M!LES Davis – “SO WHAT” !!!!!!

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John Coltrane – “SOFTLY AS IN A MORNING SUNRISE”

Title: Softly, As In A Morning Sunrise
Artist: John Coltrane
Album: Live! At The Vanguard Village
Year: 1962

A quintessential performance of a seminal Jazz number. “Live! At The Vanguard Village” was John Coltrane’s first album that was recorded in front of a live audience.

“Softly” begins with a delicate and complex piano intro. John comes sailing in around half way through to propel it from sublime, to supreme!

Saxophone: John Coltrane
Piano: McCoy Tyner
Drums: Elvin Jones
Bass: Reggie Workman

John Coltrane with Johnny Hodges Septet (prob. Calif. spring or summer 1954)

Johnny Hodges Septet/Octet, probably California, Spring or Summer 1954

Johnny Hodges-alto sax; Harold “Shorty” Baker-trumpet; Lawrence Brown-trombone; John Coltrane-tenor sax; possibly Call Cobbs-piano; John Williams-bass; James Johnson-drums; unknown singer on the two blues

0:00-4:29 Thru for the Night
4:30-9:04 Castle Rock
9:05-16:20 In a Mellotone
16:21-18:56 I’ve Got a Mind to Ramble Blues
18:57-22:20 Don’t Cry Baby Blues
22:21-26:55 Burgundy Walk
26:56-29:50 Don’t Blame Me

Nat King Cole – “FASCINATION”

a popular 1904 waltz song with music popularized in the 1957 movie, Love in the Afternoon which starred Audrey Hepburn and Gary Cooper. .

The song was recorded by Jane Morgan and which became her signature song, It was also recorded by Dinah Shore, Dick Jacobs, Nat King Cole, Earl Grant and David Carroll, all of whose versions, except Grant, made the charts.

It was fascination
I know
And it might have ended
Right then, at the start
Just a passing glance
Just a brief romance
And I might have gone
On my way
Empty hearted

It was fascination
I know
Seeing you alone
With the moonlight above
Then I touch your hand
And next moment
I kiss you
Fascination turned to love

It was fascination
I know
Seeing you alone
With the moonlight above
Then I touch your hand
And next moment
I kiss you
Fascination turned – to – love

Duke Ellington – The Degas Suite (1968)

Edgar Degas 19 July 1834 – 27 September 1917

The Degas Suite is the soundtrack of an art film conceived in 1968 by producer Sam Shaw, who had already worked with Duke Ellington on the motion picture Paris Blues. Shaw had been impressed by an exhibition at Wildenstein’s of the best racetrack pictures by the impressionists and post-impressionists, and he saw the opportunity to do a film without the kind of big company interference he and Ellington had experienced in Paris.
Ellington was enthusiastic and quickly came up with the necessary music, tailoring it skillfully to fit the paintings and drawings shown in the film. Anthony Quinn had agreed to do the narration and in turn became enthusiastic when he saw the film and heard the music, so much so that he persuaded Charles Boyer and Simone Signoret to participate with him in the narration. Alas, all this came to naught when the project ran out of money. Ellington was given the soundtrack as some recompense for his work.
Shaw felt the music was “perfection” and, had the project succeeded, intended another similar film with pictures by Matisse.
After seeing the Degas material for the first time, Duke Ellington decided to use just four horns and piano, but the group grew in size when work began. Different titles and versions were recorded at sessions during November and December 1968, but the soundtrack, in this instance, solves the problem of deciding which takes Ellington himself considered definitive. Some performances were omitted altogether from the soundtrack and others curtailed.
The soloists are easily identifiable from the listed personnel, but it should be noted that Harold Ashby takes over from Paul Gonsalves in the last, slower section of “Daily Double”. Johnny Hodges, surely the greatest lyrical voice jazz has ever produced, exposes the beautiful main theme, “Race”, at beginning and end. The piano player is in splendid form throughout.

THE DEGAS SUITE
(Duke Ellington)

1. Introduction – Opening Titles
2. Race
3. Racing
4. Piano Pastel
5. Improvisation – Marcia Regina
6. Piano Pastel
7. Daily Double
8. Drawings
9. Promenade
10. Sonnet
11. Race

Duke Ellington – piano
Willie Cook – trumpet
Chuck Connors – bass trombone
Johnny Hodges – alto saxophone
Russell Procope – alto saxophone and clarinet
Paul Gonsalves, Harold Ashby – tenor saxophones
Harry Carney – baritone saxophone
Jeff Castleman – bass
Rufus Jones – drums

New York, November 6, 1968
except “Daily Double”, December 3, 1968

“DARK MAGUS” (Wili Part 1, live March 3, 1974)

Every jazz fan has their favorite Miles period, I’m probably in the minority but I’ll take his electric phase from ’68-75 which expanded his amazing skills by importing the energy of rock and funk. For studio albums I can turn to ‘A Tribute to Jack Johnson’ and the haunting ‘Bitches Brew’ but in that elusive mystical live moment ‘Dark Magus’ rumbles to the front of the pack.

Wili Part 1 performed live by Miles Davis released on “Dark Magus”
(Columbia, 1974).
Awesome live performance in Carnegie Hall (March 3, 1974).

Miles Davis – Organ, Trumpet
Dominique Gaumont – Guitar
Michael Henderson – Bass
Azar Lawrence -Sax (Tenor)
David Liebman – Flute, Sax (Soprano, Tenor)
Reggie Lucas – Guitar
Mtume – Percussion
Al Foster – Drums

Antonio Sanchez drum solo (live July 202)

“Sometimes in rock bands nowadays they have that drum sound that seems a little generic to me. That’s why I miss John Bonham so much, Stewart Copeland, guys that have a completely signature sound.”

– Antonio Sanchez, from his upcoming Before & After listening session, out in Sept.

Pat Metheny group live in the Jazz à Vienne Festival. Date 03.07.2002.
Lineup – Lyle Mays,Pat Metheny,Steve Rodby,Antonio Sanchez,Cuong Vu.

Remembering BILLIE HOLIDAY (April 7, 1915 – July 17, 1959)

Published on 22 Oct 2013

1.This Year’s Kisses 0:00
2.I Must Have That Man! 3:08
3.I’ll Get By 6:05
4.Mean to Me 9:16
5.I’ll Never Be the Same 12:21
6.Easy Living 15:25
7.Foolin’ Myself 18:30
8.Without Your Love 21:31
9.Me, Myself and I (Are All in Love With You) 24:24
10.A Sailboat in the Moonlight 27:02
11.Trav’lin’ All Alone 29:55
12.She’s Funny That Way 32:10
13.Getting Some Fun out of Life 34:48
14.I Can’t Believe That You’re in Love with Me 37:50
15.Back in Your Own Backyard 40:35
16.You Can’t Be Mine (And Someone Else’s Too) 43:16
17.Say It with a Kiss 46:37
18.The Man I Love 48:11

Keith Jarret, Gary Peacock, Jack Dejohnette – “STANDARDS” II (Tokio 1986)

1. You Don’t Know What Love Is
2. With A Song In My Heart
3. When You Wish Upon a Star
4. All Of You
5. Blame It On My Youth
6. Love Letters
7. Georgia On My Mind
8. You And The Night And The Music
9. When I Fall In Love
10. On Green Dolphin Street
11. Woody’n You
12. Young And Foolish

“M!LES In The Sky” (1968) [Full Album]

1 – Stuff
2 – Paraphernalia
3 – Black Comedy
4 – Country Son

Personnel:
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – piano, electric piano on “Stuff”
Ron Carter – bass, electric bass on “Stuff”
Tony Williams – drums
George Benson – electric guitar on “Paraphernalia”

M!LES album “LIVE EVIL”, 1970

1.Sivad – 15:13
2.Little Church – 3:14
3.Medley: Gemini/Double Image – 5:53
4.What I Say – 21:09
5.Nem Um Talvez – 4:03
6.Selim – 2:12
7.Funky Tonk – 23:26
8.Inamorata and Narration by Conrad Roberts – 26:29

Miles Davis – tromba elettrica con Wah Wah
Gary Bartz – sax soprano, sax contralto
Keith Jarrett – Fender Rhodes piano elettrico & organo elettrico Fender
John McLaughlin – chitarra elettrica
Michael Henderson – basso elettrico
Jack DeJohnette – Batteria
Airto Moreira – percussioni
Conrad Roberts – voce narrante, poesia

M!LES Quintet – “WORKIN'”

Miles Davis – trumpet
John Coltrane – tenor saxophone
Red Garland – piano
Paul Chambers – bass, cello
Philly Joe Jones – drums

Workin’ with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on May 11, 1956 and October 26 in the same year resulted in four albums—this one, Relaxin’ with The Miles Davis Quintet, Steamin’ with The Miles Davis Quintet and Cookin’ with the Miles Davis Quintet. Track 2 is a composition written for Davis by Eddie Vinson (see Blue Haze for more details). “Trane’s Blues” (also known as “Vierd Blues”, a tongue-in-cheek reference to Blue Note founder Francis Wolff’s heavily accented verdict on it), also credited to Davis, is in fact a John Coltrane composition (originally titled “John Paul Jones”, and from an earlier session led by bassist Paul Chambers; before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker’s “The Hymn”). Paul Chambers plays a cello bassline on “Half Nelson”.

“It Never Entered My Mind” (Richard Rodgers) – 5:26
“Four” (Miles Davis) – 7:15
“In Your Own Sweet Way” (Dave Brubeck) – 5:45
“The Theme” [take 1] (Davis) – 2:01
“Trane’s Blues” (a.k.a. “Vierd Blues”) (John Coltrane) – 8:35
“Ahmad’s Blues” (Ahmad Jamal) – 7:26
“Half Nelson” (Davis) – 4:48

Charlie Haden, Jan Garbarek, Egberto Gismonti – “MAGICO” (1980) [Full Album]

“Bailarina” (Geraldo Carneiro, Piry Reis)
“Magico” (Egberto Gismonti)
“Silence” (Charlie Haden)
“Spor” (Jan Garbarek)
“Palhaço” (Egberto Gismonti)

Recorded at Talent Studio in Oslo, Norway in June 1979.

Charlie Haden, double-bass.
Jan Garbarek, soprano and tenor saxophones.
Egberto Gismonti, guitars, piano.