Samstag, August 08, 2026

Sonny Rollins Trio & Horace Silver Quintet 1959

Sonny Rollins Trio & Horace Silver Quintet 1959 Swiss Radio Days Jazz Series, Vol. 40 (Live At Zurich 1959)

It is Volume 40 in TCB’s long-running Swiss Radio Days Jazz Series of archival radio recordings. 
It captures performances by the Sonny Rollins Trio and the Horace Silver Quintet recorded at Radio Studio Zürich on March 5, 1959 (some sources note minor date variations for the Silver portion).  

Both groups were in Europe on a joint tour; these sessions took place the day before (or around the time of) a concert in Zürich.

Cannonball Adderley - Soul Motion

Cannonball Adderley - Soul Motion

One of the great alto saxophonists to emerge from the hard bop era, Julian "Cannonball" Adderley possessed an exuberant, bright tone that communicated directly and emotionally. He initially wanted to play tenor, but was thwarted by tight finances before and during the second world war; he settled on a second-hand alto saxophone. Adderley's primary influence on the alto was, in fact, Benny Carter.

"Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time. Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else. Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One for Daddy-O," as the rhythm team (Hank Jones, Sam Jones, Art Blakey) creates a taut, focused groove (pianist Hank Jones' sly, intuitive orchestrations are studies of harmonic understatement). Adderley's lush, romantic improvisation on "Dancing in the Dark" is worthy of Charlie Parker or Johnny Hodges, while the band refurbishes "Autumn Leaves" and "Love for Sale" into cliché-free swingers. Somethin' Else is definitely one of the most gloriously laid-back blowing sessions of the hard bop era."
Somethin' Else Review by Rovi Staff

"Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley's second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions."
- Them Dirty Blues Review by Al Campbell

"I like this album, the decent track selection means it's fairly easy listening without being boring. Nothing to get too excited about, but a good example of fairly Mainstream Jazz from the time, probably most notable for premiering Nat Adderley's "Work Song" and "Bobby Timmons' "Dat Dere"."
- Them Dirty Blues Review by Hendrix Lockhart 
released April 17, 2025

Julian "Cannonball" Adderley - alto sax
with
Miles Davis - trumpet
Nat Adderley - cornet
John Coltrane - tenor sax
Bill Evans - piano
Hank Jones - piano
Bobby Timmons - piano
Barry Harris - piano
Paul Chambers - bass
Sam Jones - bass
Louis Hayes - drums
Jimmy Cobb - drums
Art Blakey - drums 

Freitag, August 07, 2026

Betty Davis - Betty Davis 1973

Betty Davis - Betty Davis 1973

One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters. 
released December 23, 2015 

Samstag, August 01, 2026

Sonny Rollins - Tour De Force 1958

Sonny Rollins - Tour De Force 1958

It is a hard bop/jazz album featuring Rollins on tenor saxophone with Kenny Drew (piano), George Morrow (bass), and Max Roach (drums); Earl Coleman adds vocals on two tracks. 
It was recorded on December 7, 1956, at Van Gelder Studio in Hackensack, New Jersey.


https://sonnyrollins.bandcamp.com/album/tour-de-force


Samstag, Juli 25, 2026

Jimmy Raney - Visits Paris 1954

Jimmy Raney - Visits Paris 1954

By the time Jimmy Raney recorded the ultra-cool Visits Paris, he was already at the peak of his career. Having started in 1944 with the Jerry Wald band, he'd pass through a passel of great jazz combos before ending up with Stan Getz in his classic quintet. There, the guitarist became world-renowned, and just weeks before cutting this album, in 1954, he was voted the number one guitarist in the world by French magazine Le Hot Jazz.

The album finds Raney on a (very) brief break from touring France, taking the opportunity to cut an album with some local musicians and putting himself very much in the foreground after having been a sideman on previous projects. He spins through a variety of songs, from his solo composition "Tres Chouette" (translation: "very cute") to standards such as "Night and Day" and "Love For Sale" with his trademark smooth guitar style. The French band is very much up to the challenge, and the album's bubbling energy on songs like "Too Marvelous For Words" is positively infectious.

Freitag, Juli 24, 2026

Bob Cooper - Milano Blues 1959

Bob Cooper - Milano Blues 1959

BOB COOPER AND RHYTHM SECTION
Bob Cooper deserves a long-playing record all to himself and all the more so because recordings of his works are rare. He was born in Pittsburgh on the 6th December 1925 and began playing the clarinet at high school in 1941 and also taking private tuition for the tenor sax. In 1945 a young sax-player with a blonde shock of hair took his place in Stan Kenton’s orchestra – Bob Cooper had his “big time”. Six years later in ’51 he left Kenton for whom he had also played the oboe and the English horn. Bob married the pretty young singer called June Christy and decided to settle down in California and hang up his shingle on the Pacific Coast. In ’52 he played as bass-man in Howard Rumsey’s band at “The All Stars Lighthouse” at Hermosa Beach. It only took Bob a short time to make his name in West Coast Jazz and help popularize it over the whole of the U.S.A.. This wasn’t just a lucky break – he knew his instruments but he had also studied musical composition under Mario Castelnuovo Tedesco.
Bob’s instrumentation is fine and clean and he is undoubtedly one of the most alluring tenor saxes in the business today. His tone is thick, heavy but clear; his swing is vigorous and the lonesome...  mehr

veröffentlicht am 6. April 2025

Label: Music – LPM 2009
Format: Vinyl, LP, Album, Microgroove
Country: Italy
Released: 1959
Genre: Jazz, Blues
Style: Cool Jazz
Recording Dates: tracks 1 to 7 in Milan, Italy, April 30, 1957
Bass – Rolf Hansen (tracks: 1 to 7)
Drums – Viktor Plasil (tracks: 1 to 7)
Piano – Hans Hammerschmid (tracks: 1 to 7)
Tenor Saxophone, Oboe – Bob Cooper  

Tubby Hayes - BBC Jazz For Moderns 1962

Tubby Hayes - BBC Jazz For Moderns 1962

Recorded February 21st, 1962 at St. Hilda’s Studios, Maida Vale, London.
Original session produced by Terry Henebery for the BBC.
Produced for release by Darrel Sheinman, Gearbox Records.
veröffentlicht am 26. Oktober 2009

Alto Saxophone, Flute – Johnny Scott
Arranged By [All], Tenor Saxophone, Vibraphone – Tubby Hayes
Baritone Saxophone, Clarinet – Harry Klein
Bass – Freddy Logan
Drums – Allan Ganley
French Horn – Alan Civil
Harp – David Snell
Piano – Gordon Beck
Producer [For Release] – Darrel Sheinman
Producer [Original Session] – Terry Henebery
Remastered By [Valve Re-mastering] – Jeremy Cooper
Sleeve Notes – Simon Spillett
Sleeve [Sleeve Design] – Alan Foulkes
Tenor Saxophone, Bass Clarinet – Vic Ash
Tenor Saxophone, Bass Clarinet, Oboe – Bob Efford
Trombone – Keith Christie
Trumpet – Bobby Pratt, Eddie Blair, Jimmy Deuchar
Valve Trombone – Ken Wray 

Samstag, Juli 18, 2026

Wild Billy Childish & The Chatham Singers - Step Out!

Wild Billy Childish & The Chatham Singers - Step Out!

Wild Billy Childish has been recording and performing since the 1977 punk explosion. The Pop Rivets, Thee Milkshakes, The Headcoats and The Buff Medways being just a few outfits that Billy has run into the ground. But all that is just a hobby gone out of control - his day job is being an internationally exhibited artist, writer and vermin poet.
Specialising in Chicago style Blues, The Chatham Singers have released five albums since 2005, via Hangman Records and Damaged Goods, and over a dozen 7” singles, some rarer than others, some worse than others.


The Chatham Singers are Billy Childish on Vocals/Guitar, Juju on Vocals/Bass, Wolf Howard on Drums/Percussion and ‘Bludy’ Jim Riley on Harp.
Here we have a full long player, which includes some of the songs from records only available as limited 45's, free at their sell-out shows. some of them recorded by The Hangman Field Recording Unit, and others at Bludy Jim's Ranscombe shack.

Get Hip and Boogie Chillin’!
Mitwirkende
veröffentlicht am 27. Dezember 2024

Line Up:
Billy - Vocals, Guitar
Juju - Vocals, Bass Guitar
Wolf - Drums, Percussion
Jim Riley - Harp

Notes:
Recorded at Ranscombe Studios, Rochester, Kent,
*Recorded at The Hangman Field Recording Unit.
Produced by William ‘Spook’ Loveday. 

Samstag, Juli 11, 2026

Kimiko Kasai & Mal Waldron - One for Lady

Kimiko Kasai & Mal Waldron - One for Lady

"One for Lady" is a jazz vocal album by Japanese singer Kimiko Kasai with pianist Mal Waldron, originally recorded in the early 1970s.
The album showcases intimate, ballad-heavy jazz with emotional depth—strong on mood and phrasing rather than flashy improvisation.

Kimiko Kasai, born on December 15, 1945, in Kyoto, Japan, is a retired Japanese jazz singer. She developed an interest in jazz at 13 and began performing in Tokyo at 16. Kasai released her debut solo album, "Just Friends," in 1970 and collaborated with jazz greats like Teo Macero, Lee Konitz, Stan Getz, and Herbie Hancock. She retired from music in the 1980s and pursued a career in jewelry design.

veröffentlicht am 1. Januar 1977

"Vocals – Kimiko Kasai
Piano – Mal Waldron
Bass – Yoshio Suguki
Drums – Hiroshi Murakami

Recorded at The Victor Studio, Tokyo, February 13, 1971
Producer and Recording Director – Tetsuya Shimoda
Recording Engineer – Hideo Takada

All Selections Arranged by Mal Waldron
Album Design – Keijiro Kubota
Photography by Takashi Arihara" 

https://kimikokasai.bandcamp.com/album/one-for-lady

Ornette Coleman - The Shape of Jazz to Come

Ornette Coleman - The Shape of Jazz to Come

The Shape of Jazz to Come is a landmark 1959 album by Ornette Coleman, widely regarded as a foundational work in free jazz and avant-garde jazz. 
This was Ornette Coleman's Atlantic debut and the first full recording with his groundbreaking quartet. 

veröffentlicht am 22. Mai 1959

Ornette Coleman - alto saxophone, writer
Donald Cherry - cornet
Charlie Haden - bass
Billy Higgins - drums
Nesuhi Ertegün - producer, supervisor
Bones Howe - recording engineer
Marvin Israel - cover design
William Claxton - cover photo
Martin Williams - liner notes 

Freitag, Juli 10, 2026

Sachi Hayasaka Toshiki Nagata - Beat Beat Jazz Beat (N006)

Sachi Hayasaka Toshiki Nagata - Beat Beat Jazz Beat (N006)

Beat Beat Jazz Beat (N006) is a 2005 jazz album by Japanese saxophonist Sachi Hayasaka and bassist Toshiki Nagata, released on the NBAGI Record label. 
The album blends post-bop, Latin influences, and freer elements, showcasing Hayasaka’s energetic saxophone work. 

veröffentlicht am 1. Januar 2005

Sachi Hayasaka As,Ss
Toshiki Nagata bass
Kyoko Kuroda piano
Wagane N'dyae Rose sabar
Pheeroan akLaff drums 

https://sachihayasaka.site/
https://sachihayasaka.bandcamp.com/album/beat-beat-jazz-beat-n006
https://x.com/sachiminga
https://www.youtube.com/user/qd7s

Samstag, Juli 04, 2026

pandagolff - ALTERNATIVE TAKES

pandagolff - ALTERNATIVE TAKES

Live arranged version of previously released tracks, recorded in a single take on open-reel tape. The recording weas done at GOK sounds.
veröffentlicht am 13. Januar 2026

Guitar & Vo: Machiko
Bass: Eisuke Shiroyama
Drums: Hidenori Noguchi 

https://twitter.com/pandagolff
https://www.facebook.com/pandagolff
https://pandagolff.bandcamp.com/merch
https://pandaagolf.wixsite.com/pandagolff
https://www.youtube.com/@pandagolff

Samstag, Juni 27, 2026

Reiko Yamamoto - TEMPUS FUGIT

Reiko Yamamoto - TEMPUS FUGIT

The debut album Tempus Fugit by vibraphone trailblazer Reiko Yamamoto returns in a newly remastered edition. Showcasing Yamamoto’s mastery of the instrument’s mystical resonance, the album has been further refined by Stefano Amerio’s expert touch. Known for his precision in capturing sound detail, Amerio brings new allure to the vibraphone, a favorite among audiophiles, revealing its full potential in this stunning reissue.


veröffentlicht am 10. März 2021 
https://reikoyamamotojp.bandcamp.com/album/tempus-fugit
https://x.com/reikovibraphone
https://reikoyamamoto.net/

Max Roach - Deeds, Not Words

Max Roach - Deeds, Not Words

Deeds, Not Words is a 1958 hard bop album by legendary jazz drummer Max Roach, released on the Riverside label. It was recorded on September 4, 1958, in New York City. 


The album mixes standards with originals, showcasing Roach’s melodic drumming, intricate rhythms, and the ensemble’s chemistry. “Conversation” stands out as a highlight for its precision and innovation in unaccompanied drumming. 

https://craftrecordings.bandcamp.com/album/deeds-not-words-mono-mix

Samstag, Juni 20, 2026

Pizzicato Five - The International Playboy & Playgirl Record

Pizzicato Five - The International Playboy & Playgirl Record

This release came after "Happy End of the World" and marked a stylistic shift for the duo of Yasuharu Konishi and vocalist Maki Nomiya. It moved toward moodier, more introspective sounds with lush orchestrations, harpsichords, multi-part harmonies, and influences from soft-rock arrangers like Curt Boettcher and Jimmy Webb—while retaining their signature playful, kitschy pop charm. 



https://pizzicatofive.bandcamp.com/music
https://www.youtube.com/@pizzicatofive-official