Joe Pass

Joe Pass - The Stones Jazz - 1966 - World Pacific

An album of songs by the Rolling Stones hardly sounds like promising material for any jazz release, even in the hands of a master guitarist like Joe Pass. Featuring ten of their hits with arrangements by Bob Florence and an unidentified cast of musicians, other than tenor saxophonist Bill Perkins, this LP was clearly one for a paycheck when most jazz players were scratching for work. Unlike the works of Lennon and McCartney of the Beatles, the Rolling Stones' music doesn't lend itself to jazz. Pass doesn't solo with the gusto one came to expect from his many great sessions from the 1970s to the end of his life for Pablo and elsewhere. Even the closing blues "Stones Jazz," credited to Florence and Pass, sounds severely dated and not worth a second hearing to today's jazz listener. A very unlikely candidate for reissue on CD, this record will be sought by Joe Pass fanatics only. © Ken Dryden © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/r145223

A short album recorded at World Pacific Jazz Studios, Los Angeles, CA, in July, 1966. Joe Pass once said that when the Beatles first came to America "his studio work, and everyone else's dried up after February 1964". "The only musicians able to get studio work were those able to play the "new sounds". Joe Pass and other jazz musicians found it necessary to make records like this to go with the musical flow to earn some money. Joe Pass also said that this record was made "for fun", and that he enjoyed recording it. Some music critics deem Jagger & Richard's songs unsuitable for jazz interpretations. Listen to Tim Ries' "Rolling Stones Project", which is a brilliant jazz covers album of Stones' tunes. The late Joe Pass was an exceptionally talented jazz guitarist, and "The Stones Jazz" although it's a very good album should not be taken too seriously by jazz purists, and certainly not as an example of Joe Pass' best work. In fact, Joe's guitar work is only one part of the album. There is also guitar by Dennis Budimir and John Pisano, and the excellent piano, trombone, and sax work is worth focusing on. I wonder has Charlie Watts ever commented on this album? Listen to Joe's great "Songs for Ellen" and "Chops" albums [All tracks @ 320 Kbps: File size = 78.6 mb]

TRACKS / COMPOSERS

A1 Play With Fire - N. Phelge (Nanker Phelge is a songwriter pseudonym used by the Rolling Stones between 1963 and 1965. It was used for collaborations by the whole band, i.e. Mick Jagger, Brian Jones, Keith Richards, Charlie Watts and Bill Wyman.) 2:58
A2 19th Nervous Breakdown - Richard, Jagger 2:58
A3 I Am Waiting - Richard, Jagger 2:53
A4 Lady Jane - Richard, Jagger 2:52
A5 Not Fade Away - Charles Hardin Holley (aka Buddy Holly) & Norman Petty 2:35
A6 Mother's Little Helper - Richard, Jagger 2:54

B1 (I Can't Get No) Satisfaction - Richard, Jagger 3:10
B2 Paint It Black - Richard, Jagger 3:25
B3 What A Shame - Richard, Jagger 2:58
B4 As Tears Go By - Andrew Loog Oldham, Richard, Jagger 3:05
B5 Stone Jazz - Bob Florence & Joe Pass 2:50

MUSICIANS

Joe Pass, Dennis Budimir, John Pisano - Guitar
Chuck Berghofer - Bass
Bob Florence - Piano
John Gain - Drums
Victor Feldman - Percussion
Bill Perkins - Tenor Sax
Milt Bernhardt, Dick Hamilton, Herbie Harper, Gale Martin - Trombone

BIO

Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later. Joe Pass had a false start in his career. He played in a few swing bands (including Tony Pastor's) before graduating from high school, and was with Charlie Barnet for a time in 1947. But after serving in the military, Pass became a drug addict, serving time in prison and essentially wasting a decade. He emerged in 1962 with a record cut at Synanon, made a bit of a stir with his For Django set, recorded several other albums for Pacific Jazz and World Pacific, and performed with Gerald Wilson, Les McCann, George Shearing, and Benny Goodman (1973). However, in general Pass maintained a low profile in Los Angeles until he was signed by Norman Granz to his Pablo label. 1973's Virtuoso made him a star and he recorded very prolifically for Pablo, unaccompanied, with small groups, on duo albums with Ella Fitzgerald, and with such masters as Count Basie, Duke Ellington, Oscar Peterson, Milt Jackson, and Dizzy Gillespie. Pass remained very active up until his death from cancer. © Scott Yanow © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/joe-pass-p7292/biography

Wes Montgomery

Wes Montgomery - The Incredible Jazz Guitar Of - 2003 - Definitive

This outstanding release features the extremely rare recording of Wes Montgomery, live at the Half Note in New York, and in Hamburg. One of the greatest improvisers in jazz, Wes stretches out on these two spectacular live recordings. In the New York concert, Wes joins forces with the brilliant pianist Harold Mabern, whose post-bop concept and swinging feel are a perfect complement to his own ingenious playing, while in the Hamburg concert, Montgomery teams up with French piano phenomenon Martial Solal. “Today the legacy of Wes Montgomery is regarded with the highest appreciation and the deepest reverence. His revolutionary technique, impassioned playing and innovative spirit, have placed him in the annals of history, as one of the all-time great legends of jazz.” (Excerpt from the liner notes)

Recorded live at the Half Note, NY in February 1965, and Hamburg, Germany in April 1965. In the New York concert, Wes plays with pianist Harold Mabern, while in Hamburg, Wes plays with French pianist Martial Solal. N.B: This is not the same album as "The Incredible Jazz Guitar Of Wes Montgomery" with Tommy Flanagan, Percy Heath, and Albert Heath recorded in 1960 and released on the Riverside label. If you're buying this album check the track lists. Both albums are often issued with an identical front cover. Listen to Wes' "Full House" and "Live at Ronnie Scott's" albums [All tracks @ 320 Kbps: File size = 135 Mb]

TRACKS / COMPOSERS

1 Caravan (Live) - Duke Ellington, Irving Mills, Juan Tizol 8:32 *
2 'Round Midnight (Live) - Thelonious Monk, Bernie Hanighen, Cootie Williams 10:02 *
3 Four On Six (Live) - Wes Montgomery 10:26 *
4 Here's That Rainy Day (Live) - Johnny Burke, Jimmy VanHeusen 7:19 **
5 Twisted Blues - Wes Montgomery 5:10 **
6 Four Oh Six - Wes Montgomery 6:11 **
7 Here's That Rainy Day - Johnny Burke, Jimmy VanHeusen 8:12 *
8 Blue Monk - Thelonious Monk 6:20 **

N.B: * Recorded for radio broadcast, WABC-FM, "Half Note", NYC, February 12, 1965: ** Recorded at NDR Studio 10, Hamburg, West Germany, April 30, 1965

MUSICIANS

Wes Montgomery - Guitar
Michel Gaudry, Arthur Harper - Bass
Harold Mabern, Martial Solal - Piano
Jimmy Lovelace, Ronny Stephenson - Drums
Johnny Griffin - Tenor Sax

SHORT BIO

Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. It had taken Wes a long time to become an overnight success. He started to teach himself guitar in 1943 (using his thumb rather than a pick) and toured with Lionel Hampton during 1948-1950; he can be heard on a few broadcasts from the period. But then Montgomery returned to Indianapolis, where he was in obscurity during much of the 1950s, working a day job and playing at clubs most nights. He recorded with his brothers vibraphonist Buddy and electric bassist Monk during 1957-1959 and made his first Riverside album (1959) in a trio with organist Melvin Rhyne. In 1960 the release of his album The Incredible Jazz Guitar of Wes Montgomery made him famous in the jazz world. Other than a brief time playing with the John Coltrane Sextet (which also included Eric Dolphy) later in the year, Wes would be a leader for the rest of his life. Montgomery's recordings can be easily divided into three periods. His Riverside dates (1959-1963) are his most spontaneous jazz outings, small-group sessions with such sidemen as Tommy Flanagan, James Clay, Victor Feldman, Hank Jones, Johnny Griffin, and Mel Rhyne. The one exception was the ironically titled Fusion!, a ballad date with a string section. All of the Riverside recordings have been reissued in a massive 12-CD box set. With the collapse of Riverside, Montgomery moved over to Verve, where during 1964-1966 he recorded an interesting series of mostly orchestral dates with arranger Don Sebesky and producer Creed Taylor. These records were generally a good balance between jazz and accessibility, even if the best performances were small-group outings with either the Wynton Kelly Trio or Jimmy Smith. In 1967 Wes signed with Creed Taylor at A&M and during 1967-1968 he recorded three best-selling albums that found him merely stating simple pop melodies while backed by strings and woodwinds. His jazz fans were upset, but Montgomery's albums were played on AM radio during the period. He helped introduce listeners to jazz, and his live performances were as freewheeling as his earlier Riverside dates. Unfortunately at the height of his success, he died of a heart attack. However, Montgomery's influence is still felt on many young guitarists. © Scott Yanow © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/wes-montgomery-p7162/biography

Dudley Moore Trio

Dudley Moore Trio - Dudley Moore Trio - 1969 - Decca

There are many, many people who are totally ignorant of the fact that the late Dudley Moore, who as well as being a great actor, was also an extremely talented jazz composer and pianist. Dudley's approach to music, especially jazz was seriously important to him. He liked his music to have a swinging and happy feel. He was strongly influenced by the playing of Erroll Garner and Oscar Peterson, who he idolized, and this album, at times is similar to the conceptual styles of these great artists .Dudley Moore's compositions have a lovely romantic and beautiful feel to them. This 1969 "self titled" album are all Dudley Moore compositions and was the first album by the Trio that did not feature any cover versions. It is a lovely album and deserves to be heard by a bigger audience. There was an outstanding album "Jazz Jubilee" released in 2004 which featured concerts by The Dudley Moore Trio recorded in Australia and England during the seventies. The revenue from this record's sale was, at the time, going to charities supported by Dudley Moore. I don't know if the album is still available, but if you see it, check that the charity rules still apply, and if so, think about buying the album.

TRACKS

1 Fanfare
2 120 Plus Optional Magic Exploding Cadence
3 Chimes
4 Love Song from an Imaginary Musical
5 Bags of Chris
6 Pop and Circumstance
7 Romantic Notion
8 Folk Song
9 Amalgam
10 Nursery Tune
11 Hymn

All compositions by Dudley Moore

ABOUT THE TRIO

Dudley Moore - Piano, born on 19 April, 1935, Dagenham, England. Died on 27 March, 2002. A hugely talented comedian, actor, composer and jazz pianist.

Chris Karan - Drums, born October 14, 1939], is a jazz percussionist, primarily a drummer, of Greek descent from Melbourne. He played in Mike Nock's trio. He also worked with Roy Budd and Katie Melua, along with putting out CDs of his own. Other than drums he has an interest in various percussion styles of the world and plays the tabla on some albums.

Jeff Clyne - Bass, born 29 January 1937, in London is a British jazz bassist (playing both bass guitar and double bass). Some of the great artists he has played with include Isotope, Nucleus, Julie Driscoll, Kevin Ayers, Georgie Fame, John McLaughlin, and Zoot Sims.

BIO [DUDLEY MOORE]

Dudley Stuart John Moore was born on 19 April, 1935. Coming from a working class background, this Dagenham lad was to struggle through his early childhood with a clubfoot and a mildly deformed left leg. Even after many corrective operations, he still had to run the gauntlet of name-calling and bullying. It is little wonder that he hid behind his musical talents. As a six-year-old, Dudley sang in the church choir and from the age of eight was taught the piano - he really wanted to learn the violin, but his parents persuaded him to try the piano first. He did learn the violin when he was about eleven years old. Each Saturday morning he attended the Guildhall School of Music, where he was given aural training and lessons on the violin. It was at this time he learned the history and appreciation of music. From about the age of 14, Dudley played the church organ at weddings. At about the age of 17, Dudley was advised by his headmistress to apply for a scholarship for Oxford or Cambridge. He was immensely proud to gain the scholarship for Magdalen College, Oxford. This three-year course gave him his Bachelor of Arts degree in Music. He was also a member of their jazz club and would often be found in the Student's Union cellars. Remaining at Oxford for a further year, Dudley obtained his Bachelor of Music degree in composition before leaving Oxford at the age of 22. At first, Dudley thought he would become a music tutor. Yet, by chance, he was to wander further down the road of jazz when a friend put on a record of Erroll Garner's The Way You Look Tonight. I was just bowled off my feet by it. I'd never heard anything like it before. There's something so complete and rounded in his playing that it struck me immediately I heard it. In fact, he is, and will probably continue to be, one of the most complete of all pianists. During the late 1950s Dudley joined the Vic Lewis Band, and then the Johnny Dankworth Jazz Orchestra, with whom he toured the States for a year. Upon his return, Dudley formed his own trio with Pete McGurk on bass and Chris Karan on drums. They recorded a number of times for Decca Records. Dudley joined Peter Cook, Jonathan Miller and Alan Bennett in the comedy revue Beyond the Fringe at the Edinburgh Festival in 1959. The revue then played for two years in London before going to Broadway for a further two years. It was thought to be one of the greatest group comedy talents to emerge from Britain. It was during the Edinburgh Festival that Dudley practised for hours on the piano, trying to emulate Garner's interpretation and style. I remember the first time I got a glimpse of the style, how it felt to play it. The action of the right hand dragging behind the left, then the left dragging behind the right had sort of evaded me...suddenly it seemed to come. And it was almost as if I could see both hands doing separate things at the same time, which I hadn't been able to until then...I gained a lot from his approach to the piano, which is very earthy and outgoing as well as being very rich and full of contrasts. Dudley's friendship with Peter Cook continued and when Cook bought out a Soho strip club in 1961, he turned it into The Establishment Club, which featured among its regular guest stars Frankie Howerd, Lenny Bruce and Barry Humphries. The Dudley Moore Trio played jazz for their audience in the cellar. Peter Cook and Dudley Moore continued to work together throughout the 1960s. In 1965 the BBC booked them for several shows called Not Only....But Also, which showed their comic genius. It also gave Dudley a regular spot playing the piano. The cloth-capped idiots were to become icons. Peter Cook used to ad lib in some of their sketches, in an effort to make Dudley giggle or lose his lines - in theatrical terms this is known as corpsing. Dudley would often be seen struggling not to smile or laugh, and just as often, he corpsed! Their signature song 'Goodbye' was to become a national favourite. The duo's popularity ensured this series made an annual return to the television screens for the next five years. Off screen, the duo created Derek and Clive; a pair of foul-mouthed bigots. Using 'adult' language and material, their recordings were only meant as a private joke. Soon the recordings were being circulated among the public. Seeing another business outlet, Peter Cook wanted to do more recordings. Dudley was reluctant as it could have damaged his career in the States. The comedy duo teamed up again for Behind the Fringe in 1971. It was a resounding success in London, and went on to become a smash hit on Broadway during the 1973 - 74 season. They were given a special Tony award for their 'unique contribution to the theatre of comedy'. Dudley went on to make a number of films with Cook during the late 1960s. With his musical talents he was called upon to compose film scores and so, during the mid-1970s, this became his full-time career. Cook returned home to Britain, as Dudley settled into his new life in Southern California. Their comedy partnership ended in 1977, except for their charity concerts for Amnesty International which was eventually immortalised on film in 1979 as The Secret Policeman's Ball. While attending a therapy group for stress, Dudley met the film director Blake Edwards, who persuaded Dudley to take over the lead role in the 1979 movie, 10, opposite Bo Derek. George Segal had walked out on the production. Dudley made it a hit. Just two years later, he had another big film hit with Arthur, co-starring with Liza Minnelli, with Sir John Gielgud playing the role of his butler. Dudley was to receive an Oscar nomination for his role of Arthur. During the 1980s Dudley released several albums of piano-based jazz between his film and stage work. It was during the early 1990s that his musical career was put on hold, while he concentrated on films. Unfortunately, Dudley would never quite manage to achieve the promise and success shown in his first big films. In 1995 he was fired from The Mirror Has Two Faces, produced by Barbra Streisand, because he couldn't remember his lines. During 1990, Dudley achieved further recognition of his musical talents, co-starring with Sir George Solti in a Channel 4 series about the orchestra. His musical interests didn't lie entirely in jazz; Dudley was also a recognised classical pianist and composer. In 1993, he performed his Concerto with Michael Tilson Thomas conducting. It was about this time that Dudley experienced a number of minor heart attacks. He was found to have a hole in the heart, which surgery was able to correct. During his concert tour with pianist Rena Fruchter, she noticed that when they played their duets, Dudley was beginning to play erratically. In May, 1999, he was to receive his diagnosis. Rumours began to circulate that Dudley had a drink problem as his speech was slurred. Then, that he was on drugs, because he appeared to be stumbling and erratic when he was seen outside of his home. Eventually in September, 1999, Dudley told the public of his debilitating illness. He had developed Progressive Supranuclear Palsy - an extremely rare, incurable condition affecting the function of the brain. Whenever he was beset by depression or other illness, Dudley always returned to his music. He would find solace at such times in composing, or playing music. Tragically, his illness was to take away the joy of playing as his fingers stiffened and his eyesight weakened and blurred. He began to lose his balance and had difficulty speaking. Dudley threw himself into raising funds for research into the disease and raising awareness of its symptoms. The Dudley Moore Research Fund for Progressive Supranuclear Palsy was the charity he formed. Dudley released Live From The Aircraft Hangar, which is a collection of his previously recorded concerts. In April, 2001, Dudley held a gala concert in Carnegie Hall, New York, on his 66th birthday, which raised funds for PSP research. In June, 2001, Dudley was proud to be named in the Queen's Birthday Honours list; he headed the 'Arts and Entertainment' list. Despite his illness, in November he travelled to Britain and received his medal from Prince Charles at Buckingham Palace. This well loved entertainer died at his New Jersey home on 27 March, 2002. Having four failed marriages, Dudley Moore is survived by two sons. © h2g2 www.bbc.co.uk/dna/h2g2/A24145814 [Most of the content on h2g2 is created by h2g2's Researchers, who are members of the public. The views expressed are theirs and unless specifically stated are not those of the BBC. The BBC is not responsible for the content of any external sites referenced. In the event that you consider anything on this page to be in breach of the site's House Rules, please click here. For any other comments, please click on the Feedback button above. www.bbc.co.uk/dna/h2g2/

Kenny Drew

Kenny Drew - Undercurrent - 1960 - Blue Note

One of the greatest jazz hard bop albums ever recorded by the late, great jazz pianist, Kenny Drew. Check out his albums, "Ruby, My Dear," and "If You Could See Me Now."

TRACKS

1. Undercurrent
2. Funk-cosity
3. Lion's Den
4. The Pot's On
5. Groovin' The Blues
6. Ballade

All compositions by Kenny Drew.

MUSICIANS

Kenny Drew (piano)
Hank Mobley (tenor saxophone)
Freddie Hubbard (trumpet)
Sam Jones (acoustic bass)
Louis Hayes (drums)

REVIEWS

Kenny Drew recorded fairly frequently in the 1950s but after his Blue Note album (reissued on this CD), he moved to Europe and did not appear as a leader on records until 1973. Still just 32 in 1960, Drew was teamed with the young trumpeter Freddie Hubbard (who already showed great potential), tenor saxophonist Hank Mobley, bassist Sam Jones and drummer Louis Hayes on six of his originals (including "Undercurrent," "The Pot's On" and "Groovin' the Blues"). A fine hard bop set. © Scott Yanow, All Music Guide
One of the greatest albums ever by the late, relatively unknown pianist Kenny Drew -- a super-rare Blue Note session from 1960! The album's got a sock-solid soul jazz frontline -- with Hank Mobley on tenor and Freddie Hubbard on trumpet -- and working here with Drew, the trio of players craft a set of tunes that are surprisingly edgey, especially considering Drew's more staid piano trio work on his own. The backing is great, too -- with Sam Jones on bass and Louis Hayes on drums -- and the album's filled with original tunes by Kenny, including "The Pot's On", "Undercurrent", "Funk-Cosity", and "Lion's Den". Kenny Drew has made irreplaceable contributions to many Blue Note classics -- "Blue Train" and "Dexter Calling" to name two -- in addition to this fine album as a leader. This is the classic Kenny Drew album. Undercurrent begins with a Flight of the Bumblebee-esque flurry of notes from Drew, which is quickly followed by a swinging solo from Mobley that briefly incorporates Drew's intro. Hubbard's solo is blasting and brash, though his sense of control allows his excited playing to never get too unwieldy. Funk-Cosity is a minor key funk workout that begins with Hubbard and Mobley sharing a descending progression. Hubbard's solo on the song is restrained (at least for him) while still spirited. Drew's solo is wonderfully tense because it‚s restrained and melodic, forcing you to wait before the main theme bursts through again.On Lion's Den, a reference to Alfred Lion's original studio on Lexington Ave. in East Harlem, Drew plays around with the shifts in rhythm, playing more straightforward lines when the rhythm is bumpier and playing bouncier when the rhythm straightens up. Groovin' the Blues finds Mobley bouncing his notes into the pocket of groove created by the rhythm section of Jones and Hayes, while Hubbard creates tension by phrasing notes all over the meter and then slowing down for longer, bluesy lines. Hubbard's tone is seductive on the final track on the album's only ballad, entitled Ballade. According to the liner notes, Drew wrote the song in honor of a woman he was enamored of. His playing on the song is almost impossibly delicate, sounding as close to a harp as you will ever hear a piano sound. For fans of hard bop, Undercurrent is where it's at. This album is an almost forgotten classic.That's a shame because "Undercurrent" is a magnificent hard bop session from December 1960 featuring the talents of Freddie Hubbard, Hank Mobley, Sam Jones and Louis Hayes. The six compositions, all by Drew, are terrific medium and up- tempo swingers, with the exception of the lovely concluding piece, "Ballade." "Undercurrent" is as good as anything Blue Note recorded in 1960.

BIO

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. © Scott Yanow, All Music Guide

Jackie McLean

Jackie McLean - One Step Beyond - 1963 - Blue Note

This is a masterpiece of sixties jazz. The interplay between the musicians is unbelievable. You've got to hear this recording. VHR by A.O.O.F.C. You should buy McLeans' albums, Lights Out, & A Long Drinking of the Blues. They don't make them like this anymore.

TRACKS & COMPOSERS

1 Saturday and Sunday (McLean)
2 Saturday and Sunday [alternate] (McLean)
3 Frankenstein (Moncur)
4 Blue Rondo (McLean)
5 Ghost Town (Moncur)

PERSONNEL

Grachan Moncur III (tb)
Jackie McLean (as)
Bobby Hutcherson (vib)
Eddie Khan (b)
Tony Williams (d)

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 30, 1963


REVIEWS

One Step Beyond is the first of three albums Jackie McLean made with Grachan Moncur III on trombone and Bobby Hutcherson on vibes (also Eddie Khan on bass and Tony Williams on drums). These three (the other two are Destination...Out! and Moncur’s Evolution ) are the crowning achievement of McLean’s Ornette Coleman-inspired pianoless “outside work” of the early Sixties. McLean has said that in the late Fifties he felt as if he was going nowhere until Ornette’s nascent harmolodics put the wind back in his sails. Not that he sounds much like Ornette on his albums that celebrate “free” playing (most notably Let Freedom Ring ), but compared to his earlier work with Miles, Trane and others, his post- Ornette Blue Notes give a more expressive voice to his characteristic exuberance. He was a trailblazer in bringing the techniques and innovations of the “free” players into the hard bop mainstream.On One Step Beyond that exuberance is very much in evidence, although somewhat tempered by the brooding and dark meditations of Moncur. On “Saturday and Sunday” it is McLean’s mood that is infectious; his typically joyful alto sax solo is followed by an entry from Moncur that in no way changes the tone. Hutcherson, as usual, is masterful at adapting himself to the conditions of the moment. Here he knows that McLean’s one step beyond doesn’t take him far out enough to have lunch with Eric Dolphy, or even to arrive at the point of departure of Andrew Hill. His solo is beautifully precise in straddling the inside/outside fence McLean is building.“Frankenstein,” along with “Ghost Town,” was written by Moncur. The title “Frankenstein” foreshadows the stalking, spooky rhythms the trombonist cultivates on “Ghost Town” and the two later albums, but this piece is about as upbeat as Moncur gets. Moncur is much admired by McLean, who suggested he still deserves wider recognition in a Jazz Times piece just recently. Like Ornette, Moncur’s playing style and composing talent more than compensate for a certain lack of conventional technical facility. While his solos don’t have the sharpness or speed of those of J. J. Johnson or Curtis Fuller, Moncur’s strong melodic imagination gives his work a good emotional wallop. Here McLean explores “out” territory and borrows a few squeals and squawks from Ornette Inc. He uses them more sparingly than his source, but not without effect.“Blue Rondo” takes us briefly back into McLean’s hard bop happyland, only to lead into Moncur’s “Ghost Town.” This is a ready-made soundtrack for a stalker movie, as bassist Eddie Khan paces through a horror house full of drummer Tony Williams’ falling objects. McLean’s solo is thoughtful and well-constructed; Moncur’s is fine, but Hutcherson steals the show with a Milesian exploration of space and silence that splendidly brings together the inside and the outside.This album is somewhat lumpy gravy; the front line of McLean, Moncur, and Hutcherson works better together on Destination...Out! and Evolution. Still, any Jackie McLean album can lift the spirits wonderfully. Pick it up during your next Jackie Mac attack. © Robert Spencer, Allaboutjazz.com
One Step Beyond is a classic in every sense of the word. The musicianship is stellar. The interplay between the band members is telepathic. And the compositions are fascinating and distinctive. If you're following Bobby's development on record, coming to this music after listening to the Al Grey-Billy Mitchell group is like stepping out of a familiar sedan and finding yourself on a rocket-ship.
Several of the compositions remind me of Monk's music, particularly "Saturday and Sunday" and "Frankenstein." But there's also a strangely wide-open aspect to this music that's different from Monk's sound. The wide-open feeling is both literal and figurative. The absence of a piano has a huge effect on creating the limitless, airy sound. (I assume that Jackie's decision to play without a piano comes from Ornette's influence.) On a composition like "Ghost Town," you can practically see crumbling buildings, dusty tumble-weeds blowing by. (Or at least that's why I think of.) But that openness is wonderful because Jackie's slashing, magisterial, harshly bluesy tone can fill up all that space, propelled by Tony Williams' careening drums. (No wonder Miles "stole" Tony from this band.) Incidentally, I think that the cover of this album is one of Blue Note's best. It does a perfect job of pictorially representing the music.
Of course, Bobby plays magnificently here too. Apparently, when Alfred Lion first heard this band rehearsing, he'd only heard one song before proceeding to offer Bobby a contract. Hutcherson ended up staying with Blue Note longer than any other artist except Horace Silver. © Scott Mortensen 2006, http://musicweb-international.com

BIO (Wikipedia)

John Lenwood (Jackie) McLean (May 17, 1931 – March 31, 2006; some sources erroneously give 1932 as his year of birth) was an American jazz alto saxophonist, composer, bandleader and educator, born in New York City. His father, John Sr., who died in 1939, played guitar in Tiny Bradshaw's orchestra. After his father's death, his musical education was continued by his godfather, by his stepfather, who owned a record store, and by several noted teachers. He also received informal tutoring from neighbours Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk).
He recorded with Miles Davis, on Davis's Dig album, when he was 19 years old. Rollins played on the same album. As a young man McLean also recorded with Gene Ammons, Charles Mingus, and George Wallington, and as a member of Art Blakey's Jazz Messengers. McLean reportedly joined the Jazz Messengers after being punched by the notoriously volatile Mingus. Fearing for his life, McLean pulled out a knife and contemplated stabbing Mingus in self-defence and later stated that he was grateful that he did not stab the bassist[1]. His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for his distinctive tone (often described with such adjectives as withering, piercing, or searing), his slightly sharp pitch, and a strong foundation in blues.
McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card forced him to undertake a large number of recording dates; consequently, he produced a large body of recorded work in the 1950s and 60s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for Blue Note is highly regarded.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, especially in soloing on his piece "Quadrangle." (*"Quadrangle" appears on BST 4051, Jackie's Bag, recorded in 1959). Let Freedom Ring began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with. His recordings from 1962 on, in which he adapted the innovations of modal and free jazz to hard bop, made his body of work distinctive.
In early 1964, he served six months in prison on drug charges.
In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Jazz Studies degree program.
In 1970, he and his wife, Dollie McLean, founded the Artists Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African Diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts.
He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards.
Mr. McLean is the only American jazz musician to found a department of studies at a University and a community based organization almost simultaneously. Each has existed for over three decades.
After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut. McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean. McLean's later bands were drawn from his students in Hartford, including Steve Davis and his step-son René, who is a jazz saxophonist and flautist as well as a jazz educator. Also, in McLean's Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joe's Cafe and Rent.
McLean recorded as a leader with a wide range of musicians, including Donald Byrd, Sonny Clark, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard, Grachan Moncur III, Bobby Hutcherson and Mal Waldron, among many others.

Gabor Szabo

Gabor Szabo - Dreams - 1968 - Skye

This is no an ordinary Jazz album. Through the seven pieces here, the guitar is naturally at the forefront, yet the backing group is anything but secondary. Here, Gabor Szabo's guitar genius, set to magnificent arrangements by Gary McFarland pairs his outstanding quintet (featuring Jimmy Stewart) with Gary McFarland's subtle string and horn arrangements in a collection of originals, pop covers, and classical reinterpretations. This is one of the most sophisticated albums Szabo ever cut, and the result is a sort of accessible third-stream music. The album has a slow-building style that steps off of his Impulse years with a deeper, broader vision of music. Szabo has many fine moments, and provides nice spaces for the beautiful guitar solos of Jimmy Stewart.by Douglas Payne. The warm tones and Eastern influences of 'Dreams' makes this one of Gabor Szabo's best albums.

TRACKS / COMPOSERS

a. Galatea's Guitar (Gabor Szabo) - 5:33
b. Half the Day is the Night (Gary McFarland) - 4:23
c. Song of Injured Love (DeFalla) - 4:05
d. The Fortune Teller (Gabor Szabo/Louis Kabok) - 4:28
e. Fire Dance (DeFalla) - 5:39
f. The Lady in the Moon (Gabor Szabo) - 5:13
g. Ferris Wheel (Donovan) - 5:27

MUSICIANS

Los Angeles, California: August 6, 7 & 9, 1968
Gabor Szabo, Jim (Jimmy) Stewart (g); Louis Kabok (b); Jim Keltner (d); Hal Gordon (perc);

New York City: August 22, 1968
Tony Miranda, Ray Alonge, Brooks Tillotson (fhr); Gary McFarland (p,arr); Julius Schacter (vln); George Ricci (cello).

BIO

b: March 8, 1936, d: February 26, 1982. Gabor Szabo was one of the most original guitarists to emerge in the 1960s; mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie, Szabo began playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in Budapest. He escaped from his country at age 20 on the eve of the anti-Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-60) and in 1961 joined Chico Hamilton’s innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd’s fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, SPELLBINDER, which yielded many inspired moments and "Gypsy Queen," the song the rock group, Santana, turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-69) featuring the brilliant, classically-trained guitarist Jimmy Stewart and recorded many notable albums during the late 1960s. The emergence of rock music (especially George Harrison, Eric Clapton and Jimi Hendrix) found Szabo successfully experimenting with feedback and less successfully (but innovative at the time) with more commercially-oriented forms of jazz. During the 1970s, Szabo regularly performed along the West Coast; hypnotizing audiences with his enchanting, spellbinding style. But from 1970, he was locked into a commercial groove – even though records like MIZRAB occasionally revealed the success of his jazz, pop, Gypsy, Indian and Asian fusions. Szabo had revisited his homeland several times during the 1970s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982 – just short of his 46th birthday and five years after his final American album was released. © www.dougpayne.com

Duke Ellington & Coleman Hawkins

Duke Ellington & Coleman Hawkins - Duke Ellington Meets Coleman Hawkins - 1962 - Impulse

There is so much that could be written about these two musical giants. When the two jazz masters met to record this album, they produced a work of genius. They're all great Ellington, or part Ellington compositions, but “Mood Indigo” and “Self Portrait (of the Bean).” are classics. A marvellous track, "Solitude," omitted from the original 1962 album is added to the 1995 CD reissue. The grear Donald Fagen mentions "Limbo Jazz" on the CD " Marian McPartland's Piano Jazz with guests Steely Dan " released on the Jazz Alliance label in 2005. Check out Becker & Fagen's great live studio version on this CD.

ORIGINAL 8 TRACKS

A1 - Limbo Jazz (5:20)
A2 - Mood Indigo (5:55)
A3 - Ray Charles' Place (4:04)
A4 - Wanderlust (4:57)

B1 - You Dirty Dog (4:19)
B2 - Self Portrait (Of The Bean) (3:50)
B3 - The Jeep Is Jumpin' (4:40)
B4 - The Ricitic (5:49)
9. Solitude (Bonus track on 1995 CD reissue)

Credits:

Bass - Aaron Bell
Cornet, Violin - Ray Nance
Drums - Sam Woodyard
Engineer - Rudy Van Gelder
Piano - Duke Ellington
Producer - Bob Thiele
Saxophone [Alto] - Johnny Hodges
Saxophone [Baritone], Clarinet [Bass] - Harry Carney
Saxophone [Tenor] - Coleman Hawkins
Trombone - Lawrence Brown

About Coleman Hawkins, ("The Hawk"), Father Of The Tenor Sax
From the Classic Jazz period to the Swing Era one player had a virual monopoly on the tenor sax, that man being Coleman Hawkins, a.k.a., the Hawk or the Bean. Hawkins (born 1904, St. Joseph, Mo.) was not the first Jazzman to play the tenor but he was the leader in transforming it into a fully expressive, hard driving Jazz instrument. Following a ten year period of getting the hang of that confounded contraption, the Hawk went on to a fifty year career filled with near flawless playing as leader of his own groups as well as with an amazing variety of other combos. He was an inspiration to dozens of top notch Jazz tenor men. © Len Weinstock www.redhotjazz.com/index.htm

About Duke Ellington, ("The Duke")
Born Edward Kennedy Ellington, on 29/4/1899, in Washington, D.C., Duke Ellington was one of the founding fathers of jazz music. He started playing piano at the age of seven, and by the time he was 15, he was composing. A pianist, bandleader, arranger, and composer, Ellington and his band played together for 50 years. Some of Ellington's most famous songs include "Don't Get Around Much Anymore," "Sophisticated Lady" and "In a Sentimental Mood."