Art Pepper - Modern Art (1988)

Full Title: The Complete Art Pepper Aladdin Recordinds - Volume 2, Modern Art

Art Pepper (alto sax)
Russ Freeman (piano, 1-10)
Carl Perkins (piano, 11-13)
Ben Tucker (bass)
Chuck Flores (drums)

1-5 recorded December 28, 1956
6-10 recorded January 14, 1957
11-13 recorded April 1, 1957

1. Blues In
2. Bewitched, Bothered and Bewildered
3. Stompin' at the Savoy
4. What Is This Thing Called Love
5. Blues Out
6. When You're Smiling
7. Cool Bunny
8. Diane's Dilemma
9. Diane's Dilemma (alternate take)
10. Summertime
11. Facinating Rhythm (alternate take)
12. Begin the Beguine (alternate take)
13. Webb City (alternate take)

Art Pepper - Surf Ride (1991)

Tracks 1 - 3 (March 29, 1953):
Art Pepper (alto sax)
Russ Freeman (piano)
Bob Whitlock (bass)
Bobby White (drums)

Tracks 4 - 6 (February 7, 1952):
Art Pepper (alto sax)
Hampton Hawes (piano)
Joe Mondragon (bass)
Larry Bunker (drums)

Tracks 7 - 12 (December 24, 1953):
Art Pepper (alto sax)
Claude Williamson (piano)
Monte Budwig (bass)
Larry Bunker (drums)

1. Tickle Toe
2. Chili Pepper
3. Susie the Poodle
4. Brown Gold
5. Holiday Flight
6. Surf Ride
7. Straight Life
8. Cinnamon
9. Thyme Time
10. The Way You Look Tonight
11. Nutmeg
12. Art's Oregano

Yellowjackets - Greenhouse (1991)

Bob Mintzer: Tenor & Soprano Saxes, Bass Clarinet, Alto Flute, Ewi
Russell Ferrante: Piano, Synthesizers
Jimmy Haslip: Bass
William Kennedy: Drums
Bill Gable: Vocal (8)
Stuart Canin: Violin (9)
Orchestra on 1,4,9

1. Freedomland
2. Greenhouse
3. Seven Stars
4. Indian Summer
5. Spirits
6. Brown Zone
7. Liam/Rain Dance
8. Invisible People
9. Freda
10. Peace

Paquito D'Rivera - Tropicana Nights (1999)

Trumpets: Mike Ponella, Diego Urcola, Gustavo Bergalli, Adalberto Lara, Alejandro Odio
Trombones: Noah Bless, Jimmy Bosch, Luis Bonilla, William Cepeda
Woodwinds: Paquito D'Rivera, Manuel Valera, Andres Boiarsky, Oscar Feldman, Marshall McDonald
Rhythm: Joe Santiago (bass), Ralph Irizarry (timbales), Joe Gonzales (bongos), Milton Cardona (congas), Mark Walker (drums), David Oquendo (guitar), Oriente Lopez (piano), Dario Eskenazi (piano)
Vocals: Brendan Feliciano (4), Lucrecia (8,11)

1. Mambo a la Kenton
2. Chucho
3. Cicuta Tibia
4. Siboney
5. Old Miami Sax
6. Tropicana Nights
7. Sustancia
8. Como Fue
9. El Coronel Y Marina
10. Mambo Inn
11. A Mi Que/El Manisero (The Peanut Vendor)

The Brian Setzer Orchestra - The Dirty Boogie (1998)

Brian Setzer Orchestra: Brian Setzer (vocals, guitar); Ray Herrmann, Tim Miscia, Steve Marsh, Rick Rossi, Dan Roberts (saxophone); Dan Fornero, John Fumo, Kevin Norton, Dennis Farias (trumpet); George McMullen, Michael Vlatkovich, Mark Jones, Robbie Hioki (trombone); Ernie Nunez, Tony Garnier (bass); Bernie Dresel (drums, percussion).

Additional personnel: Gwen Stefani (vocals); Steve Fowler, George Shelby, Bob Sandman (saxophone); Stan Watkins, Charlie Biggs (trumpet); Roger Burn (piano); Bob Parr, Mark W. Winchester (bass); Eddie Nichols, Meghan Ivey (background vocals).

1. This Cat's On A Hot Tin Roof
2. Dirty Boogie, The
3. This Old House
4. Let's Live It Up
5. Sleepwalk
6. Jump, Jive, An' Wail
7. You're The Boss
8. Rock This Town
9. Since I Don't Have You
10. Switchblade 327
11. Nosey Joe
12. Hollywood Nocturne
13. As Long As I'm Singin'

Carla Bley - Musique Mécanique (1979)

Michael Mantler (trumpet), Alan Braufman (alto sax, clarinet, flute), Gary Windo (tenor sax, bass clarinet), John Clark (french horn), Rosswell Rudd (trombone, vocal (4)), Bob Stewart (tuba), Terry Adams (piano), Carla Bley (organ, piano), Steve Swallow (bass), D. Sharpe (drums), Charlie Haden (bass (2)), Eugene Chadbourne (guitars), Karen Mantler (glockenspiel)

1. 440
2. Jesus Maria And Other Spanish Strains
3. Musique Mécanique I
4. Musique Mécanique II (At Midnight)
5. Musique Mécanique III

Summer's Here

Yes, it's nice outside. Therefore I've been spending less time in front of the PC and consequently my blog posts have slowed down. I will continue throughout the summer, but the frequency will be about what it is now, one or two posts a week.

If you come across any dead links please let me know and I will work to get them reloaded. Comments are always appreciated, and if you have something you'd like to share, drop me a line.

Roland Kirk - Now Please Don't You Cry, Beautiful Edith (1967)

Roland Kirk - tenor sax, flute, stritch, manzello
Lonnie Liston Smith - piano
Ronald Boykins - bass
Grady Tate - drums

1. Blue Rol
2. Alfie
3. Why Don't They Know
4. Silverlization
5. Fallout
6. Now Please Don't You Cry, Beautiful Edith
7. Stompin' Grounds
8. It's A Grand Night For Swinging

Roland Kirk - Rip, Rig And Panic (1965)

Roland Kirk - tenor sax, manzello, stritch, castanets, siren
Jaki Byard - piano
Richard Davis - bass
Elvin Jones - drums

1. No Tonic Press
2. Once In A While
3. From Bechet, Byas and Fats
4. Mystical Dream
5. Rip, Rig and Panic
6. Black Diamond
7. Slippery, Hippery, Flippery

Roland Kirk - Introducing Roland Kirk (1960)

Roland Kirk - tenor sax, strich, manzello, whistle
Ira Sullivan - trumpet, tenor sax
William Burton - organ, piano
Don Garrett - bass
Sonny Brown - drums

1. The Call
2. Soul Station
3. Our Waltz
4. Our Love Is Here To Stay
5. Spirit Girl
6. Jack The Ripper

Miles Davis - Bitches Brew (1969)

Miles Davis - trumpet
Wayne Shorter - soprano saxophone
Bennie Maupin - bass clarinet
Chick Corea - electric piano
Larry Young - electric piano
Joe Zawinul - electric piano
John McLaughlin - guitar
Dave Holland - bass
Harvey Brooks - electric bass
Lenny White - drums
Billy Cobham - drums
Jack DeJohnette - drums
Don Alias - congas, drums (5)
Juma Santos - shaker, congas

1. Pharoah's Dance
2. Bitches Brew
3. Spanish Key
4. John McLaughlin
5. Miles Runs the Voodoo Down
6. Sanctuary

"Among the most controversial recordings in the history of jazz, BITCHES BREW was Miles Davis' shot across the bow of jazz insularity, a bold statement about jazz's ability to draw upon elements of popular culture, without mitigating its spirit of spontaneous invention. Much as Ornette Coleman's THE SHAPE OF JAZZ TO COME set a new standard for harmonic and melodic freedom a decade before, BITCHES BREW signaled a sea change in jazz. Davis became a lightning rod for jazz's transformation, by mixing the best elements of '60s free jazz with dancing funk rhythms, electric rock textures, blues phrasing and his own breakthroughs in harmony and modality. Davis employed the Electric Flag's Harvey Brooks to double up with upright bassist Dave Holland on the Fender bass, and he is the modal heartbeat of every tune, freeing up the multiple drummers and keyboardists to weave a complex polytonal/polyrhythmic web of volatile chords and colliding rhythms. Joe Zawinul's "Pharaoh's Dance" and Davis' "Bitches Brew" treat their multiple themes in a ritualistic manner, as several strata of voices engage the lead melody in exciting exchanges. "Spanish Key" offers a thrilling sense of tension and release, as the trumpeter navigates a "Sex Machine"-styled vamp with a terse, brilliantly constructed solo, revelling in his new guitar-like phrasing. "John McLaughlin" is Davis' tribute to the innovative guitarist; "Miles Runs The Voodoo Down" is a spooky, visceral melange of funk, blues and third world sources; and Shorter's "Sanctuary" is a moody ballad that builds to a fever pitch. The savage emotional power of BITCHES BREW and Davis' subsequent recordings cries out for a fresh critical reassessment."

Miles Davis - Nefertiti (1968)

Miles Davis, trumpet
Wayne Shorter, tenor sax
Herbie Hancock, piano
Ron Carter, bass
Tony Williams, drums

1. Nefertiti
2. Fall
3. Hand Jive
4. Madness
5. Riot
6. Pinocchio
7. Hand Jive - (first alternate take)
8. Hand Jive - (second alternate take)
9. Madness - (alternate take)
10. Pinocchio - (alternate take)

Miles Davis - Fillies De Kilimanjaro (1968)

Miles Davis, trumpet
Wayne Shorter, tenor sax
Herbie Hancock, piano (1,2,4)
Chick corea, piano (3,5)
Ron Carter, bass (1,2,4)
Dave Holland, bass (3,5)
Tony Williams, drums

1. Frelon Brun (Brown Hornet)
2. Tout De Suite
3. Petits Machins (Little Stuff)
4. Filles De Kilimanjaro (Girls Of Kilimanjaro)
Mademoiselle Marby (Miss Marby)

Miles Davis - Miles Smiles (1966)

Miles Davis, Trumpet
Wayne Shorter, Tenor Sax
Herbie Hancock, Piano
Ron Carter, Bass
Tony Williams, Drums

1. Orbits
2. Circle
3. Footprints
4. Dolores
5. Freedom Jazz Dance
6. Ginger Bread Boy

Miles Davis - E.S.P. (1965)

Miles Davis, Trumpet
Wayne Shorter, Tenor Sax
Herbie Hancock, Piano
Ron Carter, Bass
Tony Williams, Drums

1. E.S.P.
2. Eighty-One
3. Little One
4. R.J.
5. Agitation
6. Iris
7. Mood

Miles Davis - The Complete Concert 1964: My Funny Valentine + Four & More (1964)

Miles Davis, Trumpet
George Coleman, Tenor Sax
Ron Carter, Bass
Herbie Hancock, Piano
Tony Williams, Drums

1. Introduction by Mort Fega
2. My Funny Valentine
3. All Of You
4. Go-Go (Theme and Re-Introduction)
5. Stella By Starlight
6. All Blues
7. I Thought About You
8. So What
9. Walkin'
10. Joshua
11. Go-Go (Theme and Announcement)
12. Four
13. Seven Steps To Heaven
14. There Is No Greater Love
15. Go-Go (Theme and Announcement)

Miles Davis - Seven Steps to Heaven (1963)

Miles Davis, Trumpet
George Coleman, Tenor Sax
Victor Feldman, Piano (1,3,5)
Herbie Hancock, Piano (2,4,6)
Ron Carter, Bass
Frank Butler, Drums (1,3,5)
Anthony Williams, Drums (2,4,6)

1. Basin Street Blues
2. Seven Steps To Heaven
3. I Fall In Love Too Easily
4. So Near, So Far
5. Baby Won't You Please Come Home
6. Joshua

Miles Davis - Sketches of Spain (1960)

Track 1: Miles Davis (tpt, flh); Ernie Royal (tpt); Bernie Glow (tpt); Taft Jordan (tpt); Louis Mucci (tpt); Dick Hixon (tb); Frank Rehak (tb); Jimmy Buffington (frh); John Barrows (frh); Earl Chapin (frh); Jimmy McAllister (tuba); Al Block (fl); Eddie Caine (fl); Romeo Penque (oboe); Harold Feldman (oboe, cl); Jack Knitzer (bssn); Janet Putnam (harp); Paul Chambers (b); Jimmy Cobb (d); Elvin Jones (perc); José Manguel (perc); Gil Evans (arr, cond)

Tracks 2-5: Miles Davis (tpt); Ernie Royal (tpt); Bernie Glow (tpt); Johnny Coles (tpt); Louis Mucci (tpt); Dick Hixon (tb); Frank Rehak (tb); Jimmy Buffington (frh); Joe Singer (frh); Tony Miranda (frh); Bill Barber (tuba); Al Block (fl); Harold Feldman (fl); Danny Bank (bcl); Romeo Penque (oboe); Jack Knitzer (bssn); Janet Putnam (harp); Paul Chambers (b); Jimmy Cobb (d); Elvin Jones (perc); José Manguel (perc); Gil Evans (arr, cond)

1. Concerto de Aranjuez
2. Will O' The Wisp
3. The Pan Piper
4. Saeta
5. Solea

Miles Davis - Kind of Blue (1959)

Miles Davis, Trumpet
Julian "Cannonball" Adderly, Alto Sax (1,2,4,5)
John Coltrane, Tenor Sax
Bill Evans, Piano (1,3-5)
Wyn Kelly, Piano (2)
Paul Chambers, Bass
James Cobb, Drums

1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches

Miles Davis - Milestones (1958)

Miles Davis, Trumpet
Julian "Cannonball" Adderly, Alto Sax
John Coltrane, Tenor Sax
Red Garland, Piano
Paul Chambers, Bass
Philly Joe Jones, Drums

1. Dr. Jekyll
2. Sid's Ahead
3. Two Bass Hit
4. Miles
5. Billy Boy
6. Straight, No Chaser

Miles Davis - Miles Ahead (1957)

Miles Davis (flugelhorn); Gil Evans (arranger, conductor); Lee Konitz (alto saxophone); Taft Jordan, Ernie Royal, Bernie Glow, John Carisi, Louis Mucci (trumpet); Jimmy Cleveland, Frank Rehak, Joe Bennett (trombone); Tom Mitchell (bass trombone); Willie Ruff, Tony Miranda, Jimmy Buffington (French horn); Bill Barber (tuba); Romeo Penque (flute, clarinet, bass clarinet, oboe); Sid Cooper, Eddie Caine (flute, clarinet); Danny Bank (bass clarinet); Wynton Kelly (piano); Paul Chambers (bass); Art Taylor (drums).

1. Springville
2. The Maids of Cadiz
3. The Duke
4. My Ship
5. Miles Ahead
6. Blues for Pablo
7. New Rhumba
8. The Meaning of the Blues
9. Lament
10. I Don't Wanna Be Kissed (By Anyone But You)

Miles Davis - Birth Of The cool (1956)

1,2,5,7:
Miles Davis, Trumpet; Kai Winding, Trombone; Junior Collins, French Horn; John Barber, Tuba; Lee Konitz, Alto Tax; Jerry Mulligan, Bari Sax; Al Haig, Piano; Joe Schulman, Bass; Max Roach, Drums.

4,8,10,11:
Miles Davis, Trumpet; J.J. Johnson, Trombone; Sandy Siegelstein, French Horn; John Barber, Tuba; Lee Konitz, Alto Sax; Gerry Mulligan, Bari Sax; John Lewis, Piano; Nelson Boyd, Bass; Kenny Clarke, Drums.

3,6,9,12:
Miles Davis, Trumpet; J.J. Johnson, Trombone; Gunther Schuller, French Horn; John Barber, Tuba; Lee Konitz, Alto Sax; Gerry Mulligan, Bari Sax; Am McKibbon, Bass; Max Roach, Drums; Kenny Hagood, Vocal (12 only).

1. Move
2. Jeru
3. Moon Dreams
4. Venus de Milo
5. Budo
6. Deception
7. Godchild
8. Boplicity
9. Rocker
10. Israel
11. Rogue
12. Darn that Dream

Joe Henderson - So Near, So Far (Musings for Miles) (1993)

Joe Henderson - Tenor Sax
John Scofield - Guitar
Dave Holland - Bass
Al Foster - Drums

1. Miles Ahead
2. Joshua
3. Pfrancing (No Blues)
4. Flamenco Sketches
5. Milestones
6. Teo
7. Swing Spring
8. Circle
9. Side Car
10. So Near, So Far

""Miles Ahead" won the 1994 Grammy Award for "Jazz Instrumental Solo." "So Near, So Far" won the 1994 Grammy Award for "Jazz Instrumental, Individual or Group." Although he only played with Miles Davis a handful of times in 1967, saxophonist Joe Henderson understood both the intricacies and the overall vision of the late trumpeter's music. Supported here by a world-class rhythm section, Henderson performs nine Davis selections plus the title track, a song popularized by Davis, but written by Tony Crombie and Benny Green. On SO NEAR, SO FAR (MUSINGS FOR MILES), Henderson combines classic Davis tunes with some of the trumpeter's little-known compositions. The jaunty "Swing Spring" and the highly rhythmic "Side Car" are good examples of some of the rarer material presented on this disc. (Other tunes such as "Miles Ahead," "Milestones," and "Flamenco Sketches" should be more familiar to listeners.) As expected, Henderson and his band navigate their way through these tunes with panache. Guitarist John Scofield's subtle, yet supportive, comping is particularly effective throughout, as is drummer Al Foster's colorful use of percussion. The highlight of the record is the ensemble's hard-swinging version of "Joshua;" the time signature shifts on the bridge are especially complex, but Henderson and company glide through them effortlessly."

Joe Henderson - Lush Life: The Music of Billy Strayhorn (1992)

Joe Henderson - Tenor Sax
Wynton Marsalis - Trumpet (2, 6, 9)
Stephen Scott - Piano (2, 3, 5, 6, 8, 9)
Christian McBride - Bass (1-4, 6, 8, 9)
Gregory Hutchinson - Drums (2-4, 6, 7, 9)

1. Isfahan
2. Johnny Come Lately
3. Blood Count
4. Rain Check
5. Lotus Blossom
6. A Flower Is A Lovesome Thing
7. Take The "A" Train
8. Drawing Room Blues
9. U.M.M.G. (Upper Manhattan Medical Group)
10. Lush Life

"This is a great collection of Strayhorn tunes. From the opening notes of "Isfahan", a excellent duet with bassist Christian McBride, you can tell it is something special. Trumpeter Wynton Marsalis guests on three tracks and his solos are nothing short of inspired. The core quintet are all extremely good players. There is the crisp drumming of Gregory Hutchinson throughout, especially in the fittingly locomotive-style groove he sets in his duet with Joe on "Take the 'A' Train". Christian McBride shows his maturity on this record with thoughtful solos especially the bowed solo on "Johnny Come Lately". The piano from Stephen Scott is at times swinging and tight like for the "Drawing Room Blues" and at others more experimental especially in "A Flower Is A Lovesome Thing". Of course, the standout throughout is Joe Henderson. His remarkably clear tone has plenty of warmth as well as intensity."

Christopher Hollyday - On Course (1990)

Christopher Hollyday - Alto Sax
Larry Goldings - Piano
John Lockwood - Bass
Ron Savage - Drums

1. No Second Quarter
2. Lady Street
3. Memories of You
4. Hit And Run
5. West Side Winds
6. Skeptical Speckitcal
7. Impromptu
8. In A Love Affair
9. Spontaneous
10. The 6th World

"One of the "Young Lions" of the late '80s, altoist Christopher Hollyday created a big stir when he appeared on the scene, but maintained a surprisingly low profile after the early '90s. He started playing alto when he was nine, developed quickly, and was playing in clubs when he was 14, the year when he recorded his first album on his own Jazzbeat label. Back then, he was heavily influenced by Charlie Parker, but a few years later Hollyday almost sounded like a clone of Jackie McLean. In 1988, he took a group into the Village Vanguard, and the following year he toured with Maynard Ferguson's big band (he appeared on the Big Bop Nouveau album). During 1989-1992, Hollyday recorded four CDs for Novus, and was starting to develop his own voice when he was dropped from the label."