listeningsessions:

Jamie Saft Trio / John Zorn (comp)

Beleth

Book Of Angels, Volume 1: Astaroth

(via listeningsessions)

(via )

bainer:

Donald Byrd - Chant (1961)

A more famous vocal version of this song was recorded for Byrd’s groundbreaking A New Perspective, but in this straight-ahead quintet format, Byrd’s sparkling trumpet really shines. This recording is also an opportunity to appreciate the legendary hard bop symmetry of Byrd and Pepper Adams, who were into their fourth year of leading a quintet.

jazzinbooks:

Paul Chambers 

Mopp Shoe Blues 

1st Bassman 

Vee-Jay Records, 1960

As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow. Though Pops Foster, Jimmy Blanton and Ray Brown also deserve credit, Chambers was allowed to put his bass on top, become a leader in his own right, and play lead melodies with a clear, ringing, well enunciated tone. 1st Bassman is anchored by rising stars from Detroit such as Yusef Lateef, Curtis Fuller, and adopted (from Pittsburgh) car city resident Chambers, with trumpeter Tommy Turrentine, pianist Wynton Kelly, and drummer Lex Humphries evenly balancing the session. Interestingly enough, it was recorded not in New York or the Motor City, but Chicago. Lateefwrote all of the material, save for Cannonball Adderley’s slow jam “Who’s Blues?” which was included only on the CD re-release. The emphasis on the compositions of Lateef all display a spare construct, rearing the horns to a marginal level except for solos, allowing Chambers to take care of business and control the shaping of the melodies, with little unison play involved. The small horn inserts of “Melody” give sway to the big bass strut of Chambers, with solos from Turrentine’s stoic trumpet, Lateef’s advanced tenor, and Fuller’s wanton but mushy trombone included. “Bass Region” is even more spare, a one note horn punctuation setting up lengthy solos. The slightly dour post-bopper “Retrogress” gives Kelly’s piano his due diligence, “Mopp Shoe Blues” completely offers Chambers his freedom to work out, and the ballad “Blessed” features the arco bowed bass of the leader in a mournful mood, brightened up by the effervescent and hopeful flute of the brilliant Lateef. This CD and its companion piece Go complement the preceding Blue Note sessions, comprising a small but potent body of work that few bassists have produced in modern jazz. If you are a student or lover of jazz bass, the complete Paul Chambers Vee Jay sessions, of which this is one, belongs in your home.

i12bent:

Charlie Mingus:  Boogie Stop Shuffle - from Mingus Ah Um, 1959

Personnel: Booker Ervin – tenor sax; Shafi Hadi – tenor sax; Willie Dennis – trombone; Horace Parlan – piano; Charles Mingus – bass; Dannie Richmond – drums

(via layintheblanks)