One 이해원 (haewon Lee)

Lee Morgan - The Procrastinator (1967) {1998 Blue Note Japan Remaster, TOCJ-1629}
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© 1998 Blue Note Japan / Toshiba-EMI | TOCJ-1629
Jazz / Hard Bop / Trumpet

This is one of Lee Morgan's best records. The title track bounces along and is superbly memorable. It features Wayne Shorter, Ron Carter and Herbie Hancock, three musicians who were working with Miles Davis at the time. "The Procrastinator" was recorded at the same time as Miles Davis' record "Nefertiti". Whilst I love Miles Davis' records of that time I feel that this is a more enjoyable album than "Nefertiti". Try it, I am sure that you will not regret it!

Lee Konitz - Stereokonitz (1968) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 4215}
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© 1968, 2014 RCA / Sony Music Japan | SICP 4215
Jazz / Cool / Post Bop /Saxophone

Reissue with the latest remastering. Comes with liner notes. Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea (with whom Konitz worked on a number of Philology CDs decades later), trumpeter Enrico Rava and drummer Gegé Munari.

It's not quite rock, it's not quite country, not quite lounge - it's unique. It's Lee Hazlewood, that's what it is. This 2-CD set contains all his solo recordings for MGM from 1965-67, including the rare Something Special" LP, and comes with a fully illustrated 20-page biography."

A quick internet search brings up some extraordinary footage of Lee ‘Scratch’ Perry producing a session at the Black Ark. Taken from the film ‘Roots, Rock, Reggae’, directed by Jeremy Marre, the sequence shows Junior Murvin collaborating with members of the Congos and the Heptones on a song improvised on the spot for the film crew. Before the vocals are recorded, the Upsetters lay down the backing track. The musical director of the session is the afro-haired bass player, Boris Gardiner; unusually, it is he who counts in the band to start each take. After a long conversation with Boris a few years back, I asked Lee about his contribution to the Black Ark sound.

Albert Lee occupies an odd niche in music – British by birth and upbringing, he spent the mid-'60s as a top R&B guitarist, but in the 1970s became one of the top rockabilly guitarists in the world, and no slouch in country music either. In England he's a been household name, and in Nashville and Los Angeles he's been one of the most in-demand session guitarists there is; but outside of professional music circles in America, he's one of those vaguely recognizable names, and occasionally misidentified with his similar-sounding contemporary, ex-Ten Years After guitarist Alvin Lee (with whom he did share a berth once, in Jerry Lee Lewis's band on the latter's London Sessions album) – but where Alvin was a hero of Woodstock and a flashy guitarist, in the manner of British blues extroverts Jimmy Page and Jeff Beck, Albert is much more likely to be found playing in the background, behind the Everly Brothers or alongside Eric Clapton.