The Meeting - Lowness Erlendur Svavarsson 2015-08-18 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.
The Meeting - Cherry Blossom Erlendur Svavarsson 2015-08-18 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.
The Meeting - Joyful Noise Erlendur Svavarsson 2015-08-18 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.
The Meeting - And I Think About It All the Time Erlendur Svavarsson 2015-08-18 | DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
The Meeting - Steppin Out Erlendur Svavarsson 2015-08-18 | DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
The Meeting - Walk That Talk Erlendur Svavarsson 2015-08-16 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
The Meeting - Groove, Now And Then Erlendur Svavarsson 2015-08-16 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
The Meeting - The Meeting Erlendur Svavarsson 2015-08-16 | The selections on this diverse CD (a collaboration featuring keyboardist Patrice Rushen, saxophonist Ernie Watts, bassist Alphonso Johnson and drummer Ndugu Chancler) alternate between soulful jazz, inventive R&B, a bit of funk and ballads. Watts is in top form, and Rushen (who recalls Chick Corea on "Tango" and Herbie Hancock in other spots) shows that she can still play with creativity. A few of the tracks are throwaways, especially "Elements of Mystery" and "Virgin," but overall, the set is a pleasant surprise and is recommended to listeners who enjoy R&B-oriented jazz.
The Meeting - African Flower Erlendur Svavarsson 2015-08-15 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Astor Piazzolla - Pulsación 2 Erlendur Svavarsson 2015-08-14 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
ASTOR PIAZZOLLA - Pulsación 1 Erlendur Svavarsson 2015-08-14 | Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.DISCLAIMER: All music, lyrics, videos and photos, remain copyright of their respective owners. No infringement intended. Used for the Artist's promotional purposes only. If you like this recording, I strongly recommend you buying the record.This video will be removed under the copyright's owner request. Thanks for your understanding.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Charles Mingus - Wedensday Night Prayer Meeting Erlendur Svavarsson 2015-05-13 | Personnell:Ken Hitchcock, soprano and alto saxes;Lee Konitz, Yoshiaki Malta, Akira Omori, alto saxes;George Coleman,Daniel Block, Michael Brecker, Ricky Ford, John Tank, tenor saxes;Pepper Adams, Ronnie Cuber, Craig Purpura, baritone saxes;Randy Brecker, Mike Davis, Jack Walrath, trumpets;Jimmy Knepper, Keith O'Quinn, trombones;Larry Coryell, Ted Dunbar, Jack Wilkins, guitars;Bob Nelons, piano;Eddie Gomez, bass,Joe Chambers, Dannie Richmond, drums;Paul Jeffrey, conductor;Arrangement and orchestration was realized byJack Walrath under the supervision ofand as dictated byCHARLES MINGUS, in personand through the use of tapesand piano sketches.Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Charles Mingus- Devil Woman Erlendur Svavarsson 2015-05-12 | Personnell:Ken Hitchcock, soprano and alto saxes;Lee Konitz, Yoshiaki Malta, Akira Omori, alto saxes;George Coleman,Daniel Block, Michael Brecker, Ricky Ford, John Tank, tenor saxes;Pepper Adams, Ronnie Cuber, Craig Purpura, baritone saxes;Randy Brecker, Mike Davis, Jack Walrath, trumpets;Jimmy Knepper, Keith O'Quinn, trombones;Larry Coryell, Ted Dunbar, Jack Wilkins, guitars;Bob Nelons, piano;Eddie Gomez, bass,Joe Chambers, Dannie Richmond, drums;Paul Jeffrey, conductor;Arrangement and orchestration was realized byJack Walrath under the supervision ofand as dictated byCHARLES MINGUS, in personand through the use of tapesand piano sketches.Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Charles Mingus - Three Worlds of Drums Erlendur Svavarsson 2015-05-11 | From the Atlantic album: Me Myself an Eye.Personnell:Ken Hitchcock, soprano and alto saxes;Lee Konitz, Yoshiaki Malta, Akira Omori, alto saxes;George Coleman,Daniel Block, Michael Brecker, Ricky Ford, John Tank, tenor saxes;Pepper Adams, Ronnie Cuber, Craig Purpura, baritone saxes;Randy Brecker, Mike Davis, Jack Walrath, trumpets;Jimmy Knepper, Keith O'Quinn, trombones;Larry Coryell, Ted Dunbar, Jack Wilkins, guitars;Bob Nelons, piano;Eddie Gomez, bass,Joe Chambers, Dannie Richmond, drums;Paul Jeffrey, conductor;Arrangement and orchestration was realized byJack Walrath under the supervision ofand as dictated byCHARLES MINGUS, in personand through the use of tapesand piano sketches.Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Nancy Wilson, Cannonball Adderley - One Mans Dream Erlendur Svavarsson 2015-03-17 | The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Nancy Wilson, Cannonball Adderley - Never Will I Marry Erlendur Svavarsson 2015-03-17 | The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Nancy Wilson - Cannonball Adderley - Save Your love For Me Erlendur Svavarsson 2015-03-17 | The melody, lyrics or picture belong to the right owners, not to me. I don't get any benefit for this in any direct or indirect way or benefit anyone by doing this. If you like the music, I encourage you to purchase original records.
Stan Kenton - La Suertes De Los Tontos Erlendur Svavarsson 2015-02-10 | Cuban Fire! is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz large-ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme. The LP charted for 4 weeks in Billboard Magazine starting in the September 15, 1956 edition and topped out at #17. The concept of the original 1956 recording centers on the Cuban Fire! suite Kenton had commissioned from composer Johnny RichardsThough Stan Kenton had recorded earlier hits such as The Peanut Vendor in 1947 with Latin percussionist Machito, as well as many other Latin flavored singles, the Cuban Fire! suite and This LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings. "The reason we (i.e Kenton) made CUBAN FIRE! is interesting. We had recorded a lot of Afro-Cuban music, and a lot of the Latin guys around New York complained: 'It's wrong, you're not writing the music correctly.'" Stan Kenton then asked composer Johnny Richards (long time staff arranger for Kenton) to write an authentic Latin “suite” that would abide by all the rules many Afro-Cuban musicians had complained about.The original LP and recording sessions were completed on a highly compressed timeline. Before the first notes of Recuerdos and Fuego Cubano where recorded on May 22, 1956, Kenton and his orchestra had been on a two-month tour of Europe (set sail back from Cherbourg, France to New York on May 10) with only having looked at "El Congo Valiente" beforehand. The band had less than a week to prepare while in New York. While the great majority of the personnel for the LP was on tour, Richards had taken great care to meticulously rehearse the suite with the Latin percussionists who would be added for three days of recording.Though the listing for the liner notes contains six trumpets, only five are called for in Richards' scores. Due to the 'heavy lifting' the music required for the brass section, a rotation of trumpet players was utilized on the sessions. Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Stan Kenton - La Guera Baila Erlendur Svavarsson 2015-02-10 | Cuban Fire! is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz large-ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme. The LP charted for 4 weeks in Billboard Magazine starting in the September 15, 1956 edition and topped out at #17. The concept of the original 1956 recording centers on the Cuban Fire! suite Kenton had commissioned from composer Johnny RichardsThough Stan Kenton had recorded earlier hits such as The Peanut Vendor in 1947 with Latin percussionist Machito, as well as many other Latin flavored singles, the Cuban Fire! suite and This LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings. "The reason we (i.e Kenton) made CUBAN FIRE! is interesting. We had recorded a lot of Afro-Cuban music, and a lot of the Latin guys around New York complained: 'It's wrong, you're not writing the music correctly.'" Stan Kenton then asked composer Johnny Richards (long time staff arranger for Kenton) to write an authentic Latin “suite” that would abide by all the rules many Afro-Cuban musicians had complained about.The original LP and recording sessions were completed on a highly compressed timeline. Before the first notes of Recuerdos and Fuego Cubano where recorded on May 22, 1956, Kenton and his orchestra had been on a two-month tour of Europe (set sail back from Cherbourg, France to New York on May 10) with only having looked at "El Congo Valiente" beforehand. The band had less than a week to prepare while in New York. While the great majority of the personnel for the LP was on tour, Richards had taken great care to meticulously rehearse the suite with the Latin percussionists who would be added for three days of recording.Though the listing for the liner notes contains six trumpets, only five are called for in Richards' scores. Due to the 'heavy lifting' the music required for the brass section, a rotation of trumpet players was utilized on the sessions. Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Stan Kenton - Quien Sabe Erlendur Svavarsson 2015-02-10 | Of all the writers in the Kenton stable of names, Richards was the best suited for the task of creating such music for the Kenton orchestra. Richards was bilingual (Spanish/English) and was born in Toluca, Mexico as Juan Manuel Cascales; his parents were Spanish immigrants to Mexico. Richards was to hang around with the Cuban-Hispanic musicians of New York for months before starting the suite. This was a much more personal endeavor for Richards than it was for any of the possible Kenton writers. “CUBAN FIRE is completely authentic, the way it combines big-band jazz with genuine Latin-American rhythms.” The recording is a musical triumph for both Kenton and Richards; it comes at a time when big bands and jazz were slowly eclipsed by the pop music of Elvis Presley and emerging rock n' roll. The success of the Cuban Fire! album can be gauged in part by the immediate ascent of Johnny Richards' star after its release; he was suddenly offered a contract by Bethlehem Records to record what would be the first of several recordings with his own groups.Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Stan Kenton - Recuerdos Erlendur Svavarsson 2015-02-08 | Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Stan Kenton - El Congo Valiente Erlendur Svavarsson 2015-02-08 | Cuban Fire! is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz large-ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme. The LP charted for 4 weeks in Billboard Magazine starting in the September 15, 1956 edition and topped out at #17. The concept of the original 1956 recording centers on the Cuban Fire! suite Kenton had commissioned from composer Johnny Richards. This LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings. "The reason we (i.e Kenton) made CUBAN FIRE! is interesting. We had recorded a lot of Afro-Cuban music, and a lot of the Latin guys around New York complained: 'It's wrong, you're not writing the music correctly.'" Stan Kenton then asked composer Johnny Richards (long time staff arranger for Kenton) to write an authentic Latin “suite” that would abide by all the rules many Afro-Cuban musicians had complained about.Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Stan Kenton - Fuego Cubano Erlendur Svavarsson 2015-02-08 | This LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings. "The reason we (i.e Kenton) made CUBAN FIRE! is interesting. We had recorded a lot of Afro-Cuban music, and a lot of the Latin guys around New York complained: 'It's wrong, you're not writing the music correctly.'" Stan Kenton then asked composer Johnny Richards (long time staff arranger for Kenton) to write an authentic Latin “suite” that would abide by all the rules many Afro-Cuban musicians had complained about.Soloists are abundant on the original recording of the Cuban Fire! suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Curtis Counce (bass) on the Cuban Fire! sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen.
Sonny Criss - Blues For Willie Erlendur Svavarsson 2015-01-29 | Alto saxophonist William "Sonny" Criss was an anomaly of the jazz musicians who came up during the bebop era. Criss moved to Los Angeles from Memphis at the age of 15, and at 19 played in Howard McGhee's band with Charlie Parker and Teddy Edwards. As was the norm for every alto player, Parker exerted a huge influence on Criss' playing. His beefy, earthy tone can be heard on a number of Savoy sessions beginning the next year. Criss drifted, playing in jazz and R&B groups, including those led by Johnny Otis, Billy Eckstine, and Stan Kenton. After joining Buddy Rich in 1956, Criss recorded Jazz U.S.A. for Imperial as a leader; it's one of the true underground classics of the hard bop era. Imperial -- mainly an R&B label specializing in New Orleans acts such as Fats Domino -- put no promotional push behind it. Nonetheless, he was able to cut two more sessions for the label: the excellent Go Man! and Sonny Criss Plays Cole Porter. Still playing with Rich, Criss cut At the Crossroads while on tour in Chicago for the Peacock label; the set featured Wynton Kelly and was critically well received. The saxophonist continued to work, fronting his own band in Los Angeles and gigging with others for brief out-of-town jaunts. He signed with Prestige in 1965 and issued a host of fine recordings, This Is Criss! and Sonny's Dream among them. Criss also cut various sessions for Xanadu, Muse, and ABC/Impulse near the end of his life. He committed suicide in 1977 due to the painful consequences of stomach cancer. His fine Crisscraft and Out of Nowhere albums were reissued on CDs, as were his complete Imperial recordings.
Sonny Criss - Memories Erlendur Svavarsson 2015-01-28 | Alto saxophonist William "Sonny" Criss was an anomaly of the jazz musicians who came up during the bebop era. Criss moved to Los Angeles from Memphis at the age of 15, and at 19 played in Howard McGhee's band with Charlie Parker and Teddy Edwards. As was the norm for every alto player, Parker exerted a huge influence on Criss' playing. His beefy, earthy tone can be heard on a number of Savoy sessions beginning the next year. Criss drifted, playing in jazz and R&B groups, including those led by Johnny Otis, Billy Eckstine, and Stan Kenton. After joining Buddy Rich in 1956, Criss recorded Jazz U.S.A. for Imperial as a leader; it's one of the true underground classics of the hard bop era. Imperial -- mainly an R&B label specializing in New Orleans acts such as Fats Domino -- put no promotional push behind it. Nonetheless, he was able to cut two more sessions for the label: the excellent Go Man! and Sonny Criss Plays Cole Porter. Still playing with Rich, Criss cut At the Crossroads while on tour in Chicago for the Peacock label; the set featured Wynton Kelly and was critically well received. The saxophonist continued to work, fronting his own band in Los Angeles and gigging with others for brief out-of-town jaunts. He signed with Prestige in 1965 and issued a host of fine recordings, This Is Criss! and Sonny's Dream among them. Criss also cut various sessions for Xanadu, Muse, and ABC/Impulse near the end of his life. He committed suicide in 1977 due to the painful consequences of stomach cancer. His fine Crisscraft and Out of Nowhere albums were reissued on CDs, as were his complete Imperial recordings.
Sonny Criss - Sweet Summer Breeze Erlendur Svavarsson 2015-01-28 | Alto saxophonist William "Sonny" Criss was an anomaly of the jazz musicians who came up during the bebop era. Criss moved to Los Angeles from Memphis at the age of 15, and at 19 played in Howard McGhee's band with Charlie Parker and Teddy Edwards. As was the norm for every alto player, Parker exerted a huge influence on Criss' playing. His beefy, earthy tone can be heard on a number of Savoy sessions beginning the next year. Criss drifted, playing in jazz and R&B groups, including those led by Johnny Otis, Billy Eckstine, and Stan Kenton. After joining Buddy Rich in 1956, Criss recorded Jazz U.S.A. for Imperial as a leader; it's one of the true underground classics of the hard bop era. Imperial -- mainly an R&B label specializing in New Orleans acts such as Fats Domino -- put no promotional push behind it. Nonetheless, he was able to cut two more sessions for the label: the excellent Go Man! and Sonny Criss Plays Cole Porter. Still playing with Rich, Criss cut At the Crossroads while on tour in Chicago for the Peacock label; the set featured Wynton Kelly and was critically well received. The saxophonist continued to work, fronting his own band in Los Angeles and gigging with others for brief out-of-town jaunts. He signed with Prestige in 1965 and issued a host of fine recordings, This Is Criss! and Sonny's Dream among them. Criss also cut various sessions for Xanadu, Muse, and ABC/Impulse near the end of his life. He committed suicide in 1977 due to the painful consequences of stomach cancer. His fine Crisscraft and Out of Nowhere albums were reissued on CDs, as were his complete Imperial recordings.
Sonny Criss - Bumpin Erlendur Svavarsson 2015-01-28 | Alto saxophonist William "Sonny" Criss was an anomaly of the jazz musicians who came up during the bebop era. Criss moved to Los Angeles from Memphis at the age of 15, and at 19 played in Howard McGhee's band with Charlie Parker and Teddy Edwards. As was the norm for every alto player, Parker exerted a huge influence on Criss' playing. His beefy, earthy tone can be heard on a number of Savoy sessions beginning the next year. Criss drifted, playing in jazz and R&B groups, including those led by Johnny Otis, Billy Eckstine, and Stan Kenton. After joining Buddy Rich in 1956, Criss recorded Jazz U.S.A. for Imperial as a leader; it's one of the true underground classics of the hard bop era. Imperial -- mainly an R&B label specializing in New Orleans acts such as Fats Domino -- put no promotional push behind it. Nonetheless, he was able to cut two more sessions for the label: the excellent Go Man! and Sonny Criss Plays Cole Porter. Still playing with Rich, Criss cut At the Crossroads while on tour in Chicago for the Peacock label; the set featured Wynton Kelly and was critically well received. The saxophonist continued to work, fronting his own band in Los Angeles and gigging with others for brief out-of-town jaunts. He signed with Prestige in 1965 and issued a host of fine recordings, This Is Criss! and Sonny's Dream among them. Criss also cut various sessions for Xanadu, Muse, and ABC/Impulse near the end of his life. He committed suicide in 1977 due to the painful consequences of stomach cancer. His fine Crisscraft and Out of Nowhere albums were reissued on CDs, as were his complete Imperial recordings.
Sonny Criss - Thats The Way Of The World Erlendur Svavarsson 2015-01-27 | Altoist Sonny Criss' next to last recording (as with his final effort, The Joy of Sax), is a commercial date in which he is accompanied by a funky rhythm section, strings, and horns. Even on his own "Blues for Willie" (and definitely on "The Way We Were," "Bumpin'," and "Memories"), Criss sounded like he was going out of his way to record a hit; at that he failed. The music on this out of print LP is pleasant but badly dated.
Sonny Criss - The Way We Were Erlendur Svavarsson 2015-01-27 | Altoist Sonny Criss' next to last recording (as with his final effort, The Joy of Sax), is a commercial date in which he is accompanied by a funky rhythm section, strings, and horns. Even on his own "Blues for Willie" (and definitely on "The Way We Were," "Bumpin'," and "Memories"), Criss sounded like he was going out of his way to record a hit; at that he failed. The music on this out of print LP is pleasant but badly dated.
Sonny Criss - Cool Struttin Erlendur Svavarsson 2015-01-26 | Altoist Sonny Criss' next to last recording (as with his final effort, The Joy of Sax), is a commercial date in which he is accompanied by a funky rhythm section, strings, and horns. Even on his own "Blues for Willie" (and definitely on "The Way We Were," "Bumpin'," and "Memories"), Criss sounded like he was going out of his way to record a hit; at that he failed. The music on this out of print LP is pleasant but badly dated.
John Coltrane - Chronic Blues Erlendur Svavarsson 2015-01-24 | These recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.Coltrane had actually just been fired by Davis in April 1957 for drug abuse, but retreated home to Philadelphia to clean himself out. He returned to New York City for mid-May sessions with Prestige, this one taking place the day after Memorial Day. By the summer, Coltrane would be recording with Thelonious Monk and playing as a member of his quartet for the rest of the year.The titles to the Coltrane originals, "Chronic Blues" and "Straight Street," indicate his struggles with substance abuse and his new-found resolve after conquering his habits. Sidemen included Paul Chambers and Red Garland from the Davis band, and Philadelphia colleagues Johnny Splawn and Albert Heath.
John Coltrane - While My Lady Sleeps Erlendur Svavarsson 2015-01-24 | The recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.Coltrane had actually just been fired by Davis in April 1957 for drug abuse, but retreated home to Philadelphia to clean himself out. He returned to New York City for mid-May sessions with Prestige, this one taking place the day after Memorial Day. By the summer, Coltrane would be recording with Thelonious Monk and playing as a member of his quartet for the rest of the year.The titles to the Coltrane originals, "Chronic Blues" and "Straight Street," indicate his struggles with substance abuse and his new-found resolve after conquering his habits. Sidemen included Paul Chambers and Red Garland from the Davis band, and Philadelphia colleagues Johnny Splawn and Albert Heath.
John Coltrane - Straight Street Erlendur Svavarsson 2015-01-24 | The recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.As a result of his exposure as a member of the Miles Davis Quintet, Prestige Records owner and producer Bob Weinstock offered Coltrane a recording contract. Dated April 9, 1957, it stipulated three albums per year at $300 per album. Coltrane had previously recorded as a sideman, and had co-led a session with Paul Quinichette released in 1959 as Cattin' with Coltrane and Quinichette, but never as sole bandleader.Coltrane had actually just been fired by Davis in April 1957 for drug abuse, but retreated home to Philadelphia to clean himself out. He returned to New York City for mid-May sessions with Prestige, this one taking place the day after Memorial Day. By the summer, Coltrane would be recording with Thelonious Monk and playing as a member of his quartet for the rest of the year.Sidemen included Paul Chambers and Red Garland from the Davis band, and Philadelphia colleagues Johnny Splawn and Albert Heath.
John Coltrane - Time Was Erlendur Svavarsson 2015-01-24 | The recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.As a result of his exposure as a member of the Miles Davis Quintet, Prestige Records owner and producer Bob Weinstock offered Coltrane a recording contract. Dated April 9, 1957, it stipulated three albums per year at $300 per album. Coltrane had previously recorded as a sideman, and had co-led a session with Paul Quinichette released in 1959 as Cattin' with Coltrane and Quinichette, but never as sole bandleader.Coltrane had actually just been fired by Davis in April 1957 for drug abuse, but retreated home to Philadelphia to clean himself out. He returned to New York City for mid-May sessions with Prestige, this one taking place the day after Memorial Day. By the summer, Coltrane would be recording with Thelonious Monk and playing as a member of his quartet for the rest of the year.Sidemen included Paul Chambers and Red Garland from the Davis band, and Philadelphia colleagues Johnny Splawn and Albert Heath.
John Coltrane - Violets For Your Furs Erlendur Svavarsson 2015-01-24 | The recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.As a result of his exposure as a member of the Miles Davis Quintet, Prestige Records owner and producer Bob Weinstock offered Coltrane a recording contract. Dated April 9, 1957, it stipulated three albums per year at $300 per album. Coltrane had previously recorded as a sideman, and had co-led a session with Paul Quinichette released in 1959 as Cattin' with Coltrane and Quinichette, but never as sole bandleader.Coltrane had actually just been fired by Davis in April 1957 for drug abuse, but retreated home to Philadelphia to clean himself out. He returned to New York City for mid-May sessions with Prestige, this one taking place the day after Memorial Day. By the summer, Coltrane would be recording with Thelonious Monk and playing as a member of his quartet for the rest of the year.Sidemen included Paul Chambers and Red Garland from the Davis band, and Philadelphia colleagues Johnny Splawn and Albert Heath.
John Coltrane - Bakai Erlendur Svavarsson 2015-01-24 | The recordings took place at the studio of Rudy Van Gelder in Hackensack, New Jersey, and document Coltrane's first session as a leader.
Herb Pomeroy and his Orchestra - Wheres Charlie Erlendur Svavarsson 2015-01-14 | Ray Santisi - piano, Jacky Byard - trombone, Deane Hoskins - baritone sax, John Neves - bass, Jimmy Zitano - drums. recorded in 1959.
Harry James 1965 - Caravan Erlendur Svavarsson 2015-01-13 | Ray Sims - trombone, Harry James - trumpet, Buddy Rich - drums, recorded at the Montery Jazz Festival 1965
Harry James 1965 - Medley Erlendur Svavarsson 2015-01-13 | Ernie Andrews - vocals, Willie Smith - alto sax, Corcy Corcoran - tenor sax, Larry Kinnamon ? - piano, Buddy Rich - drums, Recorded at the Montery Jazz festival in 1965
Duke Ellington 1958 - The Hawk Talks Erlendur Svavarsson 2015-01-12 | This is one of many live recordings to emerge since Duke Ellington's death in 1974. A spirited rendition of "El Gato" features high-note specialist Cat Anderson battling the rest of the trumpet section, which includes Clark Terry, Shorty Baker, Ray Nance, and Nelson Williams, who evidently made his only appearance with Ellington on this date! "Take the 'A' Train" is heard in two versions: with Nance's campy vocal (his band nickname was appropriately "Floorshow") and as an uptempo cooker featuring Paul Gonsalves. Though not necessarily an essential release, Ellington fans should acquire it.
Lonnie Smith, George Benson - Good Morning Erlendur Svavarsson 2015-01-10 | Greg Hopkins (tp); Joe Lovano (ts);Lonnie Smith (key);George Benson) (g); Ben Riley (d).
Lonnie Smith, George Benson - High On You Erlendur Svavarsson 2015-01-09 | Greg Hopkins (tp); Joe Lovano (ts); Lonnie Smith (key); George Benson (g);Ralphe Armstrong (el-b);Ben Riley (d); Jamey Huddad (d, perc) + unknown vcl.
Lonnie Smith, George Benson - Flavors Erlendur Svavarsson 2015-01-09 | Joe Lovand - tenor sax, Lonnie Smith - organ, George Benson - guitar, Ben Riley - drums,
Lonnie Smith, George Benson - APEX Erlendur Svavarsson 2015-01-08 | Joe Lovano (ts, ss); Lonnie Smith (organ); George Benson (g); Jamey Huddad (d, perc).Recorded in N.Y.C. 1975
Dizzy Gillespie Quintet - Manteca and St Thomas Erlendur Svavarsson 2015-01-06 | Dizzy Gillespie - trumpet, Leo Wright - alto sax, Lalo Schiffrin - piano, Art Davis - bass, Chuck Lampkin - drums, and an unknown Latin Percussion-player. Recorded in 1960
Bobby Hackett, Dizzy Gillespie Jam Session - S Wonderful Erlendur Svavarsson 2015-01-06 | Dizzy Gillespie - trumpet, Bobby Hackett - cornet, Pepe Moreale - piano, Bill Cronk - bass, Buzzy Drootin - drumsRecorded in Europe in 1960
Woody Herman 1961 - Four Brothers Erlendur Svavarsson 2015-01-06 | Zoot Sims, Al Cohn, Stan Getz, tenor saxes, Gerry Mulligan, baritone sax, Don Rader, Bill Chase, trumpets, George Hanna, Jimmy Quinn, trombones, Martin Harris, piano, Larry Rockwall, bass, Jimmy Campbell, drums, Recorded in Europe 1961
Gerry Mulligan Quartet, 1990 - Jeru Erlendur Svavarsson 2015-01-05 | Gerry Mulligan - Baritone Sax, Claude Williamson - piano, Buddy Clark - bass, Mel Lewis - drums. Recorded in Europe, 1960
Jam Session, 1961 - I Never Knew Erlendur Svavarsson 2015-01-05 | Ruby Braff - trumpet,Bud Freeman - tenor sax, Gerry Mulligan - baritone sax, George Wein - piano, Jack Lesberg - bass, Buddy Rich - drums. Recorded in Europe in 1961
Ponder, Carter, Green - Pices Erlendur Svavarsson 2015-01-04 | Jim Ponder - guitar,Warren Bernhard - piano,Jimmy McGriff - organ, William Skinner - tenor sax, Ben Green - drums.
