Graham Parker

Nightmoves first aired on Channel Seven on May 13 1977. The Seven Network owned exclusive Australian rights to footage from overseas shows such as Midnight Express and decided to launch an adult version of Countdown along the lines of UK's Old Grey Whistle Test, concentrating on live footage rather than video clips, album music rather than pop…

This CD released for the first time the soundtrack of two of Charlie Parker's appearances on television. Some of the music and talking is trivial and loose but a few of the performances are quite unique and Bird is heard with a variety of intriguing groups. From 1949 Parker plays a fine version of "Lover" and helps trumpeter Shorty Sherock on "I Can't Get Started" but is drowned out by Sidney Bechet on an uptempo blues. From 1952 Bird gets featured on "Anthropology" and participates in a "Bop vs. Dixieland" blues with trumpeters Max Kaminsky and Miles Davis, trombonists Kai Winding and Will Bradley and clarinetist Joe Marsala; everyone gets to solo. This interesting CD concludes with Bird in fine form in 1954 with a quintet that also includes trumpeter Herb Pomeroy, material not available elsewhere.

In 2022, we celebrate Vaughan Williams's 150th birthday, and the pinnacle of Albion Record's contribution to this important milestone is this Pan's Anniversary album, which contains five world premiere recordings.

Charlie Parker Quintet & Sextet - Bird In Boston: Live At The Hi-Hat 1953-1954 (2016) {2CD Fresh Sound Records}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 666 Mb | MP3 @320 -> 331 Mb
Full Artwork @ 600 dpi (jpg) -> 228 Mb | 5% repair rar
© 1953-54, 2016 Fresh Sound Records | FSR-CD 911 | 24bit Digitally Remastered
Jazz / Bebop / Bop / Saxophone

For over two decades, the Hi-Hat Club occupied a choice location among the jazz clubs of Boston’s South End district, at the corner of Columbus and Massachusetts Avenue. After the end of World War II, lesser luminaries took over the band-stand, and after a while entertainment practically stopped altogether. Dave Coleman, a jazz promoter, had taken over management of the club in 1949. Through Coleman’s personal initiative, the Hi-Hat enjoyed its most successful years, and by 1951 it was the only club featuring a consistent policy of presenting modern jazz.

Bassist, composer, and bandleader Graham Collier may have gotten the short shrift early in his career for not taking the same iconoclastic position Evan Parker and Derek Bailey did: "Forget American jazz, let's forge something uniquely British" (their pretensions were European though they weren't). His contributions to the jazz canon are finally being seen in light of what they actually are: very forward-looking works that extend the jazz boundary into new chromatic and harmonic regions and have an identity that is distinctly non-American. Collier's modalism is so far outside the norms as to speak an entirely different architectural language. Songs for My Father featured a Collier septet with Harry Beckett on trumpet, pianist John Taylor, saxophonists Alan Wakeman and Bob Sydor, and drummer John Webb…