A hype is temporary and the niche is forever.
Sehr schön, dann werde ich ebenfalls mal eine meiner alten Platten von Roland Kirk auflegen.
We Free Kings ist eine LP aus dem Jahr 1961 des Jazz-Multiinstrumentalisten Roland Kirk. Seine Gruppe arbeitet mit bluesigen Post-Bop-Nummern, darunter eine hoch angesehene Version von Charlie Parkers "Blues for Alice". Der Titelsong, eine Kirk-Komposition, ist eine Variation des Weihnachtsliedes "We Three Kings"
WOW, I like these Trip reissues a lot. Thin, cheap and very good sounding!
I`ve bought in the late 70ties about 50/60 of these babies for a Jazzcafe where I`ve worked by then parttime. (very nice to do )
p.s. If you have problems with some warped copies I can flatten them for you.
A swinging Latin-jazz album.
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Poncho Sanchez – ¡Fuerte!
Bass – Tony Banda Bongos – David Romero Congas – Poncho Sanchez Piano – Charlie Otwell Tenor Saxophone, Flute – Kenny Goldberg Timbales – Ramon Banda Trombone – Art Velasco* Trumpet, Flugelhorn – Sal Cracchiolo
A name to remember!
p.s. the German Bellaphorm pressing sounds awesome!
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Joshua Redman Quartet: Come What May
Come What May is the third round for saxophonist Joshua Redman, pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson. Like its predecessors, the album presents a spectrum of tunes, working at an even deeper level of maturity. Given that their last studio effort was recorded in 2000, it makes sense that the band should have taken a giant leap in intuition, but such a process is easier said than done and more than a mere consequence of sharing the road and the stage together.
Although varicolored from a thematic standpoint, these seven Redman originals partake of a binding confidence reflective of a conscious willingness to treat medium as message. The title cut and its follower, “How We Do,” are the front and back of the band’s aural business card. In both, Redman and Rogers define and unravel a genuine compositional voice, which resonates through the bandleader’s willingness to explore every idea to its logical end. Goldberg and Hutchinson, for their part, shine in the power walk that is “I’ll Go Mine,” crossing every ‘t’ without a hint of intrusion. These four musicians, whether at their quietest (“Vast”) or most forthright (“Stagger Bear”), would need to expend unfathomable effort not to let their two-plus decades of camaraderie show through. Indeed, “DGAF” sounds like a bunch of old friends finishing each other’s sentences.
That same spirit is reflected in the engineering, which allows every instrument to occupy its own space. While at first this effect feels jarring (there is none of that sense of movement through space only a live experience can articulate), it ultimately leaves it up to the quartet to bridge the gaps between them. The end result is best described as a laid-back adventure, one that is smooth yet grounded enough to withstand the force of expectation.
@ (This review originally appeared in the April 2019 issue of The New York City Jazz Record, a full PDF of which is available here. )
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Various – Dansez-Vous Le Bop?
Written-By – D. Jones*, S. Cropper*
Written-By – Tennyson*
Written-By – Littlefield*
Written-By – L. Hampton*
I`m by no means an expert, just only some experienced record listening and collection.
The UK pressings from the Fifties And Sixties are the best sounding you can find!
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Matthew Gee All Stars – Jazz By Gee
- Alto Saxophone – Ernie Henry (tracks: A1 to A5)
- Baritone Saxophone – Cecil Payne (tracks: B1 to B3)
- Bass – John Simmons (tracks: B1 to B3), Wilbur Ware (tracks: A1 to A5)
- Drums – Art Taylor
- Engineer – Jack Higgins
- Piano – Joe Knight (4)
- Producer – Bill Grauer, Orrin Keepnews
- Sleeve Notes – Tony Hall (4)
- Tenor Saxophone – Frank Foster (tracks: B1 to B3)
- Trombone – Matthew Gee
- Trumpet – Kenny Dorham (tracks: B1 to B3)
- Written By – Bernie; Pinkard; Casey (tracks: A4), Davis; Sherman; Ramirez (tracks: A5), Heyman; Green (tracks: A1), Raye; DePaul (tracks: A2)
- Written-By – Bill Massey (tracks: A3), Matthew Gee (tracks: B1 to B3)
Recorded by Riverside, New York.
Side a - August 22, 1956
Side b - July 19, 1956
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Wilton "Bogey" Gaynair – Blue Bogey
- Bass – Kenny Napper
- Drums – Bill Eyden
- Photography By [Cover] – Bill Penny
- Piano – Terry Shannon
- Producer, Supervised By, Liner Notes – Tony Hall (4)
- Recorded By – Michael Mailes
- Tenor Saxophone – Wilton Gaynair
- Written-By – Clifford Brown (tracks: A3), Jerome Kern (tracks: B3), Wilton Gaynair (tracks: A1, A2, B1, B2)
Recorded London, August 26, 1959.
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Jazz Inc.* – Live At Fasching
- Bass – Sture Nordin
- Drums, Producer, Liner Notes – Egil Johansen
- Mastered By – Rune Persson
- Piano – Lars Sjösten
- Producer – Lars Westin
- Technician – Gert Palmcrantz
- Tenor Saxophone – Nisse Sandström
- Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Clarinet – Krister Andersson
- Trumpet – Bertil Lövgren
Recorded live at the Fasching jazzclub in Stockholm february 1980.
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Sam Jones Quintet – Visitation
- Baby Grand Piano – Ronnie Mathews
- Bass – Sam Jones
- Cornet – Terumasa Hino
- Drums – Al Foster
- Liner Notes – Jørgen Frigård
- Mixed By – Freddy Hansson
- Producer – Nils Winther
- Recorded By – Elvin Campbell
- Tenor Saxophone – Bob Berg
Recorded March 20, 1978 .