Charlie Parker - Complete Savoy and Dial Master Takes CD

Complete Savoy and Dial Master Takes album for sale With Birth of the Cool, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Davis reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). Kind of Blue was the ultimate fulfillment of this approach, with Davis providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, Kind of Blue precipitated a major stylistic development: modal jazz. Charles Mingus had experimented with pedal points throughout the '50s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But Kind of Blue was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions -- Davis' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of John Coltrane, and Cannonball Adderley --that some 50-plus years after its initial release, Kind of Blue is still recognized as Davis' point of departure toward jazz's less-explored regions. Bill Evans' translucent chords and Paul Chambers' famous bassline herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Jimmy Cobb rhythm team is an oasis of calm throughout the childish blues of "Freddie Freeloader." Often credited to Davis, "Blue in Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Davis' fascination with the earthy melodies and brooding metaphors of the Iberian peninsula; a harbinger of his next masterpiece, Sketches of Spain. Kind of Blue remains Miles Davis' most evocative piece of musical haiku. Liner Note Authors: Bill Evans ; Robert Palmer; Nat Hentoff; Robert Palmer . Recording information: Columbia 30th Street Studio, New York, NY (03/02/1959-04/22/1959); Columbia Street Studio, New York, NY (03/02/1959-04/22/1959). Photographers: Don Hunstein; Jay Maisel. Unknown Contributor Roles: Cannonball Adderley; John Coltrane; Bill Evans ; Wynton Kelly; Paul Chambers; Jimmy Cobb . Personnel: Miles Davis (trumpet); Miles Davis; Paul Chambers (double bass); Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); ...

Complete Savoy and Dial Master Takes songs On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn. Award Winner

Complete Savoy and Dial Master Takes CD music These 1962 recordings were Thelonious Monk's first for Columbia Records, with whom he spent the most commercially successful years of his career. Mixing his own highly personalized renditions of standards with originals, this was a pattern he followed for all of his subsequent releases with the label. Of his originals, only "Bright Mississippi" had never been recorded before, but after decades of toiling in obscurity, the re-recording of tunes such as "Bolivar Blues" and "Bye-Ya" was most certainly warranted. This is in part because they'd not been heard before by most of his new and wide audience, and also because this quartet (with Charlie Rouse, John Ore and Frankie Dunlop) had been playing at this point for two years--longer than he'd ever been able to keep an ensemble together before--and they'd settled into Monk's music like one charismatic and multi-limbed being. All tracks have been digitally remastered. W/ 4 Bonus Tracks Recorded at Columbia Studios, New York, New York in 1963. Includes liner notes by Peter Keepnews. Personnel: Thelonious Monk (piano); Charlie Rouse (tenor saxophone); John Ore (bass); Frankie Dunlop (drums).

Complete Savoy and Dial Master Takes buy CD music Recorded live at the Village Vanguard, New York, New York on November 3, 1957. Originally released on Blue Note (81581). The Rudy Van Gelder Edition of A NIGHT AT THE VILLAGE VANGUARD includes an essay by Bob Blumenthal. Recorded live at the Village Vanguard, New York, New York on November 3, 1957. Includes liner notes by Leonard Feather and Bob Blumenthal. This is part of the Blue Note Rudy Van Gelder Editions series. It's possible to argue that, whereas his contemporaries Miles Davis and John Coltrane hit peaks of creative invention in the 1960s, Sonny Rollins was at his best in the late '50s. A NIGHT AT THE VILLAGE VANGUARD, taken from performances recorded in 1957, provides ample evidence for the claim. In fact, these recordings make a case for Rollins as one of the most miraculously inventive and agile soloists in the post-bop tradition. With the exception of a brief appearance by drummer Pete LaRoca and bassist Donald Bailey, the performances feature Rollins flanked by the powerhouse rhythm section of Wilbur Ware (bass) and Elvin Jones (drums). The fluidity and rhythmic communication among the three is at a keen pitch throughout on a mix of standards and originals, with the second version of "A Night in Tunisia" and "What Is This Thing Called Love" standing out on two discs' worth of standouts. Post-bop doesn't get any better than this. Digitally remastered by Rudy Van Gelder. 2 Cds, 2 Bonus Tracks Personnel: Sonny Rollins (tenor saxophone); Donald Bailey, Wilbur Ware (bass); Pete La Roca, Elvin Jones (drums). Producer: Alfred Lion. Personnel: Sonny Rollins (tenor saxophone); Elvin Jones, Pete Roca, Pete La Roca (drums). Audio Remasterer: Rudy Van Gelder. Liner Note Author: Bob Blumenthal. Recording information: Village Vanguard, New York, NY (11/03/1957). Photographer: Francis Wolff. Personnel: Sonny Rollins (tenor saxophone); Donald Bailey, Wilbur Ware (acoustic bass); Pete LaRoca, Elvin Jones (drums). Reissue producer: Michael Cuscuna.

Complete Savoy and Dial Master Takes songs The Rudy Van Gelder Edition of BLOWIN' THE BLUES AWAY includes an essay by Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. Besides the wildly popular SONG FOR MY FATHER, the second most acclaimed Horace Silver disc is the endlessly enjoyable BLOWIN' THE BLUES AWAY. This 1959 Blue Note date features the pianist in full stride with a quintet that includes trumpeter Blue Mitchell and saxophonist Junior Cook, two fellow proponents of funky hard bop. The gospel and R&B influence in Silver's approach is evident as finger-snapping grooves support bouncing melodies that bubble and pop with every chorus. As the title suggests, this music is a celebratory fanfare that washes away the hardships of everyday life. The explosive title track opens the session with a bang as the group burns through the changes with tight precision and plenty of spirit. The jazzier "The St. Vitus Dance" is a swinging trio cut with hints of an Ellington influence among the bopping lines of Silver's solo. The most well known tunes here are the lush ballad "Peace," featuring outstanding work by Mitchell, and the classic "Sister Sadie," one of the most recorded Silver compositions in the jazz repertoire. Other highlights of this exemplary session are the bebop-flavored "Break City" and the aptly titled ballad "Melancholy Mood." Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on August 29 & 30 and September 13, 1959. Originally released on Blue Note (84017). Includes liner notes by Ira Gitler and Michael Cuscuna. Personnel: Horace Silver (piano); Junior Cook (tenor saxophone); Blue Mitchell (trumpet); Eugene Taylor (bass); Louis Hayes (drums). Producer: Alfred Lion. Reissue producer: Michael Cuscuna.

Complete Savoy and Dial Master Takes album for sale Track Listing of songs: DISC 1: Bird, The; Cardboard; Visa; Segment; Passport; Passport; Just Friends; Everything Happens to Me; April in Paris; Summertime; I Didn't Know What Time It Was; If I Should Lose You; Star Eyes; Blues; I'm in the Mood for Love; Bloomdido; Oscar for Treadwell, An; Mohawk; My Melancholy Baby; Leap Frog; Relaxin' With Lee; Dancing in the Dark; Out of Nowhere; Laura; DISC 2: East of the Sun; They Can't Take That Away from Me; Easy to Love; I'm in the Mood for Love; I'll Remember April; Privave, Au; She Rote; K.C. Blues; Star Eyes; My Little Suede Shoes; Poquito de Tu Amor, Un; Tico-Tico; Fiesta; Why Do I Love You?; Blues for Alice; Si Si; Swedish Schnapps; Back Home Blues; Lover Man; Temptation; Lover; Autumn in New York; Stella by Starlight; Mama Inez; Cucaracha, La; DISC 3: Estrellita; Begin the Beguine; Paloma, La; Night and Day; Almost Like Being in Love; I Can't Get Started; What Is This Thing Called Love?; Song Is You, The; Laird Baird; Kim; Cosmic Rays; In the Still of the Night; Old Folks; If I Love Again; Chi-Chi; I Remember You; Now's the Time; Confirmation; I Get a Kick Out of You; Just One of Those Things; My Heart Belongs to Daddy; I've Got You Under My Skin; Love for Sale; I Love Paris;