Bill Evans and the Kings of Cool – Konitz and Marsh. 'Speak Low.' This is sparkling, frothy stuff. Evans leads off in rhapsodic mode before Konitz takes the theme and lifts it into steady rhythm. Warne Marsh joins in to weave round the alto in a high-stepping dance. Eddie Gomez springs a line across Evan's chording, firm-fingered, high up the neck. Konitz up next. Followed by Bill Evans, Warne Marsh. Listening to all of them stretch phrases across bar-lines and chorus demarcations is a fascinating master-class in modern jazz improvised melody. Evans returns then there is an almost old-school ride out by the ensemble... Not to get tangled up in racial stereotyping, but this is not the blues end of bop, out of the fountainhead, Bird, and the Afro-American vanguard , rather the oblique white line coming out of Lennie Tristano (which of course came out of the same vanguard, Bird with a large dash of Lester Young, yadda yadda)– yet there is plenty of tension and emotion, delivered on its own cultural terms. Joyous...
Matthew Shipp and 'Density and Eucharist' from his album 'Critical Mass.' Observing the late-night eucharist here in the Eagle's Nest, trying to get it back on track over Budweisers and a chocolate orange. High living... And no intentional blasphemy here – the antinomian takes his or her own way through... But it's a loaded word... Density follows... Led in again by piano, a loping line underscored by some biting harmonies before the violin enters, riding across an increasing complexity from bass and drums. Shipp solos, thick-fingered clusters and swirls, prodded by Parker especially, locking into the occasional almost groove. Manieri comes back in finger-plucking strikes, before returning to his bow. Grappelli it ain't, this is the astringency of contemporary classical whammed across into free jazz. Or the reverse, take your pick... Tension building with heavy deep piano chords bombing across the drummer's rising clatter. Dickey takes his solo before the violin comes back to utter some wrenched phases, answered by the hurly burly piano. Shipp solo – fast track moves that leap the registers before a crunching chordal phrase summons the violin. More fast-it whirligig piano. Slowing down into more reflective mood, yet suddenly criss-crossed by Parker arco, duetting with the violin. Bass switches back to a fast strum as the tempo ups again. Some percussive and also lyrical bass from Mr Parker throughout, the deep heartbeat that links it all together. Density a plenty... The violin gives it that trans-idiomatic riff, as Mr Braxton might say... And much is coming together here – in the interplay of the musicians and the resonance of the title:
'The Eucharist is generally... thought to have its antecedents in common meal practice of uncertain origin, which gradually developed into a rite central to the Roman Church in the first two to four centuries of the Common Era.' (From here...).
Meeting to participate in the easygoing practice and commonplace necessity of eating which will transcend the gathering to a higher plane and purpose... I just re-read Paul's 'First Epistle to the Corinthians,' the first biblical reference to the Eucharist, while also checking the etymology of 'εὐχαριστία' as my classical Greek is shaky after all these years and was struck (again) by the Will to Order implicit and explicit in that text – especially with regard to women and those who speak in tongues as opposed to prophesying as defined by Paul – this argument especially interesting in a jazz context, perhaps re fire musics and the neo-orthodoxies. Nietszche famously said that the Will to Order displayed a lack of integrity, if I remember correctly. But enough...
More violin... Billy Bang – whom I first heard with the String Trio of New York way back and loved instantly... This is from an album where he recorded a load of standards in a pretty straight-ahead setting. 'Sweet Georgia Brown' the title. Bang a player who can go all the way out yet here playing pretty much inside – the fire and attack reminding of earlier maestros like the great Stuff Smith – or to give him his splendid full name: Hezekiah Leroy Gordon "Stuff" Smith. Must dig some of his music out – sure I have some somewhere... Smith was always capable of enthusiastically looking forward, as a master musician from an earlier generation. Bang as a master musician from more contemporary times looks back in celebration of the lineage:
'Violinist Billy Bang is a marvelous bridge from early jazz - [a] strong influence [was] Stuff Smith - to the most cutting-edge innovations of the avant-garde.' (From here...).
As Gaston Bachelard wrote:
'True poetry is a function of awakening. It awakens us, but it must retain the memory of previous dreams. ' (Gaston Bachelard: L'eau et les rêves (Water and Dreams) 1942, quoted from here...).
Blimey. Let's move one...
The Cannon and brother Nat playing 'Soon,' from his album 'Them Dirty Blues.' Julian Adderley could, of course, get down with the best, but like his mentor, Charlie Parker, was capable of fast, complex flights while remaining drenched in the blues. I was just thinking that he was part of a great Miles Davis sextet – the one that made 'Kind of Blue' – and his position between the clenched minimalist burn of the leader who learned his trade on Bird's bandstands and the swooning swooping fire of John Coltrane, maybe gives an hint of where to place him on the rolls. Bobby Timmons opens the game lightly before hitting a heavier chordal vamp as Nat Adderley takes the theme on muted cornet and solos first – the two beat gait alternating with the four walk from the bass to give a curious lopsided dance. Cannonball takes it onwards, the band switching to straight-ahead behind him as he unreels some dazzle and flash. Louis Hayes hits rimshots on the fourth beats, ticking off the bars in Philly Joe mode. Sam Jones displays his credentials, supple melodic bass. Timmons grounds it back as the cornet picks up the theme and that heavy piano chordal figure surfaces to end the track.
Bill Evans
Lee Konitz (as) Warne Marsh (ts) Bill Evans (p) Eddie Gomez (b) Eliot Zigmund (d)
Speak Low
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Matthew Shipp
Matt Manieri (v) Matthew Shipp (p) William Parker (b) Whit Dickey (d)
Density and Eucharist
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Buy
Billy Bang
Billy Bang (v) Billy Bang (v) D.D. Jackson (p) Akira Ando (b) Ronnie Burrage (d)
Sweet Georgia Brown
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Cannonball Adderley
Cannonball Adderley (as) Nat Adderley (ct) Bobby Timmons (p) Sam Jones (b) Louis Hayes (d)
Soon
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Showing posts with label bill evans. Show all posts
Showing posts with label bill evans. Show all posts
Wednesday, September 03, 2008
Friday, March 28, 2008
Charlie Parker/Dizzie Gillespie... Horace Silver/Jazz Messengers... Jim Hall/Bill Evans... Cecil Taylor
To be or not to bop (with apologies to Babs Gonzales...)
Bird and Diz at Carnegie Hall, 1947... Bop in the joy spring of its years... This is 'Confirmation' – of their greatness (I know - but - couldn't resist). Opening on drums, then the familiar theme in unison at a sprightly tempo. Bird up first, sounding relaxed, sudden flurries of notes breaking the line. Tone drenched in the blues, such a human sound. The double-tempo he frequently launches into and stays in for long stretches is stunning. Yet the tune is never far away – this is not just virtuoso playing over the changes. Gillespie next – soaring upwards to descend in rapid runs, brash, brassy and beautiful. John Lewis takes a solo from somewhere upstate by the muffled sound of it – way off-mike. Bass up briefly then theme and out. Rapturous applause etc... and rightly so. Glory Days.
Bop – to the birth of hard bop. Returning to the blues as grounding (although Bird was never more than a flicker away from them). Horace Silver and the Jazz Messengers. Their first incarnation as a small group - Silver was to leave and Art Blakey take over the leadership. From 1955, playing his composition the ever-catchy 'Doodlin.' Silver takes the first solo, funky figures, a facet of his style that perhaps Bobby Timmons would inherit when he joined the band in 1958. Think Moanin' etc... Much dropping of 'g's, I'm thinkin'... Tenor next, Hank Mobley, sounding calm, a little detached almost, although spiking his passage with blues figures. Kenny Dorham then, as Silver plays an almost boogie woogie train figure underneath for the first chorus and a few bars into the second. Elegant and spacious trumpet. Blakey takes a piece, some hard hitting on and off the beat as his cymbals mark the movement through. Funky.
Onwards a few years – back to the cool, say, in 1962. Jim Hall and Bill Evans take a look at 'I'm getting sentimental over you.' Slow yet supple, weaving round each other in an intricate coupling, seamlessly moving between accompaniment and solo – blurring the partition, actually while not getting in each other's way - guitar and piano can create a muddy sound if the participants are not very careful. Here? Two hearts beating as one... well, I'm in a sentimental mood myself today... Intelligent and moving.
Cecil Taylor at the old johanna live and solo from the Montreux Jazz Festival in 1974, this is 'After All (Fifth Movement).' Repeating an opening chordal figure to suddenly spray a higher flash of notes across the deeper contrast. More complex harmonic terrain than above – yet still you find a bluesy snatch here and there that links to the tradition. Behind it all, however abstracted or disguised, the rhythms of jazz. European conservatory meets the Afro-American tradition (Cecil uses call and response as a major performative vehicle). Towards the end, thoughtful, rhapsodic and perhaps not so far removed from Bill Evans above...
A final thought on criticism - what it should be, as opposed to what it frequently has been and is, in all disciplines:
'Admit what you can’t conceal,' [Randall] Jarrell concludes in "The Age of Criticism," 'that criticism is no more than (and no less than) the helpful remarks and the thoughtful and disinterested judgment of a reader, a loving and experienced and able reader, but only a reader. . . . Remember that you can never be more than the staircase to the monument, the guide to the gallery, the telescope through which the children see the stars. At your best you make people see what they might never have seen without you; but they must always forget you in what they see.' (From here... ).
Not sure about the 'experienced and able' (or 'disinterested' - music is too intense an experience for me) but certainly 'loving' in my own case... and hopefully 'helpful' occasionally... I love the image of 'the staircase to the monument.' As a renegade from academe, how true those words are and how many critical 'monuments' exist, that should be knocked down for 'staircases.'
Oo-pop-a-da - to end where we started, with Babs Gonzales...
Charlie Parker (as) Dizzie Gillespie (t) John Lewis (p) Al McKibbon (b) Joe Harris (d)
Confirmation
Download
Buy
Horace Silver and the Jazz Messengers
Horace Silver (p) Kenny Dorham (t) Hank Mobley (ts) Doug Watkins (b) Art Blakey (d)
Doodlin'
Download
Buy
Jim Hall (g) Bill Evans (p)
I'm getting sentimental over you
Download
Buy
Cecil Taylor (p)
After All (Fifth Movement)
Download
Buy
Bird and Diz at Carnegie Hall, 1947... Bop in the joy spring of its years... This is 'Confirmation' – of their greatness (I know - but - couldn't resist). Opening on drums, then the familiar theme in unison at a sprightly tempo. Bird up first, sounding relaxed, sudden flurries of notes breaking the line. Tone drenched in the blues, such a human sound. The double-tempo he frequently launches into and stays in for long stretches is stunning. Yet the tune is never far away – this is not just virtuoso playing over the changes. Gillespie next – soaring upwards to descend in rapid runs, brash, brassy and beautiful. John Lewis takes a solo from somewhere upstate by the muffled sound of it – way off-mike. Bass up briefly then theme and out. Rapturous applause etc... and rightly so. Glory Days.
Bop – to the birth of hard bop. Returning to the blues as grounding (although Bird was never more than a flicker away from them). Horace Silver and the Jazz Messengers. Their first incarnation as a small group - Silver was to leave and Art Blakey take over the leadership. From 1955, playing his composition the ever-catchy 'Doodlin.' Silver takes the first solo, funky figures, a facet of his style that perhaps Bobby Timmons would inherit when he joined the band in 1958. Think Moanin' etc... Much dropping of 'g's, I'm thinkin'... Tenor next, Hank Mobley, sounding calm, a little detached almost, although spiking his passage with blues figures. Kenny Dorham then, as Silver plays an almost boogie woogie train figure underneath for the first chorus and a few bars into the second. Elegant and spacious trumpet. Blakey takes a piece, some hard hitting on and off the beat as his cymbals mark the movement through. Funky.
Onwards a few years – back to the cool, say, in 1962. Jim Hall and Bill Evans take a look at 'I'm getting sentimental over you.' Slow yet supple, weaving round each other in an intricate coupling, seamlessly moving between accompaniment and solo – blurring the partition, actually while not getting in each other's way - guitar and piano can create a muddy sound if the participants are not very careful. Here? Two hearts beating as one... well, I'm in a sentimental mood myself today... Intelligent and moving.
Cecil Taylor at the old johanna live and solo from the Montreux Jazz Festival in 1974, this is 'After All (Fifth Movement).' Repeating an opening chordal figure to suddenly spray a higher flash of notes across the deeper contrast. More complex harmonic terrain than above – yet still you find a bluesy snatch here and there that links to the tradition. Behind it all, however abstracted or disguised, the rhythms of jazz. European conservatory meets the Afro-American tradition (Cecil uses call and response as a major performative vehicle). Towards the end, thoughtful, rhapsodic and perhaps not so far removed from Bill Evans above...
A final thought on criticism - what it should be, as opposed to what it frequently has been and is, in all disciplines:
'Admit what you can’t conceal,' [Randall] Jarrell concludes in "The Age of Criticism," 'that criticism is no more than (and no less than) the helpful remarks and the thoughtful and disinterested judgment of a reader, a loving and experienced and able reader, but only a reader. . . . Remember that you can never be more than the staircase to the monument, the guide to the gallery, the telescope through which the children see the stars. At your best you make people see what they might never have seen without you; but they must always forget you in what they see.' (From here... ).
Not sure about the 'experienced and able' (or 'disinterested' - music is too intense an experience for me) but certainly 'loving' in my own case... and hopefully 'helpful' occasionally... I love the image of 'the staircase to the monument.' As a renegade from academe, how true those words are and how many critical 'monuments' exist, that should be knocked down for 'staircases.'
Oo-pop-a-da - to end where we started, with Babs Gonzales...
Charlie Parker (as) Dizzie Gillespie (t) John Lewis (p) Al McKibbon (b) Joe Harris (d)
Confirmation
Download
Buy
Horace Silver and the Jazz Messengers
Horace Silver (p) Kenny Dorham (t) Hank Mobley (ts) Doug Watkins (b) Art Blakey (d)
Doodlin'
Download
Buy
Jim Hall (g) Bill Evans (p)
I'm getting sentimental over you
Download
Buy
Cecil Taylor (p)
After All (Fifth Movement)
Download
Buy
Monday, December 24, 2007
Xmas mix - Whitedog... Charles Ives... Bill Evans... Cecil Taylor... Peter Brotzmann...Guy Clark... Judee Sill... Second Zion 4... Roland Kirk
Christmas greetings to everyone... this is the first of two mixes I have done for the festive season, tracklisting below...
1.Whitedog – Budapest 4 a.m.
2.Charles Ives First Symphony – Adagio molto (sustenuto)
3.Bill Evans/Lee Konitz/Warner Marsh – Night and Day
4.Cecil Taylor – 11-52 (From 3 Phasis)
5.Peter Brotzmann Chicago Tentet – Aziz
6.Guy Clark – Let him roll
7.Judee Sill – The lamb ran away with the crown
8.Second Zion Four – Praise him shining angels
9.Roland Kirk – We free kings
An odd mixture, perhaps... stuff I like... the Kirk is a bit of a seasonal favourite – but it's always worth a runout. Who knows – for the same reasons, I may even whack the MJQ's version of 'God rest ye merry gentlemen' up tomorrow as part of the Christmas day mix...
Beware - this is a relatively large file if uploading, over 70mb... Number two tomorrow, alcohol/fun permitting...
The Wordsand musicXmasMix1
Download
Peace...
1.Whitedog – Budapest 4 a.m.
2.Charles Ives First Symphony – Adagio molto (sustenuto)
3.Bill Evans/Lee Konitz/Warner Marsh – Night and Day
4.Cecil Taylor – 11-52 (From 3 Phasis)
5.Peter Brotzmann Chicago Tentet – Aziz
6.Guy Clark – Let him roll
7.Judee Sill – The lamb ran away with the crown
8.Second Zion Four – Praise him shining angels
9.Roland Kirk – We free kings
An odd mixture, perhaps... stuff I like... the Kirk is a bit of a seasonal favourite – but it's always worth a runout. Who knows – for the same reasons, I may even whack the MJQ's version of 'God rest ye merry gentlemen' up tomorrow as part of the Christmas day mix...
Beware - this is a relatively large file if uploading, over 70mb... Number two tomorrow, alcohol/fun permitting...
The Wordsand musicXmasMix1
Download
Peace...
Sunday, May 20, 2007
Bill Dixon... Archie Shepp... Bill Evans/Lee Konitz/Warne Marsh... David S. Ware... Lennie Tristano/Lee Konitz... Lennie Tristano/Charlie Parker
Bill Dixon co-led a band from 1961 to 1963 with Archie Shepp but they had gone their separate ways by 1964 when this album was recorded, each having a side to feature their now separate talents. The first track is Dixon and his 7 Tette, playing the previously unreleased 'Alternate take Section III, “F” ' from 'Winter Song.' Counted in with traditional manner- 'One two, one two three four.' Borrow leads off briefly, followed by McIntyre on oboe. McRae keeps it busy behind him. Dixon solos in spartan fashion (According to the sleeve notes for the CD, he had been having embouchure problems not so long before). Similarities to the spurting asymmetries of Don Cherry, perhaps... Howard Johnson essays a gruff baritone section followed by a two bass lead out that terminates when someone (Dixon?) says, 'We've got to do that again.' Work in progress, recorded a few months before the famous October Revolution...
Archie Shepp and the New York Contemporary Five, playing the leader's composition 'Like a Blessed Baby Lamb.' Oddly enough, the drummer, Sunny Murray, sounds almost conservative by comparison to Howard McRae on the previous track. Shepp growls in after the theme, spindly phrasing with mucho cymbals behind from Murray. Cherry takes over with Murray a little more in evidence on his snare, throwing in a sporadic roll. Oceans of space for the pocket trumpet to sail through. Tchicai next, angular, worrying and fluttering at phrases, joined by spiky accents from the other horns. Boykins on more or less straight walking throughout holds it all together. An odd theme, like a cross between Ornette laced with a stabbing phrase straight out of Monk...
Run forward – to 1977. Bill Evans had recorded with Lee Konitz and Warne Marsh before – a live session in 1959, under Konitz's leadership. This later studio bash sees everyone on fine form. Evans sounds more extrovert than usual and the date has an easy-going feel to it throughout. Modern jazz at the highest level...
David S Ware on 'Sweet Georgia Bright.' His bleary tenor states the theme and you hear Sonny Rollins somewhere in the background – whom he practised with as a young apprentice. Ware is a consummate original though, let us be clear on that. Fireball trails of notes spin off as the rhythm stops and starts under him, Shipp uncharacteristically reticent – sparse chords on the comp. Parker fires off a fast line, followed by Shipp suddenly opening up with a dancing ripple alongside him. An interesting exercise from the cream of the contemporary free jazz lineage in a more orthodox setting. The album title – which could be miscontrued as suggesting 'Surrendered' to the orthodoxies of the market place - is more likely referring to Ware's spirituality... which is reflected in the sense of ego surrendering to the music, perhaps... I like his playing very much – just bought a couple more CD's in fact which I will extract the odd morsel from at some point... so much music, so little time...
Another taste of Konitz – playing with his mentor, Lennie Tristano. Drumming is quite stroppy, going against the usual accepted wisdoms that the pianist required time to be kept neatly and no fancy stuff. Tristano marks out the changes as Konitz dances elegantly over the top. One of the true greats still blowing strong – a survivor who was always determined to mark out his own track apart from the gravity pull of Bird. Tristano takes a restrained solo. Towards the end he suddenly breaks out to play a contrapuntal line that moves up alongside Konitz. Stunning... A live date – I think this is from 1955, the gloriously named 'Sing-Song Room, Confucius Restaurant' in New York being the venue. Bass and drums then would be Gene Ramey and Art Taylor, which makes sense. Tristano once said : 'Vitality arises from an emotion that is free.' (Quoted from here...). Quite...
To end: the immortal Bird, in an impromptu session with Tristano. Kenny Clarke is listed as the drummer but apparently he played a phone book with brushes - as you can hear. This was a private recording – as you can hear! Hissy, rough – but it is like suddenly stepping into a tunnel that connects back over the years to the glory days of bop. Bird is superb, Tristano here just content to lay out the chords behind. Possibly a practice session? The Tristano discography lists it as 1951, but it possibly was recorded earlier in 1947, according to this review of the album containing this track by Greg Thomas here...
In the Videodrome...
Sonny Rollins and Don Cherry here...
the Great Clifford – on T.V....
... have we done this before? Trane on My Favourite etc...
...some Miles
... and some more Coltrane...
Bill Dixon
Bill Dixon (t) George Borrow (ts) Ken McKintyre (as, ob) Howard Johnson (tuba, bs) Dave Izenson, Hal Dodson (b) Howard McRae (d)
Alternate take Section III 'F' from 'Winter Song.'
Download
Archie Shepp
Archie Shepp (ts) Don Cherry (pc) John Tchicai (as) Ronnie Boykins (b) Sunny Murray (d)
Like a Blessed Baby Lamb
Download
Buy
Bill Evans/Lee Konitz/Warne Marsh
Bill Evans (p) Lee Konitz (as) Warne Marshe (ts) Eddie Gomez (b) Eliot Zigmund (d)
Eiderdown
Download
Buy
David S. Ware (ts) Matthew Shipp (p) William Parker (b) Guillermo Brown (d)
Sweet Georgia Bright
Download
Buy
Lennie Tristano (p) Lee Konitz (as) Gene Ramey (b) Art Taylor (d)
All the things you are
Download
Buy
Charlie Parker (as) Lennie Tristano (p) Kenny Clarke (d)
All of Me
Download
Buy
Archie Shepp and the New York Contemporary Five, playing the leader's composition 'Like a Blessed Baby Lamb.' Oddly enough, the drummer, Sunny Murray, sounds almost conservative by comparison to Howard McRae on the previous track. Shepp growls in after the theme, spindly phrasing with mucho cymbals behind from Murray. Cherry takes over with Murray a little more in evidence on his snare, throwing in a sporadic roll. Oceans of space for the pocket trumpet to sail through. Tchicai next, angular, worrying and fluttering at phrases, joined by spiky accents from the other horns. Boykins on more or less straight walking throughout holds it all together. An odd theme, like a cross between Ornette laced with a stabbing phrase straight out of Monk...
Run forward – to 1977. Bill Evans had recorded with Lee Konitz and Warne Marsh before – a live session in 1959, under Konitz's leadership. This later studio bash sees everyone on fine form. Evans sounds more extrovert than usual and the date has an easy-going feel to it throughout. Modern jazz at the highest level...
David S Ware on 'Sweet Georgia Bright.' His bleary tenor states the theme and you hear Sonny Rollins somewhere in the background – whom he practised with as a young apprentice. Ware is a consummate original though, let us be clear on that. Fireball trails of notes spin off as the rhythm stops and starts under him, Shipp uncharacteristically reticent – sparse chords on the comp. Parker fires off a fast line, followed by Shipp suddenly opening up with a dancing ripple alongside him. An interesting exercise from the cream of the contemporary free jazz lineage in a more orthodox setting. The album title – which could be miscontrued as suggesting 'Surrendered' to the orthodoxies of the market place - is more likely referring to Ware's spirituality... which is reflected in the sense of ego surrendering to the music, perhaps... I like his playing very much – just bought a couple more CD's in fact which I will extract the odd morsel from at some point... so much music, so little time...
Another taste of Konitz – playing with his mentor, Lennie Tristano. Drumming is quite stroppy, going against the usual accepted wisdoms that the pianist required time to be kept neatly and no fancy stuff. Tristano marks out the changes as Konitz dances elegantly over the top. One of the true greats still blowing strong – a survivor who was always determined to mark out his own track apart from the gravity pull of Bird. Tristano takes a restrained solo. Towards the end he suddenly breaks out to play a contrapuntal line that moves up alongside Konitz. Stunning... A live date – I think this is from 1955, the gloriously named 'Sing-Song Room, Confucius Restaurant' in New York being the venue. Bass and drums then would be Gene Ramey and Art Taylor, which makes sense. Tristano once said : 'Vitality arises from an emotion that is free.' (Quoted from here...). Quite...
To end: the immortal Bird, in an impromptu session with Tristano. Kenny Clarke is listed as the drummer but apparently he played a phone book with brushes - as you can hear. This was a private recording – as you can hear! Hissy, rough – but it is like suddenly stepping into a tunnel that connects back over the years to the glory days of bop. Bird is superb, Tristano here just content to lay out the chords behind. Possibly a practice session? The Tristano discography lists it as 1951, but it possibly was recorded earlier in 1947, according to this review of the album containing this track by Greg Thomas here...
In the Videodrome...
Sonny Rollins and Don Cherry here...
the Great Clifford – on T.V....
... have we done this before? Trane on My Favourite etc...
...some Miles
... and some more Coltrane...
Bill Dixon
Bill Dixon (t) George Borrow (ts) Ken McKintyre (as, ob) Howard Johnson (tuba, bs) Dave Izenson, Hal Dodson (b) Howard McRae (d)
Alternate take Section III 'F' from 'Winter Song.'
Download
Archie Shepp
Archie Shepp (ts) Don Cherry (pc) John Tchicai (as) Ronnie Boykins (b) Sunny Murray (d)
Like a Blessed Baby Lamb
Download
Buy
Bill Evans/Lee Konitz/Warne Marsh
Bill Evans (p) Lee Konitz (as) Warne Marshe (ts) Eddie Gomez (b) Eliot Zigmund (d)
Eiderdown
Download
Buy
David S. Ware (ts) Matthew Shipp (p) William Parker (b) Guillermo Brown (d)
Sweet Georgia Bright
Download
Buy
Lennie Tristano (p) Lee Konitz (as) Gene Ramey (b) Art Taylor (d)
All the things you are
Download
Buy
Charlie Parker (as) Lennie Tristano (p) Kenny Clarke (d)
All of Me
Download
Buy
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