Joe Harris Quincy - Here We Come Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Joe Harris Quincy - Here We Come mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Quincy - Here We Come Country: Denmark Released: 1959 MP3 version RAR size: 1478 mb FLAC version RAR size: 1796 mb WMA version RAR size: 1544 mb Rating: 4.3 Votes: 302 Other Formats: AIFF FLAC RA MPC MP2 AA MOD Tracklist A1 The Golden Touch A2 Jones Beach A3 The Midnight Sun Never Sets A4 I'm Gone B1 Meet Benny Bailey B2 Count 'Em B3 Fallen Feathers B4 Plenty, Plenty Soul Credits Alto Saxophone – Arne Domnérus (tracks: A2, A4, B1) Baritone Saxophone – Gösta Theselius (tracks: A3, A4, B1, B2), Lennart Jansson (tracks: A1, A4, B1, B4) Bass – Gunnar Johnson (tracks: A1, A2, A3, A4, B1, B2, B3, B4) Drums – Anders Burman (tracks: A3, B2), Joe Harris (tracks: A1, A2, A4, B1, B3, B4) Piano – Gunnar Svensson (tracks: A1) Tenor Saxophone – Bjarne Nerem (tracks: A4, B1, B2,) Trombone – Åke Persson (tracks: A1, A3, A4, B1, B2, B4) Trumpet – Benny Bailey (tracks: A1, A2, A4, B1, B3) Notes Stereo release. Stereo label on cover. Other versions Category Artist Title (Format) Label Category Country Year Joe Harris , Åke Joe Harris , Åke Persson & MLP 15030 Persson & Benny Benny Bailey - Quincy - Metronome MLP 15030 Denmark 1959 Bailey Here We Come (LP) The Music Of Quincy Jones JS-095 Quincy Jones Chess JS-095 Spain 1983 (LP, Album, RE) Benny Bailey, Joe Benny Bailey, Joe Harris , Harris , Ake Ake Persson*, The LP-668 Argo LP-668 US 1961 Persson*, The Quincetet - The Music Of Quincetet Quincy Jones (LP) Benny Bailey, Joe Harris , Benny Bailey, Joe Ake Persson*, The Harris , Ake LP-668 Quincetet - The Music Of Argo LP-668 US 1961 Persson*, The Quincy Jones (LP, Mono, Quincetet Promo) Benny Bailey, Joe Harris , Benny Bailey, Joe Åke Persson, The Harris , Åke UCCC-9024 Quincetet - The Music Of Argo UCCC-9024 Japan 2002 Persson, The Quincy Jones (CD, Album, Quincetet RE, RM, Pap) Related Music albums to Quincy - Here We Come by Joe Harris Bobby Hackett - Horn A-Plenty Lars Gullin With Chet Baker & Dick Twardzik - The Great Lars Gullin Vol. 1 '55/'56 Benny Powell - Coast To Coast James Moody - Bebop Jan Johansson - Ack Värmeland Du Sköna Benny Bailey - Benny Bailey In Sweden Harry Arnold And His Swedish Radio Studio Orchestra - Havin' A Ball Lars Gullin - 1951/55 Vol 5 First Walk Quincy Jones And His Orchestra - Quincy's Got A Brand New Bag Benny Goodman - The Benny Goodman Story.

Copy Link

Recommended publications

Four for Jazz & Benny Bailey
obhU – press U Four For Jazz & Benny Bailey CD KICK 211180 CD KICK 211181 CD KICK 211178 CD KICK 211179 CD KICK 211180 A Land Of Dolls/ Four For Jazz & Benny Bailey Benny Bailey(tp)/ Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. A Land Of Dolls (Haider)OBH/Domicile 2:43 2. What Is Happening (Haider)OBH 6:02 3. Interlude (Eckinger)OBH 7:46 4. All Them Chickens (Giger)OBH 12:52 5. Prompt (Bailey)Swingtone 6:08 CD KICK 211181 Stoned Ghost/ Four For Jazz & Benny Bailey Benny Bailey(tp)/ Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. Stoned Ghost (Bailey)OBH 7:58 2. Sho-wa-di-ba-du-ba (Bigler)OBH 6:27 3. Music For A Quintet (Bigler)OBH 11:11 4. Three For Four (Bigler)OBH 7:30 5. Ghost And Blood Chant (Giger)OBH 6:23 CD KICK 211178 Sunday Child/ Four For Jazz : Gerd Dudek(ss,ts,fl,shenai)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1. Sunday Child (Haider)OBH 5:15 2. Muchacha (Haider)OBH 7:53 3. Thelonius I’m Sorry (Eckinger)OBH 4:51 4. Cage Of A Queen (Haider)OBH 5:38 5. Our Way Ahead (Dudek/Giger)OBH 4:09 6. Snake Temple (Haider/Eckinger)OBH 8:23 CD KICK 211179 Power Of Nature/ Four For Jazz : Heinz Bigler(as)/ Joe Haider(p,e.p)/ Isla Eckinger(b)/ H.P.Giger(dr,perc) 1.
[Show full text]
Stockholm Jazz Orchestra, Bob Mintzer
Stockholm Jazz Orchestra Live At Jazz Club Fasching mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Live At Jazz Club Fasching Country: Sweden Released: 1995 Style: Big Band, Contemporary Jazz MP3 version RAR size: 1320 mb FLAC version RAR size: 1126 mb WMA version RAR size: 1631 mb Rating: 4.8 Votes: 886 Other Formats: AIFF MMF AAC AUD ASF ADX DTS Tracklist Hide Credits 1 Papa Lips 7:46 2 Elvin’s Mambo 10:35 3 Truth 10:26 4 Dialogue 8:26 5 In The 80’s 15:05 Eye Of The Hurricane 6 13:58 Written-By – Herbie Hancock Companies, etc. Recorded At – Jazzclub Fasching, Stockholm Credits Alto Saxophone – Dave Castle, Johan Hörlén Arranged By – Bob Mintzer Baritone Saxophone – Neta Norén* Bass – Jan Adefelt Bass Trombone – Anders Wiborg Composed By – Bob Mintzer (tracks: except 6) Design, Cover – Nilla Westin Drums – Jukkis Uotila Engineer – Ian Cederholm Mastered By – Torbjörn Samuelsson Mixed By – Åke Linton Orchestra – Stockholm Jazz Orchestra* Percussion – Rafael Sida Photography By – Jan Levander, Thomas Svensson Piano – Göran Strandberg Producer – Lars-Göran Ulander Producer, Liner Notes – Fredrik Norén Tenor Saxophone – Bob Mintzer, Jan Levander, Per 'Texas' Johansson Trombone – Bertil Strandberg, Mats Hermansson, Mikael Råberg Trumpet – Fredrik Norén , Gustavo Bergalli, Jan Kohlin, Peter Asplund Notes Recorded at Jazz Club Fasching, Stockholm, April 18, 1994. Barcode and Other Identifiers Barcode: 7 391953 002696 Rights Society: BIEM/ncb Related Music albums to Live At Jazz Club Fasching by Stockholm Jazz Orchestra Lars Lystedt
[Show full text]
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
[Show full text]
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
[Show full text]
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris ..
[Show full text]
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, ﬁxed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
[Show full text]
About Jazz New York
July 2010 | No. 99 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com KARL BERGER FREEdom In dIscIpLInE JAZZ NEWHOMEGROWN YORK’S ONLY GAZETTE Rufus Reid • John Butcher • NoBusiness • Event Calendar Welcome to AllAboutJazz-New York. This may sound strange after 98 issues and over eight years but you can tell from our new logo that something is different. With this issue, one shy of our Centennial, we are announcing our formal New York@Night separation from the All About Jazz.com website. From now on, we are a 4 completely independent entity (check us out online at aaj-ny.com). What does this mean for you, our valued readers? Not to worry...we will continue to bring you Interview: Rufus Reid the best that New York City has to offer its jazz fans. AllAboutJazz-New York will 6 by Ken Dryden still have its award-nominated feature coverage, slew of timely CD reviews and an Event Calendar matched by no one. And this new arrangement will allow us to Artist Feature: John Butcher expand our mission and better serve the city’s jazz community, the thing that has 7 by Stuart Broomer kept us going for so long. To that end, this month’s issue - which also can be used to fan yourself during On The Cover: Karl Berger the balmy summer days - features articles on vibraphonist/pianist/organizer Karl 9 by Martin Longley Berger (On the Cover), who curates The Stone this month and appears with Encore: Lest We Forget: various groups; ubiquitous bassist extraordinaire Rufus Reid (Interview) who leads his own trio for a weekend at The Kitano and adventurous and experimental 10 Herb Jeffries Illinois Jacquet saxophonist John Butcher (Artist Feature), appearing as part of the Whitney by Marcia Hillman by Donald Elfman Museum’s Christian Marclay: Festival as well as a couple of forays into Brooklyn.
[Show full text]
Norway – Music and Musical Life
Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture.
[Show full text]
Alvin Queen Frank Lowe
ENCORE Young Queen used to take his radio to bed, was big then—especially in Harlem. “All the clubs in listening to Symphony Sid with the volume turned Harlem had Hammond organs,” Queen recalls. ALVIN low. “You had to really love jazz to do that,” he said. By Queen was a confirmed bebopper, but when he this point, Queen’s family had moved to Mount Vernon, began playing in Europe he had to acquaint himself NY. When he was 10 or 11, the band at a bar his father with some earlier styles. “A lot of the older musicians, was managing lost its drummer and the musicians some of them ex-Duke Ellington, had come to Europe QUEEN wanted to know if they could “use the kid”. A as individual players and I had to fit in with what they delegation was sent to Queen’s house and the little were doing,” he said. He name-checks Jimmy Woode, by jim motavalli prodigy was brought out. “What kind of music do you Harry “Sweets” Edison, Eddie “Cleanhead” Vinson, play?” was the only question he asked. When he Red Holloway, Buddy Tate, Benny Bailey and Clark Drummer Alvin Queen, born in the Bronx 70 years learned it was jazz everything was fine and he went Terry. “I started playing all over Europe, so I asked ago this month, is a great storyteller and so what if and got his best suit for the evening’s session. The myself, ‘Why should I go back to New York?’,” Queen many of his compelling stories are from before he drum pedals had to be adjusted.
[Show full text]
MJQ, Jimmy Giuffre 3, BA String 4 Under Ledelse Av Gunther Schuller Johan Hauknes 1959 – Året Det Var Så Jazz – #2 OJC – Oslo Jazz Circle/Salt Peanuts* 15
1959 – året det var så jazz – #1 Preludium – MJQ, Jimmy Giuffre 3, BA String 4 under ledelse av Gunther Schuller Johan Hauknes 1959 – året det var så jazz – #2 OJC – Oslo Jazz Circle/salt peanuts* 15. januar 2019 @ Victoria – Nasjonal jazzscene ojc.no salt-peanuts.eu 1959 – Året jazzen ble snudd på hodet Mest hørt – men kanskje bitte litt uhørt? 1959 – året det var så jazz – #3 1959 – It was sixty years ago today – Miles ‘n Coltrane taught the bands to play! Hva skjedde i 1959? The Day the Music died – Don McLean i låta American Pie (1971) Feb. 3, 1959: Buddy Holly, Ritchie Valens og JP Big Bopper Richardson i flykrasj i Iowa R.I.P. (Warren) «Baby» Dodds – 14. februar Lester Young – 15. mars Sidney Bechet – 14. mai Billie Holiday – 17. juli Metropol åpner i november 1959 med tirsdagsklubb i lokalene til Hotell Metropol i Akersgata i Oslo 1959 – året det var så jazz – #4 Verkets storform Preludium MJQ & Guests, Third Stream Music (1959) Missa Fidelius Credo (eller Fugae tempus) Missa Cathecumenorum Changing times Introitus Sanctus Charles Mingus and his Jazz Groups, «Mood Hardbopens uutholdelige letthet Indigo» fra Mingus Dynasty (1959) Agnus Dei Actus Paenitentialis Modalitetens frigjørende tyngde 1959: Jazz i Norden Libera Me Kyrie & Gloria Frie former – frijazz – freebag 1959: Fra hard-bop til cool In Paradisum En foreløpig oppsummering? Lectio & Interludium [ = Pause!] Miles Davis på TV 1959 Extroitus & Postludium Miles Davis/Gil Evans, Sketches of Spain (1959) 1959 – året det var så jazz – #5 Straks man nevner 1959 tenker mange (de fleste?) på modal jazz, hvilket er svært naturlig i og med at Miles Davis’ «Kind of Blue ble spilt inn og utgitt dette året.
[Show full text]
FREDDIE WEBSTER (Tp) 1916-1947
“the trumpeter with the most beautiful sound ever” FREDDIE WEBSTER (tp) 1916-1947 by Mario Schneeberger first issue. 2003/02/05 last update: 2014/02/15 Preface Having learned of Freddie Webster’s fame as the trumpeter with the most beautiful sound ever, my appetite was whetted. I started to collect his records and presented him at the Jazz Circle Basel in 1992. Meanwhile more material has become available to me. This documentation is based on Ernie Edwards’ disco-/solography of Freddie Webster, established some decades ago. All updates with new material and new understanding are included. Some months ago Jan Evensmo has published a solography of Freddie Webster which contains private recordings by Newman at Monroe’s with Freddie’s participation, as well as interesting new attributions for trumpet solos with Earl Hines. Acknowledgements Albert Balzer, François Blank, Otto Flückiger, Yvan Fournier, Anna Galvani, Dieter Hartmann, Pierre Jaquier, Walter Manser, Theo Zwicky Personality Freddie Webster was much in demand for his great sound, praised by Dizzy Gillespie, Miles Davis, Idrees Sulieman,Benny Bailey and others to be the best they had ever heard. He was regarded as a key figure in the early Be-Bop movement. Miles Davis was among his admirers who followed his musical conception. Charles Mingus composed in 1965 “The Arts Of Tatum And Freddie Webster”. Legacy Freddie Webster has only rarely been recorded. Less than 60 solos have survived. He can be heard at his best on his feature YESTERDAYS with Jimmie Lunceford, on I FELL FOR YOU with Miss Rhapsody, on SEPTEMBER IN THE RAIN with Frank Socolow and on MY KINDA LOVE with Sarah Vaughan.
[Show full text]
IOR SACD 77056-6 in Concert IOR DVD 77056-9
PAUL KUHN & THE BEST In Concert IOR SACD 77056-6 S IOR DVD 77056-9 It Don’t Mean A Thing (2:40) Once In A While (5:05) ONLY ON DVD PAUL KUHN piano, vocals Introduction (4:18) ONLY ON DVD Heading South (4:03) GREETJE KAUFFELD vocals Florida Flirt (7:59) Just Friends (5:43) ACK VAN ROOYEN trumpet Angel Eyes (5:41) Well You Needn’t (5:46) CLAUS REICHSTALER trumpet No Greater Love (5:32) Der Hund (1:42) ONLY ON DVD JIGGS WHIGHAM trombone It Had To Be You (6:59) ONLY ON DVD Fly Me To The Moon (4:50) GUSTL MAYER saxophones Oleo (7:20) ONLY ON DVD Young At Heart (3:25) PETER WENIGER saxophones I Surrender (5:42) Route 66 (7:38) PAUL G. ULRICH bass Robin’s Nest (6:45) ONLY ON DVD Gesamtspielzeit CD: 74 Minuten WILLY KETZER drums My Funny Valentine (5:55) ONLY ON DVD The Best Is Yet To Come (5:34) ONLY ON DVD BONUS MATERIAL DVD: London By Night (5:39) PAUL KUHN: “Eine Deutsche Geschichte” Prelude To A Kiss (5:15) ONLY ON DVD Eine Dukumentation von Tim Gorbauch PAUL KUHN & THE BEST »In Concert« (in & out records / in-akustik) To celebrate his 75th birthday in March 2003, Paul Kuhn During the two-hour-show, Paul Kuhn and his musicians offered himself and his legions of fans a very special deliver a captivating programme, full of sparkling wit, musical present: The album “Young At Heart”, which charm, swing, virtuosity and impeccable musicianship. was awarded the quarterly prize by the jury of the Initially, Paul is supported by his regular trio Deutsche Schallplattenkritik.
[Show full text]