Unearthed In The Atomic Attic

Wednesday, June 8, 2022

Kostelanetz Conducts - Andre Kostelanetz

Stormy Weather

Kostelanetz Conducts

Andre Kostelanetz and His Orchestra

Columbia Records CL 786

Stardust

Blues In The Night

St. Louis Blues

Manhattan Serenade

Sophisticated Lady

Solitude

Mood Indigo

Stormy Weather

When Day Is Done

Monday, June 6, 2022

Jazz Wave, Ltd. - On Tour

Finale

On Tour

Jazz Wave, Ltd.

Volume 1

Produced by Sonny Lester

The 1969 Jazz Wave Ltd. European Concert

The Tour was recorded in December

Art Direction: Frank Gauna

Design: Tony Destefano

Sculpture: Leo Jensen

Photography: Chuck Stewart

Blue Note Solid State Series BST 89905

1970

Personnel

Don't Get Sassy

The Thad Jones-Mel Lewis Orchestra

Thad Jones - Fluegelhorn

Mel Lewis - Drums

Snooky Young - Trumpet

Al Porcino - Trumpet

Danny Moore - Trumpet

Marvin Stamm - Trumpet

Benny Powell - Trombone

Jimmy Knepper - Trombone

Bob Burgess - Trombone

Julian Priester - Trombone

Jerome Richardson - Saxophone

Jerry Dodgion - Saxophone

Pepper Adams - Saxophone

Eddie Daniels - Saxophone

Joe Henderson - Saxophone

Richard Davis - Bass

Roland Hanna - Piano

Reza

Jeremy Steig - Flute

Ron Carter - Bass

Louis Hayes - Drums

Greensleeves

Kenny Burrell - Guitar

Richard Davis - Bass

Mel Lewis - Drums

Body And Soul

Freddie Hubbard - Trumpet

Roland Hanna - Piano

Ron Carter - Bass

Louis Hayes - Drums

Slow But Sure

Jimmy McGriff - Organ

The Thad Jones - Mel Lewis Orchestra

People

Kenny Burrell - Guitar

Finale

The Thad Jones - Mel Lewis Orchestra

Jeremy Steig

Freddie Hubbard

Jimmy McGriff

Kenny Burrell

From Billboard - October 24, 1970: It's Thad Jones and Mel Lewis and their big band, flute player Jeremy Steig, trumpet player Kenny Burrell all playing separately and together, recorded lie during a European Tour in December last year. The final 16 minute jammies', "Once Around" is exciting, proving by musicianly spirit and audience reaction that jazz ain't dead.

Than Jones/Mel Lewis Orchestra

Don't Get Sassy

Jeremy Steig

Reza

Kenny Burrell

Greensleeves

Freddie Hubbard

Body And Soul

Jimmy McGriff

Slow But Sure

Kenny Burrell

People - From the musical "Funny Girl"

Thad Jones/Mel Lewis Orchestra with Jeremy Steig, Freddie Hubbard, Jimmy McGriff & Kenny Burrell

Finale

Once Around

Sunday, June 5, 2022

Hello, Dolly! - Louis Armstrong

Moon River

Hello, Dolly!

Louis Armstrong and The All Stars

Album Produced by Michael Kapp

KAPP KL-1364

1964

Personnel:

Billy Kyle - Piano

Arvell Shaw - Bass

Danny Barcelona - Drums

Joe Darensburg - Clarinet

Big Chief Russell Moore - Trombone

Glen Thompson - Banjo/Guitar

Hello, Dolly

It's Been A Long, Long Time

A Lot Of Livin' To Do

A Kiss To Build A Dream On

Someday

Hey, Look Me Over

I Still Get Jealous

Moon River

Be My Life's Companion

Blueberry Hill

You Are Woman, I Am Man

Jeepers Creepers

The Dixie Rebels Strike Back

Saint James Infirmary

The Dixie Rebels Strike Back

With True Dixieland Sound

Originated and Produced by Enoch Light

Command Records RS 801 SD

1959

Cover Art by Irwin Rosenhouse, who was born in Chicago in 1924 – brought up in Los Angeles. Before coming to New York City to study art he traveled the world as a Merchant Marine. In 1950 Mr. Rosenhouse graduated from Cooper Union Art School. In 1954 he won the Huntington Hartford Foundation Award and in 1955 won the Louis Comfort Tiffany Award. His lithographs, woodcuts, and oils have been exhibited in museums throughout the country and his work is in the permanent collections of museums and libraries.

In addition to painting, he is at present designing and illustrating on a free-lance basis.

When The Saints Go Marching In

Saint James Infirmary

Dixieland Band

Royal Garden Blues

Tin Roof Blues

Clarinet Marmalade

Hindustan

Basin Street Blues

Panama

That's A-Plenty

Fidgety Feet

South Rampart Street Parade

Basie Greets Barnett - Count Basie & Charlie Barnett

I Cried For You

Caravan

Basie Greets Barnett

Count Basie & Charlie Barnett

Camay Records CA 3024

Count Basie - Side One

One O'Clock Jump

I Cried For You

Basie's Conversation

Basie's Boogie

Charlie Barnet - Side Two

Cherokee

Caravan

Andy's Boogie

Skyliner

Friday, June 3, 2022

Informal Piano Improvisations - Erroll Garner

In The Beginning

Informal Piano Improvisations

Erroll Garner

Baronet Records B-109

1962

From the back cover: Erroll Garner is a warm, personal jazz pianist; a jazz pianist who is most assuredly a creator; a jazz pianist with a style so easily identifiable that even the casual jazz listener will recognize it – both in his playing as well as that of many pianists who like to copy him.

There is the tender touch – the intimate phrasing – the rich, legato, Impressionistic chords – the pounding left hand with the right hand lagging slightly behind – the almost over-emphasis of dynamics – the Pixie-ish humor – the warm, caressing sound.

As many people already know, Erroll Garner is a self-taught pianist. He was offered piano lessons by his parents, the same sort they had given his three sisters and two brothers. That was in Pittsburgh, Pa., where he'd been born in 1923, and where he preferred playing baseball and football to studying the piano. (He was a left-handed first baseman, which accounts somewhat for his notably strong left hand at the keys.) But, though he preferred sports and no piano lessons, he was still attracted to the instrument. Gradually, through experimenting, he developed his unique style without the benefit of learning how to read music.

This record made at a small private party in the apartment of one of jazzdom's most devoted enthusiasts, Baron Time Rosenkrantz, captures a freshness, enthusiasm and genuineness that could never happen in a studio recording. Timmie has produced concerts, has recorded some of them on his own personal equipment, but it is doubtful if any of his contributions will outlive in importance the making of these examples of Garner's playing.

Performing at small, intimate gatherings has always been a favorite pastime for Erroll's. Many years ago, he told me "When I play in a club, I try to make it sound like playing at a party." And, in striving for this sort of personal touch, Garner has developed his warm sound, a quality of his playing upon which he constantly concentrates. Though it seems to satisfy millions of listeners, Erroll says that he is "still working on it." I can't tell you exactly what I'm working for. It's something real full and beautiful.

Musical beauty is all-important to him. Recognizing his limitations, because of lack of schooling, he philosophizes: "What else can I play but every-day life and make every day beautiful and more beautiful. It's like so much of life," he adds simply. Either you feel it or you don't.

The matter of feeling or not feeling also relates to the most discussed of all aspects of Erroll's playing: his beat. The lagging right-hand, phrasing just behind the pumping left, has worried some folks, thrilled others, and left many trying to make up their minds. Explains Erroll: "When I started playing professionally, everybody used to say, 'Erroll – he can't keep time.' I guess my way confused them a little. But I play that beat on purpose. It creates excitement. It's hard for me to explain what I do, but when I play I try for a sort of underneath beat, if you know what I mean. It's strictly a feeling. I guess that the closest thing to describing it is that instead of being a drive, it's kind of an extra drive, like Fats (Waller) and Jimmie Lunceford used to have.

The use of Lunceford as an example is interesting, though not surprising. Jimmie was not a pianist but the leader of a big band with a resounding rocking, full-bodied beat. One of the distinctive aspects of Garner's style is that it's not always pure piano, but, instead, seems to try to reproduce the power and the depth and the dynamics of a big jazz band. And certainly few bands have ever approached those qualities more excitingly than did the great Lunceford aggregations.

Excitement – the beat – beauty – warmth – tone – they're all here, and lots more, too, in this display of informal Garner. – George T. Simon

Cloudburst

Variations On A Nursery Rhyme

Marizy Doats

Yes, We Have No Bananas

The Music Goes Round And Round

Everything I've Got (Belongs To You)

In the Beginning

Easy To Love

Monday, May 30, 2022

Berlin With Love - Jo Basile

Bei Dir War Es Immer So Schon

Berlin With Love

Jo Basile, His Accordion & Orchestra

Photography: Charles Van Maanen

Flowers by Deldon Designs

Shoes by Caperzio

Lambretta Motor Scooter courtesy of Lambretta, Div. – Innocenti Corp.

Accordion courtesy of Carroll Musical Instruments

Audio Fidelity STEREODISC AFSD 5944

From the back cover: Jo Basile, winner of the highly coveted French Grand Prix du Disques in 1957, has built a solid reputation as an accordion virtuoso, conductor, arranger and accompanist in the United States and abroad. Basile has been responsible, through his superb mastery of his instrument, in lifting the accordion to hitherto unknown heights of artistry. After winning recognition for his versatility as an accordion virtuoso, Basile served as accompanist for the international's famous singing star Patachou (Audio Fidelity releases 1814 and 1881). He has been heard in leading clubs, theaters and hotels on three continents.

Lili Marlene

Bei Dir War Es Immer So Schone

Macki Messer (Mack The Knife)

Auf Wiedersehen Sweetheart

Trink, Trink, Trink

Del Ami

Das Ist Die Liebe Der Matrosen

Stern Von Rio

Ich Kusse Ihre Hand, Madame

Horst Du Mein Heimliches Rufen

Ich Spur In Mir

Wenn Es Frühling Wird