At Wild Bill Davis

Whether called Dixieland, traditional jazz or New Orleans jazz, it is the happiest music in the world, a music that exudes joy and found its perfect symbol and world ambassador in Louis Armstrong. Originating out of the south (particularly New Orleans), the style in its various forms was a major force in the 1920s. While overshadowed by swing in the 1930s, Dixieland made a comeback in the early 1940s with Lu Watters Yerba Buena Jazz Band being one of the first revival bands. Whether played by veterans such as Bunk Johnson and Kid Ory or newcomers of the time such as Pete Fountain and the Dukes of Dixieland, the music has been a permanent part of the jazz landscape ever since.

Perhaps one of the most underrated and overlooked melodic rock releases of the mid-80s was Tobruk’s “Wild On The Run”. Unfortunately, unless you were a hard rock aficionado back then, this one might have been released right under your nose without you ever hearing about it…

This CD brings back one of the high points of singer Bill Henderson's career. Because he settled in Los Angeles, Henderson never became a major name but he was actually one of the top male jazz singers to emerge in the late '50s. Backed quite sympathetically by the swinging Oscar Peterson Trio (which consisted of pianist Peterson, bassist Ray Brown, and drummer Ed Thigpen), Henderson is in prime form on such songs as "All or Nothing at All," "Gravy Waltz," "I've Got a Crush on You," and "The Folks Who Live on the Hill"; four previously unissued songs round out the fairly definitive collection.

Hugely acclaimed for his remarkable grasp of melody, harmony and interpretation, Bill Evans has earned his reputation as one of the most influential pianists and composers in jazz history. Classically trained from an early age, Evans initially made a name for himself working with other famous figures of the jazz genre, including George Russell, Cannonball Adderley, Chet Baker and Miles Davis, and his playing was a key feature on the latter s legendary Kind Of Blue (Columbia, 1959). By the early 1960s, Bill Evans began focussing on leading his own groups, primarily trios. Over the rest of his career, he put out a staggering body of work, including the classic albums Sunday At The Village Vanguard and Waltz For Debby (both Riverside, 1961). He received 31 Grammy nominations during his lifetime, taking away nine awards in total, and earned himself a place in the Down Beat Jazz Hall Of Fame.

Bill Evans - The Sesjun Radio Shows (2011) {2CD Set, T2 Entertainment PRCD2011005 rec 1973-1979}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 644 Mb | MP3 @320 -> 306 Mb
Full Artwork @ 300 dpi (png) -> 93 Mb | 5% repair rar
© 1973-79, 2011 Out Of The Blue / Beeld en Geluid / T2 Entertainment | PRCD 2011005
Jazz / Post Bop / Modal Music / Piano

Bill Evans was frequently recorded for radio broadcast during his various European tours, many of which ended up as bootlegs with incorrect song and personnel listings, poor audio, and incomplete tracks. Fortunately, everything is done right in this two-CD set, which is compiled from three separate performances between 1973 and 1979. The first five tracks are from a duo tour with the phenomenal bassist Eddie Gomez, who spent over 11 years with the pianist. The absence of a drummer (Marty Morell was evidently not a part of this tour, though he played with Evans into 1974) gives Evans a more intimate sound; Evans seemed to achieve an incredible E.S.P. playing with the talented Gomez.

Those wondering where to begin when buying their first Sun Ra album, this is it! Since Sun Ra never had any actual hits, the 18 tracks from 15 Sun Ra albums, plus two singles and a soundtrack excerpt, were chosen because they were fan favorites, because they displayed the artist's development over the years 1956–73, and because of their musical accessibility – relatively speaking of course.

The vibraphone legend calls this wide-ranging tribute collection his most satisfying effort to date (this is a major catalog), and the one that hits closest to home. No doubt that's because he's digging deep into his past and paying homage to the legends of the instrument who shaped his own inimitable style. The four mentioned by the album title all had unique roles in the development of the instrument as a jazz focal point, and it's amazing to realize the vibes were only invented 75 years ago – just one generation before Burton was born.