r.i.p. Freddie Hubbard

Freddie Hubbard died yesterday. Thanks for all the music! We'll kiss your black ass!

Incredible to think about all the great albums he turns up:
Herbie Hancock (Empyrean Isles, Maiden Voyage)
Eric Dolphy (Out to Lunch, Outward Bound)
John Coltrane (Olé Coltrae, Ascension)
Ornette Coleman (Free Jazz)
Art Blakey (Free for All is a favourite here, but he's on many others, too)
as well as albums by Andrew Hill, Tina Brooks, Kenny Drew, Curtis Fuller, Dexter Gordon, Bill Evans, Benny Golson, Jimmy Heath, Sam Rivers, Wayne Shorter, Bobby Hutcherson, Max Roach, Duke Pearson, Stanley Turrentine, Randy Weston, Quincy Jones, and even Count Basie!

An incredible discography!

On top of that, he made some fine albums as a leader, including early ones for Blue Note, such as Open Sesame (with Tina Brooks), Goin' Up (with Hank Mobley & McCoy Tyner), Here to Stay (with Wayne Shorter), Hub Cap (with a sextet for once, including Julian Priester and his longtime sidekick James Spaulding), and the marvellous Ready for Freddie (with Shorter, Tyner, Art Davis, Elvin Jones, and Bernard McKinney on the euphonium). In between his Blue Note albums (Hub-Tones, Breaking Point and Blue Spirits were to follow, the first two quintets with Spaulding, the later adding Joe Henderson and others), Hubbard put down three albums for Impulse (including The Body and The Soul, a showcase where he's backed by larger bands, including strings on some titles, and Dolphy on a few as well).
In 1965, he collaborated with Lee Morgan, recording the infamous two-volume Night of the Cookers for Blue Note (I know it's not everybody's favourite, but I just love it!). In the late sixties, Hubbard recorded for Atlantic, the label of his then employer, Max Roach (Freddie plays on Roach's great Drums Unlimited album, Spaulding was part of that band, too, as well as former Blakey bassist and composer of the great "Nommo", Jymie Merritt).
From 1970 on, Hubbard was signed to CTI. The style of music he made had changed by that time. Red Clay and Straight Life though - even if they're somewhat bound to their time - are definitely among his finest albums. They feature sidemen such as Herbie Hancock, Joe Henderson, Ron Carter, Lenny White, George Benson or Jack DeJohnette. Hubbard also started working regularly with tenor saxophonist Stanley Turrentine. By the second half of the seventies, a decline was obvious, though, with Hubbard recording drab albums including disco rhythms. Though that's not the end of the story yet...
Around 1980, Hubbard got his act together again, recording fine straight jazz once more, for instance on Outpost, where he's the lone horn, backed by Kenny Barron. In the mid eighties, he also collaborated with Woody Shaw for two albums on the revived Blue Note label. A last album that garnered fine reviews in the jazz press was 2001's New Colors, which found Hubbard in the company of the New Jazz Composers Octet.



Here's the obit from the LATimes (source):

Freddie Hubbard, jazz trumpeter, dies at 70
By Don Heckman
December 30, 2008

Freddie Hubbard, widely regarded as the most gifted jazz trumpeter of the post-bebop '60s and '70s, died Monday at Sherman Oaks Hospital in Los Angeles. He was 70.

The cause of death was attributed to complications from a heart attack he suffered Nov. 26, according to Dave Weiss, his longtime manager.

From the beginning, Hubbard's playing was characterized by its strength and assurance, its capacity to roam confidently across the trumpet's entire range, and his gift for spontaneous melodic invention.

He was barely out of his teens in the late 1950s and working with such established jazz figures as drummer Philly Joe Jones, trombonist Slide Hampton, saxophonist Sonny Rollins and composer/arranger Quincy Jones. His identification as an important new arrival gained him a Down Beat Critics Poll Award when he was in his early 20s.

Hubbard was capable of quickly grasping the subtleties as well as the specific elements of a startlingly wide range of stylistic areas, from the hard bop of his work with Art Blakey's Jazz Messengers to the most avant-garde music of the decade.

Seemingly the first choice for artists of every stripe, he was present on many of the most significant jazz albums of the '60s, among them Ornette Coleman's "Free Jazz," John Coltrane's "Ascension," Eric Dolphy's "Out To Lunch," Oliver Nelson's "Blues and the Abstract Truth," Wayne Shorter's "Speak No Evil" and Herbie Hancock's "Maiden Voyage."

"Hubbard," wrote Joachim Berendt in "The Jazz Book: From New Orleans to Rock and Free Jazz," "is the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and with the other in the atonal camp."

Although his playing, especially in the earliest years, reflected the influence of Clifford Brown, Miles Davis and others, he said saxophonists were most influential in his development, often specifically mentioning Coltrane's "sheets of sound" as an important source.

"I always practice with saxophone players," he told Julie Coryell and Laura Friedman in their book, "Jazz-Rock Fusion: The People, the Music." "I find when you get around trumpet players, you get into competitive playing -- who can play the loudest and the highest. After you develop your own style, you don't want to get into that."

Like many players in his generation, Hubbard was drawn to pop and rock interests in the '70s and '80s. In 1977 he toured with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams in the quasi-Miles Davis ensemble V.S.O.P. And he released a series of rock- and pop-oriented albums on the CTI label.

"Red Clay," "First Light" and "Straight Life" received good reviews, and "First Light" was awarded a Grammy in 1972 for best jazz performance by a group. Later CTI albums received generally negative criticism.

In the early '90s, the intensity with which Hubbard had always approached his trumpet caught up with him. After splitting his lip in 1992, he ignored the injury, continuing to play on a European tour. The lip became badly infected, and his physician insisted on a biopsy. No cancer was found, but Hubbard spent the next few years struggling to regain his early ability to articulate his instrument.

His playing over the last decade was uneven, at best. In his most recent local appearance, at Catalina Bar & Grill in April, he performed with The New Jazz Composers Octet, an ensemble organized by Weiss, who was Hubbard's arranger and producer.

Although he performed on fluegelhorn, a more forgiving instrument than the trumpet for players with lip problems, Hubbard did brief solo segments, revealing only traces of the player who Weiss said "played faster, longer, higher and with more energy than any other trumpeter of his era."

Hubbard was born Frederick DeWayne Hubbard in Indianapolis on April 7, 1938. He was the youngest of six children in a musical household and first played the tonette and then the mellophone.

"I had a sister who played classical piano and sang spirituals," he told Coryell and Friedman. "My mother played the piano by ear and I had a brother who played the bass and tenor. So the music was hot and heavy. You'd hear somebody singing, somebody playing the piano, and always a record playing."

He took up the trumpet in junior high school, and also played fluegelhorn, piano, French horn, sousaphone and tuba.

Moving to New York City in 1958, when he was 20, Hubbard quickly became known as one of the important new jazz arrivals. In the early '70s, his career well-established, he moved to Los Angeles, settling in the San Fernando Valley.

He received a Jazz Masters Award from the National Endowment for the Arts in 2006.

Hubbard is survived by his wife, Briggie, and his son, Duane.

Funeral services are pending. A memorial tribute in New York will be planned in the new year.

Heckman is a freelance jazz writer.

Elvin Jones - Boston 1973

We've had several drummer-led bands up here already:
Art Blakey (with Tony Williams!) > here
Max Roach (with the Max Roach-Clifford Brown Quintet) > here
Louis Moholo > here
(also with Chris McGregor's Brotherhood of Breath)
Daniel Humair with the project Tryptich > here
Anne Paceo > here
Kahil El'Zabar > here

Also, Kenny Clarke was heard with Roland Kirk, Joe Hunt with Bill Evans, Paul Lytton & Paul Lovens with the Radio Jazz Group Stuttgart, Han Bennink twice with that same outfit, Phil Wilson with Carla Bley, Andrew Cyrille with Carla Bley and Trio 3, Art Taylor twice with Johnny Griffin, Aldo Romano with Pork Pie, and Sunny Murray in duo with Sonny Simmons (part of last year's x-mas special).

So I thought there'd be room for some more great drummers... Roy Haynes can so far only be heard on a few sides of the Lester Young series, I don't have anything handy right now, but I think I have a seventies show with Frank Strozier somewhere. For now though, next up will be Joe Chambers, Joe Morello (with a classic Brubeck Quartet show), and right here and now, the great Elvin Jones!

Hope you'll enjoy!

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Elvin Jones Quartet
Boston, Mass (USA), Jazz Workshop
January 16, 1973

Steve Grossman - soprano & tenor sax
Dave Liebman - tenor sax & flute
Gene Perla - bass
Elvin Jones - drums

1. Sambra (Gene Perla) 18:41 [cut]
2. New Moon (Steve Grossman) 15:21 [beginning slightly cut]
3. I'm a Fool to Want You (10:34) [short FM announcement at end]
4. Children's Merry-Go-Round (Keiko Jones) 7:45 [FM announcement at end]
5. Announcement EJ (1:06)

TT: 53:29

Sound: A-
Source: FM BDC (WBCN)>?>CDR
Lineage: CDR from trade>EAC>TLH>FLAC
Additional lineage: FLAC > WAV > Cool Edit Pro > FLAC (8,asb,verify)

Notes:
-This is a real nice set - the normal quintet of the era was 1 short this night.
-Excellent sound "A-" IMO. I'd be surprised if this wasn't on DIME before, but it's not now, and I can't recall it ever being here before.
-seeded by Matt23

::ubu's edits::
- deleted silence at end of #1
- removed radio intro preceeding #1/added fade-in and following #5/added fade-out
- fixed marks #2/#3 and #3/#4

Lucky Thompson - Europe 1968/69

Here's this year's x-mas special - a post dedicated to the great Eli "Lucky" Thompson. His story is one of the saddest in the annals of jazz - re-reading his story brings tears to my eyes.


Billy Eckstine's band, Pittsburgh 1944, l. to r.: Thompson, Dizzy Gillespie, Charlie Parker, Eckstine
Photo from the Frank Driggs Collection

Born in Columbia, SC, on June 16, 1924 and active from the forties to the sixties, Thompson was one of the tenors bridging the gap between swing and bop.

Mr. Thompson connected the swing era to the more cerebral and complex bebop style. His sophisticated, harmonically abstract approach to the tenor saxophone built off that of Don Byas and Coleman Hawkins; he played with beboppers, but resisted Charlie Parker's pervasive influence.
(from Ben Ratliff's obituary in the NYTimes - link)

Eli Thompson's lifelong nickname -- the byproduct of a jersey, given him by his father, with the word "lucky" stitched across the chest -- would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident -- a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins' 'Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City.
(from Jason Ankeny's biography on allmusic.com - link)

Upon his arrival in New York City, Thompson quickly was respected by fellow musicians, playing the street, joining Billy Eckstine's short-lived big band (with Dizzy, Bird and Art Blakey). In late 1944 he became a member of Count Basie's big band, remaining up to 1945 or 1946. In that year he joined Dizzy as a temporary replacement for Charlie Parker and he recorded on one of Bird's west coast dates for Dial. By 1947, Thompson was back in New York, leading his own band at the Savoy Ballroom. In 1948 he made his European debut in Nice. In the years to come, he played with bands as different as Charlie Parker's, Fletcher Henderson's orchestra, again with Count Basie, and in 1952 he participated in one of Thelonious Monk's great Blue Note recording sessions.

"Lucky had that same thing that Paul Gonsalves had, that melodic smoothness. He wasn't rough like Ben Webster, and he didn't play in the Lester Young style. He was a beautiful balladeer. But he played with all the modernists."
(Johnny Griffin, quoted by Ratliff, see link above)

In 1953, Thompson made his recording debut as a leader (for Decca), and in April 1954 he took part in the great session with J.J. Johnson, Horace Silver, Percy Heath, Kenny Clarke and Miles Davis', ending up on the later's "Walkin'" (Prestige). Thompson made few recordings as a leader, but he continued recording with Dizzy Gillespie, Clark Terry, Jimmy Cleveland, Jo Jones, John Lewis and others, and beginning in early 1956, he made a series of fine sessions with Milt Jackson (mostly on Savoy, some on Atlantic). Also in January 1956, his own "Tricotism" was committed to disc - parts of the album featuring a highly unusual instrumentation of tenor sax, guitar (Skeeter Best) and bass (Oscar Pettiford). (Read a review on bagatellen.com - link)
By February 1956, Thompson was in Paris, where he recorded a string of great sessions with Henri Renaud, Martial Solal, Kenny Clarke and others. For one date, he teamed up with French sax great, Guy Lafitte.

"I fought against being a stereotype"
(Lucky Thompson)

Then he joined Stan Kenton while the later was on tour in Europe and short of a baritone saxophonist... Thompson had never played the baritone before. He remained with Kenton long enough to take part in the recording of "Cuban Fire" (Capitol). Upon returning to the US with Kenton, Thompson was blacklisted by Joe Glaser, Louis Armstrong's manager, after a pointless row. Out of work, he still continued to appear on records - among them some marvellous dates with Oscar Pettiford, a marathon session led by Lionel Hampton and also featuring Ray Copeland, Cleveland, Pettiford, Gus Johnson, and pianist Oscar Dennard (Jazztone, now complete on a 2CD set by Freshsound Records), Quincy Jones' "This Is How I Feel About Jazz" (possibly Q's masterpiece), and in December 1956 and early 1957 he took part in some sessions by the Louis Armstrong All Stars.

By mid 1957, Thompson was back in Europe recording dance sessions with Eddie Barclay and jazz with Martial Solal and Kenny Clarke, as well as an album with singer/pianist Sammy Price. Then in 1958 Thompson bought a farm in Michigan where he lived with his wife and two children. Leaving them behind, he went to France again, staying until 1962, where work was never short. Around that time, Thompson took up the soprano and it quickly became clear that he was one of the first modern jazz musicians to fully master the bitchy straight horn. He continued appearing with Martial Solal and others, taking part in several NDR Jazz Workshops and concerts with expats (including his old collaborator Oscar Pettiford) and European musicians such as Hans Koller, Dusko Goykovich, Michael Naura, Barney Wilen, and the late Swedish singer, Monica Zetterlund.

In spring 1961, Thompson recorded a date with Solal, Peter Trunk (bass) and Kenny Clarke that eventually was released as "Lord, Lord, Am I Ever Gonna Know" (Candid). The album is another highlight of his recorded output. It included a spoken introduction recorded in 1968 from which the following quote is taken:

"I feel I have only scratched the surface of what I know I am capable of doing."
(Lucky Thompson)

Then Thompson went back to the US. He recorded a few albums for Prestige and other labels, with sidemen such as Hank Jones, Richard Davis, and Tommy Flanagan, including another one of his finest outings, "Lucky Strikes" (1964). Then in 1965 Thompson seems to have disappeared again, after the death of his wife.
In 1968 he turns up again, living in Lausanne, Switzerland until 1970, and touring Europe. That's the period the recordings offered here are from. In March 1969 he made another album as a leader, featuring René Thomas, the great Belgian guitar player, as well as Fats Sadi, Ingfried Hoffmann, Eberhard Weber and Stu Martin. Thompson appeared with Johnny Griffin, the Danish Radio Big Band, and in 1970 he played on Tete Montoliu's "Soul's Nite Out" (Ensayo).

By 1971, Thompson was back in in the US again, teaching music at Dartmouth University for a short time. In 1972 and 1973, he made his final recordings for Groove Merchant, then Thompson vanished from the scene. It seems he spent several years living on Ontario's Manitoulin Island before relocating to Savannah, GA, trading his saxophones in exchange for dental work. By the early 90's he was in Seattle, mostly living in the woods or in shelter offered by friends. He did not own a saxophone.

After a long period of homelessness Thompson checked into Seattle's Columbia City Assisted Living Center in 1994. He was hospitalized a number of times in 1994, and finally entered the Washington Center for Comprehensive Rehabilitation. Thompson remained in assisted care until his death in Seattle, on July 30, 2005.


Discography (by Noal Cohen):
http://www.attictoys.com/jazz/LT_intro.html

Sources:
Ben Ratliff: Lucky Thompson, Jazz Saxophonist, Is Dead at 81, www.nytimes.com, August 5, 2005 (link)
Steve Voce: Lucky Thompson, www.independent.co.uk, August 5, 2005 (link)
Jason Ankeny: Lucky Thompson, Biography, www.allmusic.com (link)



Photo: Herman Leonard

Lucky Thompson - 1968/1969 Radio Broadcasts


CD1 / Rotterdam '68 & Rome '69 / 68:02

[A] November 22, 1968 - Rotterdam (NL), B14 Club

Lucky Thompson, soprano sax (#1-4) & tenor sax (#3); Rob Madna, piano; Ruud Jacobs, bass; Eric Ineke, drums
1. On Green Dolphin Street (Bronislau Kaper, Ned Washington) 6:35
2. Street Of Dreams (Victor Young, Sam M. Lewis) 7:02
3. Cherokee (Ray Noble) 8:56
4. unknown (7:20)
TT: 29:54 / Sound: A- / Source: radio broadcast


[B] February 28, 1969 - Rome (Italy)

Lucky Thompson, soprano sax (#1-4) & tenor sax (#4); George Arvanitas, piano; Jacky Samson, bass; Charles Saudrais, drums
1. The World Awakes (Lucky Thompson) 9:14
2. Street of Dreams (Young-Lewis) 8:22
3. Have You Met Miss Jones (Rodgers-Hart) 11:20
4. Cherokee (Ray Noble) 9:09
TT: 38:07 / Sound: B+ / Source: radio broadcast (RAI)


CD2 / Warsaw '69 / 37:17

[C] ca. October 1969 - Warsaw (Poland)

Lucky Thompson, soprano sax (#1,2) & tenor sax (#3,4); Adam Makowicz, piano; Janusz Kozlowski, bass; Anrzej Dabrowski, drums
1. The World Awakes (Lucky Thompson) 9:11
2. Body and Soul (Heyman-Sour-Eyton-Green) 8:44
3. Now's the Time (Charlie Parker) 9:20
4. Cherokee (Ray Noble) 9:57
TT: 37:13 / Sound: A-/B+ / Source: radio broadcast


TT: 105:17


Note on the Rome session (from http://www.jazzdiscography.com/):

"This a private recording of a radio broadcast on RAI. It appears that recordings of tracks a-d have circulated among collectors with another track, "The Song Is You" included. However, aural evidence clearly indicates that the tenor saxophonist on this additional track is Stan Getz and NOT Lucky Thompson. When and where this live Getz quartet performance was recorded and how it became attached to the 1969 Rome Thompson concert are unanswered questions."

Two items from the Rome broadcast are missing: "Why Weep?" (Thompson) 13:26 and unknown 9:29

Stan Getz & Kenny Barron - Copenhagen 1991

This is a companion set to the great official released called "People Time" (buy it cheaply at CDUniverse).

I've received these tracks from dime as part of a huge package that contained various duplicates as well as some officially released tracks. I'm positive that the music on the two full CDs I'm offering here is all unreleased. This is some of Getz' most intimate playing, Barron proofs a very good foil and musical partner. Getz was dead soon after, so this is kind of a swan song. Touching music, as was virtually all of Getz' music - at least his saxophone playing always has a haunting quality, sometimes it get's incredibly beautiful, all through his career, from early recordings up to these Copenhagen sessions.

There are two tunes I don't know. CD2#1 was unidentified by the time I tagged these files (that was done before the dime upload, which by the way can be found here), so the file is wrongly tagged. CD2#8 has been shared originally as "Stablemates" by Benny Golson, but to me it doesn't sound like that... if anyone can help identifying it or CD2#5, for which none of those who commented my seed on dime had any propositions, please post a comment below!

Take this as an early x-mas special, there's going to be a second one coming in time, both here and on dime... more tenor sax, which is my favourite axe. Bad rhyhes, I admit, but they weren't writ to be rhymes.

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Stan Getz & Kenny Barron
Copenhagen (DK), Café Montmartre
March 3-6, 1991

Stan Getz - tenor sax
Kenny Barron - piano

CD1/66:11
1. Whisper Not (Benny Golson) 7:22
2. You Stepped Out Of a Dream (Brown-Kahn) 8:20
3. I Wish You Love [Que reste-t-il de nos amours] (Chauliac-Trenet-Beach) 7:22
4. Bouncing With Bud (Bud Powell) 8:57
5. Soul Eyes (Mal Waldron) 6:48
6. I'm Okay (Eddie Del Barrio) 5:31
7. You Don't Know What Love Is (Raye-De Paul) 8:59
8. You Stepped Out of a Dream (Brown-Kahn) 8:43
9. Gone With the Wind (Magidson-Wrubel) 6:03

CD2/75:44
1. First Song (for Ruth) (Charlie Haden) 11:05
2. Night and Day (Cole Porter) 8:46
3. Autumn Leaves (Kosma-Prevert-Mercer) 9:42
4. The End of a Love Affair (Edward Redding) 8:45
5. unknown (8:06)
6. I Wish You Love [Que reste-t-il de nos amours] (Chauliac-Trenet-Beach) 8:11 [cuts in]
7. People Time (Benny Carter) 6:05
8. unknown (7:52) (Benny Golson's "Stablemates"?)
9. Soul Eyes (Mal Waldron) 7:09

TT: 141:55

Sound: A- (some parts better, some worse)
Source: radio broadcasts (Danish Radio)
Lineage: RB > ? > dime > FLAC > WAV > Cool Edit Pro > FLAC (8,asb,verify)

Carla Bley - Paris 1980

Aller guten Dinge sind drei... so here's the third Carla Bley show, the last one for the moment. The earlier two are Chateauvallon 1977 and Austin 1978 - both among my favourites!
I got all three from dime originally, but did some edits (fixing marks, deleting radio announcers and such). This one here seems to be sourced from three radio broadcasts on French radio.
The band here is more like the "usual" gang: Mantler, Swallow, Dagradi, Earl McIntyre, and there's D. Sharpe, as well as the great Gary Valente!

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Carla Bley
Festival de Jazz de Paris
Paris (FR), Théâtre de la Ville
November 6, 1980

Michael Mantler - trumpet
Gary Valente - trombone
Earl McIntyre - euphonium
Joe Daley - tuba
Courtney Winter - soprano & alto sax, clarinet
Tony Dagradi - tenor sax
Carla Bley - piano, organ & vocals
Arturo O'Farrill - piano & organ
Steve Swallow - electric bass
D. Sharpe - drums

1. 8 1/2 (4:12) [slightly cut at beginning]
2. Utviklingssang (7:58)
3. I Can’t Get My Motor To Start (3:36) [cuts in]
4. I Want You To Love Me, But You Hate Me (2:40) [CB,DS-voc]
5. Very Very Simple (6:38) [AOF-voc]
6. Murder (4:29) [band & CB-voc]
7. Reactionary Tango (in three parts) (7:06) [cut]
8. Musique Mecanique (7:04)
9. Copyright Royalties (7:13)
10. Hot River (6:12) [GV-voc] [inc, fades]

TT: 57:13

Sound: A-
Lineage: FM > tapes > CD R > EAC > WAV > FLAC

Notes:
Bob Stewart was given on tuba, but the announcer mentions Daley in the announcement following #2, Steve Slagle was given as alto saxist instead of Courtney Winter, and O'Farrill & McIntyre were not listed originally.

Carla Bley - Chateauvallon 1977

Roller-rinkey organs, fervent soulful hymns by the horns... well, Carla Bley's band and songs, of course! With Gary Windo going apeshit, Hugh Hopper thudding on bass, Andrew Cyrille beating them drums, Mike Mantler blowing the trumpet, Roswell Rudd, John Clark and Bob Stewart completing the brass, the late great Elton Dean on alto, Terry Adams on piano... as well as an unknown guitar player soloing rather prominently on several of the songs included. Tempted? Well yeah! Some great Carla Bley here, once more, this time by a rather unusual band as you've seen!

Check out my earlier Carla Bley post: Austin 1978

If anyone has a clue who the guitar player might be, please comment! I googled up and down, but it seems everybody has the same info as me, and no one noticed a guitar player so far...
Edit: it's John Clark, thanks a lot for the info!

An addition to the great minor version of the US anthem is over on my musings page.

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Carla Bley Band
Chateauvallon (France), Festival de Jazz
August 24, 1977

Mike Mantler - trumpet
Roswell Rudd - trombone
John Clark - french horn & guitar
Bob Stewart - tuba
Elton Dean - alto sax
Gary Windo - tenor sax
Carla Bley - piano, organ, composer, arranger, conductor
Terry Adams - piano
Hugh Hopper - bass
Andrew Cyrille - drums

1. Song Sung Long (9:09)
2. Dreams So Real (4:50)
3. Drinking Music (6:22)
4. Wrong Key Donkey (10:35) [fm voiceover at end, fades]
5. Spangled Banner Minor and Other Patriotic Songs (24:52)

TT: 55:50

Sound: A-/B+ (#1-3), A- (#4,5)
Lineage: TWO FM sources > tapes > CD R > EAC > WAV > FLAC
Additional lineage: FLAC > WAV > CoolEditPro > FLAC (8,asb,verify)

Notes:
guitar is heard at least on #3
prob. 3 sources (#1-3, #4, #5)

Art Blakey / Tony Williams Group - Munich 1972

Here's a delightful funky little show starring both Art Blakey and Tony Williams! On keys there's the great George Cables (back to work after serious illness - all the best, George!) and on flute, there's Jeremy Steig.

This is stylistically another bit of a departure, and a foray into funky late 60s/early 70s territory (before jazz rock and so-called "fusion" got all formulas and all the creativity dried up). I hope you'll enjoy it!

Thanks go to the seeder on dime, I performed a couple of small edits only in this case - a very fine recording!


Art Blakey @ Monterey Jazz Festival 1972
Photo by Paul Slaughter

Art Blakey - Tony Williams - Group
Jazz Now Festival
München (Germany)
August 18, 1972

Jeremy Steig - flute
George Cables - piano, electric piano
Stanley Clarke - bass
Art Blakey - drums, voice
Tony Williams - drums
Ray Mantilla - timbales, congas, bongos
Buck Clarke - gong, bells, congas, african drums

1. Announcement AB (2:32)
2. Swamp Carol (Steig-Hammer) > Announcement AB (13:54)
3. Rita (George Cables) > Announcement AB (10:01)
4. Virginia (George Cables) > Announcement AB (13:24)
5. Cubano Chant (Ray Bryant) 23:13
6. unknown (9:25) [inc]

TT: 72:34

Sound: A
Source: SBD
No lineage info
Additional lineage #5/6: FLAC > WAV > Cool Edit Pro (fixed mark, deleted silence, added fade-out at end of #5) > FLAC (8,asb,verify)

::ubu's edits::
mark 5/6 was too early, following a bit of silence
> fixed mark, added fade-out at end of #5
the last 21 seconds of #6 were silent
> deleted

Swing Them Jingle Bells

While I'm generally not a big fan of x-mas music, here's a delightful little compilation sent to me several years ago by a dear friend. This is the one and only x-mas disc I spin now and then (right now I have Frank Haynes blowing on that great Dave Bailey session better known as Kenny Dorham's "Osmosis" - his solo on "Grand Street" is indeed grand - and dandy!). Anyway, I hope some of you will enjoy this compilation!

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Swing Them Jingle Bells

01 - Fats Waller & His Rhythm - Ring Them Jingle Bells
02 - BBC Dance Orchestra - Santa Claus Express
03 - Putney Dandridge - Santa Claus Came in the Spring
04 - New Mayfair Orchestra - Savoy Christmas Medley
05 - Duke Ellington - Santa Claus, Bring My Man Back
06 - Red Nichols & His Five Pennies - Parade of the Wooden Soldiers
07 - Sam Manning and the Melodettes with the Felix Crazy Cats - Lookin' for My Santa Claus
08 - Lew Stone - Winter Wonderland
09 - Bob Crosby - Skater's Waltz in Swingtime
10 - Gene Ammons - Swingin' for Christmas
11 - Big John Greer - Mambo Santa Claus
12 - Bob Wills & His Playboys - Swingin' Around the Christmas Tree
13 - Mel Blanc - The Hat I Got for Christmas Is Too Big
14 - Lloyd Glenn - Sleigh Ride
15 - Tommy Dorsey - Santa Claus Is Coming to Town
16 - Guy Lombardo - He'll Be Coming Down the Chimney
17 - Louis Armstrong - Christmastime in Harlem
18 - Charlie Parker - White Christmas
19 - Mabel Scott - Boogie Woogie Santa Claus
20 - Lionel Hampton - Merry Christmas Baby
21 - Louis Armstrong - Have a Cool Yule
22 - Duke Ellington - Jingle Bells
23 - Pete Johnson - Pete's Holiday Boogie
24 - Louis Armstrong - Is That You, Santa?
25 - Bing Crosby - White Christmas (original version)

Playing Time: 72:48

Clifford Brown/Max Roach Quintet - NYC 1956 (FLAC)

Here's a pair of short shows by the great Brown/Roach-Quintet. The second show doesn't feature Max Roach, but it's still that band.

This, like the Kirk show of a few days back, was fixed by the good PervFesser goody, and it was thanks to him that I got this at all! It was originally on dime, but for whatever reason (certainly *not* for Lonehill actually being a legit label!) it was banned there before I even saw it!

Read Barbara Gardener's article on Brownie's legacy (DownBeat, October 21, 1961) here. More about Brown and other trumpet players in jazz here.

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :. : . : . : . :

Clifford Brown & Max Roach Quintet
New York, NY (USA), Basin Street Club, 1956

Clifford Brown - trumpet
Sonny Rollins - tenor saxophone
Richie Powell - piano
George Morrow - bass
Max Roach (#1-2) / Willie Jones (#3-5) - drums

April 28, 1956
1. Valse Hot (Rollins) 8:08
2. I Feel a Song Comin' On (Fields/McHugh/Oppenheimer) 5:32

May 6, 1956
3. Sweet Clifford (Brown) 5:52
4. What's New? (Haggart/Burke) 3:30
5. Daahoud (Brown) 5:41

TT: 28:47

Sound: A-/B+
Lineage: Bootleg CD > EAC > FLAC >
goody: Nero Audio Editor > TLH

Notes from seeder on dime (this was banned there):
Source is a Spanish bootleg from Lone Hill Jazz; they date all the tracks above as April 28, but discographies for Rollins and Brown state otherwise. Additionally, different dates makes more sense as Roach is not the drummer on the May date. This material has also appeared on an Italian bootleg:
Max Roach - Clifford Brown Quintet Live At Basin Street, April, 1956 (Ingo [It] two)

goody's notes:
Pitch of 1, 2 was approx. 82 cents sharp. Pitch of 3 - 5 was approx. 97 cents sharp.
Corrected and FLACed. 2008-11-04

Martial Solal - Paris 2001 (fm > flac)

Here's a great solo show by one of my absolute favourites, pianist Martial Solal.

Solal has recorded many albums, penned some most memorable film scores (Godard's "A bout de souffle" to name just one), and is still actively performing at the tender age of 81! Here's to him, for some more healthy years of great musicianship! Merci, Martial!


: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :. : . : . : . :

Martial Solal
Paris (France), Maison de la Radio, Studio Olivier Messiaen de la
December 27, 2001

Martial Solal - piano

1. Zag Zig (Martial Solal) 4:45
2. I Can't Give You Anything But Love (Jimmy McHugh) 3:33
3. Sophisticated Lady (+ Prelude to a Kiss) (Duke Ellington) 5:25
4. Tea for Two (Youmans-Caesar) 3:48
5. Announcement MS (1:32)
6. "Bridge"-Medley (3:46):
Body and Soul > In a Sentimental Mood > Invitation
> Caravan > Sophisticated Lady > Darn That Dream
7. Announcement MS (0:39)
8. Easy to Love (Cole Porter) > Summertime (George Gershwin) 5:45
9. Softly As In a Morning Sunrise (Romberg-Hammerstein) 3:59
10. Blue Moon (Rodgers-Hart) 3:34
11. Body and Soul (Green-Heyman-Sour-Eaton) 5:35
12. Frère Jacques (trad.) 2:59
13. What Is This Thing Called Love (Cole Porter) 9:28
14. Take the "A"-Train (Billy Strayhorn) 3:24

TT: 58:20

Sound: A/A-
Source: France Musique "Jazz sur le vif"
Lineage: FM > ? > FLAC > WAV > Cool Edit Pro > FLAC (8,asb,verify)

Note: I downloaded this somewhere* in an untracked version (just 2 tracks)

::ubu's edits::
separated tracks
deleted fm talk during applause after #3, #8, #11, #13

*) I think from the comments on CIA, but I'm not sure - if the uploader happens to see this, many, many thanks for sharing!

Diana Krall - Marciac 2008

Here's a heavily edited short bit of Diana Krall, recorded live at Marciac in 2008. She's badmouthed in die-hard jazz circles, but I still think she's a pretty nice singer and a fine (if somewhat un-original) pianist. Her band includes guitarist Anthony Wilson, son of the great bandleader Gerald Wilson.

I downloaded this show from somewhere originally, and cut out the obnoxious radio announcer - typical French radio broadcast - they just can't shut up! And the worst is the guy usually waited until the applause was over and then, while the next song began, he started bullshitting - that explains why most of the titles or cut short somewhat. Most often it's only a few bars of the piano intros that are missing, but in one case, a whole 8 bars of the sing are missing. Now some may ask why I delete music - it's a personal preference: if I want to lean back and enjoy such a recording, I hate being interrupted by an announcer in between the music, even more so as the volume of these announcements is often considerably louder than the music itself. I'd be a happy passenger if all radio stations proceeded as Swiss Radio: some introductory words, then all the music there's time for, and a short outro at the end (usually they even fade out the applause *before* even opening their mouth).

Of course - as a small ceterum censeo - I do agree with any notion that the marketing of the pretty blonde is way over the top (I think it started around the time of what I still consider her finest album, "Love Scenes"). The funniest bit of it is the photo from the cover of her x-mas album, à la Balthus.

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :. : . : . : . :

Diana Krall
Jazz à Marciac
Marciac (France), Sous Chapiteau
August 7, 2008

Diana Krall (p,voc), Anthony Wilson (g), Bob Hurst (b), Jeff Hamilton (d)

1. The Look Of Love (4:06) [inc, fade-in]
2. Announcement DK (0:28)
3. I'll String Along (5:10) [inc, fade-out]
4. 'Deed I Do (8:52) [fade-in]
5. I've Got You Under My Skin (6:34) [fade-in]
6. Announcement DK (0:10)
7. I Was Doing All Right (8:14) [fade-in]

TT: 33:39

Sound: A/A-
Source: France Inter live broadcast
Lineage: FM > CDRW > HD > CDWAVE > CDR > www (FLAC) > ubu'e edits: > WAV > Cool Edit Pro > FLAC (8,asb,verify)


Note:
I deleted bits of music because the obnoxious announcer started talking before the tunes ended or only began talking when the next one started.
Mostly it's just parts of piano intros missing, but the whole first 8 bar of "I Was Doing All Right" are missing.
"The Look of Love" was being performed as the broadcast started.

Malombo

Over on the great matsuli music blog, there's a post dedicated to Philip Tabane and his band Malombo - go and check it out!

http://matsuli.blogspot.com/2008/11/music-of-spirit.html

That blog is heartily recommended!

Roland Kirk - Berlin, Paris, Milan 1964 - final fixed version

Here it is, finally - thanks a lot to david and goody for pointing out and helping solve all issues with this compilation!
It turned out #5 and #6 of the "fixed" version shared before were almost a whole step sharp.

Some other things have been corrected, too - for instance the line-up for #2 and #3. Also the latest info I found said it was Tete on #4-6.

This shall be the final version, I'm sure! And this should be the only version to be spread on! I finally hope I got it all right this time!

I'm seeding this again on dime right now, links here will be up in a day or two!

*****************************************************************
***definitive version - goody pitch-corrected***
*****************************************************************

Roland Kirk Quartet (#1,4-6)
Roland Kirk/Sonny Stitt/J.J. Johnson/Johnny Griffin - Jazz Band Ball (#2,3)

Roland Kirk - flute, manzello, stritch, tenor sax, voice

Berlin (Germany), Philharmonie, Jazztage - September 26, 1964
Tete Montoliu - piano; Jimmy Woode - bass; Kenny Clarke - drums
1. So Long Note, Baby (6:54)

Berlin-Schöneberg (Germany), Prälaten, Jazztage 1964 - September 27, 1964
Sonny Stitt - alto sax (#2); Johnny Griffin - tenor sax (#3); J.J. Johnson - trombone (#3); Tete Montoliu (or Walter Bishop) - piano; Tommy Potter (or Peter Trunk or Jimmy Woode) - bass; Kenny Clarke - drums
2. Au Privave (Charlie Parker) 15:33 [solos:SS,RK,p,SS/RK]
3. Steeplechase (Charlie Parker) 7:57 [solos:JJJ,JG,RK-cut]

Paris (France) - October 2, 1964
Tete Montoliu - piano; Tommy Potter - bass; Kenny Clarke - drums
4. Domino (Ferrari-Plante-Raye) 4:09

Milano (Italy), Teatro dell'Arte al Parco - October 10, 1964
Tete Montoliu - piano; Tommy Potter - bass; Kenny Clarke - drums
5. All By Myself (Irving Berlin) 6:34
6. I Remember Clifford (Benny Golson) 7:09

TT: 48:18

Sound: B & B+
Original Lineage: radio (#1,2,3,6) / tv (#4,5) > ? > CDR in trade > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)

ubu's edits:
- fixed marks, added fade-ins and fade-outs
- deleted small gaps around original marks
- deleted partial radio talk segments
- #5 (used to be #4 in previous seeds): left channel 6 DB boost

note:
Sonny Stitt "Loose Walk" (Philology (It) W 43-2) contains a 1964-09-24 version of "Au Privave" with Stitt, Kirk, Tete, Potter or Woode and Clarke.

**************************************************************
***professor goody - additional editing info***
**************************************************************

Professor goody: dBpowerAMP (WAV) > Cool Edit Pro (Pitch Bender) > TLH (FLAC, sigs)


Thanks to ubu for his original seed. The text above the line is all his. I changed the track times to reflect the results of the speed/pitch correction.

Thanks to bigfootpezao for reseeding this set, which reminded me that I should fix this thing already. I forgot about it all this time. Sorry about that, but now it's finally being presented to all you lucky people here at the pitch and tempo it was originally performed.

Thank you, Mr. Kirk. For all your various names, instruments, brilliance, and breath. There was never anyone like you, and there hasn't been anyone, since you graced us with your presence.

goody - 8/29/08

************************
***seed history***
************************

originally shared by ubu
re-seeded by bigfootpezao
fixed by goody and "GoodyPitchFix"-version shared by ubu
#5/6 again fixed by goody, "final-GoodyPitchFix"-version shared by ubu


final note: after the date-correction for #4, the order of the tracks was adjusted (to present the music chronologically); #4 originally followed what are now #5 and #6 as the original information I had dated it to October 22 (ubu - 2008-08-04)

The Real Sounds - BBC Sessions

Here are some very joyful tunes by the Real Sounds from Zimbabwe!
Here's some info on them. I don't know anything beyond that, but I enjoyed their music tremedously!

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :. : . : . : . :

Real Sounds of Africa (Zimbabwe) - BBC Sessions 1987 & 1989
Andy Kershaw Sessions (BBC Radio One)
Broadcast September 1987 (#1-4) & January 19, 1989 (#5-8)
#1-4: recording date unknown
#5-8: recorded December 1, 1988

1. Poto (4:58)
2. Dynamos vs Caps (7:43)
3. Marume (5:37)
4. Sophie (7:54)
5. Oye Oye (4:10)
6. Umwele zele (5:39)
7. Maginga (5:20)
8. Maifa (5:36)

TT: 46:57

Sound: A/A- (first session in mono)
Lineage: Marantz tuner > Sony TC-WE435 cassette deck > TDK SA90 cassettes > Cool Edit 2000 (normalised and cleaning up beginnings/ends of songs) > CDWave > TLH 1.1.1 flac level 6 > you

Django Reinhardt All Star Sessions (1935-38)

Here's a little compilation - the best of Reinhardt's dates with American guests, featuring him with luminaries such as Coleman Hawkins, Benny Carter, Dicky Wells, and Bill Coleman, and with some of the pre-eminent French jazzmen of the day like Alix Combelle and André Ekyan. Stéphane Grappelli, Django's Hot Club partner, is on piano on some of these sessions.

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :. : . : . : . :

Django Reinhardt & His American Friends
A Selection of All Star Sessions, 1935-38

Django Reinhardt (g)

with:

#1-4: Coleman Hawkins & Michel Warlop Orchestra:
Arthur Briggs, Noël Chiboust, Pierre Allier (t), Guy Paquinet (tb), André Ekyan, Charles Lisée (as,cl), Alix Combelle (ts,cl), Coleman Hawkins (ts), Stéphane Grappelli (p), Eugène d'Hellemmens (b), Maurice Chaillou (d)
Paris, March 2, 1935

#5-8: Coleman Hawkins & His All-Star "Jam" Band:
Benny Carter (as,t), André Ekyan (as), Coleman Hawkins (ts), Alix Combelle (ts,cl), Stéphane Grappelli (p), Eugène d'Hellemmens (b), Tommy Benford (d)
Paris, April 28, 1937

#9-11: Benny Carter & His Orchestra:
Benny Carter (as,t,arr), Fletcher Allan (as), Alix Combelle (ts), Bertie King (ts,cl), York de Souza (p), Len Harrison (b), Robert Montmarché (d)
Paris, March 7, 1938

#12-17: Dicky Wells & His Orchestra:
Bill Dillard, Bill Coleman, Shad Collins (t), Dicky Wells (tb), Richard Fullbright (b), Bill Beason (d)
note: omit Dillard and Collins on #15-17
Paris, July 7, 1938

CD rip @ 320 kbs

Bill Evans Trio - Seattle 1966

More music to come soon... here, for a first, some classic jazz - pianist Bill Evans, one of those artists that I am fascinated by, again and again, yet there are long periods where I hardly listen to their music at all.

This here's a short recording with Eddie Gomez (early in his long stay with Evans), and drummer Joe Hunt. I grabbed this from dime months ago and right now am re-seeding my own fixed version, which is the same as you can get here.

1966 is the year of the earliest material in Evans' "Secret Sessions" box (Fantasy), and the year of his Verve album recorded live at Town Hall. Later that year, he also teamed up with Monica Zetterlund. And some footage of an Oslo concert of his trio (with Gomez and Alex Riel) has been bootlegged and has of course also found its way to YouTube. Watch a 1966 TV interview here.
Finally, here's a bad-quality glimpse at the lovely Monica Zetterund in Copenhagen, backed by Evans' trio. There are better-quality films around, but those would be too much work to share here, I'm afraid.

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Bill Evans Trio
Seattle, WA (USA), The Penthouse
May 12, 1966

Bill Evans - piano
Eddie Gomez - bass
Joe Hunt - drums

1. radio intro (0:47) [cut @ 0:27]
2. How My Heart Sings (4:11)
3. 'Round Midnight (7:46)
4. Come Rain or Come Shine (5:48)
5. If You Could See Me Now (4:17)
6. Who Can I Turn To (5:16)
7. radio outro (0:15)

TT: 29:14

Sound: A-/B+
Original Lineage: FM - MR - cass - CD


:::: Lineage ::::

Original Lineage: FM - MR - cass - CD
goody: Nero (pitch corrected +50 cents) > TLH (fix SBEs, create sigs)
ubu: FLAC > WAV > Cool Edit Pro > FLAC (8,asb,verify)


::goody edits::
Pitch was approximately 50 cents flat. Don't worry, though. I took care of it.
Track 5 was actually the 1st track.
I've placed the tracks in what I believe to be the proper order.
I've also removed gaps and applied a small fade. No EQ or added noise reduction. It already sounds like there's a ton of it.

This has previously been (and, unfortunately, it will also continue to be) shared by many collectors for years in a bit of an incorrect state. However, it was that state that got it to THIS state. So let's not discount its value in the lineage. But hopefully, this one will have a life through reseeds. I place it in your hands.

Now, I can give a little bit back with this significant pitch-corrected, remastered upgrade.


::ubu edits::
separated fm intro from #1 and outro from #6
fixed all marks - no sonic treatment!


Note: Larry Bunker was given as drummer but at the end of #4 Joe Hunt is announced by the radio announcer

Brotherhood of Breath

In absence of new posts of my own, let me point out a live show by Chris McGregor's Brotherhood of Breath, over on that great place, Inconstant Sol.
Altena 1972

The info pulled together should now read like this:

Brotherhood of Breath
Altena (DE)
June 24 (1-3) & June 25 (4), 1972

prob. line-up:
Harry Beckett, Marc Charig - trumpet
Malcolm Griffith, Nick Evans - trombone
Mike Osborne - alto sax
Dudu Pukwana (#4 only) - alto sax
Gary Windo - tenor sax
poss. unknown (Alan Skidmore? Evan Parker?) - tenor sax
Chris McGregor - piano
Harry Miller - bass
Louis Moholo - drums

1. Call [Ismite Is Might]
2. Mra > Andromeda
3. Do It > Think of Something [inc]
4. The Serpent's Kindly Eye [inc]

TT: 36:31

Sound: A-/B+
Lineage: FM > ? > CDR > EAC > WAV > FLAC

My guess for second tenor is only because BoB usually had two tenors in the line-up. It's not based on aural evidence. For that, I'd have to dig up my CDR and play this show again...

I assume the dates to be correct now, as the guy who mentioned #4 being from the following night did not correct my date posted in the comments over there.
If anyone knows more about the location or if this concert was part of some festival etc, please post it in the comments over there!

More BoB to follow right here, I think, I hope...

Volker Kriegel - Hamburg, January 26, 1973 (NDR Jazz Workshop)

Another scheduled post - this shall delight some of the fans of the great MPS blow (see my link list). No time to do much of a write-up, but this once again is a dime show that I fixed and added full info to. Hope some of you will enjoy! Kriegel did some rather crappy and cheap "fusion" or rather muzak, I guess, later on, but for this show, he's in fast company!


Volker Kriegel, Berlin 1971 (photo: Karlheinz Klüter)

Volker Kriegel - NDR Jazz Workshop #85
Hamburg (Germany), NDR Funkhaus, Studio 10
January 26, 1973

Stan Sulzman - saxophone, flute
Zbigniew Seifert - violin
John Taylor - electric piano
Volker Kriegel - electric & acoustic guitars
Peter Warren - cello
Eberhard Weber - bass, bass guitar
Joe Nay - drums
Peter Giger - percussion

1. Missing Link (Kriegel) 10:29
2. Three Or Two In One (Kriegel) 10:59
3. Hoe Up and Down (Kriegel) 2:02 [VK/ZS duo]
4. Between The Seasons (Kriegel) 8:36
5. Lastic Plemon (Kriegel) 3:40
6. Blue Titmouse (Kriegel) 9:49
7. Forty Colours (Weber) 4:17
8. A Piece with a Chord from a Yorkshire Terrier (Kriegel) 16:32

TT: 66:28

Sound: A-
Source: Radio broadcast > ? > cassette > ? > CDR
Lineage: CDR from trade > EAC > TLH > FLAC
Seeded on dime (with just Hamburg and no line-up/setlist)
Edited by ubu (corrected marks, separated #3/#4 and #5/#6, added info)

Note: Electric Blue (18:26) was commercially released on "NDR Jazzworkshop '73" (NDR 0666 238)

Radio Jazz Group Stuttgart - March & April 1980 (7/7)

Another interesting combination of musicians to end the series - French, Scandinavian, American, German... quite a mix if you look at the line-up!

Here are the previously posted shows

Radio Jazz Group Stuttgart - February 1974 (1/7)
Radio Jazz Group Stuttgart - February 27, 1976 (2/7)
Radio Jazz Group Stuttgart - April 9, 1976 (3/7)
Radio Jazz Group Stuttgart - March 3, 1977 (4/7)
Radio Jazz Group Stuttgart - June 13, 1977 (5/7)

Post #6 is just below.

Again, links are hidden down here, this is posted on schedule while I'm still away.

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :

Radio Jazz Group Stuttgart
Stuttgart (Germany), Villa Berg


#1-3: March 31, 1980
Radio Jazz Group Stuttgart + Michel Air Wolfgang Engstfeld Perspective

Wolfgang Dauner - piano
Palle Daniellson - bass
Leroy Low - drums
Didier Lockwood - violin

#4: April 25, 1980
Radio Jazz Group Stuttgart + Toto Blanke's Electric Circus

Norbert Dömling - bass
Heinrich Hock - drums
Charlie Mariano - soprano sax
Trilok Gurtu - percussion
Johannes Faber - trumpet
Wolfgang Dauner - piano
Toto Blanke - guitar


1. Continuous Flow (7:20)
2. Changes (7:43)
3. Blues For Ede (7:22)
4. Bolero Torcello (23:32) [inc]

TT: 45:59

Sound: A/A-
Lineage: FM > Revox A76 Tuner > Revox A77 (1/2 track, 7 1/2 ips)
March 2007: Revox A77 (1/2 track, 7 1/2 ips) > Audiophile 2496 > CDWave > Flac frontend

Radio Jazz Group Stuttgart - June 8, 1978 (6/7)

Next one in my series of shares by the Radio Jazz Group Stuttgart, led by pianist Wolfgang Dauner. This finds Dauner in a most interesting setting: some of the Dutch guys (Tristan Honsinger, Altena), Rüdiger Carl and Hans Reichel, as well as Irène Schweizer and the enigmatic Stephan Wittwer, plus poet Anton Bruhin. Quite a mix!

Here are the previously posted shows:

Radio Jazz Group Stuttgart - February 1974 (1/7)
Radio Jazz Group Stuttgart - February 27, 1976 (2/7)
Radio Jazz Group Stuttgart - April 9, 1976 (3/7)
Radio Jazz Group Stuttgart - March 3, 1977 (4/7)
Radio Jazz Group Stuttgart - June 13, 1977 (5/7)

The links are hidden below - don't state where they are in the comments, please, just have a close look! I don't want to invite any trolls while I'm away!

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :

Carl-Reichel-Wittwer-Schweizer-Dauner-Honsinger-Altena-Bruhin
Radio Studio SWR Villa Berg, Stuttgart (DE)
June 8, 1978

Rüdiger Carl - tenor sax, clarinet, bass clarinet, flute, piccolo, accordion, percussion
Hans Reichel - violin
Stephen Wittwer - guitar
Irène Schweizer - piano, percussion
Wolfgang Dauner - piano
Tristan Honsinger - cello, voice
Maarten van Regteren Altena - bass, cello
Anton Bruhin - voice, harmonica, percussion

Dieter Zimmerle (fm announcer)

1. Zichtels Wunsch (poem: Bruhin) > Steel Five (15:34)
2. FM Introduction (Dieter Zimmerle) (1:05)
3. Ouvertüre [omit WD] > S'Zehnerli (33:38)
4. FM Closing announcement (0:25)

TT: 50:43

Sound: A-
Lineage: FM broadcast > cassette (unknown gen) > CD-R > .wav > flac (level 6)

Radio Jazz Group Stuttgart - June 13, 1977 (5/7)

Another one... I'll be away for three weeks now but I'll try (for the first time) to schedule some posts to appear (you'll have to get the files from the posts, I'll hide them somewhat - don't think there's a way to have a post appear with comments at a given future point in time).

Here are the previously posted shows

Radio Jazz Group Stuttgart - February 1974 (1/7)
Radio Jazz Group Stuttgart - February 27, 1976 (2/7)
Radio Jazz Group Stuttgart - April 9, 1976 (3/7)
Radio Jazz Group Stuttgart - March 3, 1977 (4/7)

For this show, Wolfgang Dauner teamed up with some of the most important figures of european improvisded music, namely Schlippenbach, Evan Parker, Peter Kowald, and Pauls Lytton and Lovens, as well as trombonist Günter Christmann.

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :

Christmann/Parker/Schlippenback/Dauner/Kowald/Lovens/Lytton
Radio Studio SWR Villa Berg, Stuttgart (DE)
June 13, 1977

Günter Christmann - trombone
Evan Parker - soprano & tenor sax
Alexander Von Schlippenbach - piano
Wolfgang Dauner - piano, synthesizer
Peter Kowald - bass
Paul Lovens - drums, percussion
Paul Lytton - drums, percussion, electronics

1. unknown (15:33)
2. unknown (14:41)
3. unknown (19:28)
4. unknown (9:12)
5. unknown (11:16)

TT: 70:18

Sound: A-
Lineage: FM broadcast > cassette (unknown gen) > CD-R > .wav > flac (level 6)

Roland Kirk 1964 - again!

Just a quick note, to be replaced by a full post with links later - Messrs. Wise and Goodman have helped me a lot with the Kirk material, and another error was discovered in the previous "definitive" version, namely tracks 5 and 6 running at wrong speed... I have received fixed files already but it will take some more time to finally, finally, get this right and up again!

Radio Jazz Group Stuttgart - March 3, 1977 (4/7)

Sorry for the long breaks between posts - most of my time is dedicated to other things right now (work, mostly, so nothing to be happy about...).
Here's the fourth of seven Radio Jazz Group Stuttgart shows, again check out the first post for some details.

Here are the previously posted shows

Radio Jazz Group Stuttgart - February 1974 (1/7)
Radio Jazz Group Stuttgart - February 27, 1976 (2/7)
Radio Jazz Group Stuttgart - April 9, 1976 (3/7)

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :

Koppelaar-Carl-Reichel-Dauner-Honsinger
Radio Studio SWR Villa Berg, Stuttgart (DE)
March 3, 1977

Bert Koppelaar - trombone
Rüdiger Carl - tenor sax, clarinet, accordion
Hans Reichel - guitar, violin
Wolfgang Dauner - piano
Tristan Honsinger - cello, voice

1. unknown (5:30)
2. unknown (14:32)
3. unknown (24:30)
4. unknown (6:28)

TT: 51:07

Sound: A-
Lineage: FM broadcast -> cassette (unknown gen) -> CD-R -> .wav -> flac (level 6)

Flat Earth Society - oh hell yeah!

Here's a pairing of two partial concerts by a terrific Belgian band called Flat Earth Society, or short, F.E.S. Founded and lead by Peter Vermeersch, FES mixes brass band sounds with various other styles, including jazz (of course - why else would I have come aware of them?!) - but check out wiki for some more information or better yet, pay a visit to their homepage!

Thanks to my friend couw for providing some great cover art!



The Flat Earth Society

Peter Vermeersch - clarinet, leader
Tom Wouters - clarinet, percussion, xylophone, vibraphone
Benjamin Boutreur - saxophones
Bruno Vansina - saxophones
Michel Mast - saxophones (2008 only)
Tom Callens - tenor saxophone (2007 only)
Bart Maris - trumpet
Sam Vloemans - trumpet (2007 only)
Yves Rudy Reunes - trumpet (2008 only)
Stefaan Blancke, Marc Meeuwissen - trombone
Berlinde Deman - tuba
Wim Willaert - accordion
Peter Vandenberghe - piano
Jimi Tenor - keyboards (2008 only)
Pierre Vervloesem - guitar (2008 only)
Kristof Roseeuw - double bass
Teun Verbruggen - percussion


The Flat Earth Society
Saalfelden (Austria), Jazzfestival
August 24, 2007 (Friday, 1 am) [31:54]

1. Without > Psycho Shout (Peter Vermeersch) 13:02
2. Clusterthing (Peter Vermeersch) 7:31
3. Waterman (Peter Vermeersch) 4:07
4. Edward, Why Don't You Play Some Blues (Peter Vandenberghe) (7:11)


Flat Earth Society - meets Jimi Tenor
North Sea Jazz Festival 2008 (33rd edition)
Rotterdam (The Netherlands), "Congo", Ahoy Rotterdam
July 11, 2008 [22:08]

5. Europa (Jimi Tenor) 4:26
6. unknown (Jimi Tenor) 3:06
7. Mesmerize Me (Jimi Tenor) 6:47
8. unknown (Jimi Tenor) 7:47


TT: 54:02

Sound: A


::Saalfelden::

Source: BBC Jazz on 3 / 2008-06-27
Lineage: BBC DAB (MPEG-I Layer II at 192 kb/s joint stereo) > Yamaha 1300 audio HDR
Editing: Increased volume of part of track 03 by +5dB ((9.06-10.52)
Transfer: CDRW > Nero 7 > Flac Frontend (level 6)


::Rotterdam::

Source: Radio6 / 2008-07-12
Lineage: Cable FM > Pioneer TX-608 (tuner) > Edirol R-09 > WAV > CoolEdit Pro 2.1 (track splitting) > foobar2000 > FLAC level 8



NOTES:
does #1 go into a second tune @ 7:05 ?

Roland Kirk - Berlin, Paris, Milan 1964 - fixed re-up

A kind reader of my blog whose request was one of the main reasons why I posted these Kirk tracks here in the first place, has helped me fixing the info and identifying the track from Philology/Musica Jazz's Stitt disc as a duplicate (running way too fast!) of a title already included in my own material. So here is everything again, with amended/completed/fixed info, plus with the identification of Tete Montoliu as the pianist all over (for #4 - used to be #5 in the first up - it was clear to my own humble ears that it must be Tete!).

Let me put in a good word for this discography here, I helped with it as much as I could, too:
Tete Montoliu Discography by Agustín Pérez

One more thing that kind reader let me know about is that the first (and complete) tenor solo on #3 (used to be #4) is by the one and only, the late great Johnny Griffin! How could I not notice that in all the years I've had these Kirk shows? Holy holy! Kirk's own solo follows but gets cut short. I'm not positive of Stitt's presence on that title, I can hear J.J. and Kirk's reed section riffing behind the Little Giant.

Further to that, this version now also includes a cover, using a great sketch of Kirk by Alastair Graham.

Here's a very spcecial offering: I got the material compiled here in a trade, re-grouped and cleaned it up (just fixing marks and stuff, not fiddling around with the music itself) and put it up on dime. That was quite a while ago. In the meantime, someone else put it up again, and then perv-fesser goody stepped in, fixing the speed of all but one tracks. In that form, I put it up again on dime a couple of of weeks ago, and now it's on the blog as well. And even better, there's something included now which likely wouldn't have passed the scrutiny on dime, another long Stitt/Kirk version of "Au Privave", the great Parker tune. Tete Montoliu, the late great Catalonian piano player is present on most/all of this. In the rhythm section, we get some bop veterans, Tommy Potter on bass, and Kenny Clarke on drums, as well as ex-Ellingtonian Jimmy Woode (by then a member of the Kenny Clarke/Francy Boland Orchestra), and possibly also great German bass player, Peter Trunk. There's some uncertainty regarding bass and piano duties, but ey, this is mostly about Kirk (and some Stitt and Jay Jay), anyway!

Hope you'll enjoy this! Bright Moments! Bright Moments!

************************************************
***definitive version - goody pitch-corrected***
************************************************

Roland Kirk Quartet (#1,4-6)
Roland Kirk / Sonny Stitt / Johnny Griffin / J.J. Johnson - Jazz Band Ball (#2,3)


Roland Kirk - flute, manzello, stritch, tenor sax, vocals


Berlin (Germany), Philharmonie, Jazztage - September 26, 1964

Tete Montoliu - piano
Jimmy Woode - bass
Kenny Clarke - drums

1. So Long Note, Baby (6:54)


Berlin-Schöneberg (Germany), Prälaten, Jazztage 1964 - September 27, 1964

Sonny Stitt - alto sax (#2, poss. #3 but not heard in solo)
Johnny Griffin - tenor sax (#3)
Jay Jay Johnson - trombone (#3)
Tete Montoliu (or Walter Bishop) - piano
Tommy Potter (or Peter Trunk or Jimmy Woode) - bass
Kenny Clarke - drums

2. Au Privave (Charlie Parker) 15:33
3. Steeplechase (Charlie Parker) 7:57 [cut]

note:
Sonny Stitt "Loose Walk" (Philology (It) W 43-2) gives Tete as pianist and 1964-09-24 as date for their fast-running version of "Au Privave" (14:36)
Two further titles attributed to this session, "Parker's Mood" (1:33, inc) and "My Little Suede Shoes" (14:03) are not in my possession


Paris (France), 1st Paris Jazz Festival, "Newport à Paris", Salle Pleyel - October 2, 1964

Tete Montoliu - piano
Tommy Potter - bass
Kenny Clarke - drums

4. Domino (Ferrari-Plante-Raye) 4:09

Notes:
Walter Bishop was given as pianist in my source's info, but it sounds like Tete both to me and to the expert doing the Tete discography.


Milano (Italy), Teatro dell'Arte al Parco - October 10, 1964

Walter Bishop - piano
Tommy Potter - bass
Kenny Clarke - drums

5. All By Myself (Irving Berlin) 5:51
6. I Remember Clifford (Benny Golson) 6:23


TT: 46:48
Sound: B & B+
Original Lineage: radio (#1,2,3,6) / tv (#4,5) > ? > CDR in trade > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)

ubu's edits:
- fixed marks, added fade-ins and fade-outs
- deleted small gaps around original marks
- deleted partial radio talk segments
- #5: left channel 6 DB boost


***********************************************
***professor goody - additional editing info***
***********************************************

Additional lineage (goody's edits): dBpowerAMP (WAV) > Cool Edit Pro (Pitch Bender -57 cents - tracks 2-4,6) > TLH (FLAC, sigs)

Note: Pitch of #1-3 and #5-6 was approximately 57 cents sharp. Corrected and FLACed.

Thank you, Mr. Kirk. For all your various names, instruments, brilliance, and breath. There was never anyone like you, and there hasn't been anyone, since you graced us with your presence.

goody - 8/03/08


******************
***seed history***
******************

originally shared by ubu
re-seeded by bigfootpezao
fixed by goody and definitive "goody-version" shared by ubu


*****************
***final notes***
*****************

- after the date-correction for #4, the order of the tracks was adjusted (to present the music chronologically); #4 originally followed what are now #5 and #6 as the original information I had dated it to October 22 (ubu - 2008-08-04)
- the version of "Au Privave" on Philology's Stitt compilation seems to be identical but totally off-speed (running only 14:36)
- a kind reader has altered me to Johnny Griffin's presence on #3 - indeed the first tenor solo is clearly by him, while the second (cut off) is by Kirk. I am not sure if Stitt can be heard in the backings, but JJ and Kirk do some riffing behind Griffin.

Radio Jazz Group Stuttgart - April 9, 1976 (3/7)

Check out posts #1 and #2 of this series:

Radio Jazz Group Stuttgart - February 1974 (1/7)
Radio Jazz Group Stuttgart - February 27, 1976 (2/7)

The third show features the Brötzmann Trio (with Fred van Hove and Han Bennink) plus bassist Adelhard Roidinger, as well as leader/host Wolfgang Dauner - quite a combination!

: . : . : . : . : . : . : . : . : . : . : . : . : . : . : . :

Brötzmann-Dauner-Van Hove-Roidinger-Bennink
Radio Studio SWR Villa Berg, Stuttgart (DE)
April 9, 1976

Peter Brötzmann - tenor & bass sax, clarinet
Wolfgang Dauner - piano, electric piano
Fred Van Hove - piano, organ
Adelhard Roidinger - bass
Han Bennink - drums, percussion

1. unknown (25:13)
2. unknown (26:37) [inc]

TT: 51:53

Sound: A-
Source/Quality: RB
Lineage: FM broadcast -> cassette (unknown gen) -> CD-R -> .wav -> flac (level 6)

Carla Bley - Austin 1978 (FLAC)

Here's a smoking hot show by the great Carla Bley. Sound isn't stellar, but believe me, the music is! Phillip Wilson is kicking on the traps, and the horns are quite a bunch of greats: Carla Bley. Sound isn't stellar, but believe me, the music is! Phillip Wilson is kicking on the traps, and the horns are quite a bunch of greats: Gary Windo (going apeshit, of course...), John Clark and George Lewis, Bob Stewart, Mike Mantler and Alan Braufman. Swallow hadn't arrived at this point (or was he just not available? I don't know the history of the Bleys/Peacocks/Mantlers/Hadens/Swallows - quite a bunch of great gals and guys who were involved quite, uhm, deeply, it seems...), instead we get one Patty Price (no trace I found on google). Also keyboardist Blue Gene Tyranny (what a name!) is a total unknown to me as well.


Carla Bley Band 1977 (l.t.r. standing: Bob Stewart, Terry Adams, Mike Mantler, Roswell Rudd, Hugh Hopper, Andrew Cyrille, Elton Dean, sitting: Carla Bley, John Clarke, Gary Windo)
[Photo from inside of European Tour CD]

Carla Bley
Austin, TX (USA), Armadillo World HQ
March 27, 1978

Carla Bley - piano, organ, arrangements
Mike Mantler - trumpet
John Clark - french horn
George Lewis - trombone
Bob Stewart - tuba
Alan Braufman - alto sax
Gary Windo - tenor sax
Blue Gene Tyranny - keyboards
Patty Price - bass
Phillip Wilson - drums

1. 440 (12:01)
2. Ida Lupino (8:57)
3. Drum-Solo > Jesus Maria & Other Spanish Strains (11:59)
4. Drinking Music (5:40)
5. unknown [encore] > band intros/radio outro (15:01) [spliced at 8:46]

Compositions by Carla Bley

TT: 53:43

Sound: A-

Lineage: no info (fm)
Additional Lineage: FLAC > WAV > GoldWave (editing) > FLAC (8)(asb)

Note: either Braufman or Windo can also be heard on flute

Radio Jazz Group Stuttgart - February 27, 1976 (2/7)

Here's the second of seven Radio Jazz Group Stuttgart shows I'm uploading. For some more information, check out the first post of this little series:

Radio Jazz Group Stuttgart - February 1974

**********************************************************

Rutherford-Carl-Dudek-Reichel-Dauner-Honsinger-Garrett
Radio Studio SWR, Villa Berg, Stuttgart (DE)
February 27, 1976

Paul Rutherford - trombone
Rüdiger Carl - tenor sax, clarinet, flute, accordion
Gerd Dudek - soprano & tenor sax, flute
Hans Reichel - guitar
Wolfgang Dauner - piano, synthesizer
Tristan Honsinger - cello, vocals
Raphael Don Garrett - bass

1. unknown (6:18)
2. unknown (11:50)
3. unknown (15:59)
4. unknown (21:27)

TT: 55:34 (55:41)

Sound: A-
Source: radio broadcast
Lineage: FM broadcast -> cassette (unknown gen) -> .wav -> flac (level 6)

NOTE: this has 2 second gaps!

Danke & Hut ab! Albert Mangelsdorff (1928-2005)

It's been a bit more than three years now that German trombone great Albert Mangelsdorff died. Here's a re-broadcast from German radio (I grabbed it from dime - thanks a lot to the seeder!), featuring Mangelsdorff in duo with French sax player Jean-Rémy Guédon.

Albert Mangelsdorff & Jean-Rémy Guédon - 'Rendezvous' - Duo Concert
Saarbrücken (Germany), Johanneskirche
April 20, 1997 (MP2 @ 256)

Albert Mangelsdorff - trombone
Jean-Rémy Guédon - tenor sax

1. Spoken intro Albert Mangelsdorff (1:41)
2. Exercise for Improvisers (Mangelsdorff) 17:15
3. Ann AM (0:11)
4. Paredi (Guédon) > Ann AM (9:53)
5. Free Improvisation No. 1 > Ann AM (10:06)
6. Free Improvisation No. 2 (12:26)
7. Free Improvisation No. 3 > Ann AM (8:56)
8. Kartell (Guédon) > Ann AM (12:58)
9. Danke, Hut ab! (Mangelsdorff) 15:25
10. Ann AM (1:18)
11. Free Improvisation No. 4 (9:20)
12. unknown (4:01) [inc]

TT: 103:30

Sound: A
Source: DVB-S@256, 48kHz > raw data > ProjextX > mp3DirectCut > mp2

rants or comments?

I've had quite a few impatient, impolite, rude, rough, disrespectful, uncivil comments that more seemed to be like rants than comments. That makes it rather unpleasant to write this blog. I enjoy sharing some music, but I have a life outside of this blog (and away from the computer, too). I don't have the time nor the equipment (nor the money) to just fulfill all the wishes (and demands - who the hell really thinks he can ask anything from me? Do you know me or what?).

That should be clear enough.

Further I do understand that some readers' grasp of the english language might make it difficult to get all the twists and wrinkles. However, english is not my mothertongue either and it's sometimes difficult for me to find the right words as well.j I hope to treat these readers kindly in my reactions to their comments, and I hope I have apologized to all those whom I've treated a bit less kindly in the past.

Anyway, as english has become the lingua franca, I still feel like I am allowed to ask anyone dropping by here to actually read my posts. Sometimes you can only find some links when you actually read the whole thing, and if you don't please don't just post a question (or a threat) in the comments, alright? Show some kindness, behave politely, and now open one of your favourite beverages, spin some good tunes and relax!

Summer has arrived here a few weeks back, though it's been rainy and chilly in between, but still, summer may slow down my posting activities, here and elsewhere. I hope no one posts any unruly comments because of that...

I also won't allow any anonymous comments from now on. It's easy to sign up with any of the services that allow you to post here, believe me. If I could figure out how to write that blog, how to rip, tag, encode and upload music and more, I feel like I may ask for just a bit of patience and for grown-up and decent behaviour from anyone who drops by here. Understood?

Also, the ratio of comments vs. downloads is very much not in favour of the readers/downloaders. Possibly some don't realise the work and time I put into this blog, but I'd certainly appreciate a  shout now and then!