Track Listing
Side 1 Sugar, Sunshine Alley
Side 2 Impressions
Monday, August 22, 2011
Stanley Turrentine - Impressions
Stanley Turrentine: tenor saxophone
Billy Kaye: drums
Butch Cornell: organ
Lonnie L. Smith Jr.: electric piano
George Benson: guitar
Freddie Hubbard: trumpet
Ron Carter: bass
Richard "Pablo" Landrum: conga
Track Listing
Side 1 Sugar, Sunshine Alley
Side 2 Impressions
Track Listing
Side 1 Sugar, Sunshine Alley
Side 2 Impressions
Tuesday, August 16, 2011
Eddie "Lockjaw" Davis -- The Stolen Moments
Personnel: Eddie "Lockjaw" Davis (tenor
saxophone); Clark Terry, Richard Williams, Bob Bryant (trumpet); Melba
Liston, Jimmy Cleveland (trombone); Jerome Richardson, Oliver Nelson,
Eric Dolphy, George Barrow, Bob Ashton (reeds); Richard Wyands (piano);
Wendell Marshall (bass); Roy Haynes (drums).
Thursday, August 4, 2011
Happy Birthday, Louis Armstrong
Also check out www.jazzstage.net
Before he had an airport named after him, before he was on a postage stamp, before he became a universally celebrated star, before he recorded dozens of hits, before he changed the course of jazz and popular music, before he ever picked up a trumpet or a cornet, Louis Armstrong had a hard-scrabble upbringing in his beloved hometown of New Orleans. Read complete story from gibson.com.
Louis Armstrong House Museum on Facebook
Comments:
"Great place to visit, especially the stainless steel kitchen. "Pops" could have lived anywhere in the world (he was easily a millionaire), but, he chose to stay in that Corona, Queens neighborhood. You have got to go! --" Larry Reni Thomas
"Yes, it's a beautiful historic place ... very intimate look into a icon's everyday life." -- Barry Stuldivant
"Larry, yes the Corona - East Elmhurst neighborhood provided back and front yards for the movers and shakers of migrating people of color coming up from the south working and operating in Harlem.. He could have lived anywhere .. but was at home here." -- Barry Stuldivant
"Does anyone know how to direct My Family in making The Childhood Home Of Sir Miles Dewey Davis..in East St. Louis Ill... a National Landmark?.... I have talked to Everyone from Jesse Jackson Sr. to the former and current Mayors.. Of E. St Louis.........Please contact Me @ Nefdrum@mac.com." -- Vince Wilburn, Jr.
"I forgot to mention the patio and garden next to the house. "Pops" bought the house next to his and converted it into a beautiful Japanese garden where he would entertain guests. Very nice and pleasant setting." --Larry Reni Thomas
Before he had an airport named after him, before he was on a postage stamp, before he became a universally celebrated star, before he recorded dozens of hits, before he changed the course of jazz and popular music, before he ever picked up a trumpet or a cornet, Louis Armstrong had a hard-scrabble upbringing in his beloved hometown of New Orleans. Read complete story from gibson.com.
Louis Armstrong House Museum on Facebook
Comments:
"Great place to visit, especially the stainless steel kitchen. "Pops" could have lived anywhere in the world (he was easily a millionaire), but, he chose to stay in that Corona, Queens neighborhood. You have got to go! --" Larry Reni Thomas
"Yes, it's a beautiful historic place ... very intimate look into a icon's everyday life." -- Barry Stuldivant
"Larry, yes the Corona - East Elmhurst neighborhood provided back and front yards for the movers and shakers of migrating people of color coming up from the south working and operating in Harlem.. He could have lived anywhere .. but was at home here." -- Barry Stuldivant
"Does anyone know how to direct My Family in making The Childhood Home Of Sir Miles Dewey Davis..in East St. Louis Ill... a National Landmark?.... I have talked to Everyone from Jesse Jackson Sr. to the former and current Mayors.. Of E. St Louis.........Please contact Me @ Nefdrum@mac.com." -- Vince Wilburn, Jr.
"I forgot to mention the patio and garden next to the house. "Pops" bought the house next to his and converted it into a beautiful Japanese garden where he would entertain guests. Very nice and pleasant setting." --Larry Reni Thomas
Monday, August 1, 2011
Pianist Duke Pearson -- The Right Touch
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Personnel: Freddie Hubbard: trumpet; Garnett Brown: trombone; James Spaulding: alto sax; Jerry Dodgion: alto sax, flute; Stanley Turrentine: tenor sax; Duke Pearson: piano; Gene Taylor: bass; Grady Tate: drums. 1967
Personnel: Freddie Hubbard: trumpet; Garnett Brown: trombone; James Spaulding: alto sax; Jerry Dodgion: alto sax, flute; Stanley Turrentine: tenor sax; Duke Pearson: piano; Gene Taylor: bass; Grady Tate: drums. 1967
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Wednesday, July 27, 2011
Hometown Chicago to honor saxophonist Von Freeman, 87
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It has taken the National Endowment for the Arts three decades to recognize Chicago tenor saxophone legend Von Freeman with the country's highest jazz honor: the NEA's Jazz Masters Award.
Freeman, 87, will receive the prize, plus $25,000, next January at Jazz at Lincoln Center in New York, during the awards' 30th anniversary ceremony (as first reported in the Tribune on April 19).
Monday, July 25, 2011
Dexter Gordon and Freddie Hubbard -- "Generation" and more!
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Veteran tenor-saxophonist Dexter Gordon welcomed trumpeter Freddie Hubbard to his recording group several times during his career and each collaboration was quite rewarding.This CD, called "Generation," should please collectors. Click here for complete review from allmusic.com
Veteran tenor-saxophonist Dexter Gordon welcomed trumpeter Freddie Hubbard to his recording group several times during his career and each collaboration was quite rewarding.This CD, called "Generation," should please collectors. Click here for complete review from allmusic.com
Wednesday, July 20, 2011
Freddie Hubbard - Hub Cap
When the trumpeter Freddie Hubbard showed up in 1960, he was hailed
with much of the stunned admiration that Wynton Marsalis was to attract
20 years later. Hub Cap was his third album for Blue Note, released in
1961. Read complete review from www.guardian.co.uk
Tuesday, July 19, 2011
Friday, July 15, 2011
Trumpeters Donald Byrd and Booker Little - "The Third World"
There is more -- and less -- than meets the eye with this hard bop collection from 1960: less Booker Little and more performers than are listed on the CD. A little research corroborates what the ear suspects: the eight tracks come from three sessions, only one of which has trumpeters Little and Donald Byrd together (three tracks). The other sessions feature, respectively, Little and trombonist Curtis Fuller (two tracks) and Byrd and baritone saxophonist Pepper Adams (three tracks). Adams is one of a half-dozen performers not credited on the CD. Read complete review from allmusic.com
Thursday, July 14, 2011
Yusef Lateef -- "Eastern Sounds"
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One of multi-instrumentalist and composer Yusef Lateef's most enduring recordings, Eastern Sounds was one of the last recordings made by the band that Lateef shared with pianist Barry Harris after the band moved to New York from Detroit, where the jazz scene was already dying. Lateef had long been interested in Eastern music, long before John Coltrane had ever shown any public interest anyway, so this Moodsville session (which meant it was supposed to be a laid-back ballad-like record), recorded in 1961, was drenched in Lateef's current explorations of Eastern mode and interval, as well as tonal and polytonal improvisation. That he could do so within a context that was accessible, and even "pretty," is an accomplishment that stands today. Click here for complete review from allmusic.com.
One of multi-instrumentalist and composer Yusef Lateef's most enduring recordings, Eastern Sounds was one of the last recordings made by the band that Lateef shared with pianist Barry Harris after the band moved to New York from Detroit, where the jazz scene was already dying. Lateef had long been interested in Eastern music, long before John Coltrane had ever shown any public interest anyway, so this Moodsville session (which meant it was supposed to be a laid-back ballad-like record), recorded in 1961, was drenched in Lateef's current explorations of Eastern mode and interval, as well as tonal and polytonal improvisation. That he could do so within a context that was accessible, and even "pretty," is an accomplishment that stands today. Click here for complete review from allmusic.com.
Monday, July 11, 2011
Dizzy Gillespie -- Newport Jazz Festival 1957
Also check out www.jazzstage.net
Justifiably considered one of the best of Dizzy Gillespie's many live sets, AT NEWPORT captures a dead-on1957 performance featuring Gillespie and one of his best bands, starring baritone saxophonist Pee Wee Moore, tenor Benny Golson, and pianist Wynton Kelly. Road-tightened by months of world tours sponsored by the US State Department's cultural exchange program, the ensemble is flawless, but not at all mechanical.
The goofy humor of comic standards like "School Days" and "Doodlin'" is an old jazz standby that only Gillespie truly continued into the post-bop years. However, on Latin-flavored standards like a scorching version of "Manteca" and a spirited run-through of the old standard "Carioca," not to mention the extended solo showcases "Night in Tunisia" and "Cool Breeze," Gillespie and band show that their chops are as sharp as anyone's. Another highlight is the showcase for pianist Mary Lou Williams, containing selections from her signature piece ZODIAC SUITE and proving this lineup capable of more thoughtful, sensitive playing, than one might expect from their more exuberant moments. Read complete review from cduniverse.com.
Justifiably considered one of the best of Dizzy Gillespie's many live sets, AT NEWPORT captures a dead-on1957 performance featuring Gillespie and one of his best bands, starring baritone saxophonist Pee Wee Moore, tenor Benny Golson, and pianist Wynton Kelly. Road-tightened by months of world tours sponsored by the US State Department's cultural exchange program, the ensemble is flawless, but not at all mechanical.
The goofy humor of comic standards like "School Days" and "Doodlin'" is an old jazz standby that only Gillespie truly continued into the post-bop years. However, on Latin-flavored standards like a scorching version of "Manteca" and a spirited run-through of the old standard "Carioca," not to mention the extended solo showcases "Night in Tunisia" and "Cool Breeze," Gillespie and band show that their chops are as sharp as anyone's. Another highlight is the showcase for pianist Mary Lou Williams, containing selections from her signature piece ZODIAC SUITE and proving this lineup capable of more thoughtful, sensitive playing, than one might expect from their more exuberant moments. Read complete review from cduniverse.com.
Friday, July 8, 2011
Jazz saxophonist Gary Bartz - "I've Known Rivers"
Also check out www.jazzstage.net
Though much of altoist Gary Bartz's seventies output has been reissued, this live date from the 1973 Montreux festival has remained as rare as rocking horse droppings until now.
Still probably best known as Wayne Shorter's replacement in Miles Davis' early 70's band, Bartz's fruity tone and generous, emotional approach provided a perfect foil to the leaders oblique trumpet stylings. Though initially inspired by Charlie Parker, Bartz eventually proved himself to be one of the few alto saxophonists to successfully draw on John Coltrane's legacy.
This was never more apparent than in the output of Ntu Troop, who mixed the questing improvisations of Coltrane's late period with funk and soul influences and no-nonsense political messages, delivered in short, snappy songs by vocalist Andy Bey. For this date, Bey was replaced by pianist Hubert Eaves and Bartz takes up vocal duties. Though he's not much of a singer, if you're like me you might prefer his unadorned, slightly breathless style to Bey's more mannered delivery. Click here for complete story.
Though much of altoist Gary Bartz's seventies output has been reissued, this live date from the 1973 Montreux festival has remained as rare as rocking horse droppings until now.
Still probably best known as Wayne Shorter's replacement in Miles Davis' early 70's band, Bartz's fruity tone and generous, emotional approach provided a perfect foil to the leaders oblique trumpet stylings. Though initially inspired by Charlie Parker, Bartz eventually proved himself to be one of the few alto saxophonists to successfully draw on John Coltrane's legacy.
This was never more apparent than in the output of Ntu Troop, who mixed the questing improvisations of Coltrane's late period with funk and soul influences and no-nonsense political messages, delivered in short, snappy songs by vocalist Andy Bey. For this date, Bey was replaced by pianist Hubert Eaves and Bartz takes up vocal duties. Though he's not much of a singer, if you're like me you might prefer his unadorned, slightly breathless style to Bey's more mannered delivery. Click here for complete story.
Thursday, July 7, 2011
Trumpeter Kenny Dorham - Complete 'Round About Midnight At The Cafe Bohemia
Also check out www.jazzstage.net
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. Click here for complete review from allmusic.com.
Also check out www.jazzstage.net
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. Click here for complete review from allmusic.com.
Also check out www.jazzstage.net
Wednesday, June 22, 2011
Hugh Masekela: South African music losing steam, needs new direction after apartheid
Also check out www.jazzstage.net
The euphoria of freedom has faded a bit after 17 years, but few South Africans would trade today's freedoms for the apartheid years. Even so, freedom did bring casualties. And 1994, in a way, was the day the music died. Jazz clubs suffered from the influx of rural migrants and foreign immigrants, crammed into tiny apartments by greedy landlords in the cheaper areas where jazz clubs tended to situate. Jazz aficionados found that freedom gave them other options, including moving out of all-black neighborhoods into the middle-class white neighborhoods where they were now allowed to live. Click here for entire story from the Christian Science Monitor.
Click here for more music from Hugh Masekela
Hugh Masekela performs at Yoshi's-Oakland June 23-24, 2011. Click here for details.
The euphoria of freedom has faded a bit after 17 years, but few South Africans would trade today's freedoms for the apartheid years. Even so, freedom did bring casualties. And 1994, in a way, was the day the music died. Jazz clubs suffered from the influx of rural migrants and foreign immigrants, crammed into tiny apartments by greedy landlords in the cheaper areas where jazz clubs tended to situate. Jazz aficionados found that freedom gave them other options, including moving out of all-black neighborhoods into the middle-class white neighborhoods where they were now allowed to live. Click here for entire story from the Christian Science Monitor.
Click here for more music from Hugh Masekela
Hugh Masekela performs at Yoshi's-Oakland June 23-24, 2011. Click here for details.
Monday, June 20, 2011
Trumpeter Don Cherry - "Hear & Now"
Also check out www.jazzstage.net
Don Cherry was one of the most individual and idiosyncratic voices in contemporary jazz and world music, and also one of the most significant figures of his era. In an age of technically fearsome trumpet players, Cherry preferred to emphasise expression and musical communication over speed and technical prowess, and evolved an utterly distinctive sound and style in the process.
He began playing trumpet in high school in Los Angeles, where he was brought up, but made his earliest public appearances as a pianist in rhythm and blues bands. He adopted a small B-flat pocket trumpet made in Pakistan as his preferred instrument, and it became his trademark, although he went on to play a wide range of ethnic instruments, notably the doussn'gouni, a hunter's guitar from Mali, which he used extensively in performance. Read complete bio from jazzhouse.org.
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Don Cherry was one of the most individual and idiosyncratic voices in contemporary jazz and world music, and also one of the most significant figures of his era. In an age of technically fearsome trumpet players, Cherry preferred to emphasise expression and musical communication over speed and technical prowess, and evolved an utterly distinctive sound and style in the process.
Friday, June 17, 2011
Guitarist John McLaughlin -- "Follow Your Heart"
Also check out www.jazzstage.net
John McLaughlin, is an English jazz and jazz fusion guitarist and composer. He played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused eclectic jazz and rock with eastern and Indian influences. His guitar playing includes a range of styles and genres, including jazz, Indian classical music, fusion, and Western classical music, and has influenced many other guitarists. He has also incorporated flamenco music in some of his acoustic recordings. The Indian tabla maestro Zakir Hussain has called John McLaughlin "one of the greatest and one of the important musicians of our times". In 2010, Guitarist Jeff Beck called him "the best guitarist alive".[1] In 2003, McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[2]
Click here for complete bio, discography and more from pediaview.com
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John McLaughlin, is an English jazz and jazz fusion guitarist and composer. He played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused eclectic jazz and rock with eastern and Indian influences. His guitar playing includes a range of styles and genres, including jazz, Indian classical music, fusion, and Western classical music, and has influenced many other guitarists. He has also incorporated flamenco music in some of his acoustic recordings. The Indian tabla maestro Zakir Hussain has called John McLaughlin "one of the greatest and one of the important musicians of our times". In 2010, Guitarist Jeff Beck called him "the best guitarist alive".[1] In 2003, McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[2]
Click here for complete bio, discography and more from pediaview.com
Speed Up and Optimize Your PC -- Click Here!
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