01. Up There (Brown) 4:02 02. When I Fall in Love (Heyman, Young) 7:09 03. Brown Bossa (Brown) 3:53 04. Our Delight (Dameron) 4:20 05. Lament (Johnson) 8:10 06. Mainstem (Ellington) 3:53 07. Love You Madly (Ellington) 2:33 08. Caravan (Ellington, Mills, Tizol) 5:29 09. This House Is Empty Now/I Should Care (Bacharach, Cahn, MacManus) 7:19 10. Lester Leaps In (Young) 4:46 11. Starbucks Blues (Brown) 8:36
Recorded live at Starbucks, Seattle, Washington on September 22-23, 1999
Ray Brown bass Geoff Keezer piano Karriem Riggins drums
Kickstarter Campaign for "MingusOnMingus": a project documentary
Orangethenbluestarts a Campaign to raise funds for filming a CharlesMingus documentary directed by his grandson Kevin Ellington Mingus. For more information go toKickstarter Campaign for "Mingus On Mingus" to contribute. They even are open for suggestions and any help is important to keep the project moving forward. The goal is to raise $45,000 in 40 days until 18 dec. To find more info about the documentary go to www.orangethenblue.com
"A grandson’s journey through the lore and legends of jazz history to find his grandfather, Charles Mingus he never knew ... . ... There are many perspectives of my grandfather that have not had a place in defining his legacy… I am seeking them out to understand him beyond myth, fable or a singular vision of his work. We have begun to create a platform where we can use the ideals of jazz in the art of making a film" ~ Kevin Ellington Mingus
Charles Mingus - Right Now: Live At The Jazz Workshop (1964) Label: OJC MP3 @192kbs : 67mb
Recorded live at The Jazz Workshop in San Francisco, CA on June 2 & 3, 1964
Charles MingusbassJohn Handyalto sax (#1)Clifford Jordantenor saxJane GetzpianoDannie Richmonddrums
1. New Fables 23:18 2. Meditation (For A Pair Of Wire Cutters) 23:42
Soon after Charles Mingus finished touring Europe with his band (the unit that featured Eric Dolphy), he recorded this CD, performed live at The Jazz Workshop in San Francisco. With tenor-saxophonist Clifford Jordan and drummer Dannie Richmond still in the group but Jane Getz replacing pianist Jaki Byard and altoist John Handy filling in for Dolphy on one song, the band performs excellent versions of "Meditations on Integration" and "New Fables," both of which are over 23 minutes long. Although not up to the passionate level of the Mingus-Dolphy Quintet, this underrated unit holds its own.
There's something almost contradictory about Monk compositions: they're insistently individualistic, built on odd chord changes with often minimalist melodies. But as idiosyncratic as they are, they often succeed in bringing out what's best in the musicians playing them, as if those tunes are open to individuality as well as being the product of it. Through the years musicians of wildly divergent styles have approached Monk's music: the piquant Steve Lacy, exuberant Eddie "Lockjaw" Davis, amiably bombastic Misha Mengelberg and magisterial Coleman Hawkins. These two trips into the Monk canon may not produce results as distinctive as any of those but they're solid efforts possessed of substantial personality...
…The duo of saxophonist Jimmy Halperin and bassist Dominic Duval let you know right away what side of Monk they're most interested in, opening and closing with "Brilliant Corners," perhaps the most 'angular' and abrasive of Monk's compositions. Halperin and Duval take it in stride—well, make that tense stride. Halperin really leans into this music, creating swirling patterns on "Off Minor," "Blue Monk" and "Monk's Dream" that gives them a very different feel from the usual accounts. Duval provides solid support, articulating the themes with characteristic ease. The duo enjoys consistent communication, creating a fine three-way dialogue with Monk's compositions. Halperin's exploratory edge is evident throughout. The duo released a similar CD of Monk tunes a couple of years ago, called Monkinus, on CIMP. Monk Dreams isn't a sequel. It was actually recorded earlier and includes many of the same tunes. It's a good date, however, interesting in itself as well as a complement to the later recording.
1. Ana Maria (W. Shorter) 2. If You Could See Me Now (Tad Dameron) 3. Pensativa (Fischer) 4. Love Letter (Eddie Gomez) 5. Flowers (Fernando Gelbard) 6. Sometime Ago (Mihanovich) 7. Arabesque (Carlos Franzetti) 8. Fantasia (Carlos Franzetti) 9. Moon And Sand.(Alec Wilder)
Ray Brown - Some Of My Best Friends Are... The Trumpet Players [Discover Jazz Series] Telarc 83495 | CD | NEW | USA Released 2000 | Recorded
Ray Brown - bass Geoff Keezer - piano Karriem Riggins - drums
1. Our Delight - (with Roy Hargrove) 2. Bag's Groove - (with Jon Faddis) 3. I Thought About You - (with James Morrison) 4. I'm Getting Sentimental Over You - (with Terence Blanchard) 5. Violets For Your Furs - (with Nicholas Payton) 6. Itty Bitty Blues - (with Clark Terry) 7. Stairway To The Stars - (with Roy Hargrove) 8. Original Jones - (with Jon Faddis) 9. When You Go - (with James Morrison) 10. The Kicker - (with Nicholas Payton) 11. Clark's Tune (Legacy) - (with Clark Terry) 12. Goodbye - (with Terence Blanchard)
1. Tam 2:02 2. Me And You 2:25 3. Coffee Dan 2:52 4. The Love Nest 4:34 5. H.O.T. (Helen Of Troy) 3:13 6. Shoes On The Ruffs 2:52 7. The Walls Fall 2:35 8. Blue Skies 2:33 9. Late In The Evening 2:21 10. Ocho Puertas 2:55 11. Tin Top Alley Blues 3:01 12. Little Honey 2:34
Jo Jones and Milt Hinton were two musicians who could raise the level of playing in any rhythm section they were a part of this historical curiosity, originally recorded for Everest, featues just the two of them exploring the rhythmic possibilities within a dozen numbers. Jones’ brushwork is matchless as usual, while Hinton’s considerable technique is also apparent. The highlight of this rather brief date is “The Walls Fall,” a fascinating reworking of the old spiritual “Joshua Fit the Battle of Jericho.” While the playing time is brief at just 34 minutes, it’s great to hear two masters at work.
Influential Jazz bassist, while he lived only to the age of 27, Doug Watkins appeared on well over 350 LP's and released only two albums as leader.
Watkins died in an automobile accident on February 5, 1962, while traveling from Arizona to San Francisco to meet drummer Philly Joe Jones for a gig. He fell asleep at the wheel and was hit head-on by an oncoming truck. The other occupants of the car, pianist Sir Roland Hanna and trumpeter Bill Hardman, survived the crash.
"Recorded 11 months after Charles Mingus' death, this set from the bassist's longtime drummer Dannie Richmond is his first of two tributes to Mingus; it would be followed by a Timeless set nine months later. Richmond teams up with three members of Mingus Dynasty (with whom he was touring Europe): tenor saxophonist Bill Saxton, pianist Danny Mixon and bassist Mike Richmond. Despite their fine playing on the record, Saxton and Mixon have both remained fairly obscure. Surprisingly, the quartet does not actually play any Mingus tunes, instead performing 'If You Could See Me Now' (which Richmond sings) and four of the drummer's originals, including 'Love Bird' and the 18-minute 'Ode to Mingus.' Throughout the date, Richmond's drumming (which is showcased on the brief solo piece 'Olduval Gorge') is heard in prime form."
Recorded live at The Concord Jazz Festival on August, 1979
Ray BrownbassMonty AlexanderpianoErnestine AndersonvocalsJeff Hamiltondrums
01. Introductory Announcement 0:18 02. Blue Bossa (Dorham) 4:55 03. Bossa Nova do Marilla (Evans) 4:17 04. Manha de Carnaval (Bonfa, Maria) 6:47 05. St. Louis Blues (Handy) 4:45 06. Introductory Announcement 0:07 07. Fly Me to the Moon (Howard) 4:01 08. Georgia on My Mind (Carmichael, Gorrell) 6:13 09. Here's That Rainy Day (Burke, VanHeusen) 5:22 10. Please Send Me Someone to Love (Mayfield) 5:52 11. Honeysuckle Rose (Razaf, Waller) 5:51 12. Concluding Announcement 0:19
01. Patch Of Light I 02. Hyperborean 03. Patch Of Light II 04. Duke Vinaccia 05. Infinite Distance 06. Vanishing Waltz 07. The Island 08. Invisible Sideman 09. Rambler 10. Dragon Dance 11. Stillness 12. Too Late For A Picture
Recorded at Rainbow Studios, Oslo, Norway in December, 1996.
Arild Andersen's Hyperborean is based on an Ancient Greek legend: according to the myth, the Hyperboreans lived beyond the north winds, where the sun god Apollo presided. Andersen has created an impressive song cycle that draws from contemporary instrumental, European jazz, jazz-rock and the distinctive ECM production sound. Andersen's playing is typically tasteful and the compositions are unpredictable and evocative, making Hyperborean another worthy addition to his catalog. (Stephen Thomas Erlewine ~ All Music Guide)
Collected recordings of two excellent hard bop units consisting of musicians solely from Detroit, the first led by Thad Jones and Billy Mitchell and the second by Donald Byrd and Pepper Adams that not only stand out as two of the rarest of the Bethlehem jazz recordings, but which are also two of the best records made by the teams of these venerable Detroiters. Lone Hill Jazz chose to market this CD under the names of Flanagan and Chambers which were present on both sessions. Both combos groove very nicely here and who dares not to in the presence of hard bop royalty such as Kenny Burrell, Thad Jones, Al Grey, Pepper Adams, Donald Byrd, Tommy Flanagan, Paul Chambers, "Hey" Lewis (a Louis Hayes alias) and Elvin Jones. The bands are very tight and the tracks are long enough that everybody gets in some good licks on the solos. 9 numbers in all. Originally released as Motor City Scene (#1-4) and Stardust (#5-9) on the Bethlehem label this CD puts the 2 sessions together for the first time. Way harder than most of the west coast sessions on Bethlehem, and two essential hard bop classics that's nigh on impossible to find on wax.
Motor City Scene Complete Recordings
1-4 (Motor City Scene) Thad Jones (cnt, flhrn), Al Gery (tb), Billy Mitchell (ts), Tommy Flanagan (p), Paul Chambers (b), Elvin Jones (d) New York October 24 & 32, 1959
5-9 (Stardust) Donald Byrd (tp), Pepper Adams (bar), Tommy Flanagan (p), Kenny Burrell (g), Paul Chambers (b), Louis Hayes (d) New York, 1960
1. Let's Play One 2. Minor on Top 3. Like Old Times 4. No Refill
1. Twilight Song . 12:47 2. For Heaven’s Shake . 10:46 3. Spring Is Here . 10:20 4. Body And Soul . 10:25 5. You Don’t Know How I Love Is . 6:59 6. Waltz for Ruth . 8:27 7. The Very Thought Of You . 11:01
The third in a series of Charlie Haden duet projects for Verve in the 1990s finds the increasingly nostalgia-minded bass player working New York City’s Iridium jazz club with pianist Kenny Barron. Moreover, it is entirely possible that we are getting a skewed view of the gig; according to Haden, he and his co-producer wife Ruth tilted this album heavily in the direction of romantic ballads, eliminating the bebop and avant-garde numbers that the two may have also played at the club. Be that as it may, this is still a thoughtful, intensely musical, sometimes haunting set of performances, with Barron displaying a high level of lyrical sensitivity and Haden applying his massive tone sparingly. Most of the seven tracks are fantasias on well-known standards, although one of the most eloquent performances on the disc is Barron’s playing on his own “Twilight Song.” If Haden deliberately set out to create a single reflective mood, he certainly succeeded, although those coming to Haden for the first time through this and most of his other ‘90s CDs would never suspect that this man once played such a fire-breathing role in the jazz avant-garde. ~ Richard S. Ginell
The Photography of Milt Hinton Photo copyright Robert Appleton
Milt Hinton, Hartford, Connecticut, 1990 _____
The black-and-white photographs taken by Milt Hinton between 1935 and 1999 comprise the major part of the Milton J. Hinton Photographic Collection, which is housed in New York City. The collection, co-directed by David G. Berger and Holly Maxson, contains approximately sixty thousand 35 mm negatives, thousands of reference and exhibition-quality prints, and photographs given to collected by Milt throughout his life. Photographs from the collection have appeared in books, periodicals, newpapers, jazz calendars, postcards, CD art, films, in videos, and on the Internet. The collection has curated exhibition at venues ranging from neighborhood community centers to museums, including the Corcoran Gallery of Art, the Denver Art Museum, and the Smithsonian Institution. Until Milt's death in 2000, the management of the collection -- selecting negatives for reference and exhibition prints, monitoring print quality, and choosing exhibition sites -- involved a close collaborative effort between Milt, David, and Holly. In their continuing administration of the collection, David and Holly are always mindful of Milt's point of view as a documentarian, his aesthetic, and his "voice." Milt was never a professional photographer, and he readily acknowledged that many of his pictures are of dubious quality. He rarely used a flash in low-light situations, and to be less obtrusive, he often preset the camera's focus so he could literally shoot from the hip. Many rolls of film remained undeveloped for twenty years, and because Milt was seldom in the darkroom, at times he inadvertently used stale chemicals to process his film. Negatives remained paper-clipped to contact sheets for years, which resulted in rust problems, and several basement floods caused many to adhere to one another and to their paper sleeves. A current and major goal of the collection is to complete a database of Milt's photographs. This on-going project, begun in the late 1990s, in recent years has benefited from advances in digital photography. Scanning has become faster and more accurate, and digital storage is less expensive. Computer software allows a trained user to restore a damaged negative or print and to retrieve elusive details from poor-quality images while maintaining the integrity of the photographs. The success of digital processing is clearly visible in the 2002 Berger and Maxson documentary film, Keeping Time: The Life, Music & Photographs of Milt Hinton, and in some of the photographs that appear in their book Playing the Changes: Milt Hinton's Life in Stories and Photographs as well.
Dizzy Gillespie and Charles Mingus backstage at the Newport Jazz Festival 1971
Quincy Jones, recording studio, NYC c. 1957
Billie Holiday Recording studio, New York City, circa 1958
Jimmy Rushing, Scoville Browne, Maxine Sullivan, Joe Thomas, Coleman Hawkins, Oscar Pettiford, Marian McPartland, Emmett Berry, Sahib Shihab, Thelonious Monk and Rex Stewart (Harlem; August, 1958)
Dizzy Gillespie and friends, jazz festival, Nice, France, c.1981
Billie Holiday in her last recording session, in New York, 1959
Ron Carter (New York City, 1973)
Lester Young in a New York City TV studio circa 1957
Coleman Hawkins bides his time in a New York City TV studio in 1957
Dizzy Gillespie dozes (circa 1940)
Ben Webster relaxes at Beefsteak Charlie's
Tyree Glenn & Chu Berry, Fort Bragg, N.C., circa 1940
Ben Webster, Earle Warren, Lester Young and Gerry Mulligan, New York City TV studio, 1957
Cozy Cole and friends, outside the Apollo Theatre in 1939
Cab Calloway in a New York studio circa 1970
Jonah Jones and Cab's chauffeur Holmes in Little Rock, 1941
Cab Calloway, Chu Berry and Tyree Glenn have fun with some local kids in Durham, N.C. circa 1940
The Mills Brothers
Johnny Hodges enjoys a cold one at Beefsteak Charlie's in 1960
Gene Krupa plays in New York City in 1955
Cab Calloway visits some Florida children in 1938
Lester Young and Roy Eldridge in Harlem circa 1958
Mona Hinton, Ike Quebec, Doc Cheatham, Mario Bauza and Shad Collins, on tour in Alabama in 1949
Guest post : Milt Hinton by Geoff Dyer There are lots of really good books of jazz photos. (Books by Wiliam Claxton, Jimmy Katz, Bob Parent, Herman Leonard, Francis Wolff, etc., are just a few that spring immediately to my mind.) But far and away my favourite of the few I own is Milt Hinton’s “Bass Line “. Bassist Milt Hinton played and recorded with just about everyone, till his death in 2000. He also had a camera with him most of the time and his pictures capture something none of the others could because he was an insider. He shot his friends under casual circumstances, in private or personal moments. He was an amateur (in the best sense of the word) but also a skilled photographer, so he produced a rich treasury, glimpses into the world of jazz of the classic era. Geoff Dyer wrote an amazing and unusual book of jazz stories in a style he calls “imaginative criticism”. Based on true life stories and photographs of a handful of jazz luminaries, he’s composed tales – part fantasy, part biography – that are meant to convey impressionistic rather than literal truth. Rather than being about jazz, they are jazz, in a way. Hinton’s photo below, and Dyer’s commentary, which I first came across almost twenty years ago, have had a influence on how I think about photography, jazz, memory, and life.
A Note on Photographs by Geoff Dyer
PHOTOGRAPHS SOMETIMES WORK on you strangely and simply: at first glance you see things you subsequently discover are not there. Or rather, when you look again you notice things you initially didn’t realise were there. In Milt Hinton’s photograph of Ben Webster, Red Allen and Pee Wee Russell, for example, I thought that Allen’s foot was resting on the chair in front of him, that Russell was actually drawing on his cigarette, that … The fact that it is not as you remember it is one of the strengths of Hinton’s photograph (or any other for that matter), for although it depicts only a split-second the felt duration of the picture extends several seconds either side of that frozen moment to include – or so it seems – what has just happened or is about to happen: Ben tilting back his hat and blowing his nose, Red reaching over to take a cigarette from Pee Wee … Oil paintings leave even the Battles of Britain or Trafalgar strangely silent. Photography, on the other hand, can be as sensitive to sound as it is to light. Good photographs are there to be listened to as well as looked at; the better the photograph the more there is to hear. The best jazz photographs are those saturated in the sound of their subject. In Carol Reiff’s photo of Chet Baker on-stage at Birdland we hear not just the sound of the musicians as they are crowded into the small stage of the frame but the background chat and clinking glasses of the nightclub. Similarly, in Hinton’s photo we hear the sound of Ben turning the pages of the paper, the rustle of cloth as Pee Wee crosses his legs. Had we the means to decipher them, could we not go further still and use photographs like this to hear what was actually being said? Or even, since the best photos seem to extend beyond the moment they depict, what has just been said, what is about to be said . . .
Photograph of Red Allen, Ben Webster, and Pee Wee Russell (1957) from Bass Line by Milt Hinton. Text by Geoff Dyer, from But Beautiful , 1991. _____ Additional information and a current listing of shows can be found at www.MiltHinton.com