[giedrys]

 
 

 

[tru blu]

OK, so what y'all know about Phineas Newborn, Jr.? A Memphis prodigy (and a bit of a troubled soul) who could wed bluesy jazz piano to classicism more sinuously than just about any pianist since the grand master Art Tatum. Phineas (he pronounced it "Fine-uss", btw) made two elegant, church-y trio sessions with Elvin Jones and bass-heavy Ray Brown just as the '60s were coming to a close. If I had to choose a fave, I'd say Please Send Me Someone To Love for the repertoire: It contains Percy Mayfield's R&B hit (the title track), a Duke Ellington hymn and Randy Weston's instant standard in waltz time. Whichever one you hear first, though, you'll probably want the other…
 

 
 

 
 
…hmmm…makes me think that next time I gotta check in with something Afro-blue by Randy Weston…looking forward to seeing what other folks are digging in the meantime…
 

 

[LugBug1]

Some great posts guys! another fab reccomendation Tru Blu, I do love my jazz piano.
 
However... I've just downloaded (yes I know its cheating!) "Beauty is a Rare thing" the complete Ornette Coleman Atlantic recordings, so my head is going to be battered!! 

 

 

[tru blu]

 
Quote:

...I've just downloaded (yes I know its cheating!) "Beauty is a Rare thing" the complete Ornette Coleman Atlantic recordings, so my head is going to be battered!! 

 
A fine set. Rather than come off like the digital police, I only have one suggestion: When listening, try to program the tracks in the original album sequences. They were gorgeous in that form, especially Ornette!, a personal fave. By then the rhythm section's momentum has become streamlined, lacking in excess…muthafriggin' Ed Blackwell…
 
 

 

[Uncle Erik]

I have nothing to add here. I own quite a few of these recordings, but this thread makes me feel like a jazz noob. I've been into jazz for four years, but this reminds me of how much more I need to listen. I'll be following this thread.

 

[tru blu]

Quote:

I have nothing to add here. I own quite a few of these recordings, but this thread makes me feel like a jazz noob. I've been into jazz for four years, but this reminds me of how much more I need to listen.

I'll be following this thread.

C'mon, Unk…help us out. What's that jazz record that just soothes your soul? The more the merrier…

 

 

[Moonboy242]

Stan Kenton - Adventures In Time, A Concerto for Orchestra. 1962.
 

 

 

[LugBug1]

How about this for a different flavour... You can't help but get sucked into the latin rythm's and with Kenny Burrell's guitar, Hubbard's trumpet, Tyner's keyboards, Higgins on drums. Such a warm and inviting recording. It's a Brazilian flavoured classic!
 
    

 

[tru blu]

 
Quote:

How about this for a different flavour... You can't help but get sucked into the latin rythm's and with Kenny Burrell's guitar, Hubbard's trumpet, Tyner's keyboards, Higgins on drums. Such a warm and inviting recording. It's a Brazilian flavoured classic!

 
Awww, sookie sookie, now!! I luvvv Rouse (obviously for his work with Thelonious Monk), but I don't know this record. Actually, I knew he'd been around before Monk hired him, but hadn't realized he'd led any potentially classic sessions. I'm a bit confused by the personnel you've listed, though: Freddie Hubbard, Billy Higgins and McCoy Tyner aren't named on the cover, and they're not in any of my references. What's amazing to me is that it has not one, but three of the greatest Afro-Latin/Caribbean/Cuban percussionists on the planet at that time (Willie Bobo, Patato Valdez and Garvin Masseaux) on one session…and workin' it out on Brazilian music?!? That's straight bananaz!! I guess y'all know what I'll be looking for on vinyl in a little bit.
 
tru blu fact-check/edit: Monk hired saxist Charlie Rouse in 1959 (he followed the great Johnny Griffin), so Bossa Nova Bacchanal was made during his tenure with Thelonious, not before.

 

[LugBug1]

 
Quote:

 
 
Awww, sookie sookie, now!! I luvvv Rouse (obviously for his work with Thelonious Monk), but I don't know this record. Actually, I knew he'd been around before Monk hired him, but hadn't realized he'd led any potentially classic sessions. I'm a bit confused by the personnel you've listed, though: Freddie Hubbard, Billy Higgins and McCoy Tyner aren't named on the cover, and they're not in any of my references. What's amazing to me is that it has not one, but three of the greatest Afro-Latin/CaribbeanCuban percussionists (Willie Bobo, Patato Valdez and Garvin Masseaux) on the planet at that time on one session…and workin' it out on Brazilian music?!? That's straight bananaz!! I guess y'all know what I'll be looking for on vinyl in a little bit.
 
 

I came across it a while ago, and its one of them albums that can chill you and put a smile on your face in an instant!, Rouse is such smooth player, but everyone on this album works cohesively, I love the way it is recorded too, the producer deserves as much praise.
Heres the back cover with all of the musicians listed, I think Hubbard and Tyner etc only play on the last track.. (my mistake)


 

 

[LugBug1]

If there is one band that culminates the 50's/60's without looking too forward or backward it's Art Blakey and the Jazz Messengers. They made some brilliant albums from the late 50's to mid 60's and this one is my favorite. "Indestructible"  Some call the Messengers mainstream, but for me Art is one of the great originators of modern jazz. He clearly lives and breathes be-bop but also makes it sound fresh and exciting without straying too far from its roots. Listen to the time signiture of "Calling Miss Khadigia"(one of my all time fave Jazz peices) at the begining and then see how he turns it into classic but progressive bop. Very clever indeed. 
         

 

[Carlsan]

 
Why? Because it swings like no other. Excellent stuff.
 
[size=x-small]Lee Morgan (tp) Wayne Shorter (ts) Bobby Timmons (p) Jymie Merritt (b) Art Blakey (d)[/size]
 
Review from Allmusic:

Review

by Ron Wynn
Drummer Art Blakey led many great editions of the Jazz Messengers from the inaugural mid-'50s sessions until his death in the '90s. While arguments rage regarding which was his best, there is no doubt that the 1960-1961 unit figures in the debate. This wonderful six-disc set, notated with care and painstaking detail by Bob Blumenthal, covers studio and live sessions from March 6, 1960, to May 27, 1961, with the same personnel on all but two songs. Producer Michael Cuscuna used only first issue dates, and while he included some alternate takes, he did not litter the discs with second-rate vault material. They smoothly detail the band's evolution, cohesion, and maturation. This set, as with all Mosaic boxes, goes beyond essential. Get it post haste.

 

[LugBug1]

Quote:

 
Why? Because it swings like no other. Excellent stuff.
 
[size=x-small]Lee Morgan (tp) Wayne Shorter (ts) Bobby Timmons (p) Jymie Merritt (b) Art Blakey (d)[/size]
 
Review from Allmusic:

Review

by Ron Wynn
Drummer Art Blakey led many great editions of the Jazz Messengers from the inaugural mid-'50s sessions until his death in the '90s. While arguments rage regarding which was his best, there is no doubt that the 1960-1961 unit figures in the debate. This wonderful six-disc set, notated with care and painstaking detail by Bob Blumenthal, covers studio and live sessions from March 6, 1960, to May 27, 1961, with the same personnel on all but two songs. Producer Michael Cuscuna used only first issue dates, and while he included some alternate takes, he did not litter the discs with second-rate vault material. They smoothly detail the band's evolution, cohesion, and maturation. This set, as with all Mosaic boxes, goes beyond essential. Get it post haste.

Essential listening!  
 

 

[tru blu]

Yeah, that Blakey set's killer. I actually got to meet "Bu", as his friends called him (his Muslim name was "Buhaina"). He was hip and regal in his soul. And that band was the proving ground for damn-near a half-century of phenomenal talent. I always dug that Blakey stated to the audience his philosophy for continuously hiring younger players on the very first Messengers album, A Night At Birdland, Vol. 1. "[It] keeps the mind active", he says from the mic in 1954, like he already saw the future in front of him.

 

[Questhate]

I can't decide if this or Moanin is my favorite of all the Blakey records. Both are very similar in feel. I think I find this one more consistent throughout and probably listen to this one the most. 
 
About 4:12 into Sortie, the long resolving phrase that Wayne Shorter throws in there gets me every single time. That has to be one of the great releases of tension ever in a jazz solo. 
 
Quote:

If there is one band that culminates the 50's/60's without looking too forward or backward it's Art Blakey and the Jazz Messengers. They made some brilliant albums from the late 50's to mid 60's and this one is my favorite. "Indestructible"  Some call the Messengers mainstream, but for me Art is one of the great originators of modern jazz. He clearly lives and breathes be-bop but also makes it sound fresh and exciting without straying too far from its roots. Listen to the time signiture of "Calling Miss Khadigia"(one of my all time fave Jazz peices) at the begining and then see how he turns it into classic but progressive bop. Very clever indeed.