J2P and P2J Ver 1

Total Page:16

File Type:pdf, Size:1020Kb

J2P and P2J Ver 1 44 BILLBOARD MUSIC WEEK AUGUST 11, 1962 Reviews of et 1-& É 9 The pick of the new releases: EASY LISTENING New Albums esta East Prom this week's Net ISO Wests N SPOTLIGHT ALBUMS Ned Week TITLE, ARTIST, EMIL Net 1e8 * * ** STRONG OF_THE WEEK. SALES POTENTIAL ) 1 ROSES ARE RED, Bobby Vinton, Epic 9509 10 110 3 TILE STRIPPER, David Rose and His Ork, MGM 13064 14 * * ** CHARLES K. L. DAVIS SINGS Strongest sales potential of all albums reviewed this week. SONGS FROM THE MAGIC ISLANDS Desea DL 4276 (M); DL 74276 (S)- Himself a Hawaiian. Charles K. L. Davis, Continued frotta page 40 O8 YOU DON'T KNOW ME, Ray Charles, ABCParamount 10345 1 has a natural insight into and feeling for the music of his native State. Possessed of an outstanding classical voice, he beads Rhythm & Blues 5 WOLVERTON MOUNTAIN, Claude King, Columbia 42352 12 it here to popular -styled renditions of a Ois snoop of Island songsthat Include On the Beach at Waikiki," "Lovely Hula Hands.' DRIVING WHEEL "Links Grass Shack" and "Song of the Little Junior Parker. Duke DLP 76 -Great blues perform- O4 THEME FROM DOCTOR KILDARE, Richard Chamberlain, MOM 13075 11 Islands." This is his second collection of in Hawaiian songs. ances here of a flock of good tunes varying tempos. Junior is accompanied by a solid, swinging band, employ- 2 1 CAN'T STOP LOVING IOU, Ray Charles, ABC. Paramount 10330 if ing sonie fine brass passages, a good lead guitar and an © **** WE SPEAK THE SAME LANGUAGE effective piano. Some of the better tracks include a recent James Shlgeta. eboreo A -7 (M); AS-7 hit, "Annie Get Your Yo -Yo," plus "How Long Can This O6 HEART IN NAND, Brenda Lee, Deets 31407 f (S)- Leading man of the films Bridge to Go On," "Tin Pan Alley" and "Seven Days.' Disk can the Sun" and "Flower Drum Song," Hawaüao grab plenty of r. &b. activity and it can likely spill well -born James Shlgeta has also won O18 SHE'S NOT YOU, Elvis Presley, RCA Victor 8041 2 a following from TV and night club appear- over into the pop markets. ances. In his first LP, he sings a group of romantic ballads and shows a voice which has a certain intimate appeal to which Jazz O14 CALL ME MR. IN- BETWEEN, Burl lees, Decca 31405 4 younger female buyers are likely to respond. The songs, while not among the best known SHELLY MANNE 2 -3-4 standards, all are attractive and make for Impulse A20 (M); AS 20 Really 15 A 1011610' SAFARI, Billy Vaughn, Dot 16374 4 a relatively fresh repertoire. (S)- classic jazz drum- ® ming and blowing on this LP. Shelly Manne teams up with sonie top -flight jazz stars to make one of his most * * ** FORTY FABULOUS 2) 9 ROUTE 46 THEME, Nelson Riddle, Capitol 4741 tt FINGERS VOL. II buoyant LP's in recent months. He is surrounded by Cole- The Original Plano Quartet. Deers DL man Hawkins, tenor sax; Eddie Costa or Hank Jones, 16055 (M); DL 716055 (S)-The success of piano, and George Duvivier, bass, for unique blowing in 12 12 HAYE A 600D TIME, Sue Thompson, Hickory 1174 9 the first stereo LP featuring the Original (nee first) Piano Quartet has encouraged two, three and four -vlan groups. `Take the `A' Train " Decca to follow up south another. This "Lean On Me" and "Cherokee" are excellent and im- should emulate or perhaps surines sates of aginative tracks. CI 7 AL DI LA', Emilio Nicoll, Warner Bros. 5259 1f the initial release, for the group plays some very popular selections with verve and Works style. include the "Blue Danube," 7 O13 STEEL MEN, Jimmy Dean, Columbia 42483 B Liszt's "La Campanella," Padarewaki's COUNT BASIE AND THE KANSAS CITY "Minuet" and a Chopin nocturne, among impulse A 15 (M); AS 15 (S)- Here's one for Basie buffs. others. The Count's inimitable piano, so often lost to the general 15 TILL DEATH DO US PART, Bob Braun, Decca 31355 4 listener in the shouting big band sound, comes forth - * * ** IN THE DUCHIN MANNER eloquently here. In addition, the top soloists in the band Peter Duchhr. Deena DL 4291 (M); DL form a throbbing small group that plays with 16 10 JOHNNY LOVES ME, Shelley Fabares, Colpir 636 10 74291 (SI- Twelve highly nstenable tracks taste, tight here from the pianist who, stylistically, is unison and swing. Thad Jones contributes great trumpet following closely in the footsteps of his late Frank \Ness, Eric Dixon and Frank Foster cover the reed father. The album should appeal to Ibten- work and the rhythm section is in great form. "Lady Be 11 19 A TASTE OF HOMEY, Martin Denny, Liberty 55470 11 enera who lace their music straight and pnadorned, with a heavy accent on melody Good," "I Want a Little Girl" and "Tally Ho Mr. Basie and a danceable society beat. The pianist are all fine tracks. 1Q 17 NEVER IN A MILLION YEARS, Linda koto, Congress 103 9 la supported by a medium.sized ork. The material in drawn from the standard reper- toire. "My Kind of Girl," 'Witchcraft," THE BAG IN 19 - CARELESS LOVE, Ray Charles, ABC. Paramount 10345 3 "Oist," 'Love for Sale" and "Easy to Nat Adderley 75 (M); Love" are indicative of the material. Sextet. Jazzland JLP JLP 975 (S)- Nat Adderley, Cannonball Adderley and three young per- formers from New Orleans spark this ®- ABOVE THE STARS, Mr. Acker Bilk, Alan 6230 B * * ** THE ROMANTIC SOUNDS OF down -home, soul- TOOTS THIELEMANS fully swinging recording. The young men from New Or- MGM E 4114 IM); SE 4514 leans are Nat Perrilliat on tenor, Ellis IS)-A Marsalis on piano PUCCINI: LA BOHEASE (2 -12 ") delightful set of standard melodies played and James Black on drums. They acquit themselves credit- by harmonica virtuoso Toots Thielemann. Various Artists. RCA Victor LM 6095 -One of the peren- The instrumentalist is backed throughout ably here, but the honors are borne off by Nat Adderley the album by voices, strings and rhythm. and Cannonball, with some of Nat's best work heard here. nial favorites is here again, after many earlier appearances Most of the tracks are taken at a leisurely Outstanding tracks are "In the Bag," "R.S.V.P." and in equally colorful garb, in terms of cast and packaging. ballad tempo. "Stairway to the Stars," This, however, is bound to cause a great stir, starring as "Long Ago," "This Is Always" and "Mozart-in'." "Stranger in Paradise" are representative it does one of the darlings of the current opera scene, examples. Anna Moffo as Mimi, and with such other stellar names YOUNG IDEAS as Richard Tucker, Robert Merrill, Georgio Tozzi and The J.F.K." Quintet. Riverside RLP 9424 (S) * * ** GREAT WALTZES FROM -The J.F.K. Mary Costa. Capitol's Erich Leinsdorf was borrowed for GILIIERT AND SULLIVAN Quintet, named for the President, are making a name for the baton chores and his name will simply add to the May Green and hie Ork. Riverside themselves on their own new frontier. This is the second RLP 7530 RLP 7531 sale value of the set. Full brochure and libretto also (MI; IS) - Gibber CRS album from the label featuring the and Sullivan are perhaps best known to young and adven- accompanies the album. their cute operettas and catchy lyrics. All turous Washington group, and they show again on this Chia overshadows the fact that Sir Aehu set that they can handle avant -garde music and soulful Sullivan wrote some very danceable music stuff with elan. The group has its own sound and style CARNIVAL iN VIENNA! (Continued on page 49 and it's exciting and fresh. The best tracks on the album Philadelphia Orchestra, Eugene Ormandy Conductor. Co- include "S.D.D.S.," "Coltrane Lane" and "Golden Ear- lumbia ML 5752 (M); MS 6352 (S) -This brilliant render- rings." Salable wax for the young jazz fan. ing of carnival time in Vienna shows off the stylish sounds VEE JAY 457 of the Philadelphia Orchestra in waltzes and polkas by Classical Vienna's own Johann Strauss Jr., and Josef Strauss. The "I tonal color that Eugene Ormandy elicits front the Philadel- BERi,IOZ: SYMPHONIE FANTASTIQUE phians on "Roses From the South," "Wine, Women and Charles Boston Symphony Orchestra, Munch. RCA Victor Song," "Annen Polka," "Firebell ( Feuerfest) Polka," and REMEMBER LM 2608 (M); LSC 2608 (S)-An intense and moving read- others will satisfy the most fanatical classical stereo buff ing of the Berlioz symphony here by the strong selling as well as fans of the Philadelphia Orchestra. team of Charles Munch and the Boston Symphony. The music sizzles and vibrates with the broad interpretation YOU" frank handed it by Munch. The orchestra moves as one unit MOZART: EINE KLEINE NACHTMUSIK, MASONIC and accents each of the moods and dramatic highlights FUNERAL MUSIC AND OVERTURES of the music with enthusiasm and precision. Columbia Symphony Orchestra, Bruno Walter. Columbia 1-ere ML 5756 (M); MS 6356 (S) -This album contains the WAGNER: BRUNNHILDE'S iMMOLATION SCENE; last recordings ever made by Bruno Walter and it is a WFSENDONCK SONGS tribute to his greatness as a conductor. He leads the Columbia Symphony Orchestra in noteworthy performanc9 DISTRIBUTORS Eileen Farrell. Columbia ML 5753 (M); MS 6353 (S)- Another magnificent collection of selections by Miss Far- of the "Nachtmusik," and overtures from "Cosi Fan Tutte,' RACK JOBBERS rell. Her many admirers will thrill to her singing of the "The Marriage of Figaro" and `The Magic Flute." The liner notes contain Dr.
Recommended publications
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • Ázz /Hi-Fi Notes
    for You, and Dinah, along with the rela- trouble. Arranger Jack Marshall seems tively dismal Georgia on My Minci and happier when he is reflecting Wilbur De /HI-FI NOTES Bessie Couldn't Help lt. Paris than in trying to revive Crosby ÁZZ Four of these five discs are an invalu- items (Skater's Waltz, Surokey ,\fart). CONTEMPORARY RECORDS, INC. from able supplement to the Columbia set. Gene Bolen plays some pleasant low - For those who do not have the Colum- register clarinet in an orchestration of Producers of Wang Nang Blues based on the De CONTEMPORARV RECORDS bias, any one of the Odeons- starting COOD TIME JAZZ with the Hot Fives and Hot Sevens -be- Paris version of The Pearls. The main CR COMPOSERS SERIES grace of the group, however, is CALIFORNIA RECORDS longs in a balanced iazz collection. saving REM (Society for Forgotten Jackie Coons, who hulls and puffs an Mu.i4) STERRO RECORDS Louis Armstrong and Ella Fitzgerald: elegantly bumptious mellophone. "Porgy and Bess." Verve 4011/12, Barney Kessel has an exciting Wizard of the Rag- new album -music from "SOME $11.96 (two LI'). Eubie Blake: "The and Bess and Louis Armstrong and Piano." 20th- Century Fox 3003, LIKE IT HOT " Prohibition Era Porgy time - Ella Fitzgerald seem to have been made $3.98 (LP). tunes featured in. Billy Wilder's smash film starring Marilyn for each other. For both Armstrong and Blake was one of the great pianists of the Monroe, Tony Curtis and Jack Miss Fitzgerald, the Gershwin score pro- ragtime era; and later, in partnership Lemmon.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Shelly Manne & His Men Shelly Manne and His
    Shelly Manne & His Men Shelly Manne And His Men, Volume 1 - The West Coast Sound mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Shelly Manne And His Men, Volume 1 - The West Coast Sound Country: US Released: 1984 Style: Bop, Cool Jazz MP3 version RAR size: 1594 mb FLAC version RAR size: 1347 mb WMA version RAR size: 1938 mb Rating: 4.2 Votes: 404 Other Formats: MOD DTS XM AC3 ASF AAC VOC Tracklist A1 Grasshopper 2:48 A2 La Mucura 3:00 A3 Summer Night 3:16 A4 Afrodesia 3:26 A5 You And The Night And The Music 3:06 A6 Gazelle 3:00 B1 Sweets 2:50 B2 Spring Is Here 2:39 B3 Mallets 3:15 B4 You`re Getting To Be A Habit With Me 3:27 B5 You`re My Thrill 2:54 B6 Fugue 2:45 Credits Alto Saxophone – Art Pepper (tracks: A2, A5, A6, B3), Bud Shank (tracks: A4, B1, B5, B6), Joe Maini (tracks: A1, A3, B2, B4) Baritone Saxophone – Jimmy Giuffre Bass – Curtis Counce (tracks: A2, A5, A6, B3), Joe Mondragon (tracks: A4, B1, B5, B6), Ralph Pena* (tracks: A1, A3, B2, B4) Drums – Shelly Manne Engineer [A1, A3, B2, B4] – John Palladino Engineer [A2, A4 To A6, B1, B3, b5, B6] – Val Valentin Liner Notes – Nesuhi Ertegun Photography By [July 20, 1953 Recording Session] – William Claxton Piano – Marty Paich (tracks: A2, A4 to A6, B1, B3 ,B5, B6), Russ Freeman (tracks: A1, A3, B2, B4) Producer – Lester Koenig Tenor Saxophone – Bill Holman (tracks: A1, A3, B2, B4), Bob Cooper (tracks: A2, A4 to A6, B1, B3 ,B5, B6) Valve Trombone – Bob Enevoldsen Notes Recorded : - #A2,A5,B3,A6 : Los Angeles on April 6, 1953 - #A4,B1,B5,B6 : Los Angeles on July 20, 1953 - #A1,A3,B2,B4 : Los Angeles on September 13, 1955 (previously unreleased) Copyright 1956 and 1953 by Contemporary Records.
    [Show full text]
  • How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
    How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th
    [Show full text]
  • The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
    “The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States.
    [Show full text]
  • Forty Lives in the Bebop Business: Mental Health in a Group of Eminent Jazz Musicians
    BRITISH JOURNAL OF PSYCHIATRY (2003), 183, 255^259 Forty lives in the bebop business: mental health on the verge of becoming absorbed into official academic culture.’ {{ in a group of eminent jazz musicians And Shipton (2001) states, quite simply, that ‘Of all the musical forms to emerge GEOFFREY I. WILLS in the twentieth century, jazz was by far the most significant’. In order to increase the comprehensiveness of the study of artis- tic creative persons, therefore, it seems timely to focus on jazz musicians. Present study Background Above-average levels of There is now a comprehensive literature In the present study I have not been as psychopathologyhavepsychopathology have been that convincingly demonstrates a link be- ambitious as Jamison, Post and Ludwig in tween psychopathology and creativity in terms of the size of the sample. I have tar- demonstrated convincingly in groups of the arts. Specifically, the work of Andrea- geted a particular period of jazz, which it outstandingindividualsoutstanding individuals workingintheworking in the son (1987), Jamison (1993), Post (1994) is possible to refer to as the classic era of arts.Currently,arts.Currently,jazz jazz musicians have not and Ludwig (1995) points to a connection American modern jazz, that lasted from been studied in this regard. between creativity and affective disorders, about 1945 to about 1960. Bebop, the first but there is also evidence of other psycho- manifestation of modern jazz, ‘Lies at the Aims Toinvestigate any evidence of pathology. As just one example of this, Post midpoint of what has become known as psychopathologyinpsychopathology in a group of eminent (1994) found that 40.4% of his sample of the jazz tradition .
    [Show full text]
  • Bob Gordon Discography
    BOB GORDON DISCOGRAPHY BOB GORDON RECORDINGS, CONCERTS AND WHEREABOUTS Bob Gordon was born in St. Louis, Missouri, June 11, 1928. He passed away in a car accident between Hollywood and San Diego, CA., August 28, 1955 by Kenneth Hallqvist, Sweden January 2019 Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes with Bob Gordon = GREEN IKEA-boxes with Lars Gullin = YELLOW IKEA-boxes with Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Bob played tenor sax with: Shorty Sherock (1946) Alvino Ray (1948-1951) Billy May (1952) Horace Heidt (1952-1953) George Redman (1954) Search for LPs/CDs: GNP J.S.L.P. 50.042: "Maynard Ferguson - Dimensions" (Trip Jazz LP available) EMArcy LP #MG 36044: "Lyle Murphy: Four saxophones in twelwe tones" (10" LP 1955) Mercury CD EJD-1016: COMPACT JAZZ - Maynard Ferguson with Bob Gordon (released in Japan 1989) EMArcy CD #3071: "Introducing Bob Gordon" Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 2 Abbreviations used in this discography acc accordion mda mandola arr arranger mdln mandolin as alto saxophone mel melodica b bass (contrabass or double bass) mgs Moog synthesizer b-cl bass clarinet oboe oboe b-tb bass trombone oca ocarina b-tp bass trumpet org organ bars baritone saxophone p piano bgs bongos panfl pan flute bjo banjo perc percussion bnd bandoneon saxes saxophones bs bass saxophone sop soprano saxophone bsn bassoon st-d steel drums cgs
    [Show full text]
  • Harold MABERN: Teo MACERO
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Harold MABERN: "Workin' And Wailin'" Virgil Jones -tp,flh; George Coleman -ts; Harold Mabern -p; Buster Williams -b; Leo Morris -d; recorded June 30, 1969 in New York Leo Morris aka Idris Muhammad 101615 A TIME FOR LOVE 4.54 Prest PR7687 101616 WALTZING WESTWARD 9.26 --- 101617 I CAN'T UNDERSTAND WHAT I SEE IN YOU 8.33 --- 101618 STROZIER'S MODE 7.58 --- 101619 BLUES FOR PHINEAS 5.11 --- "Greasy Kid Stuff" Lee Morgan -tp; Hubert Laws -fl,ts; Harold Mabern -p; Boogaloo Joe Jones -g; Buster Williams -b; Idriss Muhammad -d; recorded January 26, 1970 in New York 101620 I WANT YOU BACK 5.30 Prest PR7764 101621 GREASY KID STUFF 8.23 --- 101622 ALEX THE GREAT 7.20 --- 101623 XKE 6.52 --- 101624 JOHN NEELY - BEAUTIFUL PEOPLE 8.33 --- 101625 I HAVEN'T GOT ANYTHING BETTER TO DO 6.04 --- "Remy Martin's New Years Special" James Moody Trio: Harold Mabern -p; Todd Coleman -b; Edward Gladden -d; recorded December 31, 1984 in Sweet Basil, New York it's the rhythm section of James Moody Quartet 99565 YOU DON'T KNOW WHAT LOVE IS 13.59 Aircheck 99566 THERE'S NO GREEATER LOVE 10.14 --- 99567 ALL BLUES 11.54 --- 99568 STRIKE UP THE BAND 13.05 --- "Lookin' On The Bright Side" Harold Mabern -p; Christian McBride -b; Jack DeJohnette -d; recorded February and March 1993 in New York 87461 LOOK ON THE BRIGHT SIDE 5.37 DIW 614 87462 MOMENT'S NOTICE 5.25 --- 87463 BIG TIME COOPER 8.04 --- 87464 AU PRIVAVE
    [Show full text]
  • Suggested Listening - Jazz Artists 1
    SUGGESTED LISTENING - JAZZ ARTISTS 1. TRUMPET - Nat Adderley, Louis Armstrong, Chet Baker, Terrance Blanchard, Lester, Bowie, Randy Brecker, Clifford Brown, Don Cherry, Buck Clayton, Johnny Coles, Miles Davis, Kevin Dean, Kenny Dorham, Dave Douglas, Harry Edison, Roy Eldridge, Art Farmer, Dizzy Gillespie, Bobby Hackett, Tim Hagans, Roy Hargrove, Phillip Harper,Tom Harrell, Eddie Henderson, Terumaso Hino, Freddie Hubbard, Ingrid Jensen, Thad Jones, Booker Little, Joe Magnarelli, John McNeil, Wynton Marsalis, John Marshall, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Barry Ries, Wallace Roney, Jim Rotondi, Carl Saunders, Woody Shaw, Bobby Shew, John Swana, Clark Terry, Scott Wendholt, Kenny Wheeler 2. SOPRANO SAX - Sidney Bechet, Jane Ira Bloom, John Coltrane, Joe Farrell, Steve Grossman, Christine Jensen, David Liebman, Steve Lacy, Chris Potter, Wayne Shorter 3. ALTO SAX - Cannonball Adderley, Craig Bailey, Gary Bartz, Arthur Blythe, Richie Cole, Ornette Coleman, Steve Coleman, Paul Desmond, Eric Dolphy, Lou Donaldson, Paquito D’Rivera, Kenny Garrett, Herb Geller, Bunky Green, Jimmy Greene, Antonio Hart, John Jenkins, Christine Jensen, Eric Kloss, Lee Konitz, Charlie Mariano, Jackie McLean, Roscoe Mitchell, Frank Morgan, Lanny Morgan, Lennie Niehaus, Greg Osby, Charlie Parker, Art Pepper, Bud Shank, Steve Slagel, Jim Snidero, James Spaulding, Sonny Stitt, Bobby Watson, Steve Wilson, Phil Woods, John Zorn 4. TENOR SAX - George Adams, Eric Alexander, Gene Ammons, Bob Berg, Jerry Bergonzi, Don Braden, Michael Brecker, Gary Campbell,
    [Show full text]
  • The Muse Publication Team Contributing Editor: David Hicks Contributing Editor: Larry Deniston Editor in Chief: Alón Sagee
    Like 0 Share Share: June 2018 The last few weeks in California's high-end audio arena have been, to say the least, interesting. Appropriately, we'll start off this issue with a relevant article by SFAS Vice-President Larry Deniston on his experience of attending audio shows, as well as some updates on upcoming events. Now that summer is upon us, it is time for outdoor music festivals! Favorites such as Hardly Strictly Bluegrass, Outside Lands, and SF Jazz Festival are sure to please as they draw amazing musicians and bands. We'll be sending occasional e-blasts letting you know which of the many great events we're planning on going to. If you have a recommendation of your own, please write to us! Also, way down near the bottom, don't miss David Hicks's eclectic Tidal playlist which he compiled and now shares with us in the Music Picks column. Enjoy, Alón --------------------------------------------------------------------- Audio Shows By Larry Deniston We're all aware of the cancellation of the LAAS, sad news to be sure. It seemed like things were getting back on track with the shows in So Cal, but evidently not. Luckily Maurice Jung has stepped up and is re-invigorating T.H.E. Show June 1 - 3 in Irvine (more info below). June 1 - 3 in Irvine (more info below). Putting together a show has got to be a full time job that would be somewhat like herding cats with so many moving parts. Am I volunteering? Hell no. It's must be a pretty thankless job where if you were able to make half the people happy you'd be doing a good job.
    [Show full text]
  • Selected Discography
    Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
    [Show full text]