Podcast appearances and mentions of Alfred Lion

STANDAR SEMANAL.-Misterioso.-VINILOS MITICOS DEL JAZZ.sidney bechet - jazz classics vol.2.--JAZZACTUALIDAD.-sergi sirven y david viñolas Sidney Bechet (Nueva Orleans, Luisiana, Estados Unidos, 14 de mayo de 1897-Garches, 14 de mayo de 1959) fue un músico y compositor de jazz estadounidense. Fue el séptimo de los hijos de Josephine y Omar Bechet, quien era zapatero y tocaba la flauta como pasatiempo.[1]​ Se inició en la música de manera autodidacta con el aprendizaje del clarinete a los 6 años de edad, siendo señalado por sus contemporáneos como un niño prodigio en aquel instrumento. Integró una banda familiar llamada "The Silver Bells" dirigida por su hermano Leonard Bechet.[2]​ Posteriormente, integró varias bandas de metales de Nueva Orleans. En 1917 se trasladó a Chicago, donde tocó con Freddie Keppard y Joe "King" Oliver entre otros músicos. En 1919, viajó a Europa junto con la Southern Syncopated Orchestra del director Will Marion Cook, donde además de tocar clarinete, ejecutó una pieza en un pequeño acordeón. La acogida en el continente fue tan entusiasta que no regresó hasta 1922, tres años más tarde. Sus presentaciones en Londres interpretando el Characteristic Blues llamaron la atención del director de orquesta Ernest Ansermet, quien en un artículo publicado en la revista especializada Revue Romande, afirmó : "Sidney Bechet es un genio". Se cree que esta fue la primera crítica periodística sobre un músico de jazz. Estando en Londres, se interesa por el saxofón soprano, instrumento que adoptó y utilizó cada vez con más frecuencia que el clarinete, aunque siempre llevaba consigo un pequeño acordeón, con el cual grabó sólo 2 piezas en 1924: "Wild Man Blues" e "Indiana". De regreso en Estados Unidos en 1922, recaló en la ciudad de Nueva York, donde grabó su primer registro discográfico el 30 de julio de 1923, con la Clarence Williams Blue Five los temas Wild Cat Blues y Kansas City Man Blues. Entre 1924 y 1925 realizó una serie de grabaciones con su colega y compatriota, el trompetista y vocalista de jazz Louis Armstrong, quien también se había integrado a los conjuntos de Clarence Williams dedicados a las grabaciones. Posteriormente, integró la orquesta de la Revue Négre, que acompañó a París a la bailarina y cantante Joséphine Baker en 1925, permaneciendo en Europa hasta 1931, visitando diversos países y pasando 11 meses en una cárcel francesa en 1928, por involucrarse en una pelea entre músicos. Luego de ese incidente, siguió recorriendo Europa y regresó nuevamente a Estados Unidos, para participar brevemente en la orquesta de Noble Sissle, y luego en 1932 formó junto al trompetista Tommy Ladnier un grupo llamado The New Orleans Feetwarmers, con el cual alcanzan a realizar sólo una sesión de grabaciones, pero con 6 títulos de notoria calidad (entre ellos Maple Leaf Rag). Luego de ello, y en medio de la crisis reinante en Estados Unidos, sumado a su escasa popularidad, dada su ausencia tan prolongada del país, se ve en la necesidad de abrir una modesta sastrería en Harlem para sobrevivir. Entre 1934 y 1938 se une nuevamente a Noble Sissle, en cuya orquesta va adquiriendo paulatinamente una participación creciente como solista. De 1938 en adelante, emprende una carrera como líder de agrupaciones diversas, dentro de la corriente del resurgimiento del jazz de Nueva Orleans, tocando y grabando en diferentes ciudades y circunstancias. En 1939, realiza una serie de grabaciones para el recientemente creado sello discográfico Blue Note, de Alfred Lion, entre las que sobresale una versión instrumental del tema clásico del compositor George Gershwin "Summertime". Recreacions tímbriques: de Satie a Mompou SERGI SIRVENT & DAVID VIÑOLAS CD CLÁSICA CONTEMPORÁNEA COLUMNA MUSICA (COM0467 02) 8429977104672 Tras haber llevado a cabo el trabajo discográfico "Recreacions tímbríques: de Mompou a Bartók" (Selffish Records, 2020), el pianista Sergi Sirvent y el baterista David Viñolas se han embarcado en una nueva propuesta musical con el título de "Recreacions tímbríques: de Satie a Mompou". Para realizar este nuevo reto interpretativo, Sirvent y Viñolas se han basado en temas en su mayoría procedentes del compositor francés Erik Satie y del catalán Frederic Mompou así como algunas piezas de autoría propia. Sirvent y Viñolas tejen una interpretación repleta de matices, de sensaciones, de sutilezas, de sonoridades, pero ante todo de música y de hermosura. Un tema que sirve de fiel reflejo del compendio de recreaciones sonoras que pretende el proyecto que lideran tanto Sergi Sirvent como David Viñolas como unidad expresiva a partes iguales y que sin duda alguna suponen dos mitades de un todo

Send us a textCzym byłaby rozmowa o Blue Note Records bez choćby ogólnej analizy kilku kultowych nagrań z jej złotego okresu działalności? Inna sprawa, że nikt nie byłby w stanie nas słuchać przez 10 godzin o samych krążkach (:p), tym bardziej że już poczęstowaliśmy Was dwoma odcinka o historii tej wytwórni, więc ograniczyliśmy się do omówienia czterech naszych ulubionych krążków / winyli. Niezależnie od przedstawianych dzieł muzycznych, poprosiliśmy naszego przyjaciela i wielkiego pasjonata jazzu i bluesa - Piotra Łukasiewicz (radiowca, gospodarza audycji Jazz Czyli Blues w RadioJazz.FM) o gościnną wypowiedź w tym temacie. On też wybrał absolutną perłę :)I tym odcinkiem kończymy trylogię Pick Please Podcast o naszej ulubionej jazzowej wytwórni nagraniowej - Blue Note Records :)  muzyka: Łukasz Wojciechowski (intro)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify: Youtube: Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Podstawowe info o BNR:Wikipedia (o wytwórni) - https://tiny.pl/0c3qyx0vStrona oficjalna wytwórni - https://tiny.pl/8z5-v5w2Styl Blue Note Records - https://tiny.pl/jbzsfg95Jazzpress.pl (o “Somethin` Else”) - https://tiny.pl/14rck0hqWykonawcy:Lee Morgan - https://tiny.pl/hb_tpbkyJohn Coltrane - https://tiny.pl/1-nppfw3Miles Davis - https://tiny.pl/hqk_m3wzArt Blakey - https://tiny.pl/99qg7bc0The Jazz Messengers - https://tiny.pl/5jm_wsssKenny Burrell - https://tiny.pl/crf6bgrgMUZYKA:PŁYTY:John Coltrane - Blue Train (1958) - https://tiny.pl/xdncs67nArt Blakey & The Jazz Messengers - Moanin' (1959) - https://tiny.pl/2wn8133xCannonball Adderley - Somethin' Else (1958) - https://tiny.pl/f_p0jpxqKenny Burrell - Midnight Blue (1963) - https://tiny.pl/mss8j_bwLee Morgan - Search For The New Land (1966) - https://tiny.pl/nq9xb10rProfile (social media) audycji Jazz Czyli Blues:Facebook - https://tiny.pl/5n4699vyInstagram - https://tiny.pl/cbw-5hgyRadioJazz.Fm (online player)- https://tiny.pl/jbrrqk3vFILM DOKUMENTALNY DO POLECENIA:“I Called Him Morgan” (trailer) - https://tiny.pl/2x9spcqw

ESTÁNDARES SEMANALES.-The Way You Look Tonight.-VINILOS MÍTICOS DEL JAZZ.-Horace Silver - Horace Silver And The Jazz Messengers.-JAZZACTUALIDAD.-INTOKABLE BIG BAND.-A FERRO Horace Silver and the Jazz Messengers es un álbum de Horace Silver and the Jazz Messengers que recopila dos LP de 10" de 1955: Horace Silver Quintet, Vol. 3 (BLP 5058) y Horace Silver Quintet, Vol. 4 (BLP 5062), grabados el 13 de noviembre de 1954 y el 6 de febrero de 1955 respectivamente y lanzados en Blue Note en octubre de 1956, el primer 12" de Silver. El quinteto cuenta con una sección de instrumentos de viento formada por Hank Mobley y Kenny Dorham y una sección rítmica por Doug Watkins y Art Blakey . Una de las canciones más exitosas del álbum, « The Preacher », casi fue rechazada para su grabación por el productor Alfred Lion , quien la consideró «demasiado anticuada», pero fue reincorporada por la insistencia de Blakey y Silver, quienes amenazaron con cancelar la sesión hasta que escribiera otra canción para grabar en su lugar si no la incluían. Según Silver, la canción demostró que la banda podía «remontarse al pasado y conseguir esa sensación de bar de antaño con un toque de ritmo». Estas grabaciones ayudaron a establecer el estilo hard bop . Éstas fueron las primeras sesiones en las que utilizó el formato de quinteto, que utilizaría en gran medida durante el resto de su carrera. Título: A Ferro! Grupo: Intokables Big Band Componentes: Director: Carlos Ferri «Patilla». Saxo Altos: Ivan Albuixech, Marcos, Ferri Nicolás, & Marc Puertes. Saxos tenores: Marc Puertes, Kike Suay, Gerard Vercher y Francisco Blanco Latino. Saxo Barítono: Enrique Tortosa & Francisco Blanco Latino. Trombones: Miki García, Mario Sanchís, Joan Mont, Joan García & Joan Negro. Trompetas: Alex López, Mauro Gozálbez, Pau Sanchis Torno, Vicent Bernabéu, Salvador Garcia y Santiago Torro. Piano: Carlos Botella, Mario Coloma y Kevin Díaz. Congas: Xexu Obrer. Clarinete: Carlos Ferri «Patilla». Teclados: Mario Colona. Guitarra: Antonio Martí & Oscar Albuixech. Batería: Gustau Garcia & Saul Aranzueque. Percusión: Xexu Obrerías, Gustau garcia & Saul Aranzueque. Bajo Eléctrico: Rubén Martí Voz: Miriam Albero y Eva Romero. Fecha de Grabación: 2024. 1, 2 y 3 de Marzo. Lugar de Grabación: Onteniente. Sello Discográfico: Sedajazz Records. Nº de temas: 10. Formato: CD. Instrumento: Big Band. Estilo: Fusión. Nº de Serie: SJ 151. Año de Edición: 2024. Duración: 50:01 Calificación: 3* Comentario: Catorce años después de su primer disco, que tuvo una buena acogida por la critica especializada, Carlos Ferri «Patilla» se vuelve a poner al mando de esta estupenda Big Band, para presentarnos su segundo trabajo. Como bien explica en el libreto interior del disco su director, «A Ferro!», es el resultado de muchos años de esfuerzo colectivo y de sacrifico personal de un grupo de músicos que han crecido, personal y profesionalmente juntos. «Intokables Big Band», se fundó en 2007 para experimentar con un repertorio donde se mezclaba el jazz, por supuesto, el funky, y, como no, el swing para, partiéndooslo de composiciones propias en su gran mayoría, y con los arreglos de destacados músicos, poner en valor el auge del jazz en el entorno que se mueven estos jóvenes músicos —en su gran mayoría—, y que se vienen nucleando alrededor de esa impagable institución valenciana, que es Sedajazz Records. Años después, y demostrando que el proyecto no era flor de un día, se creó en 2021, la «Jove Intokable Big Band», una iniciativa que buscaba preservar el futuro de la «Intocable Big Band» con el correspondiente relevo generacional. Y este segundo disco, responde a ese concepto. «A Ferro!», contiene swing a raudales, los arreglos son muy creativos, y el nivel instrumental de los solistas, estupendos. Música alegre, optimista, viva y fresca, y que bajo la batuta de su director, el maestro «Carlos Ferri «Patilla», nos ofrecen un fresco y renovado repertorio don del swing, es el gran protagonista. Enhorabuena por este gran trabajo que merece ser escuchado una y otra vez.

(S4 EP 21) Wayne Shorter's -Apple Apple (Blue Note)  Released October 1967 - Recorded February 3 and 24, 1966Wayne Shorter's Adam's Apple (1967) is a landmark post-bop album that captures the saxophonist at his creative peak. Recorded in 1966 at Van Gelder Studio, the album features Herbie Hancock (piano), Reggie Workman (bass), and Joe Chambers (drums)—a quartet that delivers both lyrical subtlety and rhythmic daring. The record blends blues, modal jazz, Latin grooves, and impressionistic balladry, showcasing Shorter's sophisticated yet accessible compositional voice. Tracks like the iconic “Footprints” and the soulful title track highlight his melodic clarity and harmonic depth. Hancock's intuitive comping and soloing add dimension throughout, while Workman and Chambers bring texture and flexibility. This was the first recorded version of “Footprints,” later made famous by Miles Davis. Produced by Alfred Lion for Blue Note, Adam's Apple is one of the finest examples of mid-'60s jazz, balancing structure and exploration. It remains a timeless, essential entry in Shorter's catalog and the post-bop era..Signature Song: "Adam's Apple," "El Gaucho, “"Footprints"Full Album: YouTube  Spotify Playlist: YouTube 

Send us a textJak to jest mieć kultowe studio nagraniowe w pokoju gościnnym swoich rodziców? Czym wyróżniały się kultowe okładki płyt Blue Note Records? Jak to możliwe, że pozwolono umrzeć legendarnej wytwórni jazzowej sprzedając ją firmie ubezpieczeniowej… by potem ją wskrzesić na nowo?Miesiąc temu zabraliśmy was w przeszłość. Do Stanów Zjednoczonych połowy XX wieku, kiedy to w New Jorku narodziła się wytwórnia Blue Note Records - jedna z najważniejszych w historii muzyki. Dziś kontynuujemy naszą podróż w czasie, opowiadając m.in. o kultowych okładkach płyt autorstwa Reida Milesa czy nowatorskich i niecodziennych technikach nagraniowych niesamowitego Rudy Van Geldera. Będzie też o  upadku i wskrzeszeniu na nowo wytwórni oraz dziedzictwie kulturowym i muzycznym, które Blue Note Records, z wyjątkowym Prezesem - Don Wasem za sterami, po sobie zostawiła.muzyka: Łukasz Wojciechowski (intro)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify:Youtube:Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Podstawowe info o BNR:Wikipedia - https://tiny.pl/0c3qyx0vStrona oficjalna wytwórni - https://tiny.pl/8z5-v5w2Styl Blue Note Records - https://tiny.pl/jbzsfg95Rudy Van Gelder:Wywiad (tapeop.com) - https://tiny.pl/hfc4nn8mO Rudym Van Gelderze -  https://tiny.pl/5bc1cs38PŁYTY:Lee Morgan - The Sidewinder - https://tiny.pl/bqkk59tpHorace Silver - Song For My Father - https://tiny.pl/k2w4zphmKenny Burrell - Kenny Burrell - https://tiny.pl/tbz38c_zDonald Byrd - Blackbyrd - https://tiny.pl/njgvt_g9Norah Jones - Come Away With Me - https://tiny.pl/vn1vr77xVarious Artists - Shades Of Blue - https://tiny.pl/z6qr3bk2Tony Allen - Tribute to Art Blakey and The Jazz Messengers - https://tiny.pl/m160dztsUTWORY:Us3 - Cantaloop (Flip Fantasia) - https://tiny.pl/4brhybfhNorah Jones - Come Away with me - https://tiny.pl/r-nt08mkOKŁADKI:Wikipedia - https://tiny.pl/szw8jyxcJaz.fandom.com - https://tiny.pl/wbb3zj-mVIRTUAL (ART. PHOTO) LEGACY -  https://tiny.pl/xm6qq450Okładki Andy Warhola - https://tiny.pl/x-d82kq6DON WAS:Blue Note's Renaissance Music Man - https://tiny.pl/fz2x2ydw    Talkin' Blue Note at 85 - https://tiny.pl/j9f6h5cx everythingjazz.com - https://tiny.pl/3rzhtbxm80` lecie Blue Note Records - https://tiny.pl/9gmfczjtPrzyszłość Blue Note? - https://tiny.pl/rgwwcd0jSophie Huber: “Blue Note Records - Beyond the notes”.

Send us a textTo naszym zdaniem jedna z najbardziej romantycznych historii w świecie muzyki. O tym jak powstało i funkcjonowało w połowie XX wieku magiczne miejsce, które dawało artystom wolność i swobodę, jakich nie doświadczali nigdy wcześniej. Bez względu na pochodzenie, swoją przeszłość, nałogi, kolor skóry czy tendencje na rynku muzycznym - jeśli miałeś talent, chciałeś mieć własny głos i tworzyć swoją muzykę, Blue Note Records była wytwórnią dla Ciebie. Do dziś jest!Co miał wspólnego komunizm z jej powstaniem? Dlaczego każdy muzyk czekał aż Alfred Lion zacznie tańczyć w trakcie sesji nagraniowych? Czemu artyści chcieli nagrywać dla Blue Note, nawet mając kontrakty w innych wytwórniach? Odpowiedzi na te pytania znajdziecie w I części naszej krótkiej, trzy odcinkowej serii o jednej z najbardziej magicznych wytwórni w dziejach muzyki - BLUE NOTE RECORDS.muzyka: Łukasz Wojciechowski (intro, “Jody Grind” cover Horace Silvera - podkład Jack Ruch, outro).Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07 Link do Spotify: https://tiny.pl/rk20ykhyYoutube: https://tiny.pl/jf1854yn Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - Insta Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5 LINKOWNIA:Podstawowe info o Blue Note Records:O wytwórni - link Strona oficjalna wytwórni - linkAlfred Lion - link Francis Wolf - link  Max Margulis - link HISTORIA WYTWÓRNIHistoria wytwórni - link  Historia biznesowa wytwórni - link Udiscovermusic - linkJazz Collector - link Muzyczne style Blue Note - link  Hard Bop - link Bebop - link  Co to jest “blue note”? - linkMUZYKA:PŁYTY:Thelonious Monk - Genius of Modern Monk, Vol. 1 (1951) - LINKBud Powell - The Amazing Bud Powell, Vol. 1 (1952) -  LINK Horace Silver - Jody Grind (1967) - LINK  Art Blakey - Night at Birdland (1954) - LINK  Wynton Kelly - Piano Interpretations (1951) - LINK John Coltrane - Blue Train (1958) - LINK  Art Blakey & The Jazz Messengers - Moanin' (1959) - LINK Cannonball Adderley - Somethin' Else (1958) - LINK Eric Dolphy - Out to Lunch (1964) - LINK Utwór:Sidney Bechet - Summertime (1939) 

fWotD Episode 2749: Album covers of Blue Note Records Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 13 November 2024 is Album covers of Blue Note Records.The album covers of Blue Note Records, an American jazz record label, have been recognized for their distinctive designs. Many of these covers feature a combination of bold colors, experimental typography, and candid photographs of the album's musicians, and have been described as belonging to the Bauhaus and Swiss Style movements.In the early 1950s, the LP record format gained popularity, increasing the demand for album covers with graphics and information. During this time, artists like Gil Mellé, Paul Bacon, and John Hermansader began designing covers for Blue Note, often featuring pictures by photographer Francis Wolff. In 1956, Reid Miles, a former assistant to Hermansader, was hired as Blue Note's art director. Miles made 400 to 500 album covers for the label, which used various typefaces, mixed letter cases, and design principles and techniques such as asymmetry and tinting. Miles left Blue Note in 1967 following founder Alfred Lion's retirement; after Miles's departure, Forlenza Venosa Associates and other artists, including Mati Klarwein and Bob Venosa, designed many of the label's covers. The early to mid-1970s saw the work of designers such as Norman Seeff and Bob Cato featured on Blue Note covers, while in the late 1970s and early 1980s, the label's records were reissued in Japan with new covers designed by Japanese artists. From the mid-1980s through the early 21st century, a number of artists, including Paula Scher, P. R. Brown, and Adam Pendleton, contributed to the cover designs for the label's releases.The Blue Note album covers, particularly those designed by Miles, have been highly regarded and considered definitive of jazz's visual identity. Critics have praised the covers' designs as iconic and noted their ability to capture the spirit of the musicians and their music. The style of these covers has inspired several graphic designers and musicians, influencing a wide range of album art and other visual media.This recording reflects the Wikipedia text as of 00:54 UTC on Wednesday, 13 November 2024.For the full current version of the article, see Album covers of Blue Note Records on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kimberly.

durée : 00:59:10 - Spécial Blue Note - invité : Don Was - par : Alex Dutilh - Il y a 85 ans, le 6 janvier 1939, un immigrant juif allemand et passionné de jazz, Alfred Lion, réalisait sa première séance d'enregistrement à New York et fondait ce qui allait devenir le label de jazz le plus emblématique et le plus ancien au monde, Blue Note Records. - réalisé par : Antoine Courtin

durée : 00:59:10 - Spécial Blue Note - invité : Don Was - par : Alex Dutilh - Il y a 85 ans, le 6 janvier 1939, un immigrant juif allemand et passionné de jazz, Alfred Lion, réalisait sa première séance d'enregistrement à New York et fondait ce qui allait devenir le label de jazz le plus emblématique et le plus ancien au monde, Blue Note Records. - réalisé par : Antoine Courtin

Il jazz potrebbe essere descritto come la musica classica americana, ma furono due immigrati a rendere famoso il genere, Alfred Lion e Francis Wolff. Volevano catturare l'autentica espressione musicale in un luogo di libertà, un luogo dove la musica, l'arte e la poesia potevano prosperare liberamente, arrivarono in America come immigrati in fuga dalla Germania nazista e attraverso la musica dimostrarono il vero significato della democrazia. La storia della Blue Note Record è un caso di studio sulla creazione di un marchio, duraturo nel tempo, che in realtà significava qualcosa.

Tonight's Jazz Feature will be heard a bit later than usual as a guest was expected. The Jazz Feature will be pianist Andrew Hill's Blue Note debut album "Black Fire". Andrew Hill was somewhat unfairly lumped into the "free form Jazz" category as his music was different from the norm and innovative and Hill did emerge in the 1960;s, a time of change for Jazz. However Hill's music while different and fresh was structured and defined by chord progressions. His compositions were unique and took odd turns and twists much like Thelonious Monk's tunes. Producer Alfred Lion new Hill's music wasn't for everyone but he believed in Hill's genius and talent much like he did of Monk a decade earlier. Lion was the first to record Monk and his music. Hill on piano is supported by some great musicians such as Joe Henderson on tenor saxophone delivering some of his most creative work here. Richard Davis on bass and the great Roy Haynes on drums who was a last minute replacement for Philly Joe Jones who was unable to make the date. I can't imagine any other drummer than Roy Haynes for this music. "Black Fire" is the beginning of a long list of important recordings by Andrew Hill for Blue Note. We must thank Blue Note's Alfred Lion for believing in Andrew Hill's talent. "black Fire": tonight's Jazz Feature.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En este audio para patrocinadores y patrocinadoras volvemos a celebrar la música a lo grande. El añorado Jimmy Smith es el padre del órgano Hammond B3. Su influencia abarca desde el blues y el jazz al soul y al rock. Su prolijo legado en los años 50 y 60, grabando para Blue Note y Verve, es epatante. Pero en este audio nos centraremos en sus registros para el sello de Alfred Lion y Francis Wolff, este último es el autor de la fotografía de la portada. Gracias por la compañía, gracias por vuestro apoyo. Este programa, como siempre, está dedicado especialmente y de corazón a: David, Alfonso Ladrón, Yago Llopis, Nacho Ruíz, Javier Carmona, Ana López, El Carabasser, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Toñi, Cristina Pariente, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestro queridos anónimos. Gracias por apoyar el proyecto y seguir dándonos las herramientas para que CDS crezca a diario. Escucha este episodio completo y accede a todo el contenido exclusivo de CDS RADIOSHOW. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/101133

Chicago born John Arnold Griffin 111 is better known as simply Johnny or in some cases "The Little Giant." Griffin was and is one of the major voices of the tenor saxophone. He emigrated to New York in late 1956 and was soon causing musical excitement in the Big Apple. He recorded his first Blue Note album and it was getting lots of play and in early 1957 he joined Art Blakey's Jazz Messengers. He was doing sideman record dates as well. Tonight's Jazz Feature is his second Blue Note date and it's basically a jam type date with long tunes and plenty of solo time for all. Griffin requested this and it was agreed upon by Blue Note boss Alfred Lion. Griffin picked the young trumpet sensation still in his teens, Lee Morgan. Hank Mobley and John Coltrane were his other tenor saxophone partners. The rhythm section was powerful with Wynton Kelly on piano, Paul Chambers on bass and Griffin's boss, Art Blakey on drums. Two standard tunes were played and two Griffin originals comprised the date and everyone had a chance on all of these tunes to show their stuff. Unlike many blowing jam type sessions, the level was top notch on this one. This is Jazz at it's best.....in other words: the real deal! A Blowin' Session, tonight's Jazz Feature.

In this episode, we are exploring the gospel sounds coming from the Blue Note Records catalog! Alfred Lion was notorious for asking musicians to record something "groovy" and some of Blue Note's best artists went back to church for inspiration and wrote something in a gospel vein. We break down some of these tracks for you to enjoy. Hallelujah!

Welcome to a new edition of the Neon Jazz interview series with London-based Producer and Band Brainchild of US3 Geoff Wilkinson .. The band was formed in 1992 alongside production partner Mel Simpson .. Ultimately US3 rose from the ashes of 2 previous incarnations. Their name was inspired by the  Horace Parlan album Us Three produced by Alfred Lion who is the founder of Blue Note Records .. Two years after they released “Cantaloop (Flip Fantasia), it hit the US top ten. The album was “Hand on the Torch” and it was a global phenomenon, along with being the first Blue Note album ever to achieve Platinum status in the USA. He opens up about the band, his life these days and so much more and he once said …“If jazz is the first way, and hip hop is the second way, then Us3 is the third way!”... Enjoy this .. More - http://www.us3.com/index.php?page=biographyClick to listen.Thanks for listening and tuning into yet another Neon Jazz interview .. where we give you a bit of insight into the finest players and minds around the world giving fans all that jazz ..  If you want to hear more interviews, go to Famous Interviews with Joe Dimino on the iTunes store, visit the YouTube Neon Jazz  Channel at https://www.youtube.com/c/neonjazzkc, go The Home of Neon Jazz at  http://theneonjazz.blogspot.com/ and for everything Joe Dimino related go to www.joedimino.com When you are there, you can donate to the Neon Jazz cause via PayPal https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4 or through Patreon at https://www.patreon.com/neonjazzkc - Until next time .. enjoy the music my friends ..

Patreon: https://www.patreon.com/somethingcamefrombaltimore JANUARY 15, 2021 On February 26, the venerated multi-instrumentalist and composer Joe Chambers will release Samba de Maracatu, a notable Blue Note Records return for a significant figure in the label's history. The album's Brazilian flavored title track “Samba de Maracatu,” which is available today to stream or download, was composed by Chambers and features him performing drums, vibraphone, and percussion with Brad Merritt on keyboards and Steve Haines on bass. The album is a nine-song set of original compositions, standards, and pieces by Wayne Shorter, Bobby Hutcherson, and Horace Silver. In the mid-to-late 1960s, Chambers played drums for numerous Blue Note luminaries appearing on some of the decade's most progressive albums including Shorter's Adam's Apple and Etcetera, Hutcherson's Components and Happenings, Freddie Hubbard's Breaking Point, Joe Henderson's Mode for Joe, Sam Rivers' Contours, Andrew Hill's Andrew!!!, Donald Byrd's Fancy Free, and many more. The label's owners – Alfred Lion and Francis Wolff – offered Chambers a chance to record his own album for the imprint during that fertile period, but he was riding so high on recording and touring with so many jazz greats that he declined the opportunity. Chambers eventually did release his own Blue Note debut Mirrors in 1998 featuring trumpeter Eddie Henderson, saxophonist Vincent Herring, pianist Mulgrew Miller, and bassist Ira Coleman. On Samba de Maracatu, Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt's piano accompaniments and solos. While Samba de Maracatu isn't a Brazilian jazz album in this strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces, including the title track, which references the syncretic Afro-Brazil rhythms that were originated in the north-east region of Brazil. --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Herbie Hancock, Horace Silver, Kenny Burrell ou encore Wayne Shorter... Autant de grands noms du jazz étroitement liés au mythique label fondé par Alfred Lion et Francis Wolff. Et c'est vers ce répertoire à la fois bluesy et groovy que Cecil L. Recchia a choisi de s'aventurer sur son nouvel opus "Play Blue".

Youtube: https://www.youtube.com/channel/UCj7HKmMrFB4vAQm3SKzvftA Facebook: https://www.facebook.com/tomfunproductions Itunes: https://podcasts.apple.com/us/podcast/something-came-from-baltimore/id1400504427 Anchor: https://anchor.fm/somethingcame-from-baltim Spotify: https://open.spotify.com/show/1Bdz5634Wk5bSpaazynbI4?si=cS-_c_rBS2Os83QECKcuJA&dl_branch=1 Check out the full interview on YouTube: https://www.youtube.com/channel/UCj7HKmMrFB4vAQm3SKzvftA JANUARY 15, 2021 On February 26, the venerated multi-instrumentalist and composer Joe Chambers will release Samba de Maracatu, a notable Blue Note Records return for a significant figure in the label's history. The album's Brazilian flavored title track “Samba de Maracatu,” which is available today to stream or download, was composed by Chambers and features him performing drums, vibraphone, and percussion with Brad Merritt on keyboards and Steve Haines on bass. The album is a nine-song set of original compositions, standards, and pieces by Wayne Shorter, Bobby Hutcherson, and Horace Silver. In the mid-to-late 1960s, Chambers played drums for numerous Blue Note luminaries appearing on some of the decade's most progressive albums including Shorter's Adam's Apple and Etcetera, Hutcherson's Components and Happenings, Freddie Hubbard's Breaking Point, Joe Henderson's Mode for Joe, Sam Rivers' Contours, Andrew Hill's Andrew!!!, Donald Byrd's Fancy Free, and many more. The label's owners – Alfred Lion and Francis Wolff – offered Chambers a chance to record his own album for the imprint during that fertile period, but he was riding so high on recording and touring with so many jazz greats that he declined the opportunity. Chambers eventually did release his own Blue Note debut Mirrors in 1998 featuring trumpeter Eddie Henderson, saxophonist Vincent Herring, pianist Mulgrew Miller, and bassist Ira Coleman. On Samba de Maracatu, Chambers asserts himself more as a mallet player, particularly on the vibraphone. Throughout the album, he uses the vibraphone as the lead melodic and improvisational voice that often converses with Merritt's piano accompaniments and solos. While Samba de Maracatu isn't a Brazilian jazz album in this strictest sense, Chambers utilizes various rhythms and indigenous Brazilian percussion instruments on several pieces, including the title track, which references the syncretic Afro-Brazil rhythms that were originated in the north-east region of Brazil. --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Jazz Legend Roger Humphries joins Dana Bishop-Root, Director of Education and Public Programs, to describe Carnegie Museum of Art's "Inside Out," running through September 4th on Thursdays and Saturdays noon to five in the Sculpture Courtyard with performances by regional artists, DJs, art activities, food trucks, local beers and kid friendly treats. Roger brings his RH Factor ensemble and he'll play "Song for My Father," which he recorded with Horace Silver. He talks with Jim Cunningham about the legendary figures he has worked with. Roger provides memories of Silver and the 1965 session for Blue Note with label owner Alfred Lion in the studio. Of course you can get an autograph and a selfie on June 12 but the Kassia Ensemble, Jasmine Hearn, Staycee Pearl, Alumni Theater Company, Alia Musica, Dreams of Hope. Clara Kent, Afro Yaqui Ensemble and much more are part of the plan. The Museum is open with air conditioning and CDC guidelines in place.  

BLUE NOTE RECORDS: BEYOND THE NOTES chronicles one of the most important record labels in the history of jazz — and, by extension, that of American music. Blue Note Records has been home to such groundbreaking artists as Miles Davis, Thelonious Monk, John Coltrane, Bud Powell and Art Blakey, as well as present-day luminaries like Robert Glasper, Ambrose Akinmusire and Norah Jones. Founded in New York in 1939 by German Jewish refugees Alfred Lion and Francis Wolff, the history of Blue Note Records goes beyond the landmark recordings, encompassing the pursuit of musical freedom, the conflict between art and commerce and the idea of music as a transformative and revolutionary force. Through rare archival footage, current recording sessions and conversations with jazz icons Herbie Hancock, Wayne Shorter and today’s groundbreaking Blue Note musicians, BLUE NOTE RECORDS: BEYOND THE NOTES reveals a powerful mission and illuminates the vital connections between jazz and hip hop. Filmmaker Sophie Huber gained her filmmaking experience as a member of an award winning Berlin film collective. Huber’s debut feature documentary, the critically acclaimed HARRY DEAN STANTON: PARTLY FICTION, premiered at the Venice Film Festival in 2012. Director Sophie Huber joins us to talk about chronicling the lives and musical journey for many of the greatest artists of the 20th Century and the German Jewish refugees who provided them with a platform in her second remarkable feature documentary BLUE NOTE RECORD: BEYOND THE NOTES. For news and updates go to: bluenoterecords-film.com For more about the filmmaker go to: facebook.com/sophie.huber Social Media: facebook.com/BlueNoteRecordsFilm instagram.com/bluenoterecordsfilm twitter.com/BlueNoteFilm

Hoy os ofrecemos el primer monográfico dedicado al 80 aniversario del sello Blue Note. Fue el pasado 6 de enero y le vamos a dedicar una serie de capítulos donde escucharemos y hablaremos de las leyendas que vivieron bajo los auspicios de aquella idea que convirtió en realidad Alfred Lion. Albert Ammons, Meade Lux Lewis, Art Blakey, Dexter Gordon, Horace Silver o Lee Morgan entre otros sonarán en esta primera edición.

Hoy os ofrecemos el primer monográfico dedicado al 80 aniversario del sello Blue Note. Fue el pasado 6 de enero y le vamos a dedicar una serie de capítulos donde escucharemos y hablaremos de las leyendas que vivieron bajo los auspicios de aquella idea que convirtió en realidad Alfred Lion. Albert Ammons, Meade Lux Lewis, Art Blakey, Dexter Gordon, Horace Silver o Lee Morgan entre otros sonarán en esta primera edición.

Die Masterminds hinter Blue Note Records haben wir in unserer Reihe bereits in Szene gesetzt. Alfred Lion, der die Vision hatte; Rudy van Gelder, der den Sound lieferte; aber die Blue Note Legende speist sich nicht nur aus der Musik und dem Sound, sondern auch aus der visuellen Gestaltung. Francis Wolff ist der Mann, dem wir die typischen Blue-Note-Cover-Fotos verdanken. Und Miles Reid hat die ikonographischen Covers gestaltet. (superfly.fm)

El talento de un pianista de apenas 24 años lleva a este álbum conceptual a ser considerado el más importante de la década de los ‘60s. En el episodio de hoy de Grandes Discos del Jazz, Herbie Hancock, “Maiden Voyage”.Es una de las ejecuciones más prodigiosas del jazz modal. Fue editado por el sello Blue Note, en 1965. “Maiden Voyage” se refiere al viaje inaugural que realiza la tripulación de un barco. Y de principio a fin se construye una atmósfera marina, con la libertad que impone altamar. Los cinco tracks fueron compuestos completamente por Hancock, nacido en Chicago 24 años antes y ya integrante nada menos que del quinteto que lideraba un tal Miles Davis.En este trabajo, grabado bajo la producción de Alfred Lion en un estudio de Nueva Jersey, se notan claramente las influencias experimentales de Miles, en las cuales Hancock se integra a la base rítmica de Ron Carter en bajo y la batería de Tony Williams. Además, se les suman la trompeta de Freddie Hubbard y el saxo de George Coleman.Las composiciones le dan el contexto perfecto a los solos, con texturas y armonías impredecibles y provocadoras. Todos los elementos se combinan en un hermoso álbum que captura a Hancock en su mejor momento como líder, como solista y como compositor.Los tracks: “The eye of the hurricane”, “Dolphin dance” y “Maiden Voyage”.

Little is known about Fred Jackson except he was born in Atlanta, Georgia in 1929 which today would make him 87 or 88. if he is still with us. He dropped out of the music scene around 1965 and nothing since. He came from a Rhythm and Blues background and worked with Little Richard, B.B. King and especially Lloyd Price where he was Mr. Price's musical director. Jackson is a tenor saxophonist in the style of Illinois Jacquet, Gene Ammons, Houston Person etc. Big sound, bluesy concept and total control of the horn from top to bottom. He appeared as a sideman on Baby Face Willette's classic Blue Note date called "Face to Face" and impressed Blue Note's honcho Alfred Lion who loved Jackson's playing. He did two dates for the label but only one was issued and it's tonight's Jazz feature. Fred Jackson appears with his Lloyd Price cohorts, Earl Vandyke on organ, Willie Jones on guitar and Wilbert (aka G.T.) Hogan on drums. Seven Jackson original;s reflect his blues and R&B background. "Hootin' 'n' Tootin" is a boss date.

Fondé en janvier 1939 par un Berlinois, Alfred Lion, bientôt suivi d’un ami d’enfance, Francis Wolff fraîchement arrivé à New…

J.R. Monterose is certainly not a household name in Jazz music but he is one of the important tenor saxophonists who was in New York in the md-50s during the Jazz boom. Monterose was born in Detroit but raised in upstate New York in Utica and paid his dues in various big bands and by the mid-50s was heard on recordings by vibist Teddy Charles and bass master Charles Mingus. Monterose worked off and on with Mingus from 1954 to 1956 when he appeared on a famous and important Mingus recording called "Pithecanthrophus Erectus". Soon after he left Mingus and joined trumpeter Kenny Dorham's short-lived band called "The Jazz Prophets" and it was from a live recording with Dorham that Monterose came to the attention of Blue Note's head honcho Alfred Lion. Lion gave Monterose his first opportunity to record under his own name and this great recording is the result. J.R.'s hard-hitting tenor saxophone dominates and his partner, Chicago legend Ira Sullivan provides a great foil with his fast crackling trumpet. The rhythm section is one of New York's finest and was picked by J.R. specially for their astuteness and deep groove. Horace Silver on piano, the great Chicago bassist Wilbur Ware and the dynamic drummer Philly Joe Jones. The tunes are three by J.R., one by trumpeter Donald Byrd, one by bassist Paul Chambers and a hip original by drummer Philly Joe Jones. All in all this was one great debut recording and a perfect example of New York Jazz from the 1950s. J.R. Monterose!

O.K. so maybe I could have dug even deeper, but hopefully you'll appreciate that with the birth of my twin boys, crate diggin' time is limited, so recourse to few old favourites in this selection. Nevertheless it's not exactly obvious unless you're one of those chin stroking jazz snobs. I'd been wanting to do a kind of "pure" jazz show for a while, the criteria could have been even more stringent, I could have outlawed all electric instruments, but I did want to keep some variety. I can't remember the last time I played something from the Riverside label on the show, so slipping a couple into the first half hour was kind of satisfying, great tunes from Jimmy Heath and Clifford Jordan. Then there's vocals, a scat masterclass from Jon Hendricks, Ann Young tearing up a standard and The Metronomes with silky smooth harmonies. I also decided to do a mini Prestige feature.... what's the difference between Blue Note and Prestige, a day's rehearsal.... yes it is the kind of ugly sister of classic jazz labels, more "blowing dates" less recording sessions. Yet of course there are some awesome titles in the Prestige catalogue, Frank Wess' "Southern Comfort" is certainly one of those, soul-jazz with a Latin twist and really punchy well balanced recording. As always the mellow meltdown in the middle is fun to do, it's what radio's for in my opinion. Listening to Duke Pearson's Sweet Honey Bee album again for the first time in ages, the beauty of "After The Rain" left me quite astounded, Pearson was the quintessential Blue Note artist, he acted as an A&R man for Alfred Lion, and composed the timeless "Cristo Redentor" for which he should be duly honoured as it is one of the most beautiful melodies of all time. "After The Rain" comes close to that peak of sublimity. Continuing the rainy theme the Masabumi Kikuchi composition "Drizzling Rain" from his album with Gil Evans is just as beguiling, with a Japanese lyricism, a kind of Jazz haiku. "En Passant" performed by West Coast stalwarts Shelly Manne ands His Men is an early composition by the great John Williams from U.S. tv series Checkmate, Williams' list of film credits is ridiculous , probably the most successful composer of the twentieth century? All that instrumental grace is followed by a trio of vocal cuts with a morning theme....lushness from Carmen McRae, the brilliant Lorez Alexandria, and Andy Bey ripping some conscious flavour through Gary Bartz NTU Troops leftfoot jazz-funk. Closing the show the last sequence gets lowdown and funky, and a bit abstract! Drums and basslines, a touch of James Brown in Roy Haynes' "Guadalupe", and some electronic undertow in Julian Priester's " Love Love" which I played just a portion of as it covers a whole side. Shame that I only squeezed a the first bit of Monette Sudler's "Brighter Days For You" as it takes me back to my early days of The Cosmic Jam all those years ago.... still love it, and the title says it all. Peace, love and music P.x 1. Jimmy Heath Orchestra - Big P 2. Jon Hendricks - Good Ol' Lady 3. Benny Bailey - Little B 4. Ann Young & Yuji Ohno Trio - Speak Low 5. Hector Costita - Tokio 6. Mary Lou Williams & Friends - Prologue 7. Clifford Jordan - Bearcat 8. The Metronomes - On Green Dolphin Street 9. Sun Ra - The Others In Their World 10. Tadd Dameron & John Coltrane - Mating Call 11. Frank Wess - Blues For Butterball 12. Charles Earland - Letha 13. Duke Pearson - After The Rain 14. Gil Evans & Masabumi Kikuchi - Drizzling Rain 15. Shelly Manne & His Men - En Passant 16. Carmen McRae - Just A Little Lovin' 17. Lorez Alexandria - Morning 18. Gary Bartz NTU Troop - Rise 19. Doug Hammond - Kone Pone 20. Roy Haynes - Guadalupe 21. Julian Priester - Love Love 22. Byron Pope Speed Of Light - No Boundaries 23. Monette Sudler Sextet - Brighter Days For You

Alfred Lion was a German-Jewish born record executive who made his way to the U.S. via South America in the 1930s. He founded Blue Note Records soon after arriving in America and went on to record many legendary jazz artists; helping to shape the sound, image and meaning of jazz in America. In this edition […]

Alfred Lion was a German-Jewish born record executive who made his way to the U.S. via South America in the 1930s. He founded Blue Note Records soon after arriving in America and went on to record many legendary jazz artists; helping to shape the sound, image and meaning of jazz in America. In this edition...

Alfred Lion was a German-Jewish born record executive who made his way to the U.S. via South America in the 1930s. He founded Blue Note Records soon after arriving in America and went on to record many legendary jazz artists; helping to shape the sound, image and meaning of jazz in America. In this edition...

Andrew Hill was a unique and wonderful composer/pianist. Andrew attracted the ear of Blue Note head honcho, Alfred Lion when Hill moved to New York in 1963. Hill appeared as a sideman on Hank Mobley's classic "No Room For Squares" date and Mr. Lion immediately signed Andrew to a contract and produced Andrew's first album for Blue Note the now classic "Black Fire". Hill made many records for the label but many were not released as Lion didn't wish to flood the small market. Hill's music is sometimes difficult, quirky and not in the mainstream...in other words, an acquired taste. However when you "get" Andrew's music....one will never forget it! This date was discovered in the vaults of Blue Note and at first deemed unreleaseable but soon after a second listening, Mr. Hill okayed it's release. It became one of the most discussed albums of 2003 and praised by all quarters...fans and critics. The band consists of trumpeters Woody Shaw and Dizzy Reece. Trombonist Julian Priester and French horn virtuoso, Robert Northern plus Howard Johnson on tuba and bass clarinet.The single reed performer is the great Joe Farrell who is heard on tenor and soprano saxophone, alto flute, bass clarinet and English horn. The bassist is Ron Carter and the drummer is the young Lenny White. All the compositions are by Andrew Hill and the date was done in November 1969. Profound and moving music.

Guitarist Grant Green seemed to suddenly appear on the national Jazz scene from out of nowhere appearing on Blue Note Records as a leader and as a sideman in the early 60s. He had honed his skills in his hometown of St. Louis MO and was asked to come to New York by alto saxophone master Lou Donaldson who recommended him to Blue Note's honcho Alfred Lion. Green became a favourite and recorded frequently in the years 1961-65 and those recordings contain his most lasting work. Many of Green's sessions were never issued until after his death in 1979. This one that we're featuring tonight was one of those.It's a very high level session with Mr. Green in the company of two members of John Coltrane's "classic quartet" in the persons of pianist McCoy Tyner and drummer Elvin Jones. The bassist is the ubiquitous Bob Cranshaw. With this powerful rhythm section Green is at his best. Two Green originals (including the title track) are heard plus a delightful version of "My Favourite Things" with the Coltrane arrangement. Pianist Duke Pearson's exotic original called "Bedouin" is heard. Completing the set is the Bacharach/David tune called "Wives and Lovers" done in "sprung waltz" style. Mr. Green was one of the giants of the guitar and this date proves it!

Dive deep into the history of Blue Note records.

In this episode, narrator Susan Stamberg connects Jazz and Hip Hop through the lens of Blue Note Records.

Dive deep into the history of Blue Note records.

In this episode, narrator Susan Stamberg connects Jazz and Hip Hop through the lens of Blue Note Records.

Explore the impact of the work Blue Note designer Reid Miles had on album cover design, in Jazz and beyond.

Explore the impact of the work Blue Note designer Reid Miles had on album cover design, in Jazz and beyond.

Discover the work of Frank Wolff, who set the tone for Jazz photography with this work for Blue Note records.

Discover the work of Frank Wolff, who set the tone for Jazz photography with this work for Blue Note records.

In this episode, narrator Susan Stamberg talks about finding jazz in the oddest places.

In this episode, narrator Susan Stamberg talks about finding jazz in the oddest places.

This episode, narrated by Susan Stamberg, takes us from Big Band to the birth of Bebop and beyond.

This episode, narrated by Susan Stamberg, takes us from Big Band to the birth of Bebop and beyond.

Learn the basics about Blue Note and its remarkable style.

Learn the basics about Blue Note and its remarkable style.

Organ master James Oscar Smith must be considered one of the pioneers of Jazz music as he almost single-handedly brought the Hammond organ into Jazz music. Jimmy Smith wasn't the first one to ever use the instrument in Jazz but he developed a concept on the organ that was copied by just about every practitioner who followed. Smith, after a period of learning the instrument, emerged and began to work around his hometown of Philadelphia. He was heard by Blue Note Record's Alfred Lion and signed to the label. He became Blue Note's biggest seller. This session features the Smith working trio with Quentin Warren on guitar and Donald Bailey on drums plus three magnificent horns in the person of tenor saxophonist Ike Quebec, alto saxophone master Jackie McLean and trumpeter Blue Mitchell. Each gets a ballad feature but the bulk of the other selections are great informal jams on various blues in major and minor keys. It's an inspired date and allows us to hear all these great players at their unfettered best. The album is called "Open House" and it has just that feeling of a group of friends gathering for some stimulating conversation and you the listener is invited.

This feature is to honour the 87th Birthday of one of the most exciting, creative and influential musicians of the 20th Century namely John William Coltrane. Coltrane was under an exclusive recording contract with Prestige Records from 1957 to the end of 1958 however he was allowed to record this one date for Blue Note Records and the label's owner Alfred Lion made the most out of it by giving Coltrane a chance to not only record his own composition but write them for a three horn front line and of course pick the men to do this. Lion also paid for two days of rehearsal to get the music together. This was unheard of at the other label.The date was one of Coltrane's personal favourites and is considered a classic.The people involved are Coltrane on tenor saxophone, Curtis Fuller on trombone, the teenage trumpet sensation, Lee Morgan, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums. The tunes are all by Coltrane (Blue Train, Moment's Notice, Locomotion, Lazy Bird) and the ballad of the set written by Kern and Mercer: "I'm Old Fashioned". Blue Train stands out in the history of Coltrane's legacy and is clearly his best from his early period. Happy Birthday Mr. Coltrane.

The late Sonny Clark left us too soon at age 31 on January 13,1963 from an overdose of heroin. Sonny was not an originator or a Jazz pioneer but a wonderful stylist who reflected the history of Modern Jazz piano. His touch and flow of ideas were the center points of his style and his ability to accompany horns made him a favourite among all the major horn players such as Jackie McLean, John Coltrane, Donald Byrd, Art Farmer, Curtis Fuller and the list goes on. Sonny was a wonderful composer as well and tonight's Jazz Feature has six of his works. Sonny's angel was Blue Note Record's Alfred Lion who loved Sonny's playing and his serious dedication to his art despite his drug problem. Lion recorded Sonny a lot as a sideman and as a leader. Trios, quartets and quintets. This session ended Sonny's first tenure with Blue Note and was done in March of 1959. It was never issued until the early 80's. It is a gem and has Donald Byrd on trumpet, Hank Mobley on tenor saxophone, Paul Chambers on bass and the great Art Blakey on drums and of course Mr. Clark on piano. They tackle six of Sonny's tunes and smoke on all of them. "My Conception" is one of his finest outings and is a minor classic. Long live Sonny Clark and his music!

This obscure artist who rarely if ever played his music in public (he made his living playing in Dixieland and show bands) was able through the graces of Blue Note Records' Alfred Lion to record a series of dates with hand-picked sidemen playing his own compositions. Lion released Herbies first two albums on two 10" LPs called "The Prophetic Herbie Nichols" Volumes 1 & 2. Tonight we hear his first 12 pieces that made up these records. Nichols is on piano with Al McKibbon on bass and Art Blakey on drums. The dates were done in May of 1955 and presents the evocative compositions of Mr. Nichols with his marvelous piano playing. The prophetic Herbie Nichols indeed!

Guitar master Grant Green and Wes Montgomery were two of the most influential voices of their instrument in the 1960's. They seemed to come out of nowhere to Jazz fame and in a way they did. Both honed their skills in their respective home towns...Montgomery in Indianapolis and Green in St. Louis. Cannonball Adderley discovered Wes and brought him to the attention of Riverside Records honcho Orrin Keepnews and Green was discovered by Lou Donaldson who brought him to the attention of Alfred Lion of Blue Note Records. Green's albums for Blue Note from the early 60's are many and all are worth hearing. Tonight's Feature is a most relaxed date where Green and company perform just four standards that have not been played to death."Street of Dreams" by Victor Young is the title track, Charles Trenet's "I Wish You Love" is heard along with "Lazy Afternoon" and the old theme from the famous TV series "Naked City" called "Somewhere in the Night". The players all sound like a working band even though they were assembled just for this record date......they were all on the same page stylistically. Along with Grant Green, we have a then new star on the scene, Bobby Hutcherson on vibes, Larry Young on organd and Elvin Jones on drums. The album is relaxed and quite mellow but is so creative and interesting that you'll be surprised as to how quickly it's over. That's a sign of a good record! Enjoy Mr. Green and company. The fire burns low but with an intensity and swing that is captivating.

Legendary pianist Sonny Clark was a known entity on the Jazz scene for about 9 years. His life was snuffed out by drug addiction and he died in January 1963 at age 31. Originally from a small town near Pittsburg, Clark moved to Los Angeles for a few years and began recording in early 1953. In L.A. he joined clarinetist Buddy DeFranco and toured the US and Europe and became better known. Returning to his base in LA, Clark began to get restless and wanted to return to New York where the action was happening. He took a gig with singer Dinah Washington and got back to The Big Apple. He left Dinah and immediately began working with Sonny Rollins and also signed with Blue Note records. Despite his drug problems, Alfred Lion, the head of Blue note, loved Sonny Clark and gave him many opportunities to record as a sideman and leader.The Feature album is one of Sonny's classics in that it has such a stellar cast: John Coltrane on tenor saxophone, Curtis Fuller on trombone, Donald Byrd on trumpet, Paul Chambers on bass and Arthur Taylor on drums. This recording was done a few weeks after Coltrane's famous "Blue Train" date and three of the participants are here with Clark. Three great standards, arranged by Clark are presented and two distinctive Clark originals. I think you'll agree that "Sonny's Crib" is a classic and typifies the best of New York Jazz from the mid-50's.

The great trumpeter Freddie Hubbard died at age 70 in 2008 and he is sorely missed to this day. He is a musician who always gave his all every time he picked up his horn. Freddie could play with musicians who were stretching the Jazz language like Ornette Coleman, Eric Dolphy, John Coltrane, Andrew Hill and contribute to their concept and then turn around and play with Art Blakey, Cannonball Adderley and Bill Evans and contribute to their concept. Freddie could play anything and always seemed to play his best in whatever context. Blue Note's owner, Alfred Lion heard Freddie in 1960 at a Monday night jam at Birdland in New York and signed 22 year old Hubbard to a contract which lead us to tonight's Feature. This is Freddie's sophomore album and it's called "Goin' Up".Freddie surrounded himself with seasoned veterans with the exception of a young pianist named McCoy Tyner, who was on Freddie's first Blue Note date, like Hank Mobley on tenor saxophone. Hank also contributed two tunes to the date. On bass and drums were Paul Chambers and Philly Joe Jones....there are none better for the type of music Freddie wanted to present. Trumpet giant Kenny Dorham was also asked by Freddie to contribute two tunes to the date and they are the most exciting tracks of the set. A ballad and a minor key blues by Freddie complete the set. "Goin' Up" is a lesser known classic but one of Hubbard's early best dates.

Richard "Blue" Mitchell was one of the most distinctive voices on the trumpet. He came through various r & b bands and paid long dues on the road but in 1958 he joined pianist Horace Silver's great band and never looked back. He began recording under his own name as a leader and sideman and made a wonderful series of recordings for Riverside and Jazzland Records. After playing an important sideman role for the Blue Note label, Blue was signed up by head honcho Alfred Lion. The Jazz Feature tonight is Mitchell's first recording under his name for Blue Note and it's a fine one. The only irony is that for some reason it was never released although given a photo and a catalogue number. Other Mitchell recordings were issued but not this one. It was finally issued in the early 80's after Mitchell's untimely death from cancer in 1979.It's an excellent session with Mitchell in inspired form but the co-star is a young Joe Henderson who not only plays tenor saxophone but contributes two compositions (Step Lightly and Mamacita) and arranged the rest. On alto saxophone is the very unique sound of Leo Wright, Leo embarked for Europe soon after this session and Jazz fans forgot about him. On piano is a young and energetic Herbie Hancock. Gene Taylor on bass and Roy Brooks on drums are Mitchell's buddies from Horace Silver's band. The group is tight, fresh and inspired. "Step Lightly" is a worthy addition to Blue Mitchell's recorded legacy.

Harold Floyd Brooks, better known as "Tina" (a nickname that he was given because of his small size is a corruption of "Teeny" or "Tiny") was one of the sadder stories in Jazz music. This well respected musician broke into the big time Jazz scene in 1958, after years in anonymous r&b and Latin bands, on a famous recording date with organist Jimmy Smith called "The Sermon". Brooks distinctive sound and blues inflected approach was like no other and Blue Note head honcho Alfred Lion took to Brooks and recorded 4 great sessions with Tina. The only problem was that Lion only released one. The others were never issued until long after Brooks' death in 1974. Brooks only recorded for Blue Note (with one exception) as a sideman and leader from 1958 to 1961. After 1961 he never recorded again. Because of an addiction to hard drugs and general physical dissipation, he stopped playing by the late 60's and died in ill health and abject poverty in 1974. Tonight in celebration of what would have been Brooks' 78th birthday, The Jazz Show is presenting one of his classic recordings. This album was advertised, sequenced, mastered and given a number but never issued. "Back To The Tracks" is a beautiful representation of New York Jazz in the early 1960's before the changes wrought by Cecil Taylor, Ornette Coleman and John Coltrane and others moved the music in a new and different direction. Brooks' strong, lyrical and intense horn is heard at it's best and the band is a stellar all-star group. Along with Brooks on tenor saxophone, there is Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass and Arthur Taylor on drums plus on one long track, a cameo appearance by alto saxophone master Jackie Mclean. Happy Birthday to Tina Brooks, who finally got some of the recognition he warranted when he was still alive.Tina brooks was born on June 7,1932 in Fayetteville, North Carolina and died on August 13,1974 in New York.

This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.

Trombonist/composer Grachan Moncur 111 was born in New York on June 3,1937 and raised in Newark. He is still alive, playing,writing and teaching. Grachan played in Nat Phipps' band when he turned pro then played with Ray Charles' fine little band for 2 and a half years where he really developed his skills as a player. He then joined the Jazztet, a fine band led by Art Farmer and Benny Golson and was the last trombonist in that group before it's final breakup in 1962. After a brief return to the Charles' band, Grachan joined the ranks of New York's progressive scene in the mid-60's. Grachan, alto saxophonist Jackie McLean and young vibist Bobby Hutcherson formed a band with different people in the rhythm section and gigged around New York. Grachan wrote most of the band's material and they recorded McLean's famous album, "One Step Beyond". Alfred Lion of Blue Note Records was impressed with Grachan's writing and playing and gave him a two record contract. Grachan's first album was this one called "Evolution" and he, of course, used Mclean and Hutcherson along with bassist Bob Cranshaw and the teenaged drum sensation Anthony (Tony) Williams. The most surprising addition was trumpeter Lee Morgan, who almost steals the show on this album. Morgan had verbally criticized some of the new sounds emerging in the 1960's and yet was very open to the music of this album and Moncur's compositions. There are only four tunes here but they are all strong statements expressing all different moods and evoke different feelings from the players and will do the same to you, the listener. "Evolution" was a very impressive recording debut for Grachan Moncur 111 and stands today as a classic in creative musical thinking.

Pianist/composer Andrew Hill was Alfred Lion's last great discovery. Lion,of course was Blue Note's head man and a lover of original pianist/composers. Lion was the first to record Thelonious Monk as a leader and the first to record Horace Silver and was responsible for the many recordings as a sideman and leader of the ill-fated Sonny Clark who died as a result of a drug overdose on January 13,1963 at age 32. Lion heard Andrew Hill on a Joe Henderson session and a Hank Mobley session in late 1963 and was impressed with the young pianist's originality. Hill had played with many people before coming into the Blue Note fold; people like Rahsaan Roland Kirk, Dinah Washington and many others so he was very well-rounded. Lion began to record Hill playing his own unique and sometimes difficult compositions and his first effort for the label was the astounding "Black Fire" with Joe Henderson. His second was a quartet effort with two bassists and the third was this classic called "Judgement!" Hill used the young, Bobby Hutcherson on vibes and his favourite bassist, Richard Davis and the great and dynamic Elvin Jones on drums in six Hill compositions. This album stands with "Black Fire" and "Point of Departure" as one of Hill's finest and is the Feature for tonight.

J.R. Monterose (Frank Anthony Monterose Jr.) was a very individual stylist who was very much in evidence on the New York Jazz scene in the mid-50's. J.R. worked with vibist Teddy Charles and bassist Charles Mingus but came to the attention of Blue Note's owner, Alfred Lion because of his work with trumpeter Kenny Dorham's short-lived band "The Jazz Prophets". Lion gave Monterose his chance and J.R. became the first Caucasian musician to have his own 12' LP. It's a good one and a minor classic. Hard driving and swinging...Monterose brings his slashing, stacatto tenor to the fore with his front line partner, the versatile Ira Sullivan who can play anything with valves or keys but restricts himself to some stunning trumpet work here. The great rhythm section is in tune with Monterose's ideas and backs both horns with a drive and swing that's unequalled. Horace Silver on piano, the wonderful Chicago born, Wilbur Ware on bass and Philly Joe Jones on drums build fires under the horns. This formally rare recording is now available on Blue Note's RVG Series and it's good to have it back in circulation again. The album represents some of the best Jazz of the 50's by two musicians who were part of the real Jazz core. J.R. Monterose stands as one of the great individualists of the tenor saxophone and Ira Sullivan, who is still alive is not far behind. There are three Monterose compositions on the set and one by trumpeter Donald Byrd, one by bassist Paul Chambers and one by drummer Philly Joe Jones.