Jazz Collaborations (1955) Charles Mingus and Thad Jones Debut Records (Sweden) Featuring “One More”; “I Can’t Get Started”; “More of the Same”; and “Get Out of Town”. Also featuring John Dennis/Hank Jones on Piano; and Max Roach on Drums. Rudy Van Gelder – Engineer; Barry Ulanov – Liner Notes.
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Les Modes “Mood in Scarlet” Dawn Records Julius Watkins (frh), Charlie Rouse (ts), Gildo Mahones (p), Martin Rivera (b), Ron Jefferson (b), Chano Pozo (bgos)
Here’s a super rare one – Tommy Flanagan’s “Over C’s” Prestige Records (1957) It was Flanagan’s debut album as a leader, and was recorded overseas, in Stockholm, and issued on 3 EPs in Sweden, on Metronome. Those EPs are also highly collectible. The trio is rounded out with Wilbur Little and Elvin Jones. Here’s Willow Weep For Me!
Louis Armstrong “White Christmas” / “Winter Wonderland” Decca Records (UK)
“Great Scott” The Bobby Scott Trio featuring Whitey Mitchell, bass and Bill Bradley, drums Bethlehem Records (1954) Design and illustration (in the style of David Stone Martin) by the legendary Burt Goldblatt. Liner notes by the great Ira Gitler ,(whom I’ve had the pleasure to meet and spend time with over the past 25 years). I love that after looking at records for more than 40 years (daily), that I can still find one like this that I’ve never seen!
“An Evening with Anita O’Day” Columbia Records (England) This album started in 1954 (in the US on Norman Granz’ Norgran Records) and was completed by 1955, but not issued until 1956. An Evening With Anita O’Day began its life as Songs By Anita O’Day, a ten-inch record released in 1954 for Norman Granz’ Norgran label and later expanded to its present form. The music is comprised of three small group sessions that took place in Los Angeles in the spring of 1954 and the summer of 1955. These are studio recordings, leaving the listener to assume that the titular “evening” refers to the time of day in which the listener will want to experience these songs, which feel like they must have been recorded by candlelight. Stellar guitar work by Tal Farlow and Barney Kessel
I had an evening with Anita O’Day. She’s been one of my favorite singers for as long as I can remember. It was in the Winter of 1984. I had just moved to New York City after college. I saw that she was appearing at a club in Teaneck, NJ – just over the George Washington Bridge. Easy. Or so I thought. Having no money and no car, I tried to walk it from my room on the Upper West Side. It was a snowy night and I ended up willing myself there with a combination of hiking, hitching, bus and subway. Finally inside that warm, intimate jazz room, with Anita sitting on a stool in the spotlight and singing on a low, small stage, the world outside melted away. It was magical. After the first set, I had the gumption to offer her a drink and she took a seat and we talked about her music, her band, her schedule. Meeting your idols can go either way, but she was very nice – sensing, I’m sure, my excitement and appreciation. I stayed for the late show before trudging out through the snow in the early morning feeling that the world was a little smaller and the future filled with wonders.