Various to You: Thad Jones Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Various to You: Thad Jones Mp3, Flac, Wma Various To You: Thad Jones mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: To You: Thad Jones Country: Italy Released: 2011 Style: Bop MP3 version RAR size: 1239 mb FLAC version RAR size: 1737 mb WMA version RAR size: 1676 mb Rating: 4.2 Votes: 785 Other Formats: AAC MP1 MOD ASF DTS AAC MPC Tracklist Hide Credits April In Paris Alto Saxophone – Bill GrahamAlto Saxophone, Clarinet – Marshall RoyalArranged By – Wild Bill DavisBaritone Saxophone – Charles Fowlkes*Contrabass – Eddie JonesDrums – Sonny PayneGuitar – 1 –Count Basie 3:55 Freddie GreenPiano – Count BasieTenor Saxophone – Frank FosterTenor Saxophone, Flute – Frank WessTrombone – Benny Powell, Bill Hughes , Henry CokerTrumpet – Joe Newman, Reunald Jones, Thad Jones, Wendell CulleyWritten-By – Vernon Duke Ask Me Now –Thelonious Contrabass – Sam JonesDrums – Art TaylorPiano – Thelonious 2 10:46 Monk MonkTenor Saxophone – Charlie RouseTrumpet – Thad JonesWritten-By – Thelonious Monk Dakar –Jones* - Wess* - Contrabass – Doug WatkinsDrums – Elvin JonesPiano – Mal Charles* - 3 WaldronTenor Saxophone, Flute – Frank WessTrumpet – Thad 7:03 Waldron* - JonesVibraphone, Arranged By – Teddy CharlesWritten-By – Teddy Watkins* - Jones* Charles Friday The 13th –Lee Morgan & Alto Saxophone – Frank WessContrabass – Richard Davis Drums – Osie 4 6:55 Thad Jones JohnsonPiano – Hank JonesTenor Saxophone – Billy MitchellTrombone – Al GreyTrumpet – Thad JonesWritten-By – Thad Jones Jackie-ing –Thelonious Contrabass – Sam JonesDrums – Art TaylorPiano – Thelonious 5 6:10 Monk MonkTenor Saxophone – Charlie RouseTrumpet – Thad JonesWritten-By – Thelonious Monk –Jones* - Portrait LaPorta* - Alto Saxophone – John LaportaCello – Jackson WileyContrabass – Milt 6 Taylor* - Wiley* - 2:50 HintonDrums – Joe MorelloPiano – Billy TaylorTrumpet – Thad Hinton* - JonesWritten-By – Charles Mingus Morello* Stormy Weather Alto Saxophone, Clarinet – John LaportaCello – Jackson WileyDrums – –Charles Mingus 7 Clem DeRosa*Piano, Contrabass – Charles MingusTenor Saxophone, 3:17 & John LaPorta* Baritone Saxophone – Teo MaceroTrumpet – Thad JonesWritten-By – Harold Arlen, Ted Koehler Three And One –The Jones 8 Contrabass – Eddie JonesDrums – Elvin JonesPiano – Hank 4:57 Brothers JonesTrumpet – Thad JonesWritten-By – Thad Jones Little Girl Blue Contrabass – Oscar PettifordDrums – Shadow WilsonGuitar – Kenny 9 –Thad Jones BurrellPiano – Tommy FlanaganTenor Saxophone – Billy 2:52 MitchellTrumpet – Thad JonesWritten-By – Lorenz Hart, Richard Rodgers Midnight Mirage Alto Saxophone – Ernie WilkinsBaritone Saxophone – Charles 10 –Osie Johnson Fowlkes*Contrabass – Wendell MarshallDrums – Osie JohnsonTenor 3:00 Saxophone, Flute – Frank WessTrombone – Henry CokerTrumpet – Abdul Chiefy Salaam*, Thad JonesWritten-By – Osie Johnson Something To Remember You By –Thad Jones & 11 Guitar – Kenny BurrellTrumpet – Thad JonesWritten-By – Dietz - 3:53 Kenny Burrell Schwartz* To You Alto Saxophone, Clarinet – Budd Johnson, Charlie Fowlkes, Frank Foster, Frank Wess, Harry Carney, Jimmy Hamilton, Johnny Hodges, Marshall Royal, Paul Gonsalves, Russell ProcopeContrabass – Eddie –Duke Ellington JonesDrums – Sonny PayneGuitar – Freddie GreenPiano – Count Basie, 12 3:55 & Count Basie Duke EllingtonTrombone – Benny Powell, Henry Coker, Juan Tizol, Lawrence Brown, Lou Blackburn, Quentin JacksonTrumpet – Fats Ford*, Cat Anderson, Eddie Mullens*, Lennie Johnson, Ray Nance, Snooky Young, Sonny Cohn, Willie CookTrumpet, Arranged By – Thad JonesWritten-By – Thad Jones I Hear Ya Talkin'! Baritone Saxophone – Charles Fowlkes*Contrabass – Eddie JonesDrums 13 –Frank Wess – Gus JohnsonPiano – Hank JonesTenor Saxophone – Frank 4:12 WessTrombone – Curtis FullerTrumpet – Thad JonesWritten-By – Frank Wess One More –Thad Jones, 14 Contrabass – Charles MingusDrums – Max RoachPiano – John Dennis 7:31 Charles Mingus Trumpet – Thad JonesWritten-By – Thad Jones Little Pixie Alto Saxophone – Daniele Tittarelli, Gianni OddiBaritone Saxophone – Elvio GhigliordiniConductor – Maurizio GiammarcoContrabass – Luca 15 –Pmjo* PeruzziDrums – Pietro IodicePiano – Pino IodiceTenor Saxophone – 7:37 Gianni Savelli, Marco ContiTrombone – Luca Giustozzi, Mario Corvini, Massimo Pirone, Walter FantozziTrumpet – Aldo Bassi, Claudio Corvini, Fernando Brusco, Giancarlo CiminelliWritten-By – Thad Jones Companies, etc. Phonographic Copyright (p) – Musica Jazz Credits Compilation Producer – Filippo Bianchi, Luca Conti Notes Track 1 taken from the album "Count Basie - April In Paris" (Verve), New York 26-7-55, Track 2 taken from the album "Thelonious Monk - 5 By Monk By 5" (Riverside Records), New York 2-6-59, Track 3 taken from the album "Jones-Wess-Charles-Waldron-Watkins-Jones – Olio" (Prestige), New Jersey 16-2-1957, Track 4 taken from the album "Lee Morgan & Thad Jones - Minor Strain" (Roulette), New York 12-5-60, Track 5 taken from the album "Thelonious Monk - 5 By Monk By 5" (Riverside Records), New York 4-6-59, Track 6 taken from the album "Various Artists - Autobiography In Jazz" (Debut), New York 17-9-54, Track 7 taken from the album "Charles Mingus & John LaPorta - Jazzical Moods" (Period), New York December 1954, Track 8 taken from the album "The Jones Brothers - Keepin' Up With The Joneses" (Metrojazz), New York 24-3-58, Track 9 taken from the album "Thad Jones - Detroit-New York Junction" (Blue Note), New York 13-3-56, Track 10 taken from the album "Osie Johnson - Osie's Oasis" (Period), New York February 1955, Track 11 taken from the album "Various Artists - The Other Side Of The 1500 Series" (Blue Note), Hackensack 9-7-56, Track 12 taken from the album "Duke Ellington & Count Basie - First Time!" (Columbia), New York 1961, Track 13 taken from the album "Frank Wess - Opus De Blues" (Savoy), Hackensack 8-12-59, Track 14 taken from the album "Thad Jones & Charles Mingus - Jazz Collaborations, Vol.1" (Debut), Hackensack 10-3-55, Track 15 recorded live in Roma, "Auditorium Parco Della Musica" 23-10-2005. Total time: 79:28. Available only with the magazine "Musica Jazz" #5/2011. ℗ 2011. Barcode and Other Identifiers Matrix / Runout (Runout): 19480-CD00012510-MJCD1236-MUS. JAZZ 05/11 Mastering SID Code: IFPI LN12 Mould SID Code: QG03 Rights Society: S.I.A.E. Related Music albums to To You: Thad Jones by Various Thad Jones - Mad Thad Various - Leonard Feather's Encyclopedia Of Jazz: Jazz Of The '60s, Volume 3, Voices: Traditional And Modern Count Basie / Joe Williams - Count Basie Swings--Joe Williams Sings Count Basie Orchestra - Inside Basie Outside Count Basie / Joe Williams - Count Basie Swings And Joe Williams Sings Count Basie Orchestra - April In Paris Thad Jones / Mel Lewis And The Jazz Orchestra Meets Manuel De Sica - Thad Jones / Mel Lewis And The Jazz Orchestra Meets Manuel De Sica Count Basie - The Live Big Band Sound Of Count Basie And His Orchestra Thad Jones / Kenny Burrell / Frank Wess / Mal Waldron / Paul Chambers / Arthur Taylor, The Prestige All Stars - After Hours Count Basie - Atomic Swing.
Recommended publications
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Powell, His Trombone Student Bradley Cooper, Weeks
    Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated.
    [Show full text]
  • Thad Jones Discography Copy
    Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • 1993 February 24, 25, 26 & 27, 1993
    dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Down Bea MUSIC '65 10Th YEARBOOK $1
    down bea MUSIC '65 10th YEARBOOK $1 The Foundation Blues By Nat Hentoff Jazzmen As Critics By Leonard Feather The Academician Views De Jazz Musician ,By Malcolm E. Bessom The Jazz Musician Views The Academiciau By Marjorie Hyams Ericsson Jazz 1964: Good, Bad, Or Indifferent? Two Views Of The Year By Don DeMicheal And Tom Scanlan Articles by Stanley Dance, Vernon Duke, Don Heckman, George Hoefer, Dan Morgenstern, Pete Welding, and George Wiskirchen, C.S.C., Plus Many Other Features GUITARS Try a Harmony Soon ELECTRIC AT YOUR GUITARS gt AMPLIFIERS Favorite Music Dealer MANDOLINS BANJOS UKULELES Write for FREE full-color catalog •Address: Dept. 0Y5 Copyright 1964. The Harriony Co. Chicago 60632, U.S.A. introduces amajor current in Meateeee titiVe as COLTRANE presents SHEPP Highlighting a release of 12 distinguished new albums, is the brilliant debut A-68 J. J. JOHNSON - PROOF POSITIVE recording of ARCHIE SHEPP, who was discovered and introduced to us by A-69 YUSEF LATEEF LIVE AT PEP'S JOHN COLTRANE. We think you will agree that the young saxophonist's lucid A-70 MILT JACKSON - JAll 'N' SAMBA style and intuitive sense of interpretation will thrust him high on the list of A-71 ARCHIE SHEPP - FOUR FOR TRANE today's most influential jazz spokesmen. A-73 SHIRLEY SCOTT - EVERYBODY LOVES ALOVER A-74 JOHNNY HARTMAN - THE VOICE THAT IS As for COLTRANE himself, the 1964 Downbeat Poll's 1st place Tenor Man has A-75 OLIVER NELSON - MORE BLUES AND THE again produced a performance of unequalled distinction. ABSTRACT TRUTH Other 1st place winners represented by new Impulse albums are long-time favor- A-76 MORE OF THE GREAT LOREZ ALEXANDRIA ites J.J.
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • MONEY JOHNSON: Duke's New Trumpet by Stanley Dance Book to Study
    MONEY JOHNSON: Duke's New Trumpet By Stanley Dance book to study. He progressed so rapidly Lips Cole was one of the trumpet*, that within a few months, he began to we had a fine drummer too. We used to play in Eddie and Sugar Lou's professional call him Pretty Daddy." group. Eddie Fennell sang and played gui• Johnson was with Calhoun's band at tar, and Sugar Lou Morgan played piano. least two years and says that it was with They rehearsed and played afterhours him that he thinks he first used a plunger parties at the house of Johnson's aunt, mute, something occasioned by Calhoun's around the corner from his mother's. He'd copying Ellington's jungle-sound arrange• go there on weekends or after school and ments. He left to play with John White, a remembers how "they'd dance at the par• trumpeter, who had a band about the size ties and have food, and the tunes would if Calhoun's. White could play all of be like You Rascal, You; Shine; Peanut .Armstrong's solos "and play them well, not Vendor; and Chinatown. My family used louse them up," Johnson said. White had a to buy Louis Armstri'P.g's records of those strong lip, he said, and "he'd play them numbers, and a next-door neighbor used to three or four times a night. It was amaz• let me borrow other records to study. ing. His mother was a schoolteacher and "Eddie and Sugar Lou's band played by he never wanted to go no place.
    [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]