Currently viewing the tag: "Jazz Con Class Radio"

By Greg Lehmann

“I Called Him Morgan” is a moving tribute to the legendary musician Lee Morgan. Documentary filmmaker Kasper Collin has given us the chance to finally get some idea as to what led up to the tragic killing of Lee Morgan at the hands of his (common-law) wife Helen back in Feb. 1972 at the now defunct jazz venue Slugs, then located on 3rd St. on the Lower East Side of Manhattan. With the help of a sound recordings made by an adult education teacher / radio host and jazz enthusiast who discovered inadvertently that one of his students had been married to a jazz musician, he then asked what his name was and was told that his name was Lee to which he replied – ” Lee Morgan ? ” Helen affirmed this to be true, which led to the educator – Mr.Larry Reni Thomas of Wilmington, N.C. requesting that he conduct an interview with Helen and she replied that she would think about it. She eventually did contact Mr. Thomas and proceeded to tell him on tape in a series of interviews about how the two met and how their relationship developed up to and including that fateful final day that ended Lee Morgan’s life. There were numerous noteworthy musicians who were interviewed for this documentary, including – Wayne Shorter, Jymie Merritt, Larry Ridley, Billy Harper, and Paul West. There is extensive use of the B & W photos of legendary Blue Note Records co-owner Francis Wolff, in addition to numerous clips featuring Lee Morgan along side his fellow musicians who performed with him in the Art Blakey and the Jazz Messengers ensamble. The director Kasper Collin must be credited for including extended musical excerpts in his production. The film is a must see for any true lover of Lee Morgan’s trumpet playing, in addition to which it provides compelling insight to one of the jazz world’s greatest human tragedies. The film is currently being screened in N.Y.C. at the Lincoln Center Film Society venue on 65th St. bet. Broadway and Amsterdam Ave. (south side of the street). Starting on March 31, it will be screened at the Metrograph Theater at 7 Ludlow St. on the Lower East Side of Manhattan. Check their websites or call for further details. 

Here’s the trailer to the documentary “I Called Him Morgan.”:

Here’s the website for Film Society Lincoln Center and where you can learn more of the public screenings of “I Called Him Morgan.”

Here’s the homepage (Check Calendar link) for the Metrograph Theater, in case you cannot make it to Lincoln Center.

Greg Lehman- Is a multi-diciplinary artist and performer, who works as a teacher in NYC and has been an avid collector of (mostly Jazz) records for most of his adult life.

If you have any questions for Greg concerning the review, please use the comment section here.

HappyNewYear

I want to thank all the listeners who have been listening to Jazz Con Class Radio from the beginning and all the new loyal listeners who have joined throughout the four years the station has existed. This year will be a challenging one for me financially because of all the rising costs to maintain the broadcast but I feel its my duty to keep traditional/classic Jazz alive. Have a Happy New Year and E N J O Y ! !

LesterAndMilesInParis5960Post

This is the tale of two significant albums that are not mentioned enough and were recorded one year apart and in Paris. “Lester Young in Paris” was recorded in 1959 and Miles “Live in Paris” was done in 1960. The Lester young album is very significant in a very sad manner because it was his very last recording as you can see on the date it was completed here in this discography of the album. He died hours after arriving back to New York from Paris on March 15 (at the age of 49) and as mentioned here on his Wikipedia page, he was drinking heavy and hardly eating during the recording sessions. Nevertheless, his performance on this album was above average (as always). this is a great opportunity to own a piece of history but most importantly, a great gesture of honoring a man who literally captured the hearts of every listener with his saxophone. There will never be another Lester Young!

Miles “Live in Paris” album was recorded a few years after the famous 1958 Newport session, was simply overlooked and not to mention, a great opportunity to hear Miles alongside Sonny Stitt! So it is actually, a compilation 4-cd album of two separate recordings. To learn more about the Miles with Coltrane in Paris (on CD’s 1 and 2, March 21st) the readers here should take a look at this excellent post by Marc Myers on his blog Jazz Wax. If you are only interested in the Miles with Sonny Stitt (October 11th) then you can get it here. These are two great recordings that again, every Jazz collector should own. ENJOY!

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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ScottInterviewwithHelene

Painting by Manny Fernandez

I along with my co-host Noal Cohen conducted an interview with Helen LaFaro-Fernandez, the sister of the famous Jazz bassist Scott Lafaro and the main subject of her book “Jade Visions.” This book is a biography of Scott LaFaro but with much more to offer because it is also written for musicians alike. Helene dedicated specific chapters on musical analysis with the help of Jeff Campbell and Phil Palombi. Phil was also present in this interview and provides the listeners with helpful insights on Scott Laforo’s innovative style. Altogether, it was a great introduction to “Jade Visions” and will help you understand how much of an impact Scott LaFaro had on Jazz in the little time he was on this planet. Scott Lafaro was only 25 years old when he died in an auto accident July 6, 1961. This interview was presented by yours truly, Jazz Con Class Radio and made possible by Blogtalkradio.com.

Check Out Music Podcasts at Blog Talk Radio with Classic Jazz Talk on BlogTalkRadio

More on the book (from Amazon.com):

Winner of the Best Book of 2009, Jazz Division, sponsored by AllAboutJazz-New York, 2009
Selected for “Best of the Best” from University Presses, ALA Annual Conference, 2010

Winner of the 2010 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research in Jazz, 2010

“Fernandez’ insightful comments about her brother offer far more than jazz scholars have ever known about this significant and somewhat enigmatic figure in the history of jazz. All in all, a very complete portrait.”—Bill Milkowski, author of Jaco: The Extraordinary and Tragic Life of Jaco Pastorius

“LaFaro’s story is compelling not only because of his own prowess as a musician, but also due to the company he kept. How many musicians by their twenty-fifth year could say they had played with Benny Goodman, Ornette Coleman, Chet Baker, Stan Kenton, and Bill Evans? Only one. Scott LaFaro.”—Frank Alkyer, publisher, Down Beat

“Scott LaFaro was a true jazz innovator. His sound, sense of time and melodic invention blazed a trail for modern bassists and he was a beacon of light for those players who dreamed of more freedom within structure. Bill Evans once described Scott’s playing to me:  ‘He was really discovering something every night on the bandstand. He had all these ideas that were just bubbling up out of him. And he had a way of finding notes that were more fundamental than the fundamental.’ ” —Marc Johnson, bassist

“Scott LaFaro was a brilliant artist whose untimely death remains one of the great tragedies of jazz more than four decades later.”—Jed Eisenman, manager of the Village Vanguard jazz club

“Scotty was amazing. . . worked with all five fingers. . . ridiculously wonderful. . . most inventive.”—Dick Berk, drummer

“Scotty’s playing was the bible for bass players … Jimmy Blanton the old testament, Scotty, the new.”—Christian McBride, bassist

“It’s astonishing that [LaFaro’s] massive reputation is primarily based on a handful of albums that feature him in full flower: the four recorded with the Bill Evans Trio, two by Coleman and Jazz Abstractions, a Gunther Schuller recording. His work on these is so amazing, his facility on his instrument so fluid, his melodic ideas and group interplay concepts so advanced that they still reverberate today. Finally LaFaro has a worthy volume commensurate with his stature in music.”–AllAboutJazz.com……Learn More

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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The Little GiantCover
Johnny Griffin was a short man in stature but his sound was big and loud! This is why he was known as the “Little Giant.” There was never a dull moment with his playing style, as he improvised constantly and in his own unique exciting manner, very impressive indeed! This particular album which was appropriately named “The Little Giant” was his six recording of a consistent career that spanned over 40 years and until the year 2000, check his discography here. This is a no-brainer, get it, ENJOY!

About the album:

A bit of an offbeat session for tenor saxophonist Johnny Griffin, The Little Giant features three originals by then-obscure pianist Norman Simmons, a reworking of the pop tune “Playmates,” Babs Gonzalez’s “Lonely One,” and the tenorist’s “63rd Street Theme.” Simmons’ arrangements for the three horns (which include trumpeter Blue Mitchell and trombonist Julian Priester) are colorful; the rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Albert “Tootie” Heath) is state of the art….Read More

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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Listen to the broadcast as you choose! https:http://jazzconclass.com/2014/10/09/all-the-different-ways-to-enjoy-jazz-con-class-radio/

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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Jazz-USACover

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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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DonaldByrdGigiGryceCompleteJazzLabSessionsCover

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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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Listen to the broadcast as you choose! https:http://jazzconclass.com/2014/10/09/all-the-different-ways-to-enjoy-jazz-con-class-radio/

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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BrotherRedCover

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

RedHollowayPost

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

MonkCover

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.

BluesAndAbstractTruthWhatIsJazzPost

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.

ArticleAboutJazzPost

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!

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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Bags&TraneCover

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

MiltJacksonBioImage

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 is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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CliffordBrownMaxRoachLiveBeeAndMoreHiveCovers
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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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74MilesAwayCover

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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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Listen to the broadcast as you choose! https:http://jazzconclass.com/2014/10/09/all-the-different-ways-to-enjoy-jazz-con-class-radio/

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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TheModernArtOfJazzCover

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

Jazz Con Class Radio Latest Posts

This is what you hear on Jazz Con Class Radio! Playing very soon, some VERY Early 60's Bobby Hutcherson! Here's "Bedouin" from his 1963 recording "The Kicker." OUT OF THIS WORLD!! ENJOY!
*This is track 6.
Bobby Hutcherson - vibes
Joe Henderson - tenor saxophone
Duke Pearson - piano
Grant Green - guitar (#4-6)
Bob Cranshaw - bass
Al Harewood - drums
Recorded on December 29, 1963, Van Gelder Studio, Englewood Cliffs, N.J.Final track from "The Kicker" album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 29, 1963. Bobby Hutcherson (vibraphone); Joe...
... See MoreSee Less

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Listen to the broadcast as you choose! https:http://jazzconclass.com/2014/10/09/all-the-different-ways-to-enjoy-jazz-con-class-radio/

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This is what plays on Jazz Con Class Radio and playing now! Here Monk from 1953/54 recording "Thelonious Monk and Sonny Rollins." Yes playing on the "Wednesday Five Hour Jazz Special," ENJOY!November 1953. Thelonious Monk / piano Sonny Rollins / tenor sax Julius Watkins / French horn Percy Heath / bass Willie Jones / drums ... See MoreSee Less

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OneFootInTheGutterCover

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

TwoFeetInTheGutterCover

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

PaulGonsalvesMeetsEarlHinesCover

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

BlackLionRecordsLogo

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.

ColtraneJazzCover

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

HopeMeetsFosterCover

Yes, this is truly a classic album featuring the great Jazz pianist Elmo Hope and the great tenor saxophonist Frank Foster. They are joined by John Ore on bass, Art Taylor on drums and Charles Freeman Lee on trumpet for only tracks 2, 3 & 5. “Hope Meets Foster” can cost a bit, but its sure worth it! You’ll find it to be one of your favorites in no time! This is a real classic, so get it and enjoy it!

About the album:

Hope Meets Foster album for sale by Elmo Hope was released Jul 16, 2013 on the Universal Japan label. Elmo Hope Quartet/Quintet: Elmo Hope (piano); Frank Foster (tenor saxophone); Freeman Lee (trumpet); John Ore (bass); Arthur Taylor (drums). Hope Meets Foster CD music contains a single disc.
Digitally remastered by Gary Hobish (1991, Fantasy Studios, Berkeley, California).

This decent bop session features tenor-saxophonist Frank Foster and pianist Elmo Hope in a quintet with the forgotten trumpeter Freeman Lee (who is on three of the six songs), bassist John Ore and drummer Art Taylor Hope Meets Foster songs. They perform three of Hope’s originals, two by Foster and an uptempo version of “Georgia on My Mind.”….Read More

FrankFosterBiography

Frank Foster biography:

“Although jazz has been officially declared a national treasure in recent years, far too few of its representative artists ever receive sufficient acknowledgement in the mass media.  In view of this unfortunate reality, it’s quite fitting and honorable that a prestigious entity such as the National Endowment for the Arts recognizes the artistic, aesthetic and spiritual value of this home-grown music through the American Jazz Masters Fellowship. Therefore, it is with extreme happiness and gratitude that I accept the fellowship award for the year 2002.”

Although best known for his work in the Count Basie Orchestra (and as the composer of the Count Basie hit, “Shiny Stockings”), Frank Foster’s saxophone playing owed more to the bebop of Charlie Parker and Sonny Stitt than the swing of Basie.

Foster began playing clarinet at 11 years old before taking up the alto saxophone and eventually the tenor. By the time he was a senior in high school, he was leading and writing the arrangements for a 12-piece band. Foster studied at Wilberforce University in Ohio before heading to Detroit in 1949 with trumpeter Snooky Young for six weeks, becoming captivated by its burgeoning music scene. Drafted into the Army, Foster left Detroit and headed off to basic training near San Francisco, where he would jam in the evenings at Jimbo’s Bop City.

After being discharged in 1953, two life-changing events happened to Foster: he sat in with Charlie Parker at Birdland and he was asked to join Count Basie’s band, where he stayed until 1964. Foster’s fiery solos contrasted nicely with Frank Wess‘ ballad work, providing Basie with an interesting saxophone combination. Foster, already an accomplished composer by this time, learned from Basie how to simplify….Learn More

Great article on Frank Foster (Marc Meyers of JazzWax):

Frank Foster, whose pouncing tenor sax and swinging arranging style helped update Count Basie’s New Testament Band with a seemingly endless stream of blues surprises from 1953 onward, died on July 26 in Chesapeake, VA. He was 82.

In a band crowded with saxophone talent, Foster and Frank Wess anchored the reed section like a pair of library lions, roaring with a sound so confident, moody and wily that no other orchestra could duplicate its natural feel and collective phrasing.

Foster’s great skill as an arranger rested with his ability to weave a call and response technique throughout entire pieces without ever seeming dull or repetitive. In many cases, Foster’s charts would have the saxes introduce and carry the melody line, while the trombones muttered or sneezed replies and the trumpets high-fived them for good measure.

The result was a modern conversational arranging technique that emulated banter heard in black barbershops rather than the church. With Foster, this salon was always humming, with roaring horns tempered by suede-smooth reeds and the sound of Basie’s “scissors” always snipping away. Foster’s arrangements didn’t sound complex but they were deceptive, requiring precise and emotional playing that seemed to hurtle forward, even when taken at mid-tempo.

When Foster soloed, he could charge ahead, drag a note or hit a high wail while producing miraculous ideas at high speed. In some ways, his solos sounded like he was making an elaborate sandwich while standing in the aisle of a fast moving train, without losing his balance or dropping a thing.

On his arrangement, while the reeds ran their lines, other instruments uttered their own blues statements that were variations on the melody line. What’s more, his charts always could be counted on to end with a big build up and a walloping crescendo, producing an emotional thrill for the listener…..Read more

NicasTempoCover

Nica’s Tempo” is considered to be a Jazz classic album and should be found in every Jazz lovers musical library. It offers a rare compilation of three 1955 recording sessions that took place on two dates, October 15, 1955 and October 22, 1955. All the sessions were lead by Gigi Gryce on his alto sax and featured a boat load of other greats! They assembled and created beautiful masters  , read more here for more on the album concerning the combination of musicians. them so many musicians names are listed on the album cover.  The one session on October 15 was a quartet consisting of Gigi with Thelonious Monk on piano, Percy Heath on bass and Art Blakey on drums. The songs recorded on were: “Shuffle Boil,” “Brakes Sake,” “Gallop’s Gallop” and “Nica’s Tempo.” The one session on October 22 featured Gigi with Art Farmer on trumpet, Jimmy Cleveland on trombone, Gunther Schuller on french horn, Bill Barber on tuba, Danny Bank on baritone sax, Horace Silver on piano, Oscar Pettiford on bass and Kenny Clarke on drums. ENJOY!

About the album:

Originally released on Savoy (12137). Includes liner notes by Ira Gitler.
Oh…if these sessions could have only been issued in separate long forms with the bands that are included. Nica’s Tempo comprises six tracks with Gigi Gryce’s groundbreaking big band, and another four ostensibly as a member of the Thelonious Monk quartet, all from 1955. Each band showcases the estimable compositional and arranging genius of Gryce, as well as his unique sound on the alto saxophone. In this CD format, the music serves a purpose in displaying Gryce’s many talents, but ultimately leaves the listener wanting more. What the orchestra tracks offer in terms of an advanced concept paired with extraordinary musicianship is indisputably brilliant. The combination of Gryce with Monk is unparalleled in another way, the brief but fruitful joining of jazz masters that helped both of them grow, while attaining a symbiosis that Monk only reached briefly with Coleman Hawkins, Sonny Rollins, John Coltrane, and later in extensia with Charlie Rouse. Gryce is perfectly situated in his element, able to not only exploit the individualism of his bandmates, but play his slightly tart alto sax in a manner that very few have ever imagined. His shining charts emphasize lower octave tones by baritone saxes, trombones, French horns, tuba, the lone trumpet of Art Farmer, and no extra woodwinds. This larger band, averaging ten pieces, is influenced by Duke Ellington during the fully flowered ballad “In a Meditating Mood,” or traditional Irish music on the short and sweet, perfectly layered, bluesy swinger “Kerry Dance.” Dizzy Gillespie’s complex bop visage is present for the nifty, sub-toned, dynamically controlled in mezzo piano, hard surfaced and simmering “Smoke Signal,” with clever meter switchings from 4/4, 3/4, or 2/4, while Bill Barber’s tuba lurks underneath. The opener “Speculation” reflects its title, with the composer Horace Silver’s piano solo intro nicely drawn out, merging into warm simple horn charts with off-minor flourishes — a great jazz composition — especially engaging….Read More

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All about Pannonica de Koenigswarter:

In the 19th century, the English branch of the powerful and immensely rich Rothschild family built the most famous of their country houses in the Vale of Aylesbury, which is why, one misty morning in late March, I find myself at Waddesdon Manor, a picture-perfect Victorian replica of a French chateau. “I think this house will give you a sense of how the family used to live,” says Hannah Rothschild, my host. “The blinds and curtains drawn to protect the art, the panelling and drapes creating a deadening effect. These were houses that killed noise, even the noise of children.” Overflowing with servants – at Tring Park, down the road, footmen were required to carry cherry trees to the table, that diners might pick their fruit straight from the branch – and run to a routine as immutable as marble, growing up in such a house was like living in a gilded cage…..Read More

MonkAndNica

More links on Nica:

1. Wikipedia read here

2. The Jazz Baroness, read here

3. NPR.org, read here

4. Book: The Baroness: The Search for Nica, the Rebellious Rothschild

5. Book : Nica’s Dream

Great film on on Nica (Portuguese subtitles):

CannonballFiddlerOnTheRoffCover

The cover of this 1964 Cannonball album, “Fiddler on the Roof” misrepresents its superior quality. This album can be one of Cannonball Adderley’s best. As you can read in the description below, Charles Lloyd is matched up with Cannonball either with the tenor sax or the flute. Lloyd was a big part of another classic hard-to-get album, “Cannonball Adderley Live” and a played on four songs (“Work Song”, “The Song My Lady Sings” and “Unit Seven”) on another Cannonball live album, “Radio Nights.” I’m suggesting the Jazz Con Class Radio listeners get a hold of this classic recording, enjoy!

About the album:

Personnel: Cannonball Adderley (alto saxophone); Charles Lloyd (tenor saxophone, flute); Nat Adderley (cornet); Joe Zawinul (piano); Sam Jones (bass); Louis Hayes (drums). Recorded at Capitol Studios, New York, New York and Capitol Studios, Los Angeles, California in September and October 1964. Includes liner notes by Donald Elfman. Personnel: Cannonball Adderley (alto saxophone); Charles Lloyd (flute, tenor saxophone); Nat Adderley (trumpet, cornet); Joe Zawinul (piano); Louis Hayes (drums). Liner Note Author: Donald Elfman. Recording information: Capitol studios, Los Angeles, CA (09/08/1964-10/21/1964); Capitol Studios, New York, NY (09/08/1964-10/21/1964)…..Read More

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This 1965 album, “Lucky Strikes” is probably Lucky Thompson’s most known album. A very interesting point that I would like to touch on about Lucky Thompson and have noticed many greats like him, is the under appreciation of his own talents. It seems that he, being a perfectionist, was never 100% satisfied with his playing and always questioned if he could have focused more on his performances. This strict self evaluating/critiquing is present in most great musicians and only helps them strive to greater heights. Its a thirst for more knowledge and experimentation that helps the great ones propel over the others. Its total devotion to their instrument and relentless practice that make them legends. This album is a perfect example as he perfects the art of playing both the tenor and soprano saxophones. Make sure you add this album to your library!

About the album:

Lucky Strikes album for sale by Lucky Thompson was released Jul 01, 1991 on the Original Jazz Classics label. Digitally remastered by Joe Tarantino (1987, Fantasy Studios, Berkeley California). Lucky Strikes buy CD music This CD reissue serves as a perfect introduction to the talents of the underrated saxophonist Lucky Thompson. Lucky Strikes songs Heard on four songs apiece on tenor and soprano (he was one of the first bop-oriented soprano players), Thompson plays two standards and six originals in a quartet with pianist Hank Jones, bassist Richard Davis, and drummer Connie Kay. Lucky Strikes album for sale The playing time on this straight reissue of an earlier LP is a bit brief (just over 38 minutes), but the quality is quite high. Lucky Strikes CD music Thompson’s soprano solos in particular are quite memorable……Read More

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Biography of Lucky Thompson (By Jason Ankeny-AllMusic.com):

Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument’s foremost practitioners and a stylist par excellence. Eli Thompson’s lifelong nickname — the byproduct of a jersey, given him by his father, with the word “lucky” stitched across the chest — would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident — a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins’ ‘Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City.

Soon after his arrival in the Big Apple, Thompson was tapped to replace Ben Webster during his regular gig at the 52nd Street club the Three Deuces — Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson’s debut gig, and while he deemed the performance a disaster (a notorious perfectionist, he was rarely if ever pleased with his work), he nevertheless quickly earned the respect of his peers and became a club fixture. After a stint with bassist Slam Stewart, Thompson again toured with Hampton before joining singer Billy Eckstine’s short-lived big band that included Charlie Parker, Dizzy Gillespie, and Art Blakey — in other words, the crucible of bebop. But although he played on some of the earliest and most influential bop dates, Thompson never fit squarely within the movement’s paradigm — his playing boasted an elegance and formal power all his own, with an emotional depth rare among the tenor greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and remaining there until 1946, in the interim playing on and arranging a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to replace Parker in their epochal…..Read More

Here’s a detailed discography of Lucky Thompson

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The Sun Ra Arkestra was an amazing band that didn’t have the same recognition as the other Jazz artists who were experimenting in the mid fifties. Some so-called Jazz fans didn’t take Sun Ra serious enough because of the interstellar approach that he and his Arkestra presented themselves. You can learn more about Sun Ra and his beliefs by doing a simple search, if you really care about his ideals. If you are open-minded and concentrate on his music, as most “True” Jazz fans do, then your focus would be more on the high quality arraignments Sun Ra produced and how he opened up more avenue to explore. This 1959 album, “Jazz in Silhouette” is a real masterpiece, get it, if you dare!

About the album:

A fascinating recording of Sun Ra and his Arkestra in an early incarnation, 1958’s JAZZ IN SILHOUETTE features Ra’s complex, adventurous compositions in traditional bop and swing contexts. The opening “Enlightenment” has edgy piano accompaniment from Ra, and a Cuban rhythm outro, but its breezy melody is reminiscent of Duke Ellington circa his Okeh period. “Blues at Midnight” is an up-tempo bop number with outstanding solos from all members of the Arkestra. Complex themes (“Saturn”) and fractured blues (“Horoscope”) show qualities integral to the style Ra would develop in the following years. In particular, the drawn-out ensemble explorations of “Ancient Aiethopia”–which are infused with tribal percussion, flute, and chant-like themes–serve as a blueprint for the artist’s signature sound. This album is an excellent, accessible introduction to the music of Sun Ra, ideal for those who may be intimidated by Ra’s more challenging later work. Now that his seminal, self-released Saturn albums are back in print, we thought we’d offer you this 1958 classic, which mixes the straight-ahead ( Enlightenment ) and spacey ( Ancient Aiethiopia ) as only the late Sun Ra could. “One of the most important jazz records since the war.” – Penguin Guide…..Read More

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