This version of Honeysuckle Rose, original written by Fats Waller and here arranged By Bennie Carter, is side A on the 78´vinyl from 1937 with Coleman Hawkins and his All-Star “Jam” Band recorded in Paris.
Coleman Hawkins – Tenor saxophone
Bennie Carter – Alto saxes
Django Reinhardt – Guitar
Stephane Grappelly – Piano
D’Hellemmes – Bass
Tommy Benford – Drums
André Ekyan – Alto saxophone
Alix Combell – Tenor saxophone
Oasis is the first track on the solo album By Myself by Abdul Wadud, released on Bisharra in 1977.
An outstanding cellist, Abdul Wadud has concentrated solely on the instrument since the age of nine, and never decided to double on bass. His plucking and bowed solos have been featured in jazz and symphonic/classical settings, and Wadud´s easily the finest cellist to emerge from the ’60s and ’70s generation. He studied at Youngstown State and Oberlin in the late ’60s and early ’70s. He played in the Black Unity Trio at Oberlin and met Julius Hempill; the two subsequently worked together well through the ’80s. Wadud played in the New Jersey Symphony Orchestra in the ’70s, and earned his master’s degree in 1972. He played with Arthur Blythe for the first time in 1976, and has since maintained a working relationship with him. He also worked and recorded with Frank Lowe, George Lewis, Oliver Lake, Sam Rivers, Cecil Taylor, David Murray, Chico Freeman, Anthony Davis and James Newton in the ’70s and ’80s. [source]
Tracks on By Myself: Oasis / Kaleidoscope / Camille / Expansions / In A Breeze / Happiness
Abdul Wadud: Cello
Bush Baby by Arthur Blythe is from his album Illussions, recorded in april and may in New York in 1980 and released later same year.
Illussions is Jazz saxophonist Arthur Blythe´s third album for the Columbia label recorded in New York City in 1980. [source]
All compositions by Arthur Blythe: 1. Bush Baby (6:28) / 2. Miss Nancy (7:24) / 3. Illusions (4:10) / 4. My Son Ra ( 5:59) / “Carespin’ With Mamie (7:04) / As of Yet (5:04)
Bob Stewart – Tuba
Bobby Battle – Drums
James Blood Ulmer – Electric Guitar
Arthur Blythe – Alto Saxophone
Abdul Wadud – Cello
Dogon A.D. is an album by saxophonist Julius Hempill released on in 1972, originally on Hemphill’s own Mbari Records, and later on the Freedom label in 1977. The album was recorded in St. Louis, Missouri in February 1972. One track recorded at the same recording session, “The Hard Blues,” was eventually released in 1975 on Hemphill’s album Coon Bid´ness. It was reissued on CD in 2011 using the Arista reissue cover art and adding “The Hard Blues” from the “Coon Bidness” album as a bonus track. [source]
All compositions by Julius Hemphill
Side One: 1. “Dogon A.D.” -14:30 / 2. “Rites” – 8:07 / Side Two: 1. “The Painter” – 15:00
Julius Hemphill – Alto saxophone, Flute
Baikida E.J. Carroll – Trumpet
Abdul Wadud – Cello
Phillip Wilson – Drums
Angels is the second track on the side B on the album Spirits Rejoice by Albert Ayler, recorded and released in 1965.
Recorded live at New York’s Judson Hall in 1965, Spirits Rejoice is one of Albert Ayler´s wildest, noisiest albums, partly because it’s one of the very few that teams him with another saxophonist, altoist Charles Tyler. It’s also one of the earliest recordings to feature Ayler´s brother Don playing an amateurish but expressive trumpet, and the ensemble is further expanded by using bassists Henry Grimes and Bary Peacock together on three of the five tracks; plus, the rubato “Angels” finds Ayler interacting with Call Cobbs´ harpsichord in an odd, twinkling evocation of the spiritual spheres. Aside from that more spacious reflection, most of the album is given over to furious ensemble interaction and hard-blowing solos that always place in-the-moment passion above standard jazz technique. [read more]
Albert Ayler – Saxophone, Tenor Saxophone
Donald Ayler – Trumpet
Call Cobbs – Harp, Harpichord
Henry Grimes – Bass
Sunny Muray – Drums, Percussion
Gary Peacock – Bass
Charles Tyler – Alto Saxophone, Unknown Contributor Role
A Love Supreme is a studio album recorded by John Coltrane´s quartet in December 1964 and released by Impulse! Records in February 1965. It is generally considered to be among Coltrane’s greatest works, as it melded the hard bop sensibilities of his early career with the free jazz style he adopted later.
The quartet recorded the album in one session on December 9, 1964, at the Van Gelder Studio in Englewood Cliffs, New Jersey. Coltrane´s home in Dix Hills, Long Island, has been suggested as the site of inspiration for A Love Supreme. [source]
1. Part 1: Acknowledgement (7:47)
2. Part 2: Resolution (7:22)
3. Part 3: Pursuance (10:45)
4. Part 4: Psalm (7:08)
John Coltrane – Tenor Saxophone
McCoy Tyner – Piano
Jimmy Garrison – Bass
Elvin Jones – Drums
Watch the only public live performance of Love Supreme: Resolution (1965), France.
Watch the only public live performance of Love Supreme: Acknowledgement (1965), France.
“Dancers in Love” (also known as “Stomp for Beginners” and “Naivete”) was composed and debuted as a piano solo by Duke Ellington during a April, 1944 Carnegie Hall concert which saluted Fats Waller, who had died suddenly from pneumonia while on tour in December, 1943. Before the end of the year, the song was incorporated into “The Perfume Suite,” which made its debut during the Duke Ellington Orchestra’s December, 1944 Carnegie Hall concert. This happy miniature, usually played as a piano solo or duet with a bass, gave Ellington a chance to show off his ragtime roots, and was often used in concert as an encore to encourage the audience to snap their fingers along with it. Long after Ellington had pretty much retired the entire suite from his book, he continued to feature the song during his performances, playing it until near the end of his career. Many commercially issued versions of “Dancers in Love” by Ellington are available, include concert performances recorded by the U.S. Treasury Department for transcription use, but the best overall recording is likely the studio arrangement taped for Ellington’s Piano Reflections, his historic small group session for Capitol. It is surprising that relatively few jazz musicians have tackled this upbeat piece, though Ram Ramirez recorded it in 1946 and another pianist, Jimmy Rowles, taped it for a hard to find French LP (Scarab) in 1977. Red Norvo interpreted it as a solo vibraphone feature during the 1990 Swing Reunion concerts, while guitarist Howard Alden and pianist Bill Mays each recorded valuable arrangements during the 1990s. [source]