| | These Are My Roots: Clifford Jordan Plays Leadbelly CD Clifford Jordan Discography of CDs
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"...Jordan Plays Leadbelly"
Personnel: Clifford Jordan (tenor saxophone); Sandra Douglass (vocals); Roy Burrowes (trumpet); Julian Priester (trombone); Cedar Walton (piano); Chuck Wayne (guitar, banjo); Richard Davis (bass); Al Heath (drums).
Producer: Nesuhi Ertegun.
Reissue producers: Donald Elfman, Naomi Yoshii.
Recorded on February 1 & 17, 1965 in New York, New York. Originally released on Atlantic (1444). Includes liner notes by Nat Hentoff.
All tracks have been digitally remastered using HDCD technology by Gene Paul (DB Plus, New York, New York).
Personnel: Clifford Jordan (tenor saxophone); Sandra Douglas (vocals).
At first glance, this appears to be a very illogical album. Back in 1965, tenor saxophonist Clifford Jordan recorded a tribute to the late folk singer Leadbelly. The date, originally cut for Atlantic and reissued by Koch in 1999, is actually more successful than one might expect. Jordan performs nine of Leadbelly's originals (including the hit "Goodnight Irene"), turning the music into jazz without lessening the impact of the melodies or their folk roots. Trumpeter Roy Burrowes, trombonist Julian Priester, bassist Richard Davis and drummer Albert "Tootie" Heath are on most of the selections along with Jordan, while Chuck Wayne (on guitar and banjo) helps out on four tunes, and pianist Cedar Walton is on three. The fine young singer Sandra Douglass is excellent on "Take This Hammer" and "Black Girl," making one wonder whatever happened to her. Overall, this project is an unexpected success -- one would not have thought that Clifford Jordan and Leadbelly had that much in common! ~ Scott Yanow
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Recorded live in Texas and San Francisco in 1969. Includes liner notes by Paul Nelson and Elliott Murphy.
This 2 LP set was split into 2 separate CDs.
Maureen Tucker once said that one of her greatest regrets about her tenure in the Velvet Underground is that the band didn't record their shows, and while the live tapes that do survive of the group's performances document an extraordinary band, sadly there aren't very many of them. 1969: Velvet Underground Live, a two-record set released in 1974, is the best and most compelling (legally released) document of the band's powers in concert, but given its length (over 104 minutes), when Mercury Records reissued the set on CD in 1988, they opted to send it out as two separate single-disc albums, rather than as a two-disc set. The three long songs that open 1969: Velvet Underground Live, Vol. 2 (they were the whole of side three on the vinyl release) capture the Velvets at their most hypnotically beautiful, easing from the slow but dramatic ebb and flow of "Ocean," through the lovely melancholy of "Pale Blue Eyes," into the slow, unbearable build to manic frenzy of "Heroin." The disc's second half finds the band in more conventional but no less satisfying form, shifting back and forth between mid-tempo numbers like "Over You" and "Some Kinda Love" and charging rockers such as "White Light/White Heat" (a fine version of "I Can't Stand It" has been added for the CD issue). While Lou Reed's passionate vocals and guitar work are front and center throughout, the rest of the band is in equally superb form, especially Sterling ...
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The youngest of four children, Rose Polenzani was born into a midwestern family that valued music above all things. The prize of the household was an ornate baby grand piano...it was no mistake that the children grew up to have music as a major part of their lives (Rose's brother Matthew sings with the Metropolitan Opera). In 1995, Rose left school so she could concentrate on songwriting, immersing herself for two years in the Chicago open-mic scene and a hand -me-down four-track machine. She was a local girl until 1997.Her first tour took her to the Northeast in November of 1997. Within 7 months, she would be invited to play the Newport Folk Festival and winning a slot in the 1998 summer Lilith Fair. Balanced on the brink of 60's folk literacy and modern adult alternative, Rose has been able to straddle the largely streamlined music scene, opening for acts such as David Gray, Kristin Hersh, and Vic Chestnutt, as natural in a rock club as a coffeehouse. Despite ...
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Recording information: Van Gelder Studios, Hackensack, NJ.
Photographer: Esmond Edwards.
A look at the dates and the label easily give the story away, for on this single disc, you are going to hear the formative Coltrane when he was still working for Miles Davis and Thelonious Monk, not the spiritual visionary of the 1960s. Nevertheless, there are plenty of indications of what was to come in these sessions, as distilled from the massive 16-CD Prestige Recordings box. To cite just one of many examples where Coltrane seems to be leaving his sidemen and the era behind, on "Come Rain or Come Shine," Coltrane's sheets of sound are already blazing, while the rest of the expert rhythm section and trumpeter Donald Byrd seem stuck in the 1950s. Trane also rips up-tempo into as unlikely a vehicle as Irving Berlin's "Russian Lullaby," and the alternating Latin and straight-ahead grooves of the rhythm section in "Bahia" play as foils to the ...
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