Εμφάνιση αναρτήσεων με ετικέτα jazz. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα jazz. Εμφάνιση όλων των αναρτήσεων

Κυριακή, 1 Ιουνίου 2014

The Horace Silver Quintet & Trio - Blowin' The Blues Away 1959 (Blue Note)


Label : Blue Note

Value :

Blowin' the Blues Away is one of Horace Silver's all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes; it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song for My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver's signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver's repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver's aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin' the Blues Away is one of Silver's finest albums, and it's virtually impossible to dislike.

Taste :

The Horace Silver Quintet & Trio - Break City


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By Electric Looser

Παρασκευή, 30 Μαΐου 2014

Michel Sardaby ‎– In New York 1972 (Disques Debs International)


Label : Disques Debs International

Value : From 40 to 80 euros

Michel Sardaby was born in 1935 in Martinique. He learned to play the piano when he was 5 years old in the brasserie of his father in Fort-de-France, where music was constantly played. At 10 years age, Michel is a noted prodigy, playing with the passion of with experienced musicians. He goes to Paris where he continues his studies of art at the Boulle School until obtaining his diploma in 1956, at which point he decides to devote himself exclusively to his career of being a professional jazz pianist. Throughout the 60s, he played piano with blues musicians like Sonny Boy Williamson and T-Bone Walker, at the same time beginning to release more jazz-focused solo albums .


Feat. Ray Barretto, Richard Davis, Billy Cobham and West Indies born Michel Sardaby on piano. 

Taste :

Michel Sardaby ‎– Love love and dream

Michel Sardaby ‎– Coulies' dance


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By Electric Looser

Wolfgang Dauner Group ‎– This Is Wolfgang Dauner 1974 (2001 Brain)


Label : 2001 Brain

Value : From 30 to 50 euros

Wolfgang Dauner, one of the few internationally renowned German jazz musicians, was born in Stuttgart on Dec. 30, 1935. Oddly enough, having learnt to play the piano as a child, he eventually graduated from the conservatory in Stuttgart with a major in “trumpet”. Yet, it is the piano that remains his great love. He fancied contemporary jazz and, in 1963, founded his first own band: The Wolfgang Dauner Trio, with Eberhard Weber playing the bass and Fred Braceful on the drums. He would continue playing with these musicians well into the 1970ies. Dauner is extremely important with regard to modern jazz and jazz rock in Germany, and his efforts can be compared to the spade work Miles Davis did for jazz and jazz rock in the USA.

Having participated in various jazz bands in the early 1960ies, Dauner was already a jazz veteran before he founded his own band. His first albums belong to the genre of experimental modern jazz, influenced by Bill Evans, Steve Lacy, Sun Ra etc. The albums he published until 1969 will primarily appeal to “pure” jazz fans.

Rischka's Soul & This Is Wolfgang Dauner it's a same album with a different title.

Taste :

Wolfgang Dauner Group ‎–  Blues far out

Wolfgang Dauner Group ‎– Flute woman

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By Electric Looser



Πέμπτη, 29 Μαΐου 2014

Structure - Pop Music 1969 (Afa)


Label : Afa

Value : From 80 to 150 euros

Φλάουτα και ξέγνοιαστες jazzy prog εκπλήξεις δημιουργουν σε αυτον το δισκο μια από τις πρώτες μπάντες της γαλλικης underground σκηνής. Οι Structure με τον mastermind Bernard Wystraete συνθετουν έναν ήχο που αρχίζει να γίνετε γνωστός λίγα χρόνια αργότερα στη Γαλλία. Σ' αυτόν τον δίσκο υπάρχουν μερικά psych jazz κομμάτια θυμίζοντας κάποιες φορές τους μυστήριους Braen's Machine ή τον Wolfgang Dauner στο Rischkas' Soul, αέρινες βραζιλιάνικες μποσσα νοβες και μερικά κομμάτια (όπως το “Episodes” με το killer φλαουτο του Wystraete και τα scatting φωνητικά της Urszula Dudziak) που στα μέσα της δεκαετίας του '70 χρησιμοποιούσαν για music libraries.

Taste :

Structure - Episodes


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By Electric Looser

Κυριακή, 25 Μαΐου 2014

David McCallum ‎– Music: A Bit More Of Me 1967 (Capitol)

 

Label : Capitol

Value :

Like its predecessor, this album is less an insight into the musical sensibilities of David McCallum than an array of superb David Axelrod arrangements, again encompassing the hits of the day ("Batman Theme," "Michelle," "Call Me," "Five O'Clock World," "The Shadow of Your Smile," etc.), the variety of which is fairly dazzling. There is also one track each credited to McCallum and Axelrod as composers, respectively, which aren't bad at all -- again because of Axelrod's arrangements. "Far Away Blue," with its vivid brass and reed parts and driving beat, and the flute-dominated "The Edge," which sounds like a brilliant piece of film music in search of a movie, are both well worth hearing, and hold up at least as well as any of the established pop pieces.

Taste :

David McCallum - The Edge

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By Electric Looser

Σάββατο, 24 Μαΐου 2014

Ray Charles ‎– Ray Charles At Newport 1959 (Atlantic)


Label : Atlantic

Value :
Lee Friedlander of Ray Charles playing at the Newport Jazz Festival on July 5, 1958

This album was recorded in its entirety at The Newport Jazz Festival in Newport, Rhode Island on July 5, 1958 by special arrangement with the Directors of The Newport Jazz Festival.




Taste :

Ray Charles - I Got A Woman

Ray Charles - Blues Waltz

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By Electric Looser


Henry Mancini - Combo! 1961 (Rca)


Label : RCA

Value :

Henry Mancini was a significant writer for films who used the flavor of jazz in some of his movie scores. This lp brings back one of his few jazz-oriented projects, a salute of sorts to the idea of the swing combo. Mancini gathered an impressive cast of top players consisting of trumpeter Pete Candoli, trombonist Dick Nash, Ted Nash on alto and flute, Art Pepper (sticking exclusively to clarinet), baritonist Ronnie Lang, pianist Johnny Williams (doubling on harpsichord), guitarist Bob Bain, bassist Rolly Bundock, drummer Shelly Manne, Ramon Rivera on conga, and Larry Bunker on vibes and marimba. Some of the dozen selections are relatively straight-ahead, while a few (particularly "A Powdered Wig" and "Scandinavian Shuffle") are a bit corny, especially in their use of harpsichord and marimba. There are a few strong moments (particularly from Candoli and Pepper) on such numbers as "Moanin'," "Sidewalks of Cuba," "Castle Rock," and "Everybody Blow," but the end results are not too essential. Overall, this is a compromise between creative jazz and tightly controlled music meant for a larger audience. A historical curiosity.

Taste :

Henry Mancini - Moanin

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By Electric Looser

Τετάρτη, 21 Μαΐου 2014

Fred Jackson ‎– Hootin' 'N Tootin' 1962 (Blue Note)


Label : Blue Note

Value :

A classic! This is one of the rarest of the rare of all Blue Note albums – and it's the only-ever session cut as a leader by the great tenor player Fred Jackson! The album's a really heavy burner – an all-out organ/tenor assault with the kind of gutbuckety soul groove that only peaked on a rare few Blue Note sessions! Earl Van Dyke plays organ on the session, and it's one of the few jazz albums he appears on, apart from the "soul instrumental" sessions he cut later for Motown. The whole thing's down-n-dirty and mighty nasty – with a feel that's much more like some of the Prestige soul jazz cookers of the time than the usual Blue Note set!

Taste :

Fred Jackson ‎– Preacher Brother

Fred Jackson ‎– Southern Exposure


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By Electric Looser

Father Herrera & The Trio ESP ‎– Jazz Goes To Church 1968 (Enterprise)


Label : Enterprise

Value :

These are times of the miniskirt, megaton, mac­ro-riot, and Mayan. They present new problems that demand new answers. It's apparent to many that the old solutions may or may not have been adequate for resolving old problems, but it's bla­tantly clear that old solutions are not going to pro­vide the needed answers for today's principal hang­ups. People are overturning values and searching out new approaches to coping with the pressures and demands of modern accelerated society. Much of this groping and searching and frustration I have witnessed being captured by sensitive jazz artists that have played in my jazz club, the Bo­hemian Caverns in Washington, D.C. Seven years in this business brings a man into contact with a very wide range of people with an equally wide range of stories to tell. My experience has been that the successful performers are those who have a truly perceptive and honest message or approach. There's no room for phonies anymore, especially over the long haul. It's with the above as something of a background that I want to introduce one of the very honest and genuine men I have had the pleas­ure of being associated with for the past year or so, The Reverend Jack Herrera. Pastor Herrera is another man of the cloth who is making a thrust at finding answers through the use of religion and jazz.

On the surface this seems an odd marriage, but history reveals that religion in the past was based on the same elements that jazz now thrives on. First, rhythm and music was the basis for most religious rites. Secondly, improvisa­tion was common and approved. Thirdly, religion was very worldly in many of the issues it attempted to deal with. It was only after centuries of "sophis­tication" that religion began to represent a move­ment that was rather rigid, and totally "other worldly." Pastor Herrera now leads a growing nu­cleus of clergymen who are seeking to understand today's problems through today's tools and values.

Pastor Herrera has chosen human love and jazz as one avenue to pursue in his attempt to bring greater understanding to those with whom he min­isters. In combining these two elements, he brings about a marriage between a desirable intangible and a modern day reality. Furthermore, he brings religion to people in a form that they relate to natu­rally, rather than through a medium which by its very stiffness and rigidity alienates people.  As I suggested above, Pastor Herrera is not the only person undertaking this kind of work, but what is unique about Jack Herrera is the quality and qualifications he brings to his work. At the age of eight he started on clarinet and soon became well-known for his ability. Involved in music and art dur­ing his high school years, he soon had his own bands and was working the local night spots and most of the school dances. He received a B.A. in music from Gettysburg College in Pennsylvania and during this period, he picked up more work with larger and some name bands, playing all the wood winds. In 1952, he entered military service and played in Army bands.

He graduated from the Navy School of Music in 1953 and in 1955 returned to Gettysburg where he entered the Lutheran Theological Sem­inary, receiving his B.D. degree in 1958. From that time until now he has been actively creating new forms of worship. From this background comes a man who has seen life in some of its more basic and debased forms. It was this that caused him to seek out a reservoir of love within himself to help fill the void of love he found in the lives of others. It is my contention that what has resulted is a liberated kind of religious experience that applies itself to today. In recording some of these religious services live we are providing an opportunity for people other than those who have experienced his well-attended services to share in this moving and satisfying experience.  In doing the kind of thing that Pastor Herrera does, it is extremely important that the musicians that work with him in fact do just that-work with him. The Trio ESP is superbly prepared to do this. They are a very sensitive and talented group with a depth of understanding and insight.

The group includes Gene Rush, piano; Steve Novosel, bass and Jimmy Hopps, percussion.  This man and his work got to me and I'm hoping that you will allow yourself to let him reach you. It's an experience you will never regret.

Taste :

Father Herrera & The Trio ESP ‎- So What


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By Electric Looser

Τρίτη, 13 Μαΐου 2014

Fitz Gore & The Talismen - Fitz Gore & The Talismen 2009 (Jazzaggression Records)



Label : Jazzaggression Records

Value :

Jazzaggression and Plastic Strip Press are proud to present the rare recordings of Jamaican born saxophone player Fitz Gore and his group The Talismen recorded between the years 1975-1979. The selection is carefully picked by Gore’s wife Gisela together with Johan Fredrik Lavik, Lars Moerch Finborud and the material is sourced from three extremely rare private pressed LP’s Soundmagnificat (1975), Soundnitia (1975), Soundmusication (1976), and the EP Soundnova (1979), all originally released by Gisela’s and Fitz’s private label GORBRA RECORDS, based in Bonn, Germany.

Fitz Gore came from Jamaica to Europe in the early 50s and learned to play the tenor saxophone by himself. He travelled to various locations in Europe looking for musicians to play with and developed his unique spiritual ideas in music. For Gore the spiritual meanings – to be for real and authenticity – to play a meaning – was more important than to play licks. Gore lived for a period in London, Copenhagen and then in Paris where he acquainted with legendary musicians like Dexter Gordon, Johnny Griffin, Mal Waldron, Steve McCall, Jimmy Woode before moving to Bonn, the capitol of West Germany, together with his wife Gisela. Here he formed the group The Talismen consisting at various times of musicians Ulrich Kurth (piano), Lukoki Mampasi (electric piano), Lamont Hampton (congas) Gerard Ebbo (bass) and Philippe Zobda-Quitman (drums) all hailing from different countries such as Morocco, Germany and Martinique. With one foot in the modal jazz tradition and the other one deep in Jamaican and Ethiopian music, Gore and his Talismen created some amazing spiritual afro-jazz which reminds of Mulatu Astatke, Dr. Lloyd Miller and Pharoah Sanders or to put it in Gores own category- this is Lion Rock. Just check out the killer groovers Lion Rock (Gisela), Musication or the amazing ballad Reqiuem for Julian “Cannonball” Adderley to understand his musical visions.

Taste :

Fitz Gore & The Talismen - Gisela (Lion Rock)

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By Electric Looser

Παρασκευή, 2 Μαΐου 2014

Hank Mobley - A Caddy For Daddy 1965 (Blue Note)


Label : Blue Note

Value :

One of the greatest Blue Note albums of all time! Hank Mobley leads an incredibly soulful group that includes Lee Morgan, Curtis Fuller, McCoy Tyner, and Billy Higgins – and the group plays this amazing mix of soul jazz and modal grooves that is hardly matched by anything else in the Blue Note catalog.

Taste :

Hank Mobley - A Caddy For Daddy


Hank Mobley - To Morning After

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By Electric Looser

Τετάρτη, 30 Απριλίου 2014

Lee Morgan - The Sidewinder 1964 (Blue Note)

Label : Blue Note

Value

A jazz classic if there ever was one – and the best-selling album ever by Lee Morgan, thanks to the use of the title track in a car commercial! Sure, you've probably heard "The Sidewinder" enough that you think you know the album already – but the rest of the tunes really open up past that groover, into a realm of lyrical, soulful playing that's simply tremendous! The group on the record features Joe Henderson on tenor, Barry Harris on piano, Bob Crenshaw on bass, and Billy Higgins on drums – and the album rolls along with a sense of perfect power that is every bit Blue Note at its best!

Taste :

Lee Morgan - The Sidewinder

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By Electric Looser

Herbie Hancock - My Point of View 1963 (Blue Note)


Label : Blue Note

Value :

Classic Herbie from the early years, and a great mix of soul jazz and modernism! The record include a nice groovy "hit", Herbie's "Blind Man, Blind Man" – an obvious follow-up to "Watermelon Man", but still a standout track with a lot of imagination, and a fierce soul jazz hook that just won't quit! The rest of the record, while still groovy, also shows much more signs of Herbie's far-reaching conception – especially shared with players like Tony Williams, Grachan Moncur, Chuck Israels, and Grant Green – all of whom work with Herbie, Donald Byrd, and Hank Mobley – in a larger than usual group that makes for a really great sound!

Taste :

Herbie Hancock - My Point of View

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By Electric Looser

Τρίτη, 29 Απριλίου 2014

Arnett Cobb ‎– Party Time 1959 (Prestige)

Label : Prestige

Value :

It's definitely Party Time when Arnett Cobb's on deck – and the album's a well-remembered groover that graced more than a few late nite turntables back in the day! Cobb's got a great mellow groove here – a slow-blowing, low-stepping sound on tenor that's given a great little kick by the rhythm section – which features Ray Bryant on piano, Wendell Marshall on bass, and Art Taylor on drums –plus Ray Barretto on congas, for a rolling soul jazz "kick" that's mighty nice!

Taste :

Arnett Cobb - Flyin Home
 

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By Electric Looser

Παρασκευή, 11 Απριλίου 2014

George Braith - Two Souls In One 1963 (Blue Note)


Label : Blue Note

Value :

One of the most wonderful albums by one of our favorite jazz artists of all time! For this unique session, George Braith offers up "two souls in one" – by playing both soprano sax and "stritch" simultaneously – in a two-reed mode that recalls the work of Roland Kirk during the 60s! The sound is incredible – as soulful as it is exotic – and matched here by some excellent backing that includes Grant Green on guitar, Donald Bailey on drums, and Billy Gardner on organ! Gardner's work on the set is especially nice – with a Larry Young-ish free approach to the organ, one that makes for lots of modal grooves that really work perfectly with Braith's sound!

Taste :

George Braith -  Braith a way

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By Electric Looser

Πέμπτη, 10 Απριλίου 2014

Johnny Griffin - The Little Giant 1959 (Riverside)

Label : Riverside

Value :

A bit of an offbeat session for tenor saxophonist Johnny Griffin, The Little Giant features three originals by then-obscure pianist Norman Simmons, a reworking of the pop tune "Playmates," Babs Gonzalez's "Lonely One," and the tenorist's "63rd Street Theme." Simmons' arrangements for the three horns (which include trumpeter Blue Mitchell and trombonist Julian Priester) are colorful; the rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Albert "Tootie" Heath) is state of the art for the period, and Griffin (who is featured in a trio with Jones and Heath on "Lonely One") is in fine form. An interesting set of obscure straight-ahead jazz. 

Taste :

Johnny Griffin - The Message

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By Electric Looser

Δευτέρα, 17 Μαρτίου 2014

The Cannonball Adderley Quintet featuring Nat Adderley ‎– The Cannonball Adderley Quintet In San Francisco 1959 (Riverside)


Label : Riverside

Value :

One of the greatest Cannonball Adderley albums from the Riverside years – a completely smoking live date recorded in San Francisco, often with long tracks that really let the group open up and do their thing! The lineup here is that classic one that first grabbed attention – the group with brother Nat on cornet, Sam Jones on bass, Louis Hayes on drums – and a young Bobby Timmons on piano, really cooking things up with tremendous drive, energy, and a sense of the groove! Titles include a great workout on Timmons' classic "This Here", plus originals "You Got It" and Spontaneous Combustion", and a great version of "Hi Fly". Soul jazz at its best, by one of the groups who gave the genre its name in the first place!

Taste :

The Cannonball Adderley Quintet featuring Nat Adderley - This Here

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By Electric Looser

Τετάρτη, 12 Μαρτίου 2014

Joe Pass - Guitar Interludes 1977 (Discovery)


Label : Discovery

Value :

Joe Pass' recording career was in a slump in 1969. His string of World Pacific and Pacific Jazz recordings had come to an end, and he was still four years away from being discovered and fully showcased by producer Norman Granz. This odd LP certainly stands out in his discography. The five brief "Interludes," along with "Joey's Blues," feature Pass playing unaccompanied for some of the first times on record, but with the exception of the "Blues," athe music is quiet and uneventful. The remaining seven selections are quite a contrast, for they feature Pass and a funky rhythm section essentially accompanying seven singers on a variety of very dated pop songs (plus a short rendition of Debussy's "The Maid with the Flaxen Hair"), most of which were written by Irwin Rosman and quickly forgotten; for his part, Pass sounds quite uncomfortable.

Taste :

Joe Pass - A time for us
 

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By Electric Looser


Τρίτη, 11 Μαρτίου 2014

Bu Pleasant ‎– Ms. Bu 1974 (Muse Records)


Label : Muse Records

Value :

Florence Pleasant was born in Corpus Christi, Texas, on July 22, 1933. She and her brother had innate musical talent. Their father owned a dance hall, and their mother was a singer. Ms. Pleasant played piano and violin through high school. She gave up her scholarship to Xavier College in New Orleans after two years because of a burning desire to play bebop music.

Ms. Pleasant played with Arnett Cobb and His Mobb in San Antonio and joined him later in Chicago for two or three years of playing theater circuits, which culminated in appearances at the Apollo Theater and the Birdland Ballroom in New York City.  After teaching herself to play the organ, she finally embarked upon her own personal career as a performer. She left New York City in 1978 due to a relative’s illness, but thereafter performed on the West Coast.

Taste :

Bu Pleasant ‎–  Opus For O.P.
 

Bu Pleasant - Bells For Bu
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By Electric Looser

Σάββατο, 8 Μαρτίου 2014

Sonny Clark - Cool Struttin' 1958 (Blue Note)


Label : Blue Note

Value :

One of the all-time classic Blue Note albums – from the hip looking cover, right down to the excellent hardbop in the grooves! Pianist Sonny Clark leads an incredible lineup that includes Art Farmer on trumpet, Jackie McLean on alto, Paul Chambers on bass, and Philly Joe Jones on drums – all coming together with some magic in the studio, crafting a sound that forever put Blue Note on the map! Tracks are long, open-ended, and almost effortlessly soulful – and titles include Clark's classics "Cool Struttin" and "Blue Minor", plus versions of "Sippin At Bells" and "Deep Night".

Taste :

Sonny Clark - Blue Minor

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By Electric Looser