The fourth album by Miles Davis’ second classic quintet, Nefertiti is best known for the unusual title track, on which the horn section repeats the melody numerous times without individual solos while the rhythm section improvises underneath, reversing the traditional role of a rhythm section. Also featured are the lilting ballad “Fall”, Williams’s “Hand Jive”, a more bobbish composition, and the other pieces showcase the group’s unique post-bop approach. Both “Nefertiti” and “Riot” entered the Davis quintet’s live set. The music of Nefertiti, while mostly low-key and impressionistic, is rooted in hard bop. [source]
This is a little masterpiece composed by John Coltrane. The first track from the album Olé Coltrane, with only three tracks, plus an additional “bonus” track, recorded may 25 1961, A&R Studios NY. It was Coltranes last album on Atlantic Records, released february 1962. Coltrane tries to explore the larger group format. Olé features Eric Dolphy, Freddie Hubbard, Art Davis, McCoy Tyner, Reggie Workman and Elvin Jones, and Coltrane himself, quite a large ensemble, a septet.
When he recorded Olé Coltrane in 1961, Trane was already transitioning over to Impulse! Records, and his playing reflected the greater freedom that the new label afforded him. In the original liner notes, he is quoted as saying (in a classic understatement), “I like to play long.” On the 18-minute showpiece, “Olé”, one can imagine the profound satisfaction he must have felt, when for the first time, he was free to let his playing stretch out across the record grooves. This is trance music of the highest order. Recorded one year after his former boss Miles Davis released Sketches of Spain, Trane’s “Olé” resonates with the mystical sounds of the North African Moors who once ruled the Iberian Peninsula. “Olé” explores the Eastern-influenced musical modes of Islamic Spain in a more stripped down and earthy manner. [source]
The Line Up:
John Coltrane (Soprano Sax), Eric Dolphy (Flute), Freddie Hubbard (Trumpet), McCoy Tyner (Piano), Reggie Workman (Bass), Art Davis (Bass), Elvin Jone (Drums)
“Together in Paris” is the last track on the album of same name by Marco Di Marco/ Chris Wood Sextet. It is recorded by Marco Di Marco in 1974. They share the writing and bring a swinging rare delight of uptempos, moods, solos and atmospheric jazz in this magical collaboration . Dusty groove filled with direct beauty and lyricism and style.
One of our favorite jazz albums of all time — and an amazing showcase for the soulful saxophone talents of American player Chris Woods! Woods spent a fair bit of his career in Paris, which is one reason why his talents aren’t that well known on this side of the Atlantic — but even there, he rarely got the chance to record — which is one reason why this album is such a treasure. The other, though, is pianist Marco Di Marco — the Italian player who was recording at the time with bassist Jacky Sampson and drummer Charles Saudrais — both excellent rhythm players who helped Marco to find an amazingly fluid groove — one that brought together elements of soul jazz, bossa, and modal rhythms, all into a mix that’s as effortlessly grooving as it is sprightly, lyrical, and beautiful. Woods really rises to the occasion here, and delivers some of his most sensitive work on record — playing both alto and flute on the session, alongside a mix of Fender Rhodes and acoustic piano from Marco, and some tasty added bongos and congas on the set
This was a tough one to find for a long time but was reissued by Arision a few years ago- although it appears to be out of stock in most places possibly deleted already. [source]
Workin’ with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on May 11, 1956 and October 26 in the same year resulted in four albums—this one, Relaxin’ with The Miles Davis Quintet, Steamin’ with The Miles Davis Quintet and Cookin’ with the Miles Davis Quintet. Track 2 is a composition written for Davis by Eddie Vinson (see Blue Haze for more details). “Trane’s Blues” (also known as “Vierd Blues”, a tongue-in-cheek reference to Blue Note founder Francis Wolff’s heavily-accented verdict on it), also credited to Davis, is in fact a John Coltrane composition (originally titled “John Paul Jones”, and from an earlier session led by bassist Paul Chambers. Before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker’s “The Hymn”.) On “Half Nelson”, Paul Chambers plays the bassline on a cello.
Miles Davis – trumpet
John Coltrane – tenor saxophone
Red Garland – piano
Paul Chambers – bass, cello
Philly Joe Jones – drums
Purple Sun is a festive fusion album that works well within the constraints of the idiom and avoids all its pitfalls. Stanko and company liberally mix On the Corner-era Miles Davis with the tonal advancements of the Mahavishnu Orchestra. The addition of well-thought out melodies makes this one of the finer and most tasteful statements in an often-overworked genre. “Boratka/Flute’s Ballad” and “Falir” are rooted in the loose meandering of Miles’ early ’70’s work-slinky vamps, riffing rather than walking bass, and lengthy solo segments. Purple Sun is more successful if only because Hartmann is a much more inventive bassist than Michael Henderson. Stanko’s playing on these tracks is also very reminiscent of Miles, especially because of the layers of echo added to his tone. The two shorter pieces are actually the more interesting, “My Night My Day” sporting a melody that would make a James Bond soundtrack proud and the title track layering a celebratory unison horn line over funky fast-paced rhythmic accompaniment. [Source]
Bass – Hans Hartmann
Drums, Percussion – Janusz Stefański
Saxophone [Soprano, Tenor], Flute, Percussion – Janusz Muniak
Trumpet – Tomasz Stańko
Violin, Saxophone [Alto] – Zbigniew Seifert
We Insist! Max Roach’s Freedom Now Suite is a jazz album released on Candid Records in 1960. It contains a suite which Max Roach and lyricist Oscar Brown had begun to develop in 1959 with a view to its performance in 1963 on the centennial of the Emancipation Proclamation. The cover references the sit-in movement of the Civil Rights Movement. The Penguin Guide to Jazz has awarded the album one of its rare crown accolades, in addition to featuring it as part of its Core Collection. The music consists of five selections concerning the Emancipation Proclamation and the growing African independence movements of the 1950s. Only Roach and Lincoln perform on all five tracks, and one track features a guest cameo by one of the inventors of jazz saxophone playing, Coleman Hawkins.
Max Roach — drums
Abbey Lincoln — vocals
Booker Little — trumpet on “Driva Man,” “Freedom Day,” “All Africa,” and “Tears for Johannesburg”
Julian Priester — trombone on “Driva Man,” “Freedom Day,” and “Tears for Johannesburg”
Walter Benton — tenor saxophone on “Driva Man,” “Freedom Day,” and “Tears for Johannesburg”
Coleman Hawkins — tenor saxophone solo on “Driva Man”
James Schenk — bass on “Driva Man,” “Freedom Day,” and “Tears for Johannesburg”
Michael Olatunji — congas, vocal on side two
Raymond Mantilla, Tomas du Vall — percussion on side two
