DOCSLIB.ORG

HANK JONES TRIO with Mads Vinding & Shelly Manne

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HANK JONES TRIO with Mads Vinding & Shelly Manne SPRING 2018 Unreleased HANK JONES TRIO with Mads Vinding & Shelly Manne KEITH JARRETT TRIO Recorded in 1998 His first concert “After the Fall” PAUL GONSALVES Two long-unavailable LPs on the new Phono Records release WES MONTGOMERY His one and only concert in Paris 1965 from Resonance Records SERGE CHALOFF On a quartet set .... and unreleased!! TCB Plenty of New Releases in stock: Swiss Radio Days Collection Maceo Parker, Gary Smulyan, Willie Jones III, Dave Liebman, OFFER Richie Beirach, Lonnie Smith, Before 12,99€ Walter Smith III, Ornette Coleman, Maria Schneider .... and many more NOW 9,99€ www.jazzmessengers.com Your Jazz Record Store • Open 24 hours - 365 days IMPORTANT Please note that some items may not be available temporarily. It could be that we have ran out of stock and we are about to receive more or that it has not been released yet. We aim to restock on all the articles displayed here and to maintain them available for our customers. Okeh DIGIPACK EDITION DIGIPACK EDITION Jazzline UPCOMING APRIL 15TH I KNOW I DREAM JANUARY 2018 INBORN 2-CD SET With over 2 million albums sold, a Grammy nomination and Inborn by Richie Beirach are recordings of historical signifi- international recognition as one of the most successful cance for the world of jazz and a must-have for all connois- and prolific jazz vocalist of her time. She surprises us once seurs of music. With Randy Brecker, Michael Brecker, John more with her brand new album, I Know I Dream. Recor- Scofield, George Mraz, and Adam Nussbaum! . Recorded at ded inside the famous Angel Studios in London with an the legendary Clinton Recording Studios in New York, where orchestra of around 60 musicians, this is her first orchestral many of the great Bill Evans trio and some of the later Miles album. Also on LP LPS - 151950 /18,99€ Davis and McCoy Tyner records were realised. € € GEN - 151949 / 16,99 WDR - 151944 / 18,99 Also on 2-LP SET LPS - 151978 / 22,99€ WDR Posi-tone DIGIPACK EDITION IT’S ALL ABOUT LOVE Maceo’s most recent recordings have paired him with LABEL: Steeplechase REACHING OUT WDR Big Band and the collaboration continues with a new studio album: “Its All About Love”. The album is - as all Trombonist Michael Dease brings together a new group Maceo’s recordings are - a joyful experience well served as of hands to help engage his audience by Reaching Out. allways by arrangements of Michael Abene. It is a fitting al- Featuring saxophonists Walt Weiskopf and Ralph Bowen, bum to celebrate Maceo’s 75th birthday and the longevity vibraphonist Behn Gillece, bassist Peter Brendler, pianist and importance of his role in musical history. Luther Allison, and drummer Zach Adleman. WDR - 151865 / 12,99€ Also on LP LPS - 151866 / 22,99€ POS - 151861 / 14,99€ Steeplechase Steeplechase TRIPLE PLAY I REMEMBER CHET Harold Danko concludes his liner notes entitled “Arriving at Venezuela-born pianist/composer Olegario Diaz has since The Unknown” on this “Triple Play” album, stating, “I hope 2011 been presenting handful of quality recordings with … listeners of this CD are prepared to join us as we take off firm roots in post-bop. Diaz has also published quite a few a undiscovered region.” books on music and musicians. He produced this album, Ever subtle and transcendent pianist/composer Danko and his 5th release to portray Chet Baker as he might write a his congenial co-players Jay Anderson and Jeff Hirshfield book about the great artist. are unfolding a unique universe of improvising in and on Olegario Diaz (p) Alex Sipiagin (tp, flhn) SLC - 150914 / 14,99€ the recognizable repertoire to pleasant surprises SLC - 151766 / 14,99€ Seamus Blake (ts) Scott Colley (b) Bill Stewart (d) WJ3 Records Jazzline UPCOMING HIGHLY RECOMMENDED END OF APRIL MY POINT IS ... RECOMMENDED FIRE DIGIPACK EDITION Over the years, the name of Willie Jones III has really beco- Without any doubt, this is an absolute all-star cast: The ex- me one that makes us want to stop and check out a record ceptional saxophonist Dave Liebman, together with Jack – and this time around, not only does the set feature Jones’ DeJohnette, Dave Holland, and Kenny Werner. All four of name on the front – but the quintet also includes great per- them have been involved in shaping modern jazz during formances from Ralph Moore on tenor, Eddie Henderson the 70s, 80s and continue doing so until today. Now the on trumpet, Eric Reed on piano, and Buster Williams on four friends have came together for a recording session . bass! With a lineup like that, you just can’t miss it. The result is a unique and innovative album with a lot of power and joy of playing. A masterpiece! DRJ - 151877 / 14,99€ WDR- 151990 / 14,99€ Also on 2-LP Set LPS - 151991 / 22,99€ WJ3 Records Cam Jazz DIGIPACK EDITION HIGHLY A LIGHT IN DARKNESS RECOMMENDED Light In Darkness, Eric Reed’s newest offering, is a CHANNELS OF ENERGY collection of originals (inspired by struggle, freedom Two stars of international jazz, an amazing orchestra, a truly and hope) spirituals and a re-imagined take on the fresh repertoire and outstanding arrangements developed for Beatles classic “Yesterday”. Featuring Tim Green, a unique event to take place: the meeting of Antonio Sanchez Ben Williams, and McClenty Hunter. on drums, Vince Mendoza as conductor and arranger and the WDR Big Band. Two invaluable CDs packed with everything you may dream when you are about to listen to such a stellar DRJ - 151878 / 14,99€ ITF - 151996 / 16,99€ Big Band that is conducted by a genius like Mendoza and plays music by an undisputed giant like Sanchez. UPCOMING Dot Time END OF APRIL Steeplechase VALENTINE’S DAY HIGHLY 1964. LIVE ! RECOMMENDED alternatiVE CONTRAFACTS In 1963 Ben Webster moved to New York with a renewed energy. He was seen sitting in with Duke Ellington and be- HIGHLY coming the spontaneous pianist for Gerry Mulligan’s Concert RECOMMENDED Baritone saxophonist Gary Smulyan Band. This recording captures just one such night. Ben’s si- brings here his trademark “contrafacts” demen, Dave Frishberg, Richard Davis and Grady Tate were (a music making method that shares the more than twenty years his junior, but the language they sha- chord progressions with other compositions) approach red was trans-generational. Webster spent the remaining nine to this first SteepleChase leader outing challenging us years of his life living and playing in Europe. This is one of his (maybe?) to guess the tunes he is employing. DRJ - 151756 / 13,99€ last great performances in the USA. SLC - 151767 / 14,99€ Mack Avenue DIGIPACK EDITION Jackpot MY INSPIRATION MODERN LORE + MY PARADE OF GOLDEN FAVORITES “Modern Lore” finds Lage playfully flipping the script he PLUS 1 BONUS TRACK followed on his acclaimed 2016 Mack Avenue debut, “Arclight”. This time he incorporates the sensibility, if This essential CD includes two of Liberace’s finest and not the outright sound, of early rock and roll, a similarly most celebrated LPs: “My Inspiration” (1959), and “My hybrid form driven by rhythm, personality and a passion Parade of Golden Favorites” (1960). Originally released on for the electric guitar. the Coral label, these two sensational albums have been remastered and packaged together in this very special Also on LP LPS - 151940 / 19,99€ collector’s edition. MAC - 151999 / 14,99€ JPR - 151795 / 9,99€ HANK JONES In Copenhagen live at Jazzhus Slukefter 1983 PREVIOUSLY UNRELEASED CONCERT The American pianist Hank Jones could, spanning his 65 year career, always be counted on for a joyful presence on the jazz scene, playing sparkling piano solos that uplifted every group that was wise enough to hire him. This set of previously unreleased music from June 6, 1983 puts the spotlight of one of the most consistent geniuses in jazz history. STA - 152388 / 14,99€ KEITH JARRETT - GARY PEACOCK - JACK DeJOHNETTE After the Fall 2-CD SeT In the course of its 30-year lifespan the trio of Keith Jarrett, Gary Peacock and Jack DeJohnette – the group colloquially known as “the Standards trio” – made many outstanding recordings. And After The Fall, overflowing with sparkling playing and dynamic interaction, must rank with the very best of them. ECM - 151785 / 21,99€ SeRGe CHAlOFF Buvette Club, Rock Island, February 1953 DISCOVERY ! A fascinating previously unissued, Serge Chaloff live set!! His early death and being considered among the very few real masters of his instrument make every bit of the music he recorded a UTR- 151873 / 16,99€ precious treasure. PAUL GONSALVES 2 ORIGINAL LPs ON 1 CD Boom-Jackie-Boom-Chick + Gettin’ Together This release contains the complete, long-unavailable Paul Gonsalves LP Boom-Jackie-Boom- Chick (Vocalion LAE-587), which finds him as the only horn in a quartet format backed by English players. It is coupled with the LP Gettin’ Together! (Jazzland JLP936S), which features the saxo- phonist in a quintet setting with Nat Adderley, Wynton Kelly, Sam Jones and Jimmy Cobb, and has been added in its entirety as a bonus. PHN - 151906 / 9,99€ WES MONTGOMERY Digipack edition In Paris - The Definitive ORTF Recording Montgomery’s one and only concert in Paris, France on March 27, 1965 at the Théâtre de Champs-Élysées. Deluxe 2-CD edition with remastered high- resolution audio transferred directly from the original tapes . NUN 151864 / 19,99€ NEW RELEASES Progressive DIGIPACK EDITION Woodneck DIGIPACK EDITION JUNIOR MANCE TRIO GERALD CANNON HIGHLY RECOMMENDED DEEP COMBINATIONS Includes 3 bonus tracks The title of bassist Gerald Cannon’s first disc since 2004 Dependable piano pro plays a patented blend of soul jazz, takes note of the fact that none of the 11 songs—five of blues, and mainstream fare.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • Booker Little
    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
    [Show full text]
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • 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]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
    BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
    [Show full text]
  • Harlem Speaks by Andy Vélez a SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps Became John Coltrane’S First Genuinely Iconic Album
    visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS Giant Steps Unison Tommy Flanagan George Mraz/Zoe (Enja) Rahman (Cube-Metier) Harlem Speaks by Andy Vélez A SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps became John Coltrane’s first genuinely iconic album. Pianist Tommy Flanagan was among the players on the recording, which was 10/31 David Amram notable stylistically for a movement away from chordal Multi-instrumentalist/ composer/ author jazz. This reissue of Flanagan’s 1982 Giant Steps is an homage to Coltrane, repeating several of the tracks while adding “Central Park West”. During the ‘80s, Photo copyright Richard Conde. THE NATIONAL JAZZ MUSEUM IN HARLEM 104 EAST 126TH STREET, SUITE 2C DONATION SUGGESTED 6:30 - 8:30PM FOR MORE INFORMATION: 212-348-8300 Flanagan favored trios and frequently played with Czech-born bassist George Mraz. Theirs was a felicitous coming together as evident here and recalled fondly by denizens of Bradley’s, a long-gone-but-not-forgotten Village jazz spot where they appeared frequently. Flanagan is notably more confident with what had been a new idiom the first time around. That sureness of technical facility is evident from the first note to the last and the same is true for Mraz. By this time the latter had become one of the most dependable of October 4: FFEAR rhythm men. Together they are as close as pages in a $18 ADVANCE $20 AT DOOR book on a funky “Cousin Mary”.
    [Show full text]
  • VPI HR-X Turntable & JMW12.6 Tonearm
    stereophile.com http://www.stereophile.com/turntables/506vpi#5kC628WHPF3lKHV2.97 VPI HR-X turntable & JMW12.6 tonearm VPI Industries' TNT turntable and JMW Memorial tonearm have evolved through several iterations over the last two decades. Some changes have been large, such as the deletion of the three-pulley subchassis and the introduction of the SDS motor controller. Others have been invisible—a change in bearing or spindle material, for example, or the way the bearing attaches to the plinth. And, as longtime Stereophile readers know, I've been upgrading and evolving along with VPI, most recently reporting on the TNT V-HR turntable (Stereophile, December 2001). But about the time I was expecting the next iteration, designer Harry Weisfeld threw me a curve by unveiling a completely new turntable design, the HR-X. First shown in prototype form at Stereophile's Home Entertainment 2002 show in New York City, the HR-X is a stunning, milled-from-aluminum showcase of everything Weisfeld has learned from designing turntables for the past 25 years. Nuts & bolts Although the HR-X is a clean-slate design, it was obviously informed by the TNT. There are four corner towers with internal pneumatic bladders, a huge platter belt-driven by an outboard motor and flywheel, and a JMW tonearm mounted directly to a massive plinth. Beyond that basic configuration, however, everything is different— rethought, improved, optimized, and executed to the highest standard possible. It's immediately obvious that even VPI's workmanship and cosmetics have been raised to new levels: the TNT was well-built and solid; the HR-X is striking and sumptuous.
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
    [Show full text]