"Stan Getz Quartets" is a jazz album recorded on Bob Weinstock's Prestige Records in June 1949, January 1950 and April 1950 by American saxophonist Stan Getz. Getz's airy approach is optimally heard on Quartets' many ballad standards, including stellar versions of "My Old Flame" and "What's New?". He even pens the standout ballad of the set, "Mar-cia", while demonstrating his varied writing skills with the original swinger "Crazy Chords". Other highlights include medium cookers like "There's a Small Hotel", "Too Marvelous for Words" and the Latin-tinged "Lady in Red" (a sort of minor classic and admittedly one of his favorites). Getz is ably supported by top players throughout, including pianist Al Haig, bassist Percy Heath, and drummer Roy Haynes.
1) There's A Small Hotel (Richard Rodgers, Lorenz Hart) 2) I've Got You Under My Skin (Cole Porter) 3) What's New (Bob Haggart, Johnny Burke) 4) Too Marvelous for Words (Johnny Mercer, Richard Whiting) 5) You Stepped Out of a Dream (Nacio Herb Brown, Gus Kahn) 6) My Old Flame (Arthur Johnston, Sam Coslow)
1) Long Island Sound (Stan Getz) 2) Indian Summer (Victor Herbert, Al Dubin) 3) Mar-Cia (Stan Getz) 4) Crazy Chords (Stan Getz) 5) The Lady in Red (Mort Dixon, Allie Wrubel) 6) Wrap Your Troubles in Dreams (Harry Barris, Ted Koehler, Billy Moll)
Personnel and Recording date;
Stan Getz Bop Stars; Stan Getz (tenor sax), Al Haig (piano), Gene Ramey (bass), Stan Levey (drums) Recorded at NYC, June 21, 1949
Long Island Sound Indian Summer Mar-cia Crazy Chords
Stan Getz Quartet; Stan Getz (tenor sax), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums) Recorded at NYC, January 6, 1950
There's a Small Hotel I've Got You Under My Skin What's New? Too Marvelous for Words
Stan Getz Quartet; Stan Getz (tenor sax), Tony Aless (piano), Percy Heath (bass), Don Lamond (drums) Recorded at NYC, April 14, 1950
You Stepped Out of a Dream My Old Flame The Lady in Red Wrap Your Troubles in Dreams
"Stan Getz Plays" is a jazz album by American tenor saxophonist Stan Getz, recorded in 1952. It was originally released in 1955 on Norgran Records. Stan is in excellent form playing with one of his finest groups, a quintet with guitarist Jimmy Raney and pianist Duke Jordan. Although the music does not quite reach the excitement level of the Getz-Raney Storyville session, these two studio recordings (reissue of Clef 10-inch LPs MGC-137 and MGC-143.), particularly the ballads, really shows off the tenor's appealing tone.
01. Stella by Starlight (Ned Washington, Victor Young) 02. Time on My Hands (Harold Adamson, Mack Gordon, Vincent Youmans) 03. 'Tis Autumn (Henry Nemo) 04. The Way You Look Tonight (Dorothy Fields, Jerome Kern) 05. Lover, Come Back to Me (Oscar Hammerstein II, Sigmund Romberg) 06. Body and Soul (Frank Eyton, Johnny Green, Edward Heyman, Robert Sour)
01. Stars Fell on Alabama (Mitchell Parish, Frank Perkins) 02. You Turned the Tables on Me (Louis Alter, Sidney Mitchell) 03. Thanks for the Memory (Ralph Rainger, Leo Robin) 04. Hymn of the Orient (Gigi Gryce) 05. These Foolish Things (Harry Link, Holt Marvell, Jack Strachey) 06. How Deep Is the Ocean? (Irving Berlin)
Recorded New York City, December 12, 1952. (Side-A01 to Side-B02) Recorded New York City, December 29, 1952. (Side-B03 to Side-B06)
Stan Getz (tenor sax) Duke Jordan (piano) Jimmy Raney (guitar) Bill Crow (bass) Frank Isola (drums)
"Concert by the Sea" is a live album by pianist Erroll Garner, which was recorded on September 19, 1955 in a converted church in a military base near Carmel, California. The recording also features Eddie Calhoun on bass and Denzil Best on drums, and although it was produced using relatively primitive sound equipment, Garner's inventiveness and musical talent have ensured the album has become one of his most notable.
Recorded at Carmel, California, September 19, 1955
01. I'll Remember April (Gene de Paul, Patricia Johnston, Don Raye) 02. Teach Me Tonight (Sammy Cahn, de Paul) 03. Mambo Carmel (Erroll Garner) 04. Autumn Leaves (Joseph Kosma, Jacques Prevert, Johnny Mercer) 05. It's All Right with Me (Cole Porter)
06. Red Top (Lionel Hampton, Ben Kynard) 07. April in Paris (Vernon Duke, Yip Harburg) 08. They Can't Take That Away from Me (George Gershwin, Ira Gershwin) 09. How Could You do a Thing Like That to Me (Tyree Glenn, Allan Roberts) 10. Where or When (Richard Rodgers, Lorenz Hart) 11. Erroll's Theme (Erroll Garner)
Erroll Garner (piano) Eddie Calhoun (bass) Denzil Best (drums)
"Saxophone Colossus" is one of Sonny Rollins' most acclaimed albums. Recorded and released in 1956, it has been awarded a rare Crown by The Penguin Guide to Jazz, and is widely considered the masterpiece of his mid-1950's series of recordings for Prestige Records and one of the greatest albums ever issued on that label.
There are five tracks on the album, three of which are credited to Rollins. "St. Thomas" is a calypso-inspired piece named after Saint Thomas in the Virgin Islands. The tune is traditional and had already been recorded by Randy Weston in 1955 under the title "Fire Down There". (In the booklet provided with the boxed set, The Complete Prestige Recordings, Rollins makes it clear that it was the record company that insisted on his taking credit.) In any case, the piece has since become a jazz standard, and this is its most famous recorded version. "You Don't Know What Love Is" is a ballad standard by Don Raye and Gene DePaul, given a distinctively bleak treatment by Rollins. "Strode Rode" is an up-tempo hard bop number, notable for its staccato motif and for a brief, high-spirited duet between Rollins and Doug Watkins on bass. The tune is named after the Strode Hotel in Chicago, in tribute to the ill-fated trumpeter Freddie Webster, who died there. "Moritat" is another standard, a song from Bertolt Brecht and Kurt Weill's The Threepenny Opera, better known in English as "Mack the Knife". The album's liner notes point out that the Brecht?Weill musical was enjoying a surge of popularity at the time of the recording. This version, full of mischief and foreboding, is probably closer to the original intent of its authors than some of the more frivolous covers recorded by other musicians. Rollins concludes the song by restating the melody followed by a short, soaring bit of ornamentation, backed by Watkins's bowed pedal tones. Finally, "Blue 7" is a blues, over eleven minutes long. Its main, rather disjunct melody was spontaneously composed. The performance is among Rollins' most acclaimed, and is the subject of an article by Gunther Schuller entitled "Sonny Rollins and the Challenge of Thematic Improvisation". Schuller praises Rollins on "Blue 7" for the use of motivic development exploring and developing melodic themes throughout his three solos, so that the piece is unified, rather than being composed of unrelated ideas. Rollins also improvises using ideas and variations from the melody, which is based on the tritone interval, and strongly suggests bitonality (the melody by itself is harmonically ambiguous, simultaneously suggesting the keys of Bb and E). Also notable is Max Roach's solo, which uses a triplet rhythm figure later imitated by Rollins, again helping to give the piece a coherent feel.
The original 22 June 1956 session was recorded by Rudy Van Gelder and the album's title was devised by Prestige Records' in-house publicity director Bob Altshuler.
The Allmusic review by Scott Yanow calls the album "arguably his finest all-around set". Author and musician Peter Niklas Wilson called it "another milestone of the Rollins discography, a recording repeatedly cited as Rollins' chef d'oeuvre, and one of the classic jazz albums of all time.
Recorded at Rudy Van Gelder Studio, Hackensack, NJ, June 22, 1956
1. St. Thomas (Sonny Rollins) 2. You Don't Know What Love Is (Gene de Paul / Don Raye) 3. Strode Rode (Sonny Rollins) 4. Moritat (aka Mack the Knife) (Kurt Weill / Bertolt Brecht) 5. Blue 7 (Sonny Rollins)
Sonny Rollins (tenor sax) Tommy Flanagan (piano) Doug Watkins (bass) Max Roach (drums)
"The Art Pepper Quartet" is a jazz album by alto saxophonist Art Pepper with pianist Russ Freeman, bassist Ben Tucker and drummer Gary Frommer, recorded in November 23, 1956. Originally released on the defunct Tampa label and then on CD by the small V.S.O.P. label.
1) Art's Opus (Art Pepper) 2) I Surrender Dear (Harry Barris, Gordon Clifford) 3) Diane (Art Pepper)
4) Pepper Pot (Art Pepper) 5) Besame Mucho (Consuelo Velazquez, Sunny Skylar) 6) Blues at Twilight (Art Pepper) 7) Val's Pal (Art Pepper)
Recorded at Radio Recorders, Hollywood, CA, November 23, 1956
Personnel; Art Pepper (alto sax) Russ Freeman (piano) Ben Tucker (bass) Gary Frommer (drums)
"Miles Ahead" is an album by Miles Davis that was released in 1957 as Columbia CL-1041. This was Davis' first collaboration with arranger Gil Evans following the groundbreaking "Birth of the Cool" sessions. Davis and Evans would go on to record the Columbia albums "Porgy and Bess", "Sketches of Spain"; and "Quiet Nights" all considered masterpieces of orchestral jazz. Evans combined the ten pieces that make up the album into a suite, each flowing into the next without interruption; the only exception to this rule was on the title track since it was placed last on side-A (this has been corrected on the CD versions) Davis is the only soloist on "Miles Ahead", which features a large ensemble consisting of sixteen woodwind and brass players. Art Taylor played drums on the sessions and the then current the Miles Davis Quintet member Paul Chambers was the bassist. A fifth recording date involved Davis alone re-recording material to cover or patch mistakes or omissions in his solos using overdubbing. The fact that this album originally was produced in mono makes these inserted over-dubbings rather obvious in the new stereo setting.
01. Springsville (Johnny Carisi) 02. The Maids of Cadiz (Leo Delibes) 03. The Duke (Dave Brubeck) 04. My Ship (Kurt Weill / Ira Gershwin) 05. Miles Ahead (Miles Davis / Gil Evans)
01. Blues for Pablo (Gil Evans) 02. New Rhumba (Ahmad Jamal) 03. Medley Pt-1: The Meaning of the Blues (Bobby Troup / Leah Worth) 04. Medley Pt-2: Lament (J.J. Johnson) 05. I Don't Wanna Be Kissed (By Anyone But You) (Jack Elliot / Harold Spina)
Recorded at Columbia 30th Street Studios, NYC, May 6 (A-02, 03), May 10 (A-04, 05), May 23 (A-01, B-01, 02), May 27 (B-03, 04, 05), 1957
Miles Davis (flugelhorn) Bernie Glow, Ernie Royal, Louis Mucci, Taft Jordan, Johnny Carisi (trumpet) Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone) Tom Mitchell (bass trombone) Jimmy Buffington, Willie Ruff, Tony Miranda (french horn) Bill Barber (tuba) Lee Konitz (alto sax) Danny Bank (bass clarinet) Romeo Penque (flute, clarinet, oboe) Edwin Caine, Sid Cooper (flute, clarinet) Wynton Kelly (piano) Paul Chambers (bass) Art Taylor (drums) Gil Evans (arrange, conduct)
"Tommy Flanagan Trio" is three extended plays (the Metronome label in Scandinavia) by pianist Tommy Flanagan and his trio, Wilbur Little & Elvin Jones. It was Flanagan's debut album as a leader, and was recorded overseas, in Sweden, whilst touring with J. J. Johnson's quintet. Later, all of those records were released as the album "Overseas" from the Prestige label.
Relaxin' at Camarillo (Charlie Parker) Chelsea Bridge (Billy Strayhorn) Eclypso (Tommy Flanagan) Beat's Up (Tommy Flanagan) Skål Brothers (Tommy Flanagan) Little Rock (Tommy Flanagan) Verdandi (Tommy Flanagan) Delarna (Tommy Flanagan) Willow Weep for Me (Ann Ronell)
Recorded at Stockholm, Sweden, August 15, 1957
Tommy Flanagan (piano) Wilbur Little (bass) Elvin Jones (drums)
"Kind of Blue" is a studio album by American jazz musician Miles Davis, released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian Cannonball Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz.
Though precise figures have been disputed, "Kind of Blue" has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece.
The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.
All songs written and composed by Miles Davis except where noted.
Recorded at Columbia 30th Street Studios, NYC, March 2, 1959 1. So What 2. Freddie Freeloader 3. Blue in Green (Miles Davis / Bill Evans)
Recorded at Columbia 30th Street Studios, NYC, April 22, 1959 4. All Blues 5. Flamenco Sketches (Miles Davis / Bill Evans)
Miles Davis (trumpet, band leader) Julian Cannonball Adderley (alto sax, except on Track 3) John Coltrane (tenor sax) Bill Evans (piano, except on Track 2) Wynton Kelly (piano on Track 2) Paul Chambers (bass) Jimmy Cobb (drums)
"Breezin'" is an album by jazz/soul guitarist George Benson and it is his debut on Warner Bros. Records. The album marked the beginning of Benson's most successful period commercially. Breezin' topped the Pop, Jazz and R&B album charts in Billboard and spun off two hit singles, the title song (which has become a smooth jazz standard) and "This Masquerade", which was a top ten pop and R&B hit. The album itself was certified triple Platinum by the RIAA and won multiple prizes at the 1977 Grammy Awards. The album won the awards Best Pop Instrumental Performance for Benson and Best Engineered Album, Non-Classical for Al Schmitt and was nominated as Album of the Year for Tommy LiPuma and Benson. "This Masquerade" received the award Record of the Year for LiPuma and Benson, while it was nominated as Song of the Year for Leon Russell and as Best Pop Vocal Performance, Male for Benson.
Recorded at Capital Records Studios, Hollywood, California, January 6, 7 & 8, 1976
1. Breezin' (Bobby Womack) 2. This Masquerade (Leon Russell) 3. Six to Four (Phil Upchurch)
4. Affirmation (José Feliciano) 5. So This is Love? (George Benson) 6. Lady (Ronnie Foster)
George Benson (guitar, vocals) Jorge Dalto (piano, clavinet) Ronnie Foster (electric piano, mini-moog synthesizer) Phil Upchurch (rhythm guitar, bass) Stanley Banks (bass) Harvey Mason, Sr. (drums) Ralph MacDonald (percussion) Claus Ogerman (arranger, conductor) Tommy LiPuma (producer)