|Adderley, Cannonball - Happy People|
(Capitol SAT-11121 US-72 EX 300:-)
A really unique little album from Cannonball's all-great late years at Capitol – a session that features some strong influences from Brazilian music – "The Happy People" – and production from the legendary David Axelrod! The mix makes for a really unique little record – a set that isn't really bossa, but isn't regular Cannonball funk either – kind of a special hybrid of the two!
Airto plays on the set, and contributed the great groover "The Happy People" – a long bit of funky samba that features George Duke on electric piano, and percussion and vocals by Airto himself. The rest of the album's pretty darn great too – with some long tracks that have a more open-ended groove than the usual Cannon funk – featuring more piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and guitar by David T Walker. Other titles include "Ela", "Maria Tres Filhos", and "Savior" – and the album was recorded live, with a very lively feel!
|Austin, Sil - Everything's Shakin'|
(Mercury MG-20320 US-58 VG+ 400:-)
Though jazz remained his first love, tenor saxophonist Sil Austin recorded in a variety of genres over the course of his long career, including R&B, jump blues, country, pop, and even (on one occasion) disco-ish funk. His biggest breaks came in 1949, when he joined up first with Roy Eldridge and then with Cootie Williams' Birdland house band, where he stayed for three years. After spending 1953-1954 with Tiny Bradshaw (who helped him write the song that Ella Fitzgerald later turned into his nickname, "Ping Pong"), Austin struck out on his own and signed with Mercury, scoring a Top Five R&B/Top 20 pop hit with 1956's "Slow Walk."
|Bailey, Mildred - Me and the Blues|
(Regent MG-6032 US-57 EX 400:-)
Mildred Bailey was quite popular for a time, being married to vibraphonist Red Norvo; the couple was referred to as "Mr. & Mrs. Swing." After their divorce, the swinging vocalist continued to record until diabetes sidelined her not long before her premature death in 1951. This album contains recordings that she made with the Eddie Sauter Orchestra and the Ellis Larkins Orchestra, along with a small group date with a rhythm section led by Larkins. Bailey's sweet voice and clear enunciation give her a little girl quality at times. Her moving take of Mel Tormé's "Born to be Blue" and softly swinging "Lover, Come Back to Me" are among the highlights.
|Carter, Benny - Swingin' the 20's|
(Contemporary S-7561 US-58 EX 400:-)
Combining altoist Benny Carter with pianist Earl Hines in a quartet is an idea with plenty of potential, but the results of this 1958 session are relaxed rather than explosive. Carter and Hines explore a dozen tunes (standards as well as forgotten songs like "All Alone" and "Mary Lou") with respect and light swing, but one wishes that there were a bit more competitiveness to replace some of the mutual respect.
|Coltrane, John - Kulu sé Mama|
(Impulse AS-9106 US-66 EX 800:-)
This LP features John Coltrane in two different settings. "Vigil" and the spiritual ballad "Welcome" showcase tenor saxophonist Coltrane with his classic quartet (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) in June 1965. Dating from October 14, 1965, it adds tenor saxophonist Pharoah Sanders, Donald Garrett on bass clarinet and second bass, second drummer Frank Butler, and percussionist-vocalist Juno Lewis to the quartet and is a bit of an oddity. Lewis' chanting and colorful percussion make this a unique if not essential entry in Coltrane's discography.
|Davis, Miles - Chronicle: The Complete Prestige Recordings|
(Prestige/Fantasy P-012 US-80 EX 800:-)
Rare Mono 94-track Limited Edition (#3946 of only 10 000 copies made). Beautiful designed cover, looks like a book, incl. a long essay written by Dan Morgenstern. Plus a discography and extensive information about the recorded tracks. This is the entire output of Miles Davis for Prestige Records between 1951 and late 1956. A Gem for every serious collector!
|Davis, Miles - Early Miles|
(Prestige PRLP-7168 US-59 EX 800:-)
This album compiles early Miles Davis sides from two different Prestige sessions of the early 50s. One features Miles with a sextet that includes Sonny Rollins, Bennie Green, John Lewis, Percy Heath, and Roy Haynes – on the tracks "Morpheus", "Down", "Blue Room", and "Whispering". The other session features a septet, with Lewis, Kenny Clarke, Al Cohn, Zoot Sims, Leonard Gaskin, and Sonny Truitt. Titles include "Tasty Pudding", "Floppy", "Willie The Wailer", and "For Adults Only".
|Davis, Miles - The Legendary Masters / Unissued or Rare 1948-60|
(RARE LP-08/10 Ita-8? EX 375:-)
Rare Italian 25-track triple LP box set featuring digitally remastered live recordings on three LPs, 1948-52, 1956-59 & 1960, each in their own gold embossed picture sleeve, all housedin a gold embossed slipcase picture box.
|Gillespie, Dizzy - A Portrait of Duke Ellington|
(Verve MGV-8386 US-60 EX 500:-)
A portrait of Duke, done by Dizzy -- and one that's got a whole different feel than you might think! Gillespie's working here with arrangements by a young Clare Fischer -- who takes Ellington's themes and recasts them with an even deeper sense of color and tone -- one that pushes the already-modern themes of the numbers into a whole new realm of sound, and uses the horn passages to carve things out a lot differently than Duke might have done! The result is a wonderfully striking session -- one with familiar melodies that unfold in a whole new way -- and which showcases some great phrasing from Dizzy, over rhythms by a combo that features Hank Jones, George Duvivier, and Charlie Persip -- playing alongside a group of larger horns. Titles include "Perdido", "Caravan", "Upper Manhattan Medical Group", and "Chelsea Bridge".
|Gillespie, Dizzy - Dizzy Gillespie / Charlie Christian 1941|
(Esoteric ESJ-4 US-53 VG+ 500:-)
Four Charley Christian Tunes from Minton's 1941; Up on Teddy's Hill, Guy's got to Go, On with Charlie Christian and Down on Teddy's Hill. The Dizzy Gillespie side features Don Byas, Kenny Kersey and Nick Flinton; Stardust and Kerouac. The sleeve is split on top and bottom of the opening - otherwise all in Very Good+ condition.
|Gillespie, Dizzy - The Dizzy Gillespie Story|
(Savoy MG-12110 US-57 EX 400:-)
This set features eight tracks of famed trumpeter Dizzy Gillespie sitting in with Johnny Richards' orchestra at a session that was recorded for the West Coast label Discovery Records (and released under the title Dizzy Gillespie Plays, Johnny Richards Conducts) and four tracks cut with the so-called BeBop Boys from a session held in 1946. Savoy combined the tracks for its 1957 release titled The Dizzy Gillespie Story.
|Hallberg, Bengt - Bengt Hallberg|
(Philips P-08201-L Hol-6? VG+ 350:-)
One of Sweden's top jazz pianists, Bengt Hallberg made his first trio recordings when he was 17. In the 1950s, he recorded with Lars Gullin, Arne Domnérus, and such traveling Americans as Clifford Brown, Stan Gets, and Quincy Jones. He worked as a member of the Swedish Radio Big Band (1956-1963), and, although in demand as a writer for films and television, Hallberg has continued playing jazz on a part-time basis (often with Domnérus and Karin Krog), mostly recording for Swedish labels such as Metronome, Sonet, and Phontastic.
|Johnson, Ella & Buddy - Swing Me|
(Mercury MG-20347 US-58 EX 500:-)
Ella Johnson made her mark as the vocalist with her brother Buddy Johnson's big band during the '40s and '50s, and that is the context where she really shines. Her later solo sides for Mercury are pale imitations of her work with the band. Although many of Ella's hits are uptempo (e.g., "I Don't Want Nobody"), it is on ballads and torchy blues that she really brings it together. In fact, her earliest work for Decca during the mid-'40s (much of which has not been reissued) is uncannily good. At her best, Ella sounds pouty, vulnerable, and very sexy. Like so much of her life, it was no affectation. The comparison to Billie Holiday is inevitable, but Ella was her own singer. Ella Johnson passed away February 16, 2004, in New York City.
|Lambert ,Hendricks & Ross - Sing a Song of Basie|
(ABC Paramount ABC-223 US-58 EX 400:-)
The premiere vocal jazz group, Lambert, Hendricks & Ross made their recording debut on this classic album. After unsuccessfully searching for a dozen singers in 1957 who could sing vocalese in a re-creation of some famous records by the Count Basie Orchestra, Dave Lambert, Jon Hendricks and Annie Ross decided to overdub their voices several times instead. Utilizing just a rhythm section, the vocalists sing the witty and inventive lyrics of Hendricks in note-for-note reproductions of ten Basie records. Highlights include "It's Sand, Man!," "One O'Clock Jump," the up-tempo "Little Pony," and "Avenue C." This record was a sensation when it was released and it is still quite enjoyable and unique.
|Lawson-Haggart Rockin' Band - Boppin' at the Hop|
(Brunswick STA-3010 UK-60 EX 800:-)
These great instrumentals are arranged and played especially for dancing... Nobody sits when the Lawson-Haggart group starts rockin'!
|Martinez, Sabu - Groovin´|
(Metronome MLP-15316 Swe-68 VG+ 350:-)
Percussionist Luis "Sabu" Martinez is one of the all-time greats of Latin music – and this record came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time!
|Moody, James - James Moody with Strings|
(Blue Note LP-5005 US-52 VG+ 1500:-)
James Moody has been an institution in jazz since the late '40s, whether on tenor, flute, occasional alto, or yodelling his way through his "Moody's Mood for Love." After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. After returning to the U.S., Moody formed a septet that lasted for five years, recorded extensively for Prestige and Argo, took up the flute, and then from 1963-1968, was a member of Dizzy Gillespie's quintet. This is the original 1952 10" issue.
|Mulligan, Gerry - Gerry Mulligan/Paul Desmond|
(Fantasy 3-220 US-56 EX 500:-)
Side 1 features the Gerry Mulligan Quartet with Chet Baker and Chico Hamilton; side 2 features the Paul Desmond Quintet with Dick Collins and Bob Bates. Original issue on Red Vinyl.
|Mulligan, Gerry - A Profile of Gerry Mulligan|
(Mercury MG-20453 US-59 EX 450:-)
"A Profile..." was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his starmaking Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the "Birth of the Cool" sessions in 1949.
|Novi Singers - Five, Four, Three|
(Polskie Nagrania SX-1120 Pol-74 VG+ 300:-)
With their absolute technical perfection and their musical approach, the vocal jazz ensemble Novi Singers were at the time often compared to Lambert-Ross-Hendricks or Les Double Six. The vast artistic output of the group for the state-owned Polish record label Polskie Nagrania remained a well-kept secret for the Western-European countries and the rest of the world.
|Pettiford, Oscar - OP's Jazz Men|
(ABC Paramount ABC-227 US-58 VG 500:-)
Oscar Pettiford was an jazz double bassist, cellist and composer known particularly for his pioneering work in BeBop. Pettiford is considered the pioneer of the cello as a solo instrument in jazz music. He first played the cello as a practical joke on his band leader [Woody Herman] when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation (during which time his arm was in a sling) and made his first recordings with the instrument in 1950. The cello thus became his secondary instrument, and he continued to perform and record with it throughout the remainder of his career. Aong with his contemporary, Charles Mingus, Pettiford stands out as one of the most-recorded bass-playing bandleader/composers in jazz.
|Rumsey, Howard - In the Solo Spotlight!|
(Contemporary C-3517 US-56 EX 600:-)
Although a good enough bassist to play with stan Kenton's big band, Howard Rumsey's main importance was as the organizer of the Lighthouse All-Stars and manager of the Lighthouse. Originally a drummer, Rumsey switched to bass while at college. In 1949 Rumsey brought jazz into the Lighthouse in Hermosa Beach, CA. Within a few years the jam sessions featured some of the top jazz-oriented studio players in the area and the bassist was heading "the Lighthouse All-Stars," which recorded frequently for Contemporary in the 1950s, starring such players as Shorty Rogers, Jimmy Giuffre, Bob Cooper, Bud Shank and Bill Perkins.
|Shank & Bob Brookmeyer, Bud - same|
(Vogue LDE-181 UK-56 EX 400:-)
British issue of the Pacific Jazz 10" album issued in 1955. Bud and Bob are joined by Claude Williamson (piano), Larry Bunker (drums), Joe Mondragon and Buddy Clark (bass).
|Shank, Bud - Bud Shank and Three Trombones|
(Pacific Jazz PJLP-14 US-54 VG+ 400:-)
Bud Shank began his career pigeonholed as a cool-schooler, but those who have listened to the altoist progress over the long haul know that he has become one of the hottest, most original players of the immediate post-Parker generation. Shank's keening, blithely melodic, and tonally expressive style is one of the more genuinely distinctive approaches to have grown out of the bebop idiom. On this 1954 10" album his is joined by the trombones of Bob Enevoldsen, Stu Williamson and Maynard Ferguson.
|Sounds: Contemporary Swedish Improvised Music|
(Blue Tower BTLP-01/02 Swe-90 VG+ 400:-)
The small Blue Tower label began its documentation of the Swedish free improvisation scene, circa the late '80s, with this monumental double album. Musically, it is a superb collection that shows the country's improvisers operating with the force, precision, and -- most importantly -- overall weirdness of the British improvising scene of the '70s. The lavish packaging and thorough liner notes in the form of a handsome bilingual booklet smartly attached inside make this quite a desirable item to have in one's collection.
|Staton, Dakota - The Late, Late Show|
(Capitol T-876 UK-58 EX 375:-)
Singer Dakota Staton's first full-length album was one of her best. She had a hit with "The Late, Late Show" and performed memorable versions of "Broadway," "A Foggy Day," "What Do You See in Her," "My Funny Valentine" and "Mooney." Backed by a largely unidentified orchestra arranged by Van Alexander (with Hank Jones on piano), Staton sounds both youthful and mature, displaying a highly appealing voice on a near-classic set.
|Thompson, Lucky - Featuring Oscar Pettiford, vol 2|
(ABC Paramount ABC-171 US-57 VG 400:-)
Lucky Thompson has probably been the most underrated tenorist of his generation. Here he blows his heart out in one of the most sustained examples of creative, soulful improvisation ever recorded. It is a hard swinging set powered by Lucky's big tone and beautifully built ideas, featuring the strength and driving pulse of Oscar Pettiford's bass. Both vinyl and sleeve are rated Very Good; the vinyl has some background noise.
|Wilson, Anthony - Power of Nine|
(Groove Note GRV-1035 US-06 NM 300:-)
A new album by Anthony Wilson featuring the super talented and top selling jazz
vocalist Diana Krall with whom Anthony has been recording and touring for the
last three to four years.
Krall appears on the track "Looking Back" on vocals. The material includes a
mix of Wilson originals and some jazz standards. Pressed on 180-gram vinyl, this
two-LP set includes eight tracks on regular 33 1/3 with a four tracks cut at 45.
The album was produced by Joe Harley and recorded by Michael Ross at Oceanway in
1 LP with a 45 rpm bonus vinyl.