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Music > South Africa > Jazz
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Mo Hippa *
(CD)
Jon Cleary & The Absolute Monster Gentlemen
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R250
Discovery Miles 2 500
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Out of stock
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Previously, a double-LP was released of the Clifford Brown/Max
Roach Quintet live from Chicago's Bee Hive, dating from late 1955.
It was historically important because it had Sonny Rollins sitting
in with the band for the first time, a short time before he
succeeded Harold Land as the quintet's tenor saxophonist;
unfortunately it was erratically recorded. However that has nothing
to do with this two-CD set, much of which was recorded June 30,
1955. The recording quality is better than expected, trumpeter
Clifford Brown is in brilliant form, tenorman Harold Land is at the
top of his game, and there are many fine spots for pianist Richie
Powell. All of that music was previously unreleased and it includes
a nearly 22-minute version of "After You've Gone" (which was not
otherwise recorded by the group) and a 15-minute "Blues" among its
highlights. In addition, the final five selections on this two-fer
are from a live set in New York from February 1956. That set, which
has Sonny Rollins on tenor, was previously released, but just on an
Elektra/Musician LP in the '80s. Once again the recording quality
is decent and Brownie sounds wonderful. Clifford Brown has a right
to feel excited about this significant release. ~ Scott Yanow
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Bebop Pianists
(CD)
Bud Powell, Thelonius Monk, Theolonius Monk
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R231
Discovery Miles 2 310
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Out of stock
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Round Midnight
(CD)
Bey Andy & the Bey Sisters, Bey Sisters
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R108
Discovery Miles 1 080
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Out of stock
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These 26 sides originally issued under the name of trumpeter Joe
Morris have a lot going for them, but the main reason to get
yourself a copy of this disc and play it really loud for the entire
neighborhood is the continued presence of young Johnny Griffin
blowing tenor sax like there's no tomorrow. On six sides cut for
the Manor label in 1946, Griff cuts up in the manner of Lockjaw
Davis, hammering away with abandon. Although the adventuresome
electric guitarist is unidentified, he sounds like he might be
George Freeman, who was present on the Atlantic sessions of
December 1947. Here the bop element has set in a bit further,
mingling powerfully with the R&B energies. Morris sings once in
a while, scatting almost alarmingly on the rowdy opus simply called
"Wow" and screaming like a banshee at the beginning of "Applejack."
Beginning in September of 1948 the jazz players really start to
file in -- Elmo Hope, Percy Heath, and Philly Joe Jones -- and
every early modern jazz enthusiast will want to dive in and paddle
around in these old Atlantic and Decca recordings. Check out Philly
Joe's percussion and Griff's inspired improvising on "Tia Juana."
Joe Morris blew fine trumpet and was a capable vocalist, but what
makes this reissue so exciting is the presence of Johnny Griffin
and a small pack of guys who were each getting ready to
revolutionize the art of jazz. ~ arwulf arwulf
Producer, arranger, and engineer David Axelrod made his mark with
Cannonball Adderley, Lou Rawls, and the Electric Prunes. Song of
Innocence made critics turn their heads in its day, regarding it as
a visionary curiosity piece; today it's simply a great, timeless
work of pop art that continues to inspire over three decades after
its initial release. EMI. 1999.
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Radiant
(CD)
Steve Oliver
1
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R465
Discovery Miles 4 650
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Out of stock
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Forgotten Streets of St. Petersburg came out in 2005 as a
celebration of TriO's 20th anniversary, but the music was actually
recorded in late 1998. Tuvan singer Sainkho Namtchylak had
collaborated with this horn trio back in the late '80s (their work
together and apart is documented on the box set Golden Years of the
Soviet New Jazz, Vol. 3). This performance thus marked a reunion of
sorts. There is only one recording date given, but the album seems
to be pieced together from various performances: acoustics change
drastically from one short track to the next, and so do the sound
quality and the tape hiss levels. Some pieces, which seem to have
been recorded in a church, have terrible sound, despite the obvious
quality of the music -- they even begin and end with the distinct
sounds of someone manning the tape recorder. Therefore, this album
is clearly for the fans. That being said, there is some thrilling
music to be heard. With her voice, Sainkho can match any of TriO's
many horns. They interact on a deeply moving level, especially when
playing dirges like the title track. TriO also get a few jazzier
tunes and Sainkho throws in a few solo throat singing pieces that
make it definitely worthwhile to overlook the audio shortcomings
("Seven Corners, Wind" is stellar). This is a strange release
coming from Leo, a label usually paying a lot of attention to sound
quality. With its abrupt (accidental?) tape edits, Forgotten
Streets of St. Petersburg sounds more like a collection of archival
recordings (or even bootlegs) from the early '80s than something
recorded in 1998. ~ Fran‡ois Couture
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