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Blues on PurposeReblogged from bainer
Wynton Kelly Trio - Blues On Purpose (1965)
Headphones recommended if you have ‘em handy for this majestic Wynton Kelly Trio blues; Paul Chambers’ bowed, sing-along bass solo is a sublime experience despite the less-than-stellar recording quality.
Reblogged from bainer
Thelonious Monk - Body and Soul (1962)
When Randy Weston was a young pianist, he would go over to Monk’s house looking for musical tutelage. By way of mentoring him, Monk would play an old standard like Lulu’s Back In Town, Just a Gigolo, or as heard here, Body and Soul, without a break, without one pause, for two hours straight. The dedication matched the genius.
Reblogged from bainer
Stanley Turrentine - Tacos (1964)
Unreleased in its time, underplayed in ours, this session and this Lee Morgan tune deserved better.
The mind-boggling personnel on hand for this session makes you scratch your head in 2011 and wonder what the actual f*ck Alfred Lion was thinking in 1964 when he shelved it. Thank god the Japanese love Blue Note jazz, or this session might still be gathering dust.
Domo Arigato.
Reblogged from bainer
Lou Donaldson - Blues Walk (1958)
From allmusic:
There are numerous likable records in Donaldson’s extensive catalog, but Blues Walk is the best of them all.
For those of you only familiar with Donaldson’s regrettable 60s migration into funk/soul jazz purgatory (he was not alone), this LP should refresh your opinion of the altoist.
Reblogged from spisceanimals
“One can hear hints of Paul Horn’s future directions on this obscure LP. Horn (doubling on alto and flute) shows his interest in Indian music on “Shadows #1” and “Shadows #2” (which are dedicated to Ravi Shankar) and in the drone feeling that he gives “Chim Chim Cheree.” “In the Bag” and “Greensleeves” add a pair of Scottish bagpipers to the quintet (which also includes vibraphonist Lynn Blessing, pianist Mike Lang, bassist Bill Plummer, and drummer Bill Goodwin), so this is not an album for everyone. Within three years, Horn would abandon jazz altogether to work on atmospheric mood music.”
Write Up @ Allmusic by Scott Yanow
Reblogged from spisceanimals
“More than nearly any other singer, Holiday phrased her performances in the manner of a jazz instrumental soloist, and accordingly she has to be seen as a complete jazz musician and not merely a singer. Nevertheless, her voice, even in the light and lively numbers she often sang during her early period, carried a wounded poignancy that was part of her attraction for general audiences.”
PBS - Jazz: A Film by Ken Burns
Read the entire article here
Mp3 - Billie Holiday: “Comes Love”