Kenny Clarke Latin

The Commodore record label was known for its recordings of the early period jazz pioneers up to bebop, and not necessarily the modernists. Frank Wess was one of those post-bop players, coming out of the Count Basie Orchestra, who eventually made his mark as a premier individualist tenor saxophonist and a seminal jazz flutist stepping away from the swing and big band sound. These small group sessions by Wess give proof positive that he was ready to step out as not only a leader and budding composer (he wrote six of these tracks), but to assert himself as a giant of jazz in his own right. Considering the dates of these recordings, 1954, it could easily be said he was ahead of his time…

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session - featuring Thelonious Monk - which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed…

Live at the Philharmonie was the Dave Pike Set's third record for MPS in the year 1969 alone; Noisy Silence-Gentle Noise (MPS 15215) and the stellar Four Reasons (MPS 15253) preceded it. One of the most interesting ideas about this amazing set of music concerns the notorious circumstances under which it was recorded, at the 1969 Berlin Jazz Days festival. The reason for this is the year itself: Miles Davis and his group had brought their fiery brand of electricity to jazz and its reverberations were being heard the world over. At the same time, prog rock and Krautrock were making their heads (considered ugly by jazz purists) known in the guises of Can, Neu!, Amon Düül, and Faust. Add to this Charlie Mariano's great band, the new hip embracing of rock culture by the Kenny Clarke-Francy Boland Big Band, Peter Herbolzheimer's Rhythm Combination & Brass, and any number of other groups, and Berlin was in a state of tension. The wild thing is, everybody agreed on Pike's group – it was the bridge between the jazz tradition, what was transpiring, and what was to come.

The early '70s were rife with political and racial conflicts, indicative of the pressures surrounding the scandal of Watergate and Richard Nixon, the assassination of Martin Luther King, Jr., and the painful continuation of the Vietnam War. As explosive as the times were, Frank Foster's The Loud Minority reflected all of those mounting tensions while remaining hopeful in a self-determining way that gave rise to the "I'm Black and I'm Proud" sentiment. Foster assembled a giant of a big band featuring dual instrumentation all around, including keyboards, basses, and drummers to power a horn section chock-full of the best mainstream jazz and progressive players of the day.

Sessions is Union Square Music’s 2CD urban and dance music range. Aimed at both the hardened dance music fan and the impulse purchaser, each Sessions title is packed full of hit singles, big club tracks and a choice selection of forgotten gems and underground classics picked out by our expert crate-digging compilers. Strong generic packaging including an outer slipcase, informative sleeve notes and a low price in the shops have made Sessions one of our most popular labels.

It is believed that the rush hour lounge music falls on the 50-60s. Then it executes unknown bands, but the rooms were great friends. While implementing lounge music could be called any musician who played in a cafe or restaurant to the public. In the 60s there were ensembles, records which are related to Lounge. Among them - the bands of James Last, Bert Kempferta, Paul Mauriat, Herb Alpert. Distinguished as a lounge music and musical design films, because this style of music can rightly be called the background.

Sun Ra and His Arkestra - Strange Celestial Road (1979) {Rounder Records 125742 rel 2019}
FLAC (tracks) - 16bit/44.1kHz - Official Digital Download (prestomusic.com) -> 221 Mb | MP3 @320 -> 85 Mb | Cover | 5% repair rar
© 1979, 2019 Rounder Records / Concord / Enterplanetary Koncepts | 125742
Jazz / Avant-Garde Jazz / Jazz Funk / Experimental Big Band / Progressive Jazz

These recordings originated at the same Variety Studio sessions that resulted in the 1979 Saturn release SLEEPING BEAUTY (a.k.a. Door of the Cosmos). Based on known departures and arrivals of various players in the Arkestra, Sun Ra historians have cited a likely recording date of June 1979. These three tracks were sold to Rounder and issued on LP in 1980; Sun Ra retained "Springtime Again," "Door of the Cosmos," and "Sleeping Beauty" for release on Saturn.

Joe Henderson - The Milestone Years (1994) [8CD BoxSet] {Milestone}
EAC rip (secure mode) | FLAC+CUE+LOG -> 3.61 Gb | MP3 @320 -> 1.36 Gb
Full Artwork @ 300 dpi (jpg) -> 46 Mb | 5% repair rar
© 1994 Milestone / Fantasy | 8MCD-4413-2
Jazz / Hard Bop / Post Bop / Fusion / Saxophone

Tenor saxophonist Joe Henderson's most famous recordings are his early Blue Notes and his more recent Verves, but in between he recorded exclusively for Milestone and, although Henderson was in consistently fine form in the diverse settings, he was somewhat neglected during his middle years. This massive eight-CD set contains all of the music from Henderson's dozen Milestone LPs, plus a duet with altoist Lee Konitz and his guest appearances with singer Flora Purim and cornetist Nat Adderley. The music ranges from Blue Note-style hard bop and modal explorations to fusion and '70s funk, with important contributions made by trumpeters Mike Lawrence, Woody Shaw, and Luis Gasca, trombonist Grachan Moncur III, and keyboardists Kenny Barron, Don Friedman, Joe Zawinul, Herbie Hancock, George Cables, Alice Coltrane, Mark Levine, and George Duke, among others.