Pee Wee Russell Jazz Reunion Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Pee Wee Russell Jazz Reunion mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Reunion Country: UK Released: 1989 MP3 version RAR size: 1245 mb FLAC version RAR size: 1370 mb WMA version RAR size: 1281 mb Rating: 4.7 Votes: 940 Other Formats: AHX AU VOX AUD AIFF DTS AAC Tracklist 1 If I Could Be With You One Hour 6:29 2 Tin Tin Deo 8:57 3 Mariooch 7:19 4 All Too Soon 7:32 5 28th And 8th 7:25 6 What Am I Here For 7:52 Companies, etc. Recorded At – Nola Recording Studios Credits Bass – Milt Hinton Clarinet – Pee Wee Russell Drums – Jo Jones Engineer – Bob D'Orleans Piano – Nat Pierce Recording Supervisor, Liner Notes – Nat Hentoff Tenor Saxophone – Coleman Hawkins (tracks: 1, 2, 4 to 6) Trombone – Bob Brookmeyer (tracks: 1, 2, 4 to 6) Trumpet – Emmett Berry (tracks: 1, 2, 4 to 6) Notes Recorded at Nola Penthouse Studios, New York City, Febuary 23, 1961. ℗ © Candid Productions Ltd. 16, Castelnau, London SW13 9 RU. Barcode and Other Identifiers Barcode: 7 08857 90202 6 Label Code: LC 0585 Matrix / Runout: 3431-CDD7020 C3.2 153442-02 Matrix / Runout (On cd label): CACD79020-2 Other versions Category Artist Title (Format) Label Category Country Year Pee Wee Russell Pee Wee Russell And 8020 And Coleman Coleman Hawkins - Jazz Candid 8020 US 1961 Hawkins Reunion (LP, Album, Mono) Pee Wee Russell / Coleman CACD Pee Wee Russell / CACD Hawkins - Jazz Reunion (CD, Candid Germany 1988 79020-2 Coleman Hawkins 79020-2 Album, RE) Pee Wee Russell Pee Wee Russell And CS 9020 And Coleman Coleman Hawkins - Jazz Candid CS 9020 US 1961 Hawkins Reunion (LP, Album) Pee Wee Russell Pee Wee Russell And SMJ-6214 And Coleman Coleman Hawkins - Jazz Candid SMJ-6214 Japan 1978 Hawkins Reunion (LP, Album, RE) Pee Wee Russell Pee Wee Russell And SOPC 57017 And Coleman Coleman Hawkins - Jazz Candid SOPC 57017 Japan 1971 Hawkins Reunion (LP, Album, RE) Related Music albums to Jazz Reunion by Pee Wee Russell Various - The Jazz Life! Coleman Hawkins - The Hawk Charles Mingus - Mysterious Blues Coleman Hawkins - Three Classic Albums Plus Coleman Hawkins - Coleman Hawkins And Confreres Coleman Hawkins - Master of Jazz Vol. 12 Charles Mingus - Mingus Coleman Hawkins And Chu Berry - Tenor Giants.

Copy Link

Recommended publications

Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
[Show full text]
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
[Show full text]
STANLEY FRANK DANCE (K25-28) He Was Born on 15 September
STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935.
[Show full text]
The Frog” in This Issue We Present a Portrait of Ben Webster Written in a Personal Way by Steve Wallace
BULLETIN NR 2, APRIL 2016, ÅRGÅNG 24 ”The Frog” In this issue we present a portrait of Ben Webster written in a personal way by Steve Wallace. 2-2016 Vårnyheter! I vårt förra nummer av Bulleti bidragit med insiktsfulla artiklar av utprovningen är avklarad och alla nen hade vi glädjande nog två nya diskografisk natur. Vi hoppas och tror beslut har fattats läggs webbplats medlemmar att hälsa välkomna och att vi framdeles kan konsultera Björn en upp och ellington.se får ett nytt i detta nummer kan vi meddela att när diskografiska problem uppstår. utseende. Det kan komma att ske vi åter har fått två nya medlemmar. I förra numret rapporterade jag före nästa medlemsmöte. Ulf Lun Men tyvärr minskar medlemskad om de tankar som finns på att ge din har varit föreningen synner ern undan för undan och det är klubben närvaro på Facebook i syfte ligen behjälplig i utformandet av mycket tråkigt att konstatera. att ge klubben ett ansikte där och den nya webbplatsen och kommer Fjärde måndagen i februari hade stimulera kontakten och utbyten framdeles att ha en central roll i vi årsmöte. I år avgick Key Jiger mellan medlemmarna och mellan hanteringen av densamma. ström som ledamot av styrelsen. medlemmar och andra Ellington Som vi nämnde i förra bulletinen Han har varit medlem sedan DESS intresserade. Det arbetet har gått kommer vi i år åter att ge ut en ny startade sin verksamhet 1994. Som vidare och olika lösningar för en CD till Er. Den kommer att in ledamot av styrelsen invaldes han Facebookgrupp har studerats.
[Show full text]
Holt Atherton Special Collections Ms4: Brubeck Collection
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov.
[Show full text]
6. Count Basie's Cleveland Connections
6. Count Basie's Cleveland Connections illiam Basie, pianist and bandleader, was not a In his autobiography, Good Morning Blues, Basie Clevelander, but he certainly perfonned recalled he married the girl from Cleveland in 1943 in Wfrequently in Cleveland and hired a number of Seattle. Their honeymoon was a series ofone-night band Clevelanders to play in his swinging band. Basie' s appearances. strongest tie to Cleveland is frequently forgotten. He The Basie band was working in New York when Katy married a girl from Cleveland and their only child was was about to have a baby. She returned to Cleveland and born here. stayed with her parents. Katy and Bill Basie's only child, Diane Basie, was born in Cleveland. He rushed to Catherine Morgan Basie Cleveland to be with his wife and Catherine Morgan left Cleveland daughter. at the age of 16 in 1931 to become a Later, when they rejoined Basie in dancer. She joined a very popular New York, he said he had vivid vaudeville act, the Whitman Sisters. memories of seeing Katy getting off She was one of three girls in the the plane from Cleveland carrying dance company who called their baby. He said, "It was a special themselves "The Snake Hips thrill bringing my family home from Queens." When they appeared at the the airport that day, Old Base, his Lafayette Theatre in New York City, wife and daughter." there was a jazz band from Kansas They moved into an apartment City on the same bill. The young building near New York' s Central dancer from Cleveland noticed the Park.
[Show full text]
Download the Entire Issue (PDF)
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
[Show full text]
Emmett Berry
1 The TRUMPET of EMMETT BERRY Solographer: Jan Evensmo Last updated: July 18, 2019 2 Born: Macon, Georgia, July 23, 1915 Died: June 22, 1993 Introduction: Emmett Berry was an excellent swing trumpeter but possibly suffered by being overshadowed by the charismatic Roy Eldridge with a related style. It was quite obvious that he should be a candidate for a solography on internet! Early history: Raised in Cleveland, Ohio; began ‘gigging’ with local bands, then joined J. Frank Terry’s Chicago Nightingales in Toledo, Ohio (1932), left Terry in Albany, New York, in 1933and ‘gigged’ mainly in that area during the following three years. Joined Fletcher Henderson in late 1936, and remained until Fletcher disbanded in June 1939. With Horace Henderson until October 1940, briefly with Earl Hines, then with Teddy Wilson’s sextet from May 1941 until July 1942, then joined Raymond Scott at C.B.S. With Lionel Hampton from spring of 1943, week with Teddy Wilson in August 1943, briefly with Don Redman and Benny Carter, then again rejomed Teddy Wilson c. November 1943. With John Kirby Sextet from summer 1944 until January 1945, Eddie Heywood, February until October 1945, then joined Count Basie. Left Basie in 1950. (ref. John Chilton). Message: I met Emmett Berry’s daughter Christina at the National Jazz Museum of Harlem a few years ago, seeking information about her father. I promised her a solography, it has taken some time, but here it is. Hopefully you are happy with this tribute to your father, Christina! 3 EMMETT BERRY SOLOGRAPHY FLETCHER HENDERSON & HIS ORCHESTRA NYC.
[Show full text]
The Changing Face of Harlem – the Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976
The Changing Face of Harlem – The Savoy Sessions Dan Morgenstern Grammy Award for Best Album Notes 1976 The history of jazz is often told in terms of geography—a journey from New Orleans to Chicago to Kansas City to New York, and from there, throughout the world. Like any generalization, this way of outlining the music's development has its shortcomings. New York had been a jazz landmark long before it became the chief incubator of a new style eventually called bebop. And for jazz purposes, New York in the main meant Harlem, the largest (and once most glamorous) black metropolis outside Africa. In the '20s, Harlem was practically the entertainment capital of America, if not the western world. “The world's most glamorous atmosphere .... Why, it's just like Arabian Nights,” said young Duke Ellington when first confronted with its splendors in 1923. To the contemporary mind, conditioned to think of Harlem as a “ghetto,” a vast slum, a breeding ground for social ills, this may seem like fantasy. But even today, there are fine streets and houses in Harlem, there is the Apollo Theater (the last remaining bastion of a once proud show business tradition), there are places to eat and drink well, and places to hear music. But sadly, for every one of the latter, there were a couple of dozen in Harlem‘s heyday. These ranged from basement clubs and unpretentious saloons that might feature a piano player and/or a singer to such elaborate operations as the Cotton Club, with its especially composed, staged and choreographed revues featuring the best in black talent and catering exclusively to whites (black show people were allowed to watch).
[Show full text]
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St.
[Show full text]
It Might As Well Be Swing the New Musical Bandstand Brings the Sound of 1940’S Swing Music to the Broadway Stage This Month
Volume 45 • Issue 4 April 2017 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Corey Cott and Laura Osnes star in Bandstand. Photo © Jeremy Daniel. It Might As Well Be Swing The new musical Bandstand brings the sound of 1940’s swing music to the Broadway stage this month. Jersey Jazz’s Sanford Josephson has a preview of the show (p. 26) which had its critically acclaimed first run at the Paper Mill Playhouse in Short Hills, NJ last fall. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez .......................... 2 Bulletin Board ...................... 2 NJJS Calendar ...................... 3 Jazz Trivia ......................... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info ....... 6 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS ............. 41 Crow’s Nest ...................... 42 he Oscars were almost a very good night for jazz, in had a jazz program for quite a few years, although is not New/Renewed Members ............ 44 Tthat the winner of the Best Picture award was a full major as such. Musicians from the program have temporarily announced as La La Land, a throwback to often appeared at the September Princeton JazzFeast storIes the era of Hollywood musicals whose characters included which is co-sponsored by NJJS. They have scheduled Bandstand Opens on Broadway .... cover a jazz pianist (played by Ryan Gosling) struggling to several jazz programs this spring at Princeton which are Big Band in the Sky ................. 8 survive by stringing together various less than satisfying free and open to the public. We wish Professor Don Braden at Luna Stage ..........
[Show full text]
Download the Tenor Saxophone of Buddy Tate
1 The TENORSAX of GEORGE HOLMES TATE “BUDDY” Solographer: Jan Evensmo Last update: Jan. 4, 2020 2 Born: Sherman, Texas, Feb. 22, 1914 Died: Chandler, Arizona, Feb. 10, 2001 Introduction: We became familiar with Buddy Tate very early through his recordings with Count Basie. I met him once, many years ago, at the Molde International Jazz Festival. He was a very kind man, and when he realized I was doing some useful work on ja zz tenor saxophone, he invited me to his hotel room for whisky. We had a very nice time together in the light summer night of Norway! Early history: His brother, a saxophonist, gave Buddy an alto in 1925. Two years later began gigging with McCloud's Night Owls (led by his cousin, trumpeter Roy McCloud). In 1929 played for several months in Wichita Falls with the St. Louis Merrymakers, later that year joined Troy Floyd's Band in San Antonio. Briefly with Gene Coy's Band, then with Terrence Holder's 12 Clouds of Joy from 1930-33. Worked with E. J. Malone and his Rhythm Kings (early 1933), Wesley Smiths' Band, ‘Tan Town Topics’, and Ethel May's Band before joining Count Basie in Little Rock, Arkansas (ca. July 1934). From late 1934 until early summer 1935 with Andy Kirk, played with band at Wiley College, Texas, then long spell with Nat Towles until joining Count Basie in spring 1939. Remained with Basie until September 1948, brief return in early 1949, then for the rest of that year worked mostly with Hot Lips Page, occasionally with Lucky Millinder.
[Show full text]