Django Reinhardt - Django in Rome 1949-1950 CD

Django in Rome 1949-1950 buy CD music 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

Django in Rome 1949-1950 CD music Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine. Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal. All tracks have been digitally mastered using 24-bit technology. In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context. Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and sear at their respective best, providing remarkable contrast to Davis's magically cool horn. UK-born pianist Victor Feldman plays on some tracks, Hancock on others; the drum chair features Tony Williams (also an explorer of avant expression) and Frank Butler (a crackling, swinging mainstream bopper). SEVEN STEPS includes material originally available on the early-'60s albums IN EUROPE and FOUR & MORE, among others, with (attention, collectors!) the inclusion of eight previously unreleased tracks. Personnel: Miles Davis (trumpet); Miles Davis; Ron Carter (double bass); Tony Ruption Williams , Tony Williams (drums); George Coleman, Sam Rivers, Wayne Shorter (tenor saxophone); Victor Feldman, Herbie Hancock (piano); Frank Butler (drums). Audio Remixer: Mark Wilder. Liner Note Authors: Michael Cuscuna; Bob Blumenthal. Recording information: Berlin Philharmonic Hall, Berlin, Germany (04/16/1963-09/19/1964); Columbia 30th Street Studio, New York, NY (04/16/1963-09/19/1964); Columbia Studios, LA (04/16/1963-09/19/1964); Kohseinenkin Hall, Tokyo, Japan (04/16/1963-09/19/1964); Philharmonic Hall, New York, NY (04/16/1963-09/19/1964); The Festival Mondial Du Jazz Antibes, Juan-Les-Pins, Fr (04/16/1963-09/19/1964). Introduction bys: Billy Taylor ; André Francis; Terry Isono; Mort Fega. Photographers: Vernon Smith; John Wilkes; Ted Williams ; Joe Alper; Jan Persson; Roger Marshutz; Lee Tanner; Chuck Stewart.

Django in Rome 1949-1950 songs At first glance, one might think that this album is another in a long line of standard-issue Duke Ellington compilations. However, this is a release created by the artist himself, and it presents sessions from May and June of 1960 with one of the best orchestras Ellington ever assembled. (Only the previously unissued "Harlem Air Shaft," one of five bonus tracks on the CD, was recorded in '61.) The title of this collection is also something of a misnomer, since PIANO IN THE BACKGROUND prominently features the piano throughout. Each track boasts fabulous bluesy piano introductions, and, at the end of each tune, the ivories usually get the last word. This dramatic conclusion sometimes comes in the form of a final blow to the lower register of the keyboard, as on "Mid-Riff," "Main Stem," and "It Don't Mean a Thing (If It Ain't Got That Swing)." These mysterioso rumblings of the piano make the tunes end with a kind of musical defiance not normally associated with jazz orchestras of the time. This is hard-swinging and inspired big-band music at its finest. Additional Tracks Liner Note Authors: Irving Townsend; Patricia Willard. Recording information: Columbia Studios, Los Angeles, CA (1960); Radio Recorders, Los Angeles, CA (1960). Photographer: Don Hunstein. Arrangers: Gerald Wilson; Bill Mathieu. Personnel: Duke Ellington (piano); Duke Ellington; Andres Merenghito, Andre Merenghito (trumpet); Lawrence D. Brown, Lawrence Brown (trombone); Billy Strayhorn (piano); Aaron Bell (double bass); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Harry Carney (bass clarinet, baritone saxophone); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Eddie Mullens, Gerald Wilson, Ray Nance, Willie Cook (trumpet); Matthew Gee, Booty Wood, Britt Woodman (trombone); Juan Tizol (valve trombone); Sam Woodyard (drums). Audio Remixer: Mark Wilder.

Django in Rome 1949-1950 album for sale This excellent 1966 set features a diverse range of ensembles, all lead by trumpeter Freddie Hubbard. The first is an octet, featuring congas and a euphonium; the second, a seven-member group, including the great McCoy Tyner on piano; the third is a sextet that boasts drummer Elvin Jones and Herbie Hancock (who doubles on piano and celeste). James Spaulding lends his alto sax and flute to two of the groups, and Joe Henderson is in two as well (his melodic, yet adventurous, tenor sax playing is especially notable). Also featured are tenor player Hank Mobley, bassist Reggie Workman, pianist Harold Mabern, and drummer Pete La Roca. The fare on BLUE SPIRITS is in keeping with the hard bop of the era. A heavy soul-jazz influence is heard on the opening "Soul Surge" and the Latin-tinged "Cunga Black," but Hubbard's work is always challenging (the driving "Jodo") and often impressionistic (the moody, spectral title track). The revolving cast of players keeps thing interesting (especially for jazz fans familiar with the respective styles of the musicians), and the tonal variation created by the different instrumentation intrigues. This reissue of the original LP includes two bonus tracks (from a session that took place the following year), increasing the stock of this fine bop outing. Additional Tracks Liner Note Authors: Nat Hentoff; Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (02/19/1965-03/05/1966). Photographer: Francis Wolff. Personnel: Freddie Hubbard (trumpet); Freddie Hubbard; Hosea Taylor (bassoon); Joe Henderson (tenor saxophone); Kiane Zawadi (euphonium); Larry Ridley, Reggie Workman (bass instrument); Big Black (congas); James Spaulding (flute, alto saxophone); Hank Mobley (tenor saxophone); Herbie Hancock (piano, celesta); Harold Mabern, McCoy Tyner (piano); Clifford Jarvis, Elvin Jones, Pete La Roca (drums). Audio Remasterer: Rudy Van Gelder.

Django in Rome 1949-1950 CD music Though a different version of this 1964 Paris concert was previously available on import, THE GREAT CONCERT OF CHARLES MINGUS restores the original song order and includes previously unreleased tracks. One of these is pianist Jaki Byard's solo opener, "A.T.F.W." (the initials of Art Tatum and Fats Waller), a ragged, beautiful collage of classical, bop, and ragtime themes. Another is the full, original version of "So Long Eric (Don't Stay Over There Too Long)," which in its previously issued version was cobbled together from different performances. The line-up includes Mingus on bass, Byard, drummer Dannie Richmond, tenor saxophonist Clifford Jordan, and the incomparable Eric Dolphy on flute, alto sax, and bass clarinet. Mingus's sophisticated, complex compositions (which manage, somehow, to remain deeply rooted in earthy blues) are enlivened by Byard, Jordan, and Dolphy (whose nimble imagination, wit, and acrobatic skills are enough to recommend the set). "Fables of Faubus" swings, settles, and builds to a frenzy; "Sophisticated Lady," written by Mingus's idol Duke Ellington, spotlights the leader's bass chops; and the quote-filled "Parkeriana (Dedicated to a Genius)" pays glorious tribute to Charlie Parker. This is challenging, historic music; the album's title is no misnomer. Personnel: Charles Mingus (bass instrument); Eric Dolphy (flute, bass clarinet, alto saxophone); Clifford Jordan (tenor saxophone); Jaki Byard (piano); Dannie Richmond (drums). Liner Note Author: Bruno Guermonprez.

Django in Rome 1949-1950 buy CD music Time for Tyner finds pianist McCoy Tyner with vibraphonist Bobby Hutcherson, bassist Herbie Lewis, and drummer Freddie Waits. Tyner and Hutcherson blend together quite well on the first three tracks from the original program (all Tyner originals), and both display expertise at coming up with inventive ideas over modal vamps. The other three selections are veteran standards. "I Didn't Know What Time It Was" is taken by the full quartet, Hutcherson sits out on "Surrey with the Fringe on Top," and a rhapsodic "I've Grown Accustomed to Your Face" is a piano solo. A fine all-round showcase for McCoy Tyner in the late '60s. ~ Scott Yanow Liner Note Authors: Ed Williams; Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (05/17/1968). Photographer: Francis Wolff. Personnel: McCoy Tyner (piano); McCoy Tyner; Herbie Lewis (bass instrument); Freddie Waits, Frederick Waits (drums); Bobby Hutcherson (vibraphone). Audio Remasterer: Rudy Van Gelder.