Posts by: "Jose Reyes"

The “Saturday Jazz Show” is OFFICIAL! Besides the time consuming task of preparing a high quality FIVE Hour Jazz presentation, I also need to make sure that all the components (links) associated with this new show are properly linked together throughout the whole Jazz Con Class Radio Blog/Website. I alerted the listeners here and on Facebook with an “Unofficial” debut post last month but it was a sort of teaser SaturdayJazzShowPostto get all the listeners excited a little. Now it is definitely “OFFICIAL” as you can see with the official logo I created and placed here on this post the sidebar. It has link for all the Playlists link and has been it’s own standalone link also. It can also be found on the Schedule link. As I mentioned on that previous post, every Saturday will feature a fresh new playlist that I prepare ahead of time. You can say its a lot of work but it comes with the territory a person decides to own and broadcast a radio station. Its even more challenging when that person wants to broadcast the best music ever recorded! There must be a total devotion/sacrifice made to make sure it is interesting, entertaining and most importantly, educational. In this case here, with the new “Saturday Jazz Show,” I felt it was necessary for the Jazz Con Class Radio listeners to have a special Jazz presentations on weekends also, there was certainly a need for that. That’s not all fellow listeners, I am also thinking of featuring it twice during the day and for those who unfortunately miss part of the 5 hours and/or simply had no chance on the earlier time slot. This allows a second chance to enjoy the show, this is is fair and logical. For for now please and for the next few weeks, please patient if you cannot catch it. I will be starting the broadcast of this new playlist, the “Saturday Jazz Show,” on 1P.M New York Eastern Daylight Time and it will run until 6P.M. The Jazz Con Class Radio library is literally expanding every day and I have the potential of effortlessly preparing hundreds of 5 hour presentations without repeating a single song. I hope you enjoy this new Jazz show and all that Jazz Con Class has to offer!

Note: Learn of all the ways to enjoy Jazz Con Class Radio here

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If you ask any Jazz expert, they will tell you that Sonny Criss was one of the best alto saxophonist ever. They will also tell you that he never received the credit that should have, that’s certainly true. They even argued that the reason why was because Sonny Criss never left the west coast and that is not true. Refusing to leave the west coast in the 50’s deprived many great Jazz musicians from exposure but that wasn’t the case with Sonny Cross. There were great albums recorded in the west coast in those days but they wouldn’t travel too far, the major Jazz record labels had more of a distribution range and that included Europe. It’s a crying shame but he’s not the only musician that was not totally appreciated until it was too late. “Jazz-USA” is a true classic but if you just became interested in Sonny Criss then buy the “Complete Imperial Sessions” which contains this album, Go Man!, and Sonny Criss Plays Cole Porter. You can’t go wrong!

Great article about Sonny Criss (By Steven A. Cerra):

“ a piercing, passionate sound.”

– Mark Gardner

“I was playing with Sonny Criss and Hampton Hawes – a great Jazz pianist. … Sonny had such a great ear that he could hear something once and play it. …

Sonny Criss and I played together quite a while until I went to study with Joseph Cadaly [a first chair saxophonist at RKO Studies who taught reeds, harmony and solfège]. That’s when Sonny and I split up. He continued into progressive Jazz, and I went and studied.

When we split, he started going all up and down the Coast playing and going to Europe. But I don’t know, it just didn’t happen. He’d get records. People said he was great. They played his stuff. But it just didn’t happen for him, and I think that kind of disturbed him. Especially when you put your whole soul and your whole life and just wrap up everything into something and it doesn’t happen.

He was pioneering and when you’re pioneering, it’s kind of more difficult to get recognition …. You have to suffer when you’re a pioneer. So that’s what hap­pened, really, I think, with Sonny. He was just early.

– Cecil “Big Jay” McNeely, tenor saxophonist

Criss was a bop saxophonist, strongly influenced at first by Charlie Parker. But his mature style was more distinctive: he produced a warm, rich tone and a prominent vibrato that Par­ker lacked. He was capable of playing dazzling runs with such effortless grace that they never sounded ostentatious. An excel­lent jazz musician, through lack……Read More

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Here’s a great compilation 4-CD album on all the Gigi Gryce/Donald Byrd Jazz Lab sessions. “The Donald Byrd and Gigi Gryce Complete Jazz Lab Sessions” is an all- in-one package of very forward-looking arrangements and played by legendary Jazz musicians. The description below will help you learn more about this Jazz collector’s dream which includes all the recorded formulas that were experimented on and released by Donald Byrd and Gigi Gryce from their “Jazz Lab.” If you are further interested in “all” of Gigi Gryce remarkable work, then you should visit Noal Cohen’s Jazz Historical Website. Noal has also written a book about Gigi Gryce named “Rat Race Blues: The Musical Life of Gigi Gryce.” This album is a must-have!

About this compilation album:

This four-disc collection contains all of the recordings of one of the most interesting jazz groups from the late ‘50s, the Jazz Lab, compiled here for the first time ever on one release. Co-led by Gigi Gryce and Donald Byrd, this set comprises the group’s five original studio albums (including all existing supplementary tunes and alternate takes from the sessions), presented here in their entirety and in chronological order. This edition also includes the Jazz Lab’s only known live performance, taped at the Newport Jazz Festival in 1957. As a bonus, a complete Oscar Pettiford….Read More

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Jackie McLean and Co.” was recorded and released in 1957. As the description below explains, this Hard Bop album was an unusual one because it featured a fifth member and not the typical 4 man (Trumpet , Sax, Bass and Drums) combination. McLean added very young and talented Tuba player, Ray Draper which added a new sound to three of the five songs of this classic album, “Flickers,” “Help” and “Minor Dreams,” which Draper wrote for this album. Ray Draper recorded another album with McLean in this year, “Strange Blues” and shortly followed up with his own little splash soon after with a couple of albums of his own, learn more about him here. Jackie McLean was a true innovator and if you listen to as many recording of him as I have, leader or sideman, you’ll realize that he was always experimenting. He was always involved with “out of the box” type of recordings, it seems that he was on some sort of mission all the times. This really wasn’t out of the ordinary because most of the Jazz musicians of his era were very creative and surely had the superior “talent” to distinguish themselves from each other but also record together without disrupting one another. This is the very essence of Jazz and why it stands out from everything else. Jazz musicians have the freedom to experiment in an environment where improvising is encouraged.

About the album:

Although altoist Jackie McLean’s Prestige recordings of the 1950s are not as significant as his Blue Notes from the ’60s, he did record quite a bit of enjoyable hard bop material during this era. This CD is unusual for, in addition to a conventional quintet (with trumpeter Bill Hardman, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor), the young tuba player Ray Draper is heard on three of the five group originals. Draper played his instrument as part of the frontline rather than in the rhythm section and, even if he was not on the level of McLean and Hardman, he gives some needed color to this set. Waldron, who….Read More

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Today is the “debut” of the “Saturday Jazz Special.” I wanted to name it the Saturday Afternoon Special but since the listeners come from around the world, it wouldn’t be appropriate. But then again, it could be Sunday altogether in another country, for example the island of Japan and  where many tune-in to hear the Jazz Con Class Radio broadcast. I will provide the listeners with a fresh handcrafted playlist each and every Saturday from today and feature FIVE HOURS of the best Jazz I could offer. I might change the starting time every now and then to start a few hours earlier or later but for now it will begin on 1 PM New York EDT. This debut presentation does not make it “Official” yet but I will announce it load and clear as soon as it is completely integrated throughout the Blog/Website. Check the Schedule link on a weekly basis in case I make a time adjustment for this playlist or any other I feature. Here’s a link of the Playlists that broadcast on Jazz Con Class Radio, so you can become more familiar with them. I hope you enjoy this Unofficial debut and if you have any suggestions concerning the play selections, please email me through the Feedback link, ENJOY!

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This Red Holloway album, “Brother Red” was the end result from combining, as the description below explains, the Jack McDuff Quintet with the unique tenor saxophone sound of Red Holloway. A great Bluesy-Jazz album with a young George Benson as an added bonus! This is a real keeper!

About the album:

The 11 selections included on this CD reissue include seven songs from a session headed by tenor-saxophonist Red Holloway that used the members of the Jack McDuff Quintet (with the organist, guitarist George Benson, bassist Wilfred Middlebrooks and drummer Joe Dukes), three pieces from a McDuff date in which the lead voices are backed by an orchestra arranged by Benny Golson, and a selection from a sampler. The material varies a bit…..Read More

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Biography of Red Holloway (Wikipedia):

Born in Helena, Arkansas, Holloway started playing banjo and harmonica, switching to tenor saxophone when he was 12 years old. He graduated from DuSable High School, where he had played in the school big band with Johnny Griffin and Eugene Wright, and attended the Conservatory of Music, Chicago. He joined the Army when he was 19 and became bandmaster for the U.S. Fifth Army Band, and after completing his military service returned to Chicago and played with Yusef Lateef and Dexter Gordon, among others. In 1948 he joined blues vocalist Roosevelt Sykes and later played with other blues musicians such as Willie Dixon, Junior Parker,Lloyd Price, and John Mayall.

In the 1950s he played in the Chicago area with Billie Holiday, Muddy Waters, Chuck Berry, Ben Webster, Jimmy Rushing, Arthur Prysock, Dakota Staton, Eddie Vinson, Wardell Gray, Sonny Rollins, Red Rodney, Lester Young, Joe Williams, Redd Foxx, B.B. King,Bobby Bland and Aretha Franklin. During this period, he also toured with Sonny Stitt, Memphis Slim and Lionel Hampton. He became a member of the house band for Chance Records in 1952. He subsequently appeared on many recording sessions for the Chicago-based independents Parrot, United and States, and Vee-Jay…..Read More

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What is Jazz, how can one explain it and what does it stand for? These are typically difficult questions to answer concerning this unique musical art form. How can I go about, in answering these crucial questions without further complicating the issue and confusing the curious who ask. Yes, Curiosity or interest are two very interchangeable words and would be the great starting point in deciphering the puzzled ones who simply cannot understand/comprehend Jazz music. There must be some psychological/emotional connection involved when listening to music, no matter what type it is. There should be something going on in the brain cells of the listener with the particular song they are listening to at the moment. There is the rare case when the listener is extremely too busy doing something at the moment and just cannot concentrate on the music playing. The mind cannot transmit any sort of feelings and/or interpretation, so its just background sounds to the listener. This occurs to all of us but most of the times we “tune in” and listen to either an ongoing stream of music or we specifically select a song or songs that we would like to hear. So what makes a person decide to indulge themselves with a Jazz song? What are the feelings, sentiments and emotions that overwhelm the minds of those who love Jazz?

Before I continue to explain what Jazz is, let’s get a little scientific and let’s find the most logical definition of the word “Music.” Here’s the Merriam-Webster definition:

a:  the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity.
b:  vocal, instrumental, or mechanical sounds having rhythm, melody, or harmony.

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I think the most logical approach to understanding the art form of Jazz would begin with understanding the Blues, its history and how it developed. After one gets an idea of its roots, then everything will fall into place.

Here’s a great example of the Blues (“Straight Ahead,”Donald Byrd with Gigi Gryce):

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Developing the capacity to judge and easily distinguish what exactly high quality musicianship is, would be the next step. This will take some listening and fortunately, will be an easy task. It will not take more than a few tunes to understand, just tune in to Jazz Con Class Radio and you will be well on your way! Or you can take a listen to these tracks I placed here.

To get you started, here’s some straight Hard Bop, from Jazz trumpet player Blue Mitchell, the name of the song is “Brother ‘Ball”:

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Jazz is very unique in sound and what makes it so much of a complete experience is how it covers the whole spectrum of human emotions. Let’s take a listen to this tune, “Ecclusiastics” by the great Charles Mingus:

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How about this very popular jazz song “‘Round Midnight” and played here by it’s composer Thelonious Monk:

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Dixieland style of Jazz conveys so many emotions at the same time and is a perfect example. Here’s the instrumental version of the famous song “St. James Infirmary,” done by Pee Wee Russell and his band:

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Or listen to “Black and Blue” with Sidney Bechet and his big band:

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Here’s the Miles Davis and his band performing “Bluing”:

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Here’s Art Blakey and the Jazz Messengers performing “Children of the Night”:

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Here’s John Coltrane with Lee Morgan performing  “Blue Train”:

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Here’s “Intrepid Fox” from a 1970Freddie Hubbard album:

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Here’s Duke Ellington and his band performing “Tigress”:

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And Here’s Duke again with “The Swinger’s Jump”

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I find it to be so much more educational, if I may say, to provide these Jazz songs as examples to those who have never been exposed to Jazz or were not aware of. These are great tunes and range from the early 50’s to the early 70’s. This is to get an idea of the diversity of Jazz and its superior quality.

Note: Maybe the readers here only heard songs from the so-called genre “Smooth Jazz” and thought it represented Jazz music. “Smooth Jazz” is nothing else but “Easy Listening Music” and the word “Jazz” should have never been place there. The music industry’s poor choice of creating this genre has damaged Jazz and what it stands for. Smooth Jazz, which began in the early 80’s, has eventually steered the youth away from learning about any Jazz that came beforehand.

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Jazz is much more complex than it seems and Jazz musicians are masters of their craft. The more the listeners dwell into Jazz music and its improvisational nature of expression, the more they will understand the purity it treasures. I hope this article helped simplify Jazz and what it stands for. The more one gets involved with Jazz, the more they will understand what “Freedom” is all about, there’s nothing else like it. Spread the word and keep Jazz ALIVE!

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Bags (Milt Jackson) and Trane (John Coltrane) recorded this famous “bluesy” styled album in 1959 and appropriately named it “Bags & Trane.” There was quite a bit of experience between both musicians, for it was Bags 15th album and approximately Coltrane’s 20th album give or take a few. And although there was so much improvisation possible, the music was simple, down to earth and easy going. It’s a rather unique album on Coltrane’s side but only because it was different and more melodic. He had not played in this manner beforehand in his other albums, so everyone was surprised when it came out. I think sooner or later he would have had to refine himself a little further and this is where he did so. Great album to own, enjoy!

About the album:

As John Coltrane moved from music rich in chordal complexity to a newer, freer form of modality–in which melodic and rhythmic freedom came to the fore–some critics couldn’t make the imaginative leap. But no one could ever question Coltrane’s superb musicianship. This all-star session isn’t merely an aesthetic bone to these critics, but a superb example of two masters blowing relaxed and free over a tight, intuitive rhythm section. There’s Jackson’s Modern Jazz Quartet collaborator Connie Kay on drums, master of understated swing; the elegant, eternally tasteful Hank Jones on piano; and Mr. P.C., Paul Chambers, one of the fathers of modern bass playing.

Milt “Bags” Jackson and Coltrane play together with such easy, intuitive grace, it’s hard to believe that BAGS AND TRANE is not a working band. The title tune is a wistful, engaging blues that passes its vamping, melodic figure around between vibes, piano and tenor sax. Jackson’s funky variations over Chambers and Kay’s leisurely beat is in perfect contrast to Trane’s remarkably laid-back solo….Read More

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Biography of Milton Jackson (Jazz.com):

As a founder of the Modern Jazz Quartet and on his own, Milt Jackson created a hard-hitting style on the vibraphone which made it a contender in bebop. He built upon the foundation laid by Swing masters Red Norvo and Lionel Hampton by adding a more powerful attack and expanded the instrument’s role in an ensemble.

Adding his own blues-based approach, he was one of the first to slow the speed of the oscillator on the vibraphone, which created a more delicate timbre for the instrument. The robust power behind his performances changed the vibraphone into a prominent melodic and harmonic instrument in jazz.

Milton Jackson was born on January 1, 1923 in Detroit, Michigan. One of six children, Milt’s mother was a pious woman who was a devout member of the church, and his father was a talented amateur musician. In his early years, Milt sang in church and realized from an early age that music had a powerful effect on him.
When Jackson was seven years old he began to study the guitar. At age eleven, he began to play the piano as well. Upon entering Miller High School, Milt began to play the drums, xylophone and sing in the school’s glee club. When he was sixteen years old, Milt’s music teacher Mr. Goldberg persuaded the young man to give the vibraphone a try. Through his teens, Jackson gained valuable performing experience in a local gospel and dance groups.

At the time, Jackson had few idols on the vibraphone, following the examples instead set by the leading horn players involved in modern jazz. Milt had seen Lionel Hampton at Detroit venues such as the Michigan State Fairgrounds and the Graystone Ballroom, which further motivated him to study the vibes. However, while Jackson appreciated Hampton’s accomplishments, he chose not to emulate him but rather to find his own voice on the…..Read More

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This Blues/Funk Jazz Special will be repeated today May 30th and with an hour added to it. It will begin at the same time 3PM New York Time and broadcast until 4PM. ENJOY!
Original Post:
This Saturday, May 23rd at 3P.M. Eastern New York Time the Jazz Con Class Radio listeners will be enjoying a Jazz Funk/Blues special that will last three hours in total and will end at 6PM. It will concentrate on Jazz music that from the mid 50’s, when the Hammond organ was introduced to Jazz and with the sole purpose of adding more Blues to the tunes. This special will also concentrate on the very beginning of what the music industry decided to name Jazz-Funk. This Jazz era began in the mid 60’s and lasted until the early 70’s and was more soulful. That’s as far in time that Jazz Con Class Radio will travel. Jazz Fusion was very exciting as well but this Jazz station is more traditional and will not play any Jazz that was recorded after the mid 70’s. There are two very important exceptions; one is if the recordings are from legendary older Jazz musicians and secondly, if they are young jazz musicians who record traditional Jazz music. Check the playlists and learn all the Jazz eras that broadcast here. Check the schedule link also to learn when these playlists play. Thank you for your attention and tune in!

If you are new here, check this link to find all the different ways to enjoy Jazz Con Class Radio.

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The Complete Live at the Bee Hive” and “More Live at Bee Hive, Chicago June 30, 1955,” are a must have if you are a dedicated Jazz collector. The Description below from FreshSounds Records is very complete and I really don’t need to add any more here but to get a hold of both recordings.

About both albums:

Live at the Bee Hive (from FreshSounds.com):

This 2-CD Set includes Brown’s first ever recording with Sonny Rollins and Max Roach recorded live at Chicago’s Bee Hive on November 7, 1955. The inimitable trio is joined here by pianists Billy Wallace or Chris Anderson and bassist George Morrow. The edition also includes an unofficial Quintet date at New York’s Basin Street Club from April 28, 1956; and a rare 10 minutes Bonus Track of Clifford Brown recorded at a hotel in Copenhagen on November 12, 1953 after a date with the Lionel Hampton band. “This astounding 135-minute release features the Brownie, Rollins and Roach group setting fire to the bandstand with their irrepressible hard bop sound. A must have for any jazz lover.” – Warren Misel, Jazz FM……Here’s the link

More Live at the Bee Hive (from FreshSounds.com):

Two disc set of rare and unreleased recordings by this legendary quintet. Disc One consists of a complete previously unissued performance by the Brown/Roach Quintet, recorded at the Bee Hive in Chicago in June of 1955. Disc Two features the remainder of that performance plus an extremely rare performance, previously only issued on LP as Pure Genius in 1982. 11 tracks total including inspired workouts of ‘After You’ve Gone’, ‘Jordu’, ‘What’s New’, ‘I’ll Remember April’ and more…..Here’s the link

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74 Miles Away” is a great Cannonball Adderley album and the main reason why is because it was recorded live. All Cannonball albums are Jazz collector items but his live ones are extraordinary. Jazz musicians of this era were very talented and their best way of proving it was to evaluate them in a live setting. Its really the only way to judge a musician, of any genre, how good are they when they play live? I cannot stress it enough, this is a REAL CLASSIC!

About the album:

“Live,” whether used as an adjective or a verb, seems singularly appropriate when it is applied to Julian “Cannonball” Adderley and his Quintet. No jazz group presently active seems to come alive more buoyantly on the bandstand, and no other combo has benefited more fully from the advantages of recording live.

This latest session was a triply happy occasion for the Adderleys, since it marked a family reunion. Julian and Nat had brought their wives to Hollywood. Mr. & Mrs. Adderley Sr. were in town on a visit from Florida, visiting with their sons, and having a ball. Mr. Adderley, who used to be a cornetist, commented after one of Nat’s solos: “You sound almost as good as I used to.” During “I Remember Bird,” he said: “I remember me!” Their radiant pride was an additional incentive to the two sons, as the recording got under way before a hip and responsive crowd.

Cannonball, of course, is the orator supreme among jazz combo leaders. He neither ignores his listeners nor puts them on nor condescends to them; he addresses them as if they were new found friends. It is in this spirit that you hear the session start; after being presented to the audience by KBCA disc jockey Jay Rich, Julian introduces the opening number, “Do Do Do.”

All the way from the opening vamp by Joe Zawinul on electric piano, this Nat Adderley tune has the spirit of the blues, transmuted into 32-bar chorus form. As you might deduce from the subtitle (“What Now Is Next”), this beguilingly basic theme has been equipped with lyrics (by Gail Fisher, the prettiest songwriter in town), and will no doubt be heard as a vocal vehicle in due course, following a pattern established by Miss Fisher’s lyrics for “Mercy, Mercy, Mercy!”……Read More

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This is an official announcement of a 10-Hour Hard Bop Jazz special. It will Start at 1P.M. and end at 11 P.M. (New York-Eastern Daylight Time). Check the Schedule Link  Here and/or learn all the different ways to enjoy Jazz Con Class Radio HERE. This special will include West Coast Jazz as well since it was part of this incredible Jazz movement. The Hard Bop Jazz Era started at about 1951 (Not Official) and evolved directly from Bebop, as it became more integrated with Gospel and Rhythm and Blues. Although Bebop had traces of this, it was very raw and very experimental. Hard Bop took it to another level and where its musicians, especially the pianist and saxophone players, became more creative/inventive. I call it the “Golden Age of Jazz” and where the best Jazz musicians existed and were at their prime, at the same time. West Coast Jazz is Hard Bop as well but began in a more European Classical/Sophisticated form and as many critics argued, lacked the Gospel, Rhythm and Blues feeling. I disagree with this evaluation and feel that west coast musicians just started a little late and slowly caught on. The East Coast Jazz musicians began collaborating with the West Coast in about 1953 when they began to travel to each others Jazz meccas, which was New York (Already striving with Jazz) and Los Angeles (In its infant stages). Let’s not forget, Charles Mingus, Dexter Gordon and many, many other greats were from the Los Angeles area. This is a very short description of Hard Bop, so if you want to learn any further, I placed a few links below so you can begin somewhere. Thank you for your attention and ENJOY!

Hard Bop Description Links (More To Come):

1. Wikipedia Description

2. JazzInAmerica.Org

TheFabulousThadJones

The 1955 album (Recorded in 1954),  named “The Fabulous Thad Jones” can be found, in its original form and also as “Thad Jones” and with four extra songs added to it.  The extra 4 songs were taken from this album, added to original and released, in 1956, as a compilation album and with a different album cover. “Thad Jones” was the name of this album, the image that shows on this was the new look. I recommend the Jazz Con Class Radio listeners to purchase this version, so you can get it all, in one (Available in MP3 version also). Great album, ENJOY!

About the album:

Jones’ playing on this 1954 release is distinct and exciting. His compelling tone and technique instinctively evoke the dense and brassy tone of predecessors such as Fats Navarro. On the Porter classic “Get out of Town,” Jones wastes no time. After a brief Harmon-muted introduction, he breaks into startlingly forceful phrases. Jones’ blistering soloing skill is even better displayed on “One More,” an uptempo barn burner that highlights his fleshy tone and his unique musical drive…..Read More

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This 1956 album really reflects and is appropriately named “The Modern Art Of Jazz,” as Zoot Sims and company are more than qualified to represent the Hard Bop movement which began more or less 3 years before. The songs are mostly fast, with plenty of improvising taking place and of course, with great solos in between. I recommend this classic album to all Jazz fans and which in my opinion, could possibly be Zoot Sims’ best recording in a studio atmosphere with him being the leader. Either if you agree with me or not, it doesn’t really matter. There’s one thing for sure though, if you follow Zoot Sims or consider him a great inspiration, then you already have this album. Get this album people!

About the album:

These early 1956 sessions feature Zoot Sims in top form playing a pair of standards and originals by members of the quintet. Bob Brookmeyer is the perfect foil for the tenor saxophonist, as they seamless interweave intricate lines throughout the record, especially in an upbeat take of “September in the Rain.” Pianist John Williams contributed the cool “Down at the Loft” and solos brilliantly on every track. Brookmeyer penned the slinky “Our Pad” with drummer Gus Johnson, a track that would have fit a typical Gerry Mulligan date (with whom both Sims and Brookmeyer worked from time to time). Sims contributed three originals, but the hottest solos come in the closer, appropriately titled “One to Blow On.” Anchoring the……Read More

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The album description of this Dave Bailey 1960 album below, “One Foot in the Gutter,” is very well written and with sufficient detail except for its clarity concerning in which manner it was recorded. It was done“live” but not in a Jazz club as where most of these recording are done. It was a one shot deal and a 4 song, well organized jam session was the result. This is just another reason why Jazz rules, the important element that Jazz strongly possesses, Freedom of expression! This brings out the best of any musician and why these musicians were so talented. ENJOY!

Note: This was Dave Baily’s first recoding as a leader.

About the album:

Recorded on July 19 & 20, 1960. Originally released on Epic Records (17008). Includes liner notes by Dave Bailey and Dan Polletta.
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….Read More

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Thia is another beauty that the listener here on Jazz Con Class Radio will admire! “Two Feet in the Gutter” was recorded 1961 and in the usual manner, in a studio and with no live audience (different takes). It has 5 songs; “Comin’ Home Baby,” “Two Feet in the Gutter, ” “Shiny Stockings,” “Lady Iris B” and “Coffee Walk.” Great stuff, ENJOY!

Note: This was Dave Bailey’s final recording as a leader.

About the album:

Drummer Dave Bailey’s third and final LP for Epic is a quintet session that is much like his earlier two sextet dates for the label, with an invited audience witnessing the studio recording. He has a completely new supporting cast, including two very underappreciated musicians: the tragically short-lived tenor saxophonist Frank Haynes and trumpeter Bill Hardman. Also on hand are the veteran bassist Ben Tucker and the somewhat-obscure pianist Billy Gardner. Tucker’s “Comin’ Home Baby” is probably better known for the vocal version with lyrics by singer Bob Dorough, but evidently the music came first, as this instrumental version swings hard and doesn’t have the rock flavor that Dorough’s (and other later vocal) versions have. Haynes’ big-toned tenor sax and Hardman’s muted trumpet are the highlights….Read More

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This Tuesday’s Jazz presentation will be dedicated to Mel Martin and all the members of his famous saxophone forum located on Facebook. I consider myself a regular contributor and can imagine “all” the Jazz Con Class Radio listeners being part of it also. There is a high concentration of musicians that belong to Mel Martin’s Jazz Saxophone Forum and they are more than helpful to offer their valuable time to make it comfortable for all the non-musician Jazz fanatics. Their professional insights not only makes it a fun experience but also very educational one for those who are eager to learn more about Jazz. The forum happens to be public, as it should be and is very, very active! All the members follow the simple set rules just like all other forums demand from its members and everyone interacts and has fun! I look at it this way, “Don’t think you know so much, don’t assume, keep it real and by no means, don’t post any Smooth Jazz.” The best part of being part of this forum is the music that is posted there, WOW!  So, as a token to my appreciation, I have prepared and dedicated this week’s “Super Tuesday Jazz Presentation” to this magnificent forum and all of its members. The playlist that I have prepared here will play three times throughout the day so it can be heard in a global manner (From 3AM to 6AM, from 12PM to 3PM and from 8PM to 11PM (All Times are New York, Eastern Daylight Time) learn more here. There are many ways to hear the broadcast so there is no excuse. I want to personally thank Mel Martin for this forum and would like to add that this will not be the only time I will do this! Have fun and ENJOY!

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This album was recorded in 1970 and released in 1974 on the Black Lion label. Information for this album, “Paul Gonsalves Meets Earl Hines” is not readily available but the description below gives a great insight of the musicians involved in this all-star quartet! A real classic recording that escaped the radar!

About the album:

Most of this CD was recorded at the earlier date. Duke Ellington’s longtime tenor, Paul Gonsalves, was a perfect match for the inventive pianist, Earl Hines, who (along with bassist Al Hall and drummer Jo Jones) is in top form on five standards, three by Ellington. The music swings hard and has its surprising moments. The one track from 1972 is a solo version of “Blue Sands” played by its composer Earl Hines. Although not essential…..Read More

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About Black Lion Records (Wikipedia.com):

Black Lion Records was a jazz record label based in London, England. Black Lion was founded by Alan Bates in 1968. The label had two series of releases, one for British jazz musicians and one for international musicians. It released a large amount of reissue material, including items by Art Tatum, Jay McShann, Ben Webster, Earl Hines, Bud Freeman, Bud Powell, Don Byas, Coleman Hawkins, Mal Waldron, and Duke Ellington. It had a subsidiary called Freedom Records, which concentrated on free jazz releases; this wing was bought by Arista Records in 1975.

The label was distributed by Polydor for part of its existence. It became part of the D. A. Music family in the 1980s, while Bates bought Candid Records in 1989 and shifted the focus of his activities there.

Here’s the Discography for Black Lion Records, most of their recordings were reissued albums, CD’s.

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This article is about the term “Discography,” its importance and the enormous benefit it has on Jazz fans. A  discography is the most efficient process used to prove and give absolute credit to the particular individuals, by including the musicians, composers, arrangers and producers responsible for the creation of a musical album. That’s the end result but the process itself, is very painstaking and can take years to complete. The reason why is because decades passed before any data concerning any sound recordings was ever officially cataloged.

Here’s the dictionary definition of  the word “Discography” (Dictionary.com):

Noun, plural discographies:

1. a selective or complete list of phonograph recordings, typically of one composer, performer, or conductor.
2. the analysis, history, or classification of phonograph recordings.
3. the methods of analyzing or classifying phonograph recordings.

The best and most logical approach to learn about Jazz musicians and their contributions (records they made) is with a high quality Jazz Discography. If anyone would be interested in creating a discography of Jazz, they would have to start by learning of all the labels (Record Companies) used to physically produce the phonograph album. After obtaining the names of these companies, then they would be able to begin, in chronological order, to document a sort of database with the names of all the individuals responsible. In a discography the most important information posted and what counts the most is a detailed list of the names of the artists involved, the time and place of the recording, the title of the piece performed, release dates, type of format used (Vinyl, CD, etc.) Here are two examples to get an idea, first a Jazz discography of record label (Prestige) in chronological order (1933-1948.) In the second example you have the discography of John Coltrane only, in chronological order. These examples are from Jazzdisco.org. This website has devoted all their efforts in cataloging Jazz music. They are not completely done and are constantly adding more information from their sources, its an ongoing process but very beneficial for the Jazz fans out because it is in a computer based database. This website and several others, which I will mention at the end of this post, are very effective and very dependable but are not considered to be the indisputable “Official” and most accurate source of information. The record companies have hired certain Discography experts to catalog their records and they have documented it in books, here’s more on Discography and a great list of authors.

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Jazz fan can also go to the websites of these record companies (if they are available) and find the result of all the cataloging, here’s a look at the discography of artists that recorded for the the Verve Label. For real Jazz fans, this is a very cheap and very general manner of looking through a discography of a record label, the website is basically useless and is only trying lure the viewer to buy the music. Let’s Compare the Verve website results with the Discogs.org results. The best way for me to find Jazz recordings is to search for the artists and then find other artists through their recordings. A great way to start is to do a quick search on Wikipedia, I’ll use the great Cannonball Adderley as an example, here. There you can see the albums he recorded as a leader and the ones he was a part of it. That’s a great start but only the beginning, from their you can search through all the discographies available and find out about all the albums he recorded and search the discography of the members he played with. When it comes to Jazz, for example Bebop and Hard Bop, you will notice that most of these legendary Jazz musicians revolved from band to band and took turns leading their own bands. Believe me, you can find some incredible albums that you never heard of and by Jazz greats who are not considered household names. I personally thought I had a considerable Jazz collection but to my surprise, I wasn’t even close. Within the last three years since Jazz Con Class Radio began to broadcast, I have found hundreds of more recordings. This Jazz station concentrates only on Jazz music from the very late 40’s to the early 70’s and I would like to think that there will be a point when my search for great recordings would end but there is absolutely no ending in sight. I can’t even imagine it because Jazz musicians from these years are the greatest musicians that ever lived! Every single song they recorded is a classic! That’s great news for my listeners, they are certainly spoiled and they deserve it! ENJOY!

Here are some helpful links to search/obtain “Complete” discographies (Date of recording, all the Band Members, Record Labels used, all the releases of album and type of format used):

Search Online:

1. JazzDisco.org (Great Source, recommendable!)

2. Discogs.com (Great Source, recommendable!)

3. Lordisco.com (Must pay $9.99/Monthly for full access to the database. (Great Source, recommendable)

4. J-Disc: (Great Discography, recomendable!)

5. Attictoys.com (Discography list of Hard Bop Musicians, information concerning the subject of Discography itself and much more recommendable!)

6. Names & Numbers: (Great Information on Book and CD-ROM Publications on Discographies, You can  order from there also, recommendable!)

6Wikipedia Search (Jazz Record Labels A to Z, recommendable!)

7. BRIAN (Free Software/Application to create your own Discography, recommendable!)

Search for Books:

1. Michel Ruppli on Amazon.

2. Tom Lord on Amazon.

3. Charles Delaunay on Amazon.

4. Brian Rust on Amazon.

5. Jorgen Grunnet Jepsen on Amazon.

6. Walter Bruyninckx on Amazon.

7. Erik Raben on Amazon.

8. Bruce Epperson on Amazon.

Note: I will add more links in the future, if necessary.

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The Jazz musicians listed on the album cover of this album “Evolution” only relate two the last two songs on this album and was recorded in Los Angeles, California on August 31, 1953. The songs are “Free” and the title track, “Evolution.” Teddy Charles then moved across the country and recorded the other 6 songs in Van Gelder Studio, Hackensack, N.J. on January 6, 1955. Here he was joined by J.R. Monterose (Tenor), Charles Mingus (Bass) and  Jerry Segal on Drums. Jimmy Giuffre (Tenor), Shorty Rodgers (Trumpet) and Shelly Manne stayed home. So in reality, it is two albums in one, why they titled cover in this manner and excluded those particular artists is a mystery to me. Either way its a great album to own, ENJOY!

About the album:

Although somewhat overlooked in the jazz history books, vibraphonist Teddy Charles was for a period an important participant in the early Third Stream movement, using aspects of classical music to revitalize West Coast-style jazz. This CD reissue features trumpeter Shorty Rogers, tenor saxophonist Jimmy Giuffre, bassist Curtis Counce and drummer Shelly Manne on a couple of advanced originals (one apiece by Giuffre and Rogers) from 1953. After moving to New York, Charles teamed up…..Read More

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Biography of Teddy Charles (Teddy-Charles.com):

Captain Ted Charles, owner of the Skipjack Pilgrim, is considered by many to be the most experienced owner-operator of commercial sailing charters on the east coast, sailing extensively from Martha’s Vineyard to the Caribbean. Since the mid 1960s, Capt. Ted has owned and operated commercial charter vessels from ports such as New York’s City Island and South Street Seaport, Miami and Key West, and throughout the Leeward Islands in the Caribbean. Ted was formerly the owner and Captain of the Schooner Mary E.

Aside from his distinguished maritime experience, Teddy Charles is considered to be one of the great jazz vibraphonists and composers of all time, playing with such jazz legends as Charlie Mingus, Charlie Parker and Miles Davis. As a student at Julliard in the mid 40s, he haunted New York’s jazz clubs, occasionally sitting in with the bands on vibes or piano. His break came unexpectedly one night when he was asked to sit in on piano with Coleman Hawkin’s band for the overdue Thelonious Monk. Soon after, Charles began to appear regularly with the top jazz groups of the day…..Learn More

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This is an outstanding 1962 album consisting of two separate recordings and  put together by great Jazz drummer Shelly Manne. “2 – 3 – 4 is very rare in that it features the legendary tenor saxophonist Coleman Hawkins in 5 of the 6 tunes, There is a 7th and 8th tune on the reissue CD version . They are joined by Hank Jones and Eddie Costa on piano, depending on the tune. George

 

About the album:

This unusual set has five selections from a date featuring the great tenor Coleman Hawkins, pianist Hank Jones, bassist George Duvivier, and drummer Shelly Manne. 2-3-4 songs Both “Take the ‘A’ Train” and “Cherokee” find the group at times playing two tempos at once (Manne sticks to double-time throughout “Cherokee”), and showing that they’d heard some of the avant-garde players. 2-3-4 album for sale The most swinging piece, “Avalon,” was previously available only on a sampler…..Read More

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Here’s a not so mentioned recording sessions from 1959-60 and which took place in March 26, November 24, December 2nd of 1959 and October of 1960. “Coltrane Jazz” was released in 1961, learn more about the album and the reissues here. This album is a must-have and which contains many tunes that were not duplicated and/or improvised differently on other records. A great collection of outstanding classic songs that are, may I say, “leftovers” from other albums. Now there is no excuse, that the Jazz Con Class Radio listeners/readers know about it and are sort of forced to listen to it. Great album, buy it, you have to!

About the album:

Released shortly after the groundbreaking Giant Steps, Coltrane Jazz features a number of takes from the ‘Naima’ session, with Wynton Kelly, Paul Chambers and Jimmy Cobb, as well as a track with Cedar Walton and Lex Humphries and an early outing by his newly formed quartet featuring pianist McCoy Tyner, Steve Davis and Elvin Jones. While lacking the conceptual strength of many of Coltrane’s greatest works, Coltrane Jazz captures the saxophonist during one of his interesting periods of change, and includes some memorable original tunes. Particularly worth investigating…..Read More

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