Jimmie Lunceford and his Orchestra recorded in New York City, January 26, 1934. Composed and arranged by Will Hudson.
The Inflated Tear is an album by Roland Kirk released in 1968. One of his most popular albums and sometimes regarded as his magnum opus, it established his reputation as a jazz composer and earned him a modicum of respect in music circles who had previously written him off as a sideshow. It was re-released in 1998 by Rhino featuring a bonus track and extensive liner notes.
The Blues and the Abstract Truth is a jazz album by Oliver Nelson recorded in February 1961. It remains Nelson’s most acclaimed album. It features a lineup of notable musicians: Freddie Hubbard, Eric Dolphy (his last appearance on a Nelson album following a series of collaborations recorded for Prestige), Bill Evans (his only appearance with Nelson), Paul Chambers and Roy Haynes. Baritone saxophonist George Barrow does not take a solo but is a key feature of the subtle voicings of Nelson’s arrangements. The album is an exploration of the mood and structure of the blues, though only some of the tracks are in conventional 12-bar blues form. In this regard, though it is not modal jazz, it may be seen as a continuation of the trend towards greater harmonic simplicity and subtlety via reimagined versions of the blues that was instigated by Miles Davis’s Kind of Blue in 1959 (Evans and Chambers played on both albums). Of the pieces on Nelson’s album, “Stolen Moments” is the most famous; it is a sixteen-bar piece (in an eight-six-two pattern), though the solos are on a conventional 12-bar minor-key blues structure in C minor. “Hoe-Down” is built on a forty-four-bar structure (with thirty-two-bar solos based on “rhythm changes”).
[via Ole Wennike]
In 1963, Eric Dolphy recorded two of his most rewarding sessions which were originally released on two LPs: Conversations and Iron Man. This music has been reissued numerous times through the years, including in total on this two-LP set; it deserves to come out on CD. These dates are among Dolphy’s finest with the challenging material interpreted by a constantly shifting personnel. Three numbers (“Jitterbug Waltz,” “Iron Man,” and “Mandrake”) find the multi-instrumentalist (alto, flute, and bass clarinet) playing unconventional music with a quintet that includes two masterful musicians at the beginning of their careers: vibraphonist Bobby Hutcherson and trumpeter Woody Shaw. Two other pieces (“Burning Spear” and “Music Matador”) have Dolphy interacting with a variety of top young avant-gardists including Shaw, Hutcherson, Clifford Jordan on soprano, altoist Sonny Simmons, and Prince Lasha on flute. In addition, there are three duets with bassist Richard Davis (“Come Sunday,” “Alone Together,” and “Ode to Charlie Parker”) and an unaccompanied alto piece (an intense “Love Me”). Quite a varied set, essential music for any jazz collection.
Flute – Eric Dolphy
Vibraphone – Bobby Hutcherson
Trumpet – Woody Shaw
Bass – Eddie Kahn
Drums – J.C. Moses
Written-By – Fats Waller
[via James Prothero on Diaspora]
Art Farmer (flg), Jim Hall (g), Steve Swallow (b), Pete LaRoca (d). England, June 6, 1964.