25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965 # Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt,Larry Young, Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd

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1959-1965

Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings
Dark Eyes 4:44
Dig Uncle Will (Jack McDuff) 3:32
Enough Said (Alvin Johnson) 6:45
from Enough Said 1959
Jennings leads a relaxed quartet which includes Jack McDuff (organ), Wendell Marshall (bass), and Alvin Johnson (drums) on this 1959 session. Jennings shows off the bluesy tone that made him a favorite of B.B. King on his composition "Tough Gain" and the group-penned "Blue Jam," but aside from these, most of the tracks are slow-to-midtempo shuffles -- edifying yet not exciting...

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Johnny Rae's Afro-Jazz Septet
St. Thomas (Sonny Rollins) 8:04
Jungle Fantasy (Esy Morales) 7:56
Sudan 3:50
from Herbie Mann's African Suite 1959
Herbie Mann's African Suite (also released as St. Thomas) is an album by American jazz flautist Herbie Mann recorded in 1959 and first released on the United Artists label. The album was originally released under Johnny Rae's leadership due to Mann's contractual relationship with Verve Records.
Herbie Mann - flute, bass clarinet
Johnny Rae - vibraphone
Bob Corwin - piano
Jack Six - bass
Philly Joe Jones - drums
Carlos "Patato" Valdes, Victor Pantoja - congas
José Mangual - bongos

Swinging big band pianist, organist, and arranger; known for a lively, animated stage presence. Milt Buckner, the "St. Louis Fireball," is generally credited with having popularized the Hammond organ during the early 1950s. First introduced in 1934, the instrument was immediately seized upon by Thomas "Fats" Waller, whose syncopated pipe organ records of 1926-1929 form the primal bedrock of the jazz organ tradition. Although the Hammond was also used periodically by Waller's friend Count Basie, Buckner rekindled interest in the organ some seven years after Waller's demise as his exuberant, boogie-based approach to the instrument added exciting new textures to the burgeoning R&B scene, inspiring a whole new generation of organists and ultimately endearing him to mainstream jazz audiences everywhere.
Milt Buckner
Mighty High 2:45
After Hours 3:39
Burnt Out 3:30
from Mighty High 1959
Understatement was always Milt Buckner's strong suit, and Mighty High plays beautifully to those strengths, pairing the organist with guitarist Kenny Burrell, bassist Joe Benjamin, alto saxophonist Jimmy Campbell, and drummer Maurice Sinclair to create a collection of short, simple, and sweet jazz tunes energized by the wonderful rapport of the assembled players. Unlike fellow Hammond B-3 maestros like Jimmy Smith, Buckner clearly savors the group dynamic, eschewing theatrics in favor of brief yet effective solos that never attract attention away from the groove. The music crackles with collaborative energy, drawing its strength from numbers.

At one time a topflight soloist and accompanist in textbook bop fashion, Joe Castro eventually departed jazz world for more profitable territory of show biz and Las Vegas. He began playing professionally at 15 in his Pittsburg, California hometown...
Joe Castro
Play Me the Blues (Teddy Edwards) 9:17
Day Dream (Duke Ellington / John Latouche / Billy Strayhorn) 7:00
It Could Happen to You (Johnny Burke / James Van Heusen) 3:31
from  Groove Funk Soul 1959
Joe Castro - piano
Teddy Edwards - tenor saxophone
Leroy Vinnegar - bass, Billy Higgins - drums

Alto and tenor saxophonist who was a fiery master of the bebop vocabulary and one of the most active recording artists of the bop and post-bop eras. Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Stitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo.
Sonny Stitt
New York Blues (Jimmy Giuffre) 3:56
Down Country (Stitt, Giuffre) 7:00
I Let a Song Go Out of My Heart (Duke Ellington, Irving Mills, Henry Nemo, John Redmond) 3:23
from Sonny Stitt Plays Jimmy Giuffre Arrangements 1959
Sonny Stitt - alto saxophone, tenor saxophone
Jimmy Giuffre - tenor saxophone, arranger
Lee Katzman, Jack Sheldon - trumpet, Frank Rosolino - trombone, Al Pollen - tuba, Jimmy Rowles – piano, Buddy Clark – bass, Lawrence Marable - drums

An acclaimed innovator of the '60s jazz organ approach, who utilized swirling chords, surging lines, and rock-influenced improvisations. 
Larry Young
Testifying (Larry Young) 9:55
Some Thorny Blues 6:23
Flamingo (Edmund Anderson / Ted Grouya) 5:24
from Testifyng 1960
Organist Larry Young was 19 when he made this, his debut recording. Although he would become innovative later on, Young at this early stage was still influenced by Jimmy Smith, even if he had a lighter tone; the fact that he used Smith's former guitarist, Thornel Schwartz, and a drummer whose name was coincidentally Jimmie Smith kept the connection strong. R&B-ish tenor Joe Holiday helps out on two songs, and the music (standards, blues and ballads) always swings. Easily recommended to fans of the jazz organ.

Hard-blowing tenor who greatly expanded his stylistic menu by exploring Asian and Middle Eastern rhythms, instruments, and concepts.  Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s.
Yusef Lateef
Goin' Home (Antonin Dvorák / Mark Fisher) 5:02
Salt Water Blues (Yusef Lateef) 6:47
Lateef Minor 7th (Joe Zawinul) 4:59
from The Three Faces of Yusef Lateef 1960
On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career.

The most influential jazz musician of the late 20th century, one of the greatest saxophonists of all time, and the pioneer of jazz without limits. Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
John Coltrane
Blues to Elvin (Elvin Jones) 7:50
Blues to You (John Coltrane) 6:27
Mr. Syms (John Coltrane) 5:19
from Coltrane Plays the Blues 1962
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't)...
John Coltrane - saxophone   McCoy Tyner - piano   Steve Davis - bass   Elvin Jones - drums

The leading composer and pioneer of hard bop, plus a pianist who blended vintage R&B, gospel, blues, and Caribbean elements into jazz.  From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
The Horace Silver Quintet
Silver's Serenade (Horace Silver) 9:22
Sweet Sweetie Dee (Horace Silver) 7:35
Nineteen Bars (Horace Silver) 6:21
from Silver's Serenade 1963
Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track... "Sweetie Sweetie Dee" moves from hard bop to funky bop... The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet...

Highly individual American jazz pianist and composer emerged from the '60s avant-garde. Andrew Hill was a great and even groundbreaking composer and pianist, yet the relatively circumscribed scale of his innovations might have originally caused him to get lost in the shuffle of the '60s free jazz revolution. While many of his contemporaries were totally jettisoning the rhythmic and harmonic techniques of bop and hard bop, Hill worked to extend their possibilities; his was a revolution from within. 
Andrew Hill
Siete Ocho (Andrew Hill) 8:58
Yokada, Yokada (Andrew Hill) 5:17
Judgment (Andrew Hill) 6:54
from Judgment! 1964
Augmenting his rhythm section of bassist Richard Davis and drummer Elvin Jones with vibraphonist Bobby Hutcherson, pianist Andrew Hill records an excellent set of subdued but adventurous post-bop with Judgment. Without any horns, the mood of the session is calmer than Black Fire, but Hill's compositions take more risks than before. Close listening reveals how he subverts hard bop structure and brings in rhythmic and harmonic elements from modal jazz and the avant-garde. The harmonic structure on each composition is quite complex, fluctuating between dissonant chords and nimble, melodic improvisations. Naturally, Hill's playing shines in this self-created context, but Hutcherson equals the pianist with his complex, provocative solos and unexpected melodic juxtapositions. Jones shifts the rhythms with style, and his solos are exceptionally musical, as is Davis' fluid bass. The combination of the band's intricate interplay and the stimulating compositions make Judgment another important release from Hill. It may require careful listening, but the results are worth it.

Saxophone player who cross-pollinated jazz with rock as well as non-Western styles to aid the development of fusion and world music. Saxophonist Charles Lloyd is a forward-thinking musician whose supreme improvisational talents and interest in cross-pollinating jazz with rock as well as non-Western styles of music during the '60s and '70s established him as one of the key figures in the development of fusion and world music. 
Charles Lloyd
Forest Flower 7:51
Little Peace (Charles Lloyd) 6:30
Days of Wine and Roses (Henry Mancini / Johnny Mercer) 5:51
from Discovery! 1965
Charles Lloyd's recorded debut as a leader was made while he was a member of the Cannonball Adderley Sextet. Doubling on tenor and flute, Lloyd teamed up with pianist Don Friedman, either Eddie Khan or Richard Davis on bass, and Roy Haynes or J.C. Moses on drums. This out of print LP has among its highlights "Little Piece" (dedicated to Booker Little), "Days of Wine and Roses," ...  and the initial full-length version of "Forest Flower." Lloyd's Coltrane-inspired sound was already in place, and his flute playing was becoming distinctive. The music is essentially melodic but advanced hard bop, a strong start to an important career.