Waxtime Новости

Considered the most accomplished modern jazz harpist, Dorothy Ashby (1932-1986) established the harp as an improvising jazz instrument, beyond earlier use as a novelty or background orchestral instrument. She proved the harp could play bebop as adeptly as the instruments commonly associated with jazz. Presented here is one of her best albums, Dorothy Ashby Plays for Beautiful People (Prestige PR7639 - also issued as In a Minor Groove), a 1958 quartet session featuring venerable players Frank Wess, Herman Wright, and Roy Haynes.

By the time Just One of Those Things was recorded, Nat "King" Cole was already considered by the general public as more of a singer and entertainer than a jazz pianist. Cole did his first sessions with the more jazz-oriented Billy May in 1951, but it wasn't until 1957 when they collaborated on this first LP - Just One of Those Things, a memorable album in which all 12 songs fit seamlessly together perfectly. It wasn't just May's arrangements that created such swinging music behind Cole's vocals though, it was also the band, which included many illustrious soloists: Harry "Sweets" Edison, Willie Smith, Pete Candoli, Jimmy Rowles and Lee Young, along with John Collins and Jack Costanzo, members of the celebrated Nat "King" Cole Trio.

n the late 1950's Norman Granz produced several studio sessions where he paired Gerry Mulligan with some of the most important saxophonists of the day, including Ben Webster, Stan Getz, and alto player Johnny Hodges as heard on this exemplary 1959 session Gerry Mulligan meets Johnny Hodges. includes the bonus tracks 'My Funny Valentine' 'Festive Minor'

John Lee Hooker is widely recognised as one of the true giants of the blues, along with Muddy Waters, B.B. King, and Howlin' Wolf. Hooker is often called the "King of the Boogie" and his driving, rhythmic approach to guitar playing has become an integral part of the blues' sound and style that perpetuated the UK's rhythm and blues scene of the '60s. Presented here is one of John Lee Hooker' s finest album, The Big Soul of John Lee Hooker, recorded in Chicago in 1962.

In a career that spanned some forty odd years, a pivotal point of success came with his 1989 album The Healer, which featured collaborations with Carlos Sanatana, Bonnie Raitt, Charlie Musselwhite, and Los Lobas. The album expanded his audience beyond the blues idiom, earning him his highest Billboard album chart success (#62) his first Grammy Award; all of this at the grand-old-age of 73. For those not familiar with Hooker's earlier work, the Big Soul of John Lee Hooker is an excellent starting point.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
Portrait in Jazz was Bill Evans' third album as a leader, following New Jazz
Conceptions (1956) and Everybody Digs Bill Evans (1958). It was also Evans' first
studio album with his legendary trio, featuring Scott LaFaro and Paul Motian.
The repertoire here consists of standards (all of them treated in Evans' very
personal style) plus two originals, "Peri's Scope" – premiered on Portrait in Jazz,
and "Blue in Green," which was co-composed by Miles Davis. Bill first recorded the
latter composition in March 1959 with Miles for the classic album, Kind of Blue.






[f] BLUE IN GREEN [alternative take]




[k] AUTUMN LEAVES [Mono take]

[a] A1 Cabin Talk Feat. Giancarlo Esposito [album Intro]










[l] A12 Believe (In Him) [feat. Lady Stout And K. Butler & The Collective]


[o] A15 Just How It Is (Sometimes) [feat. Jay Pharoah & Gareth Donkin]



[s] A19 Day In The Sun (Gettin' Wit U) [feat. Q-Tip & Yummy Bingham]

Coming of age at the dawn of the bebop era, Art Farmer rejected the mechanical playing that much of bebop seemed to encourage. Instead, Farmer became known for his warm, fluid tone, and his ability to make the trumpet sing like a tender yet stately baritone voice. On Modern Art (his last small group collaboration with Bill Evans, with whom he had first recorded in 1956), Art Farmer emphasises style over technique. The group swings with both authority and subtlety on all eight tracks, making this album one of the best records of this period.

"Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats in 1955, when such ideas were new. The mid-'50s was a fertile time for Armstrong, and this makes for a stellar package." - ****1/2 Cub Koda, All Music Guide






[f] 6 Honeysuckle Rose [alternate Take]





[l] 12 Ain't Misbehavin' [alternate Take]