Verve Today 98 / Vol. 2
Verve · 1998 · 109Mb
Pharoah Sanders · Save Our Children
Today 97
Today 98
9/4/10
5/6/09
Dexter Gordon
Jazz Photo Compilation
Dexter Gordon in Round Midnight
As Time Goes By
Blue Note's Blue Bloods - Blue Notables - Vol. 3
Dexter Gordon in Round Midnight
As Time Goes By
Blue Note's Blue Bloods - Blue Notables - Vol. 3
31/5/09
Gerry Mulligan
Jazz Photo Compilation
Years of Solitude · Astor Piazzolla & Gerry Mulligan · 1974
The Gerry Mulligan Quartet
I Never Was A Young Man
California Cool
Years of Solitude · Astor Piazzolla & Gerry Mulligan · 1974
The Gerry Mulligan Quartet
I Never Was A Young Man
California Cool
Miles Davis
Jazz Photo Compilation
Miles Davis · Cool and Collected
01. So What
02. Summertime
03. Générique
04. Stella By Starlight
05. Fran-Dance (Put Your Little Foot Right Out) (Alternate Take)
06. Milestones
07. 'Round Midnight
08. Bye Bye Blackbird
09. Seven Steps To Heaven
10. Time After Time
11. E.S.P.
12. Human Nature
13. It's About That Time (Remix Featuring Carlos Santana)
Here's what it is.
There are certain aspects of life that just are not meant to be defined by words. You know what it is when you encounter it, but it works on a level words can't touch.
The whole concept of cool is like that. In fact, cool is so cool that dictionaries often use the word itself to attempt to describe it. "Socially adept" doesn't quite cut it. A lot of people describe themselves as cool, but those are people who don't have a clue as to what cool is. The people who are cool are, well, too cool to label themselves that way. When you're cool, other people already know it, so there's no need speak of it.
Miles Davis never said he was cool. His music said it all.
Cool and Collected is something of a sound bite in relation to how his music defined jazz in the latter half of the twentieth century. But what a sound bite it is!
Focusing mostly on the work he did in the mid- to late-'50s with various incarnations of the Miles Davis Quintet, this compilation showcases some of the tunes that made Miles Davis the epitome of cool. So What, arguably the tune that veered jazz away from bebop toward a more modal style, appropriately opens the album. In this 1959 version, Cannonball Adderly on alto sax and John Coltrane on tenor sax are also featured, as well as Bill Evans on piano, bassist Paul Chambers, and drummer Jimmy Cobb.
Much of Cool and Collected centers around the triumvirate of Davis, Coltrane, and Adderley. "Milestones," "Stella By Starlight," and "Fran-Dance" all showcase the three horn players bouncing scales off each other, and the interplay between them, nearly forty years later, still astounds. Between those four pieces alone, there's nearly 25 minutes of trumpet and sax swirling and dipping like the aural equivalents of birds at play.
But it's when Davis and Coltrane play together on the Thelonious Monk classic, "'Round Midnight," that may be the single most telling moment of what made Miles so freakin' cool. Here (and to a lesser extent, on "Bye Bye Blackbird"), we're reminded of an era when smoky, dimly lit bars were a sanctuary from the pressures of the middle class, and when mystery lay just beyond the next cocktail.
While the bulk of Cool and Collected focuses on his cool jazz work in the '50s, it does offer a few glimpses of where Davis would later head. A young Herbie Hancock is featured on "Seven Steps to Heaven" (1963), and the 1969 recording of "E.S.P." also features Wayne Shorter on sax and Ron Carter on bass. Particularly on the latter piece, we hear an inkling of the profound influence Davis had on the fusion movement, which would become the driving force of jazz in the 1970s.
No single album can encapsulate the work of a man whose career spanned nearly fifty years, especially in the case of someone like Miles Davis.
He defied every convention placed before his vision, and for over forty years, he constantly redefined jazz. What Cool and Collected does is show us in snapshots how he rose to that stature. While I would have liked to see more '70s work, what's included here is a valuable primer as to how it all began.
And how cool is that?
Miles Davis
Mr. Pastorius
The Best of Blue Note
Miles Davis · Cool and Collected
01. So What
02. Summertime
03. Générique
04. Stella By Starlight
05. Fran-Dance (Put Your Little Foot Right Out) (Alternate Take)
06. Milestones
07. 'Round Midnight
08. Bye Bye Blackbird
09. Seven Steps To Heaven
10. Time After Time
11. E.S.P.
12. Human Nature
13. It's About That Time (Remix Featuring Carlos Santana)
Here's what it is.
There are certain aspects of life that just are not meant to be defined by words. You know what it is when you encounter it, but it works on a level words can't touch.
The whole concept of cool is like that. In fact, cool is so cool that dictionaries often use the word itself to attempt to describe it. "Socially adept" doesn't quite cut it. A lot of people describe themselves as cool, but those are people who don't have a clue as to what cool is. The people who are cool are, well, too cool to label themselves that way. When you're cool, other people already know it, so there's no need speak of it.
Miles Davis never said he was cool. His music said it all.
Cool and Collected is something of a sound bite in relation to how his music defined jazz in the latter half of the twentieth century. But what a sound bite it is!
Focusing mostly on the work he did in the mid- to late-'50s with various incarnations of the Miles Davis Quintet, this compilation showcases some of the tunes that made Miles Davis the epitome of cool. So What, arguably the tune that veered jazz away from bebop toward a more modal style, appropriately opens the album. In this 1959 version, Cannonball Adderly on alto sax and John Coltrane on tenor sax are also featured, as well as Bill Evans on piano, bassist Paul Chambers, and drummer Jimmy Cobb.
Much of Cool and Collected centers around the triumvirate of Davis, Coltrane, and Adderley. "Milestones," "Stella By Starlight," and "Fran-Dance" all showcase the three horn players bouncing scales off each other, and the interplay between them, nearly forty years later, still astounds. Between those four pieces alone, there's nearly 25 minutes of trumpet and sax swirling and dipping like the aural equivalents of birds at play.
But it's when Davis and Coltrane play together on the Thelonious Monk classic, "'Round Midnight," that may be the single most telling moment of what made Miles so freakin' cool. Here (and to a lesser extent, on "Bye Bye Blackbird"), we're reminded of an era when smoky, dimly lit bars were a sanctuary from the pressures of the middle class, and when mystery lay just beyond the next cocktail.
While the bulk of Cool and Collected focuses on his cool jazz work in the '50s, it does offer a few glimpses of where Davis would later head. A young Herbie Hancock is featured on "Seven Steps to Heaven" (1963), and the 1969 recording of "E.S.P." also features Wayne Shorter on sax and Ron Carter on bass. Particularly on the latter piece, we hear an inkling of the profound influence Davis had on the fusion movement, which would become the driving force of jazz in the 1970s.
No single album can encapsulate the work of a man whose career spanned nearly fifty years, especially in the case of someone like Miles Davis.
He defied every convention placed before his vision, and for over forty years, he constantly redefined jazz. What Cool and Collected does is show us in snapshots how he rose to that stature. While I would have liked to see more '70s work, what's included here is a valuable primer as to how it all began.
And how cool is that?
Miles Davis
Mr. Pastorius
The Best of Blue Note
25/1/09
Atlantic Jazz · Kansas City
Atlantic Jazz · Kansas City
Atlantic · 1990 · 69,70 Mb
01. You're Driving Me Crazy · Big Joe Turner
02. Lamp Is Low · Buck Clayton, Vic Dickenson
03. Hootie Blues · Jay McShann
04. E-Flat Boogie · Buster Smith
05. Confessin' the Blues · Jay McShann
06. Jumpin' at the Woodside · Jay McShann
07. Until the Real Thing Comes Along · Jay Turner
08. Undecided · Buck Clayton, Vic Dickenson
09. Evenin' · T-Bone Walker
10. Buster's Tune · Buster Smith
11. Piney Brown Blues · Big Joe Turner
Review
The Kansas City sound brought earthy yet lithe energy to both jazz and R&B: From the impulsive swing of Bennie Moten and Count Basie to Big Joe Turner's genre-straddling work, K.C.'s impact on music can be heard in rock, soul, and even funk. As part of its mammoth jazz box set, Atlantic spotlights such key K.C. figures as Jay McShann, alto saxophonist Buster Smith, and Turner himself. As a sort of potent aside, the disc also features some fine combo swing commandeered by Basie alum Vic Dickenson and Buck Clayton. And while the inclusion of T-Bone Walker is something of a mystery (a Texas native who worked out of L.A. for a good stretch), the inclusion of his cut of the classic "Evenin'" fits right into the flow here. Get out the whiskey and clear the dancefloor.
allmusic.com
Jay McShann
Review Extract
Pianist and vocalist Jay McShann, with whom Charlie Parker got his start, is the featured artist on three tracks recorded in 1977, a little late to get that authentic Kansas City taste. To hammer the point home, on one of the tracks McShann plays the electric piano. I can’t fault his choice of musicians, though, which include Buddy Tate and Paul Quinichette on tenor sax, Milt Hinton on bass, and a
young John Scofield on electric guitar, as they play on McShann's "Hootie Blues" and "Confessin' the Blues" and on Basie's rug-cutter, "Jumpin' at the Woodside."
epinions.com
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