Roy Ayers Quartet (1976)

session produced by Herbie Mann
Originally Issued in Japan as
12 inch direct to disk 45 rpm's

featuring:

Roy Ayers - Vibes
Sonny Sharrock - Guitar
Miroslav Vitous - Bass
Bruno Carr - Drums

1 - Unchain My Heart - Comin' Home Baby
2 - A Man And A Woman - Scarborough Fair
3 - If I Were A Carpenter
4 - All Blues

Marzette Watts - Marzette And Company (1971)

Marzette And Company

01. Backdrop for Urban Revolution (17:55)
02. Ia (6:03)
03. Geno (13:18)

Bass – Henry Grimes, Juney Booth
Clarinet [Bass], Saxophone [Alto, Soprano], – Marzette Watts
Drums – J.C. Moses
Flute, Saxophone [Alto], Clarinet [Bass] – Byard Lancaster
Guitar – Sonny Sharrock
Saxophone [Alto] – Byard Lancaster
Trombone, Cornet – Clifford Thornton
Vibraphone – Karl Berger

Marzette Watts (March 9, 1938, Montgomery, Alabama - March 2, 1998, Nashville) was an American jazz alto saxophonist. He had a brief career in music but is revered for his 1966 self-titled free jazz release.

Watts played piano early in his life, but did not play music regularly in his teens. He studied at Alabama State College, where he was a founding member of SNCC; this association led to his being forced to leave the state at the behest of the governor of Alabama.

He moved to New York, where lived in a loft building on Cooper Square which also had as a tenant Leroi Jones (later Amiri Baraka), with whom he participated in the Organization of Young Men. Watts returned to college in New York, completing his studies in 1962; he then moved to Paris to study painting at the Sorbonne and began playing saxophone for extra money.

Returning to New York in 1963, he studied under Don Cherry and played in his loft and around the city with Jiunie Booth, Henry Grimes, J.C. Moses, and others. He also developed his painting ability, producing work strongly influenced by that of Willem De Kooning.

Marzette's loft attracted many established and up-and-coming musicians, who would hang out and at times play for parties, including Ornette Coleman, Cecil Taylor, Don Cherry, Archie Shepp, and Pharoah Sanders.

In 1965 he decided to devote himself to music more fully, and moved to Denmark for further study. While in New York in 1966, he recorded an album for ESP-Disk, and recorded for Savoy Records in 1968. He wrote film scores and did production work for his own films, eventually abandoning music to work in film and record production.

Later in his life he moved back and forth between Europe and New York, teaching briefly at Wesleyan University. Late in his life he moved to California. He died of heart failure in 1998.

Don Cherry - Organic Music Society (1972)

Organic Music Society
Don Cherry
Caprice RIKS LP 44/50(Sw)(2LPs)
June 23, July 4,1971 - July 28,August 14, 1972

Here’s another incredible record by spiritual jazz-man Don Cherry...

Don Cherry (tp, p, vo, perc, harmonium, fl, etc)
Nana Vasconcelos (vo, berimbau), Moki (vo, tambura)
Helen Eggert (vo, tambura)
Christer Bothen (p, guana guitar, etc)
Bent Berger (ds, log drums, mridanga, tablas)
Tommy Koverhult (fl)
Okay Temiz (ds)

1. North Brazilian
2. Elixir
3. Manusha Ragakamboji
4. Relativity Suite Part 1
5. Relativity Suite Part 2
6. Terry's Tune
7. Hope
8. The Creeatorhas A Master Plan
9. Sidhartha
10. Utopia
11. Bra Joe From Kilimanjaro
12. Terry's Tune
13. Resa

Clifford Jordan - Glass Bead Games

Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.

Glass Bead Games - Clifford Jordan

Powerful Paul Robeson
The Glass Bead Games
Prayer To The People
Cal Massey
John Coltrane
Eddie Harris
Biskit
Shoulders
Bridgework
Maimoun
Alias Buster Henry
One For Amos

Charles Mingus - Passions Of A Man: The Complete Atlantic Recordings (1956-1961)

The Complete Atlantic Recordings (1956-1961)

Disc 1 TT 61:38

1 Pithecanthropus Erectus 10:33
2 A Foggy Day 7:47 (George Gershwin)
3 Love Chant 14:56
4 Profile Of Jackie 3:07
5 Laura 4:52 (David Raskin)
6 When Your Lover Has Gone 2:27 (Einar Aaron Swan)
7 Just One Of Those Things 6:06 (Cole Porter)
8 Blue Greens 11:42 (Teddy Charles)

Disc 2 TT 56:21

1 The Clown 12:29
2 Passions Of A Woman Loved 9:43
3 Blue Cee 7:48
4 Tonight At Noon 5:58
5 Reincarnation Of A Lovebird 8:31
6 Haitian Fight Song 11:57

Disc 3 TT 70:20

1 E's Flat Ah's Flat Too 6:37
2 My Jelly Roll Sou 6:47
3 Tensions 6:27
4 Moanin '7:57
5 Cryin 'Blues 4:58
6 Wednesday Night Prayer Meeting 5:42
7 E's Flat Ah's Flat Too (Alternate Take) 7:16
8 My Jelly Roll Soul (Alternate Take) 11:51
9 Tensions (Alternate Take) 5:30
10 Wednesday Night Prayer Meeting (Alternate Take) 6:56

Disc 4 TT 71:40

1 Prayer For Passive Resistance 8:06
2 Wednesday Night Prayer Meeting 11:54
3 Folk Forms I 11:08
4 What Love? 13:34
5 I'll Remember April 13:39 (DePaul, Johnston, Raye)

Disc 5 TT 67:34

1 Devil Woman 9:38
2 Ecclusiastics 6:55
3 "Old" Blues For Walt's Torin 8:59
4 Peggy's Blue Skylight 9:42
5 Hog Callin 'Blues 7:26
6 Oh Lord Don't Let Them Drop That Atomic Bomb On Me 5:38
7 Passions Of A Man 4:52
8 Wham Bam Thank You Ma'am 4:41
9 Invisible Lady 4:49
10 Eat That Chicken 4:36

Disc 6 TT app. 75:00

1 Charles Mingus interviewed by Nesuhi Ertegun 75:00

All compositions by Charles Mingus unless otherwise noted

Personnel

Disc 1, 1-5:

Charles Mingus - bass
Jackie McLean - alto sax
J.R. Monterose - tenor sax
Mal Waldron - piano
Willie Jones - drums

Disc 1, 5-8:

Teddy Charles - vibes
Hall Overton - piano
Charles Mingus - bass
Ed Shaughnessy - drums

Disc 2

Charles Mingus - bass
Shafi Hadi (Curtis Porter) - tenor sax
Jimmy Knepper - trombone
Wade Legge - piano
Dannie Richmond - drums
Jean Shepherd - improvised narration on 'The Clown'

Disc 3

Charles Mingus - bass
John Handy - alto sax
Jackie McLean - alto sax
Booker Ervin-tenor sax
Pepper Adams - baritone sax
Willie Dennis - trombone
Jimmy Knepper - trombone
Horace Parlan - piano (except 1 and 7)
Mal Waldron - piano (on 1 and 7)

Disc 4

Charles Mingus - bass, piano (on 2,3)
Eric Dolphy - alto sax, bass clarinet (on 5)
Booker Ervin - tenor sax (on 1-5)
Ted Curson - trumpet
Bud Powell - piano (on 6)

Disc 5

Charles Mingus - piano, vocal
Roland Kirk - tenor sax, flute, siren, manzello, strich
Booker Ervin - tenor sax
Jimmy Knepper - trombone
Doug Watkins - bass
Dannie Richmond - drums

Date and location

Disc 1, 1-5 January 30, 1956 Audio-Video Studios, New York City
Disc 1, 5-8 November 12, 1956 New York City
Disc 2, 1 February 13, 1957 Audio-Video Studios, New York City
Disc 2: 2-6 March 12, 1957 Atlantic Studios, New York City
Disc 3 February 4, 1959 Atlantic Studios, New York City
Disc 4 July 13, 1960 Antibes Jazz Festival, Juan-les-Pins, France
Disc 5 November 6, 1961 Atlantic Studios, New York City
Disc 6 late 1961/early 1962 Nesuhi Ertegun's office, Atlantic Records, New York City

Total time approx 400 minutes

Eric Dolphy - Last Recordings (1993)

Live at Le Chat Qui Pêche, Paris, France, June 11, 1964. Released March 1, 1993.

Of the four tracks on this final Dolphy concert, only one, the 19-minute Springtime appears to have never been recorded for release. It starts off promisingly with Dolphy ululating on the clarinet. Visions of free jazz appear but soon the composition begins its middle-eastern tempo. It’s the empty desert at midnight and Dolphy’s clarinet wails uncomfortably but his trumpeter and saxophonist continue to stay with tradition giving Springtime its BeBop style.

Had Dolphy more time, perhaps he could have explained his new ideas. Both Donald Byrd and Nathan Davis actually make this music accessible and easy to listen to. They fill in the melody that Dolphy disregarded. The language of discomfort never connects because the pair are busy making everything sound harmonious. They were not alone in misunderstanding Dolphy.

Wikipedia has this comment from John Coltrane: “Although Coltrane’s quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now legendary, they provoked Down Beat magazine to brand Coltrane and Dolphy’s music as ‘anti-jazz’. Coltrane later said of this criticism: ‘they made it appear that we didn’t even know the first thing about music (…) it hurt me to see [Dolphy] get hurt in this thing’.”

The rest of the show contains Dolphy’s earlier compositions from 1960, all very traditional. These “last sessions” have been released several times before in Europe unofficially. They became widespread when CD bootlegs arrived.

01. Springtime
02. 2.45
03. GW
04. Serene

Personnel:
Eric Dolphy (as, bcl)
Donald Byrd (tr)
Nathan Davis (ts)
Jack Diéval (pno)
Jacques Hess (bass)
Franco Manzecchi (dr)
Jacky Bambou (congas on 2, 3)

Paul Bley Quintet - Live At The Hillcrest Club 1958

Musicians:

Ornette Coleman (alto sax)
Don Cherry (trumpet)
Paul Bley (piano)
Charlie Haden (bass)
Billy Higgins (drums)

Recorded: Los Angeles, CA, October 1958

Recorded during a club gig several months after the sessions for his first commercial recording as a leader (Something Else! on Contemporary Records), this track is a fascinating historical document of Coleman's experiments in stretching the parameters of conventional bebop-based jazz performance. It proves that in the case of Ornette, the origins of so-called free jazz represented more of an evolution than a revolution.

The group is the classic Coleman Quartet plus pianist Paul Bley, and here they explore a Charlie Parker line based on "Perdido" changes. They faithfully include Parker's original intro and tag, and though the horns play a wrong note in the second bar of the A sections, they play it with conviction and repeat it each time. Ornette's solo here should put to rest for good the accusations that he (a) discarded chord changes completely, and (b) couldn't play changes anyway. A striking feature of his solo is how much of Bird's language he used and how well he understood it. It reminds me of the parallel experience of noticing how much verbatim Lester Young was contained in Parker's early work.

Since this was obviously a bootleg recording done on less than ideal equipment, the sound leaves something to be desired, especially as it affects the piano, obviously not a vintage Steinway to begin with. Bley contributes an energetic solo that includes some angular a cappella passages, but it would have been interesting to hear his comping more clearly, as he has always been a player who can exert an enormous amount of harmonic and rhythmic influence over any group he plays in.

1.Klactoveesedstene
2.I Remember Harlem
3.Blessing, The
4.Free

The Griffith Park Collection

1. L's Bop
2. Why Wait
3. October Ballade
4. Happy Times
5. Remember
6. Guernica

Credits
Joe Henderson (Sax (Tenor)), Lenny White (Drums), Lenny White (Producer), Lenny White (Liner Notes), Stanley Clarke (Bass (Upright)), Chick Corea (Piano), Freddie Hubbard (Trumpet), Freddie Hubbard (Flugelhorn)

Eric Kloss & The Rhythm Section (1993)

Whatever happened to Eric Kloss? A brilliant player by the time he was 20, Kloss has largely disappeared from the jazz scene since his string of excellent recordings (mostly for Prestige and Muse) stopped in 1981. This particular CD reissue has two complete albums (To Hear Is to See and Consciousness) that feature Kloss with the Miles Davis rhythm section of the period (keyboardist Chick Corea, electric bassist Dave Holland, and drummer Jack DeJohnette); the second session also has innovative guitarist Pat Martino. It is to Eric Kloss' great credit that he keeps up with his more famous sidemen on the adventurous program, which is comprised of his seven originals and one song apiece by Pat Martino, Joni Mitchell, and Donovan ("Sunshine Superman"). The music blends together aspects of the avant-garde and fusion and rewards repeated listenings...AMG

01 To Hear Is to See
02 The Kingdom Within
03 Stone Groove
04 Children of the Morning
05 Cynara
06 Sunshine Superman
07 Kay
08 Outward Wisdom
09 Song to Aging Children
10 Consciousness

Eric Kloss Bodies' Warmth (1975)

1 Lady
2 Joni
3 Bodies' Warmth
4 Scarborough Fair
5 Mystique
6 Headin' Out

Eric Kloss - Now (1978)

Eric Kloss
Now
Muse Records MR 5147

Produced by Frederick Seibert

1. We Are Together
2. Now
3. Morning Song
4. Hey Hey Whatta You Say
5. Autumn Blue
6. Booga Wooga Woman

…..
Eric Kloss - alto & tenor saxophone
Mike Nock - keyboards
Mike Richmond - bass
Jimmy Madison - drums
Efrain Toro - cowbell

…..
Produced by Frederick Seibert
Recorded January 4 & 5, 1978 at
Van Gelder Recording Studios, Englewood Cliffs NJ, on
June 17th, 1979
Recording Engineer: Rudy Van Gelder

Eric Kloss & Barry Miles - Together (1976)

Eric Kloss & Barry Miles
Together
Muse Records

1. Relay
2. The Wise Woman
3. Together
4. Song for a Mountain
5. The Goddess, the Gypsy, the Light
6. Opus de Mulier

……
Eric Kloss: Alto saxophone+, Tenor saxophone
Barry Miles: Piano*, Electric piano**, Synthesizer

Recorded July 19 & 20, 1976
CI Recording, New York City

Eric Kloss

Eric Kloss (b. April 3, 1949, Greenville, Pennsylvania) is an American jazz saxophonist.

Blind since birth, Kloss first played professionally in the Pittsburgh area in the 1960s, and played with Pat Martino in 1965; later that year he made his first recordings at age 16 for Prestige Records. He continued to release on Prestige and Muse through the late 1970s, playing with Don Patterson, Jaki Byard, Richard Davis, Alan Dawson, Cedar Walton, Jimmy Owens, Kenny Barron, Jack DeJohnette, Booker Ervin, Chick Corea, Barry Miles, Richie Cole, and Gil Goldstein.

Kloss has recorded sparsely since 1981.

John Coltrane - The Heavyweight ChampionJohn Coltrane - The Heavyweight Champion (1995) (7CD)

The Heavyweight Champion: The Complete Atlantic Recordings is a 1995 box set by jazz musician John Coltrane. It features all of the recordings Coltrane made for Atlantic Records, spanning January 15, 1959 to May 25, 1961.

During Coltrane’s Atlantic years, he made important recordings such as Giant Steps and My Favorite Things, recorded albums with Milt Jackson, Don Cherry, and Eric Dolphy and made his debut on the soprano saxophone.

CD1
01. Stairway to the Stars
02. The Late Late Blues
03. Bags & Trane
04. Three Little Words
05. The Night We Called It a Day
06. Be-Bop
07. Blues Legacy
08. Centerpiece
09. Giant Steps (alternate version)
10. Naima (alternate version)
11. Like Sonny (alternate version)

CD2
01. Spiral
02. Countdown
03. Countdown (alternate take)
04. Syeeda's Song Flute
05. Syeeda's Song Flute (alternate take)
06. Mr. P.C.
07. Giant Steps
08. Cousin Mary
09. Cousin Mary (alternate take)
10. I'll Wait and Pray
11. I'll Wait and Pray (alternate take)
12. Little Old Lady

CD3
01. Like Sonny
02. Harmonique
03. My Shining Hour
04. Naima
05. Some Other Blues
06. Fifth House
07. Cherryco
08. The Blessing
09. Focus on Sanity
10. The Invisible
11. Bemsha Swing

CD4
01. Village Blues
02. Village Blues (alternate take)
03. My Favorite Things
04. Central Park West
05. Mr. Syms
06. Untitled Original (Exotica)
07. Summertime
08. Body and Soul
09. Body and Soul (alternate take)
10. Mr. Knight

CD5
01. Blues to Elvin (alternate take)
02. Blues to Elvin
03. Mr. Day
04. Blues to You (alternate take)
05. Blues to You
06. Blues to Bechet
07. Satellite
08. Everytime We Say Goodbye
09. 26-2
10. But Not for Me

CD6
01. Liberia
02. The Night Has a Thousand Eyes
03. Equinox
04. Ole
05. Dahomey Dance
06. Aisha
07. Original Untitled Ballad (To Her Ladyship)

CD7 (Outtakes)
01. Giant Steps - take 1 [incomplete]
02. Giant Steps - take 2 [false start]
03. Giant Steps - take 3 [incomplete]
04. Giant Steps - take 4 [incomplete]
05. Giant Steps - take 5 [alternate]
06. Giant Steps - take 6 [false start]
07. Giant Steps - take 7 [incomplete]
08. Naima - take 1 [incomplete]
09. Naima - take 2 [incomplete]
10. Naima - take 4 [false start]
11. Naima - take 5 [alternate]
12. Naima - take 6 [alternate]
13. Like Sonny - rehearsal 1 [false start]
14. Like Sonny - rehearsal 2 [incomplete]
15. Like Sonny - take 1 [false start]
16. Like Sonny - take 2 [incomplete]
17. Like Sonny - take 3 [incomplete]
18. Like Sonny - take 4 [false start]
19. Like Sonny - take 5 [alternate]
20. Like Sonny - take 6 [incomplete]
21. Giant Steps - take 3 [incomplete]
22. Giant Steps - take 6 [alternate]
23. Blues to Elvin - take 2 [false start]
24. Blues to Elvin - take 3 [alternate]
25. Blues to You - take 2 [alternate]

John Coltrane - Olé Coltrane (1961)

Recorded May 25, 1961 at A&R Studios, New York, NY
Eric Dolphy credited as "George Lane"


~ T R A C K L I S T I N G ~

1. Olé [Coltrane] (18:18)
2. Dahomey Dance [Coltrane] (10:52)
3. Aisha [Tyner] (07:45)
4. Original Untitled Ballad (To Her Ladyship) [Frazier] (09:00)




~ P E R S O N N E L ~

John Coltrane Saxophone (Alto), Saxophone (Soprano), Saxphone (Tenor)
McCoy Tyner Piano
Reggie Workman Bass
Elvin Jones Drums
Art Davis Bass
Eric Dolphy Flute, Sax (Alto)
Freddie Hubbard Trumpet
Ralph J. Gleason Liner Notes
Dan Hersch Remastering
Phil Ramone Engineer
Nesuhi Ertegun Producer, Supervisor


The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set.

Django Reinhardt And Stephane Grapelli - Les Rois Du Swing Manouche (2009)

Tracklist
CD 1:
01 Tiger Rag 2:34
02 I Saw Stars 2:30
03 Swing 39 3:19
04 I Wonder Where My Baby Is Toni 3:02
05 Crazy Rhythm 2:33
06 Tea For Two 3:14
07 I've Found A New Baby 3:04
08 Stockholm 2:48
09 Younger Generation 2:24
10 Out Of Nowhere 3:16
11 Shine 2:56
12 Undecided 2:31
13 Rose Room 2:44
14 The Man I Love 3:12
15 Echoes Of France (La Marseilla 2:47
16 Liebestraum n 3 3:20
17 Mystery Pacific 2:21
18 The Sheik Of Araby 3:04
19 I've Found A New Baby 2:02
20 Nuages (Take 1) 3:19
21 Liza 2:52
22 What Is This Thing Called Love 2:08
23 Sweet Georgia Brown 3:01
24 Si Tu Savais 2:43
25 Interpretation Swing Du 1er Mo 2:26
26 Vingt Six 2:54
27 Minor Swing 3:14
28 Mabel 4:03
29 My Serenade 3:01
30 Stephen's Blues 3:15
31 Sugar 3:03
32 Sweet Georgia Brown 3:15
33 Swing 39 3:13
34 My Sweet (Take 1) 2:57
35 J'attendrai (Tornerai) 2:33
36 Swing 42 2:27
37 Nocturne 3:14
38 Troublant Bolero 3:40
39 Swing From Paris 2:32
40 What A Difference A Day Made 3:36

Tracklist
CD 2:
01 I've Got My Love To Keep Me Wa 2:30
02 Hungaria (Take 1) 2:46
03 Confessin' 2:55
04 Avalon 2:52
05 My Melancholy Baby 2:48
06 Some Of These Days 2:23
07 Hungaria 2:46
08 It Don't Mean A Thing 3:03
09 Oriental Shuffle 2:39
10 Limehouse Blues 2:45
11 Baby 2:38
12 Tears 2:37
13 H. C. Q. Strut 2:57
14 Body and Soul 3:25
15 Chicago 3:26
16 Coquette 3:02
17 Django's Tiger 2:38
18 Embraceable You 3:08
19 Belleville 2:58
20 Alabamy Bound 2:50
21 Honeysuckle Rose 2:46
22 Crazy Rythm 3:00
23 Ol' Man River 2:40
24 I've Found A New Baby 2:36
25 Eveline 2:13
26 Bricktop 3:03
27 How High The Moon (Version 1) 3:00
28 I Love You 3:16
29 Manoir De Mes r ves 4:28
30 Over The Rainbow 2:43
31 Minor Blues 2:43
32 Nature Boy 3:33
33 Night and Day 2:43
34 Djangology 2:46
35 (I Love You) For Sentimental R 3:24
36 It Had To Be You 2:54
37 Just A Gigolo 3:30
38 Billets Doux 2:55
39 Brazil 2:53
40 Them There Eyes 3:02

Rahsaan Roland Kirk - Simmer, Reduce, Garnish & Serve (1995)

This single CD has selections from Rahsaan Roland Kirk's final three albums. His work on his last record Boogie-Woogie String Along for Real was quite heroic and miraculous because he had suffered a major stroke that greatly limited his abilities; in fact Kirk had the use of only one of his hands so his playing was sadly restricted. There is a remarkable amount of variety plus a liberal dose of Kirk's humor on this retrospective, ranging from a "Bagpipe Medley" and "Sweet Georgia Brown" (complete with a whistler and Freddie Moore's washboard) to a warm "I'll Be Seeing You" and a tribute to Johnny Griffin, the main influence on Rahssan's tenor sound. For those listeners who do not already have the three LPs, this is a strong best-of sampler of the saxophonist's final period although his earlier recordings are recommended first. This CD concludes with an emotional and rather touching collage that pays tribute to Kirk's genius and mourns his premature death

01 Lunatic Danza
02 Theme for the Eulipions
03 Sweet Georgia Brown
04 I'll Be Seeing You
05 Los Angeles Negro Chorus
06 Serenade to a Cuckoo
07 Bagpipe Medley
08 J. Griff's Blues
09 Mary McLeod Bethune
10 I Loves You, Porgy
11 Hey Babebips
12 In a Mellow Tone
13Dorthaan's Walk
14Watergate Blues
15 Summertime
16 Thunder and Lighting Goodbye

Kenny Garrett - Beyond the Wall

Often considered the last great sideman of Miles Davis, Garrett emerged in the late 1980s and early 1990s as a definitive voice of the alto saxophone. His 2006 release, Beyond the Wall, is inspired by Garrett's journey through China and has the feeling of an album that was a lifetime in the making. With East vs. West underpinnings and a pairing of old (Pharoah Sanders) against new (Garrett), the title track explores these contrasts, yet is still bound together by Coltrane-like spirituality and McCoy Tyner-like musicality. Garrett's intensity might overwhelm some, but his playing on this track exhibits his style at its most inspired level.

01. Calling
02. Beyond The Wall
03. Qing Wen
04. Realization (Marching Toward The Light)
05. Tsunami Song
06. Kiss to the Skies
07. NOW
08. Gwoka
09. May Peace Be Upon Them

Musicians:

Kenny Garrett (alto sax)
Pharoah Sanders (tenor sax)
Brian Blade (drums)
Robert Hurst (bass)
Mulgrew Miller (piano)

Recorded: New York, February 19-21, 2006

Art Blakey's Jazz Messenger With Thelonious Monk (1958)

The best format to get this essential title is the 1999 Rhino Records CD reissue from their Atlantic Jazz Gallery series. Not only have the half-dozen sides from the original 1958 release been thoroughly remastered, but the amended and enhanced running order also contains a trio of otherwise unavailable alternate takes of Monk standards "Evidence," "Blue Monk," and "I Mean You." Otherwise, Art Blakey's Jazz Messengers With Thelonious Monk (1958) is a timeless meeting of the masters. Art Blakey (drums) and his Jazz Messengers — which concurrently include Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) — face off with Monk during one of the pianist's most creative and fruitful eras. With such a voluminous back catalog of seminal bop compositions, it is fitting that a majority of the album's material stems from Monk. Each of the performances is given extra emphasis, with both co-leaders unleashing their own respective instrumental articulations behind the equally impressive and expressive Jazz Messengers. Right out of the gate, Hardman's solos during "Evidence" provide a powerful introduction into Monk's slightly off-center piano gymnastics. While they never go directly head to head, each musician is clearly inspired by the other's intensity, as they likewise fuel the freewheelin' and hypnotic rhythm of "In Walked Bud." Blakey's firm hold on the combo can be felt as he unleashes a percussive torrent to commence a woozy "Blue Monk." The lackadaisical melody saunters through some adeptly executed changes from Monk with the Jazz Messengers following an effortless and unyielding swing that slices through the heart of the score. One unquestionable highlight is the frisky "Rhythm-A-Ning," sporting the inimitable brass augmentations and co-leads of Griffin and Hardman. The quirky yet catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, the pianist provides an opening solo that alternately shimmers and shudders. Again, Debrest as well as Griffin and Hardman demonstrate their own pronounced capabilities over Monk's otherwise occasional counterpoint...

1. "Evidence" (Thelonious Monk) - 6:46
2. "In Walked Bud" (Monk) - 6:39
3. "Blue Monk" (Monk) - 7:54
4. "I Mean You" (Monk & Coleman Hawkins) - 8:02
5. "Rhythm-A-Ning" (Monk) - 7:20
6. "Purple Shades" (Johnny Griffin) - 7:48
7. "Evidence" [alternate take] (Monk) - 5:30 Bonus track on 1999 CD reissue
8. "Blue Monk [alternate take] (Monk) - 6:59 Bonus track on 1999 CD reissue
9. "I Mean You" [alternate take] (Monk, Hawkins) - 7:34 Bonus track on 1999 CD reissue

Personnel

* Art Blakey - drums
* Thelonious Monk - piano
* Johnny Griffin - tenor saxophone
* Bill Hardman - trumpet
* Spanky DeBrest - bass

The album was produced by Nesuhi Ertegün and engineered by Earl Brown.

Alice Coltrane - Transfiguration

Alice Coltrane has lived in the shadow of both her husband and his classic quartet pianist, McCoy Tyner, but she put out some interesting, often religious-based work on Impulse and Warner Bros. in the '60s and '70s. Recorded live in 1978, Transfiguration turned out to be her final album. Here she set aside arrangements of religious chants and returned to the jazz trio format with the formidable combination of drummer Roy Haynes and bassist Reggie Workman. Coltrane's organ and piano work is filled with uniquely turbulent and swirling arpeggios that are the center of attention almost throughout. Originally a double LP, this 83-minute, double-disc effort includes six originals as well as a 36-minute cover of John Coltrane's late-period monster "Leo," which features fine solos from all three players. Issued on CD and remastered for the first time, Transfiguration should help modern audiences revise their opinion on Alice Coltrane's often-overlooked legacy as a jazz player of substance.

Disc: 1
1. Transfiguration
2. Spoken Introduction/One For The Father
3. Prema
4. Affinity

Disc: 2
1. Krishnaya
2. Leo, Part One
3. Leo, Part Two