Posts Tagged ‘Album’

Heavy Weather (Weather Report) 1977

In Album, Birdland on June 20, 2011 at 2:39 am

Probably the best fusion album ever made, (1977) and the coming together of five precociously talented musicians. Joe Zawinul and Wayne Shorter assembled the unit with little knowledge that the complex music would become so accessible. Two compostions stand out; the graceful ‘A Remark You Made’, an evocative love song without words, and the hit single ‘Birdland’ (so successful it was even used by Akai for a major advertising campaign). On these two Zawinul compostions their genius bass player Jaco Pastorius gives a taste of what he was capable of. He bent the notes to make them talk, and that high octave solo on ‘Birdland’ is still a treasured moment.

Recorded at Devonshire Sound Studios, North Hollywood, 1977, California. Includes liner notes by Peter Keepnews, John Ephland.

Composers: Jaco Pastorius; Joe Zawinul.

Personnel: Joe Zawinul (vocals, guitar, melodica, piano, Fender Rhodes piano, keyboards, synthesizer, Oberheim synthesizer, drums, tabla); Jaco Pastorius (vocals, mandocello, mandolin, drums, steel drum); Manolo Badrena (vocals, congas, tambourine, timbales, percussion); Wayne Shorter (saxophone, soprano saxophone, tenor saxophone); Tom Oberheim (synthesizer); Alex Acuña (drums, congas, tom tom, hand claps, percussion).

Directors: Seth Rothstein; Kevin Gore; Steven Berkowitz.


  1. Birdland 
  2. Remark You Made
  3. Teen Town
  4. Harlequin
  5. Rumba Mama
  6. Palladium
  7. Juggler
  8. Havona

Senõr Blues – Horace Silver

In Senõr Blues on November 5, 2010 at 2:17 pm

One of the major Lps recorded by Horace Silver in 1959

Senor Blues – Horace Silver (piano) & composer

Live at Newport ’58 (Blue Note 98070)

first release date: 1963 08 31, Label Blue Note


Horace Silver (piano), Junior Cook (tenor sax), Louis Smith(trumpet), Gene Taylor (bass), Louis Hayes (drums), Composed by Horace Silver

  1. Preacher
  2. Hippy
  3. Hankerin’
  4. To Whom It May Concern
  5. Señor Blues
  6. Cool Eyes
  7. Home Cookin’
  8. Soulville
  9. Tippin
  10. Finger Poppin’
  11. Come on Home
  12. Cookin’ at the Continental

Sax Pax for a Sax – Moondog (1994)

In Album, Bird's Lament on October 27, 2010 at 10:08 pm

Enregisté en : 1994
en : Angleterre
Format d’origine : CD
Label : Atlantic
Ref. : 83069

Liste des titres

  1. Dog Trot (2:25)
  2. Paris (3:26)
  3. Bird´s Lament (2:02)
  4. Sandalwood (2:09)
  5. 1. Mov. (3:00)
  6. 2. Mov. (3:13)
  7. 3. Mov. (2:49)
  8. D For Danny (1:42)
  9. New Amsterdam (6:23)
  10. Sea Horse (1:17)
  11. Fiesta (1:35)
  12. 1. Mov. (1:39
  13. 2. Mov. (2:00)
  14. 3. Mov. (1:41)
  15. Single Foot (1:52)
  16. Mother´S Whistler (2:15)
  17. 17. Present For The Prez. (2:35)
  18. 18. Shakespeare City (4:03)
  19. 19. Golden Fleece (3:00)
  20. 20. Hymn To Peace (1:36)
  21. 21. Eec Lied (2:53)


  • Tim Redpath : Saxophones soprano, alto, baritone
  • Rob Buckland : Saxophones soprano, alto, tenor
  • Simon Haram : Saxophones soprano, alto
  • Gareth Brady : Saxophones alto, tenor
  • Bradley Grant : Saxophones soprano, alto
  • Andy Scott : Saxophones tenor, baritone
  • Jon Rebbeck : Saxophones soprano, baritone, piano
  • Chris Caldwell : Saxophones baritone
  • Will Gregory : Saxophones bass
  • Graham Cole : Timbales
  • Paul Clarvis : Caisse claire, Bongos
  • Chris Wells : Caisse claire, Timbales
  • Danny Thompson : Contrebasse
  • Nicola Meecham : Piano (solos)
  • Liam Noble : Piano
  • Peter Blackwood : Piano
  • Louis Hardin : Grosse caisse, Bongos
  • Peter Hammill (courtesy of FIE! Records) : Vocaux
  • Andrew Davis : Vocaux
  • Stuart Gordon : Vocaux
  • Bernd Kowalzik : Vocaux
  • Alun Thomas and the « BAND » : Vocaux
  • Moondog : Grosse caisse, Bongos

Informations complémentaires

  • Enregistré au Michael Tippett Centre, Newton Park College (Bath) par : David Lord and Glenn Tommey
  • Equipement d’enregistrement installés par : Terra Incognita Stusio (Bath)
  • Mixage : David Lord & Will Gregory au Terra Incognita
  • Toutes les compositions (musique et paroles) sont de Louis T. Hardin (Moondog)
  • Publié par : Managarm et  Roof Music

Nostalgia 77 – Desert Fairy Princess (One-Offs, Remixes and B-Sides)

In Album, Desert Fairy Princess on October 27, 2010 at 1:44 pm

Nostalgia 77 – One-Offs, Remixes & B-Sides
(2xCD) Tru Thoughts TRUCD146, 2008-03-07

Want to discover more? Check out the podcast Tru Thoughts Podcast. Not to miss it, the song is in the box!

Tracklisting CD1 :
01. Nostalgia 77 – Quiet Dawn ( Example of Twelves Remix)
02. TM Juke feat. Alice Russell – Knee Deep (Nostalgia 77 Remix)
03. Nostalgia 77 – Little Steps (Instrumental Version)
04. Dirty Diggers feat. Nostalgia 77 – So Grown Up
05. Natural Self – Solomon (Nostalgia 77 Remix)
06. Kinny & Horne – Forgetting to Remember (Nostalgia 77 Remix)
07. Nostalgia 77 – Conventical (TM Juke Remix)
08. Nostalgia 77 – Sad Thing
09. Bonobo – In Between The Lines (Nostalgia 77 Remix) (Alternate Unreleased Mix )
10. The New Mastersounds – Your Love Is Mine feat. Corinne Bailey Rae (Nostalgia 77 Remix)
11. Elizabeth Shepherd – Reversed (Nostalgia 77 Remix)
12. Nostalgia 77 – Wildflower (Povo Remix)
13. Nostalgia 77 – Quiet Dawn (Bonobo remix)
14. Nostalgia 77 Octet – Freedom (Zombie Dance Mix) (Parts 1&2)
15. Nostalgia 77 feat. Alice Russell – Seven Nation Army (Grant Phabao Remix)

Tracklisting CD2 :
01. Nostalgia 77 Octet – The Hope Suite (Live)
02. Nostalgia 77 Octet – Nativeland (Performed live at The Independent Mix Cargo November 2005)
03. Nostalgia 77 Octet – Desert Fairy Princess (Alternative Take)
04. Natural Self – The Love Theme (Nostalgia 77 version)
05. Nostalgia 77 feat. Capstone & Lizzy Parks – The Moon
06. Nostalgia 77 – Eastwind (Instrumental)
07. Nostalgia 77 Octet – The Grass Harp
08. Nostalgia 77 – Stop To Make A Change (Instrumental)
09. Nostalgia 77 Octet – The Impossible Equation

Links :

Press Release :
Nostalgia 77’s “One Offs, Remixes and B-Sides” is Benedic Lamdin‘s 9th full length release on Tru Thoughts – testament to his acute and original musical talent and prolific and inspired creativity. Having already garnered critical acclaim from the likes of Gilles Peterson (Radio 1) and the Guardian, he continues to raise his game.

This generous double CD is a diverse collection of rare gems, complete with an impressive roll-call of collaborators, which displays Lamdin’s flair as producer, remixer, composer and more. Sit back for the perfect collision – between a host of instrumental pieces and a dazzling array of songs that show Lamdin’s more recent move towards lyrical work – drawing on the stellar performances of eminent vocalists including Corinne Bailey Rae, Bajka and new Tru Thoughts signing Lizzy Parks.

Disc 1 opens with the mesmeric “Quiet Dawn” (Examples of Twelves Remix) featuring sultry vocals from Beth Rowley. The Nostalgia 77 remix of “Knee Deep” by TM Juke is another atmospheric proposition, but on the other end of the mood spectrum, cranking up a palpable tension with layer upon layer of creaky strings. All is then blown away on the breeze that is the exclusive instrumental version of Nostalgia 77’s Little Steps, which floats along next to carry you up to that familiar Nostalgia 77 plain somewhere above the clouds. Wake up though, for Dirty Diggers featuring Nostalgia 77 with “So Grown Up”, Nostalgia composition and Diggers lyrics making a great couple, each adding a new depth to the other.

Continuing to demonstrate the strength in depth among the talent on the Tru Thoughts roster, “Solomon” by Natural Self (Nostalgia 77 Remix) takes another refreshing course. This instrumental is catchy, cheeky, idiosyncratic and irresistible.
The Nostalgia 77 remix of Kinny & Horne’s “Forgetting to Remember” sports a gravelly beat that crunches through the verse like sturdy steps on a stately driveway… spine-tingling stuff. Kinny’s jazzy and exquisite vocal and the deep double bass from Rian Vosloo add to the dazzling effect of this killer song that is left enhanced but mercifully intact by the remix from Nostalgia 77.

The previously unreleased Nostalgia 77 remix of “In Between The Lines” by Bonobo boasts sizzling drums from Graham Fox, Bajka’s bluesy vocals and the bassiest of sax lines. This gritty, stomping tone and a soaring counter-melody, with vocal harmonies towards the tail end of the track, give rich, intertwining layers. Next, The New Mastersounds’ “Your Love is Mine” featuring Corinne Bailey-Rae (Nostalgia 77 Remix). The vocal from Bailey-Rae is characteristically lush and, amid touches of Funk & Jazz innovation, subtly underpinned by the earthiness of an old time Jazz Standard.

Elizabeth Shepherd’s (Do Right Music) “Reversed” (Nostalgia 77 Remix) adds yet another twist to the tale. Wildflower, by Nostalgia 77 featuring a stunning vocal performance from Lizzy Parks, appeared previously as the B side to the next track here, a remix of “Quiet Dawn”, provided this time by Bonobo. The countless positive reactions to this as a single were only to be expected from the joining of such maestros.
The exclusive Grant Phabao remix of Nostalgia 77’s take on “Seven Nation Army” featuring the mighty vocals of Alice Russell is given a reggae makeover yet retains its irresistible appeal to those bluesy jazz enthusiasts who went wild for this cover version “first” time around.

Disc 2 of this set visits a selection of the finest Nostalgia 77 and Octet material, including live recordings of “The Hope Suite” and the previously unreleased “Nativeland”.
“The Moon” by Nostalgia 77 featuring Capstone and Lizzy Parks opens with dreamy keys from Capstone (Wah Wah 45s, Ninja Tune) that conjure up evocative harmonies with the jazzy vocals of new Tru Thoughts signing Lizzy Parks. The bass simmering just under the surface all the way through this track gives it a smoky haze that pays homage to the Jazz classics of years gone by.
“The Grass Harp” by Nostalgia 77 Octet is another previously unreleased number and The Octet’s “Impossible Equation” receives its first and well-deserved CD release, having featured previously on a vinyl only. CD2 also boasts beautiful instrumental versions of Nostalgia 77’s “Eastwind” and “Stop To Make A Change”.

Moanin’ (Bobby Timmons)

In Album, Moanin' on September 24, 2010 at 1:53 pm

Moanin’ is a jazz album by Art Blakey and the Jazz Messengers, recorded in 1958.Moanin'

This was Blakey’s first album for Blue Note in several years, after a period of recording for a miscellany of labels, and marked both a homecoming and a fresh start. Originally the LP was self-titled, but the instant popularity of the bluesy opening track “Moanin'” (by pianist Bobby Timmons) led to its becoming known by that title. The rest of the originals are by saxophonist Benny Golson (who wasn’t with the Jazz Messengers for very long, this being the only American album on which he is featured). “Are You Real?” is a propulsive thirty-two-bar piece with a four-bar tag, featuring strong two-part writing for Golson and trumpeter Lee Morgan; “Along Came Betty” is a more lyrical, long-lined piece, almost serving as the album’s ballad. “The Drum Thunder Suite” is a feature for Blakey, in three movements, or themes: “Drum Thunder”; “Cry a Blue Tear” (with a Latin feel); and “Harlem’s Disciples”. “Blues March” calls on the feeling of the New Orleans marching bands, and the album finishes on its only standard, an unusually brisk reading of “Come Rain or Come Shine”. Of the originals on the album, all but the “Drum Thunder Suite” became staples of the Messengers book, even after Timmons and Golson were gone.

The album stands as one of the archetypal hard bop albums of the era, for the intensity of Blakey’s drumming and the work of Morgan, Golson and Timmons, and for its combination of old-fashioned gospel and blues influences with a sophisticated modern jazz sensibility. The album was identified by Scott Yanow in his Allmusic essay “Hard Bop” as one of the 17 Essential Hard Bop Recordings.

A vocalese version of “Moanin'” was later written by Jon Hendricks, and recorded by Lambert, Hendricks and Ross, as well as jazz vocalist Bill Henderson or Sarah Vaughan (lyrics here)

Doxy 1st recording in Bags Groove – Miles Davis

In Album, Doxy on July 2, 2010 at 6:48 am

Bags Groove Miles Davis

  • Enregistrement 29 juin et 24 décembre 1954
  • Label Prestige Records

Bags Groove est le titre d’un Album cool jazz de Miles Davis sorti en 1954. L’album réunit deux séances d’enregistrements avec deux formations différentes.

La première, de juin 1954, reprend des titres de Sonny Rollins : Airegin anagramme de Nigeria, témoignant de l’intérêt de Rollins pour l’Afrique, Oleo et Doxy. But not For Me est un standard alors beaucoup joué par Ahmad Jamal que Miles admirait.

La deuxième séance est enregistrée la veille de Noël avec Thelonious Monk. La plupart des titres enregistrés lors de cette session se trouvent sur l’album Miles Davis and the Modern Jazz Giants. Le standard Bags Groove est une composition de Milt Jackson, vibraphoniste faisant partie du sextet « Bags » étant son surnom, provenant des poches sous ses yeux quand il arrive en retard.

Musiciens, Séance du 29 juin 1954

  • Miles Davis Trompette
  • Sonny Rollins Saxophone ténor
  • Horace Silver Piano
  • Percy Heath Basse
  • Kenny Clarke Batterie

Séance du 24 décembre 1954

  • Miles Davis Trompette
  • Thelonious Monk Piano
  • Sonny Rollins Saxophone ténor
  • Percy Heath Basse
  • Milt Jackson Vibraphone
  • Kenny Clarke Batterie

Séance du 24 décembre 1954

  • Bags Groove Milt Jackson take1 11:222.
  • Bags Groove take 2 9:30

Séance du 29 juin 1954

  • Airegin Sonny Rollins 4:564.
  • Oleo Sonny Rollins 5:115.
  • But Not For Me G. & I. Gershwin take 2 5:406.
  • Doxy Sonny Rollins 4:507.
  • But Not For Me take 1 4:33

Miles :« Au cours de l’été 1954, je suis retourné en studio pour Prestige, cette fois-ci avec Sonny, Horace, Percy et Klook à la batterie. J’avais décidé que pour le son que je cherchais, Klook m’apporterait une dimension supplémentaire par rapport à Art Blakey; il était plus subtil. Je ne veux pas dire qu’il était meilleur batteur, simplement c’était son style que je cherchais à ce moment-là. »— Miles Davis

via Bags Groove – Wikipédia.

Lady Soul – Hank Crawford

In Album, Lady Soul on March 12, 2010 at 4:58 pm

Hank Crawford’s “Mr. Blues Plays Lady Soul” on Atlantic from 1969. The groove is unreal, thanks to the great Bernard Purdie on drums, and the big band sound is killer thanks to the great arrangements of Arif Mardin. This is doubly fascinating because Hank was also a brilliant arranger who almost always wrote his own charts. Finally, the guitar chair is manned by the late, great Eric Gale, so business is handled 110% all the way ‘ round.”

Hank Crawford – Mr. Blues Plays Lady Soul (Atlantic Records)
Hank Crawford (as); David Newman (ts, fl); Paul Griffin (p, el-p); Eric Gale (g); Ron Carter (el-b); Bernard Purdie (d); Arif Mardin (arr, dir); Gene Orloff (strings cond); Bernie Glow, Joe Newman, Ernie Royal, Snooky Young (tp); Jimmy Cleveland, Benny Powell (tb); Frank Wess (as); Seldon Powell (ts); Pepper Adams (bars); unidentified strings.

Chaudement recommandé: Lady Soul

The Very First Jazz recording (ODJB 1917)

In Album on January 1, 2010 at 3:20 pm

First “Jass” Recording “Livery Stable Blues”

26 February 1917

While a couple of other New Orleans bands had passed through New York City slightly earlier, they were part of Vaudeville acts. The O.D.J.B., (Original Dixieland Jazz Band) on the other hand, played for dancing and were hence the first “jass” band to get a following of fans in New York, and then record at a time when the USA’s recording industry was almost entirely centered in New York and New Jersey.
Shortly after arriving in New York they were offered a chance per a letter dated January 29, 1917 to audition for the Columbia Graphaphone Company which took place on Wednesday, January 31, 1917. Nothing came of this audition.
They then recorded two sides (“Livery Stable Blues” and “Dixie Jass Band One Step”) on February 26, 1917 for the Victor Talking Machine Company. The record with these titles came out the following month. The ODJB’s records, first marketed simply as a novelty, were a surprise hit, and gave many Americans their first taste of jazz.

L’ODJB first members were: Larry Shields (clarinet), Eddie Edwards (trombone), Henry Ragas (piano), Tony Sbarbaro (drums) e Nick LaRocca (cornet).

listen here


Blues for Yna Yna – The Artist Selects: Gerald Wilson (Blue Note 31439)

In Album, Blues for Yna Yna on December 20, 2009 at 9:36 am


Gerald Wilson (leader), Richard ‘Groove’ Holmes (organ), Carmell Jones(trumpet), Harold Land (tenor sax),

Ray Triscari, Jimmy Zito, John Audino (trumpets), Bob Edmondson, Lester Robertson, John Ewing, Kenny Shroyer (trombones), Buddy Collette (flute, alto sax), Harry Klee (alto sax), Teddy Edwards (tenor sax), Jack Nimitz (baritone sax), Jimmy Bond (bass), Mel Lewis (drums)

Composed by Gerald Wilson

Recorded: Los Angeles, September 9, 1961

Gerald Wilson led bands on and off during the 1950s, but except for a group of recordings for the King label in ’54, could not get a record contract. Dick Bock, president of Pacific Jazz, was interested but did not have the money. Albert Marx signed Wilson and put up the money for Gerald’s recordings that Bock released. Assembling a powerhouse group of established studio men and younger soloists (some of whom Wilson discovered), the maestro went into the studios with guest organist Holmes. This minor blues waltz got a lot of airplay all across the country, and was a great start toward reestablishing Wilson’s band. Solos are played by Jones (one of his earliest recordings) and Land.

Read the rest of this entry »

Watermelon Man (Herbie Hancock)

In Album, Watermelon Man on November 17, 2009 at 10:44 am

Written by Herbie Hancock, first released on his debut album, Takin’ Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.  A single of the tune reached the Top 100 of the pop charts.  Cuban percussionist Mongo Santamaría released the tune as a Latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría’s recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973)

Herbie Hancock’s debut as a leader, Takin’ Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note’s prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin’ Off is among Hancock’s most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy “Watermelon Man,” which became a Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star Mongo Santamaria. Hancock’s original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad “Alone and I,” the minor-key “The Maze” (which features a little bit of free improvisation in the rhythm section), and the bluesy “Empty Pockets.” The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin’ Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records. (AMG)

Takin’ Off Track list:

  1. Watermelon Man
  2. Three Bags Full
  3. Empty Pockets
  4. The Maze
  5. Driftin’
  6. Alone And I