Ella Fitzgerald version from her 1956 album, Ella Fitzgerald Sings the Cole Porter Songbook.
Recorded live in Paris, France, June 11, 1964. Originally released in 1988 on the album Last Recordings by Eric Dolphy and rereleased in 2010 on The Complete Last Recordings by Eric Dolphy. Eric Dolphy died 18 days after this recording and apparently it was the very last time he recorded at all.
Jacques Hess – Bass
Eric Dolphy – Bass Clarinet
Franco Monzecci – Drums
Jack Diéval – Piano
Nathan Davis – Tenor Saxophone
Donald Byrd – Trumpet
Recorded August 12, 1969 in Paris. Last track on the B side of the album Yasmina, a Black Woman by Archie Shepp.
It features musicians from the Art Ensemble of Chicago. The first track, giving its title to the album, is a long free jazz piece by an eleven-piece orchestra; in it, the references to Africa that Shepp had experimented with only a few weeks earlier in Algiers are to be found in the use of African percussion instruments, or the African incantations sung by Shepp himself at the beginning of the track. The other two pieces, a homage to Sonny Rollins written by trombonist Grachan Moncur III and a standard, played by a more traditional quintet and quartet respectively, are more reminiscent of the hard bop genre, although the fiery playing of the musicians, notably Shepp himself, gives them a definite avant-garde edge. [source]
Archie Shepp – tenor saxophone
Dave Burrell – piano
Malachi Favors – bass
Philly Joe Jones – drums.
[via Ronnie Rocket]
Recorded, August 16, 1969, Paris.
As the ’60s drew to a close in a hail of blood and lead, jazz gradually began to close its doors. What had blossomed in the ’50s and ’60s as young men struggled to raise a music out of the whorehouses of New Orleans and into the concert halls turned into something less and more than it had been. Musicians like Archie Shepp no longer looked to the future or to what they might borrow from classical forms. Instead, they looked back to the cotton fields, the slave market, and the slum to find their voice. The music took an angry turn, emphatically stating, “This is our music.” Stunned by the assassinations of Martin and Malcolm, many young musicians turned from a country and a culture they thought had betrayed them. Archie Shepp went to Paris. There, in the summer of 1969, he cut these albums, each a classic in its own right, each a milestone in an under-appreciated career. Blasé looks back to the blues, soaked in harmonica and the brooding duet of Shepp’s throaty tenor and Jeanne Lee’s magnificent, pensive voice. [source]
Archie Shepp – tenor saxophone / Jeanne Lee – vocal / Lester Bowie – trumpet, fluegelhorn / Chicago Beau – harmonica / Julio Finn – harmonica /Dave Burrell – piano / Malachi Favors – bass / Philly Joe Jones – drums
Improvisation On 1st Movement From Concerto In D Minor by JS Bach is arranged by Django Reinhardt and recorded in Paris in 1933.
Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music often said to have been started by guitarist Jean “Django” Reinhardt in the 1930s. Django was foremost among a group of Gypsy guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt’s brother Joseph “Nin-Nin” Reinhardt.
Many of the musicians in this style worked in Paris in various popular Musette ensembles. The Musette style waltz remains an important component in the Gypsy jazz repertoire. Reinhardt was noted for combining a dark, chromantic Gypsy flavor with the swing articulation of the period. This combination is critical to this style of jazz. In addition to this his approach continues to form the basis for contemporary Gypsy jazz guitar. Reinhardt’s most famous group, the Quintette du Hot Club de France, also brought fame to jazz violinist Stéphane Grappelli. [source]
Django Reinhardt – Guitar
Eddie South – Violin
Stéphane Grappelli – Violin