What are you listening to tonight ?
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TheOctopus
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I enjoyed this album. A fun listen. :audiophile:
"A lifelong passion for the guitar playing of Django Reinhardt and Gypsy jazz helped to propel guitarist, songwriter, singer, and producer Thomas Dutronc to a career in music, but even more central influences and inspirations were his parents, French musical and cultural icons Jacques Dutronc and Françoise Hardy.
Though he originally wished to become a photographer, his true passions proved too strong to resist. Dutronc's amiable good looks, enviable skills as a jazz guitarist, and welcoming smooth baritone singing voice, drew listeners into his sound world immediately upon the release of his 2007 debut album, 2007's Comme Un Manouche Sans." Thomas Dutronc | Biography & History | AllMusic
"After four previous albums that to varying degrees meld his idol Django Reinhardt's gypsy jazz with French chanson in originals and specially chosen covers, guitarist and vocalist Thomas Dutronc realizes a dream with Frenchy. Accompanied by his quartet and an international cast of guests including Iggy Pop, Diana Krall, Stacey Kent, Youn Sun Nah, Haley Reinhart, Jeff Goldblum, and Billy Gibbons, he pays homage to the timelessness of French song with a mostly wonderful result. Iggy and Krall assist on Hernri Bette's and Andre Hornez's "C'est si Bon," immortalized by Yves Montand." Frenchy - Thomas Dutronc | Songs, Reviews, Credits | AllMusic
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"A lifelong passion for the guitar playing of Django Reinhardt and Gypsy jazz helped to propel guitarist, songwriter, singer, and producer Thomas Dutronc to a career in music, but even more central influences and inspirations were his parents, French musical and cultural icons Jacques Dutronc and Françoise Hardy.
Though he originally wished to become a photographer, his true passions proved too strong to resist. Dutronc's amiable good looks, enviable skills as a jazz guitarist, and welcoming smooth baritone singing voice, drew listeners into his sound world immediately upon the release of his 2007 debut album, 2007's Comme Un Manouche Sans." Thomas Dutronc | Biography & History | AllMusic
"After four previous albums that to varying degrees meld his idol Django Reinhardt's gypsy jazz with French chanson in originals and specially chosen covers, guitarist and vocalist Thomas Dutronc realizes a dream with Frenchy. Accompanied by his quartet and an international cast of guests including Iggy Pop, Diana Krall, Stacey Kent, Youn Sun Nah, Haley Reinhart, Jeff Goldblum, and Billy Gibbons, he pays homage to the timelessness of French song with a mostly wonderful result. Iggy and Krall assist on Hernri Bette's and Andre Hornez's "C'est si Bon," immortalized by Yves Montand." Frenchy - Thomas Dutronc | Songs, Reviews, Credits | AllMusic
TheOctopus
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One of my long time favorites to start the day. GO! (RVG EDITION)
As one of the great tenors to emerge from Los Angeles' Central Avenue scene, Dexter Gordon led a colorful and eventful, sometimes tragic life that included three triumphant comebacks in a four-plus-decade career.
As a beloved, influential member of the bebop generation, his story (and Bud Powell's) inspired French director Bertrand Tavernier to tell a portion of it in the 1986 drama 'Round Midnight, and cast him in a lead role.
Gordon was the top tenor saxophonist during the bop era, the possessor of his own distinctive sound, he created a large body of superior work and could successfully battle nearly anyone at a jam session.
His years as a leader and co-leader at Dial, Savoy, and Blue Note were enough to make him a legend. Living in Europe for more than a dozen years, he recorded equally fine albums for Prestige, Steeplechase, and other labels, and his return to the U.S. resulted in several offerings for Columbia and Blue Note. Dexter Gordon | Biography & History | AllMusic
GO!
From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go is going to be one of those albums where everything just seems to come together magically.
A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines.
Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance.
Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all. Go! - Dexter Gordon | Songs, Reviews, Credits | AllMusic
I am listening to the GO! Rudy Van Gelder Edition.
From TIDAL
The Rudy Van Gelder Edition: Selected Highlights
The engineer Rudy Van Gelder—not “producer,” as he pointed out more than once—captured sound with a meticulousness and intelligence that defined midcentury modern jazz outright.
To this day, the covert sonic signatures of this austere yet innovative man are all around us. From jazz radio to hotel lobbies to corporate coffeeshops and fast-casual eateries, Van Gelder’s spacious, balmy tracks, for labels like Blue Note, Prestige, Savoy, CTI, Impulse!, ABC and others, deliver an unmistakable atmosphere: at once cosmopolitan and earthy, classic and contemporary.
Van Gelder, who died in August 2016, at age 91, achieved these results through his endless passion for both jazz and electronics, and by applying the utmost professionalism and organizational skill to a creative field.
In the latter 1940s and ’50s, he worked as an optometrist and moonlighted by recording jazz at his parents’ home in Hackensack, New Jersey. His father and mother were shopkeepers who showed remarkable support for their son’s pursuits, and Van Gelder was able to inform the design of the family home, resulting in higher ceilings in the living room plus a control booth with double-paned glass.
Nineteen-fifty-nine saw the advent of the Van Gelder Studio in nearby Englewood Cliffs, New Jersey, a gorgeous, cathedral-like space designed by Frank Lloyd Wright disciple David Henken. It was there that Van Gelder engineered and mastered John Coltrane’s 1965 Impulse! release A Love Supreme, among the many jazz masterpieces that include his credit.
Out of all the labels and producers that utilized Van Gelder’s expertise, his relationship with Blue Note Records and Alfred Lion was probably the deepest and most important. The two became acquainted after the saxophonist Gil Mellé brought his Van Gelder recordings to Lion from another label.
So impressed was the Blue Note co-founder that he asked his engineer to recreate Van Gelder’s sound; after the engineer admitted he couldn’t, Lion went straight to the source. It turned out to be a working relationship from the heavens—the pairing of a producer who rehearsed his bands and knew precisely what he wanted with an engineer who delivered on every record, soup to nuts, from mic placement through the mastering process.
This playlist includes career highlights with a particular emphasis on Blue Note, to honor the company’s 80th anniversary—that means timeless tracks by Horace Silver, Art Blakey, Miles Davis, Lee Morgan and more.
Interesting video on "Perfect Takes" with Rudy Van Gelder interview. Rudy Van Gelder - DVD from "Perfect Takes" Blue Note Rudy Van Gelder - DVD from "Perfect Takes" Blue Note.avi - YouTube
As one of the great tenors to emerge from Los Angeles' Central Avenue scene, Dexter Gordon led a colorful and eventful, sometimes tragic life that included three triumphant comebacks in a four-plus-decade career.
As a beloved, influential member of the bebop generation, his story (and Bud Powell's) inspired French director Bertrand Tavernier to tell a portion of it in the 1986 drama 'Round Midnight, and cast him in a lead role.
Gordon was the top tenor saxophonist during the bop era, the possessor of his own distinctive sound, he created a large body of superior work and could successfully battle nearly anyone at a jam session.
His years as a leader and co-leader at Dial, Savoy, and Blue Note were enough to make him a legend. Living in Europe for more than a dozen years, he recorded equally fine albums for Prestige, Steeplechase, and other labels, and his return to the U.S. resulted in several offerings for Columbia and Blue Note. Dexter Gordon | Biography & History | AllMusic
GO!
From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go is going to be one of those albums where everything just seems to come together magically.
A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines.
Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance.
Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all. Go! - Dexter Gordon | Songs, Reviews, Credits | AllMusic
I am listening to the GO! Rudy Van Gelder Edition.
From TIDAL
The Rudy Van Gelder Edition: Selected Highlights
The engineer Rudy Van Gelder—not “producer,” as he pointed out more than once—captured sound with a meticulousness and intelligence that defined midcentury modern jazz outright.
To this day, the covert sonic signatures of this austere yet innovative man are all around us. From jazz radio to hotel lobbies to corporate coffeeshops and fast-casual eateries, Van Gelder’s spacious, balmy tracks, for labels like Blue Note, Prestige, Savoy, CTI, Impulse!, ABC and others, deliver an unmistakable atmosphere: at once cosmopolitan and earthy, classic and contemporary.
Van Gelder, who died in August 2016, at age 91, achieved these results through his endless passion for both jazz and electronics, and by applying the utmost professionalism and organizational skill to a creative field.
In the latter 1940s and ’50s, he worked as an optometrist and moonlighted by recording jazz at his parents’ home in Hackensack, New Jersey. His father and mother were shopkeepers who showed remarkable support for their son’s pursuits, and Van Gelder was able to inform the design of the family home, resulting in higher ceilings in the living room plus a control booth with double-paned glass.
Nineteen-fifty-nine saw the advent of the Van Gelder Studio in nearby Englewood Cliffs, New Jersey, a gorgeous, cathedral-like space designed by Frank Lloyd Wright disciple David Henken. It was there that Van Gelder engineered and mastered John Coltrane’s 1965 Impulse! release A Love Supreme, among the many jazz masterpieces that include his credit.
Out of all the labels and producers that utilized Van Gelder’s expertise, his relationship with Blue Note Records and Alfred Lion was probably the deepest and most important. The two became acquainted after the saxophonist Gil Mellé brought his Van Gelder recordings to Lion from another label.
So impressed was the Blue Note co-founder that he asked his engineer to recreate Van Gelder’s sound; after the engineer admitted he couldn’t, Lion went straight to the source. It turned out to be a working relationship from the heavens—the pairing of a producer who rehearsed his bands and knew precisely what he wanted with an engineer who delivered on every record, soup to nuts, from mic placement through the mastering process.
This playlist includes career highlights with a particular emphasis on Blue Note, to honor the company’s 80th anniversary—that means timeless tracks by Horace Silver, Art Blakey, Miles Davis, Lee Morgan and more.
Interesting video on "Perfect Takes" with Rudy Van Gelder interview. Rudy Van Gelder - DVD from "Perfect Takes" Blue Note Rudy Van Gelder - DVD from "Perfect Takes" Blue Note.avi - YouTube
TheOctopus
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Tidal (Rudy Van Gelder Edition)
This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate. Our Man in Paris - Dexter Gordon | Songs, Reviews, Credits | AllMusic
This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate. Our Man in Paris - Dexter Gordon | Songs, Reviews, Credits | AllMusic
TheOctopus
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A true gem of an album IMHO.
After opening in June 1958, the “Blue Note” became the most cosmopolitan jazz club in all of Paris. Located on 27 rue d’Artois, in the 8th arrondissement, fans were usually crammed on the leather benches that dotted its large central hall, and if they couldn’t find a spot, there was always the bar. The acoustics of the room were excellent, and the house band included some of the best French jazzmen led by guitarist Jimmy Gourley.
They, in turn, accompanied many of the top American soloists who visited the “Blue Note” during the splendor years of the club (1958-1965). The long list of names includes Sarah Vaughan, Zoot Sims, Stan Getz, Sonny Stitt, Ray Nance, Lester Young, Alice McCloud, Lucky Thompson, Johnny Griffin and Booker Ervin.
The “Blue Note” was also the club where the legendary bebop pianist Bud Powell established the base of operations for his trio, with Pierre Michelot on bass, and Kenny Clarke on drums.
Their stay had really successful moments, and ran from 1959 until 1962, with daily performances where they alternated with the featured American guest of the week.
In November 1960, Maurice Vander—one of the most prominent jazz pianists in Europe at the time—joined forces with the talents of Michelot and Clarke. The trio was warmly acclaimed by the audience at the “Blue Note”, and that good response led to the recording of these excellent live performances. There is no doubt that Vander, Michelot and Clarke were truly “three of a kind”.
Blue Sound/Fresh Sound Records Maurice Vander - Jazz At The Blue Note - Blue Sounds
"In this present era of atonal naval gazing at the ivories, this reissue by Fresh Sound Records remind us of a time and style when the swing pulse was inherent in every tune, be it upbeat or relaxed and casual.
Almost unheard of in the states, French pianist Maurice Vander was a major voice in the 1950s-60s European jazz scene. Here, at the famed Blue Note Club in Paris, he’s able to show his wares with the proto-boppers Pierre Michelot/b and Kenny Clarke/dr, fresh off of a gig with Bud Powell. Vander is a double fisted delight, asserting himself with swinging takes of “Take the ‘A’ Train” and giving a nice gospel groove to “Walkin’”. The band gets into a bluesy mood with an ethereal “Django” and reflects like a full moon on “Willow Weep For Me.” A nod to Powell is tipped on “I’ll Remember April” before the team closes out with a sepia toned “Blue Lester.” Sort of like a Gaul’d Gene Harris. Where’d this guy hide?"
George W. Harris (March 22, 2018)
http://www.jazzweekly.com
After opening in June 1958, the “Blue Note” became the most cosmopolitan jazz club in all of Paris. Located on 27 rue d’Artois, in the 8th arrondissement, fans were usually crammed on the leather benches that dotted its large central hall, and if they couldn’t find a spot, there was always the bar. The acoustics of the room were excellent, and the house band included some of the best French jazzmen led by guitarist Jimmy Gourley.
They, in turn, accompanied many of the top American soloists who visited the “Blue Note” during the splendor years of the club (1958-1965). The long list of names includes Sarah Vaughan, Zoot Sims, Stan Getz, Sonny Stitt, Ray Nance, Lester Young, Alice McCloud, Lucky Thompson, Johnny Griffin and Booker Ervin.
The “Blue Note” was also the club where the legendary bebop pianist Bud Powell established the base of operations for his trio, with Pierre Michelot on bass, and Kenny Clarke on drums.
Their stay had really successful moments, and ran from 1959 until 1962, with daily performances where they alternated with the featured American guest of the week.
In November 1960, Maurice Vander—one of the most prominent jazz pianists in Europe at the time—joined forces with the talents of Michelot and Clarke. The trio was warmly acclaimed by the audience at the “Blue Note”, and that good response led to the recording of these excellent live performances. There is no doubt that Vander, Michelot and Clarke were truly “three of a kind”.
Blue Sound/Fresh Sound Records Maurice Vander - Jazz At The Blue Note - Blue Sounds
"In this present era of atonal naval gazing at the ivories, this reissue by Fresh Sound Records remind us of a time and style when the swing pulse was inherent in every tune, be it upbeat or relaxed and casual.
Almost unheard of in the states, French pianist Maurice Vander was a major voice in the 1950s-60s European jazz scene. Here, at the famed Blue Note Club in Paris, he’s able to show his wares with the proto-boppers Pierre Michelot/b and Kenny Clarke/dr, fresh off of a gig with Bud Powell. Vander is a double fisted delight, asserting himself with swinging takes of “Take the ‘A’ Train” and giving a nice gospel groove to “Walkin’”. The band gets into a bluesy mood with an ethereal “Django” and reflects like a full moon on “Willow Weep For Me.” A nod to Powell is tipped on “I’ll Remember April” before the team closes out with a sepia toned “Blue Lester.” Sort of like a Gaul’d Gene Harris. Where’d this guy hide?"
George W. Harris (March 22, 2018)
http://www.jazzweekly.com
still-one
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Thibaut Garcia - Aranjuez
Nice MQA release
Nice MQA release
TheOctopus
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chops
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chops
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Randy Myers
Well-known member
A little Lindsey Stirling and Steve Miller
chops
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TheOctopus
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TheOctopus
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Got the itch for some Flugelhorn. I do get a kick out of Terry's famous mumbles.
"Possessor of the happiest sound in jazz, flügelhornist Clark Terry always played music that was exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, Terry gained fame for his "Mumbles" vocals (which started as a satire of the less intelligible ancient blues singers) and was also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis)"
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-12881842-1543768302-6763.jpeg.jpg)
"Possessor of the happiest sound in jazz, flügelhornist Clark Terry always played music that was exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, Terry gained fame for his "Mumbles" vocals (which started as a satire of the less intelligible ancient blues singers) and was also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis)"
TheOctopus
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TOOOOBA! There should be more of it in Jazz. Fun listen.
Sam Pilafian
Sam Pilafian
chops
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TheOctopus
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"Remember how strikingly contemporary it seemed when Miami Vice used Phil Collins and Glenn Frey on its soundtrack, or years later when the producers of Gilmore Girls and The O.C. showcased young indie bands on their shows?
Well, it was just that revolutionary in 1958 when Blake Edwards, producer of the otherwise fairly standard detective show Peter Gunn, tapped the young composer Henry Mancini to write a soundtrack informed by the West Coast-style cool jazz of Dave Brubeck and Chet Baker.
The soundtrack album for Peter Gunn may be best known for the cool twang guitar riff of the main theme (later lifted wholesale by the B-52's for "Planet Claire," among others who recognized its forbidding cool), but this is his most jazz-influenced soundtrack work. There's some particularly impressive work by drummer Shelly Manne and vibes player Victor Feldman, whose cool, understated playing seems to deliberately recall that of Milt Jackson."
Well, it was just that revolutionary in 1958 when Blake Edwards, producer of the otherwise fairly standard detective show Peter Gunn, tapped the young composer Henry Mancini to write a soundtrack informed by the West Coast-style cool jazz of Dave Brubeck and Chet Baker.
The soundtrack album for Peter Gunn may be best known for the cool twang guitar riff of the main theme (later lifted wholesale by the B-52's for "Planet Claire," among others who recognized its forbidding cool), but this is his most jazz-influenced soundtrack work. There's some particularly impressive work by drummer Shelly Manne and vibes player Victor Feldman, whose cool, understated playing seems to deliberately recall that of Milt Jackson."
TheOctopus
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TheOctopus
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Was in the mood for some acoustic double bass this evening. This one hit the spot.
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