Track listing

1. "Whisper Not"     – 7:22
2. "Latin Hangover"  – 6:46
3. "His Sister"      – 6:35
4. "Slightly Hep"    – 6:29
5. "Where Am I?"     – 5:51
6. "D’s Fink"        – 7:42

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Track listing

1. "City Lights" (Golson) – 5:46
2. "Tempo de Waltz" (Golson) – 6:24
3. "You’re Mine, You" (Green, Heyman) – 6:03
4. "Just by Myself" (Golson) – 9:24
5. "Kin Folks" (Gryce) – 9:42

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Clifford Brown, Dizzy Gillespie, Louis Armstrong, Fast Navarro, Woody Shaw… o jazz foi repleto de grandes trompetistas. O trompete foi o primeiro instrumento a se destacar no jazz e vários mestres o dominaram nestes últimos cem anos. No entanto separei um músico que em um curto espaço de tempo tornou-se o melhor de sua época: Lee Morgan.

Morgan morreu muito jovem mas felizmente deixou boas gravações, principalmente pelo selo Blue Note. Todos os discos são excelentes mas vou destacar esse como um dos melhores. “Search For The New Land” foi gravado em 1964. Já na capa é fácil identificar que o disco é especial pelo fato do lineup escrito ali. Morgan é acompanhado por Wayne Shorter, Herbie Hancock, Grant Green, Reggie Workman e Billy Higgins… todos eles grandes mestres, já naquela época. Curiosamente este disco reúne parte dos músicos que mais gosto: Morgan, Green e Shorter.

As cinco faixas do disco são de autoria do líder e grandes clássicos foram criados aqui. A faixa título do disco é muito criativa, mesmo hoje, 45 anos depois da gravação. Os solos são perfeitos e casam com a melodia tornando essa faixa a melhor do disco. No entanto outras faixas memoráveis são “Mr. Kenyatta” a mais vibrante do disco e “Morgan The Pirate”. Esse disco é imperdível.

1 – Search For The New Land
2 – The Joker
3 – Mr. Kenyatta
4 – Melancholee
5 – Morgan The Pirate

Lee Morgan – trompete
Wayne Shorter – sax tenor
Grant Green – guitarra
Herbie Hancock – piano
Reggie Workman – baixo
Billy Higgins – bateria

(Muitos dos discos desse trompetistas estão espalhados por aí. Algumas recomendações são “The Sidewinder”, “Cornbread”, “The Cooker” e “Infinity”. Uma gravação que chama muito atenção é “Blue Train” de John Coltrane, o primeiro disco como líder de Trane. O trompetista naquela gavação é Morgan que pra alguns roubou a cena no disco)

Hoy era día de Lee. LLuvia, nubes, frío y un tornado de recuerdos.
Uno de mis temas favoritos de Morgan.

Here’s the latest batch of Music Musings and Miscellany’s unapologetically subjective selection of the twentieth century’s best 1000 singles.

FAIRPORT CONVENTION – Si Tu Dois Partir / Genesis Hall (Island 6064 1969)
In the period between the end of the sixties and punk, for the serious prog-rock, metal and folk-rock fan, the 45rpm seven inch single became a bit of a joke. Some bands (Led Zeppelin, Pink Floyd) didn’t bother with them at all. For others, a hit single and a Top of the Pops appearance was a bit of a lark, not to be taken too seriously. Fairport’s cover of a Dylan song, in French, with chairback and milk bottle percussion (with an accident when one fell off the table and smashed left in the final mix) was a surprise hit. It’s not a comedy record, just light-hearted and gleeful.

LEE MORGAN – The Sidewinder / Part 2 (Blue Note 1911 1964)
Jazz artists, too, weren’t generally interested in singles. Most that were released were edits of album tracks aimed squarely at jukeboxes. The ten minute “The Sidewinder” by jazz trumpeter Lee Morgan has become one of the best known post-bop standards, with its funky rhythm and catchilly repetitive central riff. In some ways, it’s one of the foundation stones of jazz-funk, acid jazz, fusion and the rest.

PRINCE – Sign ө the Times / La La La La He He He He (Paisley Park 28399 1987)
Stepping back from his tales of sex and Corvettes, Prince unleashed this unassuming little song that dug into the underbelly of the brash and flash eighties for which he himself was part of a symbolic triumvirate of pop stars, along with Jacko and Madonna, who came to represent the ‘me’ decade. The flipside – AIDS, poverty, the still real threat of nuclear catastrophe (remember Ronnie “let’s bomb Russia” Reagan was still president) were marked out, almost without comment. It’s still his most forceful and thoughtful song.

STEVIE WONDER – Signed, Sealed, Delivered I’m Yours / I’m More Than Happy (Tamla 54196 1970)
“Signed, Sealed, Delivered” represents the end of phase one of Stevie Wonder’s career when he was still just a cog (albeit a vital one) in the Motown hit factory. As his 21st birthday loomed, he held out for a new contract that would give him unprecedented artistic control – something almost unheard of at Motown – and would pave way for his classic period when he would fuse soul, pop, gospel, electronic music and funk into his own unique and brilliant vision.

TORI AMOS – Silent All These Years / Me and a Gun (East West YZ618 1991)
Out of the flood of singer-songwriters who’ve emerged over the last two decades, Tori Amos remains a singular talent, and the two sides of this single go a long way to explaining why. The first, a lush, beautifully orchestrated, literate piano ballad. The second, a chilling a capella recounting a harrowing rape experience.

CARTER FAMILY – Single Girl, Married Girl / Storms are on the Ocean (Victor 20937 1927)
This proto-feminist tune comparing the lots of the wed and unwed woman has become one of the best-loved, and oft-covered Carter Family tunes. With good reason.

NIRVANA – Sliver / Dive (Sub Pop 72 1990)
NIRVANA – Smells Like Teen Spirit / Even In His Youth (Geffen 19050)
Only a year separates these singles. The first a dipped toe into melodic pop rock, albeit with a lyric recalling a pre-school Kurt being shipped off to his grandparents’, and despite TV and ice cream, just wanting to be in his own home. The second a Pixies parody, and last minute addition to Nevermind, that made him a reluctant global icon.

BEACH BOYS – Sloop John B / You’re So Good To Me (Capitol 5602 1966)
Added to Pet Sounds at Capitol’s insistence, “Sloop John B” doesn’t really fit with the rest of the album, but as a single works just fine. A strange choice of song for a 45, it’s actually a Bahamian song about a wild party that took place on the Nassau waterfront the night that the John B was sunk and was originally entitled “The Wreck of the John B”

ULTRAVOX! – Slow Motion / Dislocation (Island 6454 1978)
Another classic from the Foxx era, and an inspiration from everyone from Gary Numan to Duran Duran. Don’t let that put you off, though.

THE UNDISPUTED TRUTH – Smiling Faces Sometimes / You Got the Love I Need (Gordy 7108 1971)
Less a band, more Norman Whitfield’s own experimental lab rats. The man was even more of a control freak than his boss Berry Gordy, and wanting a group a little less combative and more malleable than the Temptations he ended up with the Undisputed Truth. Many songs would be road tested by the Truth before being handed to the Tempts, but they did at least have one major hit they could truly call their own – this dark, paranoid masterpiece.

PLATTERS – Smoke Gets In Your Eyes / No Matter What You Are (Mercury 71383 1958)
SABRES OF PARADISE – Smokebelch II (entry) / Smokebelch II (exit) (Sabres of Paradise 9 1993)
HOWLIN’ WOLF – Smokestack Lightning / You Can’t Be Beat (Chess 1618 1956)
ROBINS – Smokey Joe’s Café / Just Like a Fool (Spark 122 1955)
Ladies and gentlemen, welcome to the smoking section. The first a 1933 show tune by Jerome Kern and Otto Harbach about blind love, turned into an unparalleled piece of weepy melodrama by the rich tenor of the Platters’ Tony Williams. The Sabres of Paradise’s classic come-down instrumental has graced a million TV soundtracks, but still sounds fresh and sober. Wolf growls and howls his way through a typically apocalyptic blues, whilst the Robins encounter a problem when trying to hit on the girlfriend of a large and borderline psychotic café owner.

More soon

No, it’s not a Jimmie Lunceford original.  But I just read a newspaper profile by Rachel Swan devoted to the drummer Donald Bailey (whose work I know from recordings he made with Jimmie Rowles) where he spoke about being a young player in Philadelphia.  These words leaped out at me (italics mine):

Bailey started playing drums as a preteen by practicing along with his brother’s records. His timing couldn’t have been better: Be-bop had become the avant-garde, and Philly was a veritable hotbed of it. John Coltrane, Bud Powell, Lee Morgan, Stanley Turrentine, Buster Williams, Jimmy Smith, Dizzy Gillespie, and Charlie Parker all lived in Philly at some point in their careers — and that’s only a partial list. Unknowns like Bailey would hobnob with these elder statesmen at places like the Blue Note Club and get whatever they could get. At that time, the scene was more of a meritocracy, said Bailey. “Nowadays, anybody can get up on the bandstand and play. We couldn’t do that when I was coming up,” the drummer said. “You just couldn’t do it. You would either be too embarrassed or they would embarrass you. They would take you by your pants and throw you out the door.”

Consider that, dear readers.  The full piece can be found here:

http://www.eastbayexpress.com/music/an_old_blueprint_made_new/Content?oid=1228901

Jazz is my idea of how a tune should go. – Louis Armstrong.

Happiness blues – Charlie Parker

One thing I like about jazz is that it emphasized doing things differently from what other people were doing.  It pulled me like a magnet, jazz did, because it was a way that I could express myself. – Herbie Hancock

The people in Japan know more about the history of jazz and the musicians than the people in the United States do. – Billy Higgins

A good quartet is like a good conversation among friends interacting to each other’s ideas.  As far as playing jazz, no other art form, other than conversation, can give the satisfaction of spontaneous interaction. -  Stan Getz

The biggest problem with American music right now, is that kids don’t listen. They come by it honestly, Americans don’t listen anyway. When people go to concerts, they say I’m going to see… not, I’m going to hear.  – Branford Marsalis

I never even thought about whether or not they understand what I’m doing . . . the emotional reaction is all that matters as long as there’s some feeling of communication, it isn’t necessary that it be understood.  – John Coltrane

A session in jazz is comparable to an open forum where theories and opinions are discussed openly and freely. Without inhibition or the fear of being reprimanded, a soloist rises and speaks without the aid of notes or previous preparation. Speeches with words of various inflections and insinuations are replaced with a flow of melodic, rhythmic music. One soloist will speak for himself on a chosen topic and then retire to hear the feelings of another on the same subject.  -  Stan Kenton

I’d rather play jazz, I hate rock and roll. – Ginger Baker

You not only have to know your own instrument, you must know the others and how to back them up at all times. That’s jazz.  -  Oscar Peterson

To most white people, jazz means black and jazz means dirt, and that’s not what I play. I play black classical music. – Nina Simone

Life is a lot like jazz… it’s best when you improvise. – George Gershwin

Words are the children of reason and, therefore, can’t explain it. They really can’t translate feeling because they’re not part of it. That’s why it bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling. – Bill Evans

By and large, jazz has always been like the kind of a man you wouldn’t want your daughter to associate with. – Duke Ellington

…art courtesy of www.debrahurd.com

My dream jazz quintet: Oscar Peterson/Piano,  Freddie Hubbard/Trumpet,  John Coltrane/Saxophone,  Ray Brown/Bass,  Jeff Hamilton/Drums.  Jeff is the only one of my dream jazz quintet still living and he is also a contemporary of mine at Indiana University.

Ceora – Lee Morgan …click this one for a taste of beautiful music that defies categorization.

My FM station?  88.1 KKJZ is often available to me at my home, 166 miles south of their antenna in Long Beach, CA.

Bassist Linda Oh

Two strangers will meet on stage at Wangaratta, writes Roger Mitchell

THEY seem so different. She plays bass — electric and upright. He plays trumpet. She is 25, was born in Malaysia and grew up in Perth listening to Red Hot Chili Peppers. He is 67, was born in Jacksonville, Florida and grew up listening to his parents’ 78rpm Jazz at the Philharmonic records.

Both live in New York, but they have never met. In a few days they will share a stage at the Wangaratta Festival of Jazz, in a quartet with pianist Mike Nock and drummer Tommy Crane.

One of the joys of this festival, which this year celebrates its 20th anniversary, is that Linda Oh and Charles Tolliver, who are from such different generations and genres in jazz, can link up.

Yet they have much in common. Each was inspired to play when given an instrument — Tolliver’s grandmother, Lela, gave him a cornet; Oh’s uncle gave her an electric bass. Both were initially self-taught and both considered other careers— Tolliver as a pharmacist, after working for a local apothecary, and Oh as a lawyer.

Both musicians like challenges and both are perceptive, intelligent and thoughtful.

Asked about the importance of music in people’s lives, Oh says, “It’s a shame these days that everything is so overrun by TV and advertisements and reality TV that a lot of people don’t have the energy to go out to live music or put an album on and listen to it from start to finish.

“If Brad Pitt and Angelina Jolie said to everyone ‘You should go and see a jazz show’ everyone would go. We need more spokespeople.”

Tolliver’s view, fittingly, is borrowed from Art Blakey: “He would come up to the microphone and, in that inimitable voice of his, say ‘Good evening ladies and gentlemen, we are here to wash away the dust from your everyday lives’. I think that’s it.”

Linda Oh says her entry to jazz was “a little backwards”, beginning with the fusion of Jaco Pastorius, Stanley Clarke and Chick Corea and then being turned completely around by Ray Brown and Oscar Peterson on the album Night Train.

Driven by the desire to “do something that I didn’t know much about and to learn as much as I could”, she studied bass at the WA Academy of Performing Arts, graduating with honours. Oh says Perth had many talented musicians who were “very honest about what you need to do to get better”.

Winning a Sisters in Jazz competition in 2004 gave her a chance to visit New York. She was “pretty blown away, but not just in awe of it — I checked out local musicians and universities and saw there was so much stuff to be learned out here and I knew I had to do it”.

Oh won a scholarship to Manhattan School of Music, where she completed a Masters in Jazz-based Performance and met trumpeter Ambrose Akinmusire and drummer Obed Calvaire, with whom she recently released her acclaimed debut album, Entry. With Oh and Crane, Akinmusire will perform tunes from that album at Wangaratta.

Oh has never played with Tolliver, though she has heard a lot of his music. “Tommy went to New School University, where Charles has an Art Blakey Ensemble, so it will be a very interesting mix, especially with Mike Nock — I’m a huge fan.”

Tolliver recalls playing with Blakey’s Messengers “for a minute, replacing Lee Morgan, a long time ago”, but as other names of jazz identities from his past tumble out there is no self-promotion.

He says it was “an act of providence of miraculous proportions” that the young dropout from Howard University met bandleader Jackie McLean and within six months was making his first recording.

Labels such as hard bop, bebop and post bop meant little, Tolliver says. “We understood that was just print journalism. We were just trying to expand on what Charlie Parker, Dizzy Gillespie and Thelonious Monk had laid out there.”

Tolliver admits to many influences on his sound, including Gillespie (“He’s the go-to guy for inspiration”), Charlie Shavers, Freddie Hubbard, Kenny Durham, Donald Byrd, Lee Morgan, Clifford Brown, Booker Little, Fats Navarro and Roy Eldridge.

But Tolliver’s improvising involves taking risks. “You’re really trying to make a statement of your emotional self on that instrument and the only way I can see to do that is to get busy exploring something right away. I need to have that little bit of danger there that I might not be able to get out of what I’m trying to do.”

Tolliver will perform twice with Sydney’s Jazzgroove Mothership Orchestra, playing tunes from With Love and the recent Emperor March. With the quartet he’ll play a selection from the Mosaic Select box set.

Wangaratta Festival of Jazz starts on Friday, October 30

An edited version of this article appeared in the Herald Sun newspaper, Melbourne, on October 28

By Don Heckman

There’s never any question that a performance by Wynton Marsalis and the Jazz at Lincoln Center Orchestra is going to be a significant musical event. But their appearance at Royce Hall Friday night in a UCLA Live concert was even more — a program of works that entertained and illuminated, while offering convincing testimony to both the continuing vitality of jazz and the relevant durability of the big jazz band.

With so many creative tools available within the 15 piece instrumentation of the JLCO, Marsalis always has a lot of options in any given program. And on this night, it quickly became clear that the ensemble’s extraordinary collection of soloists would largely dominate an evening rich with Thelonious Monk selections. By the time the program reached its rousing conclusion, every member of the Orchestra — with the sole exception of baritone saxophonist Joe Temperley, who reportedly was not feeling well — had ample opportunity to display his improvisational wares.

Amid the list of showcase solos, the highlights were led by Marsalis himself, whose articulate facility seems to become more impressive with every performance. His always gripping choruses roved from the airy use of a hat on Ted Nash’s quirky arrangement of the children’s classic, “Old MacDonald Had A Farm” to a high speed romp through Kenny Dorham’s “Stage West.”  Nash, who also wrote an even quirkier chart for “The Eensie Weensie Spider,” added several out of the box solos as well: a tour through his alto saxophone’s upper harmonics on his arrangement of Lee Morgan’s “Ceora”; an interval-leaping set of variations on Thelonious Monk’s “Epistrophy” (arranged by trombonist Chris Crenshaw); and a light-hearted romp on flute through “The Eensie Weensie Spider.”

Sherman Irby not only arranged Lou Donaldson’s “Blues Walk,” he also soloed with a stunningly dramatic use of sounds and silences. Crenshaw revealed improvisational chops to match his arranging skills. Trumpeter Ryan Kisor moved effortlessly from high note lead to briskly swinging choruses, while tenor saxophonist Walter Blanding found the heart of the music in every one of his several solo opportunities. And that’s not to mention the multiplicity of sterling work by the other JLCO players.

All of these individual excursions took place in the framework of first class arranging (Marsalis, to his credit, draws from the gifted writing talents within the ensemble) as well as the easygoing spontaneity between players who clearly respect and honor each other’s abilities. Among the other memorable numbers — Marsalis’ gorgeous, Ellington-inspired chart for the saxophone section on Monk’s “Ugly Beauty”; Sherman Irby’s big-band transmutation of the disjunct accents in Monk’s “We See”; and bassist Carlos Henriquez’s rendering of Joe Henderson’s “Shade of Jade.”

The enthusiasm on stage was self-evident throughout, never more so than when there was some good natured jibing at one point to persuade Marsalis to make sure Kisor had a solo. Ending the performance in high spirits, Marsalis spontaneously came back after most of the Orchestra had exited, and played a brief, swinging coda with the rhythm section as the audience began to leave. It was the perfect capper for an evening in which jazz was very much alive, well and flourishing.

]]> http://cobwebsandstrange.wordpress.com/2009/09/12/lee-morgan-more-than/ Sat, 12 Sep 2009 23:07:29 +0000 djc http://cobwebsandstrange.wordpress.com/2009/09/12/lee-morgan-more-than/

Not wholly unapreciated, but percieved in narrow terms, Lee Morgan played more than straight bop and soul jazz. He was an adept composer and adventurous performer. He just died a bit too young to work it all out.

BLOGLOAD: Self Titled

My good friend Bill Gallagher was lucky enough to know the late pianist Eddie Higgins.  With Eddie’s help, Bill became his discographer as well.  Here is Bill’s beautiful elegy for Eddie:

Eddie Higgins: 2/21/1932 – 8/31/2009

The world of jazz has lost one of its most talented pianists and I have lost a good friend.  Eddie Higgins’ life was brought to an end by complications of lymphatic and lung cancer, an event that seemed to have developed in a matter of a few months.  I had seen Eddie perform in Sacramento in late May, had dinner with him, and he showed no evidence or indication of what was to come in a few brief months.

Eddie was a generous and talented person in so many ways.  He not only played great piano, but he could write well and discuss matters outside of music in ways that were thoughtful and revealing.  Although he could be generous with his time, it took a while to crack the veneer of New England reserve that was part of his persona.  But the effort and the result was worth it.  Underneath was a man who was a gentleman in every sense of the word, a man of taste, a highly developed wit, and one hell of a pianist.

His career was established in Chicago during the 50’s, 60’s and 70’s where his longest running gig was a 12 year stint as the resident trio at the London House.  Eddie could play just about anything and with anybody, but he mainly stuck to Mainstream.  He once described Free Jazz as sounding like “a fire in a pet store.” Over the course of a number of years, he played with Stan Getz, Dizzy Gillespie, Coleman Hawkins, Jack Teagarden, Freddie Hubbard, Lee Morgan, Wayne Shorter, Al Grey and Eddie South. And that’s just the short list. Other well known piano trios that performed at the London House were intimidated by Eddie’s group. Some of the tales that came out of his London House experience were more than entertaining, such as the one involving Buddy Rich. Buddy was drumming like crazy but the customers were leaving because of the volume. The manager asked Eddie to turn down the amplifiers before everyone had left and Eddie did so – but Buddy caught him at it. Accusations were hurled at Eddie, Buddy drummed louder and threatened to get Eddie after the set. Sure enough, he came after Eddie and Eddie hightailed it into the restroom and locked himself in a stall. Buddy found the locked stall and proceeded to do a limbo under the door while Eddie vaulted over the top of the door and out the building. Later, each would avoid bringing up the event when their paths crossed.

Also during his Chicago years, Eddie was invited by Art Blakey to join his Jazz Messengers. Eddie refused because he had two young children at the time and it wasn’t a good time to go on the road. He also had an offer to become Carmen McRae’s accompanist but he turned down the opportunity for the same reasons and the job went to Norman Simmons. When further pressed for his reasons for turning down Blakey, he said that he didn’t want to be the odd man in the group. Eddie would have been the only white musician, the only non-user and Blakey had a habit of paying his connections before he paid his musicians.

Eddie’s versatility was amazing. During the 70’s he was exposed to some of the early recordings coming out of Brazil and was taken by the new rhythms of the Bossa Nova. Many of his albums include a track or two of a South American composition, but he also produced one of the finest albums of Jobim compositions that exists, “Speaking of Jobim.” If you haven’t heard it, you must.

There will be some who read this who will have no idea who Eddie Higgins was or how brilliantly he played. This won’t surprise me because Eddie traveled in certain jazz circuits and was probably better known in Japan and Korea, where his recordings on the Japanese Venus label are among the top jazz sellers. However, Eddie enjoyed deep respect among fellow musicians who admired him as a consummate professional. So, to those who might say, “Eddie, we hardly knew ye,” I understand. But to those who did know him, he was a national treasure and will be missed more than words can express.

Bill and Eddie at Sacramento

About Eddie: he was one of those rare musicians who can make a melody, apparently unadorned, sing.  Any of his Venus recordings (solo, trio, or quartet) demonstrate that he was someone working beneath the surface of the music, giving himself fully to the song.  I also can testify to his gracious nature: having reviewed a Venus CD in Cadence (I believe it was his quartet with Scott Hamilton) I got a letter from Eddie, thanking me for what I had written in the most perceptive way.  I hope that more people come to his music as the years pass.

Jazz photographer John Herr, another Higgins devotee, captured Eddie at the leyboard during the April 2006 Atlanta Jazz Party:

Eddie’s widow, the singer Meredith D’Ambrosio, sent along this piece on Eddie from the Chicago Tribune – http://www.chicagotribune.com/entertainment/music/chi-obit-ed-higgins-02sep02,0,1489219.story – a fitting tribute to a man who brought so much music to that city.  We send our condolences to Meredith and to Eddie’s family.  Thanks to Judith Schlesinger, Bill Gallagher, and John Herr.

Art Blakey foi um dos maiores bateristas do jazz. Além de ser reconhecido por sua técnica e pela participação em centenas de discos em seus 40 anos de carreira, Blakey também lançou grandes notáveis no jazz através de sua banda, Jazz Messengers. Desde a gravação do primeiro disco do Jazz Messengers em 1953 (que contava com Horace Silver e Clifford Brown na primeira versão do grupo) até meados dos anos 80 foram dezenas de discos gravados e dezenas de jovens músicos lançados ao estrelato: como o pianista Bobby Timmons, saxofonistas como Wayne Shorter, Johnny Griffin, Branford Marsalis e Javon Jackon; os trompetes de Wynton Marsalis, Freddie Hubbard e Lee Morgan e muitos outros.

Este é o disco que mais gosto do grupo. Um show gravado ao vivo no Birdland em junho de 1963 e lançado pela Riverside records. A formação do grupo é uma das mais talentosas do Jazz Messengers: Wayne Shorter no sax tenor, Freddie Hubbard no trompete, Curtis Fuller no trombone, Cedar Walton no piano, Reggie Workman no baixo… todos em grande fase sob o comando de Blakey.

Destaques para a faixa de abertura, “One by One”, “Ugetsu” (a melhor faixa do disco) onde Hubbard rouba a cena, e “On The Ginza”. Os disco de Art Blakey são verdadeiras escolas e uma excelente fonte para conhecer novos músicos e Ugetsu um dos melhores disco do grupo na primeira metade dos anos 60.

1 – One by One (Shorter) – 6:19
2 – Ugetsu (Walton) – 11:01
3 – Time Off (Fuller) – 4:55
4 – Ping-Pong (Shorter) – 8:07
5 – I Didn’t Know What Time It Was (Hart, Rodgers) – 6:30
6 – On the Ginza (Shorter) – 7:04
7 – Eva (Shorter) – 5:53
8 – The High Priest (Fuller) – 5:24
9 – The Theme (Davis) – 1:44

Freddie Hubbard – trompete
Wayne Shorter – tenor sax
Curtis Fuller  - trombone
Cedar Walton – piano
Reggie Workman – baixo
Art Blakey – bateria

(Os melhores discos de Art Blakey estão relacionados as formações do The Jazz Menssengers. Ouça “Moanin’” que é o melhor disco de Blakey – com a melhor formação dos Messengers… Wayne Shorter, Lee morgan e Bobby Timmons – e “Keystone 3″ com os irmãos Marsalis.)

Diggin’ On Blue is a compilation record by
Pete Rock, featuring various artists such as Ronnie Foster,
Stanley Turrentine, Lee Morgan, Jack McDuff,
Herbie Hancock and many more all mixed together
by Pete Rock.
Sittin Duck – Gene Harris & The Three Sounds
Summer Song – Ronnie Foster
Little Green Apples – Stanley Turrentine
We’re in Love – Reuben Wilson
Olliloqui Valley – Herbie Hancock
Shirl (Natural Illusions) – Bobby Hutcherson
I Remember Summer – Gene Harris
In What Direction Are You – Lee Morgan
Repeat After Me – The Three Sounds
Hunk O Funk – Jack McDuff
Summertime – Lou Donaldson
Mystic Brew – Ronnie Foster
I Don’t Want Nobody – Grant Green
Turning Point – Dr. Lonnie Smith
Wrong or Right – Bobby Hutcherson
Smiling Faces Sometimes – Bobbi Humphrey

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Anwesende: Thomas

Motto: “Es scheint IMMER die Sonne”

Eine Vertretungssendung. Und eine Überstunde der Vertretung. Sowie: Ein Musikwunsch von Heinz, dem Anrufer, der erfüllt werden konnte.

Download:/Stream:

ERSTE STUNDE

ZWEITE STUNDE

Mit Musik von:

1. Stunde:

Hal Mc Kusick, J. J. Johnson, Freddie Hubbard, Rev. Gary Davis, Al Cohn & Zoot Sims, Dinah Washington, Charles Mingus, Booker Ervin, Paul Desmond

2. Stunde:

Lee Morgan, Blue Mitchell, Cal Tjader & Stan Getz, Oliver Nelson & King Curtis, Hank Mobley, Ray Bryant, Max Roach, Big John Patton

Bis nächste (!) Woche!  

music ’been always
a part of our history

Drums running rhythms cross country,
us singing in the language of the birds and trees
    roaring with the lions,
    humming with the bees
But that was long, long ago,
                    long before Jericho
Many a man’s come a-tumbling down
once the Word was said, and got around

There was magic and message always in the music —
we would talk in song,
passing the news along,
singing semaphore spirituals
                                           “gon’ steal away, Jesus,
                                                    steal away home…”
and spiritual, we slipped away
training,
training on the underground railroad

Now, spirituals we sang from slavery,
and you know slavery gives you the blues
It works the same
             on every man,
             no matter which name you use
The blues was a feelin’,
then it became a sound
It wasn’t new,
weren’t no mystery
’cause music ’been always,
a part of our history

When I came along,
            started working the trains,
the blues was growing,
Black folks was making gains
The blues came to the cities,
                        by road,
                        by rail
It grew hard like concrete,
they made it cold like steel,
but when we was playin’,
you knew it was real,
which music ’been always,
a part of our history

Rolling, running,
wheels ringing on the railroad,
songs rushing on the wind
As twin serpents of iron
snaking cross country,
pulsing arteries of iron energy,
breath of smoke & steam,
the click-clack clackety ricochet
kept the rhythm throughout the day

The horn and whistle wailed sweet jazz,
the train was a giant harmonica,
moaning the blues as it moved,
and through the night,
you could hear jazz giants playin’
                       blues masters prayin’ in the key of G
And all the while,
that engine kept chugging,
                         pulling us onward,
                                        up that glory road,
                         pluming smoke and steam like a shiny saxophone

We used to get all the crew —
Prez, Bird, Dizzy, Monk
and of course, Cannonball
Fats, Satchmo, Fatha Hines,
Bessie Smith sending shivers down the line
The Duke and Count was royalty,
and we had Lester and Lucky
Miles and Morgan was always hornin’ in,
and with Mingus among us
                          kickin’ up a ruckus,
you’d look up, and it’d be morning

We took Dame Holiday, Dorothy D.,
              sisters Sarah, Ella, Nina
&           the only Lena Horne —
cross country by train they all were borne
singing              swinging               swaying
changing minds with their music
healing the blind with their music
kicking behinds with their music
— like magic,
which music ’been always,
a part of our history

But the last one I remember,
a young fella on horn,
’played like he hit the floor runnin’
                  a relentless rhinoceros,
blasting through mountains of silence
to explode
roaring our of dark tunnels,
man & horn as one, alone,
a wailing soprano saxophone,
changing minds with his music,
healing the blind with his music,
kicking behinds with his music,
as music ’been always,
a part of our history

Standing at the station,
his music made me see light in the distance,
his music was light bridging the distance,
it brought a shine to my eyes —
   made my spirit smile
’cause then I knew my Trane had come in —
                            ’Twas time for my ascension
training,
training on the spiritual railroad

So you ask me now,
what’s to do,
what with this new music,
the Social Rag and you?

Son, a word can change your mind,
        a song can change the world
        ask the Beatles or Quincy Jones
Why not give it a whirl?

If you can make a difference,
and won’t,
who’s to say you wouldn’t have died today,
if you had just believed…
..but ya don’t!

Folks is finally waking up,
it’s the Lifeline Express!
The underground railroad is pullin’ out
The band’s on board,
and they’re playin’ your song
Are you goin’ to jus’ hang around,
or is you comin’ along?!

by

jamal
ali

© 1987

Thema: “Schinken- und Speckulation”

Anwesend: Thomas

Ein Lernbeitrag über Transfette, darüber, daß weniger mehr ist und ich daher jetzt zu schreiben aufhöre.

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Teil 1

Teil 2

Teil 3

Musik mit:
1. Std:
Curtis Fuller, Henri Mancini, Horace Silver, Machito & his Afro-Cubans, Bud Shank, Rev. Gary Davis, Pirron & Knapp, Ray Draper, Jack Sheldon

2. Std:
John Coltrane, Oscar Peterson, Lee Morgan, Sonny Criss, Art Farmer, Horace Parlan

3. Std:
Jutta Hipp, Walter Bishop Jr., Johnny Hodges, Lee Morgan, Paul Chambers, Donald Byrd, Coleman Hawkins

Bis in 14 Tagen!