Arthur Barrow – In The Mood + Moonlight Serenade (1985)

FrontCover1This a carzy little 12 ” single … inspired by the motion picture “The Glenn Miller Story”.

Side one was recorded by Arthur Barrow:

Arthur Barrow – a young musician trying to find his way – decides to teach himself the electric bass in 1974 while attending the University of North Texas in Denton, Texas. He was studying composition and organ, at the time but had different aspirations. The emerging fusion of rock and progressive music was taking hold, and Barrow became fascinated with the work of Frank Zappa. A year later (1975), he decides to move to Los Angeles with one of his main goals being to play in Zappa’s band. In 1978, he auditions and makes the cut.

In Zappa’s band, he spends the better part of twelve Zappa albums and four tours working that gig (including albums like Joe’s Garage Act I & II, Shut Up ’n Play Yer Guitar, You Are What You Is, and many more). Along the way, he also became a colleague with Robby Krieger from The Doors (who he is still working with) and played with everyone from Joe Cocker and Keith Emerson to Billy Idol and Janet Jackson.

Arthur Barrow

After his Zappa stint, he worked very closely with famed songwriter/producer Giorgio Moroder. You have heard his work in soundtracks for Scarface, Top Gun, The Doors and many more. He has his own slew of solo discs and has worked in many other band situations. Most recently, he has published a memoir of his music business experience titled, Of Course I Said Yes! – The Amazing Adventures of a Life In Music. (by notreble.com)

He recorded two versions of the Gelnn Miller classic “In The Mood” … including a very modern “dub” version …

On the B-side you´ll hear “Moonlight Sernenade” recorded by  Thelma Houston:

Thelma Houston

Thelma Houston (born May 7, 1946) is an American singer and actress. She scored a number-one hit in 1977 with her cover version of the song “Don’t Leave Me This Way”, which won the Grammy for Best Female R&B Vocal Performance. (by wikipedia)

She was often compared with Aretha Frankin !

What a great version of this song !

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Tracklist:

Arthur Barrow:
01. In The Mood (Garland) 5.39
02. In The Mood (dub version) 6.08

Thelma Houston:
03. Moonlight Serenade (Miller/Parish) 7.23

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This is another item from the great greygoose record collection.
Thanks a lot !

 

Sonny Rollins – Saxophone Colossus (1956)

FrontCover1Saxophone Colossus is a studio album by American jazz saxophonist Sonny Rollins. It was recorded on June 22, 1956, with producers Bob Weinstock and Rudy Van Gelder at the latter’s studio in Hackensack, New Jersey. Rollins led a quartet on the album that included pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. Saxophone Colossus was released later that year by Prestige Records to critical success and helped establish Rollins as a prominent jazz artist.

In 2017, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being “culturally, historically, or artistically significant.”

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.

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.

SonnyRollins

The original 22 June 1956 session was recorded by Rudy Van Gelder.
In a contemporary review for Down Beat, Ralph J. Gleason wrote:

“Almost as if in answer to the charge that there is a lack of grace and beauty in the work of the New York hard-swingers comes this album in which Rollins displays humor, gentleness, a delicate feeling for beauty in line, and a puckish sense of humor. And all done with the uncompromising swinging that has characterized them all along.” (by wikipedia)

Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of “St. Thomas,” tears into the chord changes of “Mack the Knife” (here called “Moritat”), introduces “Strode Rode,” is lyrical on “You Don’t Know What Love Is,” and constructs a solo on “Blue Seven” that practically defines his style. Essential music that, as with all of Rollins’ Prestige recordings, has also been reissued as part of a huge “complete” box set; listeners with a tight budget are advised to pick up this single disc and be amazed. (by Scott Yanow)

Booklet1

Personnel:
Tommy Flanagan (piano)
Max Roach (drums)
Sonny Rollins (saxophone)
Doug Watkins (bass)

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Tracklist:
01. St. Thomas (Rollins) 6.48
02. You Don’t Know What Love Is (de Paul/Raye) 6.29
03. Strode Rode (Rollins) 5.15
04. Moritat (Mack The Knife) (Weill) 10.06
05. Blue 7 (Rollins) 11.14

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Lonette McKee – Natural Love (1992)

FrontCover1An outstanding actress, Lonette McKee is also an accomplished vocalist and pianist. She sang with the Soul Sisters, who were featured on Jonathan Winters’ television show. But she is much better known for her appearances in such films as “Sparkle,” “Cotton Club,” and “Which Way Is Up.” She recorded briefly for Sussex in 1974, but had little luck. (by Ron Wynn)

Lonette McKee’s debut for film director Spike Lee’s Columbia-distributed 40 Acres and a Mule label picks up where her 1978 Johnny Pate-produced Warner Bros. LP, Words and Music, left off, which isn’t a bad thing at all. Issued on October 6, 1992, Natural Love shows that the singer/songwriter’s muse knows no stylistic bounds. As with her earlier effort, McKee co-writes all of the songs while sharing production credits with Bryant McNeil, Gene Lake Jr., and labelmate Raymond Jones of State of Art.

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The whimsical “Watch the Birds” was the lead single. McKee flirts with hip-hop on “Dream of You.” The lovely acoustic guitar-based ballad “Hiding Away” is a gem and the same form is used for the reflective and wise “Nothing Is As It Seems.” The longing “What About You” could have easily fit on Words and Music. Though she recorded during the ’60s in her native Detroit for Clarence Avant’s Sussex label, it’s on Words and Music and Natural Love that McKee comes into her own. (by Ed Hogan)

BookletBackCover1

Personnel:
Bilal Bashir (programming)
Alvino Bennett (drums)
Chris Durante (guitar)
Ju Ju House (drums)
Nathaniel T. Hughes (percussion)
Raymond Jones (keyboards, background vocals)
Gene Lake, Jr. (drums, percussion)
Daniel T. Le’melle (saxophone)
Lonette McKee (vocals, keyboards)
Bryant S. McNeil (bass)
Robert E. Palmer (guitar, programming)
Dean Parks (guitar)
Anthony Peterson (guitar)
Charles Q. Rubin (guitar)
Richard Tee (organ)
Nathan Watts (bass)
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strings:
Noel Pointer – Cecelia Hobbs Gardner – Sandra C. Park – Elliot Rosoff – Joyce Hammann – John Pintaville – Louann Montesi – Barry Finclair – Shelia Reinhold – Carol A. Pool – Stanley G. Hunte – Sandra N. Billingslea – Winterton Garvey – Ann Labin – Belinda Whitney Barrett – Cenovia N. Cummins – Jennie Hansen – Alfred Brown – John R. Dexter – Richard Brice – Juliet M. Haffner – Harry Zaratzian – Frederick Zlotkin – Alvin C. McCall – Bruce L. Wang – Erik Freidlander
+
background vocals:
Audrey Wheeler – Armstead Christian – Will Downing – Brenda Nelson – Brenda White – Spike Lee, Joie Lee

Booklet02A

Tracklist:
01 Tell Me If This Is Love (McKee) 4.19
02. Watch The Birds (McKee) 4.14
03. Dream Of You (McKee/McNeil) 3.51
04. Sweeter & Sweeter (McKee) 4.31
05. Hiding Away (McNeil/Peterson) 4.08
06. What About You (McKee) 4.42
07. For Your Love (Lake/McNeil(Corbette) 4.08
08. Save This Precious Love (Our Precious Animals) (McKee) 3.24
09. Nothing Is As It Seems (McNeil/Peterson) 5.39
10. Don’t Wake Me Up (If I’m Dreamin’) (McKee) 4.58

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Pete York And The Susie Who Swing Revue – Same (2009)

FrontCover1Munich, the metropolis with a heart, is putting fresh swing into, well, swing. With her exceptional voice and charisma, the young singer Susie Who (born May 9, 1978) is captivating a fast growing group of fans among swing and jazz aficionados. Composer and producer Dietmar Kawohl and drummer legend Pete York, one of the world’s best drummers, have already discovered her great talent. Still, the singer remains authentic and keeps dazzling her audience with her natural charm. It’s no wonder that swing fans and event organizers are listening up whenever her name is mentioned: Susie Who!

In December 2004, the singer from Munich had the idea to sing a song, put it on a CD and give it to her grandmother. At the time, she did not even remotely expect to be able to hold her first swing album in her hands only two years later. The debut album featured SusieWho01top-class musicians and was produced by Dietmar Kawohl, who created compositions for Boney M. Milli Vanilli, No Mercy, David Hasselhoff, Joana Zimmer and others, and Johan Daansen (Meat Loaf, Scorpions, Peter Maffay, Kelly Family). Even back then, the young singer from Munich was an insider’s tip among swing experts. Today, her natural charm and exceptional voice have captivated a fast growing audience.

Pete York is one of the world’s most renowned and versatile drummers. He made a name for himself as drummer of the Spencer Davis Group. Since 1964, the native Brit has performed on stage with some of the greats of rock, blues and jazz, such as Eric Clapton, Stevie Winwood and Eddie Hardin (Hardin & York). He has also been very successful as a solo artist. For several years now, he has been a member of Helge Schneider’s live band.

PeteYork01
December of 2008 brought a great moment for an extraordinary combination, when Susie Who crossed paths with Pete York. After several jam sessions at the studio, they decided to create the project “Pete York and the Susie Who Swing Revue”. The debut album of the same title was released in the spring of 2009. “Pete York and the Susie Who Swing Revue” perform songs from the current CD and popular swing classics in clubs and at exclusive functions.

This is a perfect old fashioned jazz-album … dedicated to all the great musicians … from that period !

And it´s of course another rare Pete York recording.

PeteYork02

Personnel:
Susie Who (vocals)
Pete York (drums, percussion, vocals)
+
a bunch of unknown studiomusicians
+
Barbara Dennerlein (organ on 02.)
Torsten Goods (guitar on 06.)

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Tracklist:
01. Let’s Make A Baby Tonight (Raab) 3.51
02. Angels Only Live In Heaven (Kawohl) 3:18
03. I Only Want To Say That I Love You (Kawohl) 2:45
04. The Best I.n Life (Kawohl) 4.36
05. It’s A Disaster (Kawohl) 3.07
06. Loop De Loop (Kawohl) 3.23
07. One Night With Marilyn (Kawohl) 3.03
08. Someone To Watch Over Me (G.Gershwin(I.Gershwin) 2.44
09. My Heart Cries Mayday 3:28
10. You Belong To Me (Price/King/Stewart) 3.28
11. I Fall In Love Too Easily (Styne/Cahn) 3.06
12. The Ballad Of A Real Poor Boy 3:05
13. Misty (Garner/Burke) 3.04
14. Ring A Ding Ding (Van Heusen/Cahn) 3.29
15. Age Is Just A Number 2:34
16. Susie Is My Name 2:27
17. Drum Solo (York) 4.16

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Benny Goodman – The Famous 1938 Carnegie Hall Jazz Concert (1970)

FrontCover1The Famous 1938 Carnegie Hall Jazz Concert by Benny Goodman, Columbia Records catalogue item SL-160, is a two-disc LP of Swing music first issued in 1950. The program it captured has been described as “the single most important jazz or popular music concert in history: jazz’s “coming out” party to the world of “respectable” music.”[2]The Famous 1938 Carnegie Hall Jazz Concert by Benny Goodman, Columbia Records catalogue item SL-160, is a two-disc LP of Swing music first issued in 1950. The program it captured has been described as “the single most important jazz or popular music concert in history: jazz’s “coming out” party to the world of “respectable” music.”
The first ever double album,[citation needed] it was one of the first records of Benny Goodman music issued on the new long-playing format, and one of the first to sell over a million copies. A landmark recording, it was the premiere performance given by a jazz orchestra in the famed Carnegie Hall in New York City. This album was also sold in a set of nine 45 rpm records in the same year by Columbia.

The reception to the original 1950 long-playing double-album was exceptional, as had been the band’s appearance at Carnegie Hall.
The Penguin Guide to Jazz Recordings includes the 1999 release in its “Core Collection,” in addition to giving it a four-star rating (of a possible four). Penguin authors Richard Cook and Brian Morton describe the release as “a model effort, masterminded by Phil Schaap, whose indomitable detective work finally tracked down the original acetates and gave us the music in the best sound we’ll ever get; with powerful, even thrilling, ambience.” (by wikipedia)

Benny Goodman

Benny Goodman’s January 16, 1938, Carnegie Hall concert is considered the single most important jazz or popular music concert in history: jazz’s “coming out” party to the world of “respectable” music, held right in that throne room of musical respectability, Carnegie Hall. The 1950-vintage three-album set from the concert only solidified its reputation, and an earlier CD release derived from the LP master was a choice entry in the Goodman catalog for more than ten years. For the 1999 release, producer Phil Schaap re-sourced the concert from original 78 rpm transcription discs; he has also rescued “Sometimes I’m Happy,” the show’s original second number, and “If Dreams Come True,” its original first encore, along with the unedited version of “Honeysuckle Rose” (with Harry Carney in a two-chorus baritone sax solo and Buck Clayton’s three-chorus trumpet solo), all previously lost. The detail is startling, with soloists who are more up close than ever and even details from the audience reactions. Gene Krupa’s drums have an extraordinary richness of tone, and the whole rhythm section finally gets its due as well, even Freddie Green’s rhythm guitar solo during “Honeysuckle Rose,” which is gloriously enhanced. There will be casual listeners, however, who won’t like this release because Schaap has chosen to leave a lot of surface noise, in the interest of preserving the original concert ambience. Some compromise should have been possible, however, where the worst source damage is concerned, and some casual listeners may prefer the original CD release, despite the enhancements featured here. (by Bruce Eder)

What a line-up  … what a concert !

AlternateFrontCovers

Personnel:
Red Ballard (trombone)
Count Basie (piano)
Vernon Brown (trombone)
Harry Carney (saxophone)
Buck Clayton (trumpet)
Benny Goodman (clarinet, vocals)
Harry Goodman (bass)
Freddie Green (guitar)
Ziggy Elman (trumpet)
Chris Griffin (trumpet)
Bobby Hackett (cornet)
Lionel Hampton (vibraphone)
Johnny Hodges (saxophone)
Harry James (trumpet)
George Koenig (reeds)
Gene Krupa (drums)
Walter Page (bass)
Allan Reuss (guitar)
Art Rollini (reeds)
Babe Russin (reeds)
Hymie Schertzer (reeds)
Jess Stacy (piano)
Martha Tilton (vocals)
Cootie Williams (trumpet)
Teddy Wilson (piano)
Lester Young (saxophone)

Booklet1

Tracklist:
01. Don’t Be That Way (Sampson/B.Goodman/Parish) 4.12
02. One O’Clock Jump (Basie) 6.52
03. Dixieland One Step (Dixieland Jass Band) 1.20
04. I’m Coming Virginia (Cook/Heywood) 2.07
05. When My Baby Smiles At Me (Munro/Sterling/Lewis/v.Tilzer) 0.51
06. Shine (Mack/Dabney/Brown) 1.03
07. Blue Reverie (Ellington/Carney) 3.22
08. Life Goes To A Party (James/B.Goodman) 4.13
09. Honeysuckle Rose (Waller/Razaf) 13.57
10. Body And Soul (Green/Heyman/Sour/Eyton) 3.23
11. Avalon (Rose/DeSylva/Jolson) 4.16
12. The Man I Love (G.Gershwin/I.Gershwin) 3.28
13. I Got Rhythm (G.Gershwin/I.Gershwin) 5.09
14. Blue Skies (Berlin) 3.17
15. Loch Lomond (Traditional) 2.58
16. Blue Room (Rodgers) 5.12
17. Swingtime In The Rockies (Mundy/B.Goodman) 3.27
18. Bei mir bist du schön (Secunda/Jacobs) 0.32
19. China Boy (Winfree/Boutelje) 4.52
20. Stompin’ At The Savoy (Sampson/B.Goodman/Webb) 5.55
21. Dizzy Spells (B.Goodman/Hampton/Wilson) 5.43
22. Sing Sing Sing (With A Swing) (Prima) 10.58
23. Big John’s Special (Henderson) 3.45

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Abdullah “Dollar Brand” Ibrahim – Autobiography – Solo Piano (1983)

FrontCover1Autobiography is a live recording by pianist and flautist Abdullah Ibrahim (also known as Dollar Brand), taken from a June 18, 1978, concert in Switzerland. On the recording, Ibrahim recalls his childhood in South Africa through the songs he learned then, progressing to his own compositions in adulthood. Originally released as a two-disc LP set, the album has since been reissued on CD. (by wikipedia)

Recorded live, this two-LP solo set features pianist Abdullah Ibrahim performing songs from his youth, a Duke Ellington medley, “Take the ‘A’ Train,” “I Surrender Dear,” Thelonious Monk’s “Coming on the Hudson” and some newer pieces, including one (“Khoisan”) that he takes as a flute solo. The music is often taken as spontaneous medleys and, although the song titles are often incorrect, this twofer really does a fine job of summing up Ibrahim’s powerful and spiritual music up to 1978. (by Scott Yanow)

What a great piece of music  … listen and enjoy !

Alternate frontcovers:

AlternateFrontCovers

Recorded live at the Nyon Jazz Festival/Switzerland, on June 18th, 1978.

DollarBrand

Personnel:
Dollar Brand (piano)

Booklet1
Tracklist:
01. What Really Happened in the Cornfields is that the Birds Made Musical all the Day and so I Let a Song Go Out of my Heart at Duke’s Place” + “Anthem For the New Nations (Ibrahim) 5.11
02. Biral (Ibrahim) 3.46
03. Gwidza – Yukio-Kahlifa – Intro Liberation Dance (Ibrahim) 7.15
04. African Marketplace – Tokai – Llanga – African Sun (Ibrahim) 9.04
05. The Dream (Ibrahim) 2.30
06. Liberation Dance (Ibrahim) 2.19
07. Did You Hear That Sound ? – Our Son Tsakwe – The Wedding – I Surrender Dear – One Day When We Were Young (Ibrahim) 12.33
08. Drop Me Off in Harlem 1.123
09. Take the “A” Train (Strayhorn) – Coming On The Hudson (Monk) – Moniebah (Ibrahim) 9.01
10. Little Boy (Ibrahim) 2.30
11. Cherry (Ibrahim) 2.04
12. Ishmael – Mannenberg – Children Of Africa/Banyana – Peace-Salaam – Anthem For The New Nations (Ibrahim) 13.41
13. Khoisan (Ibrahim) 5.28

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This is another item from the great greygoose record collection.
Thanks a lot !

Glenn Miller´s G.I.´s – In Paris 1945 (2008)

GlennMillerFrontCover1Luck sometimes manifests itself in the most unexpected places at the most extraordinary times. This is the most unusual body of recordings ever to come out of the orbit of Glenn Miller — uniquely, real small-group style jazz by members of his band without any traces of the “sweet” band influence of their parent group. That said, none of the music here, or this combination of musicians, likely would have happened if Miller had not died when he did. Following his disappearance over the English Channel in December of 1944, the Army Air Force Band that he’d organized was sent over to France under the temporary command of a very unpopular lieutenant, who reacted to criticism of him in a letter by one disaffected member of the band by demoting the author and two colleagues; the demotion, in turn, led to a financial crunch for the men involved, who cut these sides at a series of recording sessions at a club in Paris, all to earn a little extra money and make up for the loss of pay accompanying the demotions.

Booklet03A
That was how saxman Peanuts Hucko, pianist Mel Powell, trumpet player Bernie Priven, bassist Joe Schulman, and drummer Ray McKinley came to record these sides with Django Reinhardt on guitar in the winter and spring of 1945. And what sides; from the hot opening rendition of “How High the Moon,” featuring a killer trumpet solo by Priven, through the, well, stomping version of “Stompin’ at the Savoy,” to the elegant “I Must Have That Man,” on which bucko’s clarinet recalls Benny Goodman’s sound, there’s just a lot of superb playing to admire here in a multitude of sounds, even crossing into Dixieland territory on “Please Don’t Talk About Me When I’m Gone,” and Hucko’s solo on “S’Wonderful” is almost worth the price of admission by itself. And there’s more Mel Powell-featured material here than in the whole rest of his catalog from the 1940s combined, capped by his four sublimely beautiful solo numbers from one afternoon’s sessions. Django Reinhardt, who only played on one day’s sessions, gets his licks in as well, particularly on “If Dreams Come True.” The final four numbers, credited to the Ray McKinley Trio, feature Hucko, Powell, and McKinley. The fidelity is excellent and the notes are extraordinarily detailed and enlightening. (by Bruce Eder)

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Personnel:
Peanuts Hucko (clarinet, saxophone)
Carmen Mastren (guitar)
Ray McKinley (drums)
Mel Powell (piano)
Bernie Privin (trumpet)
Django Reinhardt (guitar)
Joe Shulman (bass)

Booklet02A
Tracklist:
01. How High The Moon (Hamilton/Lewis) 2.25
02. If Dreams Come True (Goodman/Mills//Sampson) 2,39
03. Hallelujah! (Grey/Robin/Youmans) 2,58
04. Stompin’ At The Savoy (Goodman/Razaf/Sampson/Webb) 2.49
05 I Must Have That Man! (Fields/McHugh) 2.57
06, Please Don’t Talk About Me When I’m Gone Side (Clare/Stept)m 2.55
07. ‘S Wonderful (Gershwin) 2.39
08. Someday, Sweetheart (B.Spikes/J.Spikes) 3.06
09 Blue Skies (Berlin) 2.40
10. Red Light (Powell) 2.44
11. You’re Driving Me Crazy (Donaldson) 2.41
12. You’re Driving Me Crazy (Donaldson) 2.41
13. On The Sunny Side Of The Street (Fields/McHugh) 2.58
14 Hommage à Fats Waller (Powell) 2.34
15. Hommage à Debussy (Powell) 3.08
16. For Miss Black (Poor Miss Black) (Powell) 2.15
17. Don’t Blame Me (Fields/McHugh) 2.51
18 Pennies From Heaven (Burke/Johnston) 2.34
19. One, Two, Button Your Shoe (Burke/Johnston) Glenn Miller 2.34
20. At Sundown (Donaldson/Whiting) 2.19
21 At Sundown (Donaldson/Whiting) 2.24
22. Stealin’ Smack’s Apples (Stealin’ Apples) (Razaf/Waller) 2.31
23. Sugar (Alexander/Mitchell/Pinkard) 2.55
24. After You’ve Gone (Creamer/Layton) 2.41
25. Shoemaker’s Apron (Hucko) 2.39
26. China Boy (Boutelje/Winfree) 2.40

Django Rheinhardt
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