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Jerry Lewis' take on the Count Basie standard "Cute"
Paris 1960
Jeannine
Review by Richard S. Ginell
Norman Granz was on hand to record music from Cannonball Adderley's first European tour in 1960, but he and the Adderley estate have been parsimonious in dealing out the goods. It took 24 years for Part One, What Is This Thing Called Soul to emerge, and another 13 years passed before this follow-up album came out. But better late than never, as they say, and the reward is hearing Cannonball's alto in full ecstatic flight, lots of fighting work from brother Nat on cornet and the prized rhythm section of Victor Feldman (piano), Sam Jones (bass) and Louis Hayes (drums) in a state of complete rapport. Only "The Chant" is duplicated from the earlier album, and Cannonball's solo is a model of Parker-derived hard bop laced with his own highly rhythmic personality. Other than an overlong drum solo on "Bohemia After Dark," this is a most enjoyable slice of what, alas, is now history. (allmusic.com)
Pancho SanchezReview by Richard S. Ginell
Norman Granz was on hand to record music from Cannonball Adderley's first European tour in 1960, but he and the Adderley estate have been parsimonious in dealing out the goods. It took 24 years for Part One, What Is This Thing Called Soul to emerge, and another 13 years passed before this follow-up album came out. But better late than never, as they say, and the reward is hearing Cannonball's alto in full ecstatic flight, lots of fighting work from brother Nat on cornet and the prized rhythm section of Victor Feldman (piano), Sam Jones (bass) and Louis Hayes (drums) in a state of complete rapport. Only "The Chant" is duplicated from the earlier album, and Cannonball's solo is a model of Parker-derived hard bop laced with his own highly rhythmic personality. Other than an overlong drum solo on "Bohemia After Dark," this is a most enjoyable slice of what, alas, is now history. (allmusic.com)
Conga Blue
Conga player Poncho Sanchez has been one of the leaders in Latin jazz for a decade. This outstanding studio recording delivers the excitement with the addition of special guest Mongo Santamaria on "Watermelon Man" and several originals. Great solos by trumpeter Stan "Be Bop" Martin and baritone saxophonist Scott Martin add spice to the lively percussion of Sanchez and his group. (allmusic.com)
BACK ANNOUNCE 1
INTRODUCE 2
Benny Golson
"St. Thomas"
Tenor Legacy
Review by Scott Yanow
On this enjoyable set, veteran tenor saxophonist Benny Golson pays tribute to nine other tenors: Lester Young, Coleman Hawkins, Sonny Rollins, Dexter Gordon, John Coltrane, Stan Getz, Zoot Sims, Ben Webster, and Don Byas. On "Body & Soul," Branford Marsalis joins Golson, three songs have James Carter making the quartet a two-tenor quintet, Harold Ashby is on four others, "Lester Leaps In" has Golson interacting with both Carter and Ashby, and Golson is the only tenor on the closing "In Memory Of." While each of the saxophonists is in fine form, Carter's fiery style is a perfect contrast to Golson's cooler but explorative playing. With pianist Geoff Keezer, bassist Dwayne Burno, and drummer Joe Farnsworth swinging the tunes (all but "In Memory Of" are standards), Golsonsounds quite inspired by the settings. This is one of his strongest all-round sessions of the 1990s. (allmusic.com)
SAC UNDERWRITING
Eric Reed
Blues For Akmad
— STATION ID
Annie Ross - Twisted 3956
Joni Mitchell covered this in 1974 on Court and Spark.
"Twisted" is a whimsical account of the protagonist's insanity that satirises psychoanalysis.[1][2] In 1952, Ross met Prestige Records owner Bob Weinstock, who asked her to write lyrics to a jazz solo, in a similar way to King Pleasure, a practice that would later be known as vocalese. The next day, she presented him with "Twisted", a treatment of saxophonist Wardell Gray's 1949 composition of the same name, a classic example of the genre.[3][4][5] She later said of the inspiration for the song:
The title was infinite possibilities. You could marry anything to it and it was the name signified, "Twisted." And it just occurred to me that it would be good as a kind of song about an analyst.
[3]The song, first released on the 1952 album King Pleasure Sings/Annie Ross Sings, was an underground hit, and resulted in her winning Down Beat's New Star award.[4][6][7] Ross released a second version with the vocalese trio Lambert, Hendricks & Ross on their 1960 self-titled album, also known as The Hottest New Group In Jazz; Gramophone described that recording as "more lighthearted, perhaps a little more individual" than Ross' first release of the song.[8] (wikipedia)
The title was infinite possibilities. You could marry anything to it and it was the name signified, "Twisted." And it just occurred to me that it would be good as a kind of song about an analyst.
[3]The song, first released on the 1952 album King Pleasure Sings/Annie Ross Sings, was an underground hit, and resulted in her winning Down Beat's New Star award.[4][6][7] Ross released a second version with the vocalese trio Lambert, Hendricks & Ross on their 1960 self-titled album, also known as The Hottest New Group In Jazz; Gramophone described that recording as "more lighthearted, perhaps a little more individual" than Ross' first release of the song.[8] (wikipedia)
— BACK ANNOUNCE 2
— INTRODUCE 3
Count Basie
Cute
SOME ARRANGERS SEEM made to order for certain bands. Don Redman and Benny Carter and Horace Henderson fitted a variety of organizations in the twenties and thirties in this way. Billy Strayhorn was obviously born to write for the Duke Ellington band as Sy Oliver was to write for Jimmie Lunceford and Fletcher Henderson for Benny Goodman. And now it seems that Neal Hefti has found his ban in Count Basie and Count his composer and arranger in Neal. (allmusic.com)
Cute
— SHOW ID
Mel Brown - Patrick Lamb
Mel Brown - Patrick Lamb
You Are My Sunshine
— SAC UNDERWRITING
Joey DeFrancesco
Impressions
Review by Scott Yanow
Organist Joey DeFrancesco clearly had a good time during this jam session. His fine quintet (which has strong soloists in altoist Robert Landham, trumpeter Jim Henry, and especially guitarist Paul Bollenback) starts things off with a run-through of "rhythm changes" during "The Eternal One" and the hornless trio cuts loose on a swinging "I'll Remember April," but otherwise all of the other selections feature guests. Tenors Illinois Jacquet, Grover Washington, Jr., Houston Person, and Kirk Whalumall fare well on separate numbers (Jacquet steals the show on "All of Me"), and on the closing blues DeFrancesco interacts with fellow organist Captain Jack McDuff. Few surprises occur overall (the tenors should have all played together), but the music is quite pleasing and easily recommended to DeFrancesco's fans. (allmusic.com)
— BACK ANNOUNCE 3
— INTRODUCE 4
Review by Scott Yanow
Organist Joey DeFrancesco clearly had a good time during this jam session. His fine quintet (which has strong soloists in altoist Robert Landham, trumpeter Jim Henry, and especially guitarist Paul Bollenback) starts things off with a run-through of "rhythm changes" during "The Eternal One" and the hornless trio cuts loose on a swinging "I'll Remember April," but otherwise all of the other selections feature guests. Tenors Illinois Jacquet, Grover Washington, Jr., Houston Person, and Kirk Whalumall fare well on separate numbers (Jacquet steals the show on "All of Me"), and on the closing blues DeFrancesco interacts with fellow organist Captain Jack McDuff. Few surprises occur overall (the tenors should have all played together), but the music is quite pleasing and easily recommended to DeFrancesco's fans. (allmusic.com)
— BACK ANNOUNCE 3
— INTRODUCE 4
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