Recorded live at Palais des Congres Studios de la Grande Armee, Paris, France, 2nd July 1985
Keith Jarrett, piano - Gary Peacock, double-bass - Jack DeJohnette, drums
1. Stella By Starlight 11:14 2. The Wrong Blues 8:03 3. Falling In Love With Love 8:41 4. Too Young To Go Steady 10:10 5. The Way You Look Tonight 9:31 6. The Old Country 6:36
Recorded live at Birdland, New York City in March 31, 1990.
Gary Bartz Quintet: Gary Bartzalto and soprano saxophoneClaudio Rodititrumpet, flugel hornJohn HickspianoRay DrummondbassAl Fosterdrums 1. West 42nd Street - 6:12 2. Speak Low - 19:07 3. It's Easy To Remember - 11:43 4. Cousins - 10:00 5. The Night Has A Thousand Eyes - 18:53
First, the picture — from the Bettmann / Corbis archives:
the original jazz club Birdland, perhaps on opening night in 1949.
From the left,Max Kaminskyon trumpet,Lester Youngon tenor saxophone, a nearly-hidden George Wettlingon drums,Hot Lips Pageon trumpet,Charlie Parker on alto saxophone,Lennie Tristanoon piano.
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.
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.
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
Recorded live at The Cellar, Vancouver, Canada, on November 1958
Harold Landtenor saxElmo HopepianoScott LaFarobassLennie McBrownedrums
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
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'
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 **
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!”
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.
"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)
"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."
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.
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
Recorded live at Starbucks, Seattle, Washington on September 22-23, 1999
Ray BrownbassGeoff KeezerpianoKarriem Rigginsdrums
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
Recorded live at Carnegie Hall, New York, November 24, 1974.
Gerry Mulligan- baritone saxChet Baker- trumpetEd Byrne- tromboneBob James- piano John Scofield- guitarRon Carter- bassHarvey Mason- drumsDave 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
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, November 1974 during rehearsal for concert at Carnegie Hall "Reunion with Chet Baker". Organized by Don Friedman. Photographs by Franca R. Mulligan
Recorded live at the Storyville Club, Boston, December 6, 1956 Gerry Mulligan- bar sax & piano [# 6, 9, 11 & 13]Bob Brookmeyer- trombone & piano [# 14]Bill Crow- bassDave Bailey- drums
1. Bweebida Bwobbida (Mulligan) 6:38 2. Birth of the Blues (Brown, DeSylva, Henderson) 4:36 3. Baubles, Bangles and Beads (Forrest, Wright) 3:27 4. Rustic Hop (Brookmeyer) 4:50 5. Open Country (Brookmeyer) 5:43 6. Storyville Story (Mulligan) 5:35 7. That Old Feeling (Brown, Fain) 4:06 8. Bike Up the Strand/Utter Chaos (Mulligan) 6:20 9. Blues at the Roots (Mulligan) 4:54 10. Ide's Side (Mulligan) 5:10 11. I Can't Get Started (Duke, Gershwin) 2:42 12. Frenesi (Dominguez, Whitcup) 4:25 13. Flash (Mulligan) 2:43 14. Honeysuckle Rose (Razaf, Waller) 3:19 15. Limelight/Utter Chaos (Mulligan) 4:42
Recorded live at the Blue Note, November 24-26, 1998
Oscar Peterson- pianoRay Brown- bassMilt Jackson- vibesKarriem Riggins- drums
01. Squatty Roo (Johnny Hodges) - 8:17 02. Salt Peanuts (John Gillespie, Kenneth Clark) - 8:14 03. Ad Lib Blues (Lester Young) - 10:20 04. If I Should Lose You (Ralph Rainger, Leo Robin) - 7:12 05. Limehouse Blues (Philip Braham, Douglas Furber) - 6:51 06. Soft Winds (Fletcher Henderson, Roy Alfred) - 7:59 07. The More I See You (Mack Gordon, Harry Warren) - 8:40
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