Very interesting combination of instruments. Great music and sound.
Great picture! Any idea where it is?
Two Clark Terry favourites…
AllMusic Review by Scott Yanow
One of Thelonious Monk’s rare appearances as a sideman is on this quartet set led by flügelhornist Clark Terry. With bassist Sam Jones and drummer Philly Joe Jones, Terry and pianist Monk perform a set that surprisingly has only one Monk song (“Let’s Cool One”). Among the high points of this spirited, boppish date are Terry’s “One Foot in the Gutter” and “Argentia.”
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AllMusic Review by Ken Dryden
Dave Bailey’s One Foot in the Gutter is the first of several dates which originally appeared on Epic in the early 1960s but has been hard to find until this CD reissue came out. The veteran drummer literally leads a blowing session in the studio without any prepared arrangements or set list, inspired by an invited audience of friends and jazz fans. The musicians include the outstanding front line of Clark Terry, Junior Cook and Curtis Fuller, along with Horace Parlan and Peck Morrison joining the leader in the rhythm section. The music is consistently loose, fresh and very inspired; egos have been checked at the door as everyone aspires to work together to produce the best results. Clark Terry’s sauntering bluesy “One Foot in the Gutter” gets things off on the right foot, followed by a burning interpretation of Thelonious Monk’s “Well You Needn’t,” featuring Terry’s almost conversational fluegelhorn, as well as an intense, well-paced tenor sax solo by Cook and an inventive turn in the spotlight by Parlan. The finale is an extended workout of Clifford Brown’s “Sandu” which pushes everyone to a peak. The results were so successful that additional sessions (Gettin’ Into Something and Two Feet in the Gutter soon followed; this release is strong proof that talented musicians don’t have to meticulously plan out their set to produce timeless music.
Mykonos, Greece.
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Cheers Neil.
Kalemera! Oreos!
I did think it looked Helenic, I’ve travelled a lot in Greece probably my favourite country.
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Now you’re pushing it!!
No Idea, just got that info from open source
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AllMusic Review by Steve Huey
For his second album, Symphony for Improvisers, Don Cherry expanded his Complete Communion quartet – tenor saxophonist Gato Barbieri, bassist Henry Grimes, and drummer Ed Blackwell – to a septet, adding vibraphonist Karl Berger, bassist Jean François Jenny-Clark, and tenor saxophonist Pharoah Sanders (who frequently plays piccolo here). The lineup has a real international flavor, since Barbieri was from Argentina, Berger from Germany, and Jenny-Clark from France; Cherry had gigged regularly with all three during his 1964-1965 sojourn in Europe, and brought them to New York to record. With all the added firepower, it’s remarkable that Symphony for Improvisers has the same sense of shared space and controlled intelligence as its predecessor, even when things are at their most heated. Once again, Cherry sets up the album as two continuous medleys that fuse four compositions apiece, which allows the group’s improvisational energy and momentum to carry straight through the entire program. The “Symphony for Improvisers” suite is the most raucous part of Cherry’s Blue Note repertoire, and the “Manhattan Cry” suite pulls off the widest mood shifts Cherry had yet attempted in that format. Even though the album is full of passionate fireworks, there’s also a great deal of subtlety – the flavors added to the ensemble by Berger’s vibes and Sanders’ piccolo, for example, or the way other instrumental voices often support and complement a solo statement. Feverish but well-channeled, this larger-group session is probably Cherry’s most gratifying for Blue Note.
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I think this was the first Spirit of Django album. Gypsy is a collection of live tracks.
(A young) Dave O’Higgins is featured on both albums.
Not forgetting Jack Emblow on accordion of course.
Dave
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Martin Taylor - Portraits
Check this one out too, especially the beautiful Kiko.
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Thanks Dave, the line up on my Linn LP is
Accordion Jack-Emblow
Acoustic Guitar John Goldie Martin Taylor
Bass Guitar Cabasa Alec Dankworth
Drum James Taylor
Saxophone Dave O’Higgins
Dont remember that one.
The other Linn LP from back then, I think it was the first and came out just before Spirit Of Django
From Linn;
A virtuoso display of solo guitar artistry.
Martin Taylor’s ground breaking solo album Artistry, produced by Steve Howe, was originally released in 1993 to much critical acclaim and was re-issued in 2011. Artistry was No 1 in the HMV Jazz Charts for a record 12 weeks and topped the UK Jazz Charts for six weeks and launched Martin’s career as an international solo artist.
Artistry is a virtuoso display of solo guitar artistry showcasing Taylor’s incredible technique. Taylor’s essential melodic approach ensures that his extraordinary technique never distracts from the music. Martin Taylor’s inimitable style has seen him recognized as the world’s foremost exponent of solo jazz guitar playing.
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Credits
| Artist | Credit |
|---|---|
| Leon “Ndugu” Chancler | Drums, Guest Artist |
| Alice Coltrane | Harmonium, Harp, Piano, Tamboura, Tambourine |
| Henry Diltz | Photography |
| Charlie Haden | Bass, Guest Artist |
| Richard Heenan | Engineer |
| Joe Henderson | Composer, Flute, Flute (Alto), Piano, Primary Artist, Sax (Tenor) |
| Orrin Keepnews | Producer |
| Tony Lane | Design |
| Kenneth Nash | African Bells, Chinese Bells, Congas, Drums, Flute (Wood), Gong, Guest Artist, Indian Bells, Narrator, Percussion, Vocals |
| Ndugu | Drums |
| Baba Duru Oshun | Percussion, Tabla |
| Skip Shimmin | Remixing |
| Joe Tarantino | Remastering |
| Michael White | Guest Artist, Violin |
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- Alto Flute – Romeo Penque
- Arranged By – Bob James
- Bass – Ron Carter
- Bass Trombone – Alan Raph, Paul Faulise
- Bassoon – Eli Carmen*
- Clarinet – Eddie Daniels
- Conductor – Bob James
- Design [Album] – Bob Ciano
- Drums – Steve Gadd
- Engineer – Rudy Van Gelder
- Flugelhorn – Marvin Stamm
- French Horn – Ray Alonge
- Guitar – George Benson
- Keyboards – Bob James
- Oboe – Romeo Penque
- Organ – Johnny Hammond
- Percussion – Phil Kraus, Ralph MacDonald
- Photography By [Cover] – Pete Turner (4)
- Photography By [Liner] – William Cadge
- Producer – Creed Taylor
- Tenor Saxophone – Joe Henderson
- Trombone – Tony Studd, Wayne Andre
- Trumpet – Alan Rubin, John Frosk, Jon Faddis, Marvin Stamm
Notes
Recorded at Van Gelder Studios.
Recorded October 31 & November 1, 1973.
Ah, yes it’s the one with Chet Atkins, I got the earlier titles from my Linn dealer when they came on LP first time around. Portraits for some reason must have passed me by.
Cheers
For his fifth studio album Martin Taylor, together with Nashville legend Chet Atkins, give a masterclass in virtuosic guitar playing.
Portraits was recorded in Nashville, Hamburg and Scotland and, although primarily a solo album, it provided an opportunity for Martin to work once again with two old friends, producer David Hungate and the legendary guitar picker Chet Atkins.
Atkins guests on several tracks including ‘My Funny Valentine’ and The Beatles’ ‘Here, There And Everywhere.’ Atkins describes Martin Taylor as ‘one of the greatest and most impressive guitar players in the world’ stating ‘I just love his playing. This association has been quite an honour for me.’
Taylor also excels in the solo numbers with a highly impressive version of Gershwin’s ‘I Got Rhythm’ that defies belief. His enviable technique creates a sizzling ‘Ol’ Man River’ and he applies a gentle melodic touch to ‘I Remember Clifford.’
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I first saw and met Martin Taylor when he was playing with Stephane Grappelli. I think it was after Grappelli’s illness that John Etheridge took over. He’s another exceptional player, who has, over recent years, been touring with John Williams, although his CV also includes Soft Machine, of course - a versatile player indeed and one who’s also worth checking out.
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This one’s for you…
AllMusic Review by Ronnie D. Lankford, Jr. [-]
Much has been written about the rebirth of older jazz styles at the beginning of the '70s, but violinist Stephane Grappelli never stopped playing classic swing. Furthermore, he provided a place for multiple guitarists like Martin Taylor to hone their skills and make a living. Vintage Grappelli is just that: two discs from 1981 that find the master in superb form. The first, originally titled At the Winery, kicks off with a sassy version of “You Are the Sunshine of My Life” before dipping into the classic “Love for Sale.” The warm tone of Grappelli’s violin, the appreciative audience, and nice solos from Taylor and guitarist John Etheridge make this music immediately accessible. Listening to pieces like “Angel’s Camp” and “Minor Swing,” one feels a twinge of envy toward the lucky crowd who attended this show: With good wine and vintage jazz, what more could they have asked for? On the second disc, originally Vintage 1981, guitarist Mike Gari plays on several tracks, replacing John Etheridge. The material, mostly standards like “Blue Moon” and “Honeysuckle Rose,” complements the first disc. There’s even the appearance of another Stevie Wonder tune, “Isn’t She Lovely,” proving the pop musicians are still capable of writing jazz-worthy songs. Perhaps the most enduring quality of these two albums is Grappelli and company’s ability to infuse a vibrant joy into everything they play. This leaves one with the impression of a bunch of guys doing what they do best and having a good time doing it. One should also note the excellent work of bassist Jack Sewing who adds depth and drive to both sets. Vintage Grappelli offers an hour and a half of joyful jazz and shouldn’t be missed.
Dave
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