What are you listening to and WHY might anyone be interested? (Vol. XIII)

Rosanne Cash  -  "The River And The Thread"  (2014)

One of these enjoyable old jazz albums. Not meaning that current jazz albums are not enjoyable - they are....

Dexter Gordon: Dexter Gordon: Our Man In Paris – 1963

Marc Davis By MARC DAVIS
July 16, 2015
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The highlight of the CD, and the closer of the original LP, is a fantastic, crazy, original take on Dizzy Gillespie’s 'A Night in Tunisia.'
Enter the album name hereFor some reason, Dexter Gordon doesn't immediately leap to my mind when I think of A-list bop saxmen. He should. Our Man in Paris is all the evidence you need.

Gordon made a bunch of terrific records for Blue Note from 1961 to 1964. Some say Go! from 1962, with pianist Sonny Clark, is the best of the bunch, and I can't really argue with that. But Our Man in Paris is every bit its equal, based largely on the strength of three songs and the presence of seminal bebop pianist Bud Powell.

As the title implies, Our Man in Paris was recorded in the City of Lights. It's a simple bop quartet with Gordon on sax, Powell on piano, American Kenny Clarke on drums and Frenchman Pierre Michelot on bass. It's a simple lineup, but powerful.

The album kicks off with a wild rendition of the Charlie Parker classic "Scrapple From the Apple." Gordon is on fire, and Powell is sublime. This is no mere imitation. It's full of original ideas and endless energy, using the Parker tune as a jumping-off point for inspired solos.

Next up is another jazz chestnut, "Willow Weep for Me." It's been recorded a million times by a million artists, and my favorite version is still Art Tatum on solo piano. But the Gordon-Powell version is a close second, full of smoky noir flavor and, again, clever soloing that makes this more than a mere blues.

A couple more standards follow: "Broadway," which sounds suspiciously like Fats Waller's "Lounging at the Waldorf," and the ballad "Stairway to the Stars."

And then the highlight of the CD, and the closer of the original LP, a fantastic, crazy, original take on Dizzy Gillespie's "A Night in Tunisia," perhaps my all-time favorite jazz composition. Again, it's a tune that's been covered by hundreds of jazz musicians—definitively by both Diz himself and Charlie Parker in the 1940s. This is a more modern interpretation, and Gordon is positively exuberant, blowing line after line after line of original ideas, followed by Powell with some nice noodling on the keyboard.

The CD adds two more cuts to the LP, neither essential: a pleasant mid-tempo version of "Our Love is Here to Stay" and a sax-less take of "Like Someone in Love," featuring Bud Powell sounding very un-Powell-like. No clever bop-istries here, just nice, unremarkable melodies.

Funny thing about Our Man in Paris. I've owned the record (and now the CD) for decades, but it's not one I go to often. And yet once I do play the album, I wind up listening to it over and over. If it's not in your collection, it should be. Gordon is one of the all-time best boppers, and Paris is arguably his best recording.

Rating: 5 stars (out of 5)

1st run.....

Dexter Gordon - Clubhouse
Blue Note

Recording date: May 25th 1965

Original release date: 1979

Re-release date 20th March 2007 (Rudy Van Gelder Remaster Edition)

Clubhouse cover

In a three day period 25th – 27th May in 1965 Dexter Gordon returned from "exile" in Europe to make two jazz albums with Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums), the powerhouse rhythm trio behind Lee Morgan's 1963 album "The Sidewinder", who appear together with surprising infrequency considering the success of the Lee Morgan album.

On the first of those days, joined by Freddie Hubbard on trumpet, the material for "Clubhouse" was recorded. In the second two days, with Bobby Hutcherson replacing Freddie Hubbard in the same quintet, material for the album "Gettin' Around" was recorded in that same long run of sessions. "Clubhouse" remained unreleased until 1979. "Gettin' Around" was released back in 1965. On the evidence of this RVG remaster release of "Clubhouse", Blue Note released the wrong album.

The opener "Hanky Panky", a Dexter Gordon original, starts poorly with a theme of near remedial simplicity and is a reminder of Alfred Lion's insistence on an attempt at one new "Sidewinder" on just about every Blue Note album in the period. However, it rapidly becomes clear that the interplay of Dexter Gordon and Freddie Hubbard is going to be no subdued and tentative affair like "Gettin' Around". Freddie Hubbard is at a peak of his abilities and musical imagination at this time and there is a real rapport with Dexter Gordon that lifts the sax player into creative territory. (Listen to "Generation", an Original Jazz Classics from 1972, where Freddie Hubbard and Dexter Gordon play off each other to even better effect on top of Billy Higgins' ever so solid drumming to hear an even better example of the rapport between these two great jazz musicians). "Hanky Panky" develops as a genuine jazz piece as soon as Dexter Gordon's solo first breaks the ice and Freddie Hubbard's solo is clearly breaking out of the groove and determined to challenge any easy orthodoxy.

"I'm A Fool To Want You", a Sinatra ballad, conforms to the Blue Note formula of a "tender ballad to shift the mood from the bracing opener" but again goes well beyond any mere formula. Dexter Gordon is melodically inventive in a way that keeps open the thought that all along he may have been an influence on John Coltrane. Freddie Hubbard is once again superb and insightful. "Devilette" is a modal piece reminiscent of "Tanya" or "Coppin' The Haven" from Dexter Gordon's 100 Greatest Jazz album "One Flight Up". Written by Ben Tucker who sits in on bass in place of Bob Cranshaw on this track, "Devilette" explores more of the openness that is available in modal jazz.

The title track "Clubhouse", Dexter Gordon's second composition on the album, is a good vehicle for sustained blowing by sax and trumpet and provides space for a typically spiny piano solo by Barry Harris. "Lady Iris B" is a second ballad, not as convincing as "I'm A Fool To Want You" but still strong in the interplay between Dexter Gordon and Freddie Hubbard. The final track "Jodi", the third Dexter Gordon composition is a good gospel tinged blues piece with plenty of drive and emotion.

Overall one of the best recent RVG reissues.

Now Playing.......

Bill Frisell - East West 

Why - I enjoyed the last album (Before We Were Born) that I listened to from Bill a few days/week ago and wanted to continue the journey exploring his music.

From the end of the notes on Tidal: "The fairly naked trio context of East/West really gives the listener a chance to appreciate exactly what he can do, no matter which musical direction they're coming from. ~ Sean Westergaard."  

I thought this album was a good step along the way......

Steve Winwood  -  "Nine Lives"  (2008)

I am very happy that I bought this album today. On first run it as good as I expected, very relaxing good flowing music....

Baptiste Trotignon: Share

Raul d'Gama Rose By RAUL D'GAMA ROSE
July 15, 2009
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Baptiste Trotignon: Share At first blush, one thought and just one thought rattles around in the mind: "Can Bill Evans never rest in peace?" But then the music of "Samsara," the second track on the lovely Share wafts into the inner ear.

With flugelhornist Tom Harrell and Mark Turner wailing on tenor saxophone, Share's main protagonist, Baptiste Trotignon, plays rapid trills beforesettling down and applying a remarkable dynamic to his piano solo. Withdrawing the emotion of the song into a virtual Buddhist meditation, Trotignon forever stamps it with the unique character that he brings—not just to his pianism, but also to the songs he writes and performs.

At first the whole idea of Share is not entirely clear, but as the music progresses on the record it begins to become eminently clear. The music is not composed on this record—not created so much as channeled by the musicians as if it were a force that came from another dimension. It is the spirit of sound that flows through the musicians in an attempt to capture and "share" something truly wondrous.

This is why it raises the spirit of famous ghosts: Maurice Ravel and Claude Debussy, in "Mon Ange" and "Peace," and Bill Evans in "First Song." But then there are some surprises as well. "Dexter," somewhat obliquely a doffing of the proverbial hat to Dexter Gordon with its boppish structure and Turner's tantalizing solo, is so full of history and contemporary splash, with Trotignon even channeling Bud Powell—just, it seems, for some fun and devastatingly brilliant effect.

The concept of Share is also evident in the interplay of the musicians. Bassist Matt Penman is a mainstay who acts as sublime harmonic colorist, no matter what the music calls him to be—accompanist or solo voice. Percussionists Eric Harland and Otis Brown III create subtle shifts in timbre and rhythmic texture that enable Trotignon to develop the music as if it were a moving, evolving entity.

And then there is the magnificent Harrell, who appears to find the heart of the song each time he is called upon to play. It is almost as if he has an umbilical connection with the melodic narrative and the labyrinthine harmonic twists and turns. Turner is no less of a symbiotic element in the music, gushing majestically on "Flow" and, in many ways, defining Trotignon's soon-to-follow solo.

So...this is no Bill Evans come to life, but brave new angles on a slew of pianists and musicians, ranging from Ravel and Debussy—Rachmaninoff, even—to, of course, Herbie Hancock and Evans. But principally it is Baptiste Trotignon, a musician with the promise of great things to come.

Track Listing: First Song; Samsara; Mon Ange; Dexter; Peace; Flow; Blue; Grey; Waiting; Red Light District; Vibe.

Personnel: Baptiste Trotignon: piano; Matt Penman: bass (1-6, 8-11); Eric Harland: drums (1-3, 8-11); Otis Brown III: drums (2-4, 5, 6, 9, 10); Tom Harrell: flugelhorn (2-4, 7); Mark Turner: tenor saxophone (2-4, 6).

Filipe posted:

Joan Armatrading - Walking under Ladders

Bouqght this from Oxfam on vinyl for £2.99. It sounded ok but nothing special until today playing it with the full SL loom. Now it's beauty is revealed by SL. The DIN to XLR has been in place for 10 days and is on loan from Naim via my dealer. The later has made a big difference to the soundstage, while the others including the RCA to DIN for the Rega RP10/Aphelion/Aria showed enough improvement to encourage you to continue. The conclusion is that the Classic boxes need the SL loom to deliver.

John Perry's Desert Island Albums says

This album does a good job of showing off Joan's range, from the new wave opener through the rasta-rock feel of When I Get It Right, Romancers, and I Can't Lie to Myself to the bluesey folk taste of songs like The Weakness in Me and No Love and the straight anthem rock of I Wanna Hold You and Eating the Bear. Joan carries off all of these genres well and enthusiastically.

Of course that range wouldn't be possible with just any band, and the band Joan plays with on this album is impeccable. Joan plays some acoustic guitars and does all the lead vocals, of course. The rhythm section throughout the album is Jerry Marotta on drums and Tony Levin on bass. If those names sound familiar, it's because you've also heard those guys play (separately or together) on albums by Peter Gabriel, John Lennon, Paul Simon, Jules Shear, Indigo Girls, King Crimson, Pink Floyd, Tom Waits, and hundreds of other artists. Their talents shine on this album, particularly on the ballads (listen to Tony Levin's expression in The Weakness in Me for example).

Phil

Agreed, I dont have this one but have Show some Emotion, Love & Affection & To the Limit - very good they are too.

Ella & Louis - 24/96. Nice mono sound recorded in 1956.

Editor's notes:

"This is the first of two collections of popular tunes Ella Fitzgerald and Louis Armstrong teamed up to record in 1956 and 1957. Produced by the legendary Norman Granz, these sessions feature an all-star group of musicians including Armstrong on vocals and trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Buddy Rich on drums."

It looks like I am getting into a for me new artist...

Brilliant posted:

Ella & Louis - 24/96. Nice mono sound recorded in 1956.

Editor's notes:

"This is the first of two collections of popular tunes Ella Fitzgerald and Louis Armstrong teamed up to record in 1956 and 1957. Produced by the legendary Norman Granz, these sessions feature an all-star group of musicians including Armstrong on vocals and trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Buddy Rich on drums."

 

Fine album.

love Satch's sock styling. New meaning to 'blow your socks off' 

Clive B posted:

ewemon posted:

How did you get this?????? I have been looking for a copy of this for ages!

Had it for years, think since it first came out.

I have a Norwegian friend who has 5k + Dylan shows

Brilliant posted:

Ella in Hollywood - CD-rip. A fav -recorded live at the Crescendo Club in 1961, there is more  on the 12 Nights in Hollywood 4CD set!

Big Ella fan don't think I have this one so will need to get a copy.

nigelb posted:

ewemon posted:

nigelb posted:

ewemon posted:

Loving this. If you like your blues with some edge, then you might like to give this a whirl. As well as great vocals there is some superb guitar playing and harmonica blowing on this. Good choons too.

Cheers Ewe.

Glad you like it. They have been tearing up the Midwest for some years now. Try their Delmark label album you might like that as well.

@ewemon, I mainly (well solely) use Tidal to hear discoveries. I couldn't find the Delmark label album you mention but I found this:

Altered Five Blues Band - Cryin' Mercy

Another belter by this fabulous band.

N

My error Nigel it was the above Omnivibe album I was talking about.

Been playing her latest album a lot in the past few days but thought I would dig out this album from 2013.

ewemon posted:

Brilliant posted:

Ella in Hollywood - CD-rip. A fav -recorded live at the Crescendo Club in 1961, there is more  on the 12 Nights in Hollywood 4CD set!

Big Ella fan don't think I have this one so will need to get a copy.

Then get the 12 nights version, it's considerably more for a fan...

Bert Schurink posted:

ewemon posted:

Brilliant posted:

Ella in Hollywood - CD-rip. A fav -recorded live at the Crescendo Club in 1961, there is more  on the 12 Nights in Hollywood 4CD set!

Big Ella fan don't think I have this one so will need to get a copy.

Then get the 12 nights version, it's considerably more for a fan...

You may need both as they do not overlap!

kevin J Carden posted:

Brilliant posted:

Ella & Louis - 24/96. Nice mono sound recorded in 1956.

Editor's notes:

"This is the first of two collections of popular tunes Ella Fitzgerald and Louis Armstrong teamed up to record in 1956 and 1957. Produced by the legendary Norman Granz, these sessions feature an all-star group of musicians including Armstrong on vocals and trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Buddy Rich on drums."

 

Fine album.

love Satch's sock styling. New meaning to 'blow your socks off' 

1959

1961

A good quiet end of a great listening day...

Traffic  -  "The Definitive Collection"  (2000)

The very first bootleg I bought at a record fair in Liverpool many years ago. It came in a plain white cover and I thought I had bought a copy of "Bonzo's Birthday Party.". 

This turned out to be a lucky chance. OK, it wasn't on the coveted TMOQ label but once I'd got over the initial disappointment of the dodgy sound of the first 2 tracks (an audience recording which started off as mono and switched to stereo part way through "Heartbreaker") I was treated to wonderful live versions of my favourite Zep tracks. Dazed and Confused took up a whole side, the acoustic tracks sounded wonderful and it was strange to hear the crowd not instantly recognise "Stairway to Heaven" plus it had the most amazing medley version of "Whole Lotta Love".

I still have my old vinyl copy but now mostly listen to it in digital format. Wonderful stuff.

Streaming Tidal

Brilliant posted:

Ella & Louis - 24/96. Nice mono sound recorded in 1956.

Editor's notes:

"This is the first of two collections of popular tunes Ella Fitzgerald and Louis Armstrong teamed up to record in 1956 and 1957. Produced by the legendary Norman Granz, these sessions feature an all-star group of musicians including Armstrong on vocals and trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Buddy Rich on drums."

 

i have this vinyl. a treasured musical possession -- i also have a few other 'Ella & Louis' albums -- equally special!

enjoy

ken

Bert Schurink posted:

have this too -- again on vinyl -- i think 180g -- oh man...!

enjoy

ken