Duke Ellington & His Orchestra – Satin Doll (1962)

From the movie JAZZ FESTIVAL, Vol. 2 – Duke Ellington and His Orchestra, recorded 9 January 1962.

Ray Nance – Trumpet / Shorty Baker – Trumpet / Cat Anderson – Trumpet / Bill Berry – Trumpet / Ed Mullens – Trumpet / Lawrence Brown – Trombone / Leon Cox – Trombone / Chuck Connors – Trombone  / Russell Procope – Alt Saxophone / Johnny Hodges – Alt Saxophone / Paul Gonsalves – Tenor Saxophone  / Jimmy Hamilton – Clarinet, Tenor Saxophone / Harry Carney – Bars / Duke Ellington – Piano / Aaron Bell – Bass / Sam Woodyard – Drums

 

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Charles Mingus – Love Chant (1956)

Pithecanthropus Erectus is a 1956 album by jazz composer and bassist Charles Mingus. Mingus noted that this was the first album where he taught arrangements to his musicians by ear in lieu of writing everything down. [source]

Tracks on Pithecanthropus Erectus: 1. Pithecanthropus Erectus – 10:36 / 2. A Foggy Day – 7:50 (George Gershwin) / 3. Profile of Jackie” – 3:11 / 4. Love Chant – 14:59

Line up: Charles Mingus – Bass / Jackie McLean – Alto Saxophone / J. R. Monterose – Tenor Saxophone / Mal Waldron – Piano / Willie Jones – Drums

 

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Ornette Coleman – All My Life (1971)

All My Life is from Ornette Colemans album Science Fiction, recorded in 1971 and released in 1972 on Columbia Records.

Science Fiction was Ornette Colemans creative rebirth, a stunningly inventive and appropriately alien-sounding blast of manic energy. Coleman pulls out all the stops, working with a variety of different lineups and cramming the record full of fresh ideas and memorable themes. Bassist Charlie Haden and drummers Billy Higgins and/or Ed Blackwell are absolutely indispensable to the overall effect, playing with a frightening, whirlwind intensity throughout. The catchiest numbers — including two songs with Indian vocalist Asha Puthli, which sound like pop hits from an alternate universe — have spacy, long-toned melodies that are knocked out of orbit by the rhythm section’s churning chaos, which often creates a totally different pulse. [source]

Ornette Coleman – Alto Saxophone  / Charlie Haden – Bass / Billy Higgins – Drums  /                     Ed Blackwell – Drums / Dewey Redman – Tenor Saxophone /                                                   Carmon Fornarotto – Trumpet / Gerard Schwarg – Trumpet / Asha Puthli – Vocals

 

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Don Rendell & Ian Carr – Black Marigolds (1968)


Don Rendell Ian Carr from 1968 accompanied by Michael Garrick – Piano; Dave Green – Bass; Trevor Tomkins – Drums.
An essential piece of British jazz – end of story. [source]

Dave Green –  Bass
Trevor Tomkins – Drums
Michael Garrick – Piano
Don Rendell – Tenor Saxophone, Soprano Saxophone, Flute
Ian Carr – Trumpet, Flugelhorn

 

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Pharoah Sanders – The Healing Song (1971)

From Live at the East by Pharoah Sanders.

Another spiritual jazz gem- “Live at the East” is one of the most consistently and astonishingly brilliant albums Pharoah Sanders has ever put out. This is somewhat surprising as Sanders was without both pianist Lonnie Liston Smith and vocalist Leon Thomas, both of whom contributed heavily to his previous albums and their success. In their place, Sanders had a pianist and a percussionist who would be part of his music for the next several years– Joe Bonner and Lawrence Killian.

Opener (and lengthiest track) “Healing Song” is probably the most like Sanders’ early work, with the leader stating the theme passionately before moving into an extended improv that included a fantastic bass duet. [source]

Tracks: 1. Healing Song / 2. Lumkili Pts 1 & 2 / 3. Memories of J. W. Coltrane

Cecil McBee – Bass
Stanley Clarke – Bass
Lawrence Killian – Congas, Marimba (Bailophone)
William Hart – Drums
Norman Connors – Drums
Carlos Garnett – Flute, Vocals
Joseph Bonner – Piano, Harmonium
Pharoah Sanders – Saxophone
Harold Vic – Tenor Vocals
Marvin Peterson – Trumpet

 

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Max Roach / Abdullah Ibrahim – Streams of Consciousness (1977)

This duo is the title track on the album Streams of Consciousness by Abdullah Ibrahim and Max Roach.

Abdullah Ibrahim, then known as Dollar Brand, went into the studio with Max Roach on September 20, 1977. In his brief but all-encompassing notes, Roach says that there were no rehearsals and no plans as to what they were going to record. Sure, it is said that they were friends, and shared social and cultural backgrounds. Those are good points of reference but there has to be something more: a perspicacity, a feel, anticipation and vision that have to course through the blood and in the mind. Roach and Ibrahim are in the swell of the tide. Now that this recording is available once more, listen to two articulate imaginaries as they take you on their completely improvised journey, savor the experience and acknowledge, as well, the good sense that activated the re-release of the music.

The sum of the four tunes, witness the names given them, make up the breathtaking whole. The title tune runs just over 21 minutes, every one of which is a dynamic of exploration. Ibrahim sets up the mood in a virtuosic panoply of rich euphonic piano chording that Roach reinvents with a shifting timbral pulse. [source]

Tracks: Streams of Consciousness / Inception / Acclamation / Consanguinity

Personnel: Max Roach – Drums / Abdullah Ibrahim – Piano

 

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[Dedicated to Ronnie Rocket, as thanks for the confidence]