Browse Titles - 75 results
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(Archeophone Records, 2000), 1 hour 17 mins, 25 page(s)
Date Written / Recorded
1921
Field of Study
Jazz
Content Type
Music recording
Date Published / Released
2000-10-09
Publisher
Archeophone Records
Copyright Message
Copyright © 2012. Used by permission of Archeophone Records. All rights reserved.
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After Hours With Miss D
performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from...
Sample
performed by Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015 and Ed Thigpen, 1930-2010 (Verve Records, 2004), 51 mins
Description
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she bega...
Any self-respecting jazz musician would leap at the chance to record an afterhours session with Dinah Washington. One of the finest musician's singers, Washington demanded respect from her band and paid in return by giving her fellow players plenty of room for solos, on record or in concert. Her Dinah Jams LP from 1954 isn't just one of the finest jazz-meets-vocals dates, it's one of the best jam sessions ever released. One year earlier, she began recording the songs heard on After Hours With Miss D, a date sparked (as the original liner notes explained) by her enjoyment of the time after a standard recording date, those late hours when she could sing what she wanted, stretch out and treasure her notes while her musicians relaxed the rhythm. (The record also helped feed the appetite of many record-buyers, who would only after the fact hear tales of unmissable sessions at neglected clubs.) Listeners expecting a record of narcoleptic torch songs, however, may well be shocked by the dynamic range of this date, comprising ebullient stormers as well as slow blues. (Just because the band relaxes the rhythm certainly doesn't mean they have to slow it down.) The results of three sessions recorded one year apart, After Hours With Miss D featured a hand-picked band -- including Clark Terry on trumpet and Eddie "Lockjaw" Davis or Paul Quinichette on tenor, plus Washington's rock-solid rhythm section of bassist Keter Betts, drummer Ed Thigpen, and usually pianist Junior Mance (who made his debut with Dinah on the first of these dates). The first two selections are the best, the opener "Blue Skies" a studied introduction for all the principals (each of them heard in extended form on the eight-minute track), and the second a runaway train with Clark Terry's hyper-inflated trumpet as the conductor and the rest of the band carried along for the ride. Organist Jackie Davis leads the group into traditional afterhours territory, setting into a bluesy groove for "Am I Blue?" and "Pennies From Heaven." Washington meanwhile is at her interpretive best, whether tormented ("Love for Sale") or reflective ("A Foggy Day") or tranquil ("Pennies From Heaven"). Everyone gets to solo, as it should be, and the controlled environment makes this session a tighter display of finesse than the live-in-the-studio, completely frenetic Dinah Jams LP. ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015, Ed Thigpen, 1930-2010
Author / Creator
Dinah Washington, 1924-1963, Clarence Anderson, 1924-1971, Keter Betts, Cándido de Guerra Camero, 1921-, Eddie Davis, 1922-1986, Julian 'Junior' Mance, 1928-, Paul Quinichette, 1916-1983, Clark Terry, 1920-2015, Ed Thigpen, 1930-2010
Date Published / Released
2004-02-10
Publisher
Verve Records
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Air: Air Time
produced by Chuck Nessa, 1944-; performed by Henry Luther Threadgill, 1944-, Fred Hopkins, 1947-1999 and Steve McCall, 1933-1989, Air (Nessa, 1977), 45 mins
Sample
produced by Chuck Nessa, 1944-; performed by Henry Luther Threadgill, 1944-, Fred Hopkins, 1947-1999 and Steve McCall, 1933-1989, Air (Nessa, 1977), 45 mins
Date Written / Recorded
1977-11-18
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Air, Henry Luther Threadgill, 1944-, Fred Hopkins, 1947-1999, Steve McCall, 1933-1989
Contributor
Mark Rubenstein, Chuck Nessa, 1944-
Author / Creator
Air, Henry Luther Threadgill, 1944-, Fred Hopkins, 1947-1999, Steve McCall, 1933-1989
Date Published / Released
1977
Publisher
Nessa
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Anne Lenner with Carroll Gibbons & The Savoy Orpheans: Her 26 Finest, 1932-1941
produced by Ray Crick; performed by Anne Lenner, 1912-1997 and Carroll Gibbons, 1903-1954 (Nimbus, 2023), 1 hour 19 mins
Sample
produced by Ray Crick; performed by Anne Lenner, 1912-1997 and Carroll Gibbons, 1903-1954 (Nimbus, 2023), 1 hour 19 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Anne Lenner, 1912-1997, Carroll Gibbons, 1903-1954
Contributor
Ray Crick
Author / Creator
Anne Lenner, 1912-1997, Carroll Gibbons, 1903-1954
Date Published / Released
2023
Publisher
Nimbus
Copyright Message
Copyright © 2023 Wyastone Estate Ltd.
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At the Movies
produced by Alastair Robertson, fl. 2006; performed by Herb Geller, 1928-2013 (Hep Jazz, 2007), 54 mins, 13 page(s)
Sample
produced by Alastair Robertson, fl. 2006; performed by Herb Geller, 1928-2013 (Hep Jazz, 2007), 54 mins, 13 page(s)
Date Written / Recorded
2007-03-26
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Herb Geller, 1928-2013
Contributor
Marius Beets, fl. 2006, Alastair Robertson, fl. 2006
Author / Creator
Herb Geller, 1928-2013
Date Published / Released
2007-10-09
Publisher
Hep Jazz
Copyright Message
Copyright © 2007 by Hep Jazz Productions
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The Best of Dixieland, Disc 1
performed by Al Hirt, 1999-, Dukes of Dixieland (Intersound, 2005), 52 mins, 12 page(s)
Sample
performed by Al Hirt, 1999-, Dukes of Dixieland (Intersound, 2005), 52 mins, 12 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Dukes of Dixieland, Al Hirt, 1999-
Author / Creator
Dukes of Dixieland, Al Hirt, 1999-
Date Published / Released
2005
Publisher
Intersound
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The Best of Dixieland, Disc 2
performed by Al Hirt, 1999-, Dukes of Dixieland (Intersound, 2005), 51 mins, 12 page(s)
Sample
performed by Al Hirt, 1999-, Dukes of Dixieland (Intersound, 2005), 51 mins, 12 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Dukes of Dixieland, Al Hirt, 1999-
Author / Creator
Dukes of Dixieland, Al Hirt, 1999-
Date Published / Released
2005
Publisher
Intersound
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Billy Cobham - Live at the Palais Des Festivals Hall, Cannes 1989
performed by Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham and Wolfgang Schmid, 1948- (Paris, Ile-de-France: Qwest TV, 1989), 45 mins
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cann...
Sample
performed by Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham and Wolfgang Schmid, 1948- (Paris, Ile-de-France: Qwest TV, 1989), 45 mins
Description
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cannes in 1989, the drumming virtuoso gives us a clear demonstration of expertise with his very particular touch. Accompanied by a solid ba...
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cannes in 1989, the drumming virtuoso gives us a clear demonstration of expertise with his very particular touch. Accompanied by a solid band including his own brother Wayne Cobham on keyboards, Rita Marcotulli on piano, and Wolfgang Schmid on bass, the instrumentalist and composer builds various arrangements typical of jazz-rock. Often more groovy than some of his counterparts at the time (he later released a live album with George Duke), Billy Cobham assimilates notably the Latin elements – a cultural legacy transmitted by a family of Panamanian origin. Illustrated by short interviews with the main players and opening shots of the very photogenic Mediterranean coast, this forty-five-minute scenic document sets the record straight with the hectic "Incoming," an extract from the very recent eponymous opus, and with "Tinseltown," a bewitching sequence fueled by the interventions of Nippy Noya on percussion. Vincent Caffiaux
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Date Written / Recorded
1989
Field of Study
Jazz
Content Type
Performance
Performer / Ensemble
Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham, Wolfgang Schmid, 1948-
Author / Creator
Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham, Wolfgang Schmid, 1948-
Date Published / Released
1989
Publisher
Qwest TV
Topic / Theme
Jazz
Copyright Message
Copyright © 1989 Auditorium
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Blue Moon
produced by Robben Ford, 1951-; performed by Robben Ford, 1951- (Concord Jazz, 2002), 59 mins, 12 page(s)
Sample
produced by Robben Ford, 1951-; performed by Robben Ford, 1951- (Concord Jazz, 2002), 59 mins, 12 page(s)
Date Written / Recorded
2001-10-28
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Robben Ford, 1951-
Contributor
Robben Ford, 1951-
Author / Creator
Robben Ford, 1951-
Date Published / Released
2002
Publisher
Concord Jazz
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Blue Skies
performed by Cassandra Wilson, 1955-, Terri Lyne Carrington, 1965-, Mulgrew Miller, 1955- and Lonnie Plaxico, 1960- (Verve Records, 1988), 51 mins
On 1988's Blue Skies, Cassandra Wilson took her first step away from the home she had built with Steve Coleman's M-Base organization. She'd done standards before, all the way back to 1985's Songbook. There are no M-Base players on this JMT set. She fronts a very conventional trio comprised of pianist Mulgrew Mille...
Sample
performed by Cassandra Wilson, 1955-, Terri Lyne Carrington, 1965-, Mulgrew Miller, 1955- and Lonnie Plaxico, 1960- (Verve Records, 1988), 51 mins
Description
On 1988's Blue Skies, Cassandra Wilson took her first step away from the home she had built with Steve Coleman's M-Base organization. She'd done standards before, all the way back to 1985's Songbook. There are no M-Base players on this JMT set. She fronts a very conventional trio comprised of pianist Mulgrew Miller, drummer Terri Lyne Carrington, and bassist Lonnie Plaxico. The last of these is very significant because it would be Plaxico who dir...
On 1988's Blue Skies, Cassandra Wilson took her first step away from the home she had built with Steve Coleman's M-Base organization. She'd done standards before, all the way back to 1985's Songbook. There are no M-Base players on this JMT set. She fronts a very conventional trio comprised of pianist Mulgrew Miller, drummer Terri Lyne Carrington, and bassist Lonnie Plaxico. The last of these is very significant because it would be Plaxico who directed her very startling and focused transformation when she signed to Blue Note Records in 1993 and released Blue Light 'Til Dawn. The program is pure standard fare, from "Polka Dots and Moonbeams" and "Shall We Dance?" to the title track and Rodgers & Hart's "I Didn't Know It What Time It Was." This cut is the most startling break from the rest in that it is much more forceful and hard-swinging than other readings, and showcases for the first time Wilson's tremendous individuality as a vocalist. There is much of Betty Carter still in her style here, but on this cut, she's pure Wilson, even the scatting comes not from jazz but from the blues of Wilson's Mississippi homeland. Another standout is Carter Burwell's "Sweet Lorraine," which wasn't quite a standard at the time but is quickly becoming one covered by many singers and is delivered in the classic repertoire's lineage. Not a masterpiece, but a really compelling first experiment with the more intimate forms and smaller groups Wilson would employ later on. ~ Thom Jurek, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Cassandra Wilson, 1955-, Terri Lyne Carrington, 1965-, Mulgrew Miller, 1955-, Lonnie Plaxico, 1960-
Author / Creator
Cassandra Wilson, 1955-, Terri Lyne Carrington, 1965-, Mulgrew Miller, 1955-, Lonnie Plaxico, 1960-
Date Published / Released
1988-09-06
Publisher
Verve Records
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