Lionel Hampton Big Band in Nice, 1978

Lionel Hampton [photo source: MTV]

For years I've regretted losing my VHS tape of the complete Lionel Hampton birthday party concert at North Sea Jazz Festival in Hague, a big band event of highest caliber which introduced me to some the best instrumentalists in jazz, people such as Pepper Adams, Arnett Cobb (playing with crutches under his arms), and Harry Sweets Edison.

Now, thanks to Hoffmannjazz YouTube channel, I am able to see a filmed footage of the orchestra in Nice, France, playing M Squad Theme a week before they took the North Sea stage.

This is an absolutely stellar line-up with solos given to Ray Bryant, Joe Newman (A few choruses are off-mike), Kai Winding, Charles MacPherson, Pepper Adams, Cobb, Cat Anderson, and Billy Mackel.

Klook Meets the Detroit Jazzmen

Kenny "Klook" Clarke's job as a drummer was, more or less, "establishing a pulse that both band and listener could feel as well as hear," (Joop Visser) and in the first half of the 1950s that pulse became the driving force of many Savoy recordings. Like that legendary rhythm section of Red Garland/Paul Chambers/Philly Joe Jones, the master drummer of bebop, Kenny Clarke, formed a super unit of the first rate musicians for the Savoy label, mostly consisted of Hank Jones on piano and Wendell Marshall on bass. Aside from their accompanying job, the classic Hank Jones Trio LP was an output of the auspicious collaboration. Other groups benefited from the Savoy rhythmic section were Eddie Bert Quartet, Nat Adderley Quintet, Joe Wilder Quartet and Milt Jackson Quintet; all classics of the post-bop era. Also It happened many times that Jones or Marshall were not available, so Klook teamed up with other rhythm suppliers, some of them as good as the absent gentlemen.

Occasionally, between endless sessions which sometimes lasted for 20 hours per day, Klook found time to record albums under his own name. His leadership materialized the famous LP, Bohemia After Dark and some other Savoy outputs. His last date for Savoy, as leader, was composed of, if in not Detroit-born, but the Detroit-raised musicians of extremely high caliber which was named KC Meets the Detroit Jazzmen.

Radio Hawkins#18

عكس زمينه از رضا حكيمي

اپيزود هجدهم

راديو هاوكينز: جاز براي ايران

برنامه اين هفته به پخش آلبومي كامل ار چيكو هميلتن كوينتت (با اريك دالفي) از سال 1959 اختصاص دارد و سپس آثاري از

بيگ جو ترنر، جو آلباني، نينا سيمونه، بادي تيت، تد دامرن، ال كان و باب بروك ماير، بيل اونز و چت بيكر

به برنامه در اين جا گوش كنيد

   

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برنامه را در اين جا دانلود كنيد

فهرست قطعات و موزيسين هاي برنامه هجدهم به ترتيب پخش

Fat Mouth
Theme for a Starlet
Little Lost Bear
Champs-Elysées
Pretty Little Theme
Lost in the Night
Cawn Pawn
Lullaby for Dreamers
Opening
Lady E
Truth
Chico Hamilton Quintet
Eric Dolphy (reeds), Dennis Budimir(guitar), Nathan Gershman (cello), Wyatt Ruther or Ralph Peña (bass), Chico Hamilton (drums)
19 & 20/5/1959  Chico Hamilton Quintet feat. Eric Dolphy

Pennies From Heaven
Big Joe Turner
Bob Smith (alto sax), J.D. Nicholson (piano), Herman Bennett (guitar), Pee Wee Crayton (guitar), Winston McGregor (bass), Charles Randall (drums), Big Joe Turner (vocal)
10/3/1976 In the Evening

For the Little Guy
Joe Albany
Joe Albany (piano), Al Gafa (guitar), George Duvivier (bass), Charlie Persip (drums)
1982 Portrait of an Artist

Fontainbleau
Tadd Dameron and his orchestra
Henry Coker (trombone), Kenny Dorham (trumpet), Cecil Payne (baritone sax), Joe Alaxander (tenor sax), Sahib Shihab (alto sax), Tadd Dameron (piano), John Simmons (bass), Shadow Wilson (drums)
9/3/1956 Fontainbleau

Alone Together
Chet Baker
Chet Baker (trumpet), Herbie Mann (flute), Pepper Adams (baritone sax), Bill Evans (piano), Paul Chambers (bass), Connie Kay or Philly Joe Jones (drums)
30/12/1958 Complete Legendary Sessions

Goduka Mfundi (Going Home)
Buddy Tate
Buddy Tate (tenor sax), Cecil McBee (bass), Roy Brooks (drums)
25/8/1977 Buddy Tate Meets Abdullah Ibrahim

Don't Smoke in Bed
Nina Simone
Nina Simone (piano, vocal)
12/1957 Little Girl Blue


Winter
Al Cohn Quintet
Bob Brookmeyer (trombone), Al Cohn (tenor sax), Mose Allison (piano), Teddy Kotick (bass), Nick Stabulas (drums).
4/12/1956 Al Cohn Quintet feat. Bob Brookmeyer

Summertime
Big Joe Turner
Bob Smith (alto sax), J.D. Nicholson (piano), Herman Bennett (guitar), Pee Wee Crayton (guitar), Winston McGregor (bass), Charles Randall (drums), Big Joe Turner (vocal)
10/3/1976 In the Evening

Blue Gene (Gene Ammons, 1958)

Blue Gene
Gene Ammons

Recorded: New York, May 2, 1958
(According to Jazz discography project recorded in Rudy Van Gelder Studio, Hackensack, NJ. That simply couldn't be true, because after all it's a Prestige session, not Blue Note. My LP liner notes say New York City is correct.)

Label: Prestige LP 7146 or Original Jazz Classics OJCCD 192-2

Musicians:
Idrees Sulieman (tp)/Pepper Adams (Barsax)/Mal Waldron (p)/Doug Watkins (b)/Art Taylor (d)/Ray Barretto (perc)

Tracks:
1-Blue Gene (13:54)
2-Scamperin’ (8:39)
3-Blue Greens and Beans (9:00)
4-Hip Tip (8:58)
Totall Time 40:31

All tracks composed by Mal Waldron.
(According to AMG some tracks are composed by Ammons himself and track three by a guy named Green (!), this is not true. Once again repulsive monopoly of AMG on music scene becomes clear, I’m tired of these worthless so-called reviews and ratings and misinformation)

Issues & reissues:
LP - Blue Gene; Blue Greens And Beans, Pt. 1&2; Biggest Soul Hits.
CD - Blue Gene; Greatest Hits: The 50s.

Session Details:
1509 Blue Greens and Beans Prestige 45-140, PRLP 7146; Fantasy OJCCD 6013-2
1510 Hip Tip Prestige PRLP 7146
1511 Scamperin' -
1512 Blue Gene Prestige PRLP 7146, PRLP 7306

We read about this album At AMG’s entry: "The final of Ammons’s series of jam sessions for Prestige features an excellent septet". First, it's not (and never intend to be) a jam session in true sense of the word, It's more a hard bop blowin' session with lots of energy but restricted in the field of the composed pieces by Mal Waldron. Second, this is not "the last" of anything because Ammons has other sessions for Prestige, after this one.
Let's forget about Scott Yanow of the AMG and dig this very good round up of two great saxophonists. This a great example of Chicago school of tenor sax by master Ammons.

See a previous post about Ammons.
See another post on Pepper Adams.

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Jazz Encounters!

موسيقي جاز براي من هم موسيقي بيداري و حركت بوده و هم موسيقي خواب و ايستايي. هميشه به نظرم لحظۀ سنجش وابستگي حقيقي يك آدم به موسيقي زماني است كه فشار رواني آني و سنگيني بر او وارد مي شود. واكنش او نسبت به موسيقي در اين لحظه چگونه خواهد بود؟ كسي را در نظر بگيريد كه در اتوموبيلش مشغول شنيدن موسيقي است و با سر رسيدن چنين لحظه اي او را خواهيد ديد كه در اولين حركت دستش را به طرف پيچ يا دگمۀ ضبط صوت برده و «صدا را خفه مي كند تا افكارش را جمع كند.»
غالباً موسيقي به عنوان چيزي جداي از زندگي روزمره، نوعي افزودۀ شيك و رومانتيك به آن، شناخته مي شود. الحاقي هنري براي فواصل خنثي و آرام از زندگي. چنين است كه بيشتر مردم در مواقع گرفتاري و بي حوصلگي به هر چيزي فكر مي كنند الا موسيقي. اين جاست كه تكليف من با خيلي كسان و چيزها روشن مي شود. آن لحظه اي كه دستان آن ها تبر را برداشته و به ريشۀ صدا مي زند تا تعقل را «آزاد» كند، درست همان لحظه اي است كه موسيقي من آغاز مي شود. موسيقي همراه من در لحظات استيصال است. قرص مسكن من و محرك من است كه بي رحمانه الزامات رواني را ناديده گرفته و چنان دادوبيدادي راه مي اندازد كه روي نگراني ها و گرفتاري هاي دنياي فيزيكي كم شود. در عين حال موسيقي من ، يعني موسيقي جاز، نه چيزي است متافيزيكي و نه آدمي است كه براي اين شكل از افاده ها تره خرد كند. صداها و نت ها، ضربها و هارموني ها در جاز به خاطر غلبه بر همان چيزي كه «موقعيت مسلط عقلاني بشر» مي خوانيمش به چيزي تبديل مي شود كه حضرات متافيزيك بايد پابرهنه به دنبال آن بدوند تا شايد به ذره اي از جادوي خلسه مانند آن نزديك شوند؛ مثل حالا كه پـِپـِر آدامز با زوت سيمز، تامي فلانگان، ران كارتر و الوين جونز دارند اين بعدظهر گه را در هجوم بي‌امانشان محو مي‌كنند.
صحنه درست مثل اين است كه در عصر پيش از تمدن و تاريخ و در دشتي بزرگ پنج دايناسور مشغول دنبال كردن يكديگرند و بدن هاي صخره مانند و زره پوشيده شان را چنان به هم مي كوبند كه تا فرسنگ ها گياهان و بوته هاي خودرو تكان خورده و خاك برخواسته از آن ها ناظر حيران را از ادامۀ تماشاي اين صحنه محروم مي كند. درست مثل منظري پيش از تاريخ تمدن، هيچ نهاد و انجمن و مجموعه و قانون و اخلاق و اصل و ضرورت و معنايي وجود ندارد كه شما را نگران خود كند. دنيا صحنه اي خالي است كه در آن دايناسورها بازيگوشانه يكديگر را دنبال مي كنند و اگر جرأت و شانس داشته و پا را از غارتان بيرون گذاشته باشيد شاهد بازي باشكوه آن ها خواهيد بود. اين درست لحظه اي است كه آرت، زوت، ران، تام و الوين به اوج بازي باشكوهشان در آلبوم «برخوردها» رسيده اند، كاري از سال 1968 كه مي تواند كاري از 20 ميليون سال قبل از ميلاد مسيح يا بيست ميليون سال پس از اكنون فعلي باشد.

Remembering Pepper Adams

The other night, sick, tired and feverish as I was with a M.F. flu, I heard Ira Gitler’s voice coming through his apple-jam, remembering the day of Pepper’s passing. One could note how his voice was trembling as he was reminding us of Adams and his friendship with master and what happy days they’ve had together throughout all these years; very moving and at the same time funny and happy session. That was an apple-jam paying tribute to great masters of the big horn including all tenor cats like Stan Getz or Al Cohn who had done some bate work. In addition, great cats of the big horn like Leo Parker, S. Challoff , etc. Encounter (1969) LP was one of Gitler’s selected items for this special program and he paid a lot of homage to my great Zoot as well. God bless us all.

-- by ARP