Pop & Rock Vinyl New Releases - News

On to my short review. I have to admit that I'm biased in favour of Charles Tolliver. He plays with a combination of strength and sweetness that goes beyond mere language. The fact that he is self -taught is more miraculous. This particular recording has the best sound quality I've ever heard. The clarity is stunning and all the music is magnificent. The recording is so good, one can hear the sound of a musician's fingertips accidentally brushing across the bass strings, for example. Alvin Queen is always brilliant on the drums. This group has a synergy that just goes so deep, it feels like they're reading each others' minds. But I can't recommend this enough. It's some of the best recorded jazz I've ever experienced.

180g double LP, Gatefold sleeve, Obi Strip

Charles Tolliver began his professional career and simultaneously his recording debut with the saxophone giant Jackie McLean on Blue Note Records in 1964. Since then he has become one of the all-time preeminent trumpeters in Jazz as well as one of its most gifted composer/arranger bandleaders. He is also a Grammy nominated recipient for his Blue Note Records recording "With Love". With a career that has spanned five decades he has recorded and/or performed with such renowned artists as Roy Haynes, Hank Mobley, Willie Bobo, Horace Silver, McCoy Tyner, Sonny Rollins, Booker Ervin, Gary Bartz, Gerald Wilson Orchestra, Oliver Nelson, Stanley Cowell, Herbie Hancock, Andrew Hill, Louis Hayes, Roy Ayers, Art Blakey & the Jazz Messengers, and owned the trumpet chair with the great Max Roach for some years.

This LP is jazz of high energy and high sincerity. Jazz at it's best. One of Tolliver's (and jazz's) masterpieces. It is a live recording from 1972. On another occasion, Tolliver recorded with another quartet with Stanley Cowell on piano, and some critics prefer that quartet. However, this quartet is the equal of that one. I think John Hicks did a masterful job of piano playing here. Hicks equalled Charles in energy. The bass playing of Reggie Workman (who was John Coltrane's bassist) is equally smouldering. Drummer Alvin Queen is a perfect match for the other three.
Passionate Jazz Fan.

Where have you gone, Charles Tolliver? There was such promise in the concept of Music Inc., and in Strata East, but evidently the music world's attention was elsewhere and this tremendous live set was probably heard by only a few hundred sets of ears. On the back of the record sleeve, Tolliver undersigned his mission statement: "Music Inc. was created out of the desire to assemble men able to see the necessity for survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul." And he isn't kidding. You won't find a much higher level of communication than he, Cecil McBee, Stanley Cowell, and Jimmy Hopps engaged in on May 1, 1970 at Slugs' in New York City. This was much more than an attempt to merely 'preserve acoustic jazz' as in the stilted Marsalis vein. This was an attempt to preserve a measure of authenticity while maintaining the notion of forward-thinking, present-tense improvised music. They deserved a greater response than the lukewarm, sparse applause they received that night, and continue to deserve a far more cognizant audience for their efforts.



Tolliver ('Drought"), McBee ("Felicite"), and Cowell ("Orientale") each contribute a track to the set; though very much distinct, each is equally strong. "Drought" is the kind of dark-hued, well-honed burner which Tolliver routinely produced in his fertile years. "Felicite" is a more contemplative affair, a deeply felt and empathically performed piece; the unit here is in particularly sublime form, merging considerable skill with a staggering depth of emotion. "Orientale" falls somewhere in between the pace of the two, with Cowell's Eastern scales establishing an austere, industrious tone throughout its seventeen-and-a-half-minute length.



Through its duration, the music on Live at Slugs' is often riveting and incessantly compelling. Hopps is a lesser-known entity to me, but the other three players featured here are some of the all-time underrated presences in the jazz pantheon, and they play nothing short of masterfully. Always a presence on his recordings, Tolliver demonstrates tremendous range, flair, and command as a trumpeter and leader. Had he not come along at a time when pure jazz was falling out of favour, I have to believe his name (along with Woody Shaw's) would be every bit as prolific as Freddie Hubbard's or Lee Morgan's; the same holds for the always brilliant and expressive McBee on bass.



I feel saddened that Music Inc. fell so far short of "eventually reaching every soul" - yet fortunate that it eventually reached mine.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London




Owning both this disc and Live at Slugs', Volume 1 is essential for hardcore Jazz fans. Part two of the Slugs' date is just as impressive and again feature three originals all penned by the group. Here we get a better example of Tolliver's compositional work with the touching Coltrane tribute Our Second Father. Again Tolliver's trumpet is simply stunning. The rhythm section of Cecil McBee and Jimmy Hopps also deserve mention as these two really drive the quartet along in a similar fashion to Garrison and Jones did with Coltrane. The McBee original Wilpan's also highlights the strength of McBee's writing and is probably the pick of the tunes here.

Coming back from Paris after a long stay in America, Charles Trenet gives a stunning performance at La Varenne in front of a public which is particularly familiar to him. There is his postman, which only flew in Charles’ songs, his baker, the very one who beat the dough with his arms in "Y a d’la joie", the head of the small station of La Varenne he evokes in "Revoir Paris"… It is an almost family

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

AN EXCLUSIVE NEW LABEL DEDICATED TO JAZZ, HARD BOP, R&B AND SOUL MASTERPIECE IN STRICTLY LIMITED CLEAR VINYL EDITION.

Limited Clear Vinyl edition, 500 copies! Recorded in 1957 this is one of Charles Mingus’s lesser known sessions. Here the master was at the head of an awesome band including some of his regular sidemen. Jimmy Knepper - trombone, Shafi Hadi - alto saxophone, tenor saxophone and Dannie Richmond - drums, along with nothing but Bill Evans on piano! This is dense, lyrical and very stimulating music deeply rooted in the bop tradition
yet with an open ear to other sound territories.

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

"Tonight At Noon" compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, Saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album "The Clown" (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on "Oh Yeah" (Atlantic SD 1377).

The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avantgard Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is appararently boundless. Mingus’s piano playing is deeply rooted in the blues, and his sense of tempo and lightness anhances these numbers, particularly in "‘Old’ Blues for Walt’s Torin".

In these compositions one already finds hints of Mingus’s later recordings. The most beautiful number is taken from the 1957 session and concludes the album: "Passions Of A Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album’s magic.

“Ornithology: The Best of Bird” is a new compilation bringing together 11 cuts from legendary jazz saxophonist Charlie Parker. Designed as an introduction to this influential artist, it covers Bird’s prime years between 1945 and 1953, with cuts including “Ko-Ko,” “Billie’s Bounce,” and “Groovin’ High”. Included on the back of the newly designed sleeve is a new essay by GRAMMY® award winning writer Ashley Kahn.

Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from 1941–1951 — most of them never having been heard before and some never even having been known to exist — chronicle Bird’s evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird’s friend Phil Baxter and at Vic Damon’s studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake.

Charlie Parker represents the maximum authority to be
claimed one of the most popular and influencial bebop
jazz's godfathers.

This records is an academic vademecum of what must be
done to track the path in the jazz history.
Parker runned this music adventure together with the
beloved friends:

Miles Davis (Trumpet), Tommy Potter (Bass), Max Roach
(Drums), Duke Jordan (Piano), J. J. Johnson (Trombone).
In sinthesys: the record you want to listen to when back
home.

The complete album + 4 onus tracks - 180g blue vinyl limited edition Now’s the Time compiles two of Charlie Parker’s rare quartet dates (he usually recorded in a quintet format). Both are spectacular sessions, full of intricate originals by Bird, complemented by two beautiful readings of the standards,”The Song Is You” and “I Remember You”.
“Now’s the Time captures Charlie Parker during one of his peak recording periods. What makes this session extra special is the excellent recording quality that too many of his early recordings, brilliant as they are, suffered from. Hearing the clarity of each player contributes to one of bebop’s best sessions. This is essential music.” (Robert Taylor, AllMusic)




[d] A4 Kim (Charlie Parker) [alt Tk]

[f] A6 Cosmic Rays (Charlie Parker) [alt Tk]

[h] A8 Blues [fast] (Charlie Parker)

[j] B2 Chi Chi (Charlie Parker) [alt Tk1]
[k] B3 Chi Chi (Charlie Parker) [alt Tk2]

Charlie Parker’s engagement at Café Society took place during the last year of this famous club’s existence. Two days before his stint began, on June 6, 1950, he had recorded his last studio album with Dizzy Gillespie, the celebrated Bird & Diz, which featured Thelonious Monk on piano. During these months, as Bird himself announced, he was playing with strings. However, for some reason the Café Society didn’t book him with strings but with his quintet, featuring Kenny Dorham on trumpet, Al Haig on piano, Tommy Potter on bass and
Roy Haynes on drums. All of the music recorded by Bird at the club is included here, including his only known versions of “Bewitched” and “Gone with the Wind”, as well as an amazing version of “Summertime”, which is Parker’s only reading of the tune apart from the studio recording with strings.

The complete album + 6 bonus tracks - 180g green vinyl limited edition Alto saxophonist Charlie Parker (1920-1955) was among the most influential jazz artists ever, and one of the few indisputable geniuses of his time. This set presents the complete original LP The Immortal Charlie Parker (Savoy MG-12001) along with most of the master takes from his other studio recording sessions for Herman Lubinsky’s Savoy label. Included here are some of Bird’s most admired sides, such as “Koko,” “Parker’s Mood,” and “Donna Lee.”
One session presents him on tenor sax, an instrument on which he only rarely recorded.

Collector’s limited edition LP. 180gram virgin coloured vinyl. The Dial andSavoy sessions by Charlie Parker (1920-1955) have always been consideredone of the highest points in Bird’s recording career.

Both were small labels, conducted by people truly interested in the new music, and the saxophonist was mostly in full command of his talents in the short period of 1946-48, during which the majority of this music was taped.

Sessions included Dizzy Gillespie (tp), Lucky Thompson (ts), George Handy (p), Arv Garrison (g), Ray Brown (b), Stan Levey (d), Howard McGhee (tp), Wardell, Gray (ts), Barney Kessel (g), Red Callender (b), Don Lamond (d), Miles Davis (tp), Duke Jordan (p), Tommy Potter (b), Max Roach (d), Erroll Garner (p), Harold “Doc” West (d), Earl Coleman (voc), J.J. Johnson (tb), Flip Phillips (ts), Red Norvo (vib), Teddy Wilson (p), Slam Stewart (b), Specs Powell (d) J.C. Heard (d).

Collector’s limited edition. Deluxe 6-sided Digipak presentation with comprehensive booklet. With Charlie Parker under contract, producer Norman Granz recorded him in a variety of contexts, among them putting Bird’s sax in front of a Latin rhythm section.

A couple of sessions, from which eight tunes ended up on the 10” LP South of the Border (Mercury MGC-513), featured Bird with small groups including veteran jazz players with the addition of Jos Mangual on bongos and Luis Miranda on congas. All of the master takes from those dates, along with Bird’s studio recordings with Machito’s big band, have been included on this CD, which also contains several alternate takes from the sessions.

Charlie Parker, alto sax, plus Walter Bishop, Jr. (p), Teddy Kotick (b), Roy Haynes (d), Jos Mangual (bongos), Luis Miranda (congas) Benny Harris (tp), Walter Bishop, Jr. (p), Teddy Kotick (b), Max Roach (d), Luis Miranda (congas), Jos Mangual (bongos), Machito and His Afro Cuban Orchestra. New York 1948 - 1952. All original sessions produced by Norman Granz.

Collector’s limited edition. Deluxe 6-sided Digipak presentation with comprehensive booklet. Contained here is the complete LP Charlie Parker Plays Cole Porter (Verve MGV8007).

Intended as a homage to composer Cole Porter, who penned all of the tunes featured here, the album marks one of Norman Granz’s first attempts to present a songbook, preceding the celebrated LPs he would make with Ella Fitzgerald. Bird never saw the final product, as he died on March 12, 1955, before the LP’s release date. In fact, the album’s second session would also be his very last, either live or at a recording studio. Six bonus tracks have also been included here, consisting of additional studio versions of Porter songs by Bird. All compositions by Cole Porter

All original recordings produced by Norman Granz Charlie parker, alto sax on all tracks, plus: Tracks 1-5: Walter Bishop, Jr. (p), Jerome Darr (g), Teddy Kotick (b), Roy Haynes (d). New York, March 31, 1954. Tracks 6-10: Walter Bishop, Jr. (p), Billy Bauer (g), Teddy Kotick (b), Art Taylor (d). New York, December 10, 1954.



b 2 | I Get A Kick Out Of You [alt Tk]



[f] 6 | Love For Sale / Love For Sale [alt Tk]

[h] 8 | I Love Paris [alt Tk]
[i] 9 | Love For Sale [alt Tk #2]


[b] 2 | I Get A Kick Out Of You [alt Tk]



[f] 6 | Love For Sale / Love For Sale [alt Tk]

[h] 8 | I Love Paris [alt Tk]
[i] 9 | Love For Sale [alt Tk #2]

Limited edition 6-panel digipak with comprehensive inside booklet. In late November 1950, Charlie Parker was invited to go on a short European tour, including a number of venues in Sweden, accompanied by Swedish rhythm sections. Bird arrived at Bromma airport on Sunday November 19th, where he was met by a large group of enthusiastic fans. Presented on this set are all of Parker’s known recordings from that Swedish tour, all of them musically wonderful but privately made by local fans with amateur equipment. Among the highlights are an extended improvisation on “Body and Soul” and versions of tunes rarely or never again recorded by him, such as “Fine and Dandy” and “Strike Up the Band”.

Very much in line with his ‘Jazz at the Philharmonic’ concerts, which were intended to recreate the magic of a spontaneous jam session in front of a massive audience, producer Norman Granz also brought together several first-rate jazz soloists in the studio in order create ‘Jam Session’ albums.
This 1952 date is the only one of the series featuring Charlie Parker. It was originally divided onto two LPs, the first volume bearing a yellow cover, and the second one with the same David Stone Martin illustration but with a red cover. Jam Session marks Charlie Parker’s only recorded encounter with Charlie Shavers, Ben Webster or Johnny Hodges.
He had participated with Benny Carter (and also with a third alto saxophonist, Willie Smith) on a taped 1946 AFRS radio show that constitutes their only other conjunct recording. Bird and Flip Phillips had a long history of recording together, beginning with a Sarah Vaughan session for the Continental label in 1945 and a Red Norvo date for the Comet label that same year, as well as further studio dates and JATP live performances organized by Granz. Barney Kessel had recorded with Parker in 1947 during the Dial session that produced among other titles the celebrated ‘Relaxin’ at Camarillo’. Bird and Oscar Peterson only recorded together on one other occasion, a March 25, 1952 big band session that was also made for Norman Granz.
During the time Jam Session was recorded, Parker was trying to stay away from heroin, but that accentuated his alcohol consumption, as shown in the photographs taken at the date, where he looked tired and had gained much weight.
His playing, however, was truly exceptional. For the ballad medley Bird chose ‘Dearly Beloved’. This is the only reading of the tune in the entire Parker discography, either live or in the studio.

Released by Verve in 1958 three years after Parkers untimely death at the age of 34 ‘Swedish Schnapps’ compiles two complete 1951 sessions from which the master takes had previously been released as 78rpm singles, and later put together on the 1955 Clef Records LP The Magnificent Charlie Parker (MG C-646).
While one date features Red Rodney (the regular trumpeter from Parkers quintet during that time), the other is a reunion session featuring drummer Max Roach and, more importantly, trumpeter Miles Davis (who had left Bird s group more than a year before). On that same day, Miles would record his first studio session for Prestige and would play the piano on I Know from Sonny Rollins first date as a leader.
An album consisting primarily of variations on the blues, Swedish Schnapps also includes Birds definitive reading of Lover Man, a song he insisted on recording again after the tormented 1946 Dial version was issued against his will.
Four tunes presenting Bird soloing with larger groups have been added as a bonus (the Cole Porter tunes that complete both sessions can be found on Birds Nest LP 840109).



[c] Swedish Schnapps [alt tk]

[e] Back Home Blues [alt tk]





[k] Au Privave [alt tk]

[m] She Rote [alt tk]

Fünf legendäre Charlie-Parker-Klassiker in einem luxuriösen LP-Set!

Würde man diese Alben als Original-LPs kaufen wollen, müsste man einen Kredit aufnehmen. Deshalb erscheinen die legendären Charlie-Parker-LPs jetzt als Special Collector’s Edition Box-Set! Fünf der größten (und meist-verkauften) Bebop-Alben aller Zeiten als Neuauflage im Original-10-inch-Format.

Neu gemastert von Alex Abrash bei AA Mastering, 180g- Vinylpressungen, originalgetreue Reproduktionen des Original Artworks von David Stone Martin. Im Schuber befindet sich auch ein 10x10-inch großes Buch mit neuen und exklusiven Linernotes von Ethan Iverson, einem neuen Aufsatz von Autor David Ritz und vollständigen Track-by-Track-Notizen.

Die Alben: „Charlie Parker With Strings“ (1950), “Bird & Diz” (1952), “Plays South Of The Border” (1952), “Charlie Parker With Strings Vol. 2” (1953), „Charlie Parker” (1954)

'One of the most lauded (not to mention brilliant) trumpet players in the history of jazz, Clifford Brown adds to his luster on this varied program of nine engaging tunes. The 1955 line-up of the Clifford Brown/Max Roach Quintet – one of the premiere early hard bop units – included tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow.

Modern jazz has had from the start two main sources whence came most of the ideas. These two founts, as it were, of inspiration and of ideas are Charlie Parker and Dizzy Gillespie. Indisputably they have enriched the lore of jazz throughout the world. They have taken what people have built before them, refashioned it in many ways, added to it, and have sent the jazz edifice soaring for others to look up to; be inspired by, and, eventually, build upon

Although they had played together in various groups since their first meeting in 1939, the partnership between Charlie Parker and Dizzy Gillespie really took off in 1945. The Parker/Gillespie group only lasted until early 1946, but they continued to play together on different occasions, such as the amazing 1953 Massey Hall concert, and the 1951 Birdland broadcast that opens this CD, which also features the marvellous Bud Powell. This collection also contains all other Birdland broadcasts featuring Bird and Diz together, as well as two complete bonus sessions at other venues showcasing their magic combination of sounds. “This set features the quintet of altoist Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, bassist Tommy Potter and drummer Roy Haynes performing stirring versions of four bebop standards; ‘Blue ‘N Boogie’ and ‘Anthropology’ receive definitive and very exciting treatment.” **** AllMusic, Scott Yanow
Limited edition 6-panel Digipak with comprehensive inside booklet.

'Bird and Diz' is the legendary collaboration between two jazz giants: saxophonist Charlie Parker (nicknamed "Bird") and trumpeter Dizzy Gillespie (often referred to as "Diz") key figures in the development of bebop. Their partnership was pivotal in shaping the sound and direction of bebop and their recordings together are considered some of the most influential in jazz history.

This set contains the complete original LP 'Bird and Diz' (Verve MGV-8006), consisting of a quintet session which marked Parker and Gillespie's last studio date ever (although they would later be recorded together live on numerous occasions, including the celebrated 1953 Massey Hall concert). This session was also Parker's only studio encounter with the great Thelonious Monk. Side B features nine alternate takes from the session.

Overall, the partnership between Charlie Parker and Dizzy Gillespie represents a
golden era in jazz history marked by innovation, collaboration and artistic excellence
and their music continues to inspire and captivate listeners, ensuring that Bird and Diz
will always be remembered as two of the greatest figures in the pantheon of jazz
legends.

6-panel digipak with comprehensive booklet and up-to-date liner notes. Charlie Parker and Lennie Tristano had mutual admiration and understanding for each other, and were good friends. However, their recorded output together is far from extensive and this CD contains the whole of it. Both were great jazz innovaters, although Tristano was the first to admit Bird’s pre-eminence among all musicians of that period. Their collaborative recordings consist of a variety of
broadcasts, studio sessions, and even a couple of amazing duets recorded by Bird on his tape machine at Lennie’s house (presenting the only known recording that Charlie Parker ever made of “I Can’t Believe That You’re in Love with Me” and his only complete version of “All of Me”).




[d] 4 I Surrender Dear [Rhythm Section Only]

Alto saxophonist Charlie Parker (1920-1955) was among the most influential jazz artists ever, and one of the few indisputable geniuses of his time. This set presents the complete master takes from the recording sessions he made with his regular Quintet featuring the equally great Miles Davis on trumpet. Included here are some of Bird’s most admired sides, such as “Billie’s Bounce,” “Now’s the Time,” “Scrapple from the Apple,” and “Donna Lee.” One session presents
him on tenor sax, an instrument on which he only rarely recorded.

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

Pianist, composer, arranger and musical director for the likes of Phoenix and Sebastien Tellier, the charismatic and talented Christophe Chassol gave birth to an unclassifiable artistic piece. His compositions articulate voices, music, sounds, images onto new audiovisual objects. The result has a name : "ultrascore".
The second volume of Ultrascores is a selection of unreleased musics composed by Chassol : ?Lamb, his last original soundtrack, Nola Chérie, and remixes of friends : ?Yuksek, Keren Ann,