Basie’s in top form playing with a small group. If you’re only familiar with the Basie big band sound, you’re in for a real treat! 88 Basie Street is an audiophile favorate… this nearly 25 year old recording puts to shame, today’s typical recorded music product

four cuts of the big band with arrangements by Sammy Nestico and two small group selections by the Count, “Contractor’s Blues” and “Sunday At The Savoy”, allowing the soloists to stretch out. I’m not sure why Freddie Green was not present on the big band cuts, but Joe Pass, as a guest, is a pleasant surprise for the two small group cuts.

This is the usual fine mellow groove that became the Basie stock in trade, indeed its signature…..fine solid performances both in section work and as soloists coupled with an impeccable swinging beat.

This is another fine selection for those who care for the best in big band swing and Count Basie in particular.

One of Basie’s big band albums for Pablo, recorded in May 1983, as opposed to the many small group ones he did for that label. Basie is in a mellow mood on this outing, with tempos relaxed or slow. Four of the tunes are blues; SUNDAY AT THE SAVOY is over 12 minutes long and way down home and nice. Eric Dixon (ts), Sonny Cohn (tp), Chris Woods (as) and Booty Wood (tb) are the chief soloist, and Sam Nestico did the excellent arranging. One of Basie’s better Pablo recordings, which is saying a lot.


I think it s still a beauty listening to this magnificent orchestra, and there are many very good vinyl pressings today.

TIP!!!!!!go for at least 180 gram pressings!!




Ray Charles
Ray Sings Basie Swings -ltd-45 RPM

Release date: 13-10-2007

2007 US strictly limited edition 13-track 2-LP set pressed on 180gram VIRGIN VINYL, half-speed mastered by Stan Ricker, featuring a superb collaboration between Charles and Basie’s orchestra, as they swing their way through 12 top cuts, plus bonus recording ‘Them That Got’ featuring the orchestra by themselves, presented in embossed deluxe individually numbered gatefold pasted sleeve, housed in perforated tear strip bag.

01. Oh What A Beautiful Morning
02. Let The Good Times Roll
03. How Long Has This Been Going On?
04. Every Saturday Night
06. Cryin’ Time
07. Busted
08. Come Live With Me
09. Feel So Bad
10. The Long And Winding Road
11. Look What They’ve Done To My Song
12. Georgia On My Mind
13. Them That Got – bonus track

Ray Sings Basie Swings combines archival, never-before-heard Ray Charles vocal recordings with brand new performances by the Count Basie Orchestra. This groundbreaking release gives listeners the unprecedented experience of hearing Ray Charles at the dazzling peak of his vocal prowess. Ray Sings Basie Swings was created with the most up-to-date recording and mixing technology, offering sound quality that is state-of-the-art.

The producers of this project discovered archival reels of Ray Charles and the Count Basie Orchestra performing live together in 1973. Although the vocals were superior, the remaining elements were of extremely poor quality. They decided to bring the current Basie Orchestra into the studio and, using the latest technology, they carefully and painstakingly laid down a new instrumental backdrop for Charles’ towering vocals.




Release date: 12-01-2007 (originally released in 1959)

US exclusive limited MONO edition 10-track LP pressed on 200gram QUIEX SUPER VINYL,- Count Basie’s classic 1958 album ‘Chairman of the board’. Although released at a time when Count Basie was highly successful, the album was comparatively low-key session. A brassy powerful vision of the blues that shows the ‘new testament’ version of Basie’s orchestra on top form! housed in sticker-sealed PVCsleeve.

01. Blues in hoss flat
02. HRH(Her Loyal Highness)
03. Segue in C
04. Kansas city shout
05. Speaking of sounds
06. TV time
07. Who me
08. Deacon
09. Half moon street
10. Mutt and jeff

One of the FIVE recordings the Basie Band made for its new label
in 1959 and in hindsight the one many call his best. By this time, stereo
recording had developed significantly and it shows in the spaciousness of
the recording. Big Band is hard to capture in mono as well as it can be
recorded in stereo and this original two track is BIG BAND Stereo! This one
gets top recommendations.

One of my all time favorites!!! Very good sound quality

As always, can order from me new ans sealed and you Know, I beat the price

Count Basie & Duke Ellington First Time! – The Count Meets The Duke 1x LP 180 gr. HQ VinyL

Release date: 25-09-2008 (originally release from 1961)

2008 UK issue 8-track 180 gram virgin vinyl LP audiophile re-mastered limited edition – This legendary 1961 date has a friendly after-hours feel, with the Ellington crew in the right channel and the Basie band in the left. They both deliver the type of no-nonsense straight-ahead jazz that characterized the best of the big-band sound. The sparring here between soloists of both bands is a pure delight, especially the gentle conversations between the two leaders-pianists, who finish each other’s thoughts as if all four hands were attached to one unified torso – Sealed and stickered in original artwork sleeve.

01. Battle Royal
02. To You
03. Take The A Train
04. Until I Met You
05. Wild Man
06. Segue In C
07. BDB
08. Jumpin’ At The Woodside

The musical event which is presented in this album is without precedent in the history of jazz. History largely consists of chronicling momentous occasions and it was such an occasion when the full orchestras of Duke Ellington and Count Basie recorded together on July 6, 1961. The result is almost an embarrassment of riches. It is great in significance, great in musical content and, above all, great in demonstrating the two famous leaders’ mutual appreciation and understanding of each other. At first glance this collaboration should not have worked. The Duke Ellington and Count Basie orchestras had already been competitors for 25 years but the leaders’ mutual admiration (Ellington was one of Basie’s main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing.




Diana Krall
Quiet Nights
Release date: 29-03-2009

2009 UK issue 10-track LP from the celebrated smooth jazz singer pressed on 180gram VIRGIN VINYL, combining Brazilian and West Coast jazz styles and featuring 3 recordings of songs by bossa nova legend Antonio Carlos Jobim, stickered & sealed picture sleeve


01. Where Or When [Richard Rodgers, Lorenz Hart]
02. Too Marvelous For Words [Johnny Mercer, Richard A. Whiting]
03. I’ve Grown Accustomed To Your Face [Frederick Loewe, Alan Jay Lerner]
04. The Boy From Ipanema [Antonio Carlos Jobim, Vinicius De Moraes, Norman Gimbel]
05. Walk On By [Burt Bacharach, Hal David]
06. You’re My Thrill [Jay Gorney, Sidney Clare]
07. Este Seu Olhar [Jobim]
08. So Nice [Marcos Valle, Gimbel, Paulo Sérgio Valle]
09. Quiet Nights [Jobim, Gene Lees]
10. Guess I’ll Hang My Tears Out To Dry [Jule Styne, Sammy Cahn]

Diana Krall 12th album Quiet Nights is an intimate recording of ballads and bossa novas from the team that brought you her best-selling Grammy Award-winning album The Look of Love. Accompanied by her quartet and orchestra, Diana offers up her sensual vocals and consummate piano skills on a collection of tunes that includes The Boy from Ipanema,Walk on By, a stunning rendition of the Bee Gees How Can You Mend A Broken Heart and the standard Every Time We Say Goodbye among others. Orchestra arranged and conducted by Claus Ogerman. Produced by Tommy LiPuma and Diana Krall.

what I must write here!!! What a great voice!!


Melody Gardot
Worrisome Heart
Release date: 29-07-20082008 UK issue 10-track LP pressed on 180gram VirginVINYL -The 23-year old Philadelphia singer/songwriter Melody Gardot’s debut album Worrisome Heart introduced songs of quiet, wistful poetry with sophisticated after-hours arrangements. – Sealed picture sleeve 

01. Worrisome Heart
02. All That I Need Is Love
03. Gone
04. Sweet Memory
05. Some Lessons
06. Quiet Fire
07. One Day
08. Love Me Like a River Does
09. Goodnite
10. Twilight (Instrumental)

Worrisome Heart was produced by Melody Gardot with Glenn Barratt an

was originally released independently in 2006. Although there are elements of jazz, blues and folk in her music, it is simultaneously all of those things and none of them. Her engaging songs and sultry controlled vocals possess a timeless quality that places them in the tradition of the great female vocalists on Verve, whose work isn’t confined to any one genre or style.



Ella Fitzgerald and Louis Armstrong:

180 Gram Audiophile Virgin Vinyl LP – Sealed
Track Listing:
1. Can’t We Be Friends
2. Isn’t This a Lovely Day
3. Moonlight in Vermont
4. They can’t take that away from Me
5. Under a Blanket of Blue
6. Tenderly
7. A Foggy Day
8. Stars Fell on Alabama
9. Cheek to Cheek
10. The Nearness of You
11. April In Paris
About Ella & Louis by Ella Fitzgerald and Louis Armstrong:
Ella and Louis is a 1956 studio album by Ella Fitzgerald and Louis Armstrong, and the Oscar Peterson Quartet. 

As always, order from me, I beat the price/

What a sound, and 2 for the price of one:) the 2 biggest jazz singers and musicians on one album and what a sound.

Peter s tip; buy at least the 180 gram pressing, much better sound.



Ella Fitzgerald Sings The Irving Berlin SongbookRelease date: 02-11-2004 (originally released in 1958)

2004 German Speakers Corner limited  31-track 2- LP edition  pressed on 180gram Virgin VINYL, originally released in 1958, produced by head of Verve Norman Granz.sealed and stickered picture sleeve.

01. Let’s Face The Music And Dance
02. You’re Laughing At Me
03. Let Yourself Go
04. You Can Have Him
05. Russian Lullaby
06. Puttin’ On The Ritz
07. Get Thee Behind Me Satan
08. Alexander’s Ragtime Band
09. Top Hat, White Tie And Tails
10. How About Me
11. Cheek To Cheek
12. I Used To Be Colour Blind
13. Lazy
14. How Deep Is The Ocean
15. All By Myself
16. (You Forgot To) Remember
17. Suppertime
18. How’s Chances
19. Heat Wave
20. Isn’t This A Lovely Day
21. You Keep Coming Back Like A Song
22. Reaching For The Moon
23. Slumming On Park Avenue
24. The Song Is Ended
25. I’m Putting All My Eggs In One Basket
26. Now It Can Be Told
27. Always
28. It’s A Lovely Day Today
29. Change Partners
30. No Strings (I’m Fancy Free)
31. I’ve Got My Love To Keep Me Warm

It was a long road for the composer Irving Berlin: beginning with “Alexanderâs Ragtime Band” in 1911, leading him on via “Cheek To Cheek”, right up to “Change Partners” in 1938 – it was one success after another. The once-heard, never-forgotten tunes found in the musicals “Follow The Fleet” and “Puttina On The Ritz” were simple little songs – taken from life itself. And Ellas interpretations are just as simple and straightforward, while the arranger Paul Weston held back his soloists too. With the Irving Berlin Songbook, an album has been created in which the small variations on well-known melodies (such as “Cheek To Cheek” and “How Deep Is The Ocean”) can be truly appreciated, and magical moments or lesser known songs discovered or hummed along to (“I Used To Be Color Blind” and “Lazy”). But this is also an album which mirrors the history of the Broadway musical in the 1920s and 30s, the majority of which were written by the Gershwins, Jerome Kern, Rodgers and Hammerstein, and a good many of them by Irving Berlin.
Nobody knew the tricks of the entertainment trade better than Ella: not only a brilliant scat singer, she was also the very best interpreter of the ballad. And should you need any proof of this, just listen to any song contained within this Songbook (my tip: “Reaction For The Moon” and “Always”). Ella s capability of giving a new interpretation to Irving Berlinâs songs doesn t end there, however. The “Song Is Ended” and “Heat Wave” are rare jewels of swing against which singers right up to the present day are measured.
Just why should you buy this particular Songbook? There are two simple reasons: to listen to Ellaâs voice and her immense variety is sheer pleasure, and Irving Berlinâs songs offer pure entertainment at the highest level.

Ella Fitzgerald (voc) & Paul Weston and his orchestra

as always…order from me, I beat the price!!

Peter s TIP: buy the 180gram  pressing



sarah vaughan all of me

Sarah Vaughan
Sarah Vaughan In Hi-Fi
2x LP 180 gr. HQ Vinyl

Release date: 10-10-2006 (originally from 1949) 

2006 UK exclusive limited edition 21-track 2-LP set pressed on 180gram VINYL and mastered from the original mono tapes, featuring a jazz oriented collection of recordings from her sessions for Columbiain 1949 which features a young Miles Davis, Freddie Green and Budd Johnson among others, containing 9 BONUS recordings not available on the original issue including Alternate Takes, presented in a sealed &stickered gatefold picture sleeve.

01. East Of The Sun (And West Of The Moon)
02. Nice Work If You Can Get It
03. Pinky
04. The Nearness Of You
05. Come Rain Or Come Shine
06. Mean To Me
07. It Might As Well Be Spring
08. Can’t Get Out Of this Mood
09. Spring Will Be A Little Late This Year
10. Ooh, What ‘Cha Doin’ To Me
11. Goodnight My Love
12. Ain’t Misbehavin’
13. It’s All In The Mind
14. The Nearness Of You (alternate take)
15. Ain’t Misbehavin’ (alternate take)
16. Goodnight My Love (alternate take)
17. Can’t Get Out Of this Mood (alternate take)
18. It Might As Well Be Spring (alternate take)
19. Mean To Me (alternate take)
20. Come Rain Or Come Shine (alternate take)
21. East Of The Sun (And West Of The Moon) (alternate take)

This 1949 session from one of the all-time jazz greats (female or otherwise) features fellow heavyweights Miles Davis, Freddie Green and Budd Johnson among others. Vaughan recorded for Columbia between 1949 and 1952, yet only two LPs were ever released from the many tracks she produced during that period: the strings-only Afterhours and the present Sarah Vaughan In Hi-Fi, which is a more jazz-oriented collection. These are, without question, some of Vaughan’s finest recordings. Hear her in her prime.

Recording infos:
Recorded 21st December 1949 : The Nearness Of You – take 5(master), take 1(alt.) Billy Butterfield, Taft Jordan : trumpet / Will Bradley : trombone / Toots Mondello, Hymie Schertzer : alto saxophone / Artie Drelinger, George Kelly : tenor saxophone / Stan Webb : baritone saxophone / Jimmy Jones, Al Caiola : guitar / Eddie Safranski : bass / Cozy Cole : drums

Recorded 18th May 1950 : Ain’t Misbehavin’ – take 2(master), take 1 (alt.)/ Goodnight My Love – take 5(master), take 3 (alt.)/ Can’t Get Out Of this Mood – take 6(master), take 4 (alt.)/ It Might As Well Be Spring – take 4(master), take 1 (alt.) Miles Davis : trumpet / Benny Green : trombone / Budd Johnson : tenor saxophone / Tony Scott : clarinet / Jimmy Jones : piano / Freddie Green : guitar / Jr. Billy “Pickels” Taylor : bass / J C Heard : drums. Budd Johnson, Benny Green & Freddie Green do not play on  Might As Well Be Spring

Recorded 30th December 1952 : Is All In The Mind With a largely unidentified studio orchestra including a prominent alto saxophone and probably the following: P.Cincillo, Red Solomon, J. Milazzo, Jimmy Maxwell : trumpets/ Will Bradley, Al G.(??), Jack Sattersfield : trombone/ Jim Abto, Russ Bazer, Harold Feldman, Bernie Kaufman, Bill Vercazi : saxophones/ Lou Stein : piano/ Art Ryerson : guitar/ Frank Carroll : bass/ Terry Snyder : drums

Recorded 19th September 1951 : Pinky unknown personnel


tribute to louis Armstrong  extra bonus for you!!

Portrait of Louis Armstrong – Wynton Marsalis extra bonus video

And because it swings, another bonus for you, listen and enjoy!!

This swings like…..:)

Louis Armstrong & Duke Ellington reunion

Release date: 17-11-2001 (originally released in 1961)

2001 issue US exclusive 7-track LP pressed on 200 gram QUIEX SUPER VINYL – A second installment of the highly enjoyable Armstrong-Ellington encounter, a fantastic reunion album which commemorated a musical collaboration of great magnitude in the world of jazz! – Sealed & stickered in original perforated tear strip bag,

01. It Don’t Mean A Thing
02. Solitude
03. Don’t Get Around Much Anymore
04. I’m Beginning To See The Light
05. Just Squeeze Me
06. I Got It Bad And That Ain’t Good
07. Azalea

Released as a second volume of recordings by Roulette Records from a 1961 summit between two jazz icons, after hearing this collaboration you’ll wish they had recorded ten volumes. And with the musical talent and knowledge between them, they could have! Using Armstrong’s regulars plus Ellington at the piano (who performs exceptionally well, comping understatedly behind the vocals), the duo romps through seven of the Duke’s most famous and popular compositions. And when Satchmo decides to blow, he shapes his solos perfectly into the tasteful arrangements. With Trummy Young on trombone and Barney Bigard on clarinet plus a rhythm section of Mort Herbert on bass and Danny Barcelona on drums, these recordings are a once-in-a-lifetime dream summit meeting that thank God producer Bob Thiele was brilliantly astute enough to arrange and capture on tape.

as always…order from me, I beat the price!!

LP pressed on 200 gram QUIEX SUPER VINYL

first release of the 2 albums recorded together with the great Duke Ellington 1961.

This is my favorite jazz LP, even better than Davis’s “Kind of Blue,” Armstrong’s “Great Chicago Concert,” Artie Shaw’s “Highlights from Self Portrait,” Sintra’s “Songs for Swingin’ Lovers,” Ella (singing almost anything), and “The Complete Ella Fitzgerald & Louis Armstrong.” Armstrong’s All-Stars with Duke sitting in on piano, playing all Ellington. Great compositions with great improvisations.

            <div style=”font-size:0.9em;”>  <a href=”http://vodpod.com/watch/5533770-duke-s-place”>duke s place</a>- Watch more <a href=”http://vodpod.com”>Videos</a&gt; at Vodpod.</div>

Just listen to the music. “Cottontail” opens with consecutive solos by Ellington, the great Barney Bigard, Armstrong, and trombonist Trummy Young, then later features a great scat “verse” by Armstrong. Almost every one of the cuts is as strong.

This was the LP  that brought clarinetist Barney Bigard to my attention. He played for years with Ellington’s band, then with Armstrong’s All-Stars, and I later read in Gary Giddins’s “Satchmo” that Armstrong considered him the best jazz clarinetist he ever worked with. Listen to his solos on “Cottontail” (one is in the Amazon.com sample) and “Beautiful American”, as well as his sparkling repartee with Armstrong on “In a Mellow Tone.”

Peters TIP, Buy these 2 albums together, a must have in every collection!!

Oscar Peterson NIGHT TRAIN 180 GRAM HQ limited edition

Release date: 13-07-2000 (originally released in 1962)

2000 German limited edition 11-track LP pressed on 180gram VIRGIN VINYL, originally released in 1962,This recording represents Oscar Peterson at his most commercially accommodating, yet his trio with Ray Brown and Ed Thigpen never fails to swing. The program includes such familiar melodies as the title track (which began life as Duke Ellington’s “Happy Go Lucky Local”), “Georgia on My Mind,” and “The Honeydripper.” With the notable exception of the gospel-like original “Hymn to Freedom,” most of the tracks clock in at around three minutes.presented in sealed & stickered picture sleeve

01. Night Train
02. C Jam Blues
03. Georgia On My Mind
04. Bags’ Groove
05. Moten Swing
06. Easy Does It
07. Honey Dripper
08. Things Ain’t What They Used To Be
09. I Got It Bad and That Ain’t Good
10. Band Call
11. Hymn To Freedom

Bass – Ray Brown
Drums – Ed Thigpen
Piano – Oscar Peterson
Producer – Norman Granz

Real fans have always been in the know: the Oscar Peterson Trio was never better than in the Sixties. Enough said! Quite undeniably it was during this time that the pianist and his partners Ray Brown (bass) and Ed Thipgen (drums) achieved their greatest success – and this success was never quite repeated with a different team of musicians. One of the albums to emerge from this era was Night Train, an album which still today is to be found right at the top of the best of the best of jazz lists.

As is only right and proper for a formation made up of black musicians, blues – the bedrock of American jazz – is right at the heart of this music. In addition to a whole series of well-known, swinging numbers which will set your pulse racing such as the peppy C-Jam-Blues or the breathless, racing Honey-Dripper, this album also contains several dreamy ballads of extraordinary beauty. And if your spine  set deliciously tingling when listening to Georgia On My Mind or the famous Hymn of Freedom, then it’s high time to visit a doctor! This auspicious compilation containing Peterson’s most important numbers also deserves praise for its excellent tonal quality and the high standard of the pressing. But why waste words – the fans know all that anyway!

Recording: December 1962 by Val Valentin / Production: Norman Granz

What an album, I love oscar Peterson, will post (much) more reviews of him and his wonderfull music.

Peter s TIP: at night, good turntable, read my turntable reviews 😉 fireplace burning, glas of wine and Oscar Peterson, Life can t be  better.


Release date: 08-02-2002 (recording in 1967-68) 

2002 German Speakers cornerlimited edition 10-track LP pressed on 180gram VIRGIN VINYL,-Oscar Petersen himself claimed to have made his best recordings MPS. In the label’s archives for were lost tapes from Petersons heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped ”exclusively for my friends” in the private studio in Villingen in 1965-1968 – Presented in sealed & stickered picture sleeve


01. Gravy Waltz
02. Squeaky’s Blues
03. Let’s Fall In Love
04. Stella By Starlight
05. Moanin’
06. Put On A Happy Face
07. I Will Wait For You
08. Never Say Yes
09. L’Impossible
10. My Romance

Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius, who had just recovered his health, was still capable of amazing them all, although he had obivously forfited some of his past vitality. This may well have introduced MPS–the label with whom Oscar Peterson himself clamimed to have made his best recordings–to search their archives for lost tapes from Peterson’s heydey. A number of previously unreleased recordings were discovered, which had been taped “exclusively for my friends” in the private studio in Villngen, 1965-1968. The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa–as is borne out by the fact that Peterson’s usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.

As promised to you, the second Oscar Peterson review and this is one of my all time favorite!! As always order from me, I beat the price!!


Oscar Peterson/Milt Jackson
Very Tall

Release date: 13-07-2005 (originally released in 1961)

2003 German Speaker Corners  limited edition 6-track audiophile stereo LP, pressed on 180gram VIRGIN VINYL- A famous critic once described the music on this LP as an Elementary lesson in the grammar and soul of jazz. Surely there is no better classification of this vinyl disc, although it will certainly appeal to more advanced jazz lovers too. also featuring Ray Brown on Bass & Ed Thigpen on Drums – Presented in sealed picture sleeve.

01. Green Dolphin Street
02. Heartstrings
03. Work Song
04. John Brown’s Body
05. A Wonderful Guy
06. Reunion Blues

Many will know the great Oscar Peterson only as a soloist or as part of a trio. But he is equally sovereign and sensitive when accompanying soloists on all kinds of instruments. And this has been proved not only by this particular Verve LP!
Peterson allows him to create his own concept, placing no constraints on him anywhere, but confining himself to providing musical support. Of course, this is delivered by the trio with their customary aplomb: they make their mark in a relaxed and airy manner, the harmonies flow easily and playfully out of their minds into their fingers and are developed almost as if by magic. The balance between theme and improvisation is perfect, and transparency is preserved from beginning to end in all six numbers. Oscar Petersons genius is perceptible in every second of the music. The reproach that he was a soulless ‘mere technician’ might not be altogether untrue on occasion, as when Peterson wanted to show that there were others after Art Tatum who also had nimble fingers. But in this particular production this is nowhere discernible.

As always, order from me, I will beat the price!!

About Lady Sings The Blues by Billie Holiday:
Import 180 Gram Audiophile Virgin Vinyl LP – Sealed

Although Billie Holiday’s repertoire covered barely more than a dozen pure blues numbers during the course of her long career from 1933 to 1959, music critics always referred to her as the ‘Lady [who] sings the blues’. And that hasn’t changed to this day. In truth the recordings she made for Columbia in the Thirties and those for Clef/ Verve between 1953 and 1957 were a highly varied mixture of titles from the American songbook and her own compositions.

version of strange fruit by UB40

Track Listing:
1. Lady Sings The Blues
2. Trav’lin’ Light
3. I Must have That Man
4. Some Other Spring
5. Strange Fruit
6. No Good Man
7. God Bless The Child
8. Good Morning Heartache
9. Love Me Or Leave Me
10. Too Marvelous For Words
11. Willow Weep For Me
12. I Thought About YouHer interpretations were a benchmark against which all aspiring singers were measured. Highly expressive, almost visual ballads went hand in hand with Billie Holiday’s life and voice – and only she alone could sing them! Her voice was always embedded in the sound carpet produced by her accompanying musicians: Tony Scott and Paul Quinichette are two names who made their mark on her music in the mid-Fifties, and the rhythm group of Barney Kessel, Kenny Burrell and Chico Hamilton is really first class. The trumpeter Harry ‘Sweets’ Edison, a long-time friend from the Count Basie Band, sensitively accompanies the singer’s mature voice.

This album in its original cover proves for first time just how great the old Clef recordings by Norman Granz can sound. And surely almost no-one will still possess a well-preserved copy (with lyrics!).

Miles davis, kind of Blue

Captured during two impromptu recording sessions, Kind of Bluefeatures tenor saxophonist John Coltrane, alto saxophonist Cannonball Adderley, bassist Paul Chambers, drummer Jimmy Cobb, and the pianists Wynton Kelly and Bill Evans (although not at the same time).

The band was sort of an odd mix of musicians. Davis and Coltrane had been performing together for some time, during which time Coltrane had been shifting his style from an awkward post-bop to one that involved flurries of furious notes – dubbed “sheets of sound.” This method was one he developed while playing with pianistThelonious Monk. Coltrane was inching closer to the avant-garde, and would soon be regarded as an innovative genius for composing and recordingGiant Steps. His playing on Kind of Bluerepresents a transition from one style to another.

Cannonball Adderley, on the other hand, had a less experimental approach. A former music teacher, Adderley was rooted in the blues, and had a preternatural gift for constructing virtuosic melodies. On Kind of Blue, his playing reaches new heights of sensitivity, and juxtaposed with Coltrane’s, it takes on a surprising gleam.Pianists Wynton Kelly and Bill Evans also create a breathtaking synergy. Kelly appears on only one track, “Freddie Freeloader,” and on it he plays in an understated, bluesy and yet refined style. Evans is present on the remainder of the album, creating muted and melancholy canvasses. Both pianists adapt their voices to fit the overall pensive mood of the album. 

Jimmy Cobb and Paul Chambers do the same. They strip down the conventions of a jazz rhythm section, reducing them to their simplest parts. The restrained and resonant pairing of Cobb’s ride cymbal with Chambers’ tone is inimitable and indelible.

The synergic effect is at work throughout Kind of Blue, endowing it with a mysterious tension, made more striking by the foundation over which it is stretched. The heads, all composed by either Davis or Evans, are almost shocking in their simplicity. The opening track, “So What,” is famous for containing a total of four notes, and only two chords. In doing away with the intricate changes present in bebop, Davis destroyed preconceived notions of jazz, and helped create “modal jazz.”Each of the solos on Kind of Blue are nearly perfect. Davis’ Harmon-muted tone is unforgettable, and his improvisations are vulnerable, concise, and filled with thoughtful space. Each of the other band members follows suit, and the result is a rich, consistent, and vibrant sound. There is almost a sense of physical space constructed with each listening, as though the music invites the audience into a room designated for contemplation and reflection. 

Relase Date:

August 17th, 1959 on Columbia Records


  • Miles Davis – Trumpet
  • Bill Evans – Piano on all tracks except “Freddie Freeloader”
  • Wynton Kelly – Piano on “Freddie Freeloader”
  • John Coltrane – Tenor Saxophone
  • Julian “Cannonball” Adderley – Alto Saxophone
  • Paul Chambers – Bass
  • Jimmy Cobb – Drums
  • Track List:
  1. So What
  2. Freddie Freeloader
  3. Blue in Green
  4. All Blues
  5. Flamenco Sketches

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