Screaming Trumpet

Lionel Hampton - The Lionel Hampton Quintet (1954) {Verve Master Edition 314 589 100-2 rel 2001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 219 Mb | MP3 @320 -> 146 Mb
Full Artwork @ 300 dpi (jpg) -> 28 Mb | 5% repair rar | 24bit 96kHz remastering
© 1954, 2001 Clef / Verve / Universal | Verve Master Edition | 314 589 100-2
Jazz / Mainstream Jazz / Swing / Vibes

In 1954, producer Norman Granz held a couple of marathon recording sessions featuring vibraphonist Lionel Hampton, pianist Oscar Peterson, bassist Ray Brown, drummer Buddy Rich, and (on April 13) clarinetist Buddy DeFranco. This set has three selections from the DeFranco date (a 17-plus-minute "Flying Home," the original "Je Ne Sais Pas," and "On the Sunny Side of the Street") and one from the earlier session ("April in Paris"). Hampton is typically exuberant throughout (grunting rather loudly during a few later ensemble choruses on "Flying Home"), DeFranco and Peterson are as swinging as usual, and the overall music is quite joyous.

Lionel Hampton - Reunion At Newport 1967 (1993) {Bluebird 07863}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 450 Mb | MP3 @320 -> 169 Mb
Full Artwork @ 300 dpi (jpg) -> 32 Mb | 5% repair rar
© 1967, 1993 Bluebird / BMG Music | 07863 / 66157-2
Jazz / Mainstream Jazz / Swing / Big Band / Vibes

Most of this CD is taken up by a special Newport Jazz Festival concert featuring a big band full of Lionel Hampton's alumni. With trombonist Al Grey, Frank Foster on tenor and a screaming trumpet section that boasted Snooky Young, Jimmy Nottingham, Joe Newman and Wallace Davenport, the explosive nature of the music is not too surprising; the climax is provided by guest Illinois Jacquet on "Flying Home." The remainder of this disc contains half of a very effective 1956 session cut in Spain in which the medium-size group includes a castanet player and two songs match Hampton with the great Spanish pianist Tete Monteliu.

The Lionel Hampton Big Band made it big during the period covered by this CD. "Flying Home," which Hampton had recorded at least twice earlier with combos, became a sensation thanks to Illinois Jacquet's honking tenor (which largely launched R&B) and the excitement generated by Hampton and his band (including the screaming trumpet section). This disc covers most of the war years, has a few V-discs (including the hit version of "Flying Home" and a two-part remake), and such numbers as "Loose Wig," "Hamp's Boogie-Woogie," "Overtime," and "Tempo's Boogie." Jacquet was actually with Hampton for a relatively brief period of time, but Arnett Cobb proved to be a perfect replacement. Also quite notable in the band is pianist Milt Buckner (whose block chords became influential) and such high-note trumpeters as Ernie Royal, Cat Anderson, and Snooky Young.

Chandos’s previous Prokofiev series, recorded in the 80s with Neëme Järvi and the Royal Scottish National Orchestra, is still probably the most recommendable complete cycle available. Chandos now seem to feel the need to start again, the reason possibly being that they are now using ‘authentically’ all-Russian forces. Whatever the company’s motivation (or if indeed it is to be a complete cycle), the results are impressively powerful, and the coupling stimulating and generous.

This is the third full length album from Blue Moon Marquee. This record features a full band. Darcy Phillips on keys. James Hollywood Badger on drums, Jerry Cook on sax, Jack Garton on trumpet, Paul Pigat on guitar Jasmine Colette vocals and on bass, A.W. Cardinal vocals and guitar. Engineered/Co Produced by Erik Nielsen All songs recorded at Afterlife studios, Vancouver B.C.

Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove…