Wednesday Wayne #2 — the line-up on this session is insane! . . . 1966/1994 Blue Note – 29100 Blue Note Connoisseur Series – Wally/Capitol
Wednesday Wayne #3 — superb SRX pressing from Music Matters, includes the excellent title track and the classic Footprints, which was later recorded by Miles’ 2nd Great Quintet for Miles Smiles . . . 1966/2019 (SRX) Music Matters Ltd. – MMBST-84232, Blue Note – ST-84232 Blue Note The Definitive Vinyl Reissue Series – KPG&RR@CA
Wednesday Wayne #4 — I found this 70’s UK pressing at a local store late last year, recorded in 1967 but released two years later . . . 1969/1977 Blue Note – BNS 40026
Wednesday Wayne #5 — changing it up a little, the collaboration with Milton Nascimento — laid-back vibes, perfect for a sunny afternoon . . . 1975/2015 Columbia – PC 33418, Speakers Corner Records – PC 33418
ROARIN' - THE NEW DON RENDELL QUINTET (BGP) CD Ace 2004 remaster with Alto Saxophone – Graham Bond Bass – Tony Archer Drums – Phil Kinorra Piano – John Burch Tenor Saxophone – Don Rendell Four of the seven tracks are originals, three are covers - Thelonious Monk's Blue Monk, Miles Davis' So What, and Duke Pearson's Jeanine. Recorded in London, June 17 and August 29, 1961 and originally released on a Jazzland LP in 1961. * The copyrights to these sound recordings are owned by Fantasy, Inc and are licensed to Ace Records. I just heard this title for the first time yesterday and have to say I was totally blown away by how good it all was. ** Respect to cds23 for posting info about this great album (somewhere up-thread) otherwise I would never have picked up a copy.
CHARLES TOLLIVER - MUSIC INC. / LIVE IN TOKYO / STRATA-EAST / 1973 / US FIRST STEREO PRESSING SES-19745 Charles Tolliver became known to a wider audience through his collaboration on Jackie McLeans mid- to late 60's Blue Note output. In 1968 he was a member of the Max Roach group with Stanley Cowell and Gary Bartz - "Members, don't get weary" was a definite departure from the hard bop Roach had so famously cultivated with Clifford Brown and Harold Land. And it would give an idea of where Tolliver and Cowell were heading from now on. In 1971 Tolliver founded the Strata-East label with his friend Stanley Cowell; a label as a vehicle for uncompromised artisitic vision. Tolliver and Cowell also released several of their own albums on Strata-East, among them (under the name "Music Inc.) "Live at Slugs (1 & 2), "Live at Loodsrecht", the pictured album "Live in Tokyo" and several studio albums with the quartet being backed by a full sized orchestra. Tolliver's Music Inc. isn't the most adventurous act of the Strata East family. The music is neither exceptionally afro-centric nor completely "free" but mostly rooted in post-bob and modal jazz - which is not to say that the quartet isn't influenced by or doesn't incorporate elements of the former styles, but the mid to late 60's are prevalent. Music Inc. demonstrate remarkable technique and inspired improvisation. What at first seems to be yet another "Round Midnight" cover, is a ferocious rendition with little to no resemblance to what we have come to know by Monk or Miles. "Drought" and "Effi" are testaments to the compositional talent of Tolliver and Cowell. Usually I don't care much for group settings with the trumpet as the sole brass instrument - contrary to classic quartets fronted by a saxophone (all is relative though, as I would hardly sit through an entire Sonny Stitt album; his talent in all respect, his music sounded very uniform in my opinion). The trumpet - most of the time - misses that "cry" I find with most of my favourite sax players. But in this case, the rhythm section is more than just supporting Tolliver. They actually "do" most of the music and they do it in style - you definitely won't miss a saxophone. And Tolliver actually has that relentless energy, as documented right at the beginning of "Drought".
Wallace Roney - Village Piano – Geri Allen Clarinet [Bass Clarinet] – Antoine Roney (tracks: 8) Drums – Lenny White Electric Piano [Fender Rhodes] – Chick Corea (tracks: 8) Percussion – Steve Berrios (tracks: 3, 6, 7 & Interludes) Piano – Chick Corea (tracks: 1 to 4) Producer – Lenny White, Matt Pierson Saxophone [Soprano Saxophone] – Antoine Roney (tracks: 7, 9) Saxophone [Tenor Sax] – Michael Brecker (tracks: 2, 3), Pharoah Sanders (tracks: 4, 8) Saxophone [Tenor Saxophone] – Antoine Roney (tracks: 2, 5, 6, 7, 9) Synthesizer – Robert "Baabe" Irving III* (tracks: 6 to 9) Trumpet – Wallace Roney Bass - Clarence Seay Tracklist 1 Affinity - 7:45 2 Inner Urge 4:24 3 I Love You 8:51 4 The Pharoah 6:51 5 Aknaaba 4:34 6 Village 6:20 7 Eternal One 6:05 8 EBO 10:00 9 Oshirike 5:23
Thanks Hans, for some reason the picture host I chose isn't compatible. I'll reupload the images and repost in a minute.
I hope the pictures are visible now... CHARLES TOLLIVER - MUSIC INC. / LIVE IN TOKYO / STRATA-EAST / 1973 / US FIRST STEREO PRESSING SES-19745 Charles Tolliver became known to a wider audience through his collaboration on Jackie McLeans mid- to late 60's Blue Note output. In 1968 he was a member of the Max Roach group with Stanley Cowell and Gary Bartz - "Members, don't get weary" was a definite departure from the hard bop Roach had so famously cultivated with Clifford Brown and Harold Land. And it would give an idea of where Tolliver and Cowell were heading from now on. In 1971 Tolliver founded the Strata-East label with his friend Stanley Cowell; a label as a vehicle for uncompromised artisitic vision. Tolliver and Cowell also released several of their own albums on Strata-East, among them (under the name "Music Inc.) "Live at Slugs (1 & 2), "Live at Loodsrecht", the pictured album "Live in Tokyo" and several studio albums with the quartet being backed by a full sized orchestra. Tolliver's Music Inc. isn't the most adventurous act of the Strata East family. The music is neither exceptionally afro-centric nor completely "free" but mostly rooted in post-bob and modal jazz - which is not to say that the quartet isn't influenced by or doesn't incorporate elements of the former styles, but the mid to late 60's are prevalent. Music Inc. demonstrate remarkable technique and inspired improvisation. What at first seems to be yet another "Round Midnight" cover, is a ferocious rendition with little to no resemblance to what we have come to know by Monk or Miles. "Drought" and "Effi" are testaments to the compositional talent of Tolliver and Cowell. Usually I don't care much for group settings with the trumpet as the sole brass instrument - contrary to classic quartets fronted by a saxophone (all is relative though, as I would hardly sit through an entire Sonny Stitt album; his talent in all respect, his music sounded very uniform in my opinion). The trumpet - most of the time - misses that "cry" I find with most of my favourite sax players. But in this case, the rhythm section is more than just supporting Tolliver. They actually "do" most of the music and they do it in style - you definitely won't miss a saxophone. And Tolliver actually has that relentless energy, as documented right at the beginning of "Drought".
Buddy's Best - THE BUDDY COLLETTE QUINTET (Boplicity/Dootone) CD - 2013 Ace remaster Bass – Wilfred Middlebrooks Drums – Earl Palmer Flute, Clarinet, Alto & Tenor Saxophone – Buddy Collette Guitar – Al Viola Trumpet – Gerald Wilson The CD includes one extra bonus track not on original 1957 Dootone LP - Soft Touch (take 5). The disc comes packaged in cardboard gatefold sleeve digipak and includes an 8 page booklet. "In 1955 he was a founder member of the Chico Hamilton group, a mixed-race outfit which fell into the “cool school” that typified the West Coast scene. Collette’s reed playing was a key factor in the sound of the group, leading to offers for him to record under his own name. His Dootone album, “Buddy’s Best”, is the least well-known of these sessions. Collette’s reputation may have suffered due to his unwillingness to tour, but his records work as the perfect riposte." - from Ace sleeve notes A lost gem of West Coast jazz by one of the most underrated tenor players".
They are, thanks. I have the Mosaic Select, which includes the Tokyo album and both volumes of the Live at Slug's sessions.
Ellis Marsalis, New Orleans jazz piano legend hospitalized with coronavirus symptoms, dies Guitarist Bucky Pizzarelli has Died at 94
FREE FALL - JIMMY GIUFFRE (Columbia/Legacy) - REMIXED & REMASTERED (1998) with Jimmy Giuffre (clarinet), Paul Bley (piano), Steve Swallow (bass) Recorded 1962 *The 1998 Columbia/Legacy CD IncludeS 5 extra tracks.
THE BASIE BUNCH | COOL TOO (Vanguard JAZZ SHOWCASE) CD (1999 remaster) "After 40 years of jazz being "hot", these Basie sidemen wanted to be identified with the new "cool" sound. These 50s titles, recorded by John Hammond, include several featuring trumpet soloists Emmett Berry, Buck Clayton and Vic Dickenson." A tasty 12 track selection compiled from the following hard to find or deleted Vanguard LPs. Joe Newman and His Band (VRS 8007) - 1954 The Jo Jones Special (VRS 8503) - 1957 A Night at Count Basie's (VRS 8508) - 1956 Buckin' the Blues (VRS 8514) - 1956 Jo Jones Plus Two (VRS 8525) - 1958 Various - The Count Basie Bunch: Cool Too
He didn’t lead many sessions, but this, his inventive debut is one of the great avant-garde jazz albums and a personal favourite of mine, with an exceptionally talented line-up . . . 1964/2010 Blue Note – BST 84153, Music Matters Ltd. – MMBST-84153 2 × Vinyl, LP, 45 RPM, Album, Reissue, Remastered, Gatefold – KG&SH@ATI
A massive upgrade from my late-80’s DMM pressing. An album way ahead of its time that still sounds modern and contemporary even today — a stone-cold masterpiece and one of my very favourite Blue Note albums. Oh, and there’s some 18 year old kid named Tony Williams playing the drums! 1964/2009 Music Matters Ltd. – MMBST-84163, Blue Note – BST 84163 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Reissue, Remastered, Stereo — KG&SH@ATM
How is this still in stock over on the Music Matters website?! Sprinkle a little hard-bop and post-bop, a touch of the blues and a good dollop of the avante-garde into a mixer and you get this masterpiece debut from Sam Rivers. Note, Tony Williams again on the drums — jeez, that boy could play! 1965/2011 Blue Note – BST 84184, Music Matters Ltd. – MMBST 84184 Blue Note The Definitive 45 RPM Reissue Series – KPG@ATM
Bring out the organ! A highly innovative and adventurous, experimental and criminally underrated album with a striking, iconic Reid Miles cover . . . Note to self—remember to change belt speed before play! 1966/2015 Music Matters Ltd. – MMBST-84221, Blue Note – BST 84221 Blue Note The Definitive Vinyl Reissue Series – KPG&RR@CA
