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(The following describes the show as it took place from: September 13, 2014 to January 16, 2016)
Oregon Jazz Central where jazz and blues music conversation can stretch out. Journey and explore the full spectrum of styles and artists on KZSO 94.9FM. Listen on Saturdays 10am - Sundays 9pm - Tuesdays 7pm / / Sisters Oregon USA /

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Friday, November 6, 2015

60. OJC October 31 2015

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0060. 60. OJC October 24 2015 (00:59:40)

Vince Guaraldi - Great Pumpkin Waltz

AllMusic Review by Al Campbell
As part of the Fantasy Definitive series, pianist and composer Vince Guaraldi is spotlighted on 31 tracks recorded for the label between 1955 and 1966. This noteworthy compilation focuses not only on Guaraldi as the composer of songs from the Charlie Brown television cartoon, but as a versatile jazz pianist. The Peanuts themes make up eight tracks while the remainder of the set blends music from the LPs Jazz Impressions of Black Orpheus, The Latin Side of Vince Guaraldi, Vince Guaraldi Trio, Vince & Bola (And Friends)/Live at El Matador, In Person, and A Flower Is a Lovesome Thing. Collectors should take note of the two unreleased bonus tracks "Autumn Leaves" and "Blues for Peanuts," both from 1964. While this double-disc compilation spotlights ten years of a well-rounded career, it's unfortunate that the cover art finds Guaraldi sharing the spotlight with the piano-playing Peanuts character Schroeder, as it may give the impression that this set is dedicated to the Charlie Brown material.

Stephane Grappelli & Michel Petrucciani - There Will Never Be Another You

AllMusic Review by Scott Yanow
This CD features a logical combination of two talented Frenchmen, violinist St├ęphane Grappelli and pianist Michel Petrucciani, who had never recorded together before. With the assistance of bassist George Mraz and drummer Roy Haynes, the co-leaders romp on a variety of standards. Petruccianiwas 32 at the time of this June 1995 set, a mere child compared to the 87-year-old Grappelli. Despite his age, Grappelli's violin playing sounds as youthful and enthusiastic as it had been in the 1930s; the 60 years of practice had not hurt. While Petrucciani's music is usually in the Bill Evans post-bop vein, he was happy to visit Grappelli's turf on this occasion, mostly playing veteran standards. On such songs as "Sweet Georgia Brown," "How About You" (here mistitled "I Love New York in June"), "I Remember April," and "There Will Never Be Another You," Stephane Grappelli is both joyful and masterful. Highly recommended.

Herbie Mann - Down On The Corner
AllMusic Review by Jim Newsom
Memphis Two-Step was the third in Herbie Mann's series of soul/R&B-inflected albums with similar names that began with Memphis Underground and continued with Muscle Shoals Nitty Gritty. It is also one of the weakest. "Soul Man" and the title cut really cook, with the personnel and recording information on the latter indicating it may be an outtake from the Memphis Underground sessions. In fact, it is the only track actually recorded in Memphis. The rest of the album doesn't work very well, with "The Night They Drove Old Dixie Down" a particularly poor choice for a jazz session. The album cover, however, is very cool.
Clarence Gatemouth Brown - Swamp Ghost
AllMusic Review by Alex Henderson
Clarence "Gatemouth" Brown was 74 when he recorded American Music, Texas Style, and the Texas bluesman made it clear that he still had plenty of energy. On this CD, Brown really emphasizes his love of jazz. Young hard bop players like trumpeter Nicholas Payton and alto saxman Wes Anderson are on board, and the veteran singer/guitarist offers no less than three standards from Duke Ellington's repertoire ("I'm Beginning to See the Light," "Don't Get Around Much Anymore," and son Mercer Ellington's "Things Ain't What They Used to Be") and two classics from Charlie Parker's years with Jay McShann ("Hootie Blues," "Jumpin' the Blues"). Meanwhile, the jazz influence is hard to miss on such fast jump blues as "Rock My Blues Away" and "Without Me Baby." Brown's voice is thinner than it used to be, but his guitar playing is as energetic as ever. While this CD isn't definitive, it's a good, solid effort that Brown can be proud of.

Peggy Lee - Black Coffee
AllMusic Review by John Bush
Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't together at the time). The more open-minded Decca acquiesced to her demand, and watched its investment pay off quickly when the single became her biggest hit in years. Black Coffee was Lee's next major project. Encouraged by longtime Decca A&R Milt Gabler, she hired a small group including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen) to record an after-hours jazz project similar in intent and execution to Lee Wiley's "Manhattan project" of 1950, Night in Manhattan. While the title-track opener of Black Coffee soon separated itself from the LP -- to be taught forever after during the first period of any Torch Song 101 class -- the album doesn't keep to its concept very long; Lee is soon enough in a bouncy mood for "I've Got You Under My Skin" and very affectionate on "Easy Living." (If there's a concept at work here, it's the vagaries of love.) Listeners should look instead to "It Ain't Necessarily So" or "Gee, Baby, Ain't I Good to You?" for more examples of Lee's quintessentially slow-burn sultriness. Aside from occasionally straying off-concept, however, Black Coffee is an excellent record, spotlighting Lee's ability to shine with every type of group and in any context. [When originally recorded and released in 1953, Black Coffee was an eight-song catalog of 78s. Three years later, Decca commissioned an LP expansion of the record, for which Lee recorded several more songs. The 2004 Verve edition is therefore a reissue of the 1956 12-song LP.]

Johnny Griffin - The Count

Kenny Barron - Swamp Demon

AllMusic Review by Scott Yanow
Kenny Barron could easily go unidentified if some of the selections on this CD reissue were played for a listener during a "blindfold test" for he sounds quite unrecognizable on the three numbers on which he plays electric piano. Barron, who is joined by electric bassist Bob Cranshaw, drummer Freddie Waitsand the colorful percussion of both Richard Landrum and Warren Smith on his five originals and one by Waits, utilizes electricity with intelligence and creativity. His songs are moody and complex yet somewhat accessible and this underrated set would certainly surprise some of his current fans. Barronis the main soloist on every selection while Landrum and Smith's versatile colors add a lot to the unusual session's value.

Oliver Nelson - Flute Salad

AllMusic Review by Scott Yanow
This CD reissue features Oliver Nelson in two very different settings. Although best-known as an altoist and a tenor-saxophonist, Nelson sticks exclusively to soprano throughout the set. He leads a 20-piece big band on three of his compositions which, although interesting, are not overly memorable. Best are five other numbers (two of which were originally issued on the record Three Dimensions) that showcase Nelson's soprano playing with a quartet also includes pianist Steve Kuhn, bassist Ron Carter and drumer Grady Tate. Although one would not think of Nelson as a soprano stylist, his strong playing actually put him near the top of his field on such numbers as "The Shadow Of Your Smile," "Straight No Chaser" and his own "Patterns."

Vince Guaraldi - Baseball Theme

Dan Balmer - Last Night I Turned Into A Ghost

Rebecca Kilgore - Dave Frishberg - Hummin To Myself 1838

Paul Desmond Quartet - Tangerine

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Sisters, Oregon USA

Oregon Jazz Central

0059. 59. OJC October 17 2015 (00:59:40)

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