Various in the Beginning... Bebop Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Various In The Beginning... Bebop mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: In The Beginning... Bebop Country: Japan Released: 1992 Style: Bop MP3 version RAR size: 1111 mb FLAC version RAR size: 1379 mb WMA version RAR size: 1208 mb Rating: 4.8 Votes: 106 Other Formats: MP2 ADX VOC AC3 MOD DXD AHX Tracklist 1 –Kai Winding Mr. Dues 2 –Kai Winding Saxon 3 –Kai Winding O - Go - Mo 4 –Kai Winding Oh Kai 5 –Brew Moore Blue Brew 6 –Brew Moore Brew Blew 7 –Brew Moore More Brew 8 –Brew Moore No More Brew 9 –Fats Navarro Spinal 10 –Fats Navarro Red Pepper 11 –Fats Navarro Just A Mystery 12 –Fats Navarro Maternity Credits Bass – Eddie Safranski (tracks: 1 to 4), Gene Ramey (tracks: 9 to 12), Jimmy Johnson (tracks: 5 to 8) Drums – Denzil Best (tracks: 9 to 12), Shelley Manne* (tracks: 1 to 4), Stan Levey (tracks: 5 to 8) Guitar – Huey Long (tracks: 9 to 12) Piano – Al Haig (tracks: 9 to 12), Gene DiNovi (tracks: 5 to 8), Marty Napoleon (tracks: 1 to 4) Tenor Saxophone – Allen Eager (tracks: 1 to 4), Brew Moore (tracks: 5 to 8), Eddie "Lockjaw" Davis (tracks: 9 to 12) Trombone – Kai Winding (tracks: 1 to 4) Trumpet – Fats Navarro (tracks: 9 to 12) Notes Recorded: 1 to 4: January 22, 1947 5 to 8: October 22, 1948 9 to 12: December 20, 1946 Barcode and Other Identifiers Barcode: 0 81757 01692 2 Label Code: LC8723 Other versions Category Artist Title (Format) Label Category Country Year In The Beginning... MG 12119 Various Savoy Records MG 12119 US 1957 Bebop (LP, Comp) Savoy MG 12119, In The Beginning: Bebop MG 12119, Various Records, US 1957 MG-12119 (LP, Comp) MG-12119 Savoy Records In The Beginning... COCY-9832 Various Bebop (CD, Comp, Mono, Savoy Records COCY-9832 Japan 1992 RE) Related Music albums to In The Beginning... Bebop by Various The Brew Moore Quintet - The Brew Moore Quartet And Quintet Ella Fitzgerald With Ray Brown Trio & Quintet Featuring Charlie Smith , Hank Jones, Kai Winding, Allen Eager Plus Lester Young, Brew Moore, Roy Haynes - Royal Roost Sessions With Ray Brown Trio & Quintet J.J. Johnson / Kai Winding / Benny Green - Trombone By Three Brew Moore With Lars Gullin And Sahib Shihab - Brew Moore In Europe Stan Getz - 1946-1949 Hap & Martha Palmer - Witches' Brew Serge And His Be Bop Buddies / Fats Navarro And His Thin Men - A Bar A Second / Fat Girl Witches Brew - Mischief Brew - This Is Not For Children Zoot Sims, Brew Moore, Chuck Wayne - S.S. Cool.

Copy Link

Recommended publications

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]
Debut Label Discography
Début Label discography Début was established in 1951 by Charles Mingus and possibly others. It was located at 4364 Bryon Avenue in New York City in 1952, relocated to the Grand Central Station in 1954. By 1956 it was located at 331 West 51st Street. Début recorded jazz and pop music. Fantasy Records acquired the Début Catalog in the early 1960’s. This Debut Label discography was compiled using Schwann catalogs from 1950 to 1957, The Jazz Discography Project Website (http://www.jazzdisco.org) and The American Record Label Directory and Dating Guide, 1940-1959 by Galen Gart, 10 Inch Series DLP-1 - Strings and Keys - Charles Mingus [1951] Body and Soul/Blue Moon/Blue Tide/What Is This Thing Called Love/Darn That Dream/Yesterdays DLP-2 - Jazz at Massey Hall Volume 1- Quintet - Various Artists [1952] Perdido/Salt Peanuts//Salt Peanuts Continued/All the Things You Are DLP-3 - Jazz at Massey Hall Volume 2 - Bud Powell [1952] Embraceable You/Sure Thing/Cherokee//Jubilee/Lullabye of Birdland/Basically Speaking DLP-4 - Jazz at Massey Hall Volume 3 - Charles Mingus [1952] Wee//Hot House/A Night in Tunisia DLP-5 - Jazz Workshop Volume 1-Trombone Rapport - J.J. Johnson, Kai Winding, Benny Green & Willie Dennis [1953] Move/Stardust//Yesterdays DLP-6 - Explorations - Ted Macero [1954] Teo/I’ll Remember April/How Low the Earth//Mitzi/Yesterdays/Explorations DLP-7 - Introducing Paul Bley - Paul Bley With Art Blakey and Charles Mingus [1954] Opus 1/Teapot/Like Someone In Love//Spontaneous Combustion/Split Kick/Can’t Get Started DLP-8 - The New Oscar Pettiford
[Show full text]
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
[Show full text]
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
[Show full text]
Richard Twardzik
1 The PIANO of RICHARD TWARDZIK Solographer: Jan Evensmo Completed: Jan. 4, 2016 2 Born: Danvers, Boston, Ma., April 30, 1931 Died: Paris, France, Oct. 21, 1955 Introduction: Richard “Dick” Twardzik was one of the most exciting pianists in early modern jazz, that is the few years he lived. His music is equally fresh, original, unpredictable and moving today as it was played and recorded, mostly in jams and concerts more than half a century ago. History: Studied classical music before discovering jazz. Began playing in clubs in 1946 and soon became one of the most promising musicians in Boston. Played with Serge Chaloff and Charlie Parker, worked with Charlie Mariano (1951-52) and toured with Lionel Hampton. After recording with Chaloff and as a leader (1954) he joined Chet Baker for a European tour (1955). He was addicted to heroin and died from an overdose in a Paris hotel (ref. New Grove Dictionary of Jazz). 3 RICHARD TWARDZIK SOLOGRAPHY CHARLIE MARIANO Boston, Dec. 1951 Sonny Truitt (tb), Charlie Mariano (as), Jim Clark (ts), Richard Twardzik (p), Jack Lawlor (b), Carl Goodwin (dm). One title (postscript: earlier presented as “Aviary”, although solo notation and comments below are correct for “Mariners”) was recorded for Prestige: 302 Mariners Intro 8 bars. Acc. (as), (tb) and (ts). Solo 32 bars. (FM) From the very first bar in the intro we meet one of the most fascinating pianists in modern jazz development. His musical world is quite different from most of his contemporaries, as evident from the dark hued solo on this “Mariners”. SERGE CHALOFF QUINTET Albany, NY.
[Show full text]
Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian a Sonic Community of 20Th Century Jazz Artists University of Idaho Leonard Feather
Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian A Sonic Community of 20th Century Jazz Artists University of Idaho Leonard Feather ❖ 1914-1994 ❖ Jazz critic, musician, composer, arranger, broadcaster, and producer Leonard Feather, 1970 Jazz Journalism Blindfold Tests ❖ Format: Feather played several selections of jazz pieces for a “blindfolded” jazz musicians, then asked them to identify who was playing ❖ Feather recorded, edited, and published (in writing) the musicians’ responses Leonard Feather with Max Roach, 1975 Blindfold Tests ❖ 1946-1994 ❖ Published in Jazz Magazines Metronome, Downbeat, Record Whirl, and JazzTimes ❖ Broadcast on Feather’s radio show, “Platterbrains” Louis Armstrong, 1955 Lionel Hampton & Leonard Feather, broadcasting from the summit on Knob. L.A., 1962 University of Idaho Blindfold Tests ❖ 1953-1986 ❖ 33 audio ﬁles ❖ Approximately 43 individual tests ❖ Files include misc. interviews, performances, and taped radio broadcasts “the best way to show what musicians really felt about music would be to subject them to an experience where they listened to what they were hearing, and then expressed their opinions. Obviously, they couldn’t be accused of prejudice if they didn’t know who it was they were listening to.” –Leonard Feather, “90 Months Behind a Blindfold,” Downbeat, June 30, 1954, 61. “Over decades, Feather embarrassed scores of musicians who thought that race or gender were audible, or that studio men can't improvise, or that big names are invariably identiﬁable.” –Gary Giddins “Leonard Feather Obituary,” 1994 Blindfold Tests in Downbeat ❖ 1951-1970: A pivotal time in jazz history Pearl Bailey and Louis Armstrong, 1965 Nesuhi Ertegun, Dave Lambert, Leonard Feather, Jack Teagarden, and Gene Lees LEONARD FEATHER: Well, ah, one thing that might surprise you, or it might not, is that all the records I played were made on the west coast.
[Show full text]
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
[Show full text]
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr.
[Show full text]
Guide to the Graciela Papers
Guide to the Graciela Papers NMAH.AC.1425 Irmarie Fraticelli-Rodríguez and Edwin A. Rodriguez This collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center 2017 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 3 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Personal Papers, 1934-2010, undated..................................................... 6 Series 2: Correspondence, 1944-2010, undated................................................... 10 Series 3: Business Records, 1937-2008, undated................................................
[Show full text]
Jazzweek with Airplay Data Powered by Jazzweek.Com • January 18, 2010 Volume 6, Number 8 • $7.95
JazzWeek with airplay data powered by jazzweek.com • January 18, 2010 Volume 6, Number 8 • $7.95 Jazz Album No. 1: Joey DeFrancesco Smooth Album No. 1: Boney James, Send Snapshot (HighNote) One Your Love (Concord) World Music No. 1: Somi If The Rains Come Smooth Single No. 1: Jessy J “Tropical First (ObliqSound) Rain” (Peak) Jazz Album Chart .................... 3 Jazz Add Dates ...................... 7 Smooth Jazz Album Chart ............. 4 Jazz Radio Currents .................. 8 Smooth Singles Chart ................. 5 Jazz Radio Panel ................... 11 World Music Album Chart.............. 6 Smooth Jazz Current Tracks........... 13 Smooth Jazz Station Panel............ 14 Jazz Birthdays January 18 January 27 February 7 Steve Grossman (1951) Hot Lips Page (1908) Eubie Blake (1883) January 19 Allen Eager (1927) February 8 J. R. Monterose (1927) Bobby Hutcherson (1941) Lonnie Johnson (1889) Bob Mintzer (1953) Horace Parlan (1931) February 9 January 20 January 28 Walter Page (1900) Jimmy Cobb (1929) Bob Moses (1948) Barbara Donald (1942) Lew Soloff (1944) January 29 Bill Evans (sax) (1958) Jeff “Tain” Watts (1960) Acker Bilk (1929) February 10 January 22 Derek Bailey (1932) Chick Webb (1909) Juan Tizol (1900) Jeanne Lee (1939) Larry Adler (1914) J. J. Johnson (1924) January 30 Sir Roland Hanna (1932) Eberhard Weber (1940) Roy Eldridge (1911) Rufus Reid (1944) Michael Urbaniak (1943) Bobby Hackett (1915) Lawrence “Butch” Morris (1947) January 23 Ahmed Abdul-Malik (1927) February 12 Django Reinhardt (1910) Tubby Hayes (1935) Paul Bascomb
[Show full text]
Ellington Legacy Band Headlines Jazzfest at New Venue College of Saint Elizabeth, Morristown
Volume 39 • Issue 5 May 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Ellington Legacy Band Headlines Jazzfest at New Venue College of Saint Elizabeth, Morristown Saturday, June 11 Lineup and details, see page 26. 2011 New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 Jazz Trivia . 3 NJJS Calendar . 3 The Mail Bag . 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info . 6 Crow’s Nest . 24 By Laura Hull President, NJJS New/Renewed Members . 47 Change of Address/Support on the campus of the College of Saint Elizabeth NJJS/Volunteer/JOIN NJJS . 47 Up jumps Jazzfest! in Morristown, NJ. The format will be slightly STORIES ■ Before I move into Jazzfest country, I’d like to different from last year in that we will not present Big Band in the Sky. 8 thank everyone for coming out to the April Jazz an outdoor concert mainstage, however, we will Jimmy Heath Book Signing Bethany. 14 Social. We featured pianist-educator Dave Frank, offer outdoor activities including vendors, food Talking Jazz: Hod O’Brien . 16 Attilio’s Jazz Nights: M. Freeman . 25 who presented a master class format to a room court and dining, and live music. We will present Notes from a Jazz Volunteer . 25 filled with members and non-members alike. in two indoor venues: Dolan Hall in the brand Noteworthy . 29 What an afternoon that was! I felt like signing up new Annunciation Center, and in the Octagon Jazz Journeys . 30 for classes, it was so interesting.
[Show full text]
Anthropology
ANTHROPOLOGY claim. Certainly this rare collaboration with The bonds between the pioneer figures of War Americans save their money and help the Navarro, Tristano and Eager turned out to be modern jazz were immensely strong. In the Treasury. Listeners were requested to write in, valuable. Bird and Lennie travelled different musical climate of the 1940s, and later, stating which of the jazz styles they preferred. roads but they held each other in high esteem Gillespie, Parker, Monk, Powell, Miles and and were able to collaborate successfully. Navarro were rebels who had absorbed their If the whole thing sounds dreadfully contrived — fill of big bands, confining arrangements and yet another variation on the poll syndrome The date opens with 52nd Street Theme and all the other conventions of the Swing Era. which equates "popular" with "best" — at least announcer Bruce Elliot introducing Fats, Bird, They were creating something new. To some it had an extremely durable by-product — the LaPorta, Eager, Tristano, Bauer, Potter and it was "Chinese music" and "nonsense" and music. The two broadcasts from September Rich in that order. Then Ulanov calls Donna they rejected it outright. Few musicians could 1947 produced nine titles by the modernists Lee, exclusively a feature for Bird who had really play in the Bebop style to start with, and who, on those occasions, comprised Gillespie, recorded this original for Savoy six months earlier. those who could naturally formed almost a Parker, John LaPorta, Lennie Tristano, Billy Eager and LaPorta do not play and Navarro is closed circle. Bauer, Ray Brown and Max Roach.
[Show full text]