Jazz Con Class can be heard on TuneIn Radio, a very popular location where enthusiasts around the world flock to and tune-in to hear their favorite music, depending on the genre(s) they enjoy most. Jazz Con Class can be found under Music and then by clicking Jazz or by simply clicking on this direct link. I also placed a logo of TuneIn Radio on the left sidebar that will take you directly also. TuneIn Radio has great apps for mobile phones running Android and for iphone users.
I ran into this album just the other day while searching for more Nat Adderley, the mostly unmentioned younger brother of the great Cannonball and an excellent Cornetist. Surprisingly he is featured on the trumpet in this album and is joined by an all-star supporting cast. They are Joe Henderson, Herbie Hancock, J.J. Johnson and many more. The name of the album Jazz Con Class will be featuring is Sayin’ Somethin’ and consists of 8 songs.
More on album:
Cornetist Nat Adderley was at the peak of his powers in the mid-1960’s. This Atlantic issue has four quintet numbers with tenor-saxophonist Joe Henderson (three also feature pianist Herbie Hancock) plus four tunes in which Nat is part of an 11-piece group. He plays quite well on such songs as “Cantaloupe Island,” “Hippodelphia,” “Gospellete” and even the then-current pop tune “Call Me,” making this set one to search for. ~ Scott Yanow…..Read More
This an interesting statement from Nat Adderley that I found while searching for more information on this album. It also points out the songs each musician participated in:
I have always believed that, no matter what the reason, the music always speaks for itself. I consciously went into this recording with an idea in mind that I wanted to show that music is music. That there is not such a big gap between blues and avant-garde. That the gap is in the labeling of the music rather than the music itself. All music is to be listened to and enjoyed, if possible, and no one should limit himself to just one type of music. If the musician is not limited, the listener should not be limited either. Open-mindedness is the answer. – Nat Adderley……. Learn More
Look forward to listening to the album feature for a couple of weeks, check the Schedule link for play time. ENJOY!
I’m sure there are many who have question why I don’t feature Charlie Parker as much? For those listeners, I have a two reasons, first of all, it’s not easy to obtain good quality (Remastered) music from Parker. Secondly and until now, my library didn’t have enough to create an extensive playlist that I could feature everyday without repeating songs over and over. But I finally have enough quality and quantity to permanently add the great “Bird” to Jazz Con Class. The Charlie Parker playlist will be known as the “Yardbird” playlist. The playlist description can be found here with the others I feature here and the Schedule link will help learn when all the playlist are going to be played.
This is the official announcement of a Newsletter on Jazz Con Class and which will basically cover all the Blog Posts that are recorded throughout every week. It will only be distributed ONCE a week and ONLY to those who are interested and have subscribed. Subscribing is very simple (only email required). Absolutely no advertisements and anything else. If you subscribe and then are not interested any more then you can unsubscribe immediately and right from your inbox.
I will be posting much more now, so there’s a chance that you might miss something during the week, so it will show up on the newsletter. There will be two ways to find the subscription form, one is to click on the image on the left sidebar, just like the one on top of this post. And on the menu bar above every link on Jazz Con Class, where it reads “WEEKLY UPDATES.” Thank you for your attention and enjoy!
This 1968 is a great Album of Miles Davis and when changed over to the Funky organ Jazz sound that a few other prominent Jazz musician were already experimenting with. The name of this album I am featuring is “Miles in the Sky” and could be purchased here.It will debut tonight at 8PM New York City time. Then it it will air for about two weeks, check the Schedule link for times.
More on the Album:
Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York).
With MILES IN THE SKY, Davis began to consciously incorporate elements of popular music and blues into the quintet’s open-ended style of group improvisation. This was an attempt to reach out, not sell out. By 1968, groups such as the Beatles had stretched the parameters of the pop song form way beyond their humble harmonic beginnings, while the blues trio Cream significantly elevated the level of musicianship and added a bold improvisational dimension to live performances.
It was impossible to ignore these developments. And as Miles indicated in his autobiography, he was already becoming enamored of musicians such as Jimi Hendrix, James Brown, Sly Stone and Muddy Waters (elements of soul jazz had already crept into the quintet’s repertoire with “Eighty-One” from E.S.P.).
On MILES FROM THE SKY, the trumpeter’s “Stuff” juxtaposes a long elliptical blues line over a harmonically varied Ron Carter bass vamp, as Herbie Hancock pumps out billowy turqoise clouds of Fender/Rhodes chords and Tony Williams alternatingly locks in and deconstructs the eighth note pulse. On Shorter’s “Paraphernalia” the horns play harmonic cat and mouse with a swinging vamp, resolving tension in cyclical chord progression, as George Benson’s electric guitar offers a teasing suggestion of things to come. Tony Williams’ “Black Comedy” and Davis’ “Country Son” offer a series of radical tempo…..Read More
This album here, “Donald Byrd At the Half Note, Vol 1” will be featured here for about 2 weeks in it’s own special playlist and then placed in the “Hard Bop” playlist permanently. The cover above was the original one but there were actually two volumes. The second volume was released afterwards but then again there’s a 3rd album with both Vol 1 and Vol 2 together. The 3 albums can be purchased separately but Vol 1 and Vol 2 are rather expensive, are only in CD format and weirdly enough are imports from Japan. The Album with both Vol 1 and Vol 2 together comes in both Cd Format (Expensive also) and MP3 Download (About $10). So it’s up to you how much you would like to pay. All the information you need is here.
All this could have been much less complicated if they would have released both Vol 1 and vol 2 right from the beginning at the same time since it was recorded live on the same date, November 11, 1960. I will be only featuring Vol 1 and in it’s entirety (except introduction). Check the Schedule link for the times it will be playing. I will place both volumes into the Hard Bop playlist afterwards.
More about this special recording here (Album info for Vol 1 and 2 together):
Recorded live at the Half Note, New York, New York on November 11, 1960. Includes liner notes by Bob Blumenthal and Leonard Feathers.
As Rudy Van Gelder continued to establish himself as the greatest studio engineer of jazz, he started to venture out into the nightclub scene of 1960s New York City to document the bands from the Blue Note label that were growing by strength in numbers and high-quality hard to post-bop. Donald Byrd’s groups were changing and evolving, but by 1960 had reverted to two years prior with the return of baritone saxophonist Pepper Adams as his main foil. In early 1960 Byrd was working with Jackie McLean and Hank Mobley, but by autumn and winter Adams had reentered the picture, joining holdovers pianist Duke Pearson and drummer Lex Humphries. Some of this material sees the spotlight on live performances at the Half Note Cafe from the previous studio recording, Byrd in Flight, while other numbers are fresh interpretations of standards and more new material from Byrd and Pearson. Bassist Laymon Jackson spent some prominent time with Byrd, Lou Donaldson, and Nat Adderley before professionally fading from sight, but he is an excellent anchor for his bandmates, and one who deserves close inspection. Pearson’s animated and excited “My Girl Shirl,” the cute ditty “Child’s Play,” and Byrd’s jaunty “Soulful Kiddy” are the reprised tracks, and kick off the set. They are a quintessential hard bop sandwich with a soul-jazz filling spiced by chopsticks piano. Two other tracks are penned by Pearson: the most famous of his works, the quick and bright “Jeannine,” driven by the pianist’s two-fisted comping chords; and “Chant,” which is the most laid-back yet soulful selection…..Read More
The First CD is Vol 1 and it has two bonus songs and this special playlist I will be featuring will include them, ENJOY!
About Donald Byrd:
In the aftermath of Clifford Brown’s tragic death in 1956, many Jazz observers spent fruitless hours looking for likely successors, just as they had done when Charlie Parker had died the previous year. Donald Byrd was 24 years old and the most likely candidate.
Born on Dec. 9, 1932 in Detroit, Byrd studied trumpet and composition and graduated from Wayne State University in 1954. He arrived in New York in 1955 to complete an MA at the Manhattan School of Music and his elegant musical imagination and his beautiful tone quickly brought him to the attention of the established New York Jazz scene and record companies. Amongst others he worked with Sonny Rollins, Max Roach, Jackie McLean and Thelonious Monk. His big break came in 1956 when he briefly joined Art Blakey’s Jazz Messengers where he was the successor of Clifford Brown and Kenny Dorham and the predecessor to Lee Morgan. By 1958 Byrd was co-leading a group with Pepper Adams, which lasted until 1961 and made many fine recordings. In 1959, Byrd discovered Herbie Hancock in Chicago and recorded a number impressive dates for Columbia and Blue Note in the ’60s, including Free Form and New Perspectives.
In the early 60s Byrd did groundbreaking work in the education field, introducing Jazz courses, which were until then virtually unknown at many US Universities and Conservatories…..Learn More
Talk about “Tenor Madness” this is a perfect example! This is a great album that falls into the Avant-Garde era and features two greats, Dexter Gordon and Booker Ervin jamming together. They played in harmony and with absolutely no intent to outdo one another. They took their respected turns and produced FOUR dynamic songs. They have their own distinctive sounds so you definitely know who’s playing and when. I will be featuring this album, “Setting the Pace” for a couple of weeks or so and then place the tracks on the Avant-garde Playlist. Check the Schedule Link to learn when I will be airing it. Enjoy!
More about this album:
Recorded in Munich, Germany on October 27, 1965. Includes liner notes by David A. Himmelstein and Michael Morgan.
Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).
This CD reissue has the complete contents of two former LPs, both recorded at the same session. With very stimulating playing by pianist Jaki Byard, bassist Reggie Workman and drummer Alan Dawson, tenors Booker Ervin and Dexter Gordon battle it out on marathon (19 and 22 1/2 minute) versions of “Setting the Pace” and “Dexter’s Deck.” Although Gordon is in good form, Ervin (who sometimes takes the music outside) wins honors…..Learn More
Gabriele Orsi is an amazing Jazz guitarist from Italy and who I will be featuring on a special playlist. I decided to name it the “Gabriele Orsi Montage.” He was very kind enough to send me several tracks from his new album “Monk’s Mind” and from other albums he has produced since 2007. They are all listed here on his website (In Italian). Here’s more of a Biography of him:
Guitarist and composer. At first, he played guitar in many rock bands but starting from 1993 he turned to Jazz. At that time, he attended Berklee summer school in Perugia during Umbria Jazz Festival.
From then on, Gabriele Orsi loves to play in small bands, playing especially his own compositions together with some traditional jazz excerpts which he is always readapting to his style. Nevertheless he attends also big bands and jazz orchestra ( Swing Time Big Band, Flight Band …)
He is coleader of some bands playing jazz, fusion and funk: “Freedom jazz trio”, “Silver jazz band” “ Fluxus Quartet”. Gabriele cooperated and performing with big music players as well as Biagio Coppa, Eleonora D’Ettole, Marco Castiglioni, Silvano Borzacchiello. Riccardo Di Paola, Silvano Serighelli, Carmen Staaf, Santino Carcano, Francesco Di Lenge, Maurizio Signorino, Daniele Petrosillo, Beppe Caruso, Rosalyn Robinson, Attilio Zanchi, Valerio Della Fonte, Joey De Francesco, John Patitucci and many others.
He had a training period with Jerry Bergonzi John Stowell, Joe Diorio, Steve Lacy, Jeff Richman, Ralph Alessi, David Friesen, Marc Ducret, Gino Robeir, John Riley e Bobby Previte.
In 2004, Gabriele Orsi and the saxophonist Maurizio Signorino constituted the project “Fluxus Quartet”, looking for a modern quality jazz which might be listened and understood also by “outsiders”……Learn More
There are more songs that you can listen to on his MySpace profile link.
There are two albums that can be downloaded on Amazon here.
There are two albums located for Itunes download here.
The rest of the CD’s can be purchased here.
If you would like to know when the “Montage of Gabriele Orsi” playlist will be airing, then just go to the Schedule link. The premiere will be at 8PM New York Time tonight.
Here’s a promo video of their latest album “Monk’s Mind”:
Special Note: I am in the process of creating a “Contemporary Jazz” playlist of relatively new artist here, so if you are interested please contact me here and I will check your music. If it fits to the overall scheme of Jazz Con Class, then I will prepare a post, a special playlist and will place you on the this special playlist.
Testimonials By The ListenersRead more
As a college English and Fine Arts professor, I have spent many long days and nights grading and writing papers with your station as my soundtrack. I can't thank you enough for the perfect score for such work, which I've been leaning on for the last four years. I've always been obsessed with jazz, but like many fans, I'm selective and looking to avoid the obvious. Jazz Con Class hits all the right notes, and while I love to hear my favorites (Bird, Trane, Monk, Morgan, Hubbard, Blakey), the variety of deep cuts is what brings me back. Thank you for the thoughtful intent and love for this music that shines through in every playlist.- Ryan-Austin, Texas (USA)
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