What jazz ALBUM are you currently listening to?

Starchild · « **Reply #13500 on:** 19 Nov 2015, 11:25 am »

A nice album from Lucky Thompson. Recorded in New York, New York on September 15, 1964.

Lucky Thompson Quartet -Lucky Strikes

Personnel: Lucky Thompson (soprano & tenor saxophones); Hank Jones (piano); Richard Davis (bass); Connie Kay (drums).

Starchild · « **Reply #13501 on:** 19 Nov 2015, 12:14 pm »

Another nice one from Lucky Thompson.

Lucky Thompson - Tricotism

Musicians: Lucky Thompson (tenor sax), Hank Jones (piano), Oscar Pettiford (bass); Osie Johnson (Drums); Skeeter Best (Guitar); Don Abney (Piano), Jimmy Cleveland (Trombone).

Recorded in New York City.
Tracks 1-4 recorded January 24, 1956.
Tracks 5-8 recorded January 30, 1956.
Tracks 9-12 recorded December 11, 1956.
Tracks 13-16 recorded December 12, 1956.

1-8 are in mono, 9-16 are in stereo.

Asimov · « **Reply #13502 on:** 19 Nov 2015, 12:38 pm »

Count Basie & His Orchestra - Kansas City Suite - The Music Of Benny Carter

Asimov · « **Reply #13503 on:** 19 Nov 2015, 01:13 pm »

Count Basie & Kansas City 8 - Get Together

Asimov · « **Reply #13504 on:** 19 Nov 2015, 01:56 pm »

Count Basie And The Kansas City 7

rajacat · « **Reply #13505 on:** 19 Nov 2015, 08:40 pm »

A Summer Thing...Zoot Sims

CactusBob · « **Reply #13506 on:** 19 Nov 2015, 11:34 pm »

Art Blakey Quartet ~ A Jazz Message

Featuring McCoy Tyner, Sonny Stitt and Art Davis

Recorded September 5th, 1963.

MCA/Impulse, 1986

CactusBob · « **Reply #13507 on:** 19 Nov 2015, 11:56 pm »

The Red Garland Quintet ~ All Mornin' Long

Recorded in Hackensack, New Jersey; November 15, 1957.

OJC CD 1987

Starchild · « **Reply #13508 on:** 19 Nov 2015, 11:59 pm »

Wayne Shorter - Alegría

Personnel: Wayne Shorter (arranger, soprano saxophone, tenor saxophone); Robert Sadin (arranger); Chris Potter (tenor saxophone, bass clarinet); Lew Soloff, Chris Gekker (trumpet); Bruce Eidem, Michael Boschen, Jim Pugh, Steve Davis (trombone); Marcus Rojas (tuba); John Clark, Stewart Rose (horns); Paul Dunkel (flute); Allen Blustine (clarinet, bass clarinet); Stephen Taylor (oboe, English horn); Frank Morelli (bassoon); David Garrett, Barry Gold, Gloria Lum, Daniel Rothmuller, Brent Samuel, Cecilia Tsan, Charles Curtis (cello); Danilo Perez, Brad Mehldau (piano); John Patitucci (bass); Brian Blade, Terri Lynne Carrington (drums); Alex Acuna (percussion).

Release Date March 25, 2003

Entertainment Weekly (5/2/03, p.71) - "...Shorter's tenor sax sounds breathtaking, and his soprano horn exudes bittersweet joy..." - Rating: A

JazzTimes (05/03, pp.109-110) - "...ALEGRIA, in the scope of its ambition and the virtuosity of its execution, is a genuine advance upon the widely praised FOOTPRINTS-LIVE...A series of examples of Wayne Shorter's extraordinary facility and cleverness..."

Vibe (4/03, p.177) - 4 discs out of 5 - "...Far-reaching interpretations,...ranging from a popular Spanish song to a traditional Celtic folk tune..."

Mojo (Publisher) (4/03, p.106) - 4 stars out of 5 - "...ALEGRIA continues the welcome return of a jazz giant....His playing and writing still have much to say to us all..."

rockadanny · « **Reply #13509 on:** 20 Nov 2015, 12:19 am »

Carlos Franzetti Trio Live in Buenos Aires (recorded 2006)

Very nice piano jazz trio doing mostly standards. Very well recorded.

CactusBob · « **Reply #13510 on:** 20 Nov 2015, 12:45 am »

The Swinging Guitar of Tal Farlow

with Eddie Costa, piano and Vinnie Burke, bass

Recorded in 1956

Asimov · « **Reply #13511 on:** 20 Nov 2015, 03:12 am »

Monica Zetterlund and Bill Evans - Waltz For Debby

AllMusic Review by Thom Jurek
An oddity in Bill Evans' catalog, this 1964 date places the Swedish jazz vocalist Monica Zetterlund alongside the Evans Trio (with Chuck Israels on bass and Larry Bunker on drums). Still, the match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio. This is a minor complaint, however, as the tune selection and decorum of these sessions are quite lovely. From the opener "Come Rain or Come Shine" through the Swedish ballad "A Beautiful Rose" and the achingly gorgeous delivery of "Once Upon a Summertime," it's as if Zetterlund were destined to sing with Evans for a career instead of an album. For his part, Evans is very relaxed, allowing the lyrics to feed his musing on the simple, yet elegant harmonics. The Swedish version of "Waltz for Debbie" is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords. In all this is an odd but special item, one that is necessary -- for at least one listen -- by any serious fan of the pianist and composer.

Starchild · « **Reply #13512 on:** 20 Nov 2015, 03:35 am »

A greatg recording and one of my favorite Diana Krall albums.

Diana Krall - Quiet Nights

Down Beat (p.73) - 3.5 stars out of 5 -- "Her great rhythm section is stalwart throughout....Claus Ogerman has provided luxurious orchestral arrangements that never call attention to themselves..."

Record Collector (magazine) (p.87) - 4 stars out of 5 -- "The results are stunning, Krall's sultry voice evinces a deeper sensuality and soulfulness than ever before..."

Asimov · « **Reply #13513 on:** 20 Nov 2015, 03:44 am »

Milt Jackson - Milt Jackson Quartet

AllMusic Review by Richard Mortifoglio
This 1955 date is an intriguing opportunity to hear Milt Jackson accompanied by the MJQ rhythm section, but with hard bopper Horace Silver substituting for John Lewis. Not only that, it's also a chance to hear a hitherto unknown, lushly romantic side of both Jackson and Silver, two blues-oriented players who rarely if ever recorded standards in this sort of style. With its excellent recording quality, it's a perfect album for intimate dinners and other late-night activities. Artie Shaw's exotic "Moonray" is rarely heard in any sort of context, while "My Funny Valentine" and "The Nearness of You" set the mood throughout.

Starchild · « **Reply #13514 on:** 20 Nov 2015, 04:08 am »

A nice set from Goerge Duke singing and palying standards. He describes the album below.

"I decided to record a more traditional jazz album with the same rhythm section players for the entire CD. I chose Brian Bromberg-upright bass and Terri Lyne Carrington-drums. They are both accomplished players with a lot to bring to the musical table.

The songs are refurbished traditional standards or original songs that fit within that framework. I know this is not an album for all my fans, but it definitely has a place in my heart.

The music is mostly melodic but not overly simplistic. The players all know how to bend a melody to their will and use the chordal structure as a springboard for musical exploration.

I should also mention that I did a new version of "Sweet Baby" using piano accompaniment only. The song is at its' core a personal song, so I decided to treat it that way on this album.The CD was recorded the old fashion way with the rhythm section playing at the same time. It was tracked in two days and completed shortly thereafter with simple overdubs here and there."

George Duke - In a Mellow Tone

Personnel: George Duke - piano , vocal; Brian Bromberg – bass; Terri Lyne Carrington – drums; Mike Miller – acoustic guitar; Airto Moreira – percussion; Manyungo Jackson – percussion; Ray Fuller – electric guitar; Everette Harp – saxes; Dennis Farias – flugelhorn , trumpet.

Asimov · « **Reply #13515 on:** 20 Nov 2015, 04:18 am »

Barney Kessel - Easy Like Vol-1

AllMusic Review by Scott Yanow
Other than four songs apiece released by Onyx and Verve, the CD reissue of Easy Like, Vol. 1 has guitarist Barney Kessel's first sessions as a leader, performances which launched his longtime association with the Contemporary label. Augmented by two "new" alternate takes, the set features Kessel in boppish form with quintets in 1953 and 1956 featuring, either Bud Shank or Buddy Collette doubling on flute and alto. Kessel shows off the influence of Charlie Christian throughout the performances, with the highlights including "Easy Like," "Lullaby of Birdland," "North of the Border," and the accurately titled "Salute to Charlie Christian."

Starchild · « **Reply #13516 on:** 20 Nov 2015, 05:05 am »

A nice one from Freddy Cole. This album was nominated for a 2011 Grammy Award for Best Jazz Vocal Album.

Freddy Cole Sings Mr. B

Perosnnel: Freddy Cole - vocals; Houston Person - sax (tenor); Randy Napoleon - guitar; John Di Martino - piano; Curits Boyd - drums.

Asimov · « **Reply #13517 on:** 20 Nov 2015, 05:09 am »

Horace Silver Quintet - Silver's Blue

AllMusic Review by Eugene Chadbourne
Two sessions in the mid-'50s produced the material for this album, which despite or perhaps because of being one of the historical early recordings of the Horace Silver Quintet, was later treated to a confusing mess of reissues, some of which never really mentioned what was so historic about the material in the first place. Maybe there was no reason to, since by the new millennium the type of groovy, funky jazz Silver was famous for had become so in demand that any recording of the authentic item was considered coated with golden fairy dust. In the late '80s, when this particular imprint was released on the public, just the fact that it was a reissue of something old seemed to be enough. The liner notes begin with a pretentious description of the lengths to which the geniuses who remastered this went, in order to not only preserve the integrity of the original tapes but to bring them up to the standards of the era. Which everyone knows were no standards and, anyway, these tapes sounded fantastic in the first place.
First off, the liner notes should have said, "Listen to Hank Mobley." The tenor saxophonist is the first to solo on the title track, and what a beautiful improvisation it is, always centered around the blues but twisting through some melodic turns of phrases that reference folk songs and who knows what else. Besides the pianist, who is in his usual tasty form, it is Mobley who makes this album really breathe, as neither trumpeter will really knock one's socks off. Joe Gordon is a bit undersung, true, but he also has a pinched sound in the upper register and a habit of noodling his way from change to change as if he felt inspiration was just around the corner. For the second session he is replaced by Donald Byrd, who has his moments despite relying on stock phrases at times when the intensity of his solo is just building up. The arrangement of "How Long Has This Been Going On?" is refreshingly quiet and gentle, showing that Silver had more than one direction and bringing forth another type of tone from Mobley, all velvet and feathers. Songwriter Frank Loesser's "I'll Know" is also given a bright, catchy arrangement. The theme is stated in a series of slowly unfolding pronouncements building up to a great moment right before the solos start, when a strong medium-tempo groove comes in. On his solo, the pianist lays out his notes like a casino dealer providing cards all around to all the players, following blues licks with rapid chromatic bop devilments. The original "Shoutin' Out" is the kind of stuff Silver is really known for, and it is fantastic. The fine drummer Kenny Clarke, who always played well with Silver, is on hand throughout.

Starchild · « **Reply #13518 on:** 20 Nov 2015, 05:51 am »

A nice live set by Sarah Vaughan.

Sarah Vaughan - At Mister Kelly's

Personnel: Sarah Vaughan (vocals); Jimmy Jones (piano); Richard Davis (bass); Roy Haynes (drums).

Recorded live at Mr. Kelly's, Chicago, Illinois in August 1957.

Asimov · « **Reply #13519 on:** 20 Nov 2015, 06:01 am »

Dizzy Gillespie - Dizzy's Big 4

AllMusic Review by Ken Dryden
Dizzy Gillespie omits a piano on these 1974 sessions, but it is never missed due to the potent rhythm section supplied by guitarist Joe Pass, bassist Ray Brown, and drummer Mickey Roker. Starting with the inspired, occasionally funky Latin-flavored "Frelimo" (which features the leader on both muted and open trumpet), Gillespie is in top form. His deliberate treatment of the forgotten chestnut "Hurry Home" is a lyrical gem, while the breezy setting of the standard "Russian Lullaby" bubbles with excitement. But the fireworks take place in the rapid-fire performance of Gillespie's "Be Bop (Dizzy's Fingers)," in which Pass seems to play at an impossible tempo. Just as much fun is the sassy, intricate interpretation of the trumpeter's blues "Birk's Works," powered by Brown's potent bass, along with the hip updated treatment of Fats Waller's "Jitterbug Waltz." This is easily one of Dizzy Gillespie's best small-group recordings from the latter portion of his career.