Playing it now on Qobuz 
Thanks Nick. A new one for me. Streaming from Qobuz via Roon…
AllMusic Review by Eugene Chadbourne [-]
This is the second of two albums trumpeter Dave Burns released on Vanguard in the ‘60s, apparently something of a professional blunder since this label seems to have had as little to do with the hard bop style of jazz as a heavy metal firm such as Earache Records. But slightly less than half a century later, collectors of hard bop seem to be all over the Burns discography, shelling out more than $30 for a copy of one of the Vanguard vinyl sides and saying bedside prayers for a CD reissue set. Burns’ reputation as a brilliant technician and instructor on the trumpet is daunting. He seems to be the sort of player Dizzy Gillespie would have handed a difficult passage to in order to avoid any possible screw-ups. This might lead listeners to expect highly technical music, but there was another side to this artist that happily affected the music he created as a bandleader. At the heart of any good hard bop performance is a kind of good-natured, happy swing feeling – and this is what Burns offers on this collection, bolstered by sidemen whose collective fatness of tone brings to mind the participants in a Kansas City barbecue “belly buster.”
The great Count Basie trombonist joins tenor saxophonist Billy Mitchell in the horn lineup, the latter artist a regular sidekick of Burns whose playing is wisely direct. This horn section sounds just as good as a lineup on one of the better Lee Morgan Blue Note sides, to name another trumpeter in the same league as Burns. Pianist Harold Mabern coincidentally also worked regularly with Morgan and seems to have telepathic interplay with the superior vibraphonist Bobby Hutcherson. They play together as if they had been able to examine the entire session in advance, collectively determining when, where, and how to establish their harmonic trading post. Bassist Herman Wright and drummer Otis “Candy” Finch complete a rhythm section that plays with great taste, recorded with aplomb. At least the recording engineers knew what to do with hard bop, even if the label didn’t. Several tracks add timbales to the percussion mix for the expected Latin kick. Burns originals such as “Rigor Mortis,” also recorded by Mitchell on one of the tenor man’s own sessions, are blended with marvelous interpretations of standards. The performance of “My Romance” is so exquisite that the more introspective jazz fan may wonder why romance is even necessary.
Dave
Some of his best work I think was with James Moody’s small R&B influenced 50s bands, as recorded for Prestige and Argo.
The two Vanguard LPs can be found as (somewhat dubious) Scorpio pressings. I once came across an inexpensive original of the first one but alas, it was pretty well beat.
That Stan Getz title is very topical
A quick look at the track listing suggests it’s a compilation.
Verve/Universal cashing in?
Dave
Soon come from Gearbox Records
After having released Don Cherry’s Cherry Jam as a limited Record Store Day title in the Autumn of 2020, Gearbox presents this essential release on specialist Japanese Edition vinyl and CD as well as digitally.
‘Cherry Jam’ sets the scene in 60s Copenhagen, a city which at the time proved instrumental in the hosting and development of jazz musicians both local and American. Cherry had performed and recorded there with Archie Shepp in 1963, toured with Albert Ayler in the autumn of 1964, and would go on to have a residency at the hip Cafe Montmartre in 1966.
Our recording is taken from the original tape of a 1965 radio broadcast, programmed by Denmark’s national radio station (Danmarks Radio.) It was in this same year that Cherry would record his landmark Blue Note recording, ‘Complete Communion’, with Leandro ‘Gato’ Barbieri on tenor saxophone, Henry Grimes on double bass, and Edward Blackwell on drums, as well as feature on fellow American expatriate George Russell’s live album ‘George Russell Sextet at Beethoven Hall’. This particular line-up however, consisting of Danish musicians, has never been heard after its original broadcast date, and neither have the three original Don Cherry compositions that are featured on the recording credits.
Don Cherry and pianist Atli Bjørn had been collaborating regularly
on a jam session basis, leading to Danmarks Radio’s decision
to record and share these experiments with the Danish public. Tenor saxophonist Mogens Bollerup, bassist Benny Nielsen, and drummer Simon Koppel, all from Copenhagen’s jazz scene, would form the rest of the line-up. see less
credits
releases February 26, 2021
Don Cherry - cornet
Mogens Bollerup - tenor saxophone
Atli Bjørn - piano
Benny Nielsen - bass
Simon Koppel - drums
Recorded at Danmarks Radio Studio 2, Copenhagen, October 1965
Mastered in-house at Gearbox Records
Artwork photograph by Riccardo Schwamenthal
Gearbox did a good job with that one. ‘Short but sweet’.
Great classic album…Recommend
I posted this in the discussion on Billie Holliday thread.
Now playing…
*** BILLIE HOLIDAY, “The Complete Commodore Recordings,” GRP/Commodore
In the late ‘30s and throughout the war years, Billie Holiday was at her creative peak. By 1939, the occasional rough edges of her early career had somewhat smoothed out; by the end of the war, she was recording orchestra-heavy sessions for Decca, followed by more than a decade of uneven (although occasionally superb) outings for Verve.
From 1939 to 1944, she recorded a series of sessions for Commodore that many observers say represent the pinnacle of her career. This absolutely vital collection presents the four sessions in their entirety.
The first session, in 1939, produced “Yesterdays,” “Fine and Mellow,” “I Gotta Right to Sing the Blues” and the incomparable “Strange Fruit.” The date came about when Columbia, Holiday’s label at the time, refused to allow her to record “Strange Fruit,” with its powerful (both then and now) images of a lynching in the South.
The rest of the tracks were produced in three sessions during a two-week period in spring 1944. They include one Holiday classic after another: “How Am I to Know,” “My Old Flame,” “I Cover the Waterfront,” “He’s Funny That Way,” “Lover Come Back to Me” and “Billie’s Blues.”
Despite backgrounds that often do little more than lay down simple chording and one or two funereal tempos, Holiday produces a series of performances that are virtual definitions of jazz singing. Rhythmically articulate, always in touch with the meaning of the words, inherently emotional and personal, they are required listening for even the most casual jazz listener. And, as a bonus, there are alternate takes–some very good ones, in fact–of most of the tunes. It is, in sum, classic jazz at its very best.
Taken from a review in LA Times Don Heckman 1997
Always love Clark Terry, his album In Orbit with Thelonious Monk was the first I heard of him and still a favourite.
Oscar Peterson will need no introduction on this thread.
Until this weekend I hadn’t come across this meeting of the two.
AllMusic Review by Stephen Cook
Some guest soloists get overshadowed by Oscar Peterson’s technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album’s ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington’s impressionism on slow cuts like “They Didn’t Believe Me” to fleet, single-line madness on his own “Squeaky’s Blues,” Terry goes in for blues and the blowzy on originals like “Mumbles” and “Incoherent Blues”; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process. Other highlights include the rarely covered ballad “Jim” and the even more obscure “Brotherhood of Man” from the Broadway musical How to Succeed in Business Without Really Trying. A very engaging and enjoyable disc.
Enjoying this mid sixties slice of Soul Jazz from Hank Mobley.
The title track kind of reminds me a bit of Lee Morgan’s (who plays on this LP) The Sidewinder. There are bluesy elements and Bop style playing throughout the album with the whole underpinned by that incessantly bluesy groove that seems a trade mark Blue Note sound.
AllMusic Review by Scott Yanow
Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note’s stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter’s “Venus Di Mildew.” Recommended.
AllMusic Review by Scott Yanow
In the 1980s, Kenny Barron was recognized as one of jazz’s top pianists, a modern mainstream master who two decades later is still in prime form. His 1983 trio date with bassist Buster Williams and drummer Ben Riley, Green Chimneys, originally consisted of six songs highlighted by “Softly As in a Morning Sunrise,” “Straight No Chaser,” and a lengthy version of “There Is No Greater Love.” The CD reissue adds a second alternate take of “Time Was,” plus three numbers (“Skylark,” “When Lights Are Low,” and Barron’s “Morning Blues”) recorded with the same musicians in 1987. The additions are of equally high quality as the earlier set, making this swinging program (which has almost 68 minutes of music) a bargain.
Enjoy
Dave