Plays Charlie Byrd

Collectables combines two very different back-to-back recordings made by guitarist Charlie Byrd for Columbia in the mid-'60s. Travellin' Man (issued in 1965) is a live gig at the Showboat in Washington D.C., a club he was playing in - and owned - 36 weeks out of the year. He is featured with his bass playing brother Joe, and the rather astonishing drummer Bill Reichenbach. The program consists of everything from originals like the title cut and the country and bluegrass tinged opener "Mama I'll Be Home Someday" to Michel Legrand's "I Will Wait for You." With tunes like the Richard Rodgers and Stephen Sondheim standard "Do I Hear a Waltz," Billy Strayhorn's "U.M.M.G.," and Django Reinhardt's "Nuages" sandwiched in between. It' is a hard swinging date where Byrd, a great melodic improviser, turns original arrangements inside out and pours his love for bossa and blues into everything he plays…

This is a listening pleasure to the first degree. Unlike any other, Charlie Byrd sincerely knows how to make his instrument speak, sending graceful chords and melodies to this attentive audience. Staged at the Village Gate in New York City, Byrd pulls out a lengthy set of material from his soul, encountering everything from swing jazz to bebop (with the help of two special guests) to Latin America's candid art form. Yes, the trio plays bossa nova with grace and finesse, enlightening the crowd at this "miniature music festival," notes reviewer Joe Goldberg. Byrd prances along with his trio mates, Keter Betts on bass and Bill Reichenbach on the skins. Positively speaking, the majority of the material has a vibrant flair, with some attuned to a candid, easy listening aura, while other tunes heighten the energy with dramatic percussion and more elaborate sonic territory…

This is a listening pleasure to the first degree. Unlike any other, Charlie Byrd sincerely knows how to make his instrument speak, sending graceful chords and melodies to this attentive audience. Staged at the Village Gate in New York City, Byrd pulls out a lengthy set of material from his soul, encountering everything from swing jazz to bebop (with the help of two special guests) to Latin America's candid art form. Yes, the trio plays bossa nova with grace and finesse, enlightening the crowd at this "miniature music festival," notes reviewer Joe Goldberg. Byrd prances along with his trio mates, Keter Betts on bass and Bill Reichenbach on the skins. Positively speaking, the majority of the material has a vibrant flair, with some attuned to a candid, easy listening aura, while other tunes heighten the energy with dramatic percussion and more elaborate sonic territory…

This is a listening pleasure to the first degree. Unlike any other, Charlie Byrd sincerely knows how to make his instrument speak, sending graceful chords and melodies to this attentive audience. Staged at the Village Gate in New York City, Byrd pulls out a lengthy set of material from his soul, encountering everything from swing jazz to bebop (with the help of two special guests) to Latin America's candid art form. Yes, the trio plays bossa nova with grace and finesse, enlightening the crowd at this "miniature music festival," notes reviewer Joe Goldberg. Byrd prances along with his trio mates, Keter Betts on bass and Bill Reichenbach on the skins. Positively speaking, the majority of the material has a vibrant flair, with some attuned to a candid, easy listening aura, while other tunes heighten the energy with dramatic percussion and more elaborate sonic territory…

This is a listening pleasure to the first degree. Unlike any other, Charlie Byrd sincerely knows how to make his instrument speak, sending graceful chords and melodies to this attentive audience. Staged at the Village Gate in New York City, Byrd pulls out a lengthy set of material from his soul, encountering everything from swing jazz to bebop (with the help of two special guests) to Latin America's candid art form. Yes, the trio plays bossa nova with grace and finesse, enlightening the crowd at this "miniature music festival," notes reviewer Joe Goldberg. Byrd prances along with his trio mates, Keter Betts on bass and Bill Reichenbach on the skins. Positively speaking, the majority of the material has a vibrant flair, with some attuned to a candid, easy listening aura, while other tunes heighten the energy with dramatic percussion and more elaborate sonic territory…

Chet Baker - Plays The Best Of Lerner & Loewe (1959) {OJC Remasters Complete Series rel 2013, item 27of33}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 277 Mb | MP3 @320 -> 103 Mb
Full Artwork @ 600 dpi (png) -> 145 Mb | 5% repair rar | 24-bit remaster
© 1959, 2013 Riverside / Concord | 60th Anniversary of Riverside Records | 0888072345997
Jazz / Cool / West Coast Jazz / Trumpet

Concord Music Group will release five new titles in its Original Jazz Classics Remasters series. Enhanced by 24-bit remastering by Joe Tarantino, several bonus tracks on nearly each disc (some previously unreleased) and new liner notes providing historical context to the original material, the series celebrates the 60th anniversary of Riverside Records, the prolific New York-based label that showcased some of the most influential jazz artists and recordings of the 1950s and '60s.

This 1962 set by Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash Jazz Samba by Stan Getz and Charlie Byrd), has one of the most boring titles imaginable, and it doesn't begin to describe the laid-back yet magical innovations in the grooves. Produced by Creed Taylor, the date was arranged and orchestrated by the great pianist Clare Fischer (who also wrote the liner notes). Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader's vibes are placed in juxtaposition with Fischer's piano and percussion by Changuito, Milt Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn…

This 1962 set by Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash Jazz Samba by Stan Getz and Charlie Byrd), has one of the most boring titles imaginable, and it doesn't begin to describe the laid-back yet magical innovations in the grooves. Produced by Creed Taylor, the date was arranged and orchestrated by the great pianist Clare Fischer (who also wrote the liner notes). Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader's vibes are placed in juxtaposition with Fischer's piano and percussion by Changuito, Milt Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn…

30 Verve Collectors Edition album for sale was released Apr 26, 2011 on the Universal Import label. Import-only 30 CD box set containing some of the finest Jazz albums released on the legendary Verve label. 30 Verve Collectors Edition buy CD music Features hit albums from Jazz icons like Antonio Carlos Jobim, Ben Webster, Bill Evans, Ella Fitzgerald, Charlie Haden, Bud Powell, Herbie Hancock, John McLaughlin, Lester Young, Stan Getz, Oscar Peterson and many others. 30 Verve Collectors Edition songs Each CD comes housed in a miniature LP sleeve and all 30 discs are housed in an attractive lift-top box. Universal. 30 Verve Collectors Edition CD music contains a single disc.

For this excellent album, trumpeter Donald Byrd teams up with tenor saxophonist Charlie Rouse, baritonist Pepper Adams, pianist Walter Davis, Jr., bassist Sam Jones and drummer Art Taylor. Together the sextet performs three Byrd originals, two Davis songs and the standard "Witchcraft." Although none of the new tunes caught on, the group (which includes two distinctive saxophonists and the rapidly maturing trumpet of Donald Byrd) plays consistently creative and spirited solos in the hard bop idiom.