouse, Hermosa Beach, California on January 14-16, 1966.

The Jazz Crusaders:
Wilton Felder tenor saxophone Wayne Henderson trombone Joe Sample piano
Leroy Vinnegar bass Stix Hooper drums

01. Aleluia

02. Blues Up Tight

03. You Don’t Know What Love Is

04. Miss It

05. ‘Round Midnight

06. Some Other Blues

07. Scratch

08. Doin’ That Thing

09. Milestones

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Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form. Felder shows the strong influence of Coltrane, Henderson recalls J.J. Johnson, Sample displays the most originality and the quintet on a whole (with its tenor-trombone frontline) sounds quite distinctive. An excellent set of primarily straight-ahead (but soulful) jazz. ~ Scott Yanow

The Jazz Crusaders at the Lighthouse '68

The Jazz Crusaders - Lighthouse '68 (1968)
Label: Liberty Records (Applause)

Recorded live at the Lighthouse, Hermosa Beach, California in November 1967

The Jazz Crusaders
Wilton Felder tenor saxophone Wayne Henderson trombone Joe Sample piano
Buster Williams bass Stix Hooper drums

01. Ooga Boo Ga Loo (6:55)
02. Eleanor Rigby (7:40)
03. Native Dancer (9:05)
04. Never Had It So Good (7:24)
05. The Emperor (9:08)
06. Impressions (6:38)


320kbps
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This 1968 live outing captures the Jazz Crusaders in fine, laid-back form. As with the best concert recordings, the group benefits here from the intimacy of the setting; the musicianship is spot-on and technically challenging, yet remains warm and expansive. The band--fronted by pianist Joe Sample, trombonist Wayne Henderson, and tenor sax man Wilton Felder--rolls out its smoothest grooves while incorporating gospel fervor, funk rhythms, and no small amount of hard-bop vocabulary.

The opener, "Oogo-Boo-Ga-Loo," lays a sassy horn line over a simple, loping pattern, giving the soloists plenty of room to stretch out. Things stay deep in the groove on cuts like "Tough Talk," but the group proves itself equally adept at modal explorations, most notably on compositions by bassist Buster Williams, such as the Latin-themed "Native Dancer" and the beautiful, shape-shifting "The Emperor." A frenetic and faithful interpretation of Coltrane's "Impressions" brings all of these assets together. Overall, LIGHTHOUSE '68 is a solid set that synthesizes the era's varied styles into one remarkable package.

The Charles Lloyd quartet at the Fillmore Auditorium 1966

The Charles Lloyd Quartet - Love-In 1967
MP3 CBR 320Kbps => 109 MB | Time 45:32 | Covers

Recorded live at the Fillmore, San Francisco, California. 1966

The Charles Lloyd quartet was the first jazz group to play at the Fillmore Auditorium in San Francisco. This album is from that venue, early in 1967

Charles Lloyd : tenor sax, flute Keith Jarrett : piano Ron McClure : bass Jack DeJohnette : drums

01. Tribal Dance
02. Temple Bells
03. Is It Really the Same
04. Here, There and Everywhere
05. Love-In
06. Sunday Morning
07. Memphis Dues Again/Island Blues

Originally released on Atlantic (1481) 1967

MP3 @320

Charles Lloyd Quartet

Miles

Miles Davis at the Cafe Bohemia, Manhattan, 1956

The Café Bohemia

Read A Vintage Article About Café Bohemia

A June 13, 1956 Village Voice article describes the club’s origins as a jazz spot:

“First Birthday for Jazz Club That Started ‘by Accident’”

What Jimmy Garofolo, 42, knew about progressive jazz one year ago wouldn’t have filled a single bar – of music. What he’s learned since, however, was filling his bar – the Cafe Bohemia – every night last week, when the nightspot celebrated its first anniversary as a jazz club.

Seating only 100, the tiny Barrow Street club has become the only place in America with a policy of “progressive jazz only.”

“No rock ‘n roll, no vocalists, no big bands, no nuttin’ except small jazz combos,” Garofolo told The Voice Sunday [June 10, 1956]. “Once Birdland and Basin Street were the mecca of all true jazzmen; now a lot of them won’t go on the road until they’ve played the Bohemia, too. We’re a small place and we’ve given many a new outfit their first chance.”

Half a dozen LP record albums have been cut on the premises during the past 12 months, and their covers, along with others, line the walls in symmetrical rows. They include covers by the Bohemia’s two current stars – Miles Davis and Teddy Charles.

The fact that the Bohemia ever turned into a jazz club in the first place is almost accidental. Owner Garofolo, a lifelong Villager who lives across the street from his bar, explains: “For six years I tried to make the place pay, first as a bar and restaurant, then with girly shows, and then with various acts. One night I had to throw out a character who’d been drinking brandy alexanders without any money to pay for them. The next thing I knew, he was back offering to play a few weeks here to pay off his obligation – and because he wanted a regular home base from which to play when he was between engagements.

Guess Who? “Somebody told me his name was Charlie Parker and he was a saxophonist. I was pretty naive about jazz at the time and I didn’t know him from beans, but it turned out he was a big man in the jazz world.

“When I put out signs announcing he was going to play, I had a stream of people coming in wanting to know if the great Charley Parker was going to play here. It was the way they said ‘here’ that got me.”

The great Charley Parker never did get around to playing the Bohemia; he died before his engagement came up. But his prestige had done the trick – jazzophiles have jammed the place ever since.

According to Panken’s 2005 Downbeat article, Charley Parker began frequenting the Bohemia because he was staying at the apartment of poet Ted Joans, across the street. Joans is said to have coined “Bird lives!”, the phrase that caught on after Parker’s death in 1955. Joans also wrote the poem “Jazz Is My Religion.”

***

Now a local bar, this place used to be Cafe Bohemia. Cannonball Adderley made his New York debut here. He was 26 years old at the time, just left a job teaching high schools in Florida, and come to get his Masters degree at NYU. In his first night in New York, him and his brother, Nat Adderley, went down to Cafe Bohemia and played through a couple of tunes. Oscar Pettiford and Charlie Rouse were there that night, and were so impressed by the two brothers that they gave the them both jobs two nights later. The two would go on to record some of the most important jazz albums in history. ~ chasingred- TOUR OF NEW YORK'S JAZZ HISTORY, PART 1

Kenny Dorham At The Cafe Bohemia 1956 [Complete 'Round About Midnight]

Recorded live at the Cafe Bohemia in New York City on May 31, 1956

Kenny Dorham (trumpet) Kenny Burrell (guitar) J.R. Monterose (tenor saxophone)
Sam Jones (bass) Bobby Timmons (piano) Arthur Edgehill (drums)

CD 1
1. K.D.'s Blues (10:41)
2. Autumn In New York (4:38)
3. Monaco [alternate take] (5:33)
4. N.Y. Theme (5:39)
5. K.D.'s Blues (9:30)
6. Hill's Edge (8:16)
7. A Night In Tunisia (9:31)
8. Who Cares? [alternate take] (4:59)
9. Royal Roost (8:41)

CD 2
1. Mexico City (6:02)
2. 'Round About Midnight (7:44)
3. Monaco (6:37)
4. Who Cares? (6:21)
5. My Heart Stood Still (7:49)
6. Riffin' (7:50)
7. Mexico City [alternate take] (6:33)
8. The Prophet (6:20)

This is part of Blue Note Records "Rudy Van Gelder Editions" series.

Mp3 320 Kps

PART 1 - 
PART 2

During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham's group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder and remastered by him in 2001, Blue Note's 2002 double-disc "Complete" Dorham Café Bohemia edition combines every usable track taped during this exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham's band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham's jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day. ~ arwulf arwulf

Gracias a pepejazzy