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BFT 144 Reveal


Hot Ptah

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  1.     41EF7XB4V2L.jpg

 

   Allen Toussaint—You Didn’t Know, Did You (Toussaint)

 

         Recorded December, 1959, in sessions for Seville label, at

         Cosimo’s Studios, New Orleans, Louisiana, but not released.

       

  First released 1992, on The Complete ‘Tousan’ Sessions (Bear Family)

 

        Melvin Lastie—cornet, Nat Perrilliat—tenor saxophone (solo),

        Alvin “Red” Tyler—baritone saxophone, Justin Adams—guitar,

        Allen Toussaint—piano, Frank Fields—bass, Charles “Hungry”

        Williams-drums.

 

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   McCoy Tyner—13th House (Jimmy Heath)

 

   Arranged and composed by Jimmy Heath.

   From 13th House (Milestone, 1982)

 

Oscar Brashear, Charles Sullivan—trumpets and flugelhorns;

Slide Hampton-trombone; Greg Williams-French horn; Bob Stewart—tuba;

Frank Foster—clarinet; Joe Ford—flute; Ricky Ford—tenor saxophone;

McCoy Tyner-piano; Ron Carter-bass; Jack DeJohnette-drums;

Airto—percussion, congas.

 

Solos—Tyner, Slide Hampton, Ron Carter.

 

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Johnny Griffin—A Monk’s Dream (Johnny Griffin)

 

From Return of the Griffin (Galaxy, 1978)

 

Johnny Griffin—tenor saxophone, Ronnie Mathews—piano,

Ray Drummond—bass, Keith Copeland—drums.

 

This is an excellent album. I had some difficulty choosing which track to select from it.

 

 

4.         Larry_Coryell_Philip_Catherine.jpg 

 

Larry Coryell and Philip Catherine---Nuages (Django Reinhardt)

 

From Twin House (Elektra, 1977)

 

Coryell and Catherine—guitars.

 

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Oscar Peterson—Au Privave (Charlie Parker)

 

From Oscar Peterson Big 6 at Montreux 1975 (Pablo, 1975)

 

Oscar Peterson-piano, Toots Thielemans—harmonica, Milt Jackson-vibes,

Joe Pass-guitar, Niels-Henning Orsted Pedersen-bass, Louis Bellson-drums

 

6.   67569.jpg  

 

51GPkMxQcEL._SS280.jpg

 

 

Mel Powell—You’re Lucky To Me (Eubie Blake/Andy Razaf)

 

From Mel Powell Septet (Vanguard, 1953), reissued on CD on

It’s Been So Long (Vanguard)

 

Buck Clayton—trumpet, Edmund Hall-clarinet, Henderson Chambers-trombone,

Mel Powell-piano, Steve Jordan-guitar, Walter Page-bass, Jimmy Crawford-drums

 

7.    The_Great_Jazz_Piano_of_Phineas_Newborn_ 

 

 Phineas Newborn, Jr.—Cecila (Bud Powell)

 

 From The Great Jazz Piano of Phineas Newborn, Jr. (Contemporary, 1962)

 

 Phineas Newborn, Jr.—piano, Leroy Vinnegar-bass, Milt Turner-drums.


     8.  31r911wIShL._SL500_SX425_.jpg   

 

           Phil Woods—Willow Weep For Me (Ronnell)

 

           From Musique Du Bois (Muse, 1974)

 

           Phil Woods—alto saxophone, Jaki Byard-piano, Richard Davis-bass,

             Alan Dawson-drums.

 

          I believe that this is the last time that the Jaki Byard/Richard Davis/Alan Dawson

          rhythm section recorded together, following their great work together on several

          1960s albums.

 

   9.     Cosmos_%28Sun_Ra_album%29.jpg

 

Sun Ra—Cosmos (Sun Ra)

 

      From Cosmos (Cobra, 1977, also on Inner City, 1977)

 

Sun Ra—Rocksichord; John Gilmore—Tenor Saxophone (solo);

Marshall Allen—alto saxophone, flute; Danny Davis—alto saxophone, flute;

Danny Thompson-baritone saxophone, flute; Elo Omoe—bass clarinet, flute;

James Jacson—bassoon, flute; Ahmed Abdullah—trumpet; Craig Harris-

trombone; Vincent Chancey-French horn; R. Anthony Bunn-electric bass;

Larry Bright—drums.

 

This is one of the first Sun Ra albums I ever purchased, and is still one of

my favorite Sun Ra albums.

  

10.  T%C3%AAte_%C3%A0_Tete_%28Tete_Montoliu_a   

 

Tete Montoliu—Scandia Skies (Kenny Dorham)

 

From Tete a Tete (Steeple Chase, 1976)

 

This track was unreleased until 1992, when the CD was released.

 

Tete Monteliu-piano

 

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   Paul Bley—Tango Palace (Paul Bley)

 

   From Tango Palace (Soul Note, 1985)

 

   Paul Bley—piano

 

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Weather Report—Joe and Wayne Duet (includes “Come Sunday” by Duke Ellington)

 

From The Legendary Live Tapes: 1978-1981 (Columbia Legacy, 2015)

This performance was recorded June, 1978, in Tokyo, Japan. It is the opening section of a longer track.

 

Joe Zawinul—piano

 

This is the first half of “Joe and Wayne Duet”, the opening track on CD  2 of this four CD set of live performances, which was released in 2015. On the rest of “Joe and Wayne Duet”, Zawinul switches to synthesizers, and his sound, and Wayne Shorter’s playing, would have been instantly recognized by everyone.

 

In the March 10, 1977, issue of Down Beat magazine, there was an article titled “Piano Panorama: Insights Into the Ivories.” It was “compiled by Len Lyons.” The article starts with the questions “Do you feel that jazz acoustic and electric piano is in a stagnant period now? What possibilities and approaches remain to be developed in the future?”

 

What follows are the answers by Bill Evans, Patrice Rushen, Paul Bley, McCoy Tyner, Joe Zawinul, Chick Corea, Herbie Hancock, George Shearing, Billy Taylor, John Lewis and Hampton Hawes.

 

 Joe Zawinul starts his answer by saying that he thinks that acoustic piano is in a“more stagnant period than any other instrument.” He says “ As far as I am concerned, the last complete knockout solo piano player with a completely new approach to jazz playing was Art Tatum….For me, Cecil is the only one who completely kills me. He’s a composer of the first rank.”

 

Joe Zawinul then says the following, which excited me and my friends very much at the time. We were all huge Weather Report fans and saw Weather Report live every chance we had. After reading the following quote, we eagerly waited to hear Joe playing this:

 

                “I sincerely feel that I am doing something different on acoustic piano. I’m

                working on a new way of playing solo jazz piano. The whole secret is in the

                left hand. It’s not stride but a different way of playing rhythm with the left

                hand that’s maybe stronger and more modern. I have some tapes done, but

                I’m still working on it and it will take some time. When it comes out, you’ll

                know about it.”

 

We just could not wait to hear this “new way of playing solo jazz piano” by Joe Zawinul. In 1977 and for some years after that, we would excitedly talk about how maybe this would be the time soon,  that Joe would release this great new solo piano recording, with his new original approach. Over the decades, one of my friends and I have often commented on that quote, and how Joe never released any solo piano recordings. We saw Weather Report live several times in 1977—82, and Joe did not unveil his “new way of playing solo jazz piano” at those concerts. Over the decades, my friend and I have used this as a comparison to other things. For example, “The promised sequel to that film never materialized—it’s like Joe Zawinul and his new way of playing solo piano.”

 

Well, maybe, just maybe, this beginning half of “Joe and Wayne Duet” is an example of what Joe Zawinul meant by his “new way of playing solo jazz  piano.”  If so, to my knowledge, it is the first recorded example ever to be released.

 

It only took 38 years.

 

13.   Kamasi_Washington_The_Epic.jpg  

 

 Kamasi Washington—Change of the Guard (Kamasi Washington)

 

 From The Epic (Brainfeeder, 2015)

 

Kamasi Washington—tenor saxophone, Ryan Porter—trombone,

Igmar Thomas-trumpet, Cameron Graves-piano;

Brandon Coleman-keyboards, Miles Mosley-acoustic bass,

Stephen Bruner-electric bass, Tony Austin-drums.

 

Violins-Neel Hammond, Tylana Renga Enomoto, Paul Cartwright,

Jennifer Simone, Lucia Micarelli.

Violas-Molly Rodgers, Andrea Whitt.

Cellos-Artyom Manukyan, Ginger Murphy

Choir Vocals-Dawn Norfleet, Thalma de Freitas, Maiya Sykes, Gina

Maanziello, Patrice Quinn, Natasha F. Agrama, Dwight Trible, Steven

Wayne, Taylor Graves, Charles Jones, Jason Morales, Dexter Story,

Cameron Graves,Tracy Carter.

 

Edited by Hot Ptah
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Thanks for posting that.  I actually knew the first track way ahead of time, because Siri identified it.  Since I found out through illicit means, I kept my mouth shut.  As for #9, I did identify that it was a bunch of avant-garders trying to play straight.

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52 minutes ago, Spontooneous said:

I'll be dogged. It was Tete. That one messed with my brain.

To me, it does show what we have gained in the CD era. This track was left off the original LP, presumably for reasons of the length of the side of an LP. That entire album, including its bonus tracks, is excellent. There is also a very nice solo piano version of "Lush Life" included on the CD, a previously unreleased bonus track.

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