Cal Tjader – Cal Tjader´s Latin Concert (1959)

FrontCover1.jpgCal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet’s puckishly titled “Rap Your Troubles in Drums,” and would occasionally sit in on piano as well.

Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing’s then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing’s band that Tjader’s love affair with Latin music began, ignited by Shearing’s bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the ’50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader’s band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band’s songbook (“Ginza,” “Thinking of You, MJQ”).


Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-’50s through the early ’60s, switching in 1961 to Verve, where under Creed Taylor’s aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O’Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with “Soul Sauce,” a reworking of Dizzy Gillespie/Chano Pozo’s “Guacha Guaro,” which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death. (by Richard S. Ginell)


Latin Concert is a pretty good sampling of vibraphonist Cal Tjader’s influential Latin jazz of the 1950s. With pianist Vince Guaraldi, bassist Al McKibbon, Willie Bobo on timbales and drums, and the congas of Mongo Santamaria, Tjader’s impressive unit performs four of his catchy originals and two by Santamaria in addition to Latinized versions of “The Continental” and Ray Bryant’s “Cubano Chant.” This highly rhythmic music is hard to dislike. (by Scott Yanow)

Recorded live at the Blackhaw, San Francisco, 1958


Willie Bobo (drums, percussion)
Vince Guaraldi (piano)
Al McKibbon (bass)
Mongo Santamaria (congas)
Cal Tjader (vibraphone)


01. Viva Cepeda (Tjader) 3.42
02. Mood For Milt (Tjader) 3.15
03. The Continental (Conrad/Magidson) 3.43
04. Lucero (Tjader) 4.28
05. ¿Tu Crees Que? (Santamaria) 4.49
06. Mi Guaguanco (Santamaria) 4.44
07. Cubano Chant (Bryant) 4.04
08. A Young Love (Tjader) 9.26
09. Theme (Tjader) 1.08




Keith Jarrett – Personal Mountains (1979)

FrontCover1.jpgIn the late 1970s, Keith Jarrett was leading both an American quartet and a European one, though the designations referred strictly to the makeup of the groups, not to the venues they played. These 1979 recordings by the European band were made during a tour of Japan. On five of the pianist’s tunes, there’s exceptional group interaction between Jarrett and Scandinavians Jan Garbarek, on tenor and soprano sax, Palle Danielsson on bass, and Jon Christensen on drums. That interplay shows to best advantage in the extended performances here, the turbulent title tune and the moody, dissonant “Oasis,” the group’s individual voices coming together in tense, vibrant dialogue. The funky “Late Night Willie” takes full advantage of Garbarek’s R&B sound, while Jarrett shines on the luminous ballad “Prism” and the hymnlike simplicity of “Innocence.” Personal Mountains is as well sustained as the group’s studio set, My Song, or the contemporaneous Nude Ants from the Village Vanguard. (by Stuart Broomer)


It is very much out of character for the prolific Keith Jarrett and his producer Manfred Eicher to hold anything back, yet they’ve done it here, releasing these live tapes of Jarrett’s European quartet ten years after they were recorded. Presumably, they did it in order not to distract attention from Nude Ants, which was recorded a week after these concerts, but that never stopped them before from just piling on more discs. In any case, these Tokyo recordings were too good to hide; the quartet had reached an interactive creative high around this time, often burning at the rarified level that Nude Ants reached. Jarrett is both lyrically effusive and able to ignite his European colleagues into giving him more swinging support than on earlier sessions. In particular, the title track has a lot of the exploratory fervor of “New Dance” from Nude Ants, and “Late Night Willie” gets down deep into the Jarrett gospel feeling. Jan Garbarek is especially forthright in Tokyo on tenor, while his soprano pierces like a beam of sunlight, and Palle Danielsson (bass) and Jon Christensen (drums) are loose, relaxed, and impeccably recorded. Clearly this is one of the peaks of the European quartet’s discography. (by Richard S. Ginell)


Jon Christensen (drums)
Palle Danielsson (bass)
Jan Garbarek (saxophone)
Keith Jarrett (piano)

01. Personal Mountains 16.02
02. Prism 11.16
03. Oasis 18.04
04. Innocence 7.17
05. Late Night Willie 8.46

All compositions by Keith Jarrett



Glenn Miller And His Orchestra – When Johnny Comes Marchin´ Home + 3 (1957)

FrontCover1.jpgBandleader Glenn Miller inspired the World War II generation and boosted morale with many popular songs.

Born in 1904 in Iowa, bandleader and musician Glenn Miller inspired the World War II generation. He was one of the most popular bandleaders in the late 1930s and early 1940s with such songs as “Moonlight Serenade” and “Tuxedo Junction.” In 1942, Miller enlisted in the U.S. Army and was assigned to lead the Army Air Force Band. He boosted the morale of the troops with his many popular songs before mysteriously disappearing on a flight from England to Paris, France. Miller’s original recordings continue to sell millions of copies. He died on December 15, 1944. ((by

And here´s an EP from 1957 …

Enjoy the era of Big Band Jazz … but you should be in a sentimental mood …




01. When Johnny Comes Marching Home (Dickinson/Conway/Finnegan) 3.12
02. Below The Equator (Tobias/Friend) 3.23
03. I’ll Never Smile Again, Until I Smile At You (Lowe) 2.40
04. Say “Si Si” (Stillman/Luban/Lecuona) 2.39




Avishai Cohen Trio – Night Of Magic (2008)

FrontCover1Avishai Cohen (Hebrew: אבישי כהן‬; born April 20, 1970) is an Israeli jazz double bassist, composer, singer, and arranger.

Avishai was born in Kabri, Israel. He grew up in a musical family at Motza and Beit Zayit near Jerusalem until the age of six, when his family moved to Shoeva, western Israel. He began playing the piano at 9 years old, but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. Later, after playing in an Army band for two years, he began studying upright bass with Michael Klinghoffer. Two years later he moved to New York City, and got in contact with other jazz players. At the beginning of his stay there he had to struggle, working in jobs like construction. According to him his first year there was the most difficult year of his life, having to play bass in the streets, subways and parks. He studied music at The New School for Jazz and Contemporary Music, and after playing Latin jazz in a few bands in his student years, Cohen was approached by pianist Danilo Pérez to join his trio.

After a long period of performing in small clubs, Cohen got a phone call from the jazz pianist Chick Corea and was given a record contract. In 1996, he became a founding member of Corea’s sextet Origin, and his first four albums as a leader were subsequently released under Corea’s Stretch label. Cohen performed in Corea’s bands until as late as 2003, when he left the Chick Corea New Trio and started his own record label; he currently performs with his own group, the Avishai Cohen Trio (with fellow Israelis Daniel Dor on drums and Nitai Hershkovits on piano). His later albums have been released by this formation with extended lineup including wind instruments.


Aside from Corea, Cohen has accompanied, recorded or performed with several noted jazz figures such as Bobby McFerrin, Roy Hargrove, Herbie Hancock, Kurt Rosenwinkel, Nnenna Freelon and Paquito D’Rivera. Other collaborators include Claudia Acuña (Wind from the South, 2000), Alicia Keys (studio recording) and the London and Israel Philharmonic Orchestras (concert performances). Cohen has been cited as “undoubtedly the most successful” of Israel’s jazz exports by The Jerusalem Post a “jazz visionary of global proportions” by Down Beat, one of the 100 Most Influential Bass Players of the 20th Century by Bass Player magazine, and “a great composer” and “a genius musician” by Chick Corea himself.

In 2002, Cohen founded his record label, Razdaz Recordz, and on September 9 of 2003, released his label’s debut album, Lyla. “I’ve always been interested in several genres of music, including jazz, rock, pop, Latin and funk,” says Cohen. “I’m always packed with ideas. I decided to start my own label because I’m involved in so many different Cohen2010.jpgprojects.” (Avishai Cohen, 2003) As of 2012, the label had produced 12 albums, five of which were Cohen’s. Other artists associated with the label include pianist Sam Barsh, saxophonist Jimmy Green, flutist Ilan Salem, and guitarist Amos Hoffman. Also produced by Razdaz are the works of some of Cohen’s associates such as drummer Mark Guiliana, who performed with Cohen on two of his albums. Razdaz produced an album for Guiliana’a band HEERNT in 2006. Razdaz also produced Lady of The Forest, the first album of the singer Karen Malka, in 2010. Karen had been touring with Cohen for three years prior. The most recent production of the label is Ilan Salem’s album Wild, which is Ilan’s third album, though it is his first under Razdaz.

Lyla is the first album released by Cohen’s Razdaz Recordz. The album was lauded for its genre breaking diversity. Cohen reflects on his work, “Lyla reflects much of who I am as an artist. The International Vamp Band has been touring for two years and I wanted to document that. I also started a rock band Gadu with Israeli drummer named Mike Starr dubbed by ‘Drummer magazine’ as one of the most aggressive drummers in Jazz and some young musicians who are graduates of William Paterson College. It’s creating a buzz in New York, I have been exploring a lot of new territory. I’ve also been working on pop tunes with a female vocalist named Lola. And, of course, to show the whole picture Cohen2015on the CD, I wanted to acknowledge my relationship to Chick. I’ve been associated with him for six years and have played hundreds of shows in his bands, so we’re very connected.”

Cohen’s signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms. The New York Times describes his 2006 album Continuo as conjoining “heavy Middle Eastern groove with a delicate, almost New Age lyricism”. Cohen often sings in Judaeo-Spanish (Ladino), to which he has a connection through his mother. For example, “Morenika”, from his album Aurora, is a very famous Ladino song he grew up hearing his mother singing around the house (by wikipedia)

And here´s a very rare album by Avishai Cohen; recorded and produced for the record market in the Ukraine only:

This Kyiv concert is, no doubt, memorable for all those who was then at the concert hall – and, apart from them, all of their relatives and acquaintances, because the sensations then had to find at least some way out) Non-speaking about it was just dangerous, and impossible as well… And – that was speaking enthusiastically, selflessly, and partly – silently (because this music is still much greater than any words), with light in the eyes, warm shine on the face – right? I’m sure that I’m right. Between the hall and the scene, a mystery of incredible might and depth took place, that was Music that for some time melted the several hundreds of various, separate souls – into the joint, large, live heart. I think that on that evening there was enough love to prevent or stop some war in the world – and probably, in the end, so it happened… That is why it seems to me that one such concert is worth a dozen of other nice concerts – because this was not nice. This was – truthful light magic. I know: the real soul of music opens up exactly on such evenings – in full, and no matter whether it is called jazz.


But it matters that this is live music, which takes place here and now, which not only causes reaction, but also instantly reacts, breathes, changes, acquires a new clarity. If I’m not mistaken, “To the Bird” was performed by Avishai Cohen after his modest warning: – Now I will do this for the first time, – and he did! However, the essence here is not even technical skills, no. Just sometimes there happen performances, when it seems that the high sky went down on earth, and this is a wonderful experience. But others also happen, when one feels the earth flying up into the sky – and this is indescribably beautiful… The music by Avishai Cohen Trio on that evening was exactly like that – and let you be able to feel at least a particle of this sincere, warm beauty… (by Milan Asadurov)

Oh, what a night, what a concert … listen for example to “The Ever Evolving Etude” … sounds like a musical orgasm … and … he played a very special version of the Beatles classic “Come Together” !!!

Recorded live in Kiev Conservatory Hall on November 29, 2007


Avishai Cohen (bass, vocals)
Mark Juiliana (drums)
Shai Maestro (piano)


01. Elli (Cohen) 9.04
02. Gently Disturbed (Cohen) 6.45
03. The Ever Evolving Etude (Cohen) 7.21
04. Ani Maamin (Shlonsky) 11.26
05. Remembering (Cohen) 7.12
06. Eleven Wives (Cohen) 5.29
07. To The Bird (Cohen) 5.48
08. Come Together (Lennon/McCarntey) 4.46



Henry Mancini – Combo! (1962)

FrontCover1.jpgHenry Mancini was a significant writer for films who used the flavor of jazz in some of his movie scores. Mancini gathered an impressive cast of top players consisting of trumpeter Pete Candoli, trombonist Dick Nash, Ted Nash on alto and flute, Art Pepper (sticking exclusively to clarinet), baritonist Ronnie Lang, pianist Johnny Williams (doubling on harpsichord), guitarist Bob Bain, bassist Rolly Bundock, drummer Shelly Manne, Ramon Rivera on conga, and Larry Bunker on vibes and marimba. Some of the dozen selections are relatively straight-ahead, while a few (particularly “A Powdered Wig” and “Scandinavian Shuffle”) are a bit corny, especially in their use of harpsichord and marimba. There are a few strong moments (particularly from Candoli and Pepper) on such numbers as “Moanin’,” “Sidewalks of Cuba,” “Castle Rock,” and “Everybody Blow,” but the end results are not too essential. Overall, this is a compromise between creative jazz and tightly controlled music meant for a larger audience. A historical curiosity. (by Scott Yanow)

This is West Coast jazz at its best. A lot of top players are on board, and Mancini’s charts can’t be beat. Like a lot of the great music of the 1960s, they could do the job in three minutes or less, too. (Fran Coombs)


Bob Bain (guitar, bass)
Rolly Bundock (bass)
Larry Bunker (vibraphone, marimba)
Pete Candoli (trumpet)
Ronny Lang (saxophone, flute)
Shelly Manne (drums)
Ted Nash (saxophone, flute)
Art Pepper (clarinet)
Ramon Rivera (percussion)
Johnny Williams (piano, harpsichord)

Arranged and conducted by Henry Mancini


01. Moanin’ (Timmons) 2.53
02. Sidewalks Of Cuba (Oakland/Parish/Mills) 3.22
03. Dream Of You (Oliver/Lunceford/Moran) 2.57
04. Swing Lightly (Mancini) 4.20
05. Castle Rock (Drake/Shirl/Sears) 2.35
06. A Powdered Wig (Mancini) 2.39
07. Playboy’s Theme (Coleman) 3.00
08. Tequila (Rio) 2.40
09. Far East Blues (Mancini) 3.30
10. Charleston Alley (Wright/Kirkland) 3.14
11. Scandinavian Shuffle (Asmussen) 2.40
12. Everybody Blow! (Mancini) 3.23




Duke Ellington – Ellington At Newport (1956/1999)

Ellington At Newport LP 1Ellington at Newport is a 1956 live jazz album by Duke Ellington and his band of their 1956 concert at the Newport Jazz Festival, a concert which revitalized Ellington’s flagging career. Jazz promoter George Wein describes the 1956 concert as “the greatest performance of [Ellington’s] career… It stood for everything that jazz had been and could be.”. It is included in the book 1001 Albums You Must Hear Before You Die, which ranks it “one of the most famous… in jazz history”. The original release partly recreated in the studio the Ellington Orchestra’s festival appearance.

Many big bands folded by the mid-1950s, but Ellington kept his band working, occasionally doing shows in ice-skating rinks to stay busy.[clarification needed] The Duke Ellington Orchestra did European tours during the early 1950s, and Ellington was chiefly supporting the band himself through royalties earned on his popular compositions of the 1920s to 1940s. At the time of the festival, the band did not even have a record deal.

Duke and his orchestra arrived to play at the Newport Jazz Festival at a time when jazz festivals were a fairly new innovation. Ellington’s band was the first and last group to play at the Newport Festival. The first, short set began at 8:30 and included “The Star Spangled Banner”, “Black and Tan Fantasy” and “Tea for Two”. This set was played without a few of the band’s members as they were unable to be found at the start of the show.


After performances by the other groups, the remainder of the band was located and the real performance began. Duke led off with “Take the ‘A’ Train”, followed by a new composition by Duke and Billy Strayhorn, a suite of three pieces: “Festival Junction”, “Blues to Be There”, and “Newport Up”. This suite was intended to be the showstopper, but the reception was not as enthusiastic as was hoped.

Following the Festival suite, Duke called for Harry Carney’s baritone saxophone performance of “Sophisticated Lady”. Then the orchestra played “Day In, Day Out”. Following this, Duke announced that they were pulling out “some of our 1938 vintage”: “Diminuendo and Crescendo in Blue” joined by an improvised interval, which Duke announced would be played by tenor saxophonist Paul Gonsalves.

Ellington had been experimenting with the reworking for several years before the Newport performance; a release of one of his Carnegie Hall concerts of the 1940s presented the two old blues joined by a wordless vocal passage, “Transbluecency,” but in time he chose to join the pair by a saxophone solo, handing it to Gonsalves, experimenting with it in shorter performances before the Newport show, where Ellington is believed to have told Gonsalves to blow as long as he felt like blowing when the solo slot came. It came after two choruses of an Ellington piano break at what was formerly the conclusion of “Diminuendo in Blue.”


As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington’s life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode, drummer Sam Woodyard, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on (“Come on, Paul — dig in! Dig in!”) to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, actress Elaine Anderson, getting up and dancing enthusiastically. When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the “Crescendo in Blue” portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.

Elaine Anderson1

After that performance, pandemonium took over. Duke calmed the crowd by announcing, “If you’ve heard of the saxophone, then you’ve heard of Johnny Hodges.” Duke’s best known alto saxophonist then played two of his most famous numbers in “I Got It Bad (and That Ain’t Good)” followed by “Jeep’s Blues”. Still the crowd refused to disperse so Duke called for Ray Nance to sing “Tulip or Turnip”. The festival’s organizers tried to cut off the show at this point but once again were met with angry refusals to end the evening.

Duke told the announcer that he would end the show and wanted to thank the audience but instead announced he had a “very heavy request for Sam Woodyard in ‘Skin Deep'”, a number written by former Ellington drummer Louis Bellson. This drum solo feature was the final number featured, followed by a farewell from Duke over “Mood Indigo”. In his farewell, he thanked the crowd for the “wonderful way in which you’ve inspired us this evening.” He then finished with his trademark statement, “You are very beautiful, very sweet and we do love you madly.” With that, the historic show concluded.


Columbia Records recorded the concert and an album soon followed. Duke appeared soon after on the cover of Time, and his resurgent popularity lasted throughout the rest of his life. Some of his most critically acclaimed albums occurred during the next decade and a half, until age and illness began to claim some of Duke’s band members and, in 1974, Ellington himself.

In 1996, a tape discovered in the Voice of America’s archive of its radio broadcasts revealed that the 1956 album had indeed been fabricated with studio performances mixed with some live recordings and artificial applause. Only about 40% of the 1956 recording was actually live. The reason for this was that Ellington felt the under-rehearsed Festival suite had not been performed up to recording release standards, and he wished to have a better version on tape if it was to be issued on record. Producer George Avakian did as Ellington asked and the band entered the studio immediately after TimeMagazine.jpgthe festival. Avakian mixed in the studio version with portions of the live performance. The applause was dubbed onto the original release to cover up the fact that Gonsalves had been playing into the wrong microphone and was often completely inaudible.

On the 1999 reissue, the VoA live recording and live Columbia tapes were painstakingly pieced together using digital technology to create a stereophonic recording of the most well-known Ellington performance of the past fifty years, this time with Gonsalves’ solo clearly heard, though the beginning of the audience cheering and noise at around the seventh or eighth chorus of the solo can still be heard as well. (Stereophonic LP records were not mass-produced until 1957, the year after the recording.) (by wikipedia)

Duke Ellington’s appearance at the 1956 Newport Jazz Festival has long been famous, and justifiably so. Paul Gonsalves’ 27-chorus tenor solo on “Diminuendo in Blue and Crescendo in Blue” practically started a riot at Newport and made headlines around the world. The momentum generated by this concert led to Ellington’s comeback and never let up during his 18 remaining years. A double CD put out in 1999 presents the entire concert performance, previously unheard material, and a few revelations. After a brief truncated set that was cut short because four of Ellington’s musicians could not be found, the Ellington Orchestra returned to the stage three hours later. They played “Take the ‘A’ Train,” “Newport Jazz Festival Suite,” a showcase for Harry Carney on “Sophisticated Lady,” and a so-so Jimmy Grissom vocal outing on “Day In, Day Out.” Then came “Diminuendo in Blue and Crescendo in Blue.”


The saxophone interlude caused crazed dancing, and soon the crowd was as loud as the band. When the crowd would not quiet down, Ellington saved the day by closing with a long version of “Skin Deep.” But unknown to most people is that on July 9, the orchestra went to the studios to reproduce the program. The earlier version of the “Newport Jazz Festival Suite” had been a bit sloppy and Gonsalves’ famous tenor solo on “Diminuendo” had actually been played into the wrong microphone. Ellington’s band therefore performed the entire “Newport Jazz Festival Suite” again and it was issued (with phony applause, introductions, and crowd noises) on the original LP. Highly recommended. (by Scott Yanow)


Cat Anderson (trumpet)
Harry Carney (saxophone)
Willie Cook (trumpet)
Duke Ellington (piano)
Paul Gonsalves (saxophone)
Jimmy Grissom (vocals)
Jimmy Hamilton (clarinet)
Johnny Hodges (saxophone)
Quentin Jackson (trombone)
Ray Nance (trumpet, vocals)
Russell Procope (saxophone)
John Sanders (trombone)
Clark Terry (trumpet)
Jimmy Woode (bass)
Britt Woodman (trombone)
Sam Woodyard (drums)



CD 1:
01. Star Spangled Banner (Smith) 1.10
02. Father Norman O’Connor introduces Duke & The Orchestra / Duke introduces Tune & Anderson, Jackson & Procope 3.36
03. Black And Tan Fantasy (Miley/Ellington) 6.21
04. Duke introduces Cook & Tune 0.26
05. Tea For Two (Youmans) 3.34
06. Duke & Band leave stage / Father Norman talks about the festival 2.30
07. Take The A Train (Strayhorn) 4.27
08. Duke announces Strayhorn’s A Train & Nance / Duke introduces Festival Suite, Part I & Hamilton 0.41
09. Part I – Festival Junction (Strayhorn/Ellington) 8.10
10. Duke announces Soloists; introduces Part II 0.38
11 Part II – Blues To Be There (Strayhorn/Ellington) 7.09
12. Duke announces Nace & Procope; introduces Part III 0.19
13. Part III – Newport Up (Strayhorn/Ellington) 5.33
14. Duke announces Hamilton, Gonsalves & Terry / Duke introduces Carney & Tune 0.25
15. Sophisticated Lady (Ellington/Mills/Parish) 3.52
16. Duke announces Grissom & Tune 0.17
17. Day In, Day Out (Mercer/Bloom) 3.50
18. Duke introduces Tune(s) And Paul Gonsalves interludes 0.23
19. Diminuendo In Blue And Crescendo In Blue (Ellington) 14.20
20. Announcements, Pandemonium 0.44
21. Pause track 0.06

CD 2:
01. Duke ntroduces Johnny Hodges 0.18
02. I Got It Bad (And That Ain’t Good) (Ellington/Webster) 3.38
03. Jeep’s Blues (Ellington/Hodges) 4.36
04. Duke calms crowd; introduces Nance & Tune 0.42
05. Tulip Or Turnip (George/Ellington) 2.49
06. Riot prevention 1.08
07. Skin Deep (Bellson) 9.13
08. Mood Indigo (Bigard/Ellington/Mills) 1.30
09. Studio Concert (Excerpts) 1.15
10. Father Norman O’Connor introduces Duke Ellington / Duke introduces New Work, Part I & Hamilton 1.02
11. Part I – Festival Junction (Strayhorn/Ellington) 8.46
12. Duke announces Soloists; introduces Part II 0.32
13. Part II – Blues To Be There (Strayhorn/Ellington) 7.48
14. Duke announces Nance & Procope; introduces Part III 0.16
15. Part III – Newport Up (Strayhorn/Ellington) 5.20
16. Duke announces Hamilton, Gonsalves & Terry / Pause / Duke introduces Johnny Hodges 0.41
17. I Got It Bad (And That Ain’t Good) (Ellington/Webster) 3.47
18. Jeep’s Blues (Ellington/Hodges) 4.32
19. Pause track 0.07




Duke Ellington at the Newport Jazz festival, 1956

Herbie Hancock – Inventions and Dimensions (1963)

FrontCover1.jpgInventions & Dimensions is the third album by Herbie Hancock, recorded on August 30, 1963 for Blue Note Records. The album was also re-released in the mid-1970s as Succotash credited to Hancock and Willie Bobo.[4] Inventions & Dimensions is unusual in prominently featuring Latin percussion without being a Latin jazz album, rather being Hancock’s exploration of modal jazz and post-bop. (by wikipedia)

All too often the concept of a Latin jazz album by a musician without a history inside that genre implies bop solos over a heavy-handed polyrhythmic foundation. What makes pianist Herbie Hancock’s Inventions & Dimensions so utterly fresh and challenging, even decades after its original 1963 release, is his willingness to try a number of Latin-sounding gambits without resorting to a Drums of Passion rhythmic backdrop. Anyone who has appreciated Bud Powell’s forays into a kind of proto-Latin improvisation will appreciate Hancock’s inventiveness.

The four original compositions by Hancock are far from catchy, more like sketches than his most famous pieces. Yet from these patchy and meandering tunes Hancock works up a completely mesmerizing series of colors and textures and riffs, with mutated montunos dominant in the mix.


The two percussionists, Osvaldo Martinez and Willie Bobo, are steady, yet seem to be more along for the ride with Hancock than inspiration for the pianist. The same might be said for bassist Paul Chambers. They all take tasteful solos, but the star of the session is completely Hancock.

Not only is this album a thoughtful entertainment for anyone focused on the best Blue Note releases of the ’60s, I hope it will be carefully studied by young musicians desiring to mine Latin jazz with seriousness and a bold spirit. (by Norman Weinstein)

Herbie Hancock 1963A

Willie Bobo (drums, timbales)
Paul Chambers (bass)
Herbie Hancock (piano)
Osvaldo “Chihuahua” Martinez (percussion)


01. Succotash 7.41
02. Triangle 11.02
03. Jack Rabbit 5.58
04. Mimosa 8.39
05. A Jump Ahead 6.34
Mimosa (alternate take) 10.07

All compositions by Herbie Hancock