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Archive for the ‘Jazz Finds’ Category

Here’s the playlist for Tueday night’s All That Jazz radio show:

First set a couple of fairly unknown jazz piano players:  Pat Flowers, who recorded during the 40’s, played piano and sang; Putney Dandridge, who also sang and recorded during the middle 30’s.

Pat Flowers and His Rhythm

“Googie Woogie” composed by Flowers from Pat Flowers 1945-1947 (1945) on OJC — Pat Flowers, piano, vocals, leader; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums

“Ain’t that just like a woman” composed by Claude Demetrius / Fleecie Moore from Pat Flowers 1945-1947 (1945) on OJC — Pat Flowers, piano, vocals, leader; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums.

 

Pat FlowersThis next tune from Flowers is especially interesting.  The tune features vocals from unknown (from a recording standpoint) singer, piano player Bunty Pendleton.  We know next to nothing about Pendleton.  Apparently, this was the one and only time she ever recorded anything (see Tim Brosman’s “A Discography of One: “Horizontal” by Bunty Pendleton”).  She seemed to be most active during the forties.  “Horizontal” was recorded in July of 1946 as a kind of “welcome” back song for the troops post WWII.  She was also gigging at Jimmy Ryan’s East Side on 52nd street in NYC, a club that routinely featured New Orleans style musicians, which may have led Pendleton to find gigs later on.  William Gottlieb has several famous photographs of Pendleton playing piano at “Riverboat on the Hudson”.  Her voice is very low-key, yet has enormous emotional quality.  Judge for yourself from the following video.

  “Horizontal” composed by Hal David / Ricca from Pat Flowers 1945-1947 (1946) on OJC — Pat Flowers, piano, leader; , vocals; Herman Autrey, trumpet; Gene Sedric, clarinet; Jimmy Shirley, guitar; Cedric Wallace, bass; Slick Jones, drums.

 

 

Putney Dandridge

Putney Dandridge, like Flowers and Pendletron, a relatively unknown jazz piano player and vocalist to anyone outside of NYC during the 30’s, played with some of the great swing musicians of the era.

“Nagasaki” composed by Mort Dixon / Harry Warren from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums

“I’m in the mood for love” composed by Dorothy Fields / Jimmy McHugh from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums

Here’s Dandridge performing “Cheek to Cheek,” 1935:

 

 

“Cheek to cheek” composed by rving Berlin from Putney Dandridge 1935-1936 (1935) on OJC — Putney Dandridge, piano, vocals, leader; Henry Allen, trumpet; Buster Bailey, clar and alto; Teddy Wilson, piano; Lawrence Lucie, guitar; John Kirby, bass; Walter Johnson, drums

Frankie Newton, trumpeter and bandleader, known for his small combo work in clubs around 52nd street as well as the Cafe Society Club house band (regularly backed Billie Holiday) recorded some great stuff.  Here’s a few examples:

Frankie Newton and His Uptown Serenaders “You showed me the way” composed by Green, et al from Frankies Jump (1939) on Charley Records — Frankie Newton and his Uptown Serenaders: Newton, trumpet; Pete Brown, alto; Cecil Scott, tenor; Don Frye, piano; Richard Fulbright, bass; Co9zy Cole, drums; Clarence Palmer, vocals

Frankie Newton and his Orchestra “Rosetta” composed by Hines from Frankies Jump (1939) on Charley Records — Frankie Newton, trumpet; Mezz Mezzrow, clar; Pete Brown, alto; James P. Johson, piano; Albertr Casey, guitar; JohnKirby, bass; Cozy Cole, drums

Frankie Newton and His Cafe Society Orchestra “Parallel fifths” composed by Newton from Frankie’s Jump (1939) on Charly Records — Frankie Newton and his Café Society Orchestra: Newton, trumpet; Tab Smith, alt; Kenneth Hollon (solo), tenor; Kenny Kersey, piano; Ulysses Livingston, guitar; Johnny Williams, bass; Eddie Dougherty, drums

Fats Waller “Brother, seek and you shall find” composed by Frank Crum / Slam Stewart from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums

Fats Waller “The girl I left behind me” composed by Edgar Leslie / George W. Meyer / Billy Rose from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums

Fats Waller “Rhythm and romance” composed by J.C. Johnson / Arthur Schwartz / Richard A. Whiting from Fats Waller 1935, vol 2 (1935) on OJC — Fats Waller, piano, vocals, celeste; Herman Autrey , trumpet; Rudy Powell, clarinet, alto; Jimmy Smith , guitar; Charlie “Fat Man” Turner, bass; Arnold “Scrippy” Bolden, drums

John Kirby and His Orchestra “At the crossroads” composed by Lecuona, Russell from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Charlie Shavers, trum; Buster Bailey, clar; George Johnson, alto; Clyde Hart, piano; Bill Beason, dri,s

John Kirby and His Orchestra “9:20 special” composed by Warren, Engvick from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Charlie Shavers, trum; Buster Bailey, clar; George Johnson, alto; Clyde Hart, piano; Bill Beason, dri,s

John Kirby and His Orchestra “Mop Mop” composed by Demtrius, Williams from The Biggest Little Band in the Land (1945) on ASV — John Kirby, bass, leader; Emmett Berry; George Johnson, alto; Bud Johnson, tenor; Ram Ramirez, piano; Bill Beason, drums

Tab Smith “Cuban Boogie” composed by Smith from Ace High (1952) on Delmark — Tab Smith, alto

Tab Smith “A bit of blues” composed by Smith from Ace High (1952) on Delmark — Tab Smith, alto

Candy Johnson “Freight Train” composed by Trad from Candy’s Mood (1973) on Definitive — Candy Johnson, tenor;

Tubby Hayes “Johnny one note” composed by Lorenz Hart, Richard Rodgers from The Tubby Hayes quintet down in the village (1962) on Redial — Recorded live at Ronnie Scott’s—Tubby Hayes, tenor, leader; Jimmy Deuchar, trumpet; Gordon Beck, piano; Freddy Logan, bass; Allan Ganley, drums

Ira Sullivan “Con alma” composed by Gillespie from After Hours (1996) on Go Jazz Records — Ira Sullivan, soprano;

Charlie Shavers “Summertime” composed by Gershwin from Shavers Shivers (1950) on Soundies — Charlie Shavers, trumpet, leader

Earl Bostic “Sleep” composed by Earl Lebieg from Earl Bostic for You (1956) on King — Earl Bostic, alto;

Plas Johnson “Hittin’ the Jug” composed by Ammons from Hot, blue, and saxy (1950) on carell music — Plas Johnson, tenor; Cedric Lawson, piano; Richard Reid, bass; John Kirkwood, drums

King Curtis “Da Duh Da” composed by Curtis from The New Scene of King Curtis (1960) on OJC — King Curtis, tenor; Nat Adderley, trumpet; Wynton Kelly, piano; Paul Chambers, bass; Oliver Jackson, drums

Joe Liggins and the Honeydrippers “Pink Champagne” composed by Liggins from Joe Liggins & the Honeydrippers (1950) on Specialty Records — Joe Liggins orchestra, Liggins on piano, vocals

Louis Jordan “Reet, petite, and gone” composed by Jordan from Five Guys Named Moe (1991) on decca — Louis Jordan, tenor, vocals

 

 

 

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The great young vibraphonist Warren Wolf playin’ the shit out of the vibes!

Here are some highlights from tonight’s show.

Warren Wolf.  This guy is an amazing vibraphonist; such energy and hard bop swing.  This is a cut from his second album:

“Soul Sister” composed by Wolf from Convergence (2016) on Mack Avenue Records — Warren Wolf, vibes; Christian McBride, bass; John Scofield, guitar, Brad Mehldau, piano, and drummer Jeff “Tain” Watts.

Freddie Hubbard.  Authentic hard bop; amazing bowed bass solo from Paul Chambers.

Played. “Asiatic Raes” composed by Hubbard from Goin’ Up (1960) on Blue Note — Freddie Hubbard, trumpet; Hank Mobley, tenor; McCoy Tyner, piano; Paul Chambers, bass; Philly Joe Jones, drums

McCoy Tyner.  Tyner’s opening bars are straight blues T-Bone Walker style, but all sweet jazz improvisation.  Listen to this one and then tell me blues is not jazz.  Huh!

“Blues Back” composed by Tyner from The Impulse Story on Impulse — McCoy Tyner, piano, leader; Sonny Stitt, alto; Art Davis, bass; Art Blakey, drums

Oscar Peterson.  A great jazz piano player, full of soul and bebop keyboard runs (jazz music theorists have a word for this).  Scales and chords reek of the blues.  Jazz blues.

“Close your eyes” composed by Peterson from The Jazz Soul of Oscar Peterson (1959) on Verve — Oscar Peterson, piano; Ray Brown, bass; Ed Thigpen, drums

Mose Allison.  Mose is all but known for his vocal jazz/blues, but he is a prolific composer and a piano style that is full of the blues.

“Mojo Woman” composed by Allison from Down Home Piano (1957) on Prestige — Mose Allison, piano; Addison Farmer, bass; Nick Stabulas, drums

Herbie Mann.  Herbie’s popularity began to wan in the seventies after a prolific and successful recording run during the sixties, in spite of the decline of jazz commercially.  Besides Mann’s ridiculously crazy flute work, this particular tune, as well as other cuts on the album, features blues guitarist Duane Allman who takes a couple of rock/blues sounding solos.

“Funky Nassau” composed by Ray Munnings, Tyrone Fitzgerald from Push (1971) on Embryo Records — Herbie Mann, flute, leader; Duanne Allman, guitar solo; Richard Tee, electric piano; Jerry Jemmott, bass; Bernard Purdie, drums

Dave Pike.  A hugely talented, but largely unknown bop vibraphonist.  Mallet madness!

“Cheryl” composed by Charlie Parker from It’s time for dave pike (1961) on Riverside — Dave Pike, vibes, leader; Barry Harris, piano; Reggie Workman, bass; Billy Higgins, drums

Carl Allen & Rodney Whitaker. Carl Allen is a highly respected drummer who has played with hard bop heavyweights Freddie Hubbard, Jackie McLean, Art Farmer, George Coleman and others.  Here in teams with Rodney Whitaker for some “soul-inflected” jazz.

“Get Ready” composed by Robinson from Get Ready — Carl Allen, drums; Rodney Whitaker, bass; Steve Wison, alto; Rodney Jones, guitar; Dorsey Robinson, organ

Marcus Miller

Marcus Miller.  For what ever reason, jazz fusion, Stanley Clarke, Jaco Pastorius, Fender basses, the jazz bass of the 21st century has evolved even more into a solo instrument capable.  Two bassists who have been a part of this new evolution of the electric bass, Marcus Miller and Mitchell Coleman, Jr., illustrate the amazing versatility of the instrument.  First Miller (great guitar solo chops from Adam Agati):

“Detroit” composed by Miller from RENAISSANCE (2012) on Concord — Marcus Miller, bass, leader; Alex Han, alto; Maurice Brown, trumpet; Adam Agati, guitar; Fender Rhodes, Kris Bowers; Louis Cato, drums;

Mitchell Coleman Jr.  Coleman takes the “funky” style bass to a new level here:

“So Funky” composed by Mitchell Coleman, Jr. from Perception — Mitchell Coleman Jr., bass, leader; Mochael Bolivar, tenor; Josh Sklair, guitar; James Gadson, drums

Pepper Adams Quintet. 

“The Long Two/Four” composed by Donald Byrd from 10 to 4 at the 5 spot (1958) on Riverside — Pepper Adams, baritone, leader; Donald Byrd, trumpet; Bobby Timmons, piano; Doug Watkins, bass; Elvin Jones, drums

Willis Jackson.

“Crying” composed by Jackson from Mellow Blues (1970) on UpFront — Willis Jackson, tenor; George Benson, guitar; Dave “Baby” Cortez, organ; Earl Williams, congas and drums

 

 

 

 

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James Booker performing  live with star eye jpatch

James Booker performing live with star eye patch

New jazz releases are coming out all the time.  So it’s easy sometimes to overlook the great jazz music that’s already out there.

I’m not referring to the obvious stuff, but those little gems that seem to appear out of nowhere.  If you follow a few jazz blogs, as I do, amazing music has a way of finding you.

One such little gem found me recently—thanks to Jazz Wax—was a video of New Orleans’ pianist James Booker performing “Malaguena a la Louisiana” at a 1991 concert in Liebzig, Germany.  It’s an astounding piece of jazz piano playing, truly indicative of the cultural depths and ranges that are possible in the sounds of New Orleans’ piano styles, especially “in the hands” of James Booker.

Malaguenas are one of the traditional styles of Spanish flamenco guitar music, but Booker manages to translate what the flamenco guitarist does on the strings to what he does with the keys on the piano.  “Malaguena a la Louisiana” comes naturally to Booker’s playing because his style is already steeped in generations-old New Orleans-style piano, which includes the blues, tinged with Spanish sounds, boogie woogie, swing, and that relentless jazz parade beat.

Here’s James Booker performing “Malaguena a la Louisiana” live in Liebzig, Germany, 1978, from Let’s Make A Better World Live In Leipzig released in 1991 on Black Sun records.

Booker’s playing is inspired, making it very difficult not to be drawn in by his New Orleans’ brand of flamenco.

 

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