CiTR is proud to present one of the best jazz shows in Vancouver. It has been hosted by notable jazz musician Gavin Walker since 1984. He features Jazz music that is respectful of its tradition and influential to the future. Every 11 o clock an album or an artist is featured and explored in depth. Walker's extensive knowledge and 'hands-on' experience as a jazz player has made this show one of the most listened to in its genre. CiTR is proud to present one of the best jazz shows in Vancouver. It has been hosted by notable jazz musician Gavin Walker since 1984. He features Jazz music that is respectful of its tradition and influential to the future. Every 11 o clock an album or an artist is featured and explored in depth. Walker's extensive knowledge and 'hands-on' experience as a jazz player has made this show one of the most listened to in its genre. CiTR 101.9 Vancouver CiTR is proud to present one of the best jazz shows in Vancouver. Jazz, Gavin Walker CiTR 101.9 Vancouver technicalservices@citr.ca CiTR -- The Jazz Show http://www.citr.ca http://www.citr.ca/podcast_photos/jazzshow.jpg http://www.citr.ca BurliSoftwareInc-2006-09-27 MusicCiTR 101.9 VancouvernoCiTR is proud to present one of the best jazz shows in Vancouver. It has been hosted by notable jazz musician Gavin Walker since 1984. He features Jazz music that is respectful of its tradition and influential to the future. Every 11 o clock an album or aCiTR is proud to present one of the best jazz shows in Vancouver. It has been hosted by notable jazz musician Gavin Walker since 1984. He features Jazz music that is respectful of its tradition and influential to the future. Every 11 o clock an album or an artist is featured and explored in depth. Walker’s extensive knowledge and ‘hands-on’ experience as a jazz player has made this show one of the most listened to in its genre. Mon, 30 Aug 2010 21:03:00 -0700 The Soulful Vibes of Johnny Lytle: "Nice and Easy"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/2ylY4LaoIT8" height="1" width="1"/> The Soulful Vibes of Johnny Lytle: "Nice and Easy" The name Johnny Lytle may not be a household word but he was a very well respected player of the vibraphone. Like one of his mentors, Lionel Hampton, Lytle began his career as a drummer then switched to vibes. His two greatest influences were Lionel Hampton and Milt Jackson. Hampton called Johnny Lytle "the best vibist in the world today" and Milt Jackson said that Johnny had "the fastest hands in the business". Lytle spurned offers from major labels as he did not wish to be dictated to musically and stuck with the independents. He recorded for Jazzland and Riverside, Solid State and Muse. He also preferred to work in small clubs in ghetto neighborhoods. He was born in Springfield, Ohio on October 13, 1932 and died there in on December 15, 1995. He was so well respected and loved in his hometown that there is a street named for him "Johnny Lytle Avenue". Tonight's Feature is a rare recording for the Jazzland label called "Nice and Easy-The Soulful Vibes of Johnny Lytle" He appears here with an all-star group with "The Little Giant", tenor saxophonist Johnny Griffin on all but one of the seven tunes, a mix of standards and original compositions by the members of the group. The rhythm section is stellar with Bobby Timmons on piano, Sam Jones on bass and Louis Hayes on drums. Those of you who are familiar with Cannonball Adderley's great band will remember this rhythm section. All in all this is one of Johnny Lytle's finest recorded moments so sit back, relax and enjoy "Nice and Easy".

The name Johnny Lytle may not be a household word but he was a very well respected player of the vibraphone. Like one of his mentors, Lionel Hampton, Lytle began his career as a drummer then switched to vibes. His two greatest influences were Lionel Hampton and Milt Jackson. Hampton called Johnny Lytle "the best vibist in the world today" and Milt Jackson said that Johnny had "the fastest hands in the business". Lytle spurned offers from major labels as he did not wish to be dictated to musically and stuck with the independents. He recorded for Jazzland and Riverside, Solid State and Muse. He also preferred to work in small clubs in ghetto neighborhoods. He was born in Springfield, Ohio on October 13, 1932 and died there in on December 15, 1995. He was so well respected and loved in his hometown that there is a street named for him "Johnny Lytle Avenue". Tonight's Feature is a rare recording for the Jazzland label called "Nice and Easy-The Soulful Vibes of Johnny Lytle" He appears here with an all-star group with "The Little Giant", tenor saxophonist Johnny Griffin on all but one of the seven tunes, a mix of standards and original compositions by the members of the group. The rhythm section is stellar with Bobby Timmons on piano, Sam Jones on bass and Louis Hayes on drums. Those of you who are familiar with Cannonball Adderley's great band will remember this rhythm section. All in all this is one of Johnny Lytle's finest recorded moments so sit back, relax and enjoy "Nice and Easy".

http://playlist.citr.ca/podcasting/audio/20100830-210300-to-20100831-000800.mp3CiTR 101.9 VancouvernoThe Soulful Vibes of Johnny Lytle: "Nice and Easy"CiTR 101.9 VancouverThe Soulful Vibes of Johnny Lytle: "Nice and Easy"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/2ylY4LaoIT8/20100830-210300-to-20100831-000800.mp3http://playlist.citr.ca/podcasting/audio/20100830-210300-to-20100831-000800.mp3 Mon, 23 Aug 2010 21:04:00 -0700 Arranger/composer Gil Evans:"The Individualism of Gil Evans".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/iy0xdgt6QKA" height="1" width="1"/> Arranger/composer Gil Evans:"The Individualism of Gil Evans". Tonight's Feature is very special as it is one of the few recordings that arranger/composer Gil Evans did under his own name. We all know that he became famous for his four recordings with Miles Davis: "Miles Ahead","Porgy and Bess","Sketches of Spain" and finally "Quiet Nights" but him recordings under his own name were few although he made that up during his later years. This was done in 1964 in several sessions with a hand-picked band and featured some great solo performances by tenor saxophonist Wayne Shorter.alto saxophonist Phil Woods, guitar master Kenny Burrell, trumpeters Thad Jones and Johnny Coles and drummer Elvin Jones, Gil Evans weaves his magic with his orchestrations and piano playing and proves himself to be a musical alchemist of the highest order. "The Individualism of Gil Evans" is an apt title for this masterpiece.

Tonight's Feature is very special as it is one of the few recordings that arranger/composer Gil Evans did under his own name. We all know that he became famous for his four recordings with Miles Davis: "Miles Ahead","Porgy and Bess","Sketches of Spain" and finally "Quiet Nights" but him recordings under his own name were few although he made that up during his later years. This was done in 1964 in several sessions with a hand-picked band and featured some great solo performances by tenor saxophonist Wayne Shorter.alto saxophonist Phil Woods, guitar master Kenny Burrell, trumpeters Thad Jones and Johnny Coles and drummer Elvin Jones, Gil Evans weaves his magic with his orchestrations and piano playing and proves himself to be a musical alchemist of the highest order. "The Individualism of Gil Evans" is an apt title for this masterpiece.

http://playlist.citr.ca/podcasting/audio/20100823-210400-to-20100824-000700.mp3CiTR 101.9 VancouvernoArranger/composer Gil Evans:"The Individualism of Gil Evans".CiTR 101.9 VancouverArranger/composer Gil Evans:"The Individualism of Gil Evans".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/iy0xdgt6QKA/20100823-210400-to-20100824-000700.mp3http://playlist.citr.ca/podcasting/audio/20100823-210400-to-20100824-000700.mp3 Mon, 16 Aug 2010 21:02:00 -0700 One For All: "Incorrigible"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/oBt1K4lVaLk" height="1" width="1"/> One For All: "Incorrigible" This band of musicians are the cream of the crop of New York City's "straight-ahead" players. I hate to use that cliche phrase but to expand that a bit I would like to say that the musicians in this band reflect the deep and rich traditions of Jazz music while still remaining modern and relevant. The people involved in this great band called "One For All" have been playing together as a group for over 20 years and when you hear their music you'll understand that fact as the ensembles are tight and beautifully orchestrated to make the three horn front line sound much bigger than it is. There is a huge difference between a one time get-together of great musicians and a band and this is a BAND! The people involved are Jim Rotondi on trumpet and flugelhorn, Eric Alexander on tenor saxophone, Steve Davis on trombone, David Hazeltine on piano, John Webber on bass and the dynamic Joe Farnsworth on drums. When you read these names you will recognize them all as they are some of the most significant voices on their instruments in Modern Jazz. Sit back and enjoy the sounds of "One For All" and their latest offering: "Incorrigible".

This band of musicians are the cream of the crop of New York City's "straight-ahead" players. I hate to use that cliche phrase but to expand that a bit I would like to say that the musicians in this band reflect the deep and rich traditions of Jazz music while still remaining modern and relevant. The people involved in this great band called "One For All" have been playing together as a group for over 20 years and when you hear their music you'll understand that fact as the ensembles are tight and beautifully orchestrated to make the three horn front line sound much bigger than it is. There is a huge difference between a one time get-together of great musicians and a band and this is a BAND! The people involved are Jim Rotondi on trumpet and flugelhorn, Eric Alexander on tenor saxophone, Steve Davis on trombone, David Hazeltine on piano, John Webber on bass and the dynamic Joe Farnsworth on drums. When you read these names you will recognize them all as they are some of the most significant voices on their instruments in Modern Jazz. Sit back and enjoy the sounds of "One For All" and their latest offering: "Incorrigible".

http://playlist.citr.ca/podcasting/audio/20100816-210200-to-20100817-000700.mp3CiTR 101.9 VancouvernoOne For All: "Incorrigible"CiTR 101.9 VancouverOne For All: "Incorrigible"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/oBt1K4lVaLk/20100816-210200-to-20100817-000700.mp3http://playlist.citr.ca/podcasting/audio/20100816-210200-to-20100817-000700.mp3 Mon, 09 Aug 2010 21:04:00 -0700 Miles Davis :"In Person:Friday Night at The Blackhawk".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/ixe5Q6mq6G4" height="1" width="1"/> Miles Davis :"In Person:Friday Night at The Blackhawk". Tonight's feature is special in a way that any Miles Davis recording is special but it's special also because I was there in the audience as a young man on April 21, 1961 at The Blackhawk in San Francisco. Columbia recorded both Friday and Saturday nights (April 21 and 22) and did an exceptional job capturing the sound of this edition of Miles' quintet. Miles on trumpet and the great and usually (until now) underrated Hank Mobley on tenor saxophone, the magical Wynton Kelly on piano, Paul Chambers on bass and the surviving member of this band, the magnificent Jimmy Cobb on drums. We will hear the entire second (and longest) set of Friday evening and experience the way Miles Davis would pace a set. The tunes are: Cole Porter's "All of You", Davis' "Neo" aka "Teo", "I Thought About you", "Bye Bye Blackbird" and "Walkin'". It was a thrill to be there in the audience and everytime I hear these tracks it takes me back to San Francisco and The Blackhawk. Enjoy the set!

Tonight's feature is special in a way that any Miles Davis recording is special but it's special also because I was there in the audience as a young man on April 21, 1961 at The Blackhawk in San Francisco. Columbia recorded both Friday and Saturday nights (April 21 and 22) and did an exceptional job capturing the sound of this edition of Miles' quintet. Miles on trumpet and the great and usually (until now) underrated Hank Mobley on tenor saxophone, the magical Wynton Kelly on piano, Paul Chambers on bass and the surviving member of this band, the magnificent Jimmy Cobb on drums. We will hear the entire second (and longest) set of Friday evening and experience the way Miles Davis would pace a set. The tunes are: Cole Porter's "All of You", Davis' "Neo" aka "Teo", "I Thought About you", "Bye Bye Blackbird" and "Walkin'". It was a thrill to be there in the audience and everytime I hear these tracks it takes me back to San Francisco and The Blackhawk. Enjoy the set!

http://playlist.citr.ca/podcasting/audio/20100809-210400-to-20100810-000700.mp3CiTR 101.9 VancouvernoMiles Davis :"In Person:Friday Night at The Blackhawk".CiTR 101.9 VancouverMiles Davis :"In Person:Friday Night at The Blackhawk".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/ixe5Q6mq6G4/20100809-210400-to-20100810-000700.mp3http://playlist.citr.ca/podcasting/audio/20100809-210400-to-20100810-000700.mp3 Mon, 02 Aug 2010 21:03:00 -0700 The Thad Jones/Mel Lewis Jazz Orchestra:"Live at The Village Vanguard"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/ZNp4GDETxRI" height="1" width="1"/> The Thad Jones/Mel Lewis Jazz Orchestra:"Live at The Village Vanguard" This major Jazz orchestra was the brainchild of one of the leading arrangers and trumpeters in Jazz music: Thad Jones and one of the finest big band drummers: Mel Lewis. It began as a rehearsal band but soon through the efforts of Thad and Mel scored a regular Monday might gig at New York's leading Jazz club, The Village Vanguard. The band soon became an institution and began a series of recordings of which this is it's first live recording. It has become a classic. It was recorded on April 28, 1967. You'll hear stars like Eddie Daniels, Pepper Adams, Bob Brookmeyer, Roland Hanna, Richard Davis, Snooky Young and many more delivering spirited solos and basking in the glory of playing in one of the finest concert Jazz bands in history. After Thad's departure in 1978, Mel Lewis took over exclusive leadership until his passing and to this day it continues every Monday as The Vanguard Jazz Orchestra. Tonight's Feature is it's incredible beginning and what a beginning it is!

This major Jazz orchestra was the brainchild of one of the leading arrangers and trumpeters in Jazz music: Thad Jones and one of the finest big band drummers: Mel Lewis. It began as a rehearsal band but soon through the efforts of Thad and Mel scored a regular Monday might gig at New York's leading Jazz club, The Village Vanguard. The band soon became an institution and began a series of recordings of which this is it's first live recording. It has become a classic. It was recorded on April 28, 1967. You'll hear stars like Eddie Daniels, Pepper Adams, Bob Brookmeyer, Roland Hanna, Richard Davis, Snooky Young and many more delivering spirited solos and basking in the glory of playing in one of the finest concert Jazz bands in history. After Thad's departure in 1978, Mel Lewis took over exclusive leadership until his passing and to this day it continues every Monday as The Vanguard Jazz Orchestra. Tonight's Feature is it's incredible beginning and what a beginning it is!

http://playlist.citr.ca/podcasting/audio/20100802-210300-to-20100803-001000.mp3CiTR 101.9 VancouvernoThe Thad Jones/Mel Lewis Jazz Orchestra:"Live at The Village Vanguard"CiTR 101.9 VancouverThe Thad Jones/Mel Lewis Jazz Orchestra:"Live at The Village Vanguard"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/ZNp4GDETxRI/20100802-210300-to-20100803-001000.mp3http://playlist.citr.ca/podcasting/audio/20100802-210300-to-20100803-001000.mp3 Mon, 26 Jul 2010 21:01:00 -0700 Tenor saxophonist Clifford Jordan: "Glass Bead Games".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/e6ehSVGATPI" height="1" width="1"/> Tenor saxophonist Clifford Jordan: "Glass Bead Games". This wonderful recording is led by one of the most distinctive tenor saxophonists in Jazz, Clifford Jordan. Here he leads two quartets each playing original material composed by Jordan himself and the individual band members.The people involved in Quartet #1 are Jordan on tenor saxophone, Stanley Cowell on piano, Bill Lee (Spike Lee's dad) on bass and the great Billy Higgins on drums. One composition by Jordan, two by Cowell and two by Lee are represented. The music is pure, lyrical and organic. Quartet #2 has Jordan and Higgins with Cedar Walton replacing Cowell and Sam Jones replacing Lee. Jordan is represented compositionally by the album's title track (Glass Bead Games) and Walton penned two and a Sam Jones blues (One For Amos) closes the set. Again the music is passionate, organic and unified. It just flows and has a quality that is missing from most Jazz recordings, a great feeling of a band! This music came out on a musician-run label called "Strata-East" and it is now hard to find. It was recorded in New York on October 29,1973 and in those days it was like a breath of fresh air. It is just that today....timeless music and the best of Jazz.

This wonderful recording is led by one of the most distinctive tenor saxophonists in Jazz, Clifford Jordan. Here he leads two quartets each playing original material composed by Jordan himself and the individual band members.The people involved in Quartet #1 are Jordan on tenor saxophone, Stanley Cowell on piano, Bill Lee (Spike Lee's dad) on bass and the great Billy Higgins on drums. One composition by Jordan, two by Cowell and two by Lee are represented. The music is pure, lyrical and organic. Quartet #2 has Jordan and Higgins with Cedar Walton replacing Cowell and Sam Jones replacing Lee. Jordan is represented compositionally by the album's title track (Glass Bead Games) and Walton penned two and a Sam Jones blues (One For Amos) closes the set. Again the music is passionate, organic and unified. It just flows and has a quality that is missing from most Jazz recordings, a great feeling of a band! This music came out on a musician-run label called "Strata-East" and it is now hard to find. It was recorded in New York on October 29,1973 and in those days it was like a breath of fresh air. It is just that today....timeless music and the best of Jazz.

http://playlist.citr.ca/podcasting/audio/20100726-210100-to-20100727-001600.mp3CiTR 101.9 VancouvernoTenor saxophonist Clifford Jordan: "Glass Bead Games".CiTR 101.9 VancouverTenor saxophonist Clifford Jordan: "Glass Bead Games".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/e6ehSVGATPI/20100726-210100-to-20100727-001600.mp3http://playlist.citr.ca/podcasting/audio/20100726-210100-to-20100727-001600.mp3 Mon, 19 Jul 2010 21:04:00 -0700 Alto saxophonist Jackie McLean: It's Time!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/G48_NIVbkvo" height="1" width="1"/> Alto saxophonist Jackie McLean: It's Time!" This is an important document in Jackie McLean's recorded legacy for Blue Note Records, a label he recorded for from 1959 to 1968. McLean, who was a member of the second generation Modern Jazz players who came after Charlie Parker/Dizzy Gillespie/Bud Powell etc., was rooted in the language of what was called "Bebop". McLean in the 60's was open to new influences and of course was listening to Coltrane, Ornette Coleman, Eric Dolphy et al. He absorbed these influences into his own playing and retained his strong identity. His concept and his unique sound broadened and the albums that he recorded during this productive Blue Note period are treasured. Tonight's Feature is called "It's Time" and has McLean and a young trumpeter from Florida named Charles Tolliver who makes his recording debut here. Tolliver composed three compelling tunes for the album as well. McLean composed the remaining three. The energetic rhythm section makes this album really happen and you really can't go wrong with the incredible Herbie Hancock on piano, who at the time of this date (1964) was with Miles Davis. Cecil McBee always seems to get left out when someone mentions great bassists and of course, what can be said about drummer Roy Haynes that hasn't been said before. Haynes is now 84 and still playing with the same energy and creativity as he does on this record. "It's Time" is representative of the best of Jackie Mclean and company, so sit back and enjoy what these master musicians have to offer.

This is an important document in Jackie McLean's recorded legacy for Blue Note Records, a label he recorded for from 1959 to 1968. McLean, who was a member of the second generation Modern Jazz players who came after Charlie Parker/Dizzy Gillespie/Bud Powell etc., was rooted in the language of what was called "Bebop". McLean in the 60's was open to new influences and of course was listening to Coltrane, Ornette Coleman, Eric Dolphy et al. He absorbed these influences into his own playing and retained his strong identity. His concept and his unique sound broadened and the albums that he recorded during this productive Blue Note period are treasured. Tonight's Feature is called "It's Time" and has McLean and a young trumpeter from Florida named Charles Tolliver who makes his recording debut here. Tolliver composed three compelling tunes for the album as well. McLean composed the remaining three. The energetic rhythm section makes this album really happen and you really can't go wrong with the incredible Herbie Hancock on piano, who at the time of this date (1964) was with Miles Davis. Cecil McBee always seems to get left out when someone mentions great bassists and of course, what can be said about drummer Roy Haynes that hasn't been said before. Haynes is now 84 and still playing with the same energy and creativity as he does on this record. "It's Time" is representative of the best of Jackie Mclean and company, so sit back and enjoy what these master musicians have to offer.

http://playlist.citr.ca/podcasting/audio/20100719-210400-to-20100720-001200.mp3CiTR 101.9 VancouvernoAlto saxophonist Jackie McLean: It's Time!"CiTR 101.9 VancouverAlto saxophonist Jackie McLean: It's Time!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/G48_NIVbkvo/20100719-210400-to-20100720-001200.mp3http://playlist.citr.ca/podcasting/audio/20100719-210400-to-20100720-001200.mp3 Mon, 12 Jul 2010 21:01:00 -0700 Pianist/composer Bobby Timmons: "The Soul Man"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/WIGm03TD5Ak" height="1" width="1"/> Pianist/composer Bobby Timmons: "The Soul Man" Pianist/composer Bobby Timmons was responsible for a number of Jazz "hits" like "Moanin', "This Here" aka "Dish Hea", "Dat Dere" and of course he was a master of gospel/blues style piano. The other side of Timmons was his single note style which came from Bud Powell. Both these styles were woven into Timmons' concept. This album despite it's title: "The Soul Man" is more reflective of Timmons' Powell-like approach although his playing is still full of soul and feeling. Timmons is featured with a great band that has Wayne Shorter on tenor saxophone as the sole horn. Wayne was with Miles Davis at the time of this date in January 1966 as was bassist Ron Carter. The redoubtable Jimmy Cobb is on drums. Timmons penned two tunes for the date: The 5/4 opus called "Cut Me Loose Charlie" and "Damned If I Know". Shorter contributed "Tom Thumb": his affectionate name for Timmons. Carter wrote three tunes: "Ein Bahn Strasse" and two that were recorded by Miles Davis: "Tenaj" and "Little Waltz". This is a fine document by a very underrated piano stylist who, although he was recognized when he was with Blakey and Adderley seemed to fade from view and died in relative obscurity in 1974 at age 38. Bobby Timmons: The Soul Man!

Pianist/composer Bobby Timmons was responsible for a number of Jazz "hits" like "Moanin', "This Here" aka "Dish Hea", "Dat Dere" and of course he was a master of gospel/blues style piano. The other side of Timmons was his single note style which came from Bud Powell. Both these styles were woven into Timmons' concept. This album despite it's title: "The Soul Man" is more reflective of Timmons' Powell-like approach although his playing is still full of soul and feeling. Timmons is featured with a great band that has Wayne Shorter on tenor saxophone as the sole horn. Wayne was with Miles Davis at the time of this date in January 1966 as was bassist Ron Carter. The redoubtable Jimmy Cobb is on drums. Timmons penned two tunes for the date: The 5/4 opus called "Cut Me Loose Charlie" and "Damned If I Know". Shorter contributed "Tom Thumb": his affectionate name for Timmons. Carter wrote three tunes: "Ein Bahn Strasse" and two that were recorded by Miles Davis: "Tenaj" and "Little Waltz". This is a fine document by a very underrated piano stylist who, although he was recognized when he was with Blakey and Adderley seemed to fade from view and died in relative obscurity in 1974 at age 38. Bobby Timmons: The Soul Man!

http://playlist.citr.ca/podcasting/audio/20100712-210100-to-20100713-001200.mp3CiTR 101.9 VancouvernoPianist/composer Bobby Timmons: "The Soul Man"CiTR 101.9 VancouverPianist/composer Bobby Timmons: "The Soul Man"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/WIGm03TD5Ak/20100712-210100-to-20100713-001200.mp3http://playlist.citr.ca/podcasting/audio/20100712-210100-to-20100713-001200.mp3 Mon, 05 Jul 2010 21:02:00 -0700 Trumpeter Richard "Blue" Mitchell: "Step Lightly".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/f2H0gfRguJA" height="1" width="1"/> Trumpeter Richard "Blue" Mitchell: "Step Lightly". Richard "Blue" Mitchell was one of the most distinctive voices on the trumpet. He came through various r & b bands and paid long dues on the road but in 1958 he joined pianist Horace Silver's great band and never looked back. He began recording under his own name as a leader and sideman and made a wonderful series of recordings for Riverside and Jazzland Records. After playing an important sideman role for the Blue Note label, Blue was signed up by head honcho Alfred Lion. The Jazz Feature tonight is Mitchell's first recording under his name for Blue Note and it's a fine one. The only irony is that for some reason it was never released although given a photo and a catalogue number. Other Mitchell recordings were issued but not this one. It was finally issued in the early 80's after Mitchell's untimely death from cancer in 1979. It's an excellent session with Mitchell in inspired form but the co-star is a young Joe Henderson who not only plays tenor saxophone but contributes two compositions (Step Lightly and Mamacita) and arranged the rest. On alto saxophone is the very unique sound of Leo Wright, Leo embarked for Europe soon after this session and Jazz fans forgot about him. On piano is a young and energetic Herbie Hancock. Gene Taylor on bass and Roy Brooks on drums are Mitchell's buddies from Horace Silver's band. The group is tight, fresh and inspired. "Step Lightly" is a worthy addition to Blue Mitchell's recorded legacy.

Richard "Blue" Mitchell was one of the most distinctive voices on the trumpet. He came through various r & b bands and paid long dues on the road but in 1958 he joined pianist Horace Silver's great band and never looked back. He began recording under his own name as a leader and sideman and made a wonderful series of recordings for Riverside and Jazzland Records. After playing an important sideman role for the Blue Note label, Blue was signed up by head honcho Alfred Lion. The Jazz Feature tonight is Mitchell's first recording under his name for Blue Note and it's a fine one. The only irony is that for some reason it was never released although given a photo and a catalogue number. Other Mitchell recordings were issued but not this one. It was finally issued in the early 80's after Mitchell's untimely death from cancer in 1979. It's an excellent session with Mitchell in inspired form but the co-star is a young Joe Henderson who not only plays tenor saxophone but contributes two compositions (Step Lightly and Mamacita) and arranged the rest. On alto saxophone is the very unique sound of Leo Wright, Leo embarked for Europe soon after this session and Jazz fans forgot about him. On piano is a young and energetic Herbie Hancock. Gene Taylor on bass and Roy Brooks on drums are Mitchell's buddies from Horace Silver's band. The group is tight, fresh and inspired. "Step Lightly" is a worthy addition to Blue Mitchell's recorded legacy.

http://playlist.citr.ca/podcasting/audio/20100705-210200-to-20100706-000800.mp3CiTR 101.9 VancouvernoTrumpeter Richard "Blue" Mitchell: "Step Lightly".CiTR 101.9 VancouverTrumpeter Richard "Blue" Mitchell: "Step Lightly".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/f2H0gfRguJA/20100705-210200-to-20100706-000800.mp3http://playlist.citr.ca/podcasting/audio/20100705-210200-to-20100706-000800.mp3 Mon, 28 Jun 2010 21:02:00 -0700 Tenor saxophonist Harold Land:" Live at the Original Cellar in Vancouver 1958."<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Ftd9Wjkizz8" height="1" width="1"/> Tenor saxophonist Harold Land:" Live at the Original Cellar in Vancouver 1958." Tonight's Jazz feature is a wonderful recording that was meant for private use. It was recorded by Dave Quarin, a great Vancouver saxophonist who also ran one of Vancouver's finest Jazz clubs: The Cellar. The original Cellar was in existence from 1955 to 1963 and run as a co-operative venture by musicians and artists. The staff was volunteer and only the musicians were paid. Local players were featured and at times the club brought in name players. Such was the case with our Jazz Feature. The great tenor saxophonist, Harold Land took over a wonderful band that had just backed up Sonny Rollins for two weeks in San Francisco and brought them to Vancouver in November 1958. The music was some of the best Jazz that I ever heard as I was there in Nov. 1958....I had just moved to Vancouver and was still in High School but I witnessed the music for three of the four nights they were here. The music was a powerful and distant memory until the tapes of several tunes made the rounds of musicians and eventually ended up at Lonehill Records where all the tunes were collated on a single 80 minute CD with some of the profits of the sales going to the Harold Land Estate. The music is powerful and strong and all of these men are at their creative peak: Harold Land, the leader on tenor saxophone, the legendary Elmo Hope on piano, Scott LaFaro on bass, who eventually made history with Bill Evans and the fine dynamic drumming of Lennie McBrowne complete this incredible quartet. Only two long tunes will make up a complete set: the standard, 'Just Friends' and the Charlie Parker blues called 'Big Foot' plus a short version of the band's theme, Dameron's 'The Scene is Clean'. Powerful music from a legendary band at a now legendary club.

Tonight's Jazz feature is a wonderful recording that was meant for private use. It was recorded by Dave Quarin, a great Vancouver saxophonist who also ran one of Vancouver's finest Jazz clubs: The Cellar. The original Cellar was in existence from 1955 to 1963 and run as a co-operative venture by musicians and artists. The staff was volunteer and only the musicians were paid. Local players were featured and at times the club brought in name players. Such was the case with our Jazz Feature. The great tenor saxophonist, Harold Land took over a wonderful band that had just backed up Sonny Rollins for two weeks in San Francisco and brought them to Vancouver in November 1958. The music was some of the best Jazz that I ever heard as I was there in Nov. 1958....I had just moved to Vancouver and was still in High School but I witnessed the music for three of the four nights they were here. The music was a powerful and distant memory until the tapes of several tunes made the rounds of musicians and eventually ended up at Lonehill Records where all the tunes were collated on a single 80 minute CD with some of the profits of the sales going to the Harold Land Estate. The music is powerful and strong and all of these men are at their creative peak: Harold Land, the leader on tenor saxophone, the legendary Elmo Hope on piano, Scott LaFaro on bass, who eventually made history with Bill Evans and the fine dynamic drumming of Lennie McBrowne complete this incredible quartet. Only two long tunes will make up a complete set: the standard, 'Just Friends' and the Charlie Parker blues called 'Big Foot' plus a short version of the band's theme, Dameron's 'The Scene is Clean'. Powerful music from a legendary band at a now legendary club.

http://playlist.citr.ca/podcasting/audio/20100628-210200-to-20100629-001200.mp3CiTR 101.9 VancouvernoTenor saxophonist Harold Land:" Live at the Original Cellar in Vancouver 1958."CiTR 101.9 VancouverTenor saxophonist Harold Land:" Live at the Original Cellar in Vancouver 1958."http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Ftd9Wjkizz8/20100628-210200-to-20100629-001200.mp3http://playlist.citr.ca/podcasting/audio/20100628-210200-to-20100629-001200.mp3 Mon, 21 Jun 2010 21:02:00 -0700 Pianist/composer Chick Corea: "Trio Music"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/dn6hhnEEQZg" height="1" width="1"/> Pianist/composer Chick Corea: "Trio Music" The music of pianist/composer Armando Anthony "Chick" Corea needs no introduction to most of you. He is a musician extraordinaire who has covered every musical base possible. From "free" avant-guarde Jazz to classical music, it's all the same to Corea. Tonight's Feature is called "Trio Music" and it is mostly that. This is a re-union of three musicians with special chemistry and they are: bassist Miroslav Vitous and drummer Roy Haynes. The selections were recorded during a European tour in September 1984. The set opens with a Corea composition called "The Loop" then we move to two standards woven together: "Summer Night" by Dubin and Warren segueing to Cole Porter's "Night and Day". Solo piano follows this and it's Mr Corea playing Alexander Scriabin's "Prelude #2" and segueing to a Corea creation called "Mock Up". Finally back to the trio with Vitous' composition "Mirovisions". All in all totally inspiring music by three masters. Corea, Vitous and Haynes. Enjoy!

The music of pianist/composer Armando Anthony "Chick" Corea needs no introduction to most of you. He is a musician extraordinaire who has covered every musical base possible. From "free" avant-guarde Jazz to classical music, it's all the same to Corea. Tonight's Feature is called "Trio Music" and it is mostly that. This is a re-union of three musicians with special chemistry and they are: bassist Miroslav Vitous and drummer Roy Haynes. The selections were recorded during a European tour in September 1984. The set opens with a Corea composition called "The Loop" then we move to two standards woven together: "Summer Night" by Dubin and Warren segueing to Cole Porter's "Night and Day". Solo piano follows this and it's Mr Corea playing Alexander Scriabin's "Prelude #2" and segueing to a Corea creation called "Mock Up". Finally back to the trio with Vitous' composition "Mirovisions". All in all totally inspiring music by three masters. Corea, Vitous and Haynes. Enjoy!

http://playlist.citr.ca/podcasting/audio/20100621-210200-to-20100622-000800.mp3CiTR 101.9 VancouvernoPianist/composer Chick Corea: "Trio Music"CiTR 101.9 VancouverPianist/composer Chick Corea: "Trio Music"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/dn6hhnEEQZg/20100621-210200-to-20100622-000800.mp3http://playlist.citr.ca/podcasting/audio/20100621-210200-to-20100622-000800.mp3 Mon, 14 Jun 2010 21:02:00 -0700 The 2010 Vancouver International Jazz Festival.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/k9eKFbHuuDE" height="1" width="1"/> The 2010 Vancouver International Jazz Festival. Tonight's show is always a special one and it is The Jazz Show's tribute to the city of Vancouver's most famous and best attended cultural event: The 2010 Vancouver International Jazz Festival. As is tradition Gavin Walker's guest host and musical selector will be John Orysik, the Media Director for The Coastal Jazz and Blues Society, the organization that brings you The Jazz Festival. All the artists on tonight's show are appearing at this year's Jazz Festival which is marking it's 25th year. Congratulations all around!

Tonight's show is always a special one and it is The Jazz Show's tribute to the city of Vancouver's most famous and best attended cultural event: The 2010 Vancouver International Jazz Festival. As is tradition Gavin Walker's guest host and musical selector will be John Orysik, the Media Director for The Coastal Jazz and Blues Society, the organization that brings you The Jazz Festival. All the artists on tonight's show are appearing at this year's Jazz Festival which is marking it's 25th year. Congratulations all around!

http://playlist.citr.ca/podcasting/audio/20100614-210200-to-20100615-000600.mp3CiTR 101.9 VancouvernoThe 2010 Vancouver International Jazz Festival.CiTR 101.9 VancouverThe 2010 Vancouver International Jazz Festival.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/k9eKFbHuuDE/20100614-210200-to-20100615-000600.mp3http://playlist.citr.ca/podcasting/audio/20100614-210200-to-20100615-000600.mp3 Mon, 07 Jun 2010 21:02:00 -0700 Tenor saxophonist/composer Tina Brooks: "Back To The Tracks"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/lJ1ViJqAQgo" height="1" width="1"/> Tenor saxophonist/composer Tina Brooks: "Back To The Tracks" Harold Floyd Brooks, better known as "Tina" (a nickname that he was given because of his small size is a corruption of "Teeny" or "Tiny") was one of the sadder stories in Jazz music. This well respected musician broke into the big time Jazz scene in 1958, after years in anonymous r&b and Latin bands, on a famous recording date with organist Jimmy Smith called "The Sermon". Brooks distinctive sound and blues inflected approach was like no other and Blue Note head honcho Alfred Lion took to Brooks and recorded 4 great sessions with Tina. The only problem was that Lion only released one. The others were never issued until long after Brooks' death in 1974. Brooks only recorded for Blue Note (with one exception) as a sideman and leader from 1958 to 1961. After 1961 he never recorded again. Because of an addiction to hard drugs and general physical dissipation, he stopped playing by the late 60's and died in ill health and abject poverty in 1974. Tonight in celebration of what would have been Brooks' 78th birthday, The Jazz Show is presenting one of his classic recordings. This album was advertised, sequenced, mastered and given a number but never issued. "Back To The Tracks" is a beautiful representation of New York Jazz in the early 1960's before the changes wrought by Cecil Taylor, Ornette Coleman and John Coltrane and others moved the music in a new and different direction. Brooks' strong, lyrical and intense horn is heard at it's best and the band is a stellar all-star group. Along with Brooks on tenor saxophone, there is Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass and Arthur Taylor on drums plus on one long track, a cameo appearance by alto saxophone master Jackie Mclean. Happy Birthday to Tina Brooks, who finally got some of the recognition he warranted when he was still alive.Tina brooks was born on June 7,1932 in Fayetteville, North Carolina and died on August 13,1974 in New York.

Harold Floyd Brooks, better known as "Tina" (a nickname that he was given because of his small size is a corruption of "Teeny" or "Tiny") was one of the sadder stories in Jazz music. This well respected musician broke into the big time Jazz scene in 1958, after years in anonymous r&b and Latin bands, on a famous recording date with organist Jimmy Smith called "The Sermon". Brooks distinctive sound and blues inflected approach was like no other and Blue Note head honcho Alfred Lion took to Brooks and recorded 4 great sessions with Tina. The only problem was that Lion only released one. The others were never issued until long after Brooks' death in 1974. Brooks only recorded for Blue Note (with one exception) as a sideman and leader from 1958 to 1961. After 1961 he never recorded again. Because of an addiction to hard drugs and general physical dissipation, he stopped playing by the late 60's and died in ill health and abject poverty in 1974. Tonight in celebration of what would have been Brooks' 78th birthday, The Jazz Show is presenting one of his classic recordings. This album was advertised, sequenced, mastered and given a number but never issued. "Back To The Tracks" is a beautiful representation of New York Jazz in the early 1960's before the changes wrought by Cecil Taylor, Ornette Coleman and John Coltrane and others moved the music in a new and different direction. Brooks' strong, lyrical and intense horn is heard at it's best and the band is a stellar all-star group. Along with Brooks on tenor saxophone, there is Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass and Arthur Taylor on drums plus on one long track, a cameo appearance by alto saxophone master Jackie Mclean. Happy Birthday to Tina Brooks, who finally got some of the recognition he warranted when he was still alive.Tina brooks was born on June 7,1932 in Fayetteville, North Carolina and died on August 13,1974 in New York.

http://playlist.citr.ca/podcasting/audio/20100607-210200-to-20100608-001000.mp3CiTR 101.9 VancouvernoTenor saxophonist/composer Tina Brooks: "Back To The Tracks"CiTR 101.9 VancouverTenor saxophonist/composer Tina Brooks: "Back To The Tracks"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/lJ1ViJqAQgo/20100607-210200-to-20100608-001000.mp3http://playlist.citr.ca/podcasting/audio/20100607-210200-to-20100608-001000.mp3 Mon, 31 May 2010 21:02:00 -0700 Trombonist Bennie Green & tenor saxophonist Gene Ammons :"The Swingin'est".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/TV8LbGJi8a4" height="1" width="1"/> Trombonist Bennie Green & tenor saxophonist Gene Ammons :"The Swingin'est". This hard driving blues based modern Jazz session was co-led by two great products of a Chicago high school named DuSable which had a great music program headed by the legendary "Captain" Walter Dyett. One of the co-leaders is Bennie Green who was one of the early modern trombone masters. Although he isn't treated with the same reverence as J.J.Johnson, Bennie should be recognized as one of the pioneers of Modern Jazz. Gene Ammons is the other co-leader and he is now considered to be one of the major voices of the tenor saxophone. Gene had a huge sound and a way of playing and phrasing that has influenced scores of players. Sadly Bennie died in obscurity in 1977 and Gene passed away in 1974, finally recognized and given stature after being slagged for many years by snobby Jazz critics. Green and Ammons put together a great band for this November 1958 session. The "two Franks" from the Basie band were added in the persons of tenor saxophonist/arranger Frank Foster and tenor saxophonist/flutist Frank Wess. A great added plus was the bright, salty cornet of Nat Adderley. Tommy Flanagan is on piano, Eddie Jones on bass also from the Basie band and Albert "Tootie" Heath is on drums. The tunes are mostly blues based and easy to take but the solos are inspired and the session is coherent and has direction. A good date and a fine showcase for all the talents involved and fun to listen to!

This hard driving blues based modern Jazz session was co-led by two great products of a Chicago high school named DuSable which had a great music program headed by the legendary "Captain" Walter Dyett. One of the co-leaders is Bennie Green who was one of the early modern trombone masters. Although he isn't treated with the same reverence as J.J.Johnson, Bennie should be recognized as one of the pioneers of Modern Jazz. Gene Ammons is the other co-leader and he is now considered to be one of the major voices of the tenor saxophone. Gene had a huge sound and a way of playing and phrasing that has influenced scores of players. Sadly Bennie died in obscurity in 1977 and Gene passed away in 1974, finally recognized and given stature after being slagged for many years by snobby Jazz critics. Green and Ammons put together a great band for this November 1958 session. The "two Franks" from the Basie band were added in the persons of tenor saxophonist/arranger Frank Foster and tenor saxophonist/flutist Frank Wess. A great added plus was the bright, salty cornet of Nat Adderley. Tommy Flanagan is on piano, Eddie Jones on bass also from the Basie band and Albert "Tootie" Heath is on drums. The tunes are mostly blues based and easy to take but the solos are inspired and the session is coherent and has direction. A good date and a fine showcase for all the talents involved and fun to listen to!

http://playlist.citr.ca/podcasting/audio/20100531-210200-to-20100601-001400.mp3CiTR 101.9 VancouvernoTrombonist Bennie Green & tenor saxophonist Gene Ammons :"The Swingin'est".CiTR 101.9 VancouverTrombonist Bennie Green & tenor saxophonist Gene Ammons :"The Swingin'est".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/TV8LbGJi8a4/20100531-210200-to-20100601-001400.mp3http://playlist.citr.ca/podcasting/audio/20100531-210200-to-20100601-001400.mp3 Mon, 24 May 2010 21:03:00 -0700 Bassist/composer Charles Mingus: "Let My Children Hear Music".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/mTnZh9KPfuI" height="1" width="1"/> Bassist/composer Charles Mingus: "Let My Children Hear Music". This album was the first domestic release of the music of Charles Mingus in the 70's. Mingus was inactive during the latter half of the 60's. Health and financial problems plus a lack of interest in continuing leading bands and creating music and a general sense of discouragement plagued Mingus during this time. He began playing toward the end of the decade and went on a tour of Europe with a great group and did some fine recordings over there. On his return he was contacted by the great producer Teo Macero to record of Columbia. Macero and Mingus went back a long time as Macero played tenor saxophone with Mingus in the mid-50's. Columbia's budget was big enough for Mingus to put together a dream band (he always wanted to tour and perform with a large orchestra) and play his great compositions and arrangements. The band is huge with too many players to mention here but the chief soloists are Charles McPherson on alto saxophone, Bobby Jones on tenor saxophone, Lonnie Hillyer on trumpet and on one piece called "Hobo Ho", James Moody is featured on tenor saxophone. Mingus is heard on bass and piano. Sy Johnson and Teo Macero conduct the orchestra. Mingus was actively involved in the post-production of this complex and fascinating recording. Just before his death from ALS on January 5,1979, Mingus was asked what was his favourite album of his own works. He unhesitatingly replied "Let My Children Hear Music". You will hear this monumental opus tonight. Mingus forever!

This album was the first domestic release of the music of Charles Mingus in the 70's. Mingus was inactive during the latter half of the 60's. Health and financial problems plus a lack of interest in continuing leading bands and creating music and a general sense of discouragement plagued Mingus during this time. He began playing toward the end of the decade and went on a tour of Europe with a great group and did some fine recordings over there. On his return he was contacted by the great producer Teo Macero to record of Columbia. Macero and Mingus went back a long time as Macero played tenor saxophone with Mingus in the mid-50's. Columbia's budget was big enough for Mingus to put together a dream band (he always wanted to tour and perform with a large orchestra) and play his great compositions and arrangements. The band is huge with too many players to mention here but the chief soloists are Charles McPherson on alto saxophone, Bobby Jones on tenor saxophone, Lonnie Hillyer on trumpet and on one piece called "Hobo Ho", James Moody is featured on tenor saxophone. Mingus is heard on bass and piano. Sy Johnson and Teo Macero conduct the orchestra. Mingus was actively involved in the post-production of this complex and fascinating recording. Just before his death from ALS on January 5,1979, Mingus was asked what was his favourite album of his own works. He unhesitatingly replied "Let My Children Hear Music". You will hear this monumental opus tonight. Mingus forever!

http://playlist.citr.ca/podcasting/audio/20100524-210300-to-20100525-000700.mp3CiTR 101.9 VancouvernoBassist/composer Charles Mingus: "Let My Children Hear Music".CiTR 101.9 VancouverBassist/composer Charles Mingus: "Let My Children Hear Music".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/mTnZh9KPfuI/20100524-210300-to-20100525-000700.mp3http://playlist.citr.ca/podcasting/audio/20100524-210300-to-20100525-000700.mp3 Mon, 17 May 2010 21:02:00 -0700 Alto saxophonist:Jackie McLean: "Swing, Swang, Swingin'"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/3HCK9Z5HOrU" height="1" width="1"/> Alto saxophonist:Jackie McLean: "Swing, Swang, Swingin'" This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.

This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.

http://playlist.citr.ca/podcasting/audio/20100517-210200-to-20100518-000500.mp3CiTR 101.9 VancouvernoAlto saxophonist:Jackie McLean: "Swing, Swang, Swingin'"CiTR 101.9 VancouverAlto saxophonist:Jackie McLean: "Swing, Swang, Swingin'"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/3HCK9Z5HOrU/20100517-210200-to-20100518-000500.mp3http://playlist.citr.ca/podcasting/audio/20100517-210200-to-20100518-000500.mp3 Mon, 10 May 2010 21:02:00 -0700 Polish trumpeter/composer Tomasz Stanko: "Dark Eyes"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/FnXDvpCSbiI" height="1" width="1"/> Polish trumpeter/composer Tomasz Stanko: "Dark Eyes" Tomasz Stanko is not a household word among North American Jazz fans but I'm sure he'll become better known through his various concert appearances at this summer's Jazz festival season with his new band. Stanko is Poland's best known Jazz musician and he has played every kind of Jazz imaginable. He was born in Rzeszow Poland on July 11,1942 into a musical family playing piano and violin but began trumpet studies in 1959 after being inspired by Miles Davis. Stanko has carved a place for himself in Jazz history and now resides in New York. I'm sure he will become more well known to North American audiences. The album that is tonight's Jazz feature is his latest for the ECM label and is called "Dark Eyes". It presents Stanko's new band made up of himself on trumpet, Alexi Tuomarila on piano, Jakob Bro on guitar, Anders Christensen on bass and Olavi Louhivuori on drums. Of the ten compositions, eight are by Tomasz and two are by his former mentor Krzysztof Komeda. The compositions range from introspective and dark to hypnotic and declarative. The music is fascinating and very riveting and grabs one's attention. Tomasz Stanko is a true original and "Dark Eyes" is worthy of your attention.

Tomasz Stanko is not a household word among North American Jazz fans but I'm sure he'll become better known through his various concert appearances at this summer's Jazz festival season with his new band. Stanko is Poland's best known Jazz musician and he has played every kind of Jazz imaginable. He was born in Rzeszow Poland on July 11,1942 into a musical family playing piano and violin but began trumpet studies in 1959 after being inspired by Miles Davis. Stanko has carved a place for himself in Jazz history and now resides in New York. I'm sure he will become more well known to North American audiences. The album that is tonight's Jazz feature is his latest for the ECM label and is called "Dark Eyes". It presents Stanko's new band made up of himself on trumpet, Alexi Tuomarila on piano, Jakob Bro on guitar, Anders Christensen on bass and Olavi Louhivuori on drums. Of the ten compositions, eight are by Tomasz and two are by his former mentor Krzysztof Komeda. The compositions range from introspective and dark to hypnotic and declarative. The music is fascinating and very riveting and grabs one's attention. Tomasz Stanko is a true original and "Dark Eyes" is worthy of your attention.

http://playlist.citr.ca/podcasting/audio/20100510-210200-to-20100511-000500.mp3CiTR 101.9 VancouvernoPolish trumpeter/composer Tomasz Stanko: "Dark Eyes"CiTR 101.9 VancouverPolish trumpeter/composer Tomasz Stanko: "Dark Eyes"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/FnXDvpCSbiI/20100510-210200-to-20100511-000500.mp3http://playlist.citr.ca/podcasting/audio/20100510-210200-to-20100511-000500.mp3 Mon, 03 May 2010 21:02:00 -0700 Pianist Jaki Byard and his Quartet with Joe Farrell: "LIVE!".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Ob2FIR1q1kE" height="1" width="1"/> Pianist Jaki Byard and his Quartet with Joe Farrell: "LIVE!". Pianist Jaki (John) Byard was a genius who played every instrument in the band more than well but we'll always remember him as a great piano player whose style covered the history of Jazz from stride and ragtime to the avant-guard and all the stops in between. Jaki was born in Worcester, MA on June 15,1922 and died in New York on February 11,1999. He was murdered and the case is still one of the NYPD's unsolved mysteries. Jaki recorded prolifically under his own name and as a sideman but he made some of his most significant statements as part of the volatile Charles Mingus Jazz Workshop. Byard composed and arranged as well and Mingus valued his association with Jaki. The Feature tonight was recorded about a year after a fabled tour of Europe with Mingus and he was about to return to the Workshop but he assembled this quartet for some engagements and they were recorded at a little club in West Peabody MA called "Lennie's on the Turnpike" The band was hot that night in April and with the great bassist George Tucker, drum master Alan Dawson and tenor and soprano saxophonist and flutist Joe Farrell, Jaki couldn't go wrong. Byard leads from the piano with cues and shouts to the guys and the music is loose, swinging and inspired and reaches some of the same creative intensity as a Mingus set. Jaki Byard "LIVE!" is an exciting experience....have a good time with this music.

Pianist Jaki (John) Byard was a genius who played every instrument in the band more than well but we'll always remember him as a great piano player whose style covered the history of Jazz from stride and ragtime to the avant-guard and all the stops in between. Jaki was born in Worcester, MA on June 15,1922 and died in New York on February 11,1999. He was murdered and the case is still one of the NYPD's unsolved mysteries. Jaki recorded prolifically under his own name and as a sideman but he made some of his most significant statements as part of the volatile Charles Mingus Jazz Workshop. Byard composed and arranged as well and Mingus valued his association with Jaki. The Feature tonight was recorded about a year after a fabled tour of Europe with Mingus and he was about to return to the Workshop but he assembled this quartet for some engagements and they were recorded at a little club in West Peabody MA called "Lennie's on the Turnpike" The band was hot that night in April and with the great bassist George Tucker, drum master Alan Dawson and tenor and soprano saxophonist and flutist Joe Farrell, Jaki couldn't go wrong. Byard leads from the piano with cues and shouts to the guys and the music is loose, swinging and inspired and reaches some of the same creative intensity as a Mingus set. Jaki Byard "LIVE!" is an exciting experience....have a good time with this music.

http://playlist.citr.ca/podcasting/audio/20100503-210200-to-20100504-000400.mp3CiTR 101.9 VancouvernoPianist Jaki Byard and his Quartet with Joe Farrell: "LIVE!".CiTR 101.9 VancouverPianist Jaki Byard and his Quartet with Joe Farrell: "LIVE!".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Ob2FIR1q1kE/20100503-210200-to-20100504-000400.mp3http://playlist.citr.ca/podcasting/audio/20100503-210200-to-20100504-000400.mp3 Mon, 19 Apr 2010 21:03:00 -0700 Composer/arranger/conductor Gil Evans: "Out Of The Cool".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/e85Hdhoiq0E" height="1" width="1"/> Composer/arranger/conductor Gil Evans: "Out Of The Cool". Gil Evans place in Jazz history was essentially made alongside Miles Davis. Beginning with the famous Miles Davis nonet that recorded for Capital Records in 1949-50 as "The Birth Of The Cool" and then later in the 50's and 60's with a trio of albums recorded by Miles Davis with the Gil Evans Orchestra: "Miles Ahead", "Porgy and Bess" and "Sketches of Spain" and to a lesser extent "Quiet Nights". These collaborations brought fame to Gil Evans and in 1960 he decided to form his own band where he conducted and played piano and through a 6 week engagement at a New York club called The Jazz Gallery in Greenwich Village, he took the band into the studio to record for a new label called "Impulse Records" run at the time by producer extraordinaire, Creed Taylor. They produced this classic statement called "Out Of The Cool". Gil's hand picked band featured some great soloists like trumpeter Johnny Coles ('Little Johnny C'),bass trombonist Tony Studd and trombone great Jimmy Knepper, tenor saxophonist Budd Johnson, underrated guitarist Ray Crawford, powerhouse drummer Elvin Jones and Mr. Evans himself conducting and playing piano. Intricate ensemble passages abound with the use of bassoons, flutes, piccolos etc. Ron Carter is on bass and Charli Persip adds some effective percussion sounds. The tunes are by different composers but all have the Gil Evans touch as he arranged everything here. He wrote two tunes ("La Nevada" and "Sunken Treasure"), there is one by Weill and Brecht ("Bilbao Song"), two by Jazzers Horace Silver and George Russell ("Sister Sadie" and "Stratusphunk") and a beautiful obscure ballad called "Where Flamingos Fly" featuring Jimmy Knepper. All of this adds up to a truly classic album and one of the finest statements by the legendary Gil Evans. Incidentally, Mr Evans was born in Toronto, Canada on May 13,1912 and died in Cuernavaca, Mexico on March 13, 1988 at age 76.

Gil Evans place in Jazz history was essentially made alongside Miles Davis. Beginning with the famous Miles Davis nonet that recorded for Capital Records in 1949-50 as "The Birth Of The Cool" and then later in the 50's and 60's with a trio of albums recorded by Miles Davis with the Gil Evans Orchestra: "Miles Ahead", "Porgy and Bess" and "Sketches of Spain" and to a lesser extent "Quiet Nights". These collaborations brought fame to Gil Evans and in 1960 he decided to form his own band where he conducted and played piano and through a 6 week engagement at a New York club called The Jazz Gallery in Greenwich Village, he took the band into the studio to record for a new label called "Impulse Records" run at the time by producer extraordinaire, Creed Taylor. They produced this classic statement called "Out Of The Cool". Gil's hand picked band featured some great soloists like trumpeter Johnny Coles ('Little Johnny C'),bass trombonist Tony Studd and trombone great Jimmy Knepper, tenor saxophonist Budd Johnson, underrated guitarist Ray Crawford, powerhouse drummer Elvin Jones and Mr. Evans himself conducting and playing piano. Intricate ensemble passages abound with the use of bassoons, flutes, piccolos etc. Ron Carter is on bass and Charli Persip adds some effective percussion sounds. The tunes are by different composers but all have the Gil Evans touch as he arranged everything here. He wrote two tunes ("La Nevada" and "Sunken Treasure"), there is one by Weill and Brecht ("Bilbao Song"), two by Jazzers Horace Silver and George Russell ("Sister Sadie" and "Stratusphunk") and a beautiful obscure ballad called "Where Flamingos Fly" featuring Jimmy Knepper. All of this adds up to a truly classic album and one of the finest statements by the legendary Gil Evans. Incidentally, Mr Evans was born in Toronto, Canada on May 13,1912 and died in Cuernavaca, Mexico on March 13, 1988 at age 76.

http://playlist.citr.ca/podcasting/audio/20100419-210300-to-20100420-000500.mp3CiTR 101.9 VancouvernoComposer/arranger/conductor Gil Evans: "Out Of The Cool".CiTR 101.9 VancouverComposer/arranger/conductor Gil Evans: "Out Of The Cool".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/e85Hdhoiq0E/20100419-210300-to-20100420-000500.mp3http://playlist.citr.ca/podcasting/audio/20100419-210300-to-20100420-000500.mp3 Mon, 12 Apr 2010 21:02:00 -0700 Pianist/composer Herbie Hancock: "Maiden Voyage"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/r0mcIcL3E5c" height="1" width="1"/> Pianist/composer Herbie Hancock: "Maiden Voyage" This album is one of Herbie Hancock's masterpieces and we are featuring this stunning recording to honour one of the most significant musicians of our time: Herbert Jeffery Hancock who was born 70 years ago on this day (April 12) 1940 in Chicago. A child prodigy, Hancock was destined for musical fame from a very early age when he played with the Chicago Symphony orchestra. He was 11 years old!! Hancock was brought to New York by trumpeter Donald Byrd in 1960 and it wasn't long before he signed with Blue Note Records and began a whole series of significant recordings all of which are essential in any Jazz collection. Hancock, in 1963, began a five year stint with Miles Davis which further enhanced his name and influence. "Maiden Voyage" was recorded in March of 1965. The band wasn't a working band but Hancock's mates all were thinking on the same high plain. Trumpeter Freddie Hubbard is stunning here and blends so well with tenor saxophonist George Coleman that they think as one. Ron Carter is on bass and the young Tony Williams, still called 'Anthony' in those days are an incredible rhythm section, swinging and laying a great pulse for the music. Hancock wrote all of the tunes and two have become classics: the title track, "Maiden Voyage" and "Dolphin Dance" are Jazz standards that have been played and recorded by dozens of musicians. This album is the centerpiece of Herbie Hancock's output for Blue Note Records. Hancock is a vital and productive musician today, still creating and performing at a very high level. Today he is a healthy 70 with many more high energy years left. Happy Birthday Mr. Hancock!!!

This album is one of Herbie Hancock's masterpieces and we are featuring this stunning recording to honour one of the most significant musicians of our time: Herbert Jeffery Hancock who was born 70 years ago on this day (April 12) 1940 in Chicago. A child prodigy, Hancock was destined for musical fame from a very early age when he played with the Chicago Symphony orchestra. He was 11 years old!! Hancock was brought to New York by trumpeter Donald Byrd in 1960 and it wasn't long before he signed with Blue Note Records and began a whole series of significant recordings all of which are essential in any Jazz collection. Hancock, in 1963, began a five year stint with Miles Davis which further enhanced his name and influence. "Maiden Voyage" was recorded in March of 1965. The band wasn't a working band but Hancock's mates all were thinking on the same high plain. Trumpeter Freddie Hubbard is stunning here and blends so well with tenor saxophonist George Coleman that they think as one. Ron Carter is on bass and the young Tony Williams, still called 'Anthony' in those days are an incredible rhythm section, swinging and laying a great pulse for the music. Hancock wrote all of the tunes and two have become classics: the title track, "Maiden Voyage" and "Dolphin Dance" are Jazz standards that have been played and recorded by dozens of musicians. This album is the centerpiece of Herbie Hancock's output for Blue Note Records. Hancock is a vital and productive musician today, still creating and performing at a very high level. Today he is a healthy 70 with many more high energy years left. Happy Birthday Mr. Hancock!!!

http://playlist.citr.ca/podcasting/audio/20100412-210200-to-20100413-000400.mp3CiTR 101.9 VancouvernoPianist/composer Herbie Hancock: "Maiden Voyage"CiTR 101.9 VancouverPianist/composer Herbie Hancock: "Maiden Voyage"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/r0mcIcL3E5c/20100412-210200-to-20100413-000400.mp3http://playlist.citr.ca/podcasting/audio/20100412-210200-to-20100413-000400.mp3 Mon, 05 Apr 2010 21:02:00 -0700 Tenor saxophonist Stanley Turrentine: "Stan The Man"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/eNtR88gERX8" height="1" width="1"/> Tenor saxophonist Stanley Turrentine: "Stan The Man" A double Feature tonight. We are celebrating what would be tenor saxophonist Stanley Turrentine's 76th birthday, He died in September of 2000 of a stroke. He was born in Pittsburg on April 5,1934. The first part of the Feature will be the title selection from Max Roach's album done in Paris in 1960 called "Parisian Sketches". It was in Roach's band that Stanley and his older brother Tommy, a fine trumpet player, were introduced to the Jazz world so it's fitting that we play this piece. Stanley and Tommy along with Roach, trombonist Julian Priester and bassist Bobby Boswell are the band. We follow with what was Stanley's debut album under his own name done in January of 1960 for the small independent label, Time Records. Max Roach set this date up for Stanley and he, of course plays drums on this along with the great bassist George Duvivier and two wonderful pianists; Tommy Flanagan on four tunes and the legendary Sonny Clark on three. Stanley displays his big sound and unique phrasing here. One can hear the great history of the tenor saxophone in his playing but it is decidedly modern. Stanley uses blues inflections in everything he plays which adds to his appeal. This is his debut album and right from the start you know that he was going to have a great career in Jazz and he did! Seven tunes are heard here and five are by Stanley. The ballad is the beautiful Cahn/Styne tune "Time After Time" and one appealing tune by 'Wild Bill' Strethan Davis called "Stolen Sweets". Enjoy Stanley's first and auspicious debut.

A double Feature tonight. We are celebrating what would be tenor saxophonist Stanley Turrentine's 76th birthday, He died in September of 2000 of a stroke. He was born in Pittsburg on April 5,1934. The first part of the Feature will be the title selection from Max Roach's album done in Paris in 1960 called "Parisian Sketches". It was in Roach's band that Stanley and his older brother Tommy, a fine trumpet player, were introduced to the Jazz world so it's fitting that we play this piece. Stanley and Tommy along with Roach, trombonist Julian Priester and bassist Bobby Boswell are the band. We follow with what was Stanley's debut album under his own name done in January of 1960 for the small independent label, Time Records. Max Roach set this date up for Stanley and he, of course plays drums on this along with the great bassist George Duvivier and two wonderful pianists; Tommy Flanagan on four tunes and the legendary Sonny Clark on three. Stanley displays his big sound and unique phrasing here. One can hear the great history of the tenor saxophone in his playing but it is decidedly modern. Stanley uses blues inflections in everything he plays which adds to his appeal. This is his debut album and right from the start you know that he was going to have a great career in Jazz and he did! Seven tunes are heard here and five are by Stanley. The ballad is the beautiful Cahn/Styne tune "Time After Time" and one appealing tune by 'Wild Bill' Strethan Davis called "Stolen Sweets". Enjoy Stanley's first and auspicious debut.

http://playlist.citr.ca/podcasting/audio/20100405-210200-to-20100406-001100.mp3CiTR 101.9 VancouvernoTenor saxophonist Stanley Turrentine: "Stan The Man"CiTR 101.9 VancouverTenor saxophonist Stanley Turrentine: "Stan The Man"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/eNtR88gERX8/20100405-210200-to-20100406-001100.mp3http://playlist.citr.ca/podcasting/audio/20100405-210200-to-20100406-001100.mp3 Mon, 29 Mar 2010 21:02:00 -0700 Miles Davis: "Miles In The Sky".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/nutBClneWcQ" height="1" width="1"/> Miles Davis: "Miles In The Sky". This recording done by Miles Davis and his "Second Great Quintet" was the first recorded evidence that a musical change was in the air. The quintet, of course, consisted of Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the amazing Tony Williams on drums. There are only four long tracks on this recording and we'll hear them in chronological order as they were done at different recording sessions for Columbia Records in 1968. The first tune on the set is Wayne Shorter's "Paraphernalia". This is a spacey type tune that also has George Benson added on guitar. Benson is very effective here, The next two compositions are an indication of where the band is going. The second tune is by Tony Williams and is called "Black Comedy". The third composition is a Davis creation that has no theme but has three distinct movements. It is an intense musical experience and it's called "Country Son".The final tune is really indicative of the change in Miles' ideas and points to his direction that he will take on future recordings. A rock beat defines "Stuff" and Carter switches to electric bass and Hancock works in the Fender Rhodes electric piano. This is an indication of Davis' musical future and this recording was the turning point that led to "Filles De Kilimanjaro", "In A Silent Way" and to "Bitches Brew" and on into the 70's. Davis was always in control of his musical odyssey and this recording is a major step.

This recording done by Miles Davis and his "Second Great Quintet" was the first recorded evidence that a musical change was in the air. The quintet, of course, consisted of Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the amazing Tony Williams on drums. There are only four long tracks on this recording and we'll hear them in chronological order as they were done at different recording sessions for Columbia Records in 1968. The first tune on the set is Wayne Shorter's "Paraphernalia". This is a spacey type tune that also has George Benson added on guitar. Benson is very effective here, The next two compositions are an indication of where the band is going. The second tune is by Tony Williams and is called "Black Comedy". The third composition is a Davis creation that has no theme but has three distinct movements. It is an intense musical experience and it's called "Country Son".The final tune is really indicative of the change in Miles' ideas and points to his direction that he will take on future recordings. A rock beat defines "Stuff" and Carter switches to electric bass and Hancock works in the Fender Rhodes electric piano. This is an indication of Davis' musical future and this recording was the turning point that led to "Filles De Kilimanjaro", "In A Silent Way" and to "Bitches Brew" and on into the 70's. Davis was always in control of his musical odyssey and this recording is a major step.

http://playlist.citr.ca/podcasting/audio/20100329-210200-to-20100330-000400.mp3CiTR 101.9 VancouvernoMiles Davis: "Miles In The Sky".CiTR 101.9 VancouverMiles Davis: "Miles In The Sky".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/nutBClneWcQ/20100329-210200-to-20100330-000400.mp3http://playlist.citr.ca/podcasting/audio/20100329-210200-to-20100330-000400.mp3 Mon, 22 Mar 2010 21:01:00 -0700 "The George Benson Cookbook". Guitarist Benson with his group.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/FcOIlRhoL3Y" height="1" width="1"/> "The George Benson Cookbook". Guitarist Benson with his group. George Benson is known today as one of music's superstars. A great instrumentalist/singer/entertainer who began his career as a pure Jazz player but successfully, after adding vocals to his repertoire, crossed over into funk and pop music. He had many major hits and won Grammy Awards and achieved not only fame but fortune. For all that let it be said that when motivated and under the right circumstances Benson, as a guitarist is still one of the very best in the world. He took his fair share of knocks for entering into more lucrative and commercial fields but when the chips are down Benson can PLAY! George is a natural talent born with a great ear. He never learned to read music but can "hear" a tune once and play it and improvise on it. Today (March 22) is his 67th Birthday. He was born in Pittsburg, Pennsylvania. the same city that gave birth to two other great "natural" talents, drummer Art Blakey and pianist Erroll Garner. Benson had begun his career in earnest with organist Jack McDuff and when he left McDuff in 1966, Benson formed his own band made up of himself on guitar, baritone saxophonist Ronnie Cuber, organist Lonnie Smith (now Dr. Lonnie Smith) and various drummers like Jimmy Lovelace, Marion Booker and Billy Kaye. He did two fine albums with this band for Columbia Records and tonight we feature his second called "The George Benson Cookbook". As an added bonus, two tracks on this album have the great trombonist Bennie Green as guest artist. It's a fun and entertaining Jazz record and shows that even in 1966 George Benson was #1. Happy Birthday Mr. Benson......Boss Guitarist.

George Benson is known today as one of music's superstars. A great instrumentalist/singer/entertainer who began his career as a pure Jazz player but successfully, after adding vocals to his repertoire, crossed over into funk and pop music. He had many major hits and won Grammy Awards and achieved not only fame but fortune. For all that let it be said that when motivated and under the right circumstances Benson, as a guitarist is still one of the very best in the world. He took his fair share of knocks for entering into more lucrative and commercial fields but when the chips are down Benson can PLAY! George is a natural talent born with a great ear. He never learned to read music but can "hear" a tune once and play it and improvise on it. Today (March 22) is his 67th Birthday. He was born in Pittsburg, Pennsylvania. the same city that gave birth to two other great "natural" talents, drummer Art Blakey and pianist Erroll Garner. Benson had begun his career in earnest with organist Jack McDuff and when he left McDuff in 1966, Benson formed his own band made up of himself on guitar, baritone saxophonist Ronnie Cuber, organist Lonnie Smith (now Dr. Lonnie Smith) and various drummers like Jimmy Lovelace, Marion Booker and Billy Kaye. He did two fine albums with this band for Columbia Records and tonight we feature his second called "The George Benson Cookbook". As an added bonus, two tracks on this album have the great trombonist Bennie Green as guest artist. It's a fun and entertaining Jazz record and shows that even in 1966 George Benson was #1. Happy Birthday Mr. Benson......Boss Guitarist.

http://playlist.citr.ca/podcasting/audio/20100322-210100-to-20100323-000500.mp3CiTR 101.9 Vancouverno"The George Benson Cookbook". Guitarist Benson with his group.CiTR 101.9 Vancouver"The George Benson Cookbook". Guitarist Benson with his group.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/FcOIlRhoL3Y/20100322-210100-to-20100323-000500.mp3http://playlist.citr.ca/podcasting/audio/20100322-210100-to-20100323-000500.mp3 Mon, 15 Mar 2010 21:01:00 -0700 Pianist/composer Cecil Taylor:"Conquistador"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/POrpyxA1GSw" height="1" width="1"/> Pianist/composer Cecil Taylor:"Conquistador" This recording was the second album recorded in 1966 for Blue Note by the iconoclastic pianist/composer Cecil Taylor. Taylor's music has always posed a challenge to the listener as his music is dense and often seems arrhythmic. His ensembles or bands that he calls "Units" pose even more of a challenge. Not only does the listener have to hear Taylor's always busy playing but one has to hear the bassists and drummers as well as the horns that weave in and out and solo at length. This recording features members of his working unit. The wonderful alto saxophonist Jimmy Lyons is heard to good advantage here. Lyons was to Taylor what Charlie Rouse was to Thelonious Monk. Trumpeter Bill Dixon, who along with Taylor was one of the movers and shakers of so-called avant-guard Jazz was not a regular Unit member but he fit so well with Lyons in the ensemble passages and solos very effectively. Two bassists work hand in glove with Alan Silva playing mostly arco (bowed) and Henry Grimes plucking the bottom lines. Drummer Andrew Cyrille understands Taylor's unique rhythmic sence. Taylor many years before this recording had abandoned 4/4 time and other Jazz signatures and yet his music pulses with rhythms. "Conquistador" IS a challenge but if you listen to Taylor's music with the same intensity that he delivers it you will be amply rewarded. There is lyricism and beauty in this recording and all it need is your ears. Taylor was 81 on March 15,2010 and he is still creating and performing....Happy Birthday Cecil!

This recording was the second album recorded in 1966 for Blue Note by the iconoclastic pianist/composer Cecil Taylor. Taylor's music has always posed a challenge to the listener as his music is dense and often seems arrhythmic. His ensembles or bands that he calls "Units" pose even more of a challenge. Not only does the listener have to hear Taylor's always busy playing but one has to hear the bassists and drummers as well as the horns that weave in and out and solo at length. This recording features members of his working unit. The wonderful alto saxophonist Jimmy Lyons is heard to good advantage here. Lyons was to Taylor what Charlie Rouse was to Thelonious Monk. Trumpeter Bill Dixon, who along with Taylor was one of the movers and shakers of so-called avant-guard Jazz was not a regular Unit member but he fit so well with Lyons in the ensemble passages and solos very effectively. Two bassists work hand in glove with Alan Silva playing mostly arco (bowed) and Henry Grimes plucking the bottom lines. Drummer Andrew Cyrille understands Taylor's unique rhythmic sence. Taylor many years before this recording had abandoned 4/4 time and other Jazz signatures and yet his music pulses with rhythms. "Conquistador" IS a challenge but if you listen to Taylor's music with the same intensity that he delivers it you will be amply rewarded. There is lyricism and beauty in this recording and all it need is your ears. Taylor was 81 on March 15,2010 and he is still creating and performing....Happy Birthday Cecil!

http://playlist.citr.ca/podcasting/audio/20100315-210100-to-20100316-000300.mp3CiTR 101.9 VancouvernoPianist/composer Cecil Taylor:"Conquistador"CiTR 101.9 VancouverPianist/composer Cecil Taylor:"Conquistador"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/POrpyxA1GSw/20100315-210100-to-20100316-000300.mp3http://playlist.citr.ca/podcasting/audio/20100315-210100-to-20100316-000300.mp3 Mon, 08 Mar 2010 22:32:00 -0800 The Maria Schneider Orchestra: "Sky Blue".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/OqEYuM63yPU" height="1" width="1"/> The Maria Schneider Orchestra: "Sky Blue". This Feature is a tribute to National Woman's Day and this Orchestra led by Maria Schneider is one of the leading Jazz organizations of today. Maria's music reflects her creativity and her influences which include the great master Gil Evans. Her orchestra is full of all-star players like trumpeter Ingrid Jenson,Steve Wilson on alto and soprano saxophones, tenor saxophonist Rich Perry, guitarist Ben Monder, Frank Kimbrough, piano, Clarence Penn on drums and so many others. Her music is evocative, moody and always full of wonderful colours and textures and this award winning album called "Sky Blue" is her best at this point. We'll hear four compositions as our Feature.....the music of The Maria Schneider Orchestra.....The Jazz Show's tribute to International Woman's Day.

This Feature is a tribute to National Woman's Day and this Orchestra led by Maria Schneider is one of the leading Jazz organizations of today. Maria's music reflects her creativity and her influences which include the great master Gil Evans. Her orchestra is full of all-star players like trumpeter Ingrid Jenson,Steve Wilson on alto and soprano saxophones, tenor saxophonist Rich Perry, guitarist Ben Monder, Frank Kimbrough, piano, Clarence Penn on drums and so many others. Her music is evocative, moody and always full of wonderful colours and textures and this award winning album called "Sky Blue" is her best at this point. We'll hear four compositions as our Feature.....the music of The Maria Schneider Orchestra.....The Jazz Show's tribute to International Woman's Day.

http://playlist.citr.ca/podcasting/audio/20100308-223200-to-20100309-000400.mp3CiTR 101.9 VancouvernoThe Maria Schneider Orchestra: "Sky Blue".CiTR 101.9 VancouverThe Maria Schneider Orchestra: "Sky Blue".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/OqEYuM63yPU/20100308-223200-to-20100309-000400.mp3http://playlist.citr.ca/podcasting/audio/20100308-223200-to-20100309-000400.mp3 Mon, 01 Mar 2010 21:05:00 -0800 "Breakthrough!":The Hank Mobley (tenor saxophone)/Cedar Walton (piano) Quintet.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/kmbpz6weO7s" height="1" width="1"/> "Breakthrough!":The Hank Mobley (tenor saxophone)/Cedar Walton (piano) Quintet. This short-lived quintet led by tenor saxophone master Hank Mobley and pianist Cedar Walton constituted one of Mr. Mobley's final documentation on record. It was done in New York on February 22,1972. Hank was one of the most prolifically consistent musicians of the 50's and 60's and recorded dozens of fine albums mostly for Blue Note Records and also for Prestige and Savoy. Hank was a charter member of The Jazz Messengers, and worked with Max Roach a few times but was most prominent when he worked with Miles Davis from 1960 to 1962. His recorded output is tremendously consistent and his compositions fill most of these albums...the finest being on Blue Note. Hank made his last album for that label in 1970. After that, illness, affecting his lungs and deterioration from drugs and alcohol ruined his health. The Feature album, with this group marked his penultimate appearance on records. This fine band made up of Hank and Cedar included the unique voice of the baritone and soprano saxophones, Charles Davis, plus the fiery rhythm section of bassist Sam Jones and drummer Billy Higgins. All of the players have their feature moments on this album. Davis on baritone is featured on "Sabia" by A.C. Jobim, Walton gets a trio track and plays Henry Mancini's "Theme From Love Story". Hank Mobley's feature is his take on the Gershwin's "Summertime". Two great Mobley compositions are included here also: the opening title track is a burner and "Early Morning Stroll" cooks at a slightly lower flame. There are many wonderful moments throughout this record and we'll hear them all. The final track on the Hank Mobley Feature is his final recorded appearance. He guested on one tune on a date with Catalonian pianist Tete Montoliu with bassist George Mraz and drummer Al Foster....Hank plays "Autumn Leaves". This was recorded in 1980. Hank Mobley died on May 30,1986 of ill health and in poverty, he was only 56. After his passing, whole generations of young musicians recognized Mr. Mobley as one of the musical giants of the last century and not only as a saxophonist who can sit alongside Coltrane and Rollins but a fine composer as well.

This short-lived quintet led by tenor saxophone master Hank Mobley and pianist Cedar Walton constituted one of Mr. Mobley's final documentation on record. It was done in New York on February 22,1972. Hank was one of the most prolifically consistent musicians of the 50's and 60's and recorded dozens of fine albums mostly for Blue Note Records and also for Prestige and Savoy. Hank was a charter member of The Jazz Messengers, and worked with Max Roach a few times but was most prominent when he worked with Miles Davis from 1960 to 1962. His recorded output is tremendously consistent and his compositions fill most of these albums...the finest being on Blue Note. Hank made his last album for that label in 1970. After that, illness, affecting his lungs and deterioration from drugs and alcohol ruined his health. The Feature album, with this group marked his penultimate appearance on records. This fine band made up of Hank and Cedar included the unique voice of the baritone and soprano saxophones, Charles Davis, plus the fiery rhythm section of bassist Sam Jones and drummer Billy Higgins. All of the players have their feature moments on this album. Davis on baritone is featured on "Sabia" by A.C. Jobim, Walton gets a trio track and plays Henry Mancini's "Theme From Love Story". Hank Mobley's feature is his take on the Gershwin's "Summertime". Two great Mobley compositions are included here also: the opening title track is a burner and "Early Morning Stroll" cooks at a slightly lower flame. There are many wonderful moments throughout this record and we'll hear them all. The final track on the Hank Mobley Feature is his final recorded appearance. He guested on one tune on a date with Catalonian pianist Tete Montoliu with bassist George Mraz and drummer Al Foster....Hank plays "Autumn Leaves". This was recorded in 1980. Hank Mobley died on May 30,1986 of ill health and in poverty, he was only 56. After his passing, whole generations of young musicians recognized Mr. Mobley as one of the musical giants of the last century and not only as a saxophonist who can sit alongside Coltrane and Rollins but a fine composer as well.

http://playlist.citr.ca/podcasting/audio/20100301-210500-to-20100302-000300.mp3CiTR 101.9 Vancouverno"Breakthrough!":The Hank Mobley (tenor saxophone)/Cedar Walton (piano) Quintet.CiTR 101.9 Vancouver"Breakthrough!":The Hank Mobley (tenor saxophone)/Cedar Walton (piano) Quintet.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/kmbpz6weO7s/20100301-210500-to-20100302-000300.mp3http://playlist.citr.ca/podcasting/audio/20100301-210500-to-20100302-000300.mp3 Mon, 22 Feb 2010 21:02:00 -0800 Lalo Schifrin: "The New Continent" featuring Dizzy Gillespie.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/PngX9OvOQE0" height="1" width="1"/> Lalo Schifrin: "The New Continent" featuring Dizzy Gillespie. This Feature is a large orchestral piece written by Boris (Lalo) Schifrin that features Dizzy Gillespie as chief soloist. It was Lalo's last contribution to Dizzy's music after spending two years with Mr. Gillespie as his pianist and arranger. Lalo, of course had written the more famous "Gillespiana Suite" for Dizzy but this six movement piece is much more of an orchestral excursion and is much more about Lalo than Dizzy. It features the Gillespie quintet of the time (Dizzy, James Moody, Chris White on bass and Rudy Collins on drums) with a large orchestra filled with Jazz playing studio players like Al Porcino and Conte Candoli, Phil Woods, Bill Perkins, Frank Rosolino, Mel Lewis and so many more. In all a 27 piece orchestra. The eminent Benny Carter conducts the band and the date was produced in Hollywood by Quincy Jones and the suite was introduced at the 1962 Monterey Jazz Festival. It was issued on Limelight Records (a subsidiary of Mercury records) and remains unissued on CD. The composition is a tribute to Gillespie in that it musically acknowledges Dizzy's contribution to Jazz, other than being a ground breaking trumpeter, as a person who was able to introduce other musics into the mainstream of Jazz. Dizzy was the first to bring Afro-Cuban concepts into Jazz in the 1940's. He brought Middle Eastern concepts and ideas into Jazz and was the first to bring the Brazilian form, the Bossa Nova into Jazz music's mainstream. This is what "The New Continent" is about. Aside from Gillespie, we hear solos by Larry Bunker on vibes, Al Henrickson on guitar, Frank Rosolino on trombone and from Schifrin himself on piano. The real star is the orchestra which navigates of the changing moods with ease. If you use your imagination you can create your own movie from the various themes, moods and tempos of this amazing piece. This album was the last collaboration between Lalo Schifrin and Dizzy Gillespie and it's a fitting farewell.

This Feature is a large orchestral piece written by Boris (Lalo) Schifrin that features Dizzy Gillespie as chief soloist. It was Lalo's last contribution to Dizzy's music after spending two years with Mr. Gillespie as his pianist and arranger. Lalo, of course had written the more famous "Gillespiana Suite" for Dizzy but this six movement piece is much more of an orchestral excursion and is much more about Lalo than Dizzy. It features the Gillespie quintet of the time (Dizzy, James Moody, Chris White on bass and Rudy Collins on drums) with a large orchestra filled with Jazz playing studio players like Al Porcino and Conte Candoli, Phil Woods, Bill Perkins, Frank Rosolino, Mel Lewis and so many more. In all a 27 piece orchestra. The eminent Benny Carter conducts the band and the date was produced in Hollywood by Quincy Jones and the suite was introduced at the 1962 Monterey Jazz Festival. It was issued on Limelight Records (a subsidiary of Mercury records) and remains unissued on CD. The composition is a tribute to Gillespie in that it musically acknowledges Dizzy's contribution to Jazz, other than being a ground breaking trumpeter, as a person who was able to introduce other musics into the mainstream of Jazz. Dizzy was the first to bring Afro-Cuban concepts into Jazz in the 1940's. He brought Middle Eastern concepts and ideas into Jazz and was the first to bring the Brazilian form, the Bossa Nova into Jazz music's mainstream. This is what "The New Continent" is about. Aside from Gillespie, we hear solos by Larry Bunker on vibes, Al Henrickson on guitar, Frank Rosolino on trombone and from Schifrin himself on piano. The real star is the orchestra which navigates of the changing moods with ease. If you use your imagination you can create your own movie from the various themes, moods and tempos of this amazing piece. This album was the last collaboration between Lalo Schifrin and Dizzy Gillespie and it's a fitting farewell.

http://playlist.citr.ca/podcasting/audio/20100222-210200-to-20100223-000300.mp3CiTR 101.9 VancouvernoLalo Schifrin: "The New Continent" featuring Dizzy Gillespie.CiTR 101.9 VancouverLalo Schifrin: "The New Continent" featuring Dizzy Gillespie.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/PngX9OvOQE0/20100222-210200-to-20100223-000300.mp3http://playlist.citr.ca/podcasting/audio/20100222-210200-to-20100223-000300.mp3 Mon, 15 Feb 2010 21:02:00 -0800 Alto saxophone master Jackie McLean: "New Traditions" .<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/dak81l0ajK8" height="1" width="1"/> Alto saxophone master Jackie McLean: "New Traditions" . This album which was recorded for a small independent label on October 21,1955 was alto saxophonist Jackie McLean's first under his own name. The label was "Ad-Lib Records" and it was the only album ever issued on that label. A pristine copy of the original LP commands several thousands of dollars on the collector's market. It was re-issued several times on LP on Jubilee, Roulette, Josie and Trip and can be found on CD on the Spanish "Fresh Sounds" label. Jackie McLean was in 1955 one of the first post-Parker alto saxophonists to establish his own voice. He took the raw blues tinged side of Parker and turned it into his own distinctive style. Mclean's sound was all his from the beginning and his angular phrasing. violent blue notes distinguished him from others. As he grew his reliance on Parker-based phrases grew less apparent. He described his sound as having "no artificial sweetening".His intonation and his frequently violent note emphasis raised some hackles with the critics but Jackie chased his own musical vision. It's evident from the mature statement on this recording that McLean was ready for the big leagues. McLean picked his sidemen well for this date: trumpeter Donald Byrd, fresh from Detroit was long an associate of Mclean's on record dates and gigs and pianist Mal Waldron was at this time Jackie's favorite pianist. Waldron was a New Yorker like Jackie and they had played together for a long time and it was Mal that talked Charles Mingus into letting Jackie join the Mingus Jazz Workshop in late 1955. Doug Watkins on bass was a recent arrival in New York via Detroit and he was playing with the Jazz Messengers at the time. Ronald Tucker was one of the many fine drummers around new York at the time and this happens to be his only recorded appearance. He acquits himself very well and swings hard and has good taste. Two good standards feature the group sounding very cohesive. One ballad, featuring Mr. McLean is "Lover Man"....a tip of the hat to Billie Holiday and Charlie Parker, who both made the definitive versions of that tune. A slow blues called "Blue Doll" much like the mood of "Parker's Mood". McLean's first recording of his composition dedicated to his newborn daughter called "Little Melonae" and a lyrical original by pianist Mal Waldron called "Mood Malody". A fine debut by one of the most original voices of the alto saxophone....Mr. John Lenwood (Jackie) McLean (1931-2006).

This album which was recorded for a small independent label on October 21,1955 was alto saxophonist Jackie McLean's first under his own name. The label was "Ad-Lib Records" and it was the only album ever issued on that label. A pristine copy of the original LP commands several thousands of dollars on the collector's market. It was re-issued several times on LP on Jubilee, Roulette, Josie and Trip and can be found on CD on the Spanish "Fresh Sounds" label. Jackie McLean was in 1955 one of the first post-Parker alto saxophonists to establish his own voice. He took the raw blues tinged side of Parker and turned it into his own distinctive style. Mclean's sound was all his from the beginning and his angular phrasing. violent blue notes distinguished him from others. As he grew his reliance on Parker-based phrases grew less apparent. He described his sound as having "no artificial sweetening".His intonation and his frequently violent note emphasis raised some hackles with the critics but Jackie chased his own musical vision. It's evident from the mature statement on this recording that McLean was ready for the big leagues. McLean picked his sidemen well for this date: trumpeter Donald Byrd, fresh from Detroit was long an associate of Mclean's on record dates and gigs and pianist Mal Waldron was at this time Jackie's favorite pianist. Waldron was a New Yorker like Jackie and they had played together for a long time and it was Mal that talked Charles Mingus into letting Jackie join the Mingus Jazz Workshop in late 1955. Doug Watkins on bass was a recent arrival in New York via Detroit and he was playing with the Jazz Messengers at the time. Ronald Tucker was one of the many fine drummers around new York at the time and this happens to be his only recorded appearance. He acquits himself very well and swings hard and has good taste. Two good standards feature the group sounding very cohesive. One ballad, featuring Mr. McLean is "Lover Man"....a tip of the hat to Billie Holiday and Charlie Parker, who both made the definitive versions of that tune. A slow blues called "Blue Doll" much like the mood of "Parker's Mood". McLean's first recording of his composition dedicated to his newborn daughter called "Little Melonae" and a lyrical original by pianist Mal Waldron called "Mood Malody". A fine debut by one of the most original voices of the alto saxophone....Mr. John Lenwood (Jackie) McLean (1931-2006).

http://playlist.citr.ca/podcasting/audio/20100215-210200-to-20100216-000400.mp3CiTR 101.9 VancouvernoAlto saxophone master Jackie McLean: "New Traditions" .CiTR 101.9 VancouverAlto saxophone master Jackie McLean: "New Traditions" .http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/dak81l0ajK8/20100215-210200-to-20100216-000400.mp3http://playlist.citr.ca/podcasting/audio/20100215-210200-to-20100216-000400.mp3 Mon, 08 Feb 2010 21:03:00 -0800 Bassist/composer Charles Mingus:"Tijuana Moods The Alternate Version".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/s8iRxE7nApM" height="1" width="1"/> Bassist/composer Charles Mingus:"Tijuana Moods The Alternate Version". Charles Mingus' "Tijuana Moods" is one of his acknowledged classics. It was recorded in July and August 1957 by one of his best "Jazz Workshops". Mingus called all of his bands "The Jazz Workshop". Strangely it was not released until 1962 on RCA Victor and Mingus called it "the best record I ever made". The original LP was full of rather ham-fisted edits but the music was so strong that we lived with them and simply ignored them. When the digital revolution happened and a creative producer named Ed Michael went into the RCA archives and discovered that Tijuana Moods had many alternate and almost complete takes. Michael put together an "alternate" version of the five tunes that made up the original album basically maintaining the structure and syntax of the tunes. This happened in 1985, six years after Mingus' death. Mingus, I think would have been pleased with the alternate results and the edits are seamless due to the digital process. The music represents a trip that Mingus and drummer Dannie Richmond took to that border town after Mingus' wife told Charles she wanted a divorce. The band is one of Mingus' finest editions of The Jazz Workshop and the people involved are Clarence "Gene" Shaw on trumpet, Shafi Hadi (aka Curtis Porter) alto (mostly) and tenor saxophone, Jimmy Knepper on trombone, Bill Triglia on piano, Dannie Richmond on drums and of course Mingus on bass. Some effects are provided by Ysabel Morel on wordless vocal and Frankie Dunlop on castanets. There are five tunes, the first four are by Mingus and the album ends quietly with a beautiful rendition of the old standard "Flamingo", featuring Shaw's trumpet. All in all this album ranks with Mingus' best and thanks to the good work of Ed Michael, we can hear "The Alternate Tijuana Moods".

Charles Mingus' "Tijuana Moods" is one of his acknowledged classics. It was recorded in July and August 1957 by one of his best "Jazz Workshops". Mingus called all of his bands "The Jazz Workshop". Strangely it was not released until 1962 on RCA Victor and Mingus called it "the best record I ever made". The original LP was full of rather ham-fisted edits but the music was so strong that we lived with them and simply ignored them. When the digital revolution happened and a creative producer named Ed Michael went into the RCA archives and discovered that Tijuana Moods had many alternate and almost complete takes. Michael put together an "alternate" version of the five tunes that made up the original album basically maintaining the structure and syntax of the tunes. This happened in 1985, six years after Mingus' death. Mingus, I think would have been pleased with the alternate results and the edits are seamless due to the digital process. The music represents a trip that Mingus and drummer Dannie Richmond took to that border town after Mingus' wife told Charles she wanted a divorce. The band is one of Mingus' finest editions of The Jazz Workshop and the people involved are Clarence "Gene" Shaw on trumpet, Shafi Hadi (aka Curtis Porter) alto (mostly) and tenor saxophone, Jimmy Knepper on trombone, Bill Triglia on piano, Dannie Richmond on drums and of course Mingus on bass. Some effects are provided by Ysabel Morel on wordless vocal and Frankie Dunlop on castanets. There are five tunes, the first four are by Mingus and the album ends quietly with a beautiful rendition of the old standard "Flamingo", featuring Shaw's trumpet. All in all this album ranks with Mingus' best and thanks to the good work of Ed Michael, we can hear "The Alternate Tijuana Moods".

http://playlist.citr.ca/podcasting/audio/20100208-210300-to-20100209-000500.mp3CiTR 101.9 VancouvernoBassist/composer Charles Mingus:"Tijuana Moods The Alternate Version".CiTR 101.9 VancouverBassist/composer Charles Mingus:"Tijuana Moods The Alternate Version".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/s8iRxE7nApM/20100208-210300-to-20100209-000500.mp3http://playlist.citr.ca/podcasting/audio/20100208-210300-to-20100209-000500.mp3 Mon, 01 Feb 2010 21:03:00 -0800 Drummer/composer Max Roach: "We Insist: The Freedom Now Suite".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/9NUDAn_hZ4Q" height="1" width="1"/> Drummer/composer Max Roach: "We Insist: The Freedom Now Suite". The Jazz Show's tribute to Black History Month is the famous Max Roach recording called "The Freedom Now Suite". This was one of the first politically charged albums that reflect the leader's growing awareness of the civil rights movement that was erupting in the U.S. in the late 1950's. Mr. Roach's basic ensemble includes trumpeter, Booker Little, tenor saxophonist Walter Benton, trombonist Julian Priester and bassist James Schenk. Abbey Lincoln is extraordinary on her vocals and Coleman Hawkins, the "father of the tenor saxophone" makes a cameo appearance on "Driva' Man", the opening tune. The final two pieces are by the full ensemble augmented by two percussionists and the great Micheal Olatunji on vocal and African drums. The centerpiece of the album if a duet in three parts called "Prayer, Protest and Peace" with Miss Lincoln and Max Roach. The album was recorded in 1960 and to this day stands as a monument to the creativity and political stance of one of the greatest drummers in Jazz, the late Max Roach. I should add that the lyrics of this were written by Oscar Brown Jr. and all the music was written by Mr. Roach. "We Insist! Freedom Now Suite".

The Jazz Show's tribute to Black History Month is the famous Max Roach recording called "The Freedom Now Suite". This was one of the first politically charged albums that reflect the leader's growing awareness of the civil rights movement that was erupting in the U.S. in the late 1950's. Mr. Roach's basic ensemble includes trumpeter, Booker Little, tenor saxophonist Walter Benton, trombonist Julian Priester and bassist James Schenk. Abbey Lincoln is extraordinary on her vocals and Coleman Hawkins, the "father of the tenor saxophone" makes a cameo appearance on "Driva' Man", the opening tune. The final two pieces are by the full ensemble augmented by two percussionists and the great Micheal Olatunji on vocal and African drums. The centerpiece of the album if a duet in three parts called "Prayer, Protest and Peace" with Miss Lincoln and Max Roach. The album was recorded in 1960 and to this day stands as a monument to the creativity and political stance of one of the greatest drummers in Jazz, the late Max Roach. I should add that the lyrics of this were written by Oscar Brown Jr. and all the music was written by Mr. Roach. "We Insist! Freedom Now Suite".

http://playlist.citr.ca/podcasting/audio/20100201-210300-to-20100202-000400.mp3CiTR 101.9 VancouvernoDrummer/composer Max Roach: "We Insist: The Freedom Now Suite".CiTR 101.9 VancouverDrummer/composer Max Roach: "We Insist: The Freedom Now Suite".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/9NUDAn_hZ4Q/20100201-210300-to-20100202-000400.mp3http://playlist.citr.ca/podcasting/audio/20100201-210300-to-20100202-000400.mp3 Mon, 25 Jan 2010 21:03:00 -0800 Pianist Wynton Kelly and his Quintet with Lee Morgan and Wayne Shorter:"Kelly Great!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/yu8Uv7MbG-4" height="1" width="1"/> Pianist Wynton Kelly and his Quintet with Lee Morgan and Wayne Shorter:"Kelly Great!" The late Wynton Kelly was one of the best loved pianists in Jazz. His chief era of fame was when he replaced Bill Evans in Miles Davis' ground breaking quintet. Kelly joined in 1959 and played through to 1962. He then toured with bassist Paul Chambers and drummer Jimmy Cobb after they both left the Davis fold. Kelly had a beautiful touch on the piano and there was an innate joy and lyricism in his playing plus a great blues feel. Kelly knew how to accompany singers, he worked a long time with the great Dinah Washington.Horn players loved him and he was a sideman on many important record dates. His output under his own name was rather sparse but he did put out great trio recordings. This date is a bit different as it features two then young horn players. Trumpeter Lee Morgan was only 21 when he did this session in August of 1959 but he was already a veteran having played with Dizzy Gillespie's big band and was member of Art Blakey's Jazz Messengers. Tenor saxophonist Wayne Shorter shows a very adventurous side to his playing on this, his first time in the recording studio. He soon became a member of the Messengers not long after this session. Bassist Paul Chambers and the great Philly Joe Jones on drums were Kelly's favourites and they add to the energy of this session. Kelly, as always, is elegant and superb and that's why the ablum is called "Kelly Great!". Five tunes make up the date; two by Shorter (his first recorded compositions), one by Kelly (a blues) and one by Morgan plus an obscure standard called "June Night" that has a great bounce feel. One fine date in the life of Wynton Kelly and the Feature tonight. Wynton Kelly died quite young of a heart attack brought on by an epileptic fit....he was only 39 on April 12,1971 and was mourned throughout the Jazz world.

The late Wynton Kelly was one of the best loved pianists in Jazz. His chief era of fame was when he replaced Bill Evans in Miles Davis' ground breaking quintet. Kelly joined in 1959 and played through to 1962. He then toured with bassist Paul Chambers and drummer Jimmy Cobb after they both left the Davis fold. Kelly had a beautiful touch on the piano and there was an innate joy and lyricism in his playing plus a great blues feel. Kelly knew how to accompany singers, he worked a long time with the great Dinah Washington.Horn players loved him and he was a sideman on many important record dates. His output under his own name was rather sparse but he did put out great trio recordings. This date is a bit different as it features two then young horn players. Trumpeter Lee Morgan was only 21 when he did this session in August of 1959 but he was already a veteran having played with Dizzy Gillespie's big band and was member of Art Blakey's Jazz Messengers. Tenor saxophonist Wayne Shorter shows a very adventurous side to his playing on this, his first time in the recording studio. He soon became a member of the Messengers not long after this session. Bassist Paul Chambers and the great Philly Joe Jones on drums were Kelly's favourites and they add to the energy of this session. Kelly, as always, is elegant and superb and that's why the ablum is called "Kelly Great!". Five tunes make up the date; two by Shorter (his first recorded compositions), one by Kelly (a blues) and one by Morgan plus an obscure standard called "June Night" that has a great bounce feel. One fine date in the life of Wynton Kelly and the Feature tonight. Wynton Kelly died quite young of a heart attack brought on by an epileptic fit....he was only 39 on April 12,1971 and was mourned throughout the Jazz world.

http://playlist.citr.ca/podcasting/audio/20100125-210300-to-20100126-000500.mp3CiTR 101.9 VancouvernoPianist Wynton Kelly and his Quintet with Lee Morgan and Wayne Shorter:"Kelly Great!"CiTR 101.9 VancouverPianist Wynton Kelly and his Quintet with Lee Morgan and Wayne Shorter:"Kelly Great!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/yu8Uv7MbG-4/20100125-210300-to-20100126-000500.mp3http://playlist.citr.ca/podcasting/audio/20100125-210300-to-20100126-000500.mp3 Mon, 18 Jan 2010 21:03:00 -0800 Tenor saxophonist Clifford Jordan: "Cliff Jordan"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/LKK4mbIxPUY" height="1" width="1"/> Tenor saxophonist Clifford Jordan: "Cliff Jordan" This is considered to be Clifford Jordan's debut album. His earlier appearance on the Blue Note label was a co-led two tenor saxophone session with John Gilmore. This rare recording has never had a domestic re-release but was first issued as Blue Note 1565 and called "Cliff Jordan". It features the very distinctive sound of Jordan's tenor saxophone with the young teen-aged trumpet sensation Lee Morgan on three tracks. Curtis Fuller on trombone and Jordan's high school classmate, the legendary alto saxophonist John Jenkins. Ray Bryant is on piano, Paul Chambers on bass and Arthur Taylor on drums. The first two tunes are without Morgan and then tune #3 is a composition by Lee and was his first recorded tune called "Ju-Ba". The full band is featured on the final two tunes, Jenkins reworking of Miles Davis' "Milestones" (the early version) and an up=tempo interpretation of one of the day's pop tunes called "Beyond The Blue Horizon". Clifford Jordan spread the chores out wisely and came up with a very representative album of New York Jazz from the mid 1950's. This fine recording deserves a domestic re-issue in stereo. It's a fine tribute to the artistry of the late Clifford Jordan, who passed away in 1993.

This is considered to be Clifford Jordan's debut album. His earlier appearance on the Blue Note label was a co-led two tenor saxophone session with John Gilmore. This rare recording has never had a domestic re-release but was first issued as Blue Note 1565 and called "Cliff Jordan". It features the very distinctive sound of Jordan's tenor saxophone with the young teen-aged trumpet sensation Lee Morgan on three tracks. Curtis Fuller on trombone and Jordan's high school classmate, the legendary alto saxophonist John Jenkins. Ray Bryant is on piano, Paul Chambers on bass and Arthur Taylor on drums. The first two tunes are without Morgan and then tune #3 is a composition by Lee and was his first recorded tune called "Ju-Ba". The full band is featured on the final two tunes, Jenkins reworking of Miles Davis' "Milestones" (the early version) and an up=tempo interpretation of one of the day's pop tunes called "Beyond The Blue Horizon". Clifford Jordan spread the chores out wisely and came up with a very representative album of New York Jazz from the mid 1950's. This fine recording deserves a domestic re-issue in stereo. It's a fine tribute to the artistry of the late Clifford Jordan, who passed away in 1993.

http://playlist.citr.ca/podcasting/audio/20100118-210300-to-20100119-000400.mp3CiTR 101.9 VancouvernoTenor saxophonist Clifford Jordan: "Cliff Jordan"CiTR 101.9 VancouverTenor saxophonist Clifford Jordan: "Cliff Jordan"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/LKK4mbIxPUY/20100118-210300-to-20100119-000400.mp3http://playlist.citr.ca/podcasting/audio/20100118-210300-to-20100119-000400.mp3 Mon, 04 Jan 2010 21:03:00 -0800 Bassist/composer Charles Mingus: "Jazz Portraits".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/J_AZU6twxqs" height="1" width="1"/> Bassist/composer Charles Mingus: "Jazz Portraits". Bassist/composer Charles Mingus was one of Jazz music's icons and an amazing larger than life musician and character. His working bands were called "The Charles Mingus Jazz Workshop" and the personnel changed sometimes very quickly. The term "Jazz Workshop" gave Mingus carte blanche to experiment on the bandstand sometimes stopping in mid tune to berate a soloist or change a part. If a member of the audience complained Mingus would say, "read the sign outside man.......it says Jazz Workshop....dig it?" Mingus had some great bands and some that approached greatness and the band on tonight's Feature was the core of one of his greatest bands. This was part of a concert from January 1959 recorded at New York's Nonagon Art Gallery and featured the recording debuts of two newcomers to the New York scene. Alto saxophonist John Handy from the Bay Area and tenor saxophonist Booker Ervin, who was working as a dishwasher at the Automat and sitting-in around town. Handy and Ervin (both born in Texas) blended together so well and although Mingus' regular pianist was called away the day before the gig for a family emergency, San Franciscan, Richard Wyands, on the recommendation of Handy substituted very well. Dannie Richmond on drums and Mingus on bass think as one and swing and drive the piano and the horns. 45 minutes of this concert have been preserved for us to enjoy. This was the first milestone and the core band that brought Mingus out of the Jazz underground and into the forefront of recognition and acceptance as one of the most formidable musical forces in Jazz and creative music.

Bassist/composer Charles Mingus was one of Jazz music's icons and an amazing larger than life musician and character. His working bands were called "The Charles Mingus Jazz Workshop" and the personnel changed sometimes very quickly. The term "Jazz Workshop" gave Mingus carte blanche to experiment on the bandstand sometimes stopping in mid tune to berate a soloist or change a part. If a member of the audience complained Mingus would say, "read the sign outside man.......it says Jazz Workshop....dig it?" Mingus had some great bands and some that approached greatness and the band on tonight's Feature was the core of one of his greatest bands. This was part of a concert from January 1959 recorded at New York's Nonagon Art Gallery and featured the recording debuts of two newcomers to the New York scene. Alto saxophonist John Handy from the Bay Area and tenor saxophonist Booker Ervin, who was working as a dishwasher at the Automat and sitting-in around town. Handy and Ervin (both born in Texas) blended together so well and although Mingus' regular pianist was called away the day before the gig for a family emergency, San Franciscan, Richard Wyands, on the recommendation of Handy substituted very well. Dannie Richmond on drums and Mingus on bass think as one and swing and drive the piano and the horns. 45 minutes of this concert have been preserved for us to enjoy. This was the first milestone and the core band that brought Mingus out of the Jazz underground and into the forefront of recognition and acceptance as one of the most formidable musical forces in Jazz and creative music.

http://playlist.citr.ca/podcasting/audio/20100104-210300-to-20100105-000500.mp3CiTR 101.9 VancouvernoBassist/composer Charles Mingus: "Jazz Portraits".CiTR 101.9 VancouverBassist/composer Charles Mingus: "Jazz Portraits".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/J_AZU6twxqs/20100104-210300-to-20100105-000500.mp3http://playlist.citr.ca/podcasting/audio/20100104-210300-to-20100105-000500.mp3 Mon, 28 Dec 2009 21:04:00 -0800 Clarinettist/tenor saxophonist/composer Jimmy Giuffre;"In Person at the Five Spot".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/y8BDX7868ag" height="1" width="1"/> Clarinettist/tenor saxophonist/composer Jimmy Giuffre;"In Person at the Five Spot". Tonight's Feature is by clarinettist/tenor saxophonist Jimmy Giuffre. Giuffre was a musician who had a very wide range and was not restricted to any one style, yet everything he did was marked by a strong individual identity. This recording, done at the legendary New York club, The Five Spot, marked another change for Giuffre. Gone was the quiet, blues and folk based trio. This is a blowing date and Giuffre makes the most of it with this hand picked group of players. Jimmy's clarinet is featured on three tunes and even there the difference is apparent as Jimmy explores the instrument's full range rather than just the low register as he had done in the past. His tenor work is hard driving and intense and he obviously was listening to Rollins and Stitt. Jimmy is no slouch on tenor and he blows up a storm on three pieces. Jim Hall on guitar had just moved to New York and his fine work here foreshadows his work with Sonny Rollins the following year. Buell Neidlinger is strong on bass and shows that he can work in a "straight-ahead" context. Buell had been working with Cecil Taylor when this date was done. Billy Osborne was just one of the many fine and lesser known drummers around New York at the time. Billy played with everybody but never got on very many record dates. The same fate befell guys like Sir John Godfrey and Clarence "Scoby" Stroman and others. Billy also suffered a discographical error as he was listed as "Billy Higgins" in most books. Discographer Tom Lord corrected this .The tunes are two standards played on clarinet plus a Giuffre original called "The Quiet Time". The tenor tunes are Monk's "Wee See", Giuffre's "Two For Timbuktoo" and "The Crab". This rare date originally came out on Verve and was called "In Person". Enjoy another side of Jimmy Giuffre tonight.

Tonight's Feature is by clarinettist/tenor saxophonist Jimmy Giuffre. Giuffre was a musician who had a very wide range and was not restricted to any one style, yet everything he did was marked by a strong individual identity. This recording, done at the legendary New York club, The Five Spot, marked another change for Giuffre. Gone was the quiet, blues and folk based trio. This is a blowing date and Giuffre makes the most of it with this hand picked group of players. Jimmy's clarinet is featured on three tunes and even there the difference is apparent as Jimmy explores the instrument's full range rather than just the low register as he had done in the past. His tenor work is hard driving and intense and he obviously was listening to Rollins and Stitt. Jimmy is no slouch on tenor and he blows up a storm on three pieces. Jim Hall on guitar had just moved to New York and his fine work here foreshadows his work with Sonny Rollins the following year. Buell Neidlinger is strong on bass and shows that he can work in a "straight-ahead" context. Buell had been working with Cecil Taylor when this date was done. Billy Osborne was just one of the many fine and lesser known drummers around New York at the time. Billy played with everybody but never got on very many record dates. The same fate befell guys like Sir John Godfrey and Clarence "Scoby" Stroman and others. Billy also suffered a discographical error as he was listed as "Billy Higgins" in most books. Discographer Tom Lord corrected this .The tunes are two standards played on clarinet plus a Giuffre original called "The Quiet Time". The tenor tunes are Monk's "Wee See", Giuffre's "Two For Timbuktoo" and "The Crab". This rare date originally came out on Verve and was called "In Person". Enjoy another side of Jimmy Giuffre tonight.

http://playlist.citr.ca/podcasting/audio/20091228-210400-to-20091229-000500.mp3CiTR 101.9 VancouvernoClarinettist/tenor saxophonist/composer Jimmy Giuffre;"In Person at the Five Spot".CiTR 101.9 VancouverClarinettist/tenor saxophonist/composer Jimmy Giuffre;"In Person at the Five Spot".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/y8BDX7868ag/20091228-210400-to-20091229-000500.mp3http://playlist.citr.ca/podcasting/audio/20091228-210400-to-20091229-000500.mp3 Mon, 21 Dec 2009 21:05:00 -0800 The Miles Davis All-Stars with Milt Jackson and Thelonious Monk-Christmas Eve 1954:The "Bags' Groove" Session.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/eVxiK8pmgb8" height="1" width="1"/> The Miles Davis All-Stars with Milt Jackson and Thelonious Monk-Christmas Eve 1954:The "Bags' Groove" Session. This truly classic date was recorded on Christmas Eve 1954 and somehow, although not intended has a distinctive "Christmasy" feel to it. The date was really put together by the owner of Prestige Records, Robert (Bob) Weinstock. He had two best sellers under contract, Miles Davis and The Modern Jazz Quartet. He approached Miles Davis about the date and Miles was excited and pleased and expected to record with Milt Jackson, Percy Heath and Kenny Clarke and perhaps his close friend, John Lewis on piano, all members of the MJQ. If not Lewis, perhaps Horace Silver, another favorite of Miles. Weinstock threw a curve at Miles and said, Jackson, Heath and Clarke are on but the pianist will be Thelonious Monk. Weinstock asserted that he needed Monk to perform and record with some of the "best sellers". Miles was not pleased but Weinstock said either Monk or no date. After a long uncomfortable silence between Weinstock and Davis....Miles agreed to the date, He needed the money and liked all the other players. He liked and respected Monk as well but didn't enjoy playing with him but figured he could get around this in a musical way. The date came off beautifully despite the tension between the two men and Monk compromised by not accompanying Davis during his solos except for one tune which was Monk's. The tunes are "Bags' Groove", a blues by Jackson, "Bemsha Swing" by Monk,"Swing Spring" by Davis and the Gershwin's "The Man I Love". plus two alternates of Bags' Groove and The Man I Love. This session was how these gentlemen felt at the time and they had no idea that this date would become one of the bellwethers of Modern Jazz but it has and will remain a classic forever.

This truly classic date was recorded on Christmas Eve 1954 and somehow, although not intended has a distinctive "Christmasy" feel to it. The date was really put together by the owner of Prestige Records, Robert (Bob) Weinstock. He had two best sellers under contract, Miles Davis and The Modern Jazz Quartet. He approached Miles Davis about the date and Miles was excited and pleased and expected to record with Milt Jackson, Percy Heath and Kenny Clarke and perhaps his close friend, John Lewis on piano, all members of the MJQ. If not Lewis, perhaps Horace Silver, another favorite of Miles. Weinstock threw a curve at Miles and said, Jackson, Heath and Clarke are on but the pianist will be Thelonious Monk. Weinstock asserted that he needed Monk to perform and record with some of the "best sellers". Miles was not pleased but Weinstock said either Monk or no date. After a long uncomfortable silence between Weinstock and Davis....Miles agreed to the date, He needed the money and liked all the other players. He liked and respected Monk as well but didn't enjoy playing with him but figured he could get around this in a musical way. The date came off beautifully despite the tension between the two men and Monk compromised by not accompanying Davis during his solos except for one tune which was Monk's. The tunes are "Bags' Groove", a blues by Jackson, "Bemsha Swing" by Monk,"Swing Spring" by Davis and the Gershwin's "The Man I Love". plus two alternates of Bags' Groove and The Man I Love. This session was how these gentlemen felt at the time and they had no idea that this date would become one of the bellwethers of Modern Jazz but it has and will remain a classic forever.

http://playlist.citr.ca/podcasting/audio/20091221-210500-to-20091222-000700.mp3CiTR 101.9 VancouvernoThe Miles Davis All-Stars with Milt Jackson and Thelonious Monk-Christmas Eve 1954:The "Bags' Groove" Session.CiTR 101.9 VancouverThe Miles Davis All-Stars with Milt Jackson and Thelonious Monk-Christmas Eve 1954:The "Bags' Groove" Session.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/eVxiK8pmgb8/20091221-210500-to-20091222-000700.mp3http://playlist.citr.ca/podcasting/audio/20091221-210500-to-20091222-000700.mp3 Mon, 14 Dec 2009 21:02:00 -0800 Drummer/composer Jack DeJohnette: "Special Edition".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/m6lHILT79ig" height="1" width="1"/> Drummer/composer Jack DeJohnette: "Special Edition". Jack DeJohnette is one of the most extraordinary musicians to come along in the last 45 or so years. Jack was born in Chicago and came to New York in 1964 as an accomplished drummer and pianist. He was discovered by the great alto saxophone master Jackie Mclean and then went on to work with Charles Lloyd, Miles Davis, Stan Getz, Bill Evans, Freddie Hubbard and countless others. Jack and pianist Keith Jarrett worked with Charles Lloyd and their musical bond has remained to this day as the formidable trio of Jarrett, bassist Gary Peacock and DeJohnette is one of today's premier groups. DeJohnette first began recording under his own name in 1968 and his output has reflected a very eclectic taste. DeJohnette's recordings have explored anything musical but this band called "Special Edition" is amazing. This is their first recording and it is indeed a classic in the best sense of the word. The Special Edition band continued throughout the 80's and 90's with changing personnel but this first recording done in March of 1979 was one of their best. David Murray is heard on tenor saxophone and bass clarinet, Arthur Blythe on alto saxophone and Peter Warren on bass make up the band. DeJohnette is heard mostly on drums, of course, but we also hear him on piano and melodica. Three of the compositions are Jack's and two are Coltrane classics, "Central Park West" and "India". "Special Edition" was indeed very special.

Jack DeJohnette is one of the most extraordinary musicians to come along in the last 45 or so years. Jack was born in Chicago and came to New York in 1964 as an accomplished drummer and pianist. He was discovered by the great alto saxophone master Jackie Mclean and then went on to work with Charles Lloyd, Miles Davis, Stan Getz, Bill Evans, Freddie Hubbard and countless others. Jack and pianist Keith Jarrett worked with Charles Lloyd and their musical bond has remained to this day as the formidable trio of Jarrett, bassist Gary Peacock and DeJohnette is one of today's premier groups. DeJohnette first began recording under his own name in 1968 and his output has reflected a very eclectic taste. DeJohnette's recordings have explored anything musical but this band called "Special Edition" is amazing. This is their first recording and it is indeed a classic in the best sense of the word. The Special Edition band continued throughout the 80's and 90's with changing personnel but this first recording done in March of 1979 was one of their best. David Murray is heard on tenor saxophone and bass clarinet, Arthur Blythe on alto saxophone and Peter Warren on bass make up the band. DeJohnette is heard mostly on drums, of course, but we also hear him on piano and melodica. Three of the compositions are Jack's and two are Coltrane classics, "Central Park West" and "India". "Special Edition" was indeed very special.

http://playlist.citr.ca/podcasting/audio/20091214-210200-to-20091215-000400.mp3CiTR 101.9 VancouvernoDrummer/composer Jack DeJohnette: "Special Edition".CiTR 101.9 VancouverDrummer/composer Jack DeJohnette: "Special Edition".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/m6lHILT79ig/20091214-210200-to-20091215-000400.mp3http://playlist.citr.ca/podcasting/audio/20091214-210200-to-20091215-000400.mp3 Mon, 07 Dec 2009 21:02:00 -0800 Gerry Mulligan Meets Thelonious Monk August 1957.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/sbrF__JdT6s" height="1" width="1"/> Gerry Mulligan Meets Thelonious Monk August 1957. "Mulligan Meets Monk" is tonight's Feature. It's premise is simple, a meeting of two great original minds. Monk, of course and Mulligan, one of the most identifiable voices of the baritone saxophone. In 1957 they were neighbors and friends and spent time at each others homes. Gerry, who was no slouch at the piano would play duets with Monk for their own enjoyment. Savvy producer Orrin Keepnews knew of their relationship and since he couldn't record the existing Monk quartet with John Coltrane as Coltrane was under exclusive contract with another label, Keepnews opted to ask Monk if he would like to do an album with Gerry Mulligan. Monk said "sure,man"....and the album was born. Monk's rhythm section with Wilbur Ware on bass and the great "Shadow" Wilson on drums was used and they as well as Monk prodded Gerry into some wonderful playing. The date went down smoothly in two afternoon sessions. Four Monk tunes were used including, at Gerry's request, "Round Midnight". One Mulligan original and one standard that Monk liked completed the date. The recording was released in late 1957 and reviewed favorably in Down Beat Magazine with 4 and a half stars out of five. While some critics and musicians cried "mismatch" and "failure",the record stands the test of time and is a warm swinging, conversational date that was, as Gerry put it, "fun to play and I hope, fun to listen to". I think you'll agree.

"Mulligan Meets Monk" is tonight's Feature. It's premise is simple, a meeting of two great original minds. Monk, of course and Mulligan, one of the most identifiable voices of the baritone saxophone. In 1957 they were neighbors and friends and spent time at each others homes. Gerry, who was no slouch at the piano would play duets with Monk for their own enjoyment. Savvy producer Orrin Keepnews knew of their relationship and since he couldn't record the existing Monk quartet with John Coltrane as Coltrane was under exclusive contract with another label, Keepnews opted to ask Monk if he would like to do an album with Gerry Mulligan. Monk said "sure,man"....and the album was born. Monk's rhythm section with Wilbur Ware on bass and the great "Shadow" Wilson on drums was used and they as well as Monk prodded Gerry into some wonderful playing. The date went down smoothly in two afternoon sessions. Four Monk tunes were used including, at Gerry's request, "Round Midnight". One Mulligan original and one standard that Monk liked completed the date. The recording was released in late 1957 and reviewed favorably in Down Beat Magazine with 4 and a half stars out of five. While some critics and musicians cried "mismatch" and "failure",the record stands the test of time and is a warm swinging, conversational date that was, as Gerry put it, "fun to play and I hope, fun to listen to". I think you'll agree.

http://playlist.citr.ca/podcasting/audio/20091207-210200-to-20091208-000200.mp3CiTR 101.9 VancouvernoGerry Mulligan Meets Thelonious Monk August 1957.CiTR 101.9 VancouverGerry Mulligan Meets Thelonious Monk August 1957.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/sbrF__JdT6s/20091207-210200-to-20091208-000200.mp3http://playlist.citr.ca/podcasting/audio/20091207-210200-to-20091208-000200.mp3 Mon, 30 Nov 2009 21:02:00 -0800 Trombonist/composer Grachan Moncur 111:"Evolution".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/RiuJyzRcIRI" height="1" width="1"/> Trombonist/composer Grachan Moncur 111:"Evolution". Trombonist/composer Grachan Moncur 111 was born in New York on June 3,1937 and raised in Newark. He is still alive, playing,writing and teaching. Grachan played in Nat Phipps' band when he turned pro then played with Ray Charles' fine little band for 2 and a half years where he really developed his skills as a player. He then joined the Jazztet, a fine band led by Art Farmer and Benny Golson and was the last trombonist in that group before it's final breakup in 1962. After a brief return to the Charles' band, Grachan joined the ranks of New York's progressive scene in the mid-60's. Grachan, alto saxophonist Jackie McLean and young vibist Bobby Hutcherson formed a band with different people in the rhythm section and gigged around New York. Grachan wrote most of the band's material and they recorded McLean's famous album, "One Step Beyond". Alfred Lion of Blue Note Records was impressed with Grachan's writing and playing and gave him a two record contract. Grachan's first album was this one called "Evolution" and he, of course, used Mclean and Hutcherson along with bassist Bob Cranshaw and the teenaged drum sensation Anthony (Tony) Williams. The most surprising addition was trumpeter Lee Morgan, who almost steals the show on this album. Morgan had verbally criticized some of the new sounds emerging in the 1960's and yet was very open to the music of this album and Moncur's compositions. There are only four tunes here but they are all strong statements expressing all different moods and evoke different feelings from the players and will do the same to you, the listener. "Evolution" was a very impressive recording debut for Grachan Moncur 111 and stands today as a classic in creative musical thinking.

Trombonist/composer Grachan Moncur 111 was born in New York on June 3,1937 and raised in Newark. He is still alive, playing,writing and teaching. Grachan played in Nat Phipps' band when he turned pro then played with Ray Charles' fine little band for 2 and a half years where he really developed his skills as a player. He then joined the Jazztet, a fine band led by Art Farmer and Benny Golson and was the last trombonist in that group before it's final breakup in 1962. After a brief return to the Charles' band, Grachan joined the ranks of New York's progressive scene in the mid-60's. Grachan, alto saxophonist Jackie McLean and young vibist Bobby Hutcherson formed a band with different people in the rhythm section and gigged around New York. Grachan wrote most of the band's material and they recorded McLean's famous album, "One Step Beyond". Alfred Lion of Blue Note Records was impressed with Grachan's writing and playing and gave him a two record contract. Grachan's first album was this one called "Evolution" and he, of course, used Mclean and Hutcherson along with bassist Bob Cranshaw and the teenaged drum sensation Anthony (Tony) Williams. The most surprising addition was trumpeter Lee Morgan, who almost steals the show on this album. Morgan had verbally criticized some of the new sounds emerging in the 1960's and yet was very open to the music of this album and Moncur's compositions. There are only four tunes here but they are all strong statements expressing all different moods and evoke different feelings from the players and will do the same to you, the listener. "Evolution" was a very impressive recording debut for Grachan Moncur 111 and stands today as a classic in creative musical thinking.

http://playlist.citr.ca/podcasting/audio/20091130-210200-to-20091201-000800.mp3CiTR 101.9 VancouvernoTrombonist/composer Grachan Moncur 111:"Evolution".CiTR 101.9 VancouverTrombonist/composer Grachan Moncur 111:"Evolution".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/RiuJyzRcIRI/20091130-210200-to-20091201-000800.mp3http://playlist.citr.ca/podcasting/audio/20091130-210200-to-20091201-000800.mp3 Mon, 23 Nov 2009 21:06:00 -0800 Solo piano by Keith Jarrett: "Testament"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/ejcjAABloVg" height="1" width="1"/> Solo piano by Keith Jarrett: "Testament" Keith Jarrett is one of the most extraordinary musicians of our time and can rightly be called a genius. Born on May 8,1945, he was a child prodigy, playing professionally when he was a child of 8 years. He has worked with Art Blakey, Charles Lloyd and Miles Davis and with his own bands. His trio with bassist Gary Peacock and drummer Jack DeJohnette is one of the premier trios in the history of this music. Jarrett has performed solo concerts since 1973. At first they were non-stop improvisations and some were classics and best sellers like the famous "Koln Concert". His approach to solo playing has changed as he now plays moods that are divided up. They are all totally improvised. Jarrett clears his head of extraneous thoughts and begins to play. The mood can be rhythmic and roiling or pastoral and romantic or lyrical or introspective and sad. Everything is open to Mr. Jarrett and that's what you will hear tonight......"Testament" recorded in late November and early December 2008 in Paris and London on a 3 CD set from ECM Records.

Keith Jarrett is one of the most extraordinary musicians of our time and can rightly be called a genius. Born on May 8,1945, he was a child prodigy, playing professionally when he was a child of 8 years. He has worked with Art Blakey, Charles Lloyd and Miles Davis and with his own bands. His trio with bassist Gary Peacock and drummer Jack DeJohnette is one of the premier trios in the history of this music. Jarrett has performed solo concerts since 1973. At first they were non-stop improvisations and some were classics and best sellers like the famous "Koln Concert". His approach to solo playing has changed as he now plays moods that are divided up. They are all totally improvised. Jarrett clears his head of extraneous thoughts and begins to play. The mood can be rhythmic and roiling or pastoral and romantic or lyrical or introspective and sad. Everything is open to Mr. Jarrett and that's what you will hear tonight......"Testament" recorded in late November and early December 2008 in Paris and London on a 3 CD set from ECM Records.

http://playlist.citr.ca/podcasting/audio/20091123-210600-to-20091124-001400.mp3CiTR 101.9 VancouvernoSolo piano by Keith Jarrett: "Testament"CiTR 101.9 VancouverSolo piano by Keith Jarrett: "Testament"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/ejcjAABloVg/20091123-210600-to-20091124-001400.mp3http://playlist.citr.ca/podcasting/audio/20091123-210600-to-20091124-001400.mp3 Mon, 16 Nov 2009 21:04:00 -0800 Flutist Jeremy Steig:"Flute Fever".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/JRRQIB7gnyU" height="1" width="1"/> Flutist Jeremy Steig:"Flute Fever". One of the most startling debuts in Jazz history was this album by Jeremy Steig. Steig, who is the son of the great cartoonist William Steig plays flute. He doesn't double on any other instrument and developed his own sound and concept on the flute. Jeremy didn't consider the flute a delicate instrument but one that could hold it's own with the saxophone or trumpet. Steig, who was born in New York on September 23,1942 is still alive and well and playing, entered the Jazz world with this album called "Flute Fever". It was produced by John Hammond and mysteriously has never been issued on CD. Steig was subject to a lot of criticism for his maverick approach to the instrument but he had many supporters including the great pianist, Bill Evans, who was a fine flute player himself. Marking his debut was Jeremy's pianist, Denny Zeitlin who did score a Columbia Records contract after his performance here. Denny is still alive and well and performs around the San Francisco Bay Area with his trio. Steig and Zeitlin are ably supported by two pros, bassist Ben Tucker and drummer Ben Riley. I'm sure you will be moved and occasionally startled by the outgoing playing of Steig and the ceativity of Denny Zeitlin on this great 1963 recording of "Flute Fever".

One of the most startling debuts in Jazz history was this album by Jeremy Steig. Steig, who is the son of the great cartoonist William Steig plays flute. He doesn't double on any other instrument and developed his own sound and concept on the flute. Jeremy didn't consider the flute a delicate instrument but one that could hold it's own with the saxophone or trumpet. Steig, who was born in New York on September 23,1942 is still alive and well and playing, entered the Jazz world with this album called "Flute Fever". It was produced by John Hammond and mysteriously has never been issued on CD. Steig was subject to a lot of criticism for his maverick approach to the instrument but he had many supporters including the great pianist, Bill Evans, who was a fine flute player himself. Marking his debut was Jeremy's pianist, Denny Zeitlin who did score a Columbia Records contract after his performance here. Denny is still alive and well and performs around the San Francisco Bay Area with his trio. Steig and Zeitlin are ably supported by two pros, bassist Ben Tucker and drummer Ben Riley. I'm sure you will be moved and occasionally startled by the outgoing playing of Steig and the ceativity of Denny Zeitlin on this great 1963 recording of "Flute Fever".

http://playlist.citr.ca/podcasting/audio/20091116-210400-to-20091117-000000.mp3CiTR 101.9 VancouvernoFlutist Jeremy Steig:"Flute Fever".CiTR 101.9 VancouverFlutist Jeremy Steig:"Flute Fever".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/JRRQIB7gnyU/20091116-210400-to-20091117-000000.mp3http://playlist.citr.ca/podcasting/audio/20091116-210400-to-20091117-000000.mp3 Mon, 09 Nov 2009 21:04:00 -0800 Flutist Prince Lasha and alto saxophonist Sonny Simmons:"The Cry!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/X3vPdAiXIJ0" height="1" width="1"/> Flutist Prince Lasha and alto saxophonist Sonny Simmons:"The Cry!" Prince Lasha (William Lawsha) is the leader on this date and it features his close associate, alto saxophonist Sonny Simmons, one of the most distinctive voices on that horn. This album, done for the Contemporary label in November of 1962 and was their recording debut.It was called "The Cry!". Lasha (pronounced Lashay) and Simmons had struggled to get into Jazz clubs and perform their music and as it was a departure from the mainstream of the time it wasn't accepted with open ears. Lasha, from Fort Worth, grew up and went to school with Ornette Coleman and the music here reflects some of Coleman's influence. The compositions are all collaborations by Lasha and Simmons. Like Coleman's early recordings, no piano is used and the rhythm section here for most part is provided by two bassists and drums. Gary Peacock is one of the bassists and is very well known and the other is Mark Proctor. The creative drumming is by the unknown Gene Stone. Lasha, who plays flute throughout the session died last summer. He also played alto and baritone saxophones and a variety of clarinets, including the rare alto clarinet. Simmons is still with us and travels the world playing anywhere he can with a variety of players and is still a mighty voice on the alto saxophone. After this recording took place, Lasha and Simmons headed for New York and were embraced by John Coltrane and sat in with his band a lot. They recorded with Eric Dolphy and Herbie Hancock and did a great album with Coltrane's rhythm section of McCoy Tyner, Jimmy Garrison and Elvin Jones called "Illumination" on Impulse. They also embarked on separate careers but re-united off and on into the 1980's. "The Cry! was the debut for Prince Lasha and Sonny Simmons and it's a minor classic and very accessible and creative.

Prince Lasha (William Lawsha) is the leader on this date and it features his close associate, alto saxophonist Sonny Simmons, one of the most distinctive voices on that horn. This album, done for the Contemporary label in November of 1962 and was their recording debut.It was called "The Cry!". Lasha (pronounced Lashay) and Simmons had struggled to get into Jazz clubs and perform their music and as it was a departure from the mainstream of the time it wasn't accepted with open ears. Lasha, from Fort Worth, grew up and went to school with Ornette Coleman and the music here reflects some of Coleman's influence. The compositions are all collaborations by Lasha and Simmons. Like Coleman's early recordings, no piano is used and the rhythm section here for most part is provided by two bassists and drums. Gary Peacock is one of the bassists and is very well known and the other is Mark Proctor. The creative drumming is by the unknown Gene Stone. Lasha, who plays flute throughout the session died last summer. He also played alto and baritone saxophones and a variety of clarinets, including the rare alto clarinet. Simmons is still with us and travels the world playing anywhere he can with a variety of players and is still a mighty voice on the alto saxophone. After this recording took place, Lasha and Simmons headed for New York and were embraced by John Coltrane and sat in with his band a lot. They recorded with Eric Dolphy and Herbie Hancock and did a great album with Coltrane's rhythm section of McCoy Tyner, Jimmy Garrison and Elvin Jones called "Illumination" on Impulse. They also embarked on separate careers but re-united off and on into the 1980's. "The Cry! was the debut for Prince Lasha and Sonny Simmons and it's a minor classic and very accessible and creative.

http://playlist.citr.ca/podcasting/audio/20091109-210400-to-20091110-001500.mp3CiTR 101.9 VancouvernoFlutist Prince Lasha and alto saxophonist Sonny Simmons:"The Cry!"CiTR 101.9 VancouverFlutist Prince Lasha and alto saxophonist Sonny Simmons:"The Cry!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/X3vPdAiXIJ0/20091109-210400-to-20091110-001500.mp3http://playlist.citr.ca/podcasting/audio/20091109-210400-to-20091110-001500.mp3 Mon, 02 Nov 2009 21:04:00 -0800 Alto saxophone master Phil Woods and His European Rhythm Machine "Live at The Frankfurt Jazz Festival 1970".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/8DtS-mrgWQM" height="1" width="1"/> Alto saxophone master Phil Woods and His European Rhythm Machine "Live at The Frankfurt Jazz Festival 1970". The great alto saxophonist Phil Woods left North America with his family in 1968, bitter and discouraged by the developments in the USA. When he landed in France for a playing engagement he formed this band that he called The European Rhythm Machine. It marked a creative re-birth for Woods. The Rhythm Machine heard tonight delivered this incredible performance at the Frankfurt Jazz Festival in March of 1970. There had been only one change in personal. The original pianist, George Gruntz was replaced by a Britisher, Gordon Beck, who was adept on both acoustic and electric piano. The bassist was a French virtuoso named Henri Texier and the drummer was the Swiss master Daniel Humair. The energy that this band puts out is powerful and exciting and left the German audience exhausted. This is truly one of the most original and powerful bands in Jazz history. Phil Woods is at his creative peak playing everything under the sun and the chemistry of this band is unbelievable. Mr. Woods celebrated his 78th birthday on the day of this broadcast (November 2,2009) so this Feature is really a Happy Birthday salute to one of the living Jazz masters.

The great alto saxophonist Phil Woods left North America with his family in 1968, bitter and discouraged by the developments in the USA. When he landed in France for a playing engagement he formed this band that he called The European Rhythm Machine. It marked a creative re-birth for Woods. The Rhythm Machine heard tonight delivered this incredible performance at the Frankfurt Jazz Festival in March of 1970. There had been only one change in personal. The original pianist, George Gruntz was replaced by a Britisher, Gordon Beck, who was adept on both acoustic and electric piano. The bassist was a French virtuoso named Henri Texier and the drummer was the Swiss master Daniel Humair. The energy that this band puts out is powerful and exciting and left the German audience exhausted. This is truly one of the most original and powerful bands in Jazz history. Phil Woods is at his creative peak playing everything under the sun and the chemistry of this band is unbelievable. Mr. Woods celebrated his 78th birthday on the day of this broadcast (November 2,2009) so this Feature is really a Happy Birthday salute to one of the living Jazz masters.

http://playlist.citr.ca/podcasting/audio/20091102-210400-to-20091103-001800.mp3CiTR 101.9 VancouvernoAlto saxophone master Phil Woods and His European Rhythm Machine "Live at The Frankfurt Jazz Festival 1970".CiTR 101.9 VancouverAlto saxophone master Phil Woods and His European Rhythm Machine "Live at The Frankfurt Jazz Festival 1970".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/8DtS-mrgWQM/20091102-210400-to-20091103-001800.mp3http://playlist.citr.ca/podcasting/audio/20091102-210400-to-20091103-001800.mp3 Mon, 26 Oct 2009 21:02:00 -0700 Bassist Richard Davis: "Epistrophy and Now's The Time".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/C7kPUWha_BQ" height="1" width="1"/> Bassist Richard Davis: "Epistrophy and Now's The Time". Virtuoso bassist Richard Davis leads an adventurous band recorded at the short lived New York club called "Jazz City" on September 7,1972 on but two long tunes. The record's title explains what the tunes are. Davis, who had a long career in Jazz and classical music, he was only the second African-American to be employed in a symphony orchestra in the mid 1960's. He played in the New York Philharmonic under Leonard Bernstein and was singled out for praise by none other than Igor Stravinsky. Davis, who recorded very little under his own name leads an all-star band here with the great tenor saxophonist, Clifford Jordan playing some of his most adventurous work. Marvin "Hannibal" Peterson is on trumpet, a strong declarative player who could shout and whisper on the horn. He wasn't nicknamed "Hannibal" for nothing. Joe Bonner on piano plays everything from Powell through to Cecil Taylor and Freddie Waites on drums can be abstract and swinging at the same time. Freddie also plays some percussion and wind instruments like the wooden flute and other devices. The two tunes are given very very broad interpretations far beyond what their composers imagined. Monk's "Epistrophy" is given a very abstract interpretation and Charlie Parker's "Now's The Time" is a bit more grounded as it's the blues. Richard Davis said this about the music: "the idea here was to just play sounds and music"........that's exactly what they did to a full and enthusiastic house that night.

Virtuoso bassist Richard Davis leads an adventurous band recorded at the short lived New York club called "Jazz City" on September 7,1972 on but two long tunes. The record's title explains what the tunes are. Davis, who had a long career in Jazz and classical music, he was only the second African-American to be employed in a symphony orchestra in the mid 1960's. He played in the New York Philharmonic under Leonard Bernstein and was singled out for praise by none other than Igor Stravinsky. Davis, who recorded very little under his own name leads an all-star band here with the great tenor saxophonist, Clifford Jordan playing some of his most adventurous work. Marvin "Hannibal" Peterson is on trumpet, a strong declarative player who could shout and whisper on the horn. He wasn't nicknamed "Hannibal" for nothing. Joe Bonner on piano plays everything from Powell through to Cecil Taylor and Freddie Waites on drums can be abstract and swinging at the same time. Freddie also plays some percussion and wind instruments like the wooden flute and other devices. The two tunes are given very very broad interpretations far beyond what their composers imagined. Monk's "Epistrophy" is given a very abstract interpretation and Charlie Parker's "Now's The Time" is a bit more grounded as it's the blues. Richard Davis said this about the music: "the idea here was to just play sounds and music"........that's exactly what they did to a full and enthusiastic house that night.

http://playlist.citr.ca/podcasting/audio/20091026-210200-to-20091027-001500.mp3CiTR 101.9 VancouvernoBassist Richard Davis: "Epistrophy and Now's The Time".CiTR 101.9 VancouverBassist Richard Davis: "Epistrophy and Now's The Time".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/C7kPUWha_BQ/20091026-210200-to-20091027-001500.mp3http://playlist.citr.ca/podcasting/audio/20091026-210200-to-20091027-001500.mp3 Mon, 19 Oct 2009 21:04:00 -0700 "Four Altos":Phil Woods,Gene Quill,Sahib Shihab, Hal Stein.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/0IE2l-RvXuU" height="1" width="1"/> "Four Altos":Phil Woods,Gene Quill,Sahib Shihab, Hal Stein. This rare item is untypical of the type of session that Prestige Records put out in the 50's. The head honcho of Prestige was Robert Weinstock and he preferred the "one take" jam session approach as he felt that too many "takes" would spoil the feel. Vibist/composer/bandleader Teddy Charles produced a number of Prestige recordings in the 50's and his sessions were much more organized and rehearsed yet still sounded spontaneous. Perhaps Teddy encouraged his musicians to rehearse or perhaps he paid them to do this but it worked and a Charles produced session was always well organized and he always contributed some of his own compositions to the date. This one features, as the title suggests four alto saxophonists. All of these men were in one way or another influenced by Charlie Parker but they had their own identities and sounds. Phil Woods is still with us and is the most identifiable voice and is arguably the most developed stylist. The wonderful and passionate Gene Quill plays with great swing. Sahib Shihab is on tap and although he reflects Parker, his sound is influenced by some earlier players like Tab Smith. Hal Stein, who worked with Teddy Charles and Charles Mingus is a thoughtful and cliche-free player. These four men blend into a great sound and are backed by Mal Waldron on piano who also contributes two compositions to the date. Tommy Potter is solid on bass and a very young, 19 year old Louis Hayes mans the drums.Teddy Charles contributes two tunes and arranges Hal Stein's "Kinda Kanonic" and the ballad of the date Jimmy McHugh's "Don't Blame Me". Waldron arranges his own two tunes. All in all a fun and well organized date that swings and and is interesting at the same time. "Four Altos" indeed!

This rare item is untypical of the type of session that Prestige Records put out in the 50's. The head honcho of Prestige was Robert Weinstock and he preferred the "one take" jam session approach as he felt that too many "takes" would spoil the feel. Vibist/composer/bandleader Teddy Charles produced a number of Prestige recordings in the 50's and his sessions were much more organized and rehearsed yet still sounded spontaneous. Perhaps Teddy encouraged his musicians to rehearse or perhaps he paid them to do this but it worked and a Charles produced session was always well organized and he always contributed some of his own compositions to the date. This one features, as the title suggests four alto saxophonists. All of these men were in one way or another influenced by Charlie Parker but they had their own identities and sounds. Phil Woods is still with us and is the most identifiable voice and is arguably the most developed stylist. The wonderful and passionate Gene Quill plays with great swing. Sahib Shihab is on tap and although he reflects Parker, his sound is influenced by some earlier players like Tab Smith. Hal Stein, who worked with Teddy Charles and Charles Mingus is a thoughtful and cliche-free player. These four men blend into a great sound and are backed by Mal Waldron on piano who also contributes two compositions to the date. Tommy Potter is solid on bass and a very young, 19 year old Louis Hayes mans the drums.Teddy Charles contributes two tunes and arranges Hal Stein's "Kinda Kanonic" and the ballad of the date Jimmy McHugh's "Don't Blame Me". Waldron arranges his own two tunes. All in all a fun and well organized date that swings and and is interesting at the same time. "Four Altos" indeed!

http://playlist.citr.ca/podcasting/audio/20091019-210400-to-20091020-000800.mp3CiTR 101.9 Vancouverno"Four Altos":Phil Woods,Gene Quill,Sahib Shihab, Hal Stein.CiTR 101.9 Vancouver"Four Altos":Phil Woods,Gene Quill,Sahib Shihab, Hal Stein.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/0IE2l-RvXuU/20091019-210400-to-20091020-000800.mp3http://playlist.citr.ca/podcasting/audio/20091019-210400-to-20091020-000800.mp3 Mon, 12 Oct 2009 21:01:00 -0700 Yusef Lateef (tenor saxophone/flute/oboe): "Into Something."<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/qfCvhdnpqhU" height="1" width="1"/> Yusef Lateef (tenor saxophone/flute/oboe): "Into Something." This fine recording was made just a few days before multi-instrumentalist Yusef Lateef joined the renowned Cannonball Adderley group expanding it's size to a sextet. "Into Something" done for Prestige/New Jazz was a straight forward date with none of the exotic effects and instruments that Lateef used on previous outings. The first three tunes feature the huge toned Lateef tenor saxophone with just bass (Herman Wright) and drums(Elvin Jones) ala Sonny Rollins. Next up, piano great Barry Harris joins the trio making it a foursome and Lateef switches to flute for a fine interpretation of "I'll Remember April" then to oboe for a slow blues dedicated to his young son Rasheed. He returns to the tenor for the final two tunes, the beautiful ballad made famous by Billie Holiday, "You've Changed" and a final Lateef original called "P Bouk". You will find many profound moments in this rather unpretentious session because each of these gentlemen are Jazz masters.

This fine recording was made just a few days before multi-instrumentalist Yusef Lateef joined the renowned Cannonball Adderley group expanding it's size to a sextet. "Into Something" done for Prestige/New Jazz was a straight forward date with none of the exotic effects and instruments that Lateef used on previous outings. The first three tunes feature the huge toned Lateef tenor saxophone with just bass (Herman Wright) and drums(Elvin Jones) ala Sonny Rollins. Next up, piano great Barry Harris joins the trio making it a foursome and Lateef switches to flute for a fine interpretation of "I'll Remember April" then to oboe for a slow blues dedicated to his young son Rasheed. He returns to the tenor for the final two tunes, the beautiful ballad made famous by Billie Holiday, "You've Changed" and a final Lateef original called "P Bouk". You will find many profound moments in this rather unpretentious session because each of these gentlemen are Jazz masters.

http://playlist.citr.ca/podcasting/audio/20091012-210100-to-20091013-001500.mp3CiTR 101.9 VancouvernoYusef Lateef (tenor saxophone/flute/oboe): "Into Something."CiTR 101.9 VancouverYusef Lateef (tenor saxophone/flute/oboe): "Into Something."http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/qfCvhdnpqhU/20091012-210100-to-20091013-001500.mp3http://playlist.citr.ca/podcasting/audio/20091012-210100-to-20091013-001500.mp3 Mon, 05 Oct 2009 21:03:00 -0700 Organ master Larry Young:"Into Somethin'".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/gSBskEsd8eE" height="1" width="1"/> Organ master Larry Young:"Into Somethin'". Larry Young was one of the most individual voices of the Hammond organ. Larry was born in Newark, New Jersey on Oct. 7,1940 and sadly died at age 37 in March of 1978 of untreated pneumonia. Young was only 20 when he signed with Prestige Records. He made a series of albums in the style of his idols, Jimmy Smith, Jack McDuff and John Patton but when he signed with Blue Note Records in 1964, he left that blues drenched style for something much more modern, although he still addressed the blues. His sound, technique and footwork on the Hammond is masterful. This is his first album for Blue Note and Young chose his sidemen well. Grant Green is on guitar playing in a more modern style than we're used to hearing him. The great Elvin Jones works hand in glove with Young and the edgy tenor saxophone is played by the individual and creative Sam Rivers. Into Somethin' indeed!

Larry Young was one of the most individual voices of the Hammond organ. Larry was born in Newark, New Jersey on Oct. 7,1940 and sadly died at age 37 in March of 1978 of untreated pneumonia. Young was only 20 when he signed with Prestige Records. He made a series of albums in the style of his idols, Jimmy Smith, Jack McDuff and John Patton but when he signed with Blue Note Records in 1964, he left that blues drenched style for something much more modern, although he still addressed the blues. His sound, technique and footwork on the Hammond is masterful. This is his first album for Blue Note and Young chose his sidemen well. Grant Green is on guitar playing in a more modern style than we're used to hearing him. The great Elvin Jones works hand in glove with Young and the edgy tenor saxophone is played by the individual and creative Sam Rivers. Into Somethin' indeed!

http://playlist.citr.ca/podcasting/audio/20091005-210300-to-20091006-000800.mp3CiTR 101.9 VancouvernoOrgan master Larry Young:"Into Somethin'".CiTR 101.9 VancouverOrgan master Larry Young:"Into Somethin'".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/gSBskEsd8eE/20091005-210300-to-20091006-000800.mp3http://playlist.citr.ca/podcasting/audio/20091005-210300-to-20091006-000800.mp3 Mon, 28 Sep 2009 21:03:00 -0700 Guitarist Jim Hall: "Jazz Guitar". Hall's debut recording.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/oVzqWS5g3Xo" height="1" width="1"/> Guitarist Jim Hall: "Jazz Guitar". Hall's debut recording. "Jazz Guitar" is a minor classic as it was Jim Hall's first recording under his own name. Hall chose to be accompanied by just piano and bass making this a "living room" trio. He chose well. The pianist is the legendary Carl Perkins who although he couldn't read music and was self taught was a very sophisticated and technically fluent pianist. He could hear a piece just once and have it down pat! He sadly died in April 1958 of a drug overdose. The bassist is the great Keith "Red" Mitchell. Mitchell was one of the few bassists that Charles Mingus loved and respected. In other words a "perfect" Jazz trio. Hall's sound is so earthy and distinct and his phrasing, swinging and sure. This was Hall's real first step to greatness....."Jazz Guitar".

"Jazz Guitar" is a minor classic as it was Jim Hall's first recording under his own name. Hall chose to be accompanied by just piano and bass making this a "living room" trio. He chose well. The pianist is the legendary Carl Perkins who although he couldn't read music and was self taught was a very sophisticated and technically fluent pianist. He could hear a piece just once and have it down pat! He sadly died in April 1958 of a drug overdose. The bassist is the great Keith "Red" Mitchell. Mitchell was one of the few bassists that Charles Mingus loved and respected. In other words a "perfect" Jazz trio. Hall's sound is so earthy and distinct and his phrasing, swinging and sure. This was Hall's real first step to greatness....."Jazz Guitar".

http://playlist.citr.ca/podcasting/audio/20090928-210300-to-20090929-001400.mp3CiTR 101.9 VancouvernoGuitarist Jim Hall: "Jazz Guitar". Hall's debut recording.CiTR 101.9 VancouverGuitarist Jim Hall: "Jazz Guitar". Hall's debut recording.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/oVzqWS5g3Xo/20090928-210300-to-20090929-001400.mp3http://playlist.citr.ca/podcasting/audio/20090928-210300-to-20090929-001400.mp3 Mon, 21 Sep 2009 21:03:00 -0700 Leonard Bernstein narrates "What is Jazz?"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/EAQjzobnT30" height="1" width="1"/> Leonard Bernstein narrates "What is Jazz?" This is Part 2 of The Jazz Show's "back to school" mode. Maestro Leonard Bernstein is arguably one of the most important musical icons of the 20th century and being American born, he heard Jazz music from the time he was very young. Bernstein loved Jazz and it's players and most importantly, respected those players as artists. Bernstein recorded this album in 1957 but it's message is universal and timeless. There are a few quaint references, of course that are dated but they don't affect this disc's message. It's basically in two parts. In Part 1, Bernstein tells us what is and what isn't Jazz and what gives Jazz music it's distinctive sound.In Part 2 Bernstein takes apart an old standard tune called "Sweet Sue, Just You" and we hear how musicians of different eras interpret and alter this melody. Bernstein is entertaining, funny and educational at the same time. His great communicative skills are evident throughout this recording. Sit back and enjoy "What is Jazz".

This is Part 2 of The Jazz Show's "back to school" mode. Maestro Leonard Bernstein is arguably one of the most important musical icons of the 20th century and being American born, he heard Jazz music from the time he was very young. Bernstein loved Jazz and it's players and most importantly, respected those players as artists. Bernstein recorded this album in 1957 but it's message is universal and timeless. There are a few quaint references, of course that are dated but they don't affect this disc's message. It's basically in two parts. In Part 1, Bernstein tells us what is and what isn't Jazz and what gives Jazz music it's distinctive sound.In Part 2 Bernstein takes apart an old standard tune called "Sweet Sue, Just You" and we hear how musicians of different eras interpret and alter this melody. Bernstein is entertaining, funny and educational at the same time. His great communicative skills are evident throughout this recording. Sit back and enjoy "What is Jazz".

http://playlist.citr.ca/podcasting/audio/20090921-210300-to-20090922-000900.mp3CiTR 101.9 VancouvernoLeonard Bernstein narrates "What is Jazz?"CiTR 101.9 VancouverLeonard Bernstein narrates "What is Jazz?"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/EAQjzobnT30/20090921-210300-to-20090922-000900.mp3http://playlist.citr.ca/podcasting/audio/20090921-210300-to-20090922-000900.mp3 Mon, 14 Sep 2009 21:03:00 -0700 Julian Cannonball Adderley narrates "A History of Jazz".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/rPAhYL-fYfo" height="1" width="1"/> Julian Cannonball Adderley narrates "A History of Jazz". Julian "Cannonball" Adderley was, of course, one of the premier alto saxophonists in Jazz. He was a great bandleader and communicator who knew how to draw his audience into the complexities of Jazz without sounding academic or stuffy. Many people don't know that Adderley had graduated from college at 19 and was teaching high school in Florida. When he arrived in New York in 1955 with his saxophone, he turned the Jazz community upside down. The rest is history. As this is Part 1 of a two part series in a "back to school" mode. We present Mr. Adderley narrating a history of Jazz. The only limitation of this recording is that it was done in 1960 and Adderley was only able to use recorded examples that were owned by Riverside Records. However this is still a valuable document in that it is educational and entertaining. Adderley should have done one of these every year. We are lucky to have this however. Enjoy.

Julian "Cannonball" Adderley was, of course, one of the premier alto saxophonists in Jazz. He was a great bandleader and communicator who knew how to draw his audience into the complexities of Jazz without sounding academic or stuffy. Many people don't know that Adderley had graduated from college at 19 and was teaching high school in Florida. When he arrived in New York in 1955 with his saxophone, he turned the Jazz community upside down. The rest is history. As this is Part 1 of a two part series in a "back to school" mode. We present Mr. Adderley narrating a history of Jazz. The only limitation of this recording is that it was done in 1960 and Adderley was only able to use recorded examples that were owned by Riverside Records. However this is still a valuable document in that it is educational and entertaining. Adderley should have done one of these every year. We are lucky to have this however. Enjoy.

http://playlist.citr.ca/podcasting/audio/20090914-210300-to-20090915-001400.mp3CiTR 101.9 VancouvernoJulian Cannonball Adderley narrates "A History of Jazz".CiTR 101.9 VancouverJulian Cannonball Adderley narrates "A History of Jazz".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/rPAhYL-fYfo/20090914-210300-to-20090915-001400.mp3http://playlist.citr.ca/podcasting/audio/20090914-210300-to-20090915-001400.mp3 Mon, 07 Sep 2009 21:07:00 -0700 Tenor saxophonist Sonny Rollins: "Way Out West"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/i7PN6dMNUuU" height="1" width="1"/> Tenor saxophonist Sonny Rollins: "Way Out West" As a tribute to the 79th birthday of "the titan of the tenor saxophone" Sonny Rollins, we are presenting one of his "classic" recordings called "Way Out West". This was a first in a few ways. It was Sonny's first trio recording with just bass and drums, a format that he fell in love with and it was a first time meeting with two of the most authoritative players of their respective instruments. Bassist Ray Brown and drummer Shelly Manne provide the backdrop and stimulus for Sonny to explore the tunes of his choosing. The tunes are typical of Rollins in that he chose some tunes not often played by Jazzers. Mercer's "I'm An Ol' Cowhand" and "Wagon Wheels" are given a definitive treatment. Two standards and a jam over some familiar changes are displayed and one original by Sonny celebrating his first recording outside of New York called "Way Out West". A meeting of three giants of Jazz in "Way Out West".

As a tribute to the 79th birthday of "the titan of the tenor saxophone" Sonny Rollins, we are presenting one of his "classic" recordings called "Way Out West". This was a first in a few ways. It was Sonny's first trio recording with just bass and drums, a format that he fell in love with and it was a first time meeting with two of the most authoritative players of their respective instruments. Bassist Ray Brown and drummer Shelly Manne provide the backdrop and stimulus for Sonny to explore the tunes of his choosing. The tunes are typical of Rollins in that he chose some tunes not often played by Jazzers. Mercer's "I'm An Ol' Cowhand" and "Wagon Wheels" are given a definitive treatment. Two standards and a jam over some familiar changes are displayed and one original by Sonny celebrating his first recording outside of New York called "Way Out West". A meeting of three giants of Jazz in "Way Out West".

http://playlist.citr.ca/podcasting/audio/20090907-210700-to-20090908-001000.mp3CiTR 101.9 VancouvernoTenor saxophonist Sonny Rollins: "Way Out West"CiTR 101.9 VancouverTenor saxophonist Sonny Rollins: "Way Out West"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/i7PN6dMNUuU/20090907-210700-to-20090908-001000.mp3http://playlist.citr.ca/podcasting/audio/20090907-210700-to-20090908-001000.mp3 Mon, 31 Aug 2009 21:06:00 -0700 The Music of Charlie Parker.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Xe2RjwDi33M" height="1" width="1"/> The Music of Charlie Parker. As it was Charlie Parker's birthday, he would have been 89 on August 29 the special extended Feature beginning a bit after 10pm (The Jazz Show begins at 9pm PDT) will cover several live and studio sessions by Parker. We will dwell on some lesser known gems that I hope you will enjoy and if they are new to you, all the better. Parker was born in Kansas City on August 29,1920 and his biography and life is very well known. He died at age 34 in New York on March 12,1955. Like a comet that streaked across the sky, Parker left a musical legacy in his short chaotic life that lasts to this day. One of the few musicians who can be called a genius, in the true sense of the word. Tonight Bird Lives!

As it was Charlie Parker's birthday, he would have been 89 on August 29 the special extended Feature beginning a bit after 10pm (The Jazz Show begins at 9pm PDT) will cover several live and studio sessions by Parker. We will dwell on some lesser known gems that I hope you will enjoy and if they are new to you, all the better. Parker was born in Kansas City on August 29,1920 and his biography and life is very well known. He died at age 34 in New York on March 12,1955. Like a comet that streaked across the sky, Parker left a musical legacy in his short chaotic life that lasts to this day. One of the few musicians who can be called a genius, in the true sense of the word. Tonight Bird Lives!

http://playlist.citr.ca/podcasting/audio/20090831-210600-to-20090901-001500.mp3CiTR 101.9 VancouvernoThe Music of Charlie Parker.CiTR 101.9 VancouverThe Music of Charlie Parker.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Xe2RjwDi33M/20090831-210600-to-20090901-001500.mp3http://playlist.citr.ca/podcasting/audio/20090831-210600-to-20090901-001500.mp3 Mon, 24 Aug 2009 21:02:00 -0700 Trombonist J.J. Johnson: "Proof Positive!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/zydfJ0-6WWs" height="1" width="1"/> Trombonist J.J. Johnson: "Proof Positive!" This is one of the great trombonist's most personal recordings. J.J. Johnson is one of the true pioneers of Modern Jazz as his concept on the trombone was the standard that all modern trombonists are measured. He is to the trombone what Dizzy Gillespie, Bud Powell, Charlie Parker are to their instruments. Johnson was an important composer and arranger as well and a very consistent player. He had made quartet recordings in the 50's with himself as the sole horn but this date, done in 1964 with his working group is deeper and more fully developed. Johnson's band consists of Harold Mabern on piano, Arthur Harper on bass and a fine sensitive drummer from Detroit named Frank Gant. Johnson mixes things up with standards and some Jazz specialties like Miles Davis' "Neo". Max Roach's composition "Blues Waltz" (some say it was written by Ray Charles) is given a definitive treatment and Johnson's own "Minor Blues" is a powerful statement. This is a recording that I would introduce anyone to the magnificent style of the modern master of the trombone........J.J. Johnson.

This is one of the great trombonist's most personal recordings. J.J. Johnson is one of the true pioneers of Modern Jazz as his concept on the trombone was the standard that all modern trombonists are measured. He is to the trombone what Dizzy Gillespie, Bud Powell, Charlie Parker are to their instruments. Johnson was an important composer and arranger as well and a very consistent player. He had made quartet recordings in the 50's with himself as the sole horn but this date, done in 1964 with his working group is deeper and more fully developed. Johnson's band consists of Harold Mabern on piano, Arthur Harper on bass and a fine sensitive drummer from Detroit named Frank Gant. Johnson mixes things up with standards and some Jazz specialties like Miles Davis' "Neo". Max Roach's composition "Blues Waltz" (some say it was written by Ray Charles) is given a definitive treatment and Johnson's own "Minor Blues" is a powerful statement. This is a recording that I would introduce anyone to the magnificent style of the modern master of the trombone........J.J. Johnson.

http://playlist.citr.ca/podcasting/audio/20090824-210200-to-20090825-000700.mp3CiTR 101.9 VancouvernoTrombonist J.J. Johnson: "Proof Positive!"CiTR 101.9 VancouverTrombonist J.J. Johnson: "Proof Positive!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/zydfJ0-6WWs/20090824-210200-to-20090825-000700.mp3http://playlist.citr.ca/podcasting/audio/20090824-210200-to-20090825-000700.mp3 Mon, 17 Aug 2009 21:01:00 -0700 The John Coltrane Quartet:"Transition".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/sa-sOnYDpIc" height="1" width="1"/> The John Coltrane Quartet:"Transition". This album was aptly titled as 1965 was a year of transition for Mr. Coltrane. His musical vision was expanding and changing and even though some of the changes alienated his audience, they had to be made and Coltrane was compelled to follow his musical vision. Freer rhythmic feels and a more open tonality and an ever expanding range of ideas on his horn were very evident. The great milestone recording "A Love Supreme" was behind him and thoughts of expanding the instrumentation of the quartet were taking place. This recording finds him still with the 'classic" quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones but new ideas are prevailing. The set opens with the lyrical and spiritual "Dear Lord" with Roy Haynes replacing Jones on this track. Next is a five-part Suite with Jones back on drums that reflects change. The crux of this set is the title track "Transition" which is one of the most intense pieces that this band ever played in the studio. With the playing of Transition we are aware that a change is about to come as this mighty piece seems to break through barriers and into a whole new musical realm. Transition is indeed an important milestone even though is was issued after Coltrane's passing in July 1967.

This album was aptly titled as 1965 was a year of transition for Mr. Coltrane. His musical vision was expanding and changing and even though some of the changes alienated his audience, they had to be made and Coltrane was compelled to follow his musical vision. Freer rhythmic feels and a more open tonality and an ever expanding range of ideas on his horn were very evident. The great milestone recording "A Love Supreme" was behind him and thoughts of expanding the instrumentation of the quartet were taking place. This recording finds him still with the 'classic" quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones but new ideas are prevailing. The set opens with the lyrical and spiritual "Dear Lord" with Roy Haynes replacing Jones on this track. Next is a five-part Suite with Jones back on drums that reflects change. The crux of this set is the title track "Transition" which is one of the most intense pieces that this band ever played in the studio. With the playing of Transition we are aware that a change is about to come as this mighty piece seems to break through barriers and into a whole new musical realm. Transition is indeed an important milestone even though is was issued after Coltrane's passing in July 1967.

http://playlist.citr.ca/podcasting/audio/20090817-210100-to-20090818-001000.mp3CiTR 101.9 VancouvernoThe John Coltrane Quartet:"Transition".CiTR 101.9 VancouverThe John Coltrane Quartet:"Transition".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/sa-sOnYDpIc/20090817-210100-to-20090818-001000.mp3http://playlist.citr.ca/podcasting/audio/20090817-210100-to-20090818-001000.mp3 Mon, 10 Aug 2009 21:05:00 -0700 Duke Ellington and His Orchestra: "Blues in Orbit".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/MfzXcUKpVPI" height="1" width="1"/> Duke Ellington and His Orchestra: "Blues in Orbit". This album was a "concept" record put together by Mr. Ellington over a period of time from February 1959 to December 1959 over several sessions. The basic idea was the blues form, fast, slow, major and minor keys. The sessions were done late at night and through the early morning hours after gigs and concerts. The band was warmed up and ready. Ellington used only one trumpet,Ray Nance and two trombones, Mitchell "Booty" Wood and Matthew Gee and the full saxophone section and full rhythm. We hear the two trombonists Wood on plunger and Gee, open. Nance is in fine form on trumpet and has one violin solo on "C Jam Blues". Johnny Hodges is heard on alto and Paul Gonsalves on tenor and Hamilton on clarinet but Hamilton is also heard on a couple of robust solos on tenor saxophone. The tunes are all quite short and varied and although the album is a loved and respected item in Ellington's catalogue, it was dismissed when it was released as a minor effort. Certainly it cannot compare with "Black, Brown and Beige" or "The Far East Suite" but it is superb Duke. There are mostly tunes by Ellington, who plays piano throughout and a couple by Billy Strayhorn and one by Hamilton and one by Gee. "Blues in Orbit" stands as a fine outing for one of the greatest orchestras of the 20th century......long live The Duke!

This album was a "concept" record put together by Mr. Ellington over a period of time from February 1959 to December 1959 over several sessions. The basic idea was the blues form, fast, slow, major and minor keys. The sessions were done late at night and through the early morning hours after gigs and concerts. The band was warmed up and ready. Ellington used only one trumpet,Ray Nance and two trombones, Mitchell "Booty" Wood and Matthew Gee and the full saxophone section and full rhythm. We hear the two trombonists Wood on plunger and Gee, open. Nance is in fine form on trumpet and has one violin solo on "C Jam Blues". Johnny Hodges is heard on alto and Paul Gonsalves on tenor and Hamilton on clarinet but Hamilton is also heard on a couple of robust solos on tenor saxophone. The tunes are all quite short and varied and although the album is a loved and respected item in Ellington's catalogue, it was dismissed when it was released as a minor effort. Certainly it cannot compare with "Black, Brown and Beige" or "The Far East Suite" but it is superb Duke. There are mostly tunes by Ellington, who plays piano throughout and a couple by Billy Strayhorn and one by Hamilton and one by Gee. "Blues in Orbit" stands as a fine outing for one of the greatest orchestras of the 20th century......long live The Duke!

http://playlist.citr.ca/podcasting/audio/20090810-210500-to-20090811-001100.mp3CiTR 101.9 VancouvernoDuke Ellington and His Orchestra: "Blues in Orbit".CiTR 101.9 VancouverDuke Ellington and His Orchestra: "Blues in Orbit".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/MfzXcUKpVPI/20090810-210500-to-20090811-001100.mp3http://playlist.citr.ca/podcasting/audio/20090810-210500-to-20090811-001100.mp3 Mon, 03 Aug 2009 21:04:00 -0700 Trumpeter/composer Kenny Dorham "Jazz Contemporary".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/rw5vGR2VyJE" height="1" width="1"/> Trumpeter/composer Kenny Dorham "Jazz Contemporary". Trumpeter/composer Kenny Dorham (McKinley Howard Dorham) had a most frustrating career as he always seemed overshadowed by others. He was born in 1924 in Fairfield, Texas and died quite young of kidney failure in 1972 in New York at age 48. He was an accomplished, arranger/composer/pianist and singer but left his mark as one of the most distinctive voices of the trumpet. He emerged as a soloist in the 40's but was overlooked by the critics in favor of Dizzy, Fats and Miles. In the 50's the same happened to Kenny as the world was watching and listening to Chet and Clifford. The 60's were no better for Kenny as the Jazz folks were checking out Lee, Freddie, Woody and others. Kenny was an also-ran. Sad to say, now that he is gone, he has the respect and recognition that he deserved in his lifetime. Dorham is considered to be one of the major voices and is studied by all the young players today. This album is one of two recordings by Kenny's working group of the late 50's,early 60's. Kenny and the wonderful baritone saxophonist, Charles Davis are on the front line. A young Steve Kuhn is on piano. The bass chores are split between Jimmy Garrison and Edward "Butch" Warren and the solid drumming is by Arnold "Buddy" Enlow. The tunes are all Dorham arrangements and three compositions are his and the others three are by Monk, Brubeck and Frank Sinatra. "Jazz Contemporary" is a fine recording and should stand with many of Kenny Dorham's better known albums. It's a gem!

Trumpeter/composer Kenny Dorham (McKinley Howard Dorham) had a most frustrating career as he always seemed overshadowed by others. He was born in 1924 in Fairfield, Texas and died quite young of kidney failure in 1972 in New York at age 48. He was an accomplished, arranger/composer/pianist and singer but left his mark as one of the most distinctive voices of the trumpet. He emerged as a soloist in the 40's but was overlooked by the critics in favor of Dizzy, Fats and Miles. In the 50's the same happened to Kenny as the world was watching and listening to Chet and Clifford. The 60's were no better for Kenny as the Jazz folks were checking out Lee, Freddie, Woody and others. Kenny was an also-ran. Sad to say, now that he is gone, he has the respect and recognition that he deserved in his lifetime. Dorham is considered to be one of the major voices and is studied by all the young players today. This album is one of two recordings by Kenny's working group of the late 50's,early 60's. Kenny and the wonderful baritone saxophonist, Charles Davis are on the front line. A young Steve Kuhn is on piano. The bass chores are split between Jimmy Garrison and Edward "Butch" Warren and the solid drumming is by Arnold "Buddy" Enlow. The tunes are all Dorham arrangements and three compositions are his and the others three are by Monk, Brubeck and Frank Sinatra. "Jazz Contemporary" is a fine recording and should stand with many of Kenny Dorham's better known albums. It's a gem!

http://playlist.citr.ca/podcasting/audio/20090803-210400-to-20090804-001400.mp3CiTR 101.9 VancouvernoTrumpeter/composer Kenny Dorham "Jazz Contemporary".CiTR 101.9 VancouverTrumpeter/composer Kenny Dorham "Jazz Contemporary".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/rw5vGR2VyJE/20090803-210400-to-20090804-001400.mp3http://playlist.citr.ca/podcasting/audio/20090803-210400-to-20090804-001400.mp3 Mon, 27 Jul 2009 21:00:00 -0700 The Dave Brubeck Quartet with Paul Desmond: Broadcasts 1956.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/m48ykETq9-Y" height="1" width="1"/> The Dave Brubeck Quartet with Paul Desmond: Broadcasts 1956. Tonight The Jazz Show presents some early Brubeck Quartet recordings that are not as common as many others. These recordings are derived from broadcasts done from New York's Basin Street nightclub in February 1956. The Quartet by this time had reached enormous popularity from their recordings and college tours. Their repertoire was still mostly standards from the great American Songbook. Brubeck is especially creative here and many many piano players checked him out and copied his original ideas but sadly never acknowledged Brubeck in print, something that still rankles the 89 year old today. Heard with Dave is alto saxophonist Paul Desmond who is always superb and consistent with his melodic, lyrical style. Charlie Parker listed Desmond as his favourite of all the young altoists because of his originality. Dave's rhythm section at that time was Norman Bates on bass who had taken over from his brother Bob and the unheralded Joe Dodge on drums. Dodge was always tasteful and never got in the way and kept great time with both sticks and brushes. Here is some excellent and rare Brubeck from his classic period....enjoy!

Tonight The Jazz Show presents some early Brubeck Quartet recordings that are not as common as many others. These recordings are derived from broadcasts done from New York's Basin Street nightclub in February 1956. The Quartet by this time had reached enormous popularity from their recordings and college tours. Their repertoire was still mostly standards from the great American Songbook. Brubeck is especially creative here and many many piano players checked him out and copied his original ideas but sadly never acknowledged Brubeck in print, something that still rankles the 89 year old today. Heard with Dave is alto saxophonist Paul Desmond who is always superb and consistent with his melodic, lyrical style. Charlie Parker listed Desmond as his favourite of all the young altoists because of his originality. Dave's rhythm section at that time was Norman Bates on bass who had taken over from his brother Bob and the unheralded Joe Dodge on drums. Dodge was always tasteful and never got in the way and kept great time with both sticks and brushes. Here is some excellent and rare Brubeck from his classic period....enjoy!

http://playlist.citr.ca/podcasting/audio/20090727-210000-to-20090728-001600.mp3CiTR 101.9 VancouvernoThe Dave Brubeck Quartet with Paul Desmond: Broadcasts 1956.CiTR 101.9 VancouverThe Dave Brubeck Quartet with Paul Desmond: Broadcasts 1956.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/m48ykETq9-Y/20090727-210000-to-20090728-001600.mp3http://playlist.citr.ca/podcasting/audio/20090727-210000-to-20090728-001600.mp3 Mon, 20 Jul 2009 21:05:00 -0700 Drummer/composer Max Roach and His Chorus and Orchestra: "It's Time!'<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/xvW0spGPHIg" height="1" width="1"/> Drummer/composer Max Roach and His Chorus and Orchestra: "It's Time!' This recording was drummer/composer Max Roach's second album for the Impulse label and was one of his most innovative. It is unique in that it combined Mr. Roach's working band with a 16 voice choir. The themes, all composed and arranged by Roach reflected his ever growing involvement in America's civil rights struggle. The themes are defiant, militant and intense. Max's band included Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone,Mal Waldron on piano, Art Davis on bass plus a choir under the direction of Coleridge Perkinson. Roach's wife of the time, the wonderful singer, Abbey Lincoln appears on one tune. It's hard to believe that soon after this recording was made, Max Roach was boycotted from recording because of his political attitudes and commitment to racial equality. This recording was done in February of 1962 and Roach did not make any domestic recording until 1965, when he was signed to Atlantic Records. "It's Time!" is a rewarding and moving experience.

This recording was drummer/composer Max Roach's second album for the Impulse label and was one of his most innovative. It is unique in that it combined Mr. Roach's working band with a 16 voice choir. The themes, all composed and arranged by Roach reflected his ever growing involvement in America's civil rights struggle. The themes are defiant, militant and intense. Max's band included Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone,Mal Waldron on piano, Art Davis on bass plus a choir under the direction of Coleridge Perkinson. Roach's wife of the time, the wonderful singer, Abbey Lincoln appears on one tune. It's hard to believe that soon after this recording was made, Max Roach was boycotted from recording because of his political attitudes and commitment to racial equality. This recording was done in February of 1962 and Roach did not make any domestic recording until 1965, when he was signed to Atlantic Records. "It's Time!" is a rewarding and moving experience.

http://playlist.citr.ca/podcasting/audio/20090720-210500-to-20090721-000000.mp3CiTR 101.9 VancouvernoDrummer/composer Max Roach and His Chorus and Orchestra: "It's Time!'CiTR 101.9 VancouverDrummer/composer Max Roach and His Chorus and Orchestra: "It's Time!'http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/xvW0spGPHIg/20090720-210500-to-20090721-000000.mp3http://playlist.citr.ca/podcasting/audio/20090720-210500-to-20090721-000000.mp3 Mon, 13 Jul 2009 21:01:00 -0700 "Sonny Rollins in Paris-November 1965".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Fh6PxRhfCkI" height="1" width="1"/> "Sonny Rollins in Paris-November 1965". The titan of the tenor saxophone performs on this rare disc with one of his favourite combinations, saxophone, bass and drums. Rollins, in the latter part of 1965 was on tour as a soloist in Europe playing engagements and picking up rhythm sections on the way. This concert, which took place in Paris, Sonny used Gilbert "Bibi" Rovere, one of the better French bassists. Happily Sonny was reunited with his Harlem homeboy, drummer Arthur Taylor, who had been an ex-pat for about three years. Both Rovere and Taylor had to watch and anticipate Rollins' every move as Sonny at this time was into total "stream of conscious" performances with no breaks in between tunes. We'll hear Sonny backed by the rhythm section and playing acapella quoting a whole variety of tunes both familiar and obscure.....they go by fast and require careful listening to catch them all. This is a fun and intense forty plus minutes by one of the all time greatest musicians to grace the planet.....Sonny Rollins!

The titan of the tenor saxophone performs on this rare disc with one of his favourite combinations, saxophone, bass and drums. Rollins, in the latter part of 1965 was on tour as a soloist in Europe playing engagements and picking up rhythm sections on the way. This concert, which took place in Paris, Sonny used Gilbert "Bibi" Rovere, one of the better French bassists. Happily Sonny was reunited with his Harlem homeboy, drummer Arthur Taylor, who had been an ex-pat for about three years. Both Rovere and Taylor had to watch and anticipate Rollins' every move as Sonny at this time was into total "stream of conscious" performances with no breaks in between tunes. We'll hear Sonny backed by the rhythm section and playing acapella quoting a whole variety of tunes both familiar and obscure.....they go by fast and require careful listening to catch them all. This is a fun and intense forty plus minutes by one of the all time greatest musicians to grace the planet.....Sonny Rollins!

http://playlist.citr.ca/podcasting/audio/20090713-210100-to-20090714-000600.mp3CiTR 101.9 Vancouverno"Sonny Rollins in Paris-November 1965".CiTR 101.9 Vancouver"Sonny Rollins in Paris-November 1965".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Fh6PxRhfCkI/20090713-210100-to-20090714-000600.mp3http://playlist.citr.ca/podcasting/audio/20090713-210100-to-20090714-000600.mp3 Mon, 06 Jul 2009 21:09:00 -0700 Pianist/composer Toshiko Akiyoshi-Mariano and her Quartet Featuring Charlie Mariano.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/bmcnPwR9HdI" height="1" width="1"/> Pianist/composer Toshiko Akiyoshi-Mariano and her Quartet Featuring Charlie Mariano. This wonderful short-lived band only made one domestically produced record.A few bootlegs exist and one rare recording made in Japan,featuring tunes from "West Side Story" are the only documentation of this group. At the time the late alto saxophone master, Charlie Mariano (1923-2009) was married to Toshiko Akiyoshi and they formed this creative quartet with the late Gene Cherico on bass and a young Eddie Marshall on drums. The album was issued on the very short-lived Candid label and was done on December 5,1960. Two Charlie Mariano compositions are featured and two by Ms. Akiyoshi-Mariano and one arrangement of an old spiritual (Deep River) by Mr. Mariano. The recording is a beautiful and passionate statement by this great little band. The only small drawback is the tinny piano that Toshiko has to work with but as usual she makes the most of it.

This wonderful short-lived band only made one domestically produced record.A few bootlegs exist and one rare recording made in Japan,featuring tunes from "West Side Story" are the only documentation of this group. At the time the late alto saxophone master, Charlie Mariano (1923-2009) was married to Toshiko Akiyoshi and they formed this creative quartet with the late Gene Cherico on bass and a young Eddie Marshall on drums. The album was issued on the very short-lived Candid label and was done on December 5,1960. Two Charlie Mariano compositions are featured and two by Ms. Akiyoshi-Mariano and one arrangement of an old spiritual (Deep River) by Mr. Mariano. The recording is a beautiful and passionate statement by this great little band. The only small drawback is the tinny piano that Toshiko has to work with but as usual she makes the most of it.

http://playlist.citr.ca/podcasting/audio/20090706-210900-to-20090707-001500.mp3CiTR 101.9 VancouvernoPianist/composer Toshiko Akiyoshi-Mariano and her Quartet Featuring Charlie Mariano.CiTR 101.9 VancouverPianist/composer Toshiko Akiyoshi-Mariano and her Quartet Featuring Charlie Mariano.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/bmcnPwR9HdI/20090706-210900-to-20090707-001500.mp3http://playlist.citr.ca/podcasting/audio/20090706-210900-to-20090707-001500.mp3 Mon, 22 Jun 2009 21:03:00 -0700 The Annual Preview of the Vancouver International Jazz Festival 2009.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/bhiyLp7cyFs" height="1" width="1"/> The Annual Preview of the Vancouver International Jazz Festival 2009. Your host takes a secondary position on tonight's show as the Media Director of the Coastal Jazz and Blues Society, Mr. John Orysik takes over the full three hours by picking the music and talking with Gavin about the 2009 Vancouver International Jazz Festival. The Feature tonight IS The Jazz Festival!

Your host takes a secondary position on tonight's show as the Media Director of the Coastal Jazz and Blues Society, Mr. John Orysik takes over the full three hours by picking the music and talking with Gavin about the 2009 Vancouver International Jazz Festival. The Feature tonight IS The Jazz Festival!

http://playlist.citr.ca/podcasting/audio/20090622-210300-to-20090623-001000.mp3CiTR 101.9 VancouvernoThe Annual Preview of the Vancouver International Jazz Festival 2009.CiTR 101.9 VancouverThe Annual Preview of the Vancouver International Jazz Festival 2009.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/bhiyLp7cyFs/20090622-210300-to-20090623-001000.mp3http://playlist.citr.ca/podcasting/audio/20090622-210300-to-20090623-001000.mp3 Mon, 15 Jun 2009 21:03:00 -0700 Tenor saxophone master:"Sonny Rollins: Volume 2":<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/rus42V6OGuQ" height="1" width="1"/> Tenor saxophone master:"Sonny Rollins: Volume 2": This date done for Blue Note in April 1957 shows us a Sonny Rollins playing with confidence and authority. Rollins, who had been a member of Max Roach's quintet was about to leave and temporarily join Miles Davis' revamped quintet then strike out on his own. This all-star date puts Sonny in illustrious company with the great J.J. Johnson on trombone. J.J. gave Sonny some of his first recording opportunities back in 1949 and this was Sonny's way of repaying J.J. Art Blakey is on drums and he propelled Sonny on his first recording under his own name in 1951. Blakey loved Sonny and pushed him to new heights here. Horace Silver worked with Sonny on some very important Miles Davis dates in 1954 and Paul Chambers was everyone's favourite bassist.Thelonious Monk was one of Sonny's closest friends and in many ways, his teacher. They had recorded together many times and Monk was a welcome guest on this session and he added spice to the proceedings. Monk is featured on his ballad, "Reflections" with just Sonny as the sole horn. The other track is a classic as it features both Monk and Horace Silver at the piano bench playing Monk's blues based on major sixth intervals called, "Misterioso". So ends this powerful record date. Twelve takes, mostly false starts were required to complete the 6 tunes so that meant that basically everything was 'off the top'.....the true Jazz tradition. One of Mr. Rollins' great recordings and one that is frequently overlooked is tonight's Feature......"Sonny Rollins Volume 2".

This date done for Blue Note in April 1957 shows us a Sonny Rollins playing with confidence and authority. Rollins, who had been a member of Max Roach's quintet was about to leave and temporarily join Miles Davis' revamped quintet then strike out on his own. This all-star date puts Sonny in illustrious company with the great J.J. Johnson on trombone. J.J. gave Sonny some of his first recording opportunities back in 1949 and this was Sonny's way of repaying J.J. Art Blakey is on drums and he propelled Sonny on his first recording under his own name in 1951. Blakey loved Sonny and pushed him to new heights here. Horace Silver worked with Sonny on some very important Miles Davis dates in 1954 and Paul Chambers was everyone's favourite bassist.Thelonious Monk was one of Sonny's closest friends and in many ways, his teacher. They had recorded together many times and Monk was a welcome guest on this session and he added spice to the proceedings. Monk is featured on his ballad, "Reflections" with just Sonny as the sole horn. The other track is a classic as it features both Monk and Horace Silver at the piano bench playing Monk's blues based on major sixth intervals called, "Misterioso". So ends this powerful record date. Twelve takes, mostly false starts were required to complete the 6 tunes so that meant that basically everything was 'off the top'.....the true Jazz tradition. One of Mr. Rollins' great recordings and one that is frequently overlooked is tonight's Feature......"Sonny Rollins Volume 2".

http://playlist.citr.ca/podcasting/audio/20090615-210300-to-20090616-000700.mp3CiTR 101.9 VancouvernoTenor saxophone master:"Sonny Rollins: Volume 2":CiTR 101.9 VancouverTenor saxophone master:"Sonny Rollins: Volume 2":http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/rus42V6OGuQ/20090615-210300-to-20090616-000700.mp3http://playlist.citr.ca/podcasting/audio/20090615-210300-to-20090616-000700.mp3 Mon, 08 Jun 2009 21:02:00 -0700 Pianist/composer Denny Zeitlin:"Cathexsis".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/dMVP3Gwf2FQ" height="1" width="1"/> Pianist/composer Denny Zeitlin:"Cathexsis". Denny Zeitlin is one of the great individual stylists of the piano. He was born in Chicago on April 10,1938 and studied with the great theorist/innovator, George Russell. Denny lists his influences as Russell, Billy Taylor and Bill Evans but you'll find that Zeitlin has absorbed these influences so well that what comes out is pure Zeitlin. This was his first recording under his own name and it was done in 1964 for Columbia and re-issued on this fine Mosaic set from www.mosaicrecords.com Denny picked two fine sidemen in the persons of virtuoso bassist, Cecil McBee and the late drummer,Freddie Waites. Both these gentlemen were from Detroit and worked together in many different bands and were the perfect sidemen. This album, called "Cathexis" was the first in a series of innovative trio recordings. Denny moved to the Bay area soon after this recording to play and also to begin his other career as a psychiatrist. He has continued in both professions and is still practicing and playing at age 71. This album was an auspicious beginning.

Denny Zeitlin is one of the great individual stylists of the piano. He was born in Chicago on April 10,1938 and studied with the great theorist/innovator, George Russell. Denny lists his influences as Russell, Billy Taylor and Bill Evans but you'll find that Zeitlin has absorbed these influences so well that what comes out is pure Zeitlin. This was his first recording under his own name and it was done in 1964 for Columbia and re-issued on this fine Mosaic set from www.mosaicrecords.com Denny picked two fine sidemen in the persons of virtuoso bassist, Cecil McBee and the late drummer,Freddie Waites. Both these gentlemen were from Detroit and worked together in many different bands and were the perfect sidemen. This album, called "Cathexis" was the first in a series of innovative trio recordings. Denny moved to the Bay area soon after this recording to play and also to begin his other career as a psychiatrist. He has continued in both professions and is still practicing and playing at age 71. This album was an auspicious beginning.

http://playlist.citr.ca/podcasting/audio/20090608-210200-to-20090609-001800.mp3CiTR 101.9 VancouvernoPianist/composer Denny Zeitlin:"Cathexsis".CiTR 101.9 VancouverPianist/composer Denny Zeitlin:"Cathexsis".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/dMVP3Gwf2FQ/20090608-210200-to-20090609-001800.mp3http://playlist.citr.ca/podcasting/audio/20090608-210200-to-20090609-001800.mp3 Mon, 01 Jun 2009 21:06:00 -0700 Guitarist Grant Green: "Solid".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/O2rbqo9v-0U" height="1" width="1"/> Guitarist Grant Green: "Solid". Guitarist Grant Green, along with Wes Montgomery set the standards for that instrument in the 1960's. They both seemed to come out of nowhere and leaped to international fame. Montgomery was a more stable individual than Green and even though he died quite young at age 43 in 1968, he achieved legendary status. Green was not as fortunate in his lifetime but now, after his passing in 1979, he too, has reached iconic status. This album was one of the many Green sessions for Blue Note that were never released during Green's lifetime. This great session came out on vinyl in the early 80's on the Blue Note 'white cover' series and was later issued on Blue Note's Connoisseur Series on CD in 1995. It features Green on guitar with two major saxophonists in the persons of James Spaulding on alto and Joe Henderson on tenor plus the powerhouse rhythm section of McCoy Tyner on piano, Bob Cranshaw on bass and the dynamic drumming of Elvin Jones. The session was done in 1964 and opens with a Duke Pearson original called "Minor League", one original by Green called "Grant's Tune" and a great rendition of Sonny Rollins' blues called "Solid". the title track. Joe Henderson's "The Kicker" is a highlight as well as a version of Bacharach's "Wives And Lovers" without the saxophones but the best cut is the band's version of George Russell's "Ezz-thetic"(named for the great prizefighter Ezzard Charles). This is another feather in the formidable cap of guitar great Grant Green.

Guitarist Grant Green, along with Wes Montgomery set the standards for that instrument in the 1960's. They both seemed to come out of nowhere and leaped to international fame. Montgomery was a more stable individual than Green and even though he died quite young at age 43 in 1968, he achieved legendary status. Green was not as fortunate in his lifetime but now, after his passing in 1979, he too, has reached iconic status. This album was one of the many Green sessions for Blue Note that were never released during Green's lifetime. This great session came out on vinyl in the early 80's on the Blue Note 'white cover' series and was later issued on Blue Note's Connoisseur Series on CD in 1995. It features Green on guitar with two major saxophonists in the persons of James Spaulding on alto and Joe Henderson on tenor plus the powerhouse rhythm section of McCoy Tyner on piano, Bob Cranshaw on bass and the dynamic drumming of Elvin Jones. The session was done in 1964 and opens with a Duke Pearson original called "Minor League", one original by Green called "Grant's Tune" and a great rendition of Sonny Rollins' blues called "Solid". the title track. Joe Henderson's "The Kicker" is a highlight as well as a version of Bacharach's "Wives And Lovers" without the saxophones but the best cut is the band's version of George Russell's "Ezz-thetic"(named for the great prizefighter Ezzard Charles). This is another feather in the formidable cap of guitar great Grant Green.

http://playlist.citr.ca/podcasting/audio/20090601-210600-to-20090602-001300.mp3CiTR 101.9 VancouvernoGuitarist Grant Green: "Solid".CiTR 101.9 VancouverGuitarist Grant Green: "Solid".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/O2rbqo9v-0U/20090601-210600-to-20090602-001300.mp3http://playlist.citr.ca/podcasting/audio/20090601-210600-to-20090602-001300.mp3 Mon, 25 May 2009 21:00:00 -0700 Drummer/bandleader Art Blakey and The Jazz Messengers: "Kyoto".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Zs-T0WQec1c" height="1" width="1"/> Drummer/bandleader Art Blakey and The Jazz Messengers: "Kyoto". This lesser known recording was the last documentation of one of the great editions of Art Blakey's Jazz Messengers. Drummer/leader, Blakey led many editions of this band over the years some of lesser importance than others. This band was one of his greatest and it was together from the Fall of 1961 until the Spring of 1964. This recording was done for Riverside Records towards the end of that label's life and it kind of got lost in the shuffle. The band is inspired and everyone is playing at their peak. Freddie Hubbard is on trumpet, Wayne Shorter is on tenor saxophone and is also musical director, Curtis Fuller on trombone, Cedar Walton on piano, Reginald (Reggie) Workman is on bass and Blakey. The five tunes are interesting, one by Fuller and the title track by Hubbard and Shorter's arrangement of Sadao Watanabe's tune called "Nihon Bash" and a moody ballad by Comden and Green arranged by Fuller called "Never Never Land" balances the set. One last tune is a rarity, a vocal by Art Blakey's cousin, Wellington Blakey, called "Wellington's Blues" nicely wraps up this fine record.

This lesser known recording was the last documentation of one of the great editions of Art Blakey's Jazz Messengers. Drummer/leader, Blakey led many editions of this band over the years some of lesser importance than others. This band was one of his greatest and it was together from the Fall of 1961 until the Spring of 1964. This recording was done for Riverside Records towards the end of that label's life and it kind of got lost in the shuffle. The band is inspired and everyone is playing at their peak. Freddie Hubbard is on trumpet, Wayne Shorter is on tenor saxophone and is also musical director, Curtis Fuller on trombone, Cedar Walton on piano, Reginald (Reggie) Workman is on bass and Blakey. The five tunes are interesting, one by Fuller and the title track by Hubbard and Shorter's arrangement of Sadao Watanabe's tune called "Nihon Bash" and a moody ballad by Comden and Green arranged by Fuller called "Never Never Land" balances the set. One last tune is a rarity, a vocal by Art Blakey's cousin, Wellington Blakey, called "Wellington's Blues" nicely wraps up this fine record.

http://playlist.citr.ca/podcasting/audio/20090525-210000-to-20090526-000500.mp3CiTR 101.9 VancouvernoDrummer/bandleader Art Blakey and The Jazz Messengers: "Kyoto".CiTR 101.9 VancouverDrummer/bandleader Art Blakey and The Jazz Messengers: "Kyoto".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Zs-T0WQec1c/20090525-210000-to-20090526-000500.mp3http://playlist.citr.ca/podcasting/audio/20090525-210000-to-20090526-000500.mp3 Mon, 18 May 2009 21:05:00 -0700 Drummer/composer Max Roach: "Percussion Bitter Sweet".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/wyF8gFCfPvM" height="1" width="1"/> Drummer/composer Max Roach: "Percussion Bitter Sweet". From the early 60's on drummer/composer/Jazz pioneer, Max Roach made a vow to never play or record anything that did not have some form of political significance. Usually music and politics are a bad mix with music often taking a back seat but with Mr. Roach this was not the case. Max became a champion of civil rights and although others made strong statements about the plight of African-Americans, Max's voice was among the most articulate and musical. Roach was blacklisted from recording for many years in the 60's for his political stance. This album is a follow-up to his famous "Freedom Now Suite" and his first of two for the forward thinking Impulse label.His band includes the late trumpeter Booker Little, who was only two months away from his death at 23 from uremia. Julian Priester is on trombone, Clifford Jordan on tenor saxophone, and Eric Dolphy is heard on alto saxophone,flute and bass clarinet. Mal Waldron is on piano and Art Davis is on bass and on several tunes two percussionists are added in the persons of Carlos "Patato" Valdes on congas and Carlos "Totico" Eugenio on timbales and assorted percussion. Two vocals are by Abbey Lincoln. All the compositions and arrangements are by Max Roach and the recording was done over several days in August of 1961. This album is both a strong political and musical statement by one of the true giants of Jazz and creative music, Max Roach.

From the early 60's on drummer/composer/Jazz pioneer, Max Roach made a vow to never play or record anything that did not have some form of political significance. Usually music and politics are a bad mix with music often taking a back seat but with Mr. Roach this was not the case. Max became a champion of civil rights and although others made strong statements about the plight of African-Americans, Max's voice was among the most articulate and musical. Roach was blacklisted from recording for many years in the 60's for his political stance. This album is a follow-up to his famous "Freedom Now Suite" and his first of two for the forward thinking Impulse label.His band includes the late trumpeter Booker Little, who was only two months away from his death at 23 from uremia. Julian Priester is on trombone, Clifford Jordan on tenor saxophone, and Eric Dolphy is heard on alto saxophone,flute and bass clarinet. Mal Waldron is on piano and Art Davis is on bass and on several tunes two percussionists are added in the persons of Carlos "Patato" Valdes on congas and Carlos "Totico" Eugenio on timbales and assorted percussion. Two vocals are by Abbey Lincoln. All the compositions and arrangements are by Max Roach and the recording was done over several days in August of 1961. This album is both a strong political and musical statement by one of the true giants of Jazz and creative music, Max Roach.

http://playlist.citr.ca/podcasting/audio/20090518-210500-to-20090519-001000.mp3CiTR 101.9 VancouvernoDrummer/composer Max Roach: "Percussion Bitter Sweet".CiTR 101.9 VancouverDrummer/composer Max Roach: "Percussion Bitter Sweet".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/wyF8gFCfPvM/20090518-210500-to-20090519-001000.mp3http://playlist.citr.ca/podcasting/audio/20090518-210500-to-20090519-001000.mp3 Mon, 11 May 2009 21:06:00 -0700 Alto saxophone master Jackie McLean: "High Frequency"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/g5VgzcT-obE" height="1" width="1"/> Alto saxophone master Jackie McLean: "High Frequency" Jackie McLean's quartet dates are rather rare as he usually recorded with other horns on his own dates. McLean is in fine creative form here on this rare session, done in April of 1966 for Blue Note. It was supposed to be issued and called "High Frequency" but remained in the can until the late 70's when it was issued as a vinyl 'twofer' by Blue Note. It's only other issue was on a box set by Mosaic Records called "The Complete Blue Note Recordings of Jackie McLean 1964-66"...that set is out of print and commands a huge price on eBay. McLean points to the future in his performance here but doesn't let you forget where he came from stylistically as he performs two of his own tunes plus two by pianist Larry Willis and one by bassist Don Moore. The drummer on this date is a McLean discovery who is now one of the greatest drummers in Jazz history, Jack DeJohnette.As Jackie describes his sound...."no artificial sweetener'.... he is in compelling form here delivering his message with grace, swing and authority. McLean passed away on March 31,2006 has music and sound will be missed.

Jackie McLean's quartet dates are rather rare as he usually recorded with other horns on his own dates. McLean is in fine creative form here on this rare session, done in April of 1966 for Blue Note. It was supposed to be issued and called "High Frequency" but remained in the can until the late 70's when it was issued as a vinyl 'twofer' by Blue Note. It's only other issue was on a box set by Mosaic Records called "The Complete Blue Note Recordings of Jackie McLean 1964-66"...that set is out of print and commands a huge price on eBay. McLean points to the future in his performance here but doesn't let you forget where he came from stylistically as he performs two of his own tunes plus two by pianist Larry Willis and one by bassist Don Moore. The drummer on this date is a McLean discovery who is now one of the greatest drummers in Jazz history, Jack DeJohnette.As Jackie describes his sound...."no artificial sweetener'.... he is in compelling form here delivering his message with grace, swing and authority. McLean passed away on March 31,2006 has music and sound will be missed.

http://playlist.citr.ca/podcasting/audio/20090511-210600-to-20090512-001000.mp3CiTR 101.9 VancouvernoAlto saxophone master Jackie McLean: "High Frequency"CiTR 101.9 VancouverAlto saxophone master Jackie McLean: "High Frequency"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/g5VgzcT-obE/20090511-210600-to-20090512-001000.mp3http://playlist.citr.ca/podcasting/audio/20090511-210600-to-20090512-001000.mp3 Mon, 04 May 2009 21:06:00 -0700 Drummer/leader Roy Haynes:"Cracklin'" with Booker Ervin.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/7xE0DjvWunA" height="1" width="1"/> Drummer/leader Roy Haynes:"Cracklin'" with Booker Ervin. Drummer/bandleader Roy Haynes, with few exceptions has always preferred to lead a quartet with a good horn (either an alto or tenor saxophone) out front and piano, bass and himself on drums. This album, done in April of 1963, is no exception. The featured voice out front is one of the most distinctive tenor saxophonists, the Texas born, Booker Ervin. His high, hard sound and his intensity is unmatched. He was Charles Mingus' favourite saxophonist and one can understand why. His rhythmic and emotional approach grabs one by the throat and doesn't let go until Mr. Ervin has his say. Ervin was a treasure and it's sad that ill health robbed us of his music when he died of kidney failure in 1970 at age 39. Pianist Ronnie Mathews was just beginning to make his mark on the New York scene and quickly became one of the most sought after players. Sadly, Ronnie passed away last year. Bassist Larry Ridley was soon to became one of the leading bassists in New York and is happily still alive, playing and teaching. What can be said about Roy Haynes! At 83, he sounds even better than he does here and he's amazing on this date. Roy guides and shapes the music like the master he is. Mr. Snap Crackle is "Cracklin'" A fine date from beginning to end.

Drummer/bandleader Roy Haynes, with few exceptions has always preferred to lead a quartet with a good horn (either an alto or tenor saxophone) out front and piano, bass and himself on drums. This album, done in April of 1963, is no exception. The featured voice out front is one of the most distinctive tenor saxophonists, the Texas born, Booker Ervin. His high, hard sound and his intensity is unmatched. He was Charles Mingus' favourite saxophonist and one can understand why. His rhythmic and emotional approach grabs one by the throat and doesn't let go until Mr. Ervin has his say. Ervin was a treasure and it's sad that ill health robbed us of his music when he died of kidney failure in 1970 at age 39. Pianist Ronnie Mathews was just beginning to make his mark on the New York scene and quickly became one of the most sought after players. Sadly, Ronnie passed away last year. Bassist Larry Ridley was soon to became one of the leading bassists in New York and is happily still alive, playing and teaching. What can be said about Roy Haynes! At 83, he sounds even better than he does here and he's amazing on this date. Roy guides and shapes the music like the master he is. Mr. Snap Crackle is "Cracklin'" A fine date from beginning to end.

http://playlist.citr.ca/podcasting/audio/20090504-210600-to-20090505-000600.mp3CiTR 101.9 VancouvernoDrummer/leader Roy Haynes:"Cracklin'" with Booker Ervin.CiTR 101.9 VancouverDrummer/leader Roy Haynes:"Cracklin'" with Booker Ervin.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/7xE0DjvWunA/20090504-210600-to-20090505-000600.mp3http://playlist.citr.ca/podcasting/audio/20090504-210600-to-20090505-000600.mp3 Mon, 27 Apr 2009 21:03:00 -0700 Bassist/composer Charles Mingus: "Pithecanthropus Erectus".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/tYf2hd4hJYA" height="1" width="1"/> Bassist/composer Charles Mingus: "Pithecanthropus Erectus". This is the first recording by bassist/composer/ Charles Mingus with his newly formed band "The Charles Mingus Jazz Workshop". Mingus' recordings before this date, done in January of 1956, were issued on small, hard to find labels that were poorly distributed, with the exception of his own label, Debut Records. This date was done for a major label, Atlantic Records and when it was issued it really marked the arrival of Mingus as an authoritative figure on the Jazz scene. It was a milestone in the career of this volatile, puzzling and amazingly creative musician. The Jazz Workshop consisted of a young up and coming alto saxophonist named Jackie McLean. J.R. (Frank Anthony) Monterose was on tenor saxophone and the great Mal Waldron on piano and the unheralded Willie Jones on drums. All the musicians except McLean had worked with Mingus off and on for about two years. This was the only recording by this group as they soon left Mingus and he continued his musical quest with another group of players. The album was named after the title track: "Pithecanthropus Erectus". One standard tune tranformed by Mingus was the Gershwin's "A Foggy Day". The beautiful bittersweet ballad was called by Mingus, "Portrait of Jackie" (a feminine 'Jackie' not McLean) and finally "Love Chant", a composition that introduced modality to Mingus' music long before Miles Davis discovered it for "Kind of Blue". One of Mingus' early triumphs.

This is the first recording by bassist/composer/ Charles Mingus with his newly formed band "The Charles Mingus Jazz Workshop". Mingus' recordings before this date, done in January of 1956, were issued on small, hard to find labels that were poorly distributed, with the exception of his own label, Debut Records. This date was done for a major label, Atlantic Records and when it was issued it really marked the arrival of Mingus as an authoritative figure on the Jazz scene. It was a milestone in the career of this volatile, puzzling and amazingly creative musician. The Jazz Workshop consisted of a young up and coming alto saxophonist named Jackie McLean. J.R. (Frank Anthony) Monterose was on tenor saxophone and the great Mal Waldron on piano and the unheralded Willie Jones on drums. All the musicians except McLean had worked with Mingus off and on for about two years. This was the only recording by this group as they soon left Mingus and he continued his musical quest with another group of players. The album was named after the title track: "Pithecanthropus Erectus". One standard tune tranformed by Mingus was the Gershwin's "A Foggy Day". The beautiful bittersweet ballad was called by Mingus, "Portrait of Jackie" (a feminine 'Jackie' not McLean) and finally "Love Chant", a composition that introduced modality to Mingus' music long before Miles Davis discovered it for "Kind of Blue". One of Mingus' early triumphs.

http://playlist.citr.ca/podcasting/audio/20090427-210300-to-20090428-001200.mp3CiTR 101.9 VancouvernoBassist/composer Charles Mingus: "Pithecanthropus Erectus".CiTR 101.9 VancouverBassist/composer Charles Mingus: "Pithecanthropus Erectus".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/tYf2hd4hJYA/20090427-210300-to-20090428-001200.mp3http://playlist.citr.ca/podcasting/audio/20090427-210300-to-20090428-001200.mp3 Mon, 20 Apr 2009 21:05:00 -0700 Vibraphonist Lionel Hampton and His Quartet with Oscar Peterson.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/b-g7K-s-5eo" height="1" width="1"/> Vibraphonist Lionel Hampton and His Quartet with Oscar Peterson. Tonight we are celebrating the birthday of one of the great pioneers of Jazz: Lionel Hampton. Lionel wasn't the first to play the vibraphone nor was Louis Armstrong the first to play the trumpet, nor Coleman Hawkins the first to play the tenor saxophone but each of these pioneers developed a concept on their chosen instrument that generations of players followed. Hampton lived to the ripe old age of 94 and achieved much in has long career. Tonight's Feature is the beginning of his association with the great impresario, Norman Granz. Granz was not interested in Hampton's band but his artistry on the vibraphone. Hampton began a series of recordings where he was evenly matched with three music masters: pianist Oscar Peterson, bassist Ray Brown and drummer Buddy Rich. Tonight's Feature is their first meeting and it's some of the best music Hampton has ever played. Standards, blues and ballads are all given royal treatment by four masters.Almost all of the tunes were first "takes".

Tonight we are celebrating the birthday of one of the great pioneers of Jazz: Lionel Hampton. Lionel wasn't the first to play the vibraphone nor was Louis Armstrong the first to play the trumpet, nor Coleman Hawkins the first to play the tenor saxophone but each of these pioneers developed a concept on their chosen instrument that generations of players followed. Hampton lived to the ripe old age of 94 and achieved much in has long career. Tonight's Feature is the beginning of his association with the great impresario, Norman Granz. Granz was not interested in Hampton's band but his artistry on the vibraphone. Hampton began a series of recordings where he was evenly matched with three music masters: pianist Oscar Peterson, bassist Ray Brown and drummer Buddy Rich. Tonight's Feature is their first meeting and it's some of the best music Hampton has ever played. Standards, blues and ballads are all given royal treatment by four masters.Almost all of the tunes were first "takes".

http://playlist.citr.ca/podcasting/audio/20090420-210500-to-20090421-000900.mp3CiTR 101.9 VancouvernoVibraphonist Lionel Hampton and His Quartet with Oscar Peterson.CiTR 101.9 VancouverVibraphonist Lionel Hampton and His Quartet with Oscar Peterson.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/b-g7K-s-5eo/20090420-210500-to-20090421-000900.mp3http://playlist.citr.ca/podcasting/audio/20090420-210500-to-20090421-000900.mp3 Mon, 13 Apr 2009 21:03:00 -0700 Pianist/composer Thelonious Monk: "Monk's Dream".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/tiBSsYn8IXo" height="1" width="1"/> Pianist/composer Thelonious Monk: "Monk's Dream". This album was a real milestone in the career of Thelonious Monk as it was his first recording for Columbia Records, a major label. He was signed in 1962 and, this, his first recording was a much anticipated event. Thelonious had, at this point, become something of a household word in Jazz as he had emerged from the underground of the 1950's into a vital force in the music. He had never compromised his musical vision but by this time had formed a stable group with the gritty-toned tenor saxophonist Charlie Rouse, who had been with Monk since the end of 1958. Bassist John Ore, a steady and reliable timekeeper had been with Mr. Monk for a couple of years and the last piece of the puzzle was the dancing, booting drumming of Frankie Dunlop, who after Art Blakey and Shadow Wilson was one of the finest percussionists to work with Monk. On this record, the long bass and drum solos were eliminated as they were more effective during live and concert performances and the tunes were shortened into concise form. Columbia, who had Miles Davis, Charles Mingus, Dave Brubeck and others on their roster gave this album a big publicity boost and it became the best selling of all Monk's recordings. It was greeted with raves from fans and critics alike.....Monk had arrived! Tonight's Feature "Monk's Dream". Two solo piano performances and six quartet tunes make up this date done on Halloween and November 1 & 2, 1962......Monk at his finest.

This album was a real milestone in the career of Thelonious Monk as it was his first recording for Columbia Records, a major label. He was signed in 1962 and, this, his first recording was a much anticipated event. Thelonious had, at this point, become something of a household word in Jazz as he had emerged from the underground of the 1950's into a vital force in the music. He had never compromised his musical vision but by this time had formed a stable group with the gritty-toned tenor saxophonist Charlie Rouse, who had been with Monk since the end of 1958. Bassist John Ore, a steady and reliable timekeeper had been with Mr. Monk for a couple of years and the last piece of the puzzle was the dancing, booting drumming of Frankie Dunlop, who after Art Blakey and Shadow Wilson was one of the finest percussionists to work with Monk. On this record, the long bass and drum solos were eliminated as they were more effective during live and concert performances and the tunes were shortened into concise form. Columbia, who had Miles Davis, Charles Mingus, Dave Brubeck and others on their roster gave this album a big publicity boost and it became the best selling of all Monk's recordings. It was greeted with raves from fans and critics alike.....Monk had arrived! Tonight's Feature "Monk's Dream". Two solo piano performances and six quartet tunes make up this date done on Halloween and November 1 & 2, 1962......Monk at his finest.

http://playlist.citr.ca/podcasting/audio/20090413-210300-to-20090414-001200.mp3CiTR 101.9 VancouvernoPianist/composer Thelonious Monk: "Monk's Dream".CiTR 101.9 VancouverPianist/composer Thelonious Monk: "Monk's Dream".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/tiBSsYn8IXo/20090413-210300-to-20090414-001200.mp3http://playlist.citr.ca/podcasting/audio/20090413-210300-to-20090414-001200.mp3 Mon, 06 Apr 2009 21:02:00 -0700 Pianist/composer Randy Weston: "African Cookbook".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/SICF0t5IUDU" height="1" width="1"/> Pianist/composer Randy Weston: "African Cookbook". Pianist/composer Randy Weston celebrates his 83rd birthday tonight (April 6) and to honour this 6' 7" musical giant, The Jazz Show presents Randy with one of his finest ensembles. Originally released in 1965 on his own label, Weston sold the rights to Atlantic Records some years later and it was issued as "African Cookbook", after the great title track. Weston combines the concepts of Duke Ellington (the pianist) and Thelonious Monk into his own unique style. Randy's compositions have endured in Jazz for many years as he is responsible for "Little Niles", "Hi-Fly", "Pam's Waltz", "Babe's Blues" and so many others that have become Jazz standards. Weston's band here includes the great authoritative voice of tenor saxophonist Booker Ervin, who to this day remains sadly overlooked. On trumpet and flugelhorn is the late Ray Copeland, who was one of Monk's favourite players. Bill "Vishnu" Wood is solid on bass and works well with drummer Lenny McBrowne. Three tunes are done by this ensemble then percussionist, Big Black (aka Larry Roy) is added on congas as well as Sir Harold Murray on special percussion. One tune, "Blues For Five Reasons" is played by Weston plus bass and drums. All the compositions, with one exception are by Randy and they are all very distinctive. This is one special album and is our birthday tribute to a living Jazz master.

Pianist/composer Randy Weston celebrates his 83rd birthday tonight (April 6) and to honour this 6' 7" musical giant, The Jazz Show presents Randy with one of his finest ensembles. Originally released in 1965 on his own label, Weston sold the rights to Atlantic Records some years later and it was issued as "African Cookbook", after the great title track. Weston combines the concepts of Duke Ellington (the pianist) and Thelonious Monk into his own unique style. Randy's compositions have endured in Jazz for many years as he is responsible for "Little Niles", "Hi-Fly", "Pam's Waltz", "Babe's Blues" and so many others that have become Jazz standards. Weston's band here includes the great authoritative voice of tenor saxophonist Booker Ervin, who to this day remains sadly overlooked. On trumpet and flugelhorn is the late Ray Copeland, who was one of Monk's favourite players. Bill "Vishnu" Wood is solid on bass and works well with drummer Lenny McBrowne. Three tunes are done by this ensemble then percussionist, Big Black (aka Larry Roy) is added on congas as well as Sir Harold Murray on special percussion. One tune, "Blues For Five Reasons" is played by Weston plus bass and drums. All the compositions, with one exception are by Randy and they are all very distinctive. This is one special album and is our birthday tribute to a living Jazz master.

http://playlist.citr.ca/podcasting/audio/20090406-210200-to-20090407-000400.mp3CiTR 101.9 VancouvernoPianist/composer Randy Weston: "African Cookbook".CiTR 101.9 VancouverPianist/composer Randy Weston: "African Cookbook".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/SICF0t5IUDU/20090406-210200-to-20090407-000400.mp3http://playlist.citr.ca/podcasting/audio/20090406-210200-to-20090407-000400.mp3 Mon, 30 Mar 2009 21:05:00 -0700 Pianist/composer Andrew Hill: "Judgement!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/BdbOUb_Rigk" height="1" width="1"/> Pianist/composer Andrew Hill: "Judgement!" Pianist/composer Andrew Hill was Alfred Lion's last great discovery. Lion,of course was Blue Note's head man and a lover of original pianist/composers. Lion was the first to record Thelonious Monk as a leader and the first to record Horace Silver and was responsible for the many recordings as a sideman and leader of the ill-fated Sonny Clark who died as a result of a drug overdose on January 13,1963 at age 32. Lion heard Andrew Hill on a Joe Henderson session and a Hank Mobley session in late 1963 and was impressed with the young pianist's originality. Hill had played with many people before coming into the Blue Note fold; people like Rahsaan Roland Kirk, Dinah Washington and many others so he was very well-rounded. Lion began to record Hill playing his own unique and sometimes difficult compositions and his first effort for the label was the astounding "Black Fire" with Joe Henderson. His second was a quartet effort with two bassists and the third was this classic called "Judgement!" Hill used the young, Bobby Hutcherson on vibes and his favourite bassist, Richard Davis and the great and dynamic Elvin Jones on drums in six Hill compositions. This album stands with "Black Fire" and "Point of Departure" as one of Hill's finest and is the Feature for tonight.

Pianist/composer Andrew Hill was Alfred Lion's last great discovery. Lion,of course was Blue Note's head man and a lover of original pianist/composers. Lion was the first to record Thelonious Monk as a leader and the first to record Horace Silver and was responsible for the many recordings as a sideman and leader of the ill-fated Sonny Clark who died as a result of a drug overdose on January 13,1963 at age 32. Lion heard Andrew Hill on a Joe Henderson session and a Hank Mobley session in late 1963 and was impressed with the young pianist's originality. Hill had played with many people before coming into the Blue Note fold; people like Rahsaan Roland Kirk, Dinah Washington and many others so he was very well-rounded. Lion began to record Hill playing his own unique and sometimes difficult compositions and his first effort for the label was the astounding "Black Fire" with Joe Henderson. His second was a quartet effort with two bassists and the third was this classic called "Judgement!" Hill used the young, Bobby Hutcherson on vibes and his favourite bassist, Richard Davis and the great and dynamic Elvin Jones on drums in six Hill compositions. This album stands with "Black Fire" and "Point of Departure" as one of Hill's finest and is the Feature for tonight.

http://playlist.citr.ca/podcasting/audio/20090330-210500-to-20090331-000600.mp3CiTR 101.9 VancouvernoPianist/composer Andrew Hill: "Judgement!"CiTR 101.9 VancouverPianist/composer Andrew Hill: "Judgement!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/BdbOUb_Rigk/20090330-210500-to-20090331-000600.mp3http://playlist.citr.ca/podcasting/audio/20090330-210500-to-20090331-000600.mp3 Mon, 23 Mar 2009 21:04:00 -0700 Pianist/composer Horace Silver: "Further Explorations".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/DDBSf3KPYrU" height="1" width="1"/> Pianist/composer Horace Silver: "Further Explorations". This album was pianist/composer Horace Silver's third recording for Blue Note with his working band. The band, with this personal was captured at it's peak before some of the men left to persue other opportunities. Art Farmer on trumpet provided cliche-free, thoughtful solos in contrast to the outgoing Rollins influenced tenor saxophone work of Chicago born Clifford Jordan, Teddy Kotick, who was Charlie Parker's favourite bassist is strong and vibrant here. The drumming of Louis Hayes adds to the mix. Horace Silver's spare, swinging playing is so distinctive and his compositions reflect Silver's creative processes. Soon after, Horace had to rebuild his quintet as Farmer left to join Gerry Mulligan and Jordan left to play with J.J. Johnson and Kotick left to freelance and work with Bill Evans. The band was tight and together for this album appropriately called "Further Explorations".

This album was pianist/composer Horace Silver's third recording for Blue Note with his working band. The band, with this personal was captured at it's peak before some of the men left to persue other opportunities. Art Farmer on trumpet provided cliche-free, thoughtful solos in contrast to the outgoing Rollins influenced tenor saxophone work of Chicago born Clifford Jordan, Teddy Kotick, who was Charlie Parker's favourite bassist is strong and vibrant here. The drumming of Louis Hayes adds to the mix. Horace Silver's spare, swinging playing is so distinctive and his compositions reflect Silver's creative processes. Soon after, Horace had to rebuild his quintet as Farmer left to join Gerry Mulligan and Jordan left to play with J.J. Johnson and Kotick left to freelance and work with Bill Evans. The band was tight and together for this album appropriately called "Further Explorations".

http://playlist.citr.ca/podcasting/audio/20090323-210400-to-20090324-000500.mp3CiTR 101.9 VancouvernoPianist/composer Horace Silver: "Further Explorations".CiTR 101.9 VancouverPianist/composer Horace Silver: "Further Explorations".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/DDBSf3KPYrU/20090323-210400-to-20090324-000500.mp3http://playlist.citr.ca/podcasting/audio/20090323-210400-to-20090324-000500.mp3 Mon, 16 Mar 2009 21:04:00 -0700 Tenor saxophonist J.R. Monterose with Ira Sullivan (trumpet) & Horace Silver (piano):<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/cF5Nz-dRWlE" height="1" width="1"/> Tenor saxophonist J.R. Monterose with Ira Sullivan (trumpet) & Horace Silver (piano): J.R. Monterose (Frank Anthony Monterose Jr.) was a very individual stylist who was very much in evidence on the New York Jazz scene in the mid-50's. J.R. worked with vibist Teddy Charles and bassist Charles Mingus but came to the attention of Blue Note's owner, Alfred Lion because of his work with trumpeter Kenny Dorham's short-lived band "The Jazz Prophets". Lion gave Monterose his chance and J.R. became the first Caucasian musician to have his own 12' LP. It's a good one and a minor classic. Hard driving and swinging...Monterose brings his slashing, stacatto tenor to the fore with his front line partner, the versatile Ira Sullivan who can play anything with valves or keys but restricts himself to some stunning trumpet work here. The great rhythm section is in tune with Monterose's ideas and backs both horns with a drive and swing that's unequalled. Horace Silver on piano, the wonderful Chicago born, Wilbur Ware on bass and Philly Joe Jones on drums build fires under the horns. This formally rare recording is now available on Blue Note's RVG Series and it's good to have it back in circulation again. The album represents some of the best Jazz of the 50's by two musicians who were part of the real Jazz core. J.R. Monterose stands as one of the great individualists of the tenor saxophone and Ira Sullivan, who is still alive is not far behind. There are three Monterose compositions on the set and one by trumpeter Donald Byrd, one by bassist Paul Chambers and one by drummer Philly Joe Jones.

J.R. Monterose (Frank Anthony Monterose Jr.) was a very individual stylist who was very much in evidence on the New York Jazz scene in the mid-50's. J.R. worked with vibist Teddy Charles and bassist Charles Mingus but came to the attention of Blue Note's owner, Alfred Lion because of his work with trumpeter Kenny Dorham's short-lived band "The Jazz Prophets". Lion gave Monterose his chance and J.R. became the first Caucasian musician to have his own 12' LP. It's a good one and a minor classic. Hard driving and swinging...Monterose brings his slashing, stacatto tenor to the fore with his front line partner, the versatile Ira Sullivan who can play anything with valves or keys but restricts himself to some stunning trumpet work here. The great rhythm section is in tune with Monterose's ideas and backs both horns with a drive and swing that's unequalled. Horace Silver on piano, the wonderful Chicago born, Wilbur Ware on bass and Philly Joe Jones on drums build fires under the horns. This formally rare recording is now available on Blue Note's RVG Series and it's good to have it back in circulation again. The album represents some of the best Jazz of the 50's by two musicians who were part of the real Jazz core. J.R. Monterose stands as one of the great individualists of the tenor saxophone and Ira Sullivan, who is still alive is not far behind. There are three Monterose compositions on the set and one by trumpeter Donald Byrd, one by bassist Paul Chambers and one by drummer Philly Joe Jones.

http://playlist.citr.ca/podcasting/audio/20090316-210400-to-20090317-000500.mp3CiTR 101.9 VancouvernoTenor saxophonist J.R. Monterose with Ira Sullivan (trumpet) & Horace Silver (piano):CiTR 101.9 VancouverTenor saxophonist J.R. Monterose with Ira Sullivan (trumpet) & Horace Silver (piano):http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/cF5Nz-dRWlE/20090316-210400-to-20090317-000500.mp3http://playlist.citr.ca/podcasting/audio/20090316-210400-to-20090317-000500.mp3 Mon, 09 Mar 2009 21:05:00 -0700 Trumpeter/composer Kenny Dorham:"Whistle Stop".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/-Ug2xgfsWss" height="1" width="1"/> Trumpeter/composer Kenny Dorham:"Whistle Stop". Trumpeter, Kenny Dorham was called "the uncrowned king" by drummer Art Blakey and it was indeed true. Kenny was a musician's musician and always seemed overshadowed by others. In the 40's it was Dizzy, Miles and Fats Navarro from his generation and in the 50's it was Chet Baker and Clifford Brown who got the critical acclaim and in the 60's the attention was upon Donald Byrd, Lee Morgan and Freddie Hubbard. It was Kenny Dorham's lot to always be an also-ran. Musicians knew his value and immense talent but the critical fraternity overlooked Dorham. He was a nice man who put music first and was ego free and modest. Perhaps this was the reason for his position in the Jazz life. Dorham was not only and talented trumpeter but played fine piano and sang and was a fine composer. It was only after his passing in December of 1972 that his value began to be recognized.......a sad story in the Jazz world. The Feature is one of Dorham's great recordings and rather than record one of the bands he was leading at the time, Kenny picked an all-star group of his favourite players including tenor saxophonist Hank Mobley, who suffered some of the same treatment as Dorham by the critical establishment. Kenny Drew is on piano, Paul Chambers is on bass and the great drummer, Philly Joe Jones drives the band with taste and swing. The album was recorded by Blue Note in January 1961 and not only has great playing by all concerned but displays seven very interesting compositions by Kenny, showing his knack for writing. "Whistle Stop" is a classic and stands at the top of choice recordings by this gifted musician.

Trumpeter, Kenny Dorham was called "the uncrowned king" by drummer Art Blakey and it was indeed true. Kenny was a musician's musician and always seemed overshadowed by others. In the 40's it was Dizzy, Miles and Fats Navarro from his generation and in the 50's it was Chet Baker and Clifford Brown who got the critical acclaim and in the 60's the attention was upon Donald Byrd, Lee Morgan and Freddie Hubbard. It was Kenny Dorham's lot to always be an also-ran. Musicians knew his value and immense talent but the critical fraternity overlooked Dorham. He was a nice man who put music first and was ego free and modest. Perhaps this was the reason for his position in the Jazz life. Dorham was not only and talented trumpeter but played fine piano and sang and was a fine composer. It was only after his passing in December of 1972 that his value began to be recognized.......a sad story in the Jazz world. The Feature is one of Dorham's great recordings and rather than record one of the bands he was leading at the time, Kenny picked an all-star group of his favourite players including tenor saxophonist Hank Mobley, who suffered some of the same treatment as Dorham by the critical establishment. Kenny Drew is on piano, Paul Chambers is on bass and the great drummer, Philly Joe Jones drives the band with taste and swing. The album was recorded by Blue Note in January 1961 and not only has great playing by all concerned but displays seven very interesting compositions by Kenny, showing his knack for writing. "Whistle Stop" is a classic and stands at the top of choice recordings by this gifted musician.

http://playlist.citr.ca/podcasting/audio/20090309-210500-to-20090310-000400.mp3CiTR 101.9 VancouvernoTrumpeter/composer Kenny Dorham:"Whistle Stop".CiTR 101.9 VancouverTrumpeter/composer Kenny Dorham:"Whistle Stop".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/-Ug2xgfsWss/20090309-210500-to-20090310-000400.mp3http://playlist.citr.ca/podcasting/audio/20090309-210500-to-20090310-000400.mp3 Mon, 02 Mar 2009 21:09:00 -0800 Tenor saxophonist/composer John Coltrane:"Blue Train".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/TCL92-8j3uQ" height="1" width="1"/> Tenor saxophonist/composer John Coltrane:"Blue Train". This classic begins The Jazz Show's tribute to the 70th anniversary of Blue Note Records. This album has been written about so extensively that it needs no elaboration here. This was Mr. Coltrane's only recording for Blue Note under his name and he was given carte blanche to pick his musicians and as was Blue Note's policy......paid rehearsals before recording the tunes. Coltrane wrote four of the five compositions and played a beautiful standard, Kern and Mercer's "I'm Old Fashioned". The band consisted of Coltrane on tenor saxophone with the young 19 year old Lee Morgan (who almost steals the show on the title track), Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass and the great Philly Joe Jones on drums. An overused word to be sure but a classic is the only way to describe this session.

This classic begins The Jazz Show's tribute to the 70th anniversary of Blue Note Records. This album has been written about so extensively that it needs no elaboration here. This was Mr. Coltrane's only recording for Blue Note under his name and he was given carte blanche to pick his musicians and as was Blue Note's policy......paid rehearsals before recording the tunes. Coltrane wrote four of the five compositions and played a beautiful standard, Kern and Mercer's "I'm Old Fashioned". The band consisted of Coltrane on tenor saxophone with the young 19 year old Lee Morgan (who almost steals the show on the title track), Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass and the great Philly Joe Jones on drums. An overused word to be sure but a classic is the only way to describe this session.

http://playlist.citr.ca/podcasting/audio/20090302-210900-to-20090303-000800.mp3CiTR 101.9 VancouvernoTenor saxophonist/composer John Coltrane:"Blue Train".CiTR 101.9 VancouverTenor saxophonist/composer John Coltrane:"Blue Train".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/TCL92-8j3uQ/20090302-210900-to-20090303-000800.mp3http://playlist.citr.ca/podcasting/audio/20090302-210900-to-20090303-000800.mp3 Mon, 16 Feb 2009 21:04:00 -0800 Alto saxophone master Lou Donaldson: "Lou Takes Off!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/b4G1h3qX4jE" height="1" width="1"/> Alto saxophone master Lou Donaldson: "Lou Takes Off!" This classic date shows alto saxophonist Lou Donaldson's deep bop roots. Lou surrounded himself with the cream of New York's young stars in this December 1957 date for Blue Note. Just four tunes and almost all first takes. Lou picked Donald Byrd on trumpet, Curtis Fuller on trombone, Sonny Clark on piano, Jamil Nasser(aka George Joyner) on bass and the always swinging Arthur Taylor on drums. Two bop standards: Parker's "Dewey Square" and Gillespie's "Groovin' High" plus a blues by Lou called "Strollin' In" and the up-tempo variant on Porter's "What Is This Thing Called Love" called "Sputnik". Lou at his boppin' best!

This classic date shows alto saxophonist Lou Donaldson's deep bop roots. Lou surrounded himself with the cream of New York's young stars in this December 1957 date for Blue Note. Just four tunes and almost all first takes. Lou picked Donald Byrd on trumpet, Curtis Fuller on trombone, Sonny Clark on piano, Jamil Nasser(aka George Joyner) on bass and the always swinging Arthur Taylor on drums. Two bop standards: Parker's "Dewey Square" and Gillespie's "Groovin' High" plus a blues by Lou called "Strollin' In" and the up-tempo variant on Porter's "What Is This Thing Called Love" called "Sputnik". Lou at his boppin' best!

http://playlist.citr.ca/podcasting/audio/20090216-210400-to-20090217-000300.mp3CiTR 101.9 VancouvernoAlto saxophone master Lou Donaldson: "Lou Takes Off!"CiTR 101.9 VancouverAlto saxophone master Lou Donaldson: "Lou Takes Off!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/b4G1h3qX4jE/20090216-210400-to-20090217-000300.mp3http://playlist.citr.ca/podcasting/audio/20090216-210400-to-20090217-000300.mp3 Mon, 09 Feb 2009 21:04:00 -0800 Pianist Bill Evans with Eddie Gomez(bass) and Philly Joe Jones(drums):"California Here I Come!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/_SGGhcMT0t8" height="1" width="1"/> Pianist Bill Evans with Eddie Gomez(bass) and Philly Joe Jones(drums):"California Here I Come!" This edition of the Bill Evans Trio is very special as it features his favourite drummer Philly Joe Jones, who was a part of Bill's working trio for a short time in 1967. Evans was usually introspective and romantic but Philly Joe brought out Bill's more outgoing characteristics and we hear a swinging, burning and happy Bill Evans on these tracks recorded in August of 1967 at New York's Village Vanguard. Anchoring the trio is the strong and virtuoso bassist Eddie Gomez. "California, Here I Come" was a very welcome re-issue from Verve in 2004 as it contains some prime Evans at his outgoing best.

This edition of the Bill Evans Trio is very special as it features his favourite drummer Philly Joe Jones, who was a part of Bill's working trio for a short time in 1967. Evans was usually introspective and romantic but Philly Joe brought out Bill's more outgoing characteristics and we hear a swinging, burning and happy Bill Evans on these tracks recorded in August of 1967 at New York's Village Vanguard. Anchoring the trio is the strong and virtuoso bassist Eddie Gomez. "California, Here I Come" was a very welcome re-issue from Verve in 2004 as it contains some prime Evans at his outgoing best.

http://playlist.citr.ca/podcasting/audio/20090209-210400-to-20090210-001000.mp3CiTR 101.9 VancouvernoPianist Bill Evans with Eddie Gomez(bass) and Philly Joe Jones(drums):"California Here I Come!"CiTR 101.9 VancouverPianist Bill Evans with Eddie Gomez(bass) and Philly Joe Jones(drums):"California Here I Come!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/_SGGhcMT0t8/20090209-210400-to-20090210-001000.mp3http://playlist.citr.ca/podcasting/audio/20090209-210400-to-20090210-001000.mp3 Mon, 02 Feb 2009 21:04:00 -0800 Tenor saxophone master Stan Getz and his 1953 Quintet with Bob Brookmeyer.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/UefeLf3stS4" height="1" width="1"/> Tenor saxophone master Stan Getz and his 1953 Quintet with Bob Brookmeyer. Of all the bands that tenor saxophone giant Stan Getz put together, this one is the least documented. It was formed in 1953 and worked on the East Coast but Stan bought a house in Los Angeles and took the band out there to play gigs in that area. They made three recording sessions for Norman Granz in July and August 1953 and we'll hear some of the results of those. They were first issued on Granz' Clef and Norgran labels as "Interpretations #1 #2 #3 by the Stan Getz Quinttet".The group consisted of Getz, Bob Brookmeyer on valve trombone, Johnny Williams, piano, Teddy Kotick on bass and the underrated drummer Frank Isola. Getz and Brookmeyer had a unique musical chemistry that allowed them to weave lines together and improvise collectively almost like a modern Dixieland band, Pianist Johnny Williams' contributions to this band are enormous as he plays with the stabbing intensity of Horace Silver and Russ Freeman but sounds like only himself. Bassist Teddy Kotick was Charlie Parker's favourite and Bird called Teddy..."my heartbeat". Frank Isola was a subtle and swinging drummer who kept everything light and very swinging. Jimmy Giuffre said that this quintet was Stan Getz' best band and you'll hear why. It broke up in the late Fall of 1953 because of a lack of work but Getz re-united it for his legendary Shrine Auditorium concert in November 1954.

Of all the bands that tenor saxophone giant Stan Getz put together, this one is the least documented. It was formed in 1953 and worked on the East Coast but Stan bought a house in Los Angeles and took the band out there to play gigs in that area. They made three recording sessions for Norman Granz in July and August 1953 and we'll hear some of the results of those. They were first issued on Granz' Clef and Norgran labels as "Interpretations #1 #2 #3 by the Stan Getz Quinttet".The group consisted of Getz, Bob Brookmeyer on valve trombone, Johnny Williams, piano, Teddy Kotick on bass and the underrated drummer Frank Isola. Getz and Brookmeyer had a unique musical chemistry that allowed them to weave lines together and improvise collectively almost like a modern Dixieland band, Pianist Johnny Williams' contributions to this band are enormous as he plays with the stabbing intensity of Horace Silver and Russ Freeman but sounds like only himself. Bassist Teddy Kotick was Charlie Parker's favourite and Bird called Teddy..."my heartbeat". Frank Isola was a subtle and swinging drummer who kept everything light and very swinging. Jimmy Giuffre said that this quintet was Stan Getz' best band and you'll hear why. It broke up in the late Fall of 1953 because of a lack of work but Getz re-united it for his legendary Shrine Auditorium concert in November 1954.

http://playlist.citr.ca/podcasting/audio/20090202-210400-to-20090203-000800.mp3CiTR 101.9 VancouvernoTenor saxophone master Stan Getz and his 1953 Quintet with Bob Brookmeyer.CiTR 101.9 VancouverTenor saxophone master Stan Getz and his 1953 Quintet with Bob Brookmeyer.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/UefeLf3stS4/20090202-210400-to-20090203-000800.mp3http://playlist.citr.ca/podcasting/audio/20090202-210400-to-20090203-000800.mp3 Mon, 26 Jan 2009 21:00:00 -0800 The Kenny Clarke-Francy Boland Big Band:"Fellini 712". plus.".Live in Cologne".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/6PdQCv2UaC4" height="1" width="1"/> The Kenny Clarke-Francy Boland Big Band:"Fellini 712". plus.".Live in Cologne". The Kenny Clarke-Francy Boland Big Band was one of the great modern big bands. It's only rival was the Thad Jones-Mel Lewis Orchestra which was formed in 1966. The Clarke-Boland Big Band was formed in 1961 and lasted until 1972.It was made up of American ex-pats and European players. The co-leader, drummer Kenny Clarke was one of the pioneers of Modern Jazz and set the stage for all modern drummers to follow. He left the US for good in 1956 for a long and productive career in Europe until his passing in 1985. Boland was a Belgian who was a classically trained pianist and a great composer/arranger.Boland passed away in 2005. Clarke and Boland put their heads and talents together in this big band. They recorded many albums but sadly, never toured North America. One of their finest recordings was this three part suite called "Fellini 712" and is a tribute to the great film maker and the city of Rome which is 712 miles from the French border....hence the title. It's Boland's most complex work and is tonight's Feature. We've augmented the Feature with two live performances by the band as well, recorded in Cologne. Check out one of the finest big bands in Modern Jazz history.

The Kenny Clarke-Francy Boland Big Band was one of the great modern big bands. It's only rival was the Thad Jones-Mel Lewis Orchestra which was formed in 1966. The Clarke-Boland Big Band was formed in 1961 and lasted until 1972.It was made up of American ex-pats and European players. The co-leader, drummer Kenny Clarke was one of the pioneers of Modern Jazz and set the stage for all modern drummers to follow. He left the US for good in 1956 for a long and productive career in Europe until his passing in 1985. Boland was a Belgian who was a classically trained pianist and a great composer/arranger.Boland passed away in 2005. Clarke and Boland put their heads and talents together in this big band. They recorded many albums but sadly, never toured North America. One of their finest recordings was this three part suite called "Fellini 712" and is a tribute to the great film maker and the city of Rome which is 712 miles from the French border....hence the title. It's Boland's most complex work and is tonight's Feature. We've augmented the Feature with two live performances by the band as well, recorded in Cologne. Check out one of the finest big bands in Modern Jazz history.

http://playlist.citr.ca/podcasting/audio/20090126-210000-to-20090127-001000.mp3CiTR 101.9 VancouvernoThe Kenny Clarke-Francy Boland Big Band:"Fellini 712". plus.".Live in Cologne".CiTR 101.9 VancouverThe Kenny Clarke-Francy Boland Big Band:"Fellini 712". plus.".Live in Cologne".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/6PdQCv2UaC4/20090126-210000-to-20090127-001000.mp3http://playlist.citr.ca/podcasting/audio/20090126-210000-to-20090127-001000.mp3 Mon, 19 Jan 2009 21:08:00 -0800 Guitarist Ralph Towner: "Batik" with Eddie Gomez (bass) and Jack DeJohnette (drums).<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/qCPyBX42AVM" height="1" width="1"/> Guitarist Ralph Towner: "Batik" with Eddie Gomez (bass) and Jack DeJohnette (drums). This album by guitar virtuoso, Ralph Towner is once again in circulation by ECM Records. It's one of Towner's most impressive recordings as it features Ralph playing his own compositions with the amazing bassist Eddie Gomez and the always dynamic drums of Jack DeJohnette. Towner shines on classical and 12 string guitar and on one tune overdubs his fine piano playing as well. The music is haunting, hypnotic and spacy but dynamic as well and the compositions are memorable. Gomez and DeJohnette give the music an energy and pulse. "Batik" is a profound musical experience. Towner is still alive and well and currently living in Rome. This album is one of his musical highlights.

This album by guitar virtuoso, Ralph Towner is once again in circulation by ECM Records. It's one of Towner's most impressive recordings as it features Ralph playing his own compositions with the amazing bassist Eddie Gomez and the always dynamic drums of Jack DeJohnette. Towner shines on classical and 12 string guitar and on one tune overdubs his fine piano playing as well. The music is haunting, hypnotic and spacy but dynamic as well and the compositions are memorable. Gomez and DeJohnette give the music an energy and pulse. "Batik" is a profound musical experience. Towner is still alive and well and currently living in Rome. This album is one of his musical highlights.

http://playlist.citr.ca/podcasting/audio/20090119-210800-to-20090120-001500.mp3CiTR 101.9 VancouvernoGuitarist Ralph Towner: "Batik" with Eddie Gomez (bass) and Jack DeJohnette (drums).CiTR 101.9 VancouverGuitarist Ralph Towner: "Batik" with Eddie Gomez (bass) and Jack DeJohnette (drums).http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/qCPyBX42AVM/20090119-210800-to-20090120-001500.mp3http://playlist.citr.ca/podcasting/audio/20090119-210800-to-20090120-001500.mp3 Mon, 12 Jan 2009 21:04:00 -0800 Art Farmer:"Brass Shout"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Fx9Anjq8mwg" height="1" width="1"/> Art Farmer:"Brass Shout" Trumpeter Art Farmer is the nominal leader for this orchestra in that he solos on a few pieces and picked the all-brass orchestra from the great pool of top Jazz players in New York in 1959. The key to this session are the arrangements of Benny Golson. All the trumpets are featured, Farmer, young Lee Morgan and the great lead and solo trumpeter, Ernie Royal.Trombonists, Curtis Fuller and Jimmy Cleveland are heard soloing as well as the great voice of the French horn, Julius Watkins. Other horns augment the brass section including tuba and baritone horn. Pianist Bobby Timmons makes one appearance on his tune, "Moanin'". Bassist Percy Heath is a rock and the drum chores are divided between Elvin and Philly Joe Jones. All in all a solid and well crafted album that is a cut above the average blowing session that was so prevalent at the time. Kudos to Benny Golson for his fine arrangements.

Trumpeter Art Farmer is the nominal leader for this orchestra in that he solos on a few pieces and picked the all-brass orchestra from the great pool of top Jazz players in New York in 1959. The key to this session are the arrangements of Benny Golson. All the trumpets are featured, Farmer, young Lee Morgan and the great lead and solo trumpeter, Ernie Royal.Trombonists, Curtis Fuller and Jimmy Cleveland are heard soloing as well as the great voice of the French horn, Julius Watkins. Other horns augment the brass section including tuba and baritone horn. Pianist Bobby Timmons makes one appearance on his tune, "Moanin'". Bassist Percy Heath is a rock and the drum chores are divided between Elvin and Philly Joe Jones. All in all a solid and well crafted album that is a cut above the average blowing session that was so prevalent at the time. Kudos to Benny Golson for his fine arrangements.

http://playlist.citr.ca/podcasting/audio/20090112-210400-to-20090113-000800.mp3CiTR 101.9 VancouvernoArt Farmer:"Brass Shout"CiTR 101.9 VancouverArt Farmer:"Brass Shout"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Fx9Anjq8mwg/20090112-210400-to-20090113-000800.mp3http://playlist.citr.ca/podcasting/audio/20090112-210400-to-20090113-000800.mp3 Mon, 05 Jan 2009 21:04:00 -0800 Alto saxophonist/composer Arthur Blythe:"Lenox Avenue Breakdown"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/BGWrj6kkLwY" height="1" width="1"/> Alto saxophonist/composer Arthur Blythe:"Lenox Avenue Breakdown" This latter-day masterpiece by one of the most distinctive voices of the alto saxophone is the first Feature of the new year. Arthur Blythe is an extraordinary alto saxophonist and composer who while playing music with an 'edge' is also lyrical and accessible. Blythe can perform in any context but his own recordings are usually with unusual mixes, not your standard traditional setup with trumpet, alto, piano, bass and drums. Arthur works things differently and this recording, his debut for the major Columbia label, is unique in it's instrumentation. Blythe on alto saxophone, the great flute virtuoso, James Newton, James 'Blood' Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums and Guilherme Franco on percussion. Only four tunes comprise the album, all by Arthur Blythe. "Lenox Avenue Breakdown" stands as a modern classic and a great tribute to the originality of Arthur Blythe.

This latter-day masterpiece by one of the most distinctive voices of the alto saxophone is the first Feature of the new year. Arthur Blythe is an extraordinary alto saxophonist and composer who while playing music with an 'edge' is also lyrical and accessible. Blythe can perform in any context but his own recordings are usually with unusual mixes, not your standard traditional setup with trumpet, alto, piano, bass and drums. Arthur works things differently and this recording, his debut for the major Columbia label, is unique in it's instrumentation. Blythe on alto saxophone, the great flute virtuoso, James Newton, James 'Blood' Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums and Guilherme Franco on percussion. Only four tunes comprise the album, all by Arthur Blythe. "Lenox Avenue Breakdown" stands as a modern classic and a great tribute to the originality of Arthur Blythe.

http://playlist.citr.ca/podcasting/audio/20090105-210400-to-20090106-000800.mp3CiTR 101.9 VancouvernoAlto saxophonist/composer Arthur Blythe:"Lenox Avenue Breakdown"CiTR 101.9 VancouverAlto saxophonist/composer Arthur Blythe:"Lenox Avenue Breakdown"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/BGWrj6kkLwY/20090105-210400-to-20090106-000800.mp3http://playlist.citr.ca/podcasting/audio/20090105-210400-to-20090106-000800.mp3 Mon, 29 Dec 2008 21:06:00 -0800 Eric Dolphy:"Outward Bound"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/LA3MyEX9iLQ" height="1" width="1"/> Eric Dolphy:"Outward Bound" Multi-instrumentalist, Eric Dolphy's recording debut under his own name was a startling reminder of some of the changes that were taking place in Jazz in the late 50's and early 60's. Eric Dolphy seemed to come out of nowhere and in his short life was like a comet that streaked across the Jazz horizon. Eric was born in Los Angeles on June 20,1928 and died as a result of diabetes in Berlin on June 29,1964 at 36. Although he played other instruments his main voices were the alto saxophone, the flute and the bass clarinet. He had an individual concept on all his horns but his concept was always unmistakably Eric Dolphy. "Outward Bound" was Dolphy's debut record and he picked a great band. 22 year old Freddie Hubbard shares the front line with Eric and pianist Jaki Byard makes a strong impression. The rhythm section with big-toned bassist George Tucker and the redoubtable Roy Haynes on drums provides the pulse. Dolphy's original compositions are unique and the whole album, although rooted in tradition points the way to the future of Jazz in a positive way. This album is one of the most impressive debuts in Modern Jazz history.

Multi-instrumentalist, Eric Dolphy's recording debut under his own name was a startling reminder of some of the changes that were taking place in Jazz in the late 50's and early 60's. Eric Dolphy seemed to come out of nowhere and in his short life was like a comet that streaked across the Jazz horizon. Eric was born in Los Angeles on June 20,1928 and died as a result of diabetes in Berlin on June 29,1964 at 36. Although he played other instruments his main voices were the alto saxophone, the flute and the bass clarinet. He had an individual concept on all his horns but his concept was always unmistakably Eric Dolphy. "Outward Bound" was Dolphy's debut record and he picked a great band. 22 year old Freddie Hubbard shares the front line with Eric and pianist Jaki Byard makes a strong impression. The rhythm section with big-toned bassist George Tucker and the redoubtable Roy Haynes on drums provides the pulse. Dolphy's original compositions are unique and the whole album, although rooted in tradition points the way to the future of Jazz in a positive way. This album is one of the most impressive debuts in Modern Jazz history.

http://playlist.citr.ca/podcasting/audio/20081229-210600-to-20081230-000800.mp3CiTR 101.9 VancouvernoEric Dolphy:"Outward Bound"CiTR 101.9 VancouverEric Dolphy:"Outward Bound"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/LA3MyEX9iLQ/20081229-210600-to-20081230-000800.mp3http://playlist.citr.ca/podcasting/audio/20081229-210600-to-20081230-000800.mp3 Mon, 22 Dec 2008 21:06:00 -0800 The Miles Davis All-Stars: Christmas Eve 1954: "The Bags' Groove Session."<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/I3llB7nYziY" height="1" width="1"/> The Miles Davis All-Stars: Christmas Eve 1954: "The Bags' Groove Session." This immortal all-star session took place on Christmas Eve 1954. The date was nominally led by a newly revitalized Miles Davis who by early 1954 had shaken off the shackles of heroin addiction and began his rise to Jazz greatness. Bob Weinstock, the wily and feisty owner of Prestige Records offered Miles, who was under contract with the label, a date on Christmas Eve 1954 and asked Miles to pick the musicians. Weinstock suggested to Miles that it might be nice to record with members of the Modern Jazz Quartet, also under contract with Prestige. Miles was agreeable....Percy Heath, Kenny Clarke and Milt Jackson and John Lewis, who was Miles' close friend. Weinstock threw Miles a curveball and said 'no, not John or Horace Silver....Thelonious Monk". Davis said no, not Monk. Miles respected Monk and played his tunes but didn't like Monk's comping (backing). Weinstock said "no Monk, no date." Monk and Miles reached a compromise.....Monk would not back up Miles during his solos. The only exception to that was on Bemsha Swing, which is a Monk tune that Miles wanted to record. Monk laid down the law and said in effect that if Miles used his tune then Monk would back Miles and so it was. This is a classic date that has influenced Jazz listeners and musicians to this day. The first tune is Jackson's blues, "Bags' Groove" followed by Davis' "Swing Spring" then Monk's "Bemsha Swing" and finally the Gershwin standard, "The Man I Love'. Bags' Groove and The Man I Love both have two magnificent alternate takes. Tonight we hear the first takes of both and it's worth noting that Monk's solo on Bags' Groove is one of his most innovative and has been discussed by many musicians and musicologists for years. The spirit of Christmas runs through this session especially in the sound of Miles' trumpet and Jackson's bell-like vibes. Enjoy this annual Christmas treat,

This immortal all-star session took place on Christmas Eve 1954. The date was nominally led by a newly revitalized Miles Davis who by early 1954 had shaken off the shackles of heroin addiction and began his rise to Jazz greatness. Bob Weinstock, the wily and feisty owner of Prestige Records offered Miles, who was under contract with the label, a date on Christmas Eve 1954 and asked Miles to pick the musicians. Weinstock suggested to Miles that it might be nice to record with members of the Modern Jazz Quartet, also under contract with Prestige. Miles was agreeable....Percy Heath, Kenny Clarke and Milt Jackson and John Lewis, who was Miles' close friend. Weinstock threw Miles a curveball and said 'no, not John or Horace Silver....Thelonious Monk". Davis said no, not Monk. Miles respected Monk and played his tunes but didn't like Monk's comping (backing). Weinstock said "no Monk, no date." Monk and Miles reached a compromise.....Monk would not back up Miles during his solos. The only exception to that was on Bemsha Swing, which is a Monk tune that Miles wanted to record. Monk laid down the law and said in effect that if Miles used his tune then Monk would back Miles and so it was. This is a classic date that has influenced Jazz listeners and musicians to this day. The first tune is Jackson's blues, "Bags' Groove" followed by Davis' "Swing Spring" then Monk's "Bemsha Swing" and finally the Gershwin standard, "The Man I Love'. Bags' Groove and The Man I Love both have two magnificent alternate takes. Tonight we hear the first takes of both and it's worth noting that Monk's solo on Bags' Groove is one of his most innovative and has been discussed by many musicians and musicologists for years. The spirit of Christmas runs through this session especially in the sound of Miles' trumpet and Jackson's bell-like vibes. Enjoy this annual Christmas treat,

http://playlist.citr.ca/podcasting/audio/20081222-210600-to-20081223-000400.mp3CiTR 101.9 VancouvernoThe Miles Davis All-Stars: Christmas Eve 1954: "The Bags' Groove Session."CiTR 101.9 VancouverThe Miles Davis All-Stars: Christmas Eve 1954: "The Bags' Groove Session."http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/I3llB7nYziY/20081222-210600-to-20081223-000400.mp3http://playlist.citr.ca/podcasting/audio/20081222-210600-to-20081223-000400.mp3 Mon, 15 Dec 2008 21:04:00 -0800 Guitarist Grant Green:"Green Street."<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/u2p8Cg9CgE0" height="1" width="1"/> Guitarist Grant Green:"Green Street." When Grant Green first came on the international Jazz scene and signed, upon the recommendation of alto saxophonist Lou Donaldson, to Blue Note Records, the owner of the record company, Alfred Lyon, was unsure how to present Green. Green was a solid blues player and was well versed in bop and standards. Lyon featured Green in an organ trio context but Grant wanted and loved the more accoustic setting with piano, bass and drums or just bass and drums. Many of Green's albums in an accoustic setting were not released until his death at 43 in 1979. Our Feature album was released early in Grant's recording career and stands as one of his most personal recordings. It's called "Green Street" and has Grant playing with Ben Tucker on bass and Dave Bailey on drums. Three Green originals are presented along with two standards,"Alone Together" and one of the finest versions of Thelonious Monk's classic ballad, "'Round About Midnight." Pure unadulerated Grant Green.....visit Green Street tonight.

When Grant Green first came on the international Jazz scene and signed, upon the recommendation of alto saxophonist Lou Donaldson, to Blue Note Records, the owner of the record company, Alfred Lyon, was unsure how to present Green. Green was a solid blues player and was well versed in bop and standards. Lyon featured Green in an organ trio context but Grant wanted and loved the more accoustic setting with piano, bass and drums or just bass and drums. Many of Green's albums in an accoustic setting were not released until his death at 43 in 1979. Our Feature album was released early in Grant's recording career and stands as one of his most personal recordings. It's called "Green Street" and has Grant playing with Ben Tucker on bass and Dave Bailey on drums. Three Green originals are presented along with two standards,"Alone Together" and one of the finest versions of Thelonious Monk's classic ballad, "'Round About Midnight." Pure unadulerated Grant Green.....visit Green Street tonight.

http://playlist.citr.ca/podcasting/audio/20081215-210400-to-20081216-000500.mp3CiTR 101.9 VancouvernoGuitarist Grant Green:"Green Street."CiTR 101.9 VancouverGuitarist Grant Green:"Green Street."http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/u2p8Cg9CgE0/20081215-210400-to-20081216-000500.mp3http://playlist.citr.ca/podcasting/audio/20081215-210400-to-20081216-000500.mp3 Mon, 08 Dec 2008 21:04:00 -0800 Tenor saxophonist/flutist/composer Yusef Lateef: "Before Dawn."<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/CWOqlUK6Wzc" height="1" width="1"/> Tenor saxophonist/flutist/composer Yusef Lateef: "Before Dawn." Yusef Lateef (born William Evans in Chattanooga, Tennessee and raised in Detroit) was 80 years old on October 9 2008 and is still teaching/lecturing and performing. Yusef really became prominent to the Jazz community in general when he expanded Cannonball Adderley's Quintet to a Sextet, adding his compositions, his flute and oboe and of course, his mighty tenor saxophone to the Adderley band. After leaving Adderley, he embarked on a career leading his own bands and recording for Impulse,Atlantic and his own label YAL Records.....YAL standing for Yusef Abdul Lateef. Before he settled in New York in 1960 he had led his own groups out of Detroit after graduating from Wayne State University in music. He worked as much as he wanted in the Motor City and came to New York to play the odd engagement but mostly to record for the Savoy,Prestige and New Jazz labels. His one album for Norman Granz' Verve label is tonight's Feature and it's one of Yusef's early triumphs. The recording became a valued collector's item as it was only issued once. It saw CD release in 1998 but is no longer available as it was a limited edition release. This fine recording has Mr. Lateef on mostly tenor saxophone and on one track on flute. Curtis Fuller is on trombone, the late, underrated pianist is Hugh Lawson,Ernie Farrow is on bass and Louis Hayes, all of 19 years old, is on drums. All, save for one tune by Charlie Parker, are by Lateef and show his wide range of expression. The album is a minor classic and should be re-issued again.

Yusef Lateef (born William Evans in Chattanooga, Tennessee and raised in Detroit) was 80 years old on October 9 2008 and is still teaching/lecturing and performing. Yusef really became prominent to the Jazz community in general when he expanded Cannonball Adderley's Quintet to a Sextet, adding his compositions, his flute and oboe and of course, his mighty tenor saxophone to the Adderley band. After leaving Adderley, he embarked on a career leading his own bands and recording for Impulse,Atlantic and his own label YAL Records.....YAL standing for Yusef Abdul Lateef. Before he settled in New York in 1960 he had led his own groups out of Detroit after graduating from Wayne State University in music. He worked as much as he wanted in the Motor City and came to New York to play the odd engagement but mostly to record for the Savoy,Prestige and New Jazz labels. His one album for Norman Granz' Verve label is tonight's Feature and it's one of Yusef's early triumphs. The recording became a valued collector's item as it was only issued once. It saw CD release in 1998 but is no longer available as it was a limited edition release. This fine recording has Mr. Lateef on mostly tenor saxophone and on one track on flute. Curtis Fuller is on trombone, the late, underrated pianist is Hugh Lawson,Ernie Farrow is on bass and Louis Hayes, all of 19 years old, is on drums. All, save for one tune by Charlie Parker, are by Lateef and show his wide range of expression. The album is a minor classic and should be re-issued again.

http://playlist.citr.ca/podcasting/audio/20081208-210400-to-20081209-000400.mp3CiTR 101.9 VancouvernoTenor saxophonist/flutist/composer Yusef Lateef: "Before Dawn."CiTR 101.9 VancouverTenor saxophonist/flutist/composer Yusef Lateef: "Before Dawn."http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/CWOqlUK6Wzc/20081208-210400-to-20081209-000400.mp3http://playlist.citr.ca/podcasting/audio/20081208-210400-to-20081209-000400.mp3 Mon, 01 Dec 2008 21:05:00 -0800 Dizzy Gillespie with the Sonny's: Rollins & Stitt: "Sonny Side Up"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/0_wrojTxaq4" height="1" width="1"/> Dizzy Gillespie with the Sonny's: Rollins & Stitt: "Sonny Side Up" Dizzy Gillespie was not only a great Jazz pioneer and an extraordinary trumpet player, composer, percussionist, band leader and excellent scat singer but a great musical catalyst who understood musical situations and he understood the competitive spirit of tenor saxophonist Sonny Stitt who is paired with the younger titan of the tenor, Sonny Rollins. Both musicians inspire Gillespie to reach beyond himself. Dizzy's rhythm section composed of Ray Bryant on piano, brother Tommy on bass and Charli Persip on drums. Only four selections are on this 1957 recording but it stands as one of those magical moments in Jazz history when everything came together in the studio. The performances are electric and the atmosphere crackles like a legendary after-hour session in some small club. "Sonny Side Up" is a classic and should be essential listening for anyone involved with Jazz.

Dizzy Gillespie was not only a great Jazz pioneer and an extraordinary trumpet player, composer, percussionist, band leader and excellent scat singer but a great musical catalyst who understood musical situations and he understood the competitive spirit of tenor saxophonist Sonny Stitt who is paired with the younger titan of the tenor, Sonny Rollins. Both musicians inspire Gillespie to reach beyond himself. Dizzy's rhythm section composed of Ray Bryant on piano, brother Tommy on bass and Charli Persip on drums. Only four selections are on this 1957 recording but it stands as one of those magical moments in Jazz history when everything came together in the studio. The performances are electric and the atmosphere crackles like a legendary after-hour session in some small club. "Sonny Side Up" is a classic and should be essential listening for anyone involved with Jazz.

http://playlist.citr.ca/podcasting/audio/20081201-210500-to-20081202-000100.mp3CiTR 101.9 VancouvernoDizzy Gillespie with the Sonny's: Rollins & Stitt: "Sonny Side Up"CiTR 101.9 VancouverDizzy Gillespie with the Sonny's: Rollins & Stitt: "Sonny Side Up"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/0_wrojTxaq4/20081201-210500-to-20081202-000100.mp3http://playlist.citr.ca/podcasting/audio/20081201-210500-to-20081202-000100.mp3 Mon, 24 Nov 2008 21:03:00 -0800 Stan Getz with compositions by Eddie Sauter: "Focus"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/H73me9mNJjQ" height="1" width="1"/> Stan Getz with compositions by Eddie Sauter: "Focus" This album was Stan Getz' pride and joy. The great tenor saxophonist had returned to the USA from a long stay in Europe in 1961 and found himself yesterday's man. The face of Jazz was changing and the music of Ornette Coleman, Eric Dolphy and John Coltrane had become predominant and to add to Getz' woes, Sonny Rollins had returned to active playing after a sabbatical. Getz led a fine quartet with pianist Steve Kuhn, drummer Roy Haynes and when available, bassist Scott La Faro but the audiences were thin and his return was greeted with luke warmth. Getz was looking for something new and he found it. He asked arranger/composer, Eddie Sauter to write something for him and what Sauter did was write actual compositions for a string section that even without Getz could stand on their own. After some very difficult rehearsals Getz asked Sauter if he could have a tape of all the compositions and he would study them, Once Getz had digested the music they had a dress rehearsal and Getz simply imrovised over the set pieces and it worked! Several recording sessions were scheduled and this album was made. This is far above any other recording of a soloist with strings and stands as a monument of innovation on the part of Sauter and Getz. "Focus" is Getz' masterpiece and a tribute to his great lyrical artistry. Years later he was asked to reprise this music at Lincoln Centre in the mid 1980's but he refused and said that the perfection of the original recording could never be duplicated. The Jazz Show is proud to present 'Focus' as The Jazz feature tonight.

This album was Stan Getz' pride and joy. The great tenor saxophonist had returned to the USA from a long stay in Europe in 1961 and found himself yesterday's man. The face of Jazz was changing and the music of Ornette Coleman, Eric Dolphy and John Coltrane had become predominant and to add to Getz' woes, Sonny Rollins had returned to active playing after a sabbatical. Getz led a fine quartet with pianist Steve Kuhn, drummer Roy Haynes and when available, bassist Scott La Faro but the audiences were thin and his return was greeted with luke warmth. Getz was looking for something new and he found it. He asked arranger/composer, Eddie Sauter to write something for him and what Sauter did was write actual compositions for a string section that even without Getz could stand on their own. After some very difficult rehearsals Getz asked Sauter if he could have a tape of all the compositions and he would study them, Once Getz had digested the music they had a dress rehearsal and Getz simply imrovised over the set pieces and it worked! Several recording sessions were scheduled and this album was made. This is far above any other recording of a soloist with strings and stands as a monument of innovation on the part of Sauter and Getz. "Focus" is Getz' masterpiece and a tribute to his great lyrical artistry. Years later he was asked to reprise this music at Lincoln Centre in the mid 1980's but he refused and said that the perfection of the original recording could never be duplicated. The Jazz Show is proud to present 'Focus' as The Jazz feature tonight.

http://playlist.citr.ca/podcasting/audio/20081124-210300-to-20081125-000100.mp3CiTR 101.9 VancouvernoStan Getz with compositions by Eddie Sauter: "Focus"CiTR 101.9 VancouverStan Getz with compositions by Eddie Sauter: "Focus"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/H73me9mNJjQ/20081124-210300-to-20081125-000100.mp3http://playlist.citr.ca/podcasting/audio/20081124-210300-to-20081125-000100.mp3 Mon, 17 Nov 2008 21:02:00 -0800 The Art Blakey Quintet: with Clifford Brown: "A Night at Birdland"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/rK3RP3CArxU" height="1" width="1"/> The Art Blakey Quintet: with Clifford Brown: "A Night at Birdland" This is some of the best live music ever recorded....fresh and raw...vital with a street sense that is lacking in much of today's Jazz. This music is the real deal! The great drummer,Art Blakey was the virtual 'house' drummer at Birdland in New York...."The Jazz Corner of the World"....Blakey played and backed everyone of importance. He occasionally was asked to put together a band himself and this is what happened here. Blakey brought in the young 23 year old trumpet sensation, Clifford Brown, along with Lou Donaldson on alto saxophone plus Horace Silver on piano and Dillon 'Curly" Russell on bass. Shortly into their two week gig, Blue Note captured this group on the night of February 21, 1954 and released two volumes of spirited music that combines swing and the energy of the streets of New York. Years later more music from this date was discovered and eventually released on two CD's.....this is classic and timeless music.

This is some of the best live music ever recorded....fresh and raw...vital with a street sense that is lacking in much of today's Jazz. This music is the real deal! The great drummer,Art Blakey was the virtual 'house' drummer at Birdland in New York...."The Jazz Corner of the World"....Blakey played and backed everyone of importance. He occasionally was asked to put together a band himself and this is what happened here. Blakey brought in the young 23 year old trumpet sensation, Clifford Brown, along with Lou Donaldson on alto saxophone plus Horace Silver on piano and Dillon 'Curly" Russell on bass. Shortly into their two week gig, Blue Note captured this group on the night of February 21, 1954 and released two volumes of spirited music that combines swing and the energy of the streets of New York. Years later more music from this date was discovered and eventually released on two CD's.....this is classic and timeless music.

http://playlist.citr.ca/podcasting/audio/20081117-210200-to-20081118-000100.mp3CiTR 101.9 VancouvernoThe Art Blakey Quintet: with Clifford Brown: "A Night at Birdland"CiTR 101.9 VancouverThe Art Blakey Quintet: with Clifford Brown: "A Night at Birdland"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/rK3RP3CArxU/20081117-210200-to-20081118-000100.mp3http://playlist.citr.ca/podcasting/audio/20081117-210200-to-20081118-000100.mp3 Mon, 10 Nov 2008 21:05:00 -0800 The Duke Ellington Orchestra: "The Far East Suite".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/gjv4NsEUyWE" height="1" width="1"/> The Duke Ellington Orchestra: "The Far East Suite". One of Ellington's pivotal and innovative recordings that came out of a tour of the Middle East in cities like Baghdad, Isfahan, Damascus, Tehran, Kabul, Beirut, Calcutta, New Delhi etc. and into the far east culminating in Japan was this one called "The Far East Suite". Can you imagine an American orchestra playing in some of these cities today? Ellington and his alter ego, Billy Strayhorn absorbed some of the folk music that they heard in their travels and created these compositions that make up this modern and compelling recording, one of Ellington's finest. All the major soloists were still alive when this was recorded in December 1966. You'll hear Johnny Hodges, Paul Gonsalves, Cootie Williams, Jimmy Hamilton (clarinet), Harry Carney and the master himself on piano, the one and only Edward Kennedy Ellington.

One of Ellington's pivotal and innovative recordings that came out of a tour of the Middle East in cities like Baghdad, Isfahan, Damascus, Tehran, Kabul, Beirut, Calcutta, New Delhi etc. and into the far east culminating in Japan was this one called "The Far East Suite". Can you imagine an American orchestra playing in some of these cities today? Ellington and his alter ego, Billy Strayhorn absorbed some of the folk music that they heard in their travels and created these compositions that make up this modern and compelling recording, one of Ellington's finest. All the major soloists were still alive when this was recorded in December 1966. You'll hear Johnny Hodges, Paul Gonsalves, Cootie Williams, Jimmy Hamilton (clarinet), Harry Carney and the master himself on piano, the one and only Edward Kennedy Ellington.

http://playlist.citr.ca/podcasting/audio/20081110-210500-to-20081111-000400.mp3CiTR 101.9 VancouvernoThe Duke Ellington Orchestra: "The Far East Suite".CiTR 101.9 VancouverThe Duke Ellington Orchestra: "The Far East Suite".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/gjv4NsEUyWE/20081110-210500-to-20081111-000400.mp3http://playlist.citr.ca/podcasting/audio/20081110-210500-to-20081111-000400.mp3 Mon, 03 Nov 2008 21:00:00 -0800 Bassist/composer Charles Mingus:"Mingus Presents Mingus"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/DXNiUbChbRg" height="1" width="1"/> Bassist/composer Charles Mingus:"Mingus Presents Mingus" Recorded on Oct. 20,1960 with just a quartet with Charles Mingus on bass leading Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums, this date was done with the studio lights turned down and with Mingus announcing the tunes as if they were in a club. This was the last hurrah for this quartet as Dolphy and Curson had given their notice to Mingus. They agreed to make this last recording and played for their lives. This is one of Charles Mingus' most important recordings and a pivotal one in his varied career.

Recorded on Oct. 20,1960 with just a quartet with Charles Mingus on bass leading Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums, this date was done with the studio lights turned down and with Mingus announcing the tunes as if they were in a club. This was the last hurrah for this quartet as Dolphy and Curson had given their notice to Mingus. They agreed to make this last recording and played for their lives. This is one of Charles Mingus' most important recordings and a pivotal one in his varied career.

http://playlist.citr.ca/podcasting/audio/20081103-210000-to-20081104-000400.mp3CiTR 101.9 VancouvernoBassist/composer Charles Mingus:"Mingus Presents Mingus"CiTR 101.9 VancouverBassist/composer Charles Mingus:"Mingus Presents Mingus"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/DXNiUbChbRg/20081103-210000-to-20081104-000400.mp3http://playlist.citr.ca/podcasting/audio/20081103-210000-to-20081104-000400.mp3 Mon, 27 Oct 2008 21:05:00 -0700 Pianist/composer Thelonious Monk: "Brilliant Corners".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/irhBdwpiPN0" height="1" width="1"/> Pianist/composer Thelonious Monk: "Brilliant Corners". This is one of Monk's most important recordings and set the stage for his return to the forefront of Jazz. In the early 50's Monk, although his recordings for Blue Note and Prestige are now classics, was brushed aside by the forces in Jazz and didn't work very much. He was generally dismissed as a mildly interesting eccentric...nothing more. He did, however have a small following among musicians and fans. It wasn't until Orrin Keepnews, one of the owners of Riverside Records, bought out Monk's contract from Prestige and established a trusting relationship with Thelonious. Keepnews recorded two fine trio albums, the first being all Duke Ellington tunes and the second an album of Monk selected standards. They sold reasonably well and people began to take notice of this neglected genius. The third album is tonight's Feature....and it's the 'real deal'. Monk's music played by a band of his favourite players including Sonny Rollins,Max Roach, Oscar Pettiford and the great unheralded alto saxophonist Ernie Henry. One tune features Clark Terry, Monk's good friend and one of his favourite trumpet players. One tune is a piano solo on a standard (I Surrender Dear) done in one take. This album called "Brilliant Corners" brought Monk back from obscurity and was the beginning of his ascent to greatness....his work permit was granted to play in New York clubs and his quartet with John Coltrane was right around the corner.....the rest as they say is history.

This is one of Monk's most important recordings and set the stage for his return to the forefront of Jazz. In the early 50's Monk, although his recordings for Blue Note and Prestige are now classics, was brushed aside by the forces in Jazz and didn't work very much. He was generally dismissed as a mildly interesting eccentric...nothing more. He did, however have a small following among musicians and fans. It wasn't until Orrin Keepnews, one of the owners of Riverside Records, bought out Monk's contract from Prestige and established a trusting relationship with Thelonious. Keepnews recorded two fine trio albums, the first being all Duke Ellington tunes and the second an album of Monk selected standards. They sold reasonably well and people began to take notice of this neglected genius. The third album is tonight's Feature....and it's the 'real deal'. Monk's music played by a band of his favourite players including Sonny Rollins,Max Roach, Oscar Pettiford and the great unheralded alto saxophonist Ernie Henry. One tune features Clark Terry, Monk's good friend and one of his favourite trumpet players. One tune is a piano solo on a standard (I Surrender Dear) done in one take. This album called "Brilliant Corners" brought Monk back from obscurity and was the beginning of his ascent to greatness....his work permit was granted to play in New York clubs and his quartet with John Coltrane was right around the corner.....the rest as they say is history.

http://playlist.citr.ca/podcasting/audio/20081027-210500-to-20081028-001100.mp3CiTR 101.9 VancouvernoPianist/composer Thelonious Monk: "Brilliant Corners".CiTR 101.9 VancouverPianist/composer Thelonious Monk: "Brilliant Corners".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/irhBdwpiPN0/20081027-210500-to-20081028-001100.mp3http://playlist.citr.ca/podcasting/audio/20081027-210500-to-20081028-001100.mp3 Mon, 13 Oct 2008 21:05:00 -0700 Vibraphonist/composer Teddy Charles: "The Teddy Charles Tentet".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/qq85ZhgcZ14" height="1" width="1"/> Vibraphonist/composer Teddy Charles: "The Teddy Charles Tentet". Although not exactly a household name, vibist/composer Teddy Charles was one of the most important musicians in the 1950's. He was at the forefront of cutting edge Jazz as a musician, bandleader, producer and a.& r man for various record labels. Teddy came through the last era of the big bands and in 1952 formed his New Directions Quartet and went on to working with his close friend, the mercurial bassist Charles Mingus in the Jazz Composer's Workshop. Teddy's triumph is our Feature for tonight: The Teddy Charles Tentet. This band with a few changes in personal was together for a couple of years and scored triumphs at the 1955 and 1956 Newport Jazz Festivals. The Tentet has only one instrument of it's kind so the solos are easily identifiable and some of the players are Art Farmer on trumpet, J.R.Monterose on tenor saxophone, Gigi Gryce on alto, Jimmy Raney on guitar, Mal Waldron on piano and Charles on vibes. Teddy featured not only his compositions but those of George Russell, Waldron, Jimmy Giuffre, and Gil Evans. "The Teddy Charles Tentet" is indeed a classic and a one of a kind recording that combines improvisation and composition in equal parts.

Although not exactly a household name, vibist/composer Teddy Charles was one of the most important musicians in the 1950's. He was at the forefront of cutting edge Jazz as a musician, bandleader, producer and a.& r man for various record labels. Teddy came through the last era of the big bands and in 1952 formed his New Directions Quartet and went on to working with his close friend, the mercurial bassist Charles Mingus in the Jazz Composer's Workshop. Teddy's triumph is our Feature for tonight: The Teddy Charles Tentet. This band with a few changes in personal was together for a couple of years and scored triumphs at the 1955 and 1956 Newport Jazz Festivals. The Tentet has only one instrument of it's kind so the solos are easily identifiable and some of the players are Art Farmer on trumpet, J.R.Monterose on tenor saxophone, Gigi Gryce on alto, Jimmy Raney on guitar, Mal Waldron on piano and Charles on vibes. Teddy featured not only his compositions but those of George Russell, Waldron, Jimmy Giuffre, and Gil Evans. "The Teddy Charles Tentet" is indeed a classic and a one of a kind recording that combines improvisation and composition in equal parts.

http://playlist.citr.ca/podcasting/audio/20081013-210500-to-20081014-000100.mp3CiTR 101.9 VancouvernoVibraphonist/composer Teddy Charles: "The Teddy Charles Tentet".CiTR 101.9 VancouverVibraphonist/composer Teddy Charles: "The Teddy Charles Tentet".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/qq85ZhgcZ14/20081013-210500-to-20081014-000100.mp3http://playlist.citr.ca/podcasting/audio/20081013-210500-to-20081014-000100.mp3 Mon, 06 Oct 2008 21:04:00 -0700 Tenor saxophonist/composer John Coltrane's pivotal album: "Giant Steps".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/X1x9rvGoXew" height="1" width="1"/> Tenor saxophonist/composer John Coltrane's pivotal album: "Giant Steps". John Coltrane's pivotal album "Giant Steps" recorded in May of 1959 with a hand picked band including Tommy Flanagan on piano,Paul Chambers on bass and Arthur Taylor on drums marked a summing up of what Coltrane was aiming for after playing with Miles Davis(twice) and Thelonious Monk and recording extensively as a sideman and leader. All of the compositions are his and he rarely played them after this recording with the exception of the beautiful "Naima"(this take was done at a different session with Wynton Kelly on piano and Jimmy Cobb on drums plus Chambers) and "Mr. P.C." a fast minor key blues (Coltrane's favourite form). Coltrane is at his peak on this date and this music is still being studied and played by young musicians to this day, A true classic.

John Coltrane's pivotal album "Giant Steps" recorded in May of 1959 with a hand picked band including Tommy Flanagan on piano,Paul Chambers on bass and Arthur Taylor on drums marked a summing up of what Coltrane was aiming for after playing with Miles Davis(twice) and Thelonious Monk and recording extensively as a sideman and leader. All of the compositions are his and he rarely played them after this recording with the exception of the beautiful "Naima"(this take was done at a different session with Wynton Kelly on piano and Jimmy Cobb on drums plus Chambers) and "Mr. P.C." a fast minor key blues (Coltrane's favourite form). Coltrane is at his peak on this date and this music is still being studied and played by young musicians to this day, A true classic.

http://playlist.citr.ca/podcasting/audio/20081006-210400-to-20081007-000700.mp3CiTR 101.9 VancouvernoTenor saxophonist/composer John Coltrane's pivotal album: "Giant Steps".CiTR 101.9 VancouverTenor saxophonist/composer John Coltrane's pivotal album: "Giant Steps".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/X1x9rvGoXew/20081006-210400-to-20081007-000700.mp3http://playlist.citr.ca/podcasting/audio/20081006-210400-to-20081007-000700.mp3 Mon, 29 Sep 2008 21:05:00 -0700 Vibraphonist Walt Dickerson: " Relativity"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Mz7T5dhhMk8" height="1" width="1"/> Vibraphonist Walt Dickerson: " Relativity" The late vibraphonist, Walt Dickerson, who was born in Philadelphia on April 16, 1928 and died on May 15, 2008 was an extraordinary musician who never compromised his music and remained true to his artistic muse. Dickerson's style is neither beholden to Lionel Hampton or the all-pervasive Milt Jackson but was influenced by saxophone players. Some critics called Dickerson "the Coltrane of the vibes" because of his sweeping style. Dickerson was gifted with impressive technique but was also a warm player. He achieved his 'sound' by various means.....use of the sustain pedal and by using mallets that had been stripped of the cloth around the heads. This album done with his favourite players including Philadelphia pianist Austin Crowe, Ahmed Abdul-Malik on bass and Andrew Cyrille on drums and was his third for the Prestige/New Jazz label It was recorded in January of 1962. Because of Dickerson's uncompromising attitude and artistic stance he was bypassed (after the initial favourable critical reception) by Gary Burton and Bobby Hutcherson but remained strong and committed. He recorded extensively for the Danish label, Steeplechase in the 70's and 80's and did everything from solo vibes to trios and quartets and duets with Sun Ra and bassist Richard Davis. Dickerson will be missed.

The late vibraphonist, Walt Dickerson, who was born in Philadelphia on April 16, 1928 and died on May 15, 2008 was an extraordinary musician who never compromised his music and remained true to his artistic muse. Dickerson's style is neither beholden to Lionel Hampton or the all-pervasive Milt Jackson but was influenced by saxophone players. Some critics called Dickerson "the Coltrane of the vibes" because of his sweeping style. Dickerson was gifted with impressive technique but was also a warm player. He achieved his 'sound' by various means.....use of the sustain pedal and by using mallets that had been stripped of the cloth around the heads. This album done with his favourite players including Philadelphia pianist Austin Crowe, Ahmed Abdul-Malik on bass and Andrew Cyrille on drums and was his third for the Prestige/New Jazz label It was recorded in January of 1962. Because of Dickerson's uncompromising attitude and artistic stance he was bypassed (after the initial favourable critical reception) by Gary Burton and Bobby Hutcherson but remained strong and committed. He recorded extensively for the Danish label, Steeplechase in the 70's and 80's and did everything from solo vibes to trios and quartets and duets with Sun Ra and bassist Richard Davis. Dickerson will be missed.

http://playlist.citr.ca/podcasting/audio/20080929-210500-to-20080930-000300.mp3CiTR 101.9 VancouvernoVibraphonist Walt Dickerson: " Relativity"CiTR 101.9 VancouverVibraphonist Walt Dickerson: " Relativity"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Mz7T5dhhMk8/20080929-210500-to-20080930-000300.mp3http://playlist.citr.ca/podcasting/audio/20080929-210500-to-20080930-000300.mp3 Mon, 22 Sep 2008 21:04:00 -0700 Maestro Leonard Bernstein; "What is Jazz?"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Qw5q4EMJbVA" height="1" width="1"/> Maestro Leonard Bernstein; "What is Jazz?" This famous recording is Part 2 of our "back to school" mode and an annual Feature on The Jazz Show. Bernstein, who loved, respected and understood Jazz presents an educational and entertaining study of this musical form. He talks about how it's put together with some musical examples provided by Bernstein, himself at the piano and some major players like Coleman Hawkins, Buck Clayton, Buster Bailey, Phil Woods, Miles Davis and many more. Even though this recording was done in the 1950's it is still an important educational document. Bernstein was an amazing communicator who could bring some of the complexities of music to the lay person. "What is Jazz?" is a classic and an essential recording for anybody with even the mildest interestin this great American art form called Jazz.

This famous recording is Part 2 of our "back to school" mode and an annual Feature on The Jazz Show. Bernstein, who loved, respected and understood Jazz presents an educational and entertaining study of this musical form. He talks about how it's put together with some musical examples provided by Bernstein, himself at the piano and some major players like Coleman Hawkins, Buck Clayton, Buster Bailey, Phil Woods, Miles Davis and many more. Even though this recording was done in the 1950's it is still an important educational document. Bernstein was an amazing communicator who could bring some of the complexities of music to the lay person. "What is Jazz?" is a classic and an essential recording for anybody with even the mildest interestin this great American art form called Jazz.

http://playlist.citr.ca/podcasting/audio/20080922-210400-to-20080923-000200.mp3CiTR 101.9 VancouvernoMaestro Leonard Bernstein; "What is Jazz?"CiTR 101.9 VancouverMaestro Leonard Bernstein; "What is Jazz?"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Qw5q4EMJbVA/20080922-210400-to-20080923-000200.mp3http://playlist.citr.ca/podcasting/audio/20080922-210400-to-20080923-000200.mp3 Mon, 15 Sep 2008 21:03:00 -0700 "An Introduction to Jazz": Narrated by Julian "Cannonball'Adderley.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/wyjPfBMS6z8" height="1" width="1"/> "An Introduction to Jazz": Narrated by Julian "Cannonball'Adderley. Julian Edwin Adderley was born in Tampa,Florida on September 15, 1928 and died of a stroke in Los Angeles on August 8,1975 just shy of his 47th birthday. Adderley was more than one of the great masters of the alto and later the soprano saxophone, he was a bandleader, educator and one of the greatest communicators in Jazz. The loss to the music upon his death was enormous as not only could his sound and style not be replaced but his spirit and his ability to transform even the squarest audiences into Jazz fans or at the very least Cannonball Adderley fans. Tonight's Feature was recorded in 1960 and is called "An Introduction to Jazz" and it takes one from the music's beginnings to 1960. It is still relevant and entertaining to listen to Mr. Adderley go over this music's history and it's a bit of a shame that he was never called upon to do an update into the 60's and 70's covering 'free Jazz' and 'fusion' etc. It would have been interesting to hear his assessment of those further developments. However we should be happy with what we have and appreciate Mr. Adderley's enormous contribution to this unique American art form.

Julian Edwin Adderley was born in Tampa,Florida on September 15, 1928 and died of a stroke in Los Angeles on August 8,1975 just shy of his 47th birthday. Adderley was more than one of the great masters of the alto and later the soprano saxophone, he was a bandleader, educator and one of the greatest communicators in Jazz. The loss to the music upon his death was enormous as not only could his sound and style not be replaced but his spirit and his ability to transform even the squarest audiences into Jazz fans or at the very least Cannonball Adderley fans. Tonight's Feature was recorded in 1960 and is called "An Introduction to Jazz" and it takes one from the music's beginnings to 1960. It is still relevant and entertaining to listen to Mr. Adderley go over this music's history and it's a bit of a shame that he was never called upon to do an update into the 60's and 70's covering 'free Jazz' and 'fusion' etc. It would have been interesting to hear his assessment of those further developments. However we should be happy with what we have and appreciate Mr. Adderley's enormous contribution to this unique American art form.

http://playlist.citr.ca/podcasting/audio/20080915-210300-to-20080916-000200.mp3CiTR 101.9 Vancouverno"An Introduction to Jazz": Narrated by Julian "Cannonball'Adderley.CiTR 101.9 Vancouver"An Introduction to Jazz": Narrated by Julian "Cannonball'Adderley.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/wyjPfBMS6z8/20080915-210300-to-20080916-000200.mp3http://playlist.citr.ca/podcasting/audio/20080915-210300-to-20080916-000200.mp3 Mon, 08 Sep 2008 21:00:00 -0700 The Don Pullen/George Adams Quartet: "Breakthrough!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/an-7kTF9l1s" height="1" width="1"/> The Don Pullen/George Adams Quartet: "Breakthrough!" This band was one of the most innovative and exciting groups of the 1980's. It's beginnings happened in what many consider to be Charles Mingus' last great band. In that band was tenor saxophonist/vocalist George Adams, pianist Don Pullen and of course, drummer Dannie Richmond plus trumpeter Jack Walrath and Mingus. Pullen left the Mingus band after a musical dispute with the leader and Adams left a while later to work with Gil Evans and McCoy Tyner, After Mingus' death in January 1979, Adams, Pullen and Richmond decided to form a band along with bassist Cameron Brown for tours and gigs. This became one of the most sought after bands of the 1980's. They recorded for various small European labels and finally with the release of tonight's Feature: "Breakthrough!" on Blue Note, their first domestically recorded album. One more followed, called "Song Everlasting" and that was it for Blue Note. The recordings were soon deleted and hard to find, yet this band always drew long line-ups at any place that they played. They continued to perform until the untimely death in 1988 of drummer Dannie Richmond. The two Blue Note albums are once again available on a Mosaic set at www.mosaicrecords.com. This recording captures some of the creativity and drive of this amazing band and The Jazz Show is proud to present this important document now that Adams, Pullen and Richmond are no longer with us.

This band was one of the most innovative and exciting groups of the 1980's. It's beginnings happened in what many consider to be Charles Mingus' last great band. In that band was tenor saxophonist/vocalist George Adams, pianist Don Pullen and of course, drummer Dannie Richmond plus trumpeter Jack Walrath and Mingus. Pullen left the Mingus band after a musical dispute with the leader and Adams left a while later to work with Gil Evans and McCoy Tyner, After Mingus' death in January 1979, Adams, Pullen and Richmond decided to form a band along with bassist Cameron Brown for tours and gigs. This became one of the most sought after bands of the 1980's. They recorded for various small European labels and finally with the release of tonight's Feature: "Breakthrough!" on Blue Note, their first domestically recorded album. One more followed, called "Song Everlasting" and that was it for Blue Note. The recordings were soon deleted and hard to find, yet this band always drew long line-ups at any place that they played. They continued to perform until the untimely death in 1988 of drummer Dannie Richmond. The two Blue Note albums are once again available on a Mosaic set at www.mosaicrecords.com. This recording captures some of the creativity and drive of this amazing band and The Jazz Show is proud to present this important document now that Adams, Pullen and Richmond are no longer with us.

http://playlist.citr.ca/podcasting/audio/20080908-210000-to-20080909-000000.mp3CiTR 101.9 VancouvernoThe Don Pullen/George Adams Quartet: "Breakthrough!"CiTR 101.9 VancouverThe Don Pullen/George Adams Quartet: "Breakthrough!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/an-7kTF9l1s/20080908-210000-to-20080909-000000.mp3http://playlist.citr.ca/podcasting/audio/20080908-210000-to-20080909-000000.mp3 Mon, 01 Sep 2008 21:01:00 -0700 The Duke Ellington Orchestra:"Concert in the Virgin Islands"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/1OAW3MSqVX4" height="1" width="1"/> The Duke Ellington Orchestra:"Concert in the Virgin Islands" This album is a bit of a misnomer as it was recorded in New York in the studio in March and April 1965, after the band had returned from a short(Ellington's first) to the West Indies. Duke and his alter-ego, Billy Strayhorn wrote some new material for the tour and it's heard here along with some standard Ellington fare. All of the compositions come from within Ellingtonia. The band is relaxed and happy and in creative form and all of the great soloists are playing at their best. They include Johnny Hodges on alto saxophone, Paul Gonsalves on tenor saxophone, Ray Nance on violin and trumpet, Cat Anderson and Cootie Williams on trumpets, Buster Cooper on trombone, Jimmy Hamilton on clarinet,Lawrence Brown on trombone and of course Ellington on piano, John Lamb on bass and Sam Woodyard on drums and others.This album may not rank with Ellington's masterpieces but it is very representative of how the band would sound on a regular gig on a good night. Duke Ellington forever!

This album is a bit of a misnomer as it was recorded in New York in the studio in March and April 1965, after the band had returned from a short(Ellington's first) to the West Indies. Duke and his alter-ego, Billy Strayhorn wrote some new material for the tour and it's heard here along with some standard Ellington fare. All of the compositions come from within Ellingtonia. The band is relaxed and happy and in creative form and all of the great soloists are playing at their best. They include Johnny Hodges on alto saxophone, Paul Gonsalves on tenor saxophone, Ray Nance on violin and trumpet, Cat Anderson and Cootie Williams on trumpets, Buster Cooper on trombone, Jimmy Hamilton on clarinet,Lawrence Brown on trombone and of course Ellington on piano, John Lamb on bass and Sam Woodyard on drums and others.This album may not rank with Ellington's masterpieces but it is very representative of how the band would sound on a regular gig on a good night. Duke Ellington forever!

http://playlist.citr.ca/podcasting/audio/20080901-210100-to-20080902-000000.mp3CiTR 101.9 VancouvernoThe Duke Ellington Orchestra:"Concert in the Virgin Islands"CiTR 101.9 VancouverThe Duke Ellington Orchestra:"Concert in the Virgin Islands"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/1OAW3MSqVX4/20080901-210100-to-20080902-000000.mp3http://playlist.citr.ca/podcasting/audio/20080901-210100-to-20080902-000000.mp3 Mon, 25 Aug 2008 21:00:00 -0700 The Carla Bley Band: "Social Studies".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/4VoEwtHXpcI" height="1" width="1"/> The Carla Bley Band: "Social Studies". Carla Bley has had one of the most interesting and varied careers in Jazz and improvised music.Composer, pianist, arranger and band leader, Bley was born in Oakland, California on May 11,1938. Ms.Bley is still very much with us and a vital force in music, playing duets with her present partner, electric bass virtuoso Steve Swallow and leading her band and playing her highly original music. Carla's influences are Jazz, classical, Latin and European cabaret music(think Weill and Brecht) all rolled into her own concept. Quirky and humerous and always interesting, her ideas are reflected on our Jazz Feature tonight, performed by her band, a nonet. The album was recorded for her own label, Watt, and it's called 'Social Studies'....it is one of her classics and one of her very best.

Carla Bley has had one of the most interesting and varied careers in Jazz and improvised music.Composer, pianist, arranger and band leader, Bley was born in Oakland, California on May 11,1938. Ms.Bley is still very much with us and a vital force in music, playing duets with her present partner, electric bass virtuoso Steve Swallow and leading her band and playing her highly original music. Carla's influences are Jazz, classical, Latin and European cabaret music(think Weill and Brecht) all rolled into her own concept. Quirky and humerous and always interesting, her ideas are reflected on our Jazz Feature tonight, performed by her band, a nonet. The album was recorded for her own label, Watt, and it's called 'Social Studies'....it is one of her classics and one of her very best.

http://playlist.citr.ca/podcasting/audio/20080825-210000-to-20080826-000100.mp3CiTR 101.9 VancouvernoThe Carla Bley Band: "Social Studies".CiTR 101.9 VancouverThe Carla Bley Band: "Social Studies".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/4VoEwtHXpcI/20080825-210000-to-20080826-000100.mp3http://playlist.citr.ca/podcasting/audio/20080825-210000-to-20080826-000100.mp3 Mon, 18 Aug 2008 21:01:00 -0700 Trumpeter Louis Smith: "Smithville"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/XU0IpcKKR3I" height="1" width="1"/> Trumpeter Louis Smith: "Smithville" The legendary Louis Smith was born in Memphis, Tennessee on May 20, 1931 and although felled by a stroke and not able to play anymore is still alive and teaching select students. Smith burst upon the New York scene in the late 50's and made two classic albums for Blue Note Records that were for years collector's items. When Blue Note released the newly discovered "Horace Silver Quintet Live at Newport 1958" with Louis Smith in the band, he replaced Art Farmer and was replaced by Blue Mitchell. The Horace Silver recording won all kinds of awards and once again put Louis Smith on the map. Smith's second and final recording for Blue Note called 'Smithville' is the Feature tonight. Mr. Smith picked a great band for this recording with Charlie Rouse(pre-Monk) on tenor saxophone, the legendary Sonny Clark on piano and the ideal rhythm section of Paul Chambers on bass and Arthur Taylor on drums. Smith plays originals and standards on this fine date which reflects the high artistic levels of Blue Note recordings from the late 50's.

The legendary Louis Smith was born in Memphis, Tennessee on May 20, 1931 and although felled by a stroke and not able to play anymore is still alive and teaching select students. Smith burst upon the New York scene in the late 50's and made two classic albums for Blue Note Records that were for years collector's items. When Blue Note released the newly discovered "Horace Silver Quintet Live at Newport 1958" with Louis Smith in the band, he replaced Art Farmer and was replaced by Blue Mitchell. The Horace Silver recording won all kinds of awards and once again put Louis Smith on the map. Smith's second and final recording for Blue Note called 'Smithville' is the Feature tonight. Mr. Smith picked a great band for this recording with Charlie Rouse(pre-Monk) on tenor saxophone, the legendary Sonny Clark on piano and the ideal rhythm section of Paul Chambers on bass and Arthur Taylor on drums. Smith plays originals and standards on this fine date which reflects the high artistic levels of Blue Note recordings from the late 50's.

http://playlist.citr.ca/podcasting/audio/20080818-210100-to-20080819-000300.mp3CiTR 101.9 VancouvernoTrumpeter Louis Smith: "Smithville"CiTR 101.9 VancouverTrumpeter Louis Smith: "Smithville"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/XU0IpcKKR3I/20080818-210100-to-20080819-000300.mp3http://playlist.citr.ca/podcasting/audio/20080818-210100-to-20080819-000300.mp3 Mon, 11 Aug 2008 21:01:00 -0700 Baritone Saxophone Master: Pepper Adams Quintet: "Conjuration": Live at Fat Tuesday's.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/7OgXeWBKd2k" height="1" width="1"/> Baritone Saxophone Master: Pepper Adams Quintet: "Conjuration": Live at Fat Tuesday's. Park "Pepper" Adams is without a doubt one of the great voices of the baritone saxophone. Adams rejected the softer approaches of Gerry Mulligan and Serge Chaloff and came to the instrument directly from Harry Carney and Leo Parker with a rich, muscular sound that earned Adams the nickname, "The Knife". He graced many bands, Mingus,Kenton,Lionel Hampton and the great Thad Jones-Mel Lewis Orchestra. Adams' concept with his great sound and vast harmonic knowledge made his solos almost sound like compositions in themselves. Pepper always swung hard and inspired those around him to drive the music forward. Pepper is heard tonight on an album recorded in August 1983 at "Fat Tuesday's" in New York with Canadian-born trumpeter Kenny Wheeler and an Adams' selected rhythm section with the great Hank Jones on piano, virtuoso bassist Clint Houston and Adams' Detroit buddy, Louis Hayes on drums. This fine quintet makes this album called "Conjuration" one of Pepper's finer later albums. Adams died of lung cancer on September 10, 1986 and the world lost one of the most individual and finest exponents of the baritone saxophone.

Park "Pepper" Adams is without a doubt one of the great voices of the baritone saxophone. Adams rejected the softer approaches of Gerry Mulligan and Serge Chaloff and came to the instrument directly from Harry Carney and Leo Parker with a rich, muscular sound that earned Adams the nickname, "The Knife". He graced many bands, Mingus,Kenton,Lionel Hampton and the great Thad Jones-Mel Lewis Orchestra. Adams' concept with his great sound and vast harmonic knowledge made his solos almost sound like compositions in themselves. Pepper always swung hard and inspired those around him to drive the music forward. Pepper is heard tonight on an album recorded in August 1983 at "Fat Tuesday's" in New York with Canadian-born trumpeter Kenny Wheeler and an Adams' selected rhythm section with the great Hank Jones on piano, virtuoso bassist Clint Houston and Adams' Detroit buddy, Louis Hayes on drums. This fine quintet makes this album called "Conjuration" one of Pepper's finer later albums. Adams died of lung cancer on September 10, 1986 and the world lost one of the most individual and finest exponents of the baritone saxophone.

http://playlist.citr.ca/podcasting/audio/20080811-210100-to-20080812-000400.mp3CiTR 101.9 VancouvernoBaritone Saxophone Master: Pepper Adams Quintet: "Conjuration": Live at Fat Tuesday's.CiTR 101.9 VancouverBaritone Saxophone Master: Pepper Adams Quintet: "Conjuration": Live at Fat Tuesday's.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/7OgXeWBKd2k/20080811-210100-to-20080812-000400.mp3http://playlist.citr.ca/podcasting/audio/20080811-210100-to-20080812-000400.mp3 Mon, 04 Aug 2008 21:03:00 -0700 Tenor saxophonist/composer Clifford Jordan:"Bearcat".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/S06zzdfYX-s" height="1" width="1"/> Tenor saxophonist/composer Clifford Jordan:"Bearcat". This most personal statement from this great Chicago-born tenor saxophonist, Clifford Jordan, is even more unique because all the tunes save for the standard, "How Deep is the Ocean?", and Tom McIntosh's tune "Malice Towards None" are all written by Jordan. His great sound and individual approach to the tenor is evident here, his high keening sound and blues inflected concept works beautifully. Jordan's main influence was Sonny Rollins but by the time of this recording in late 1961, Jordan was his own man. He's backed here by pianist Cedar Walton. They had met when they were a part of trombonist J.J.Johnson's short-lived sextet of 1960-61. Walton understands Jordan's bright clear ideas and is in tune with Jordan's rhythmic concept. The late Teddy Smith is on bass. Teddy had just arrived on the New York scene and worked very well with drummer J.C. Moses in providing a loose but very solid foundation for Jordan and Walton. This music is firm and rooted in Jazz tradition but has some new and wonderfully innovative properties as well and is an important statement by one of the finest tenor saxophonists to grace the planet.

This most personal statement from this great Chicago-born tenor saxophonist, Clifford Jordan, is even more unique because all the tunes save for the standard, "How Deep is the Ocean?", and Tom McIntosh's tune "Malice Towards None" are all written by Jordan. His great sound and individual approach to the tenor is evident here, his high keening sound and blues inflected concept works beautifully. Jordan's main influence was Sonny Rollins but by the time of this recording in late 1961, Jordan was his own man. He's backed here by pianist Cedar Walton. They had met when they were a part of trombonist J.J.Johnson's short-lived sextet of 1960-61. Walton understands Jordan's bright clear ideas and is in tune with Jordan's rhythmic concept. The late Teddy Smith is on bass. Teddy had just arrived on the New York scene and worked very well with drummer J.C. Moses in providing a loose but very solid foundation for Jordan and Walton. This music is firm and rooted in Jazz tradition but has some new and wonderfully innovative properties as well and is an important statement by one of the finest tenor saxophonists to grace the planet.

http://playlist.citr.ca/podcasting/audio/20080804-210300-to-20080805-000400.mp3CiTR 101.9 VancouvernoTenor saxophonist/composer Clifford Jordan:"Bearcat".CiTR 101.9 VancouverTenor saxophonist/composer Clifford Jordan:"Bearcat".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/S06zzdfYX-s/20080804-210300-to-20080805-000400.mp3http://playlist.citr.ca/podcasting/audio/20080804-210300-to-20080805-000400.mp3 Mon, 28 Jul 2008 21:02:00 -0700 The Ahmad Jamal Trio Live at The Pershing: January 1958.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/rZKao1xUdJc" height="1" width="1"/> The Ahmad Jamal Trio Live at The Pershing: January 1958. Pianist Ahmad Jamal is one of the major stylists and this trio with the underrated Israel Crosby on bass and Vernel Fournier on drums was one of Jamal's finest organizations. None other than Miles Davis loved Jamal and insisted that all of his pianists, Red Garland, Wynton Kelly, Herbie Hancock etc. listen to Jamal and learn about dynamics and the use of space from Ahmad. Israel Crosby was to Jamal what Scott LaFaro was to Bill Evans and although Crosby died young in 1962, people such as Ron Carter consider Crosby to be a major figure on the accoustic bass. Vernel Fournier brought taste and swing and that great "New Orleans" feel to Jamal's trio. Jamal's music is accessible and melodic and although some critics dismissed Jamal as a 'lightweight' they missed the whole point of Jamal's unique style which combined virtuosity, space and dynamics. Jamal, to this day is considered a genius by many and is still touring the world and delivering his musical message.

Pianist Ahmad Jamal is one of the major stylists and this trio with the underrated Israel Crosby on bass and Vernel Fournier on drums was one of Jamal's finest organizations. None other than Miles Davis loved Jamal and insisted that all of his pianists, Red Garland, Wynton Kelly, Herbie Hancock etc. listen to Jamal and learn about dynamics and the use of space from Ahmad. Israel Crosby was to Jamal what Scott LaFaro was to Bill Evans and although Crosby died young in 1962, people such as Ron Carter consider Crosby to be a major figure on the accoustic bass. Vernel Fournier brought taste and swing and that great "New Orleans" feel to Jamal's trio. Jamal's music is accessible and melodic and although some critics dismissed Jamal as a 'lightweight' they missed the whole point of Jamal's unique style which combined virtuosity, space and dynamics. Jamal, to this day is considered a genius by many and is still touring the world and delivering his musical message.

http://playlist.citr.ca/podcasting/audio/20080728-210200-to-20080729-000400.mp3CiTR 101.9 VancouvernoThe Ahmad Jamal Trio Live at The Pershing: January 1958.CiTR 101.9 VancouverThe Ahmad Jamal Trio Live at The Pershing: January 1958.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/rZKao1xUdJc/20080728-210200-to-20080729-000400.mp3http://playlist.citr.ca/podcasting/audio/20080728-210200-to-20080729-000400.mp3 Mon, 21 Jul 2008 21:00:00 -0700 Michael Brecker:"Pilgrimage" Michael Brecker's Final Recording.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/a8FWsDneQeg" height="1" width="1"/> Michael Brecker:"Pilgrimage" Michael Brecker's Final Recording. Michael Brecker's final recording was not one of a man who was in the throes of pain and death but was an affirmation of life. Pianist Herbie Hancock was the only musician on the date(he recorded four tracks) who was fully aware of Michael's health and the seriousness of his illness, which was MDS, the cause of leukemia which killed Brecker in January 2007. The other musicians involved were Brad Mehldau on four tracks, Pat Metheny on various guitars, John Patitucci on accoustic bass and the great Jack DeJohnette on drums. The recording was done at various sessions in August of 2006 and is full of life and energy. Brecker was not only a superior musician and one of the most influential tenor saxophonists of the last 35 years but a great human being. This is all reflected in this recording called "Pilgrimage". All the compositions performed are by Michael and they are a further testament to his greatness.

Michael Brecker's final recording was not one of a man who was in the throes of pain and death but was an affirmation of life. Pianist Herbie Hancock was the only musician on the date(he recorded four tracks) who was fully aware of Michael's health and the seriousness of his illness, which was MDS, the cause of leukemia which killed Brecker in January 2007. The other musicians involved were Brad Mehldau on four tracks, Pat Metheny on various guitars, John Patitucci on accoustic bass and the great Jack DeJohnette on drums. The recording was done at various sessions in August of 2006 and is full of life and energy. Brecker was not only a superior musician and one of the most influential tenor saxophonists of the last 35 years but a great human being. This is all reflected in this recording called "Pilgrimage". All the compositions performed are by Michael and they are a further testament to his greatness.

http://playlist.citr.ca/podcasting/audio/20080721-210000-to-20080722-000200.mp3CiTR 101.9 VancouvernoMichael Brecker:"Pilgrimage" Michael Brecker's Final Recording.CiTR 101.9 VancouverMichael Brecker:"Pilgrimage" Michael Brecker's Final Recording.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/a8FWsDneQeg/20080721-210000-to-20080722-000200.mp3http://playlist.citr.ca/podcasting/audio/20080721-210000-to-20080722-000200.mp3 Mon, 14 Jul 2008 21:01:00 -0700 Dizzy Gillespie with The Monterey Jazz Festival Orchestra under the direction of Walter 'Gil' Fuller.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/ln_dVXVQVlw" height="1" width="1"/> Dizzy Gillespie with The Monterey Jazz Festival Orchestra under the direction of Walter 'Gil' Fuller. Dizzy Gillespie always rose to the occasion when playing in front of a big band whether it was his own, a reunion band or like this one.....put together for a special occasion. Dizzy was selected as artist-in-residence at the 1965 edition of the Monterey Jazz Festival and this album was recorded in the studio ib June of 1965 to be sold at the Festival which was held in September. It marked a reunion with Dizzy and Walter 'Gil' Fuller. Fuller was a huge part of Dizzy's revolutionary big band of the 1940's and he wrote and arranged some of that band's tunes like "Things to Come", "One Bass Hit" etc. Fuller put together this big band called The Monterey Jazz Festival Orchestra by hiring some of the finest Jazz cum studio players in Los Angeles and wrote all of the arrangements and several of the compositions featured here. The band and the reunion with Fuller brought out the best in Dizzy and this album is now a classic.

Dizzy Gillespie always rose to the occasion when playing in front of a big band whether it was his own, a reunion band or like this one.....put together for a special occasion. Dizzy was selected as artist-in-residence at the 1965 edition of the Monterey Jazz Festival and this album was recorded in the studio ib June of 1965 to be sold at the Festival which was held in September. It marked a reunion with Dizzy and Walter 'Gil' Fuller. Fuller was a huge part of Dizzy's revolutionary big band of the 1940's and he wrote and arranged some of that band's tunes like "Things to Come", "One Bass Hit" etc. Fuller put together this big band called The Monterey Jazz Festival Orchestra by hiring some of the finest Jazz cum studio players in Los Angeles and wrote all of the arrangements and several of the compositions featured here. The band and the reunion with Fuller brought out the best in Dizzy and this album is now a classic.

http://playlist.citr.ca/podcasting/audio/20080714-210100-to-20080715-000300.mp3CiTR 101.9 VancouvernoDizzy Gillespie with The Monterey Jazz Festival Orchestra under the direction of Walter 'Gil' Fuller.CiTR 101.9 VancouverDizzy Gillespie with The Monterey Jazz Festival Orchestra under the direction of Walter 'Gil' Fuller.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/ln_dVXVQVlw/20080714-210100-to-20080715-000300.mp3http://playlist.citr.ca/podcasting/audio/20080714-210100-to-20080715-000300.mp3 Mon, 07 Jul 2008 21:01:00 -0700 Tenor saxophonist Charlie Rouse & trumpeter Red Rodney: "Social Call"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/l5LXyq1FMw8" height="1" width="1"/> Tenor saxophonist Charlie Rouse & trumpeter Red Rodney: "Social Call" Charlie Rouse, the underrated tenor saxophonist, was one of the great individual stylists on his horn and he rose to fame as Thelonious Monk's saxophonist. He was with Mr. Monk for eleven years. Red Rodney was with Charlie Parker for three years in the early 1950's. Rodney and Rouse joined up in 1984 for this fine session of good Jazz tunes and one standard. They picked an excellent rhythm section in the persons of the late Albert Dailey on piano, Cecil McBee on bass and a young Kenny Washington on drums. Trumpeter/arranger Don Sickler wrote some fine arrangements for the horns and made them sound like a 'working' band. Tunes by Tadd Dameron, Gigi Gryce and Miles Davis etc. make up the repertoir. "Social Call" is a minor classic by two great, legendary musicians.....Charlie Rouse and Red Rodney.

Charlie Rouse, the underrated tenor saxophonist, was one of the great individual stylists on his horn and he rose to fame as Thelonious Monk's saxophonist. He was with Mr. Monk for eleven years. Red Rodney was with Charlie Parker for three years in the early 1950's. Rodney and Rouse joined up in 1984 for this fine session of good Jazz tunes and one standard. They picked an excellent rhythm section in the persons of the late Albert Dailey on piano, Cecil McBee on bass and a young Kenny Washington on drums. Trumpeter/arranger Don Sickler wrote some fine arrangements for the horns and made them sound like a 'working' band. Tunes by Tadd Dameron, Gigi Gryce and Miles Davis etc. make up the repertoir. "Social Call" is a minor classic by two great, legendary musicians.....Charlie Rouse and Red Rodney.

http://playlist.citr.ca/podcasting/audio/20080707-210100-to-20080708-000200.mp3CiTR 101.9 VancouvernoTenor saxophonist Charlie Rouse & trumpeter Red Rodney: "Social Call"CiTR 101.9 VancouverTenor saxophonist Charlie Rouse & trumpeter Red Rodney: "Social Call"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/l5LXyq1FMw8/20080707-210100-to-20080708-000200.mp3http://playlist.citr.ca/podcasting/audio/20080707-210100-to-20080708-000200.mp3 Mon, 30 Jun 2008 20:05:00 -0700 Keith Jarrett/Gary Peacock/Jack DeJohnette:"Changes".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/1ghiFczwgpw" height="1" width="1"/> Keith Jarrett/Gary Peacock/Jack DeJohnette:"Changes". This group consisting of Keith Jarrett on piano, Gary Peacock on bass and Jack DeJohnette on drums is one of the most distinctive piano/bass/drum trios in the history of Jazz. Jarrett never calls this "The Keith Jarrett Trio" because, despite the fact that he is the leading voice, he feels that the other two are part of an organic whole. Tonight's Feature is the third recording done in January 1983 when this band did two albums of standards from The Great American Songbook then did a third album of free form music called "Changes". It is the latter that we'll hear tonight. It was at these 1983 sessions for ECM that the band came together and became permanent. The rest is history.

This group consisting of Keith Jarrett on piano, Gary Peacock on bass and Jack DeJohnette on drums is one of the most distinctive piano/bass/drum trios in the history of Jazz. Jarrett never calls this "The Keith Jarrett Trio" because, despite the fact that he is the leading voice, he feels that the other two are part of an organic whole. Tonight's Feature is the third recording done in January 1983 when this band did two albums of standards from The Great American Songbook then did a third album of free form music called "Changes". It is the latter that we'll hear tonight. It was at these 1983 sessions for ECM that the band came together and became permanent. The rest is history.

http://playlist.citr.ca/podcasting/audio/20080630-200500-to-20080701-000300.mp3CiTR 101.9 VancouvernoKeith Jarrett/Gary Peacock/Jack DeJohnette:"Changes".CiTR 101.9 VancouverKeith Jarrett/Gary Peacock/Jack DeJohnette:"Changes".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/1ghiFczwgpw/20080630-200500-to-20080701-000300.mp3http://playlist.citr.ca/podcasting/audio/20080630-200500-to-20080701-000300.mp3 Mon, 16 Jun 2008 21:02:00 -0700 The Dave Brubeck Quartet with Paul Desmond:"Jazz at Oberlin"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/TY72KHNLaTs" height="1" width="1"/> The Dave Brubeck Quartet with Paul Desmond:"Jazz at Oberlin" This earth shattering performance by pianist/bandleader Dave Brubeck's Quartet literally put Dave and his alto saxophonist Paul Desmond and the rest of the band on the Jazz map. This concert performed at Oberlin College in March of 1953 before an audience of mainly classical music students and faculty blew them away. It marked the beginning of Brubeck's pioneering efforts to tour colleges and universities throughout North America which opened up a whole new audience for pure, uncompromising Jazz as played by the Quartet. This recording caught the ears of the Jazz critics who although they always praised Desmond's work, were lukewarm to Brubeck.The ears of Columbia Records executive George Avakian were captured as well and Dave was lured away from Fantasy Records by the major label. Before long Brubeck and the Quartet was the most popular band in Jazz and a Time Magazine cover was soon in the offing. It all started with the release of 'Jazz at Oberlin". Brubeck and Desmond are accompanied by bassist Ron Crotty and drummer Lloyd Davis, who went on to become the lead percussionist of the San Francisco Symphony. Listen to the audience reaction to Brubeck's music by the young audience who had never heard much Jazz......they were awestruck!

This earth shattering performance by pianist/bandleader Dave Brubeck's Quartet literally put Dave and his alto saxophonist Paul Desmond and the rest of the band on the Jazz map. This concert performed at Oberlin College in March of 1953 before an audience of mainly classical music students and faculty blew them away. It marked the beginning of Brubeck's pioneering efforts to tour colleges and universities throughout North America which opened up a whole new audience for pure, uncompromising Jazz as played by the Quartet. This recording caught the ears of the Jazz critics who although they always praised Desmond's work, were lukewarm to Brubeck.The ears of Columbia Records executive George Avakian were captured as well and Dave was lured away from Fantasy Records by the major label. Before long Brubeck and the Quartet was the most popular band in Jazz and a Time Magazine cover was soon in the offing. It all started with the release of 'Jazz at Oberlin". Brubeck and Desmond are accompanied by bassist Ron Crotty and drummer Lloyd Davis, who went on to become the lead percussionist of the San Francisco Symphony. Listen to the audience reaction to Brubeck's music by the young audience who had never heard much Jazz......they were awestruck!

http://playlist.citr.ca/podcasting/audio/20080616-210200-to-20080617-000300.mp3CiTR 101.9 VancouvernoThe Dave Brubeck Quartet with Paul Desmond:"Jazz at Oberlin"CiTR 101.9 VancouverThe Dave Brubeck Quartet with Paul Desmond:"Jazz at Oberlin"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/TY72KHNLaTs/20080616-210200-to-20080617-000300.mp3http://playlist.citr.ca/podcasting/audio/20080616-210200-to-20080617-000300.mp3 Mon, 09 Jun 2008 21:03:00 -0700 The Jazz Festival(2008) Edition with guest host John Orysik along with regular host Gavin Walker.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/LtzK4rmMCbs" height="1" width="1"/> The Jazz Festival(2008) Edition with guest host John Orysik along with regular host Gavin Walker. This is an annual get together in which many of the artists appearing at The Vancouver International Jazz Festival(2008) are featured. The Media Director for the Coastal Jazz and Blues Society is John Orysik. The CJBS puts together the Jazz Festival. John along with regular host Gavin Walker discuss the artists and pick the music for tonight. Catch this once a year special and check out the great line-up for this year's Festival.

This is an annual get together in which many of the artists appearing at The Vancouver International Jazz Festival(2008) are featured. The Media Director for the Coastal Jazz and Blues Society is John Orysik. The CJBS puts together the Jazz Festival. John along with regular host Gavin Walker discuss the artists and pick the music for tonight. Catch this once a year special and check out the great line-up for this year's Festival.

http://playlist.citr.ca/podcasting/audio/20080609-210300-to-20080610-000400.mp3CiTR 101.9 VancouvernoThe Jazz Festival(2008) Edition with guest host John Orysik along with regular host Gavin Walker.CiTR 101.9 VancouverThe Jazz Festival(2008) Edition with guest host John Orysik along with regular host Gavin Walker.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/LtzK4rmMCbs/20080609-210300-to-20080610-000400.mp3http://playlist.citr.ca/podcasting/audio/20080609-210300-to-20080610-000400.mp3 Mon, 02 Jun 2008 21:02:00 -0700 Bassist/leader Charlie Haden and Quartet West: "Haunted Heart"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/yjVod1D_yn0" height="1" width="1"/> Bassist/leader Charlie Haden and Quartet West: "Haunted Heart" Bassist/leader Chalie Haden is an acknowledged great on his instrument.....not a virtuoso player but a bassist who concentrates on 'feel', judicious choice of notes and a huge sound that provides the necessary 'bottom' for his group called Quartet West. Haden has always had a great love for Los Angeles of the 1940's and 50's and Hollywood film music and 'film noir' and the works of Raymond Chandler. All of this is expressed on tonight's featured album called "Haunted Heart". With Haden is the distinctive tenor saxophone voice of Ernie Watts. Alan Broadbent is heard on piano combining the influences of Bill Evans and Lennie Tristano with his own concept. One of the finest drummers is here as well in the person of Larance Marable.Some seques are here as well with some film music and exerpts from some old recordings that Haden loves like Jo Stafford's singing on "Haunted Heart" and Billie Holiday's 'Deep Song" combined with band's interpretation of those tunes. All in all, one of Haden's finest outings with Quartet West. The band will also be one of the stars of The Vancouver International Jazz Festival 2008.

Bassist/leader Chalie Haden is an acknowledged great on his instrument.....not a virtuoso player but a bassist who concentrates on 'feel', judicious choice of notes and a huge sound that provides the necessary 'bottom' for his group called Quartet West. Haden has always had a great love for Los Angeles of the 1940's and 50's and Hollywood film music and 'film noir' and the works of Raymond Chandler. All of this is expressed on tonight's featured album called "Haunted Heart". With Haden is the distinctive tenor saxophone voice of Ernie Watts. Alan Broadbent is heard on piano combining the influences of Bill Evans and Lennie Tristano with his own concept. One of the finest drummers is here as well in the person of Larance Marable.Some seques are here as well with some film music and exerpts from some old recordings that Haden loves like Jo Stafford's singing on "Haunted Heart" and Billie Holiday's 'Deep Song" combined with band's interpretation of those tunes. All in all, one of Haden's finest outings with Quartet West. The band will also be one of the stars of The Vancouver International Jazz Festival 2008.

http://playlist.citr.ca/podcasting/audio/20080602-210200-to-20080603-000500.mp3CiTR 101.9 VancouvernoBassist/leader Charlie Haden and Quartet West: "Haunted Heart"CiTR 101.9 VancouverBassist/leader Charlie Haden and Quartet West: "Haunted Heart"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/yjVod1D_yn0/20080602-210200-to-20080603-000500.mp3http://playlist.citr.ca/podcasting/audio/20080602-210200-to-20080603-000500.mp3 Mon, 26 May 2008 21:02:00 -0700 Art Blakey and The Jazz Messengers in Paris(1958).<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/HmXoFQUcrOE" height="1" width="1"/> Art Blakey and The Jazz Messengers in Paris(1958). As this great edition of Art Blakey's Jazz Messengers only recorded one domestically produced album, the classic "Moanin'" on Blue Note in Oct. 1958, this set recorded before a live audience in Paris is especially valuable. This set, recorded at Le Club Saint Germain in December 1958 was done on Blakey's first tour of Europe. The newly re-organized Jazz Messengers had tenor saxophonist Benny Golson as musical director along with the young 20 year old herald of the trumpet, Lee Morgan. Bobby Timmons was the pianist and the "workhorse of the band" was bassist, Jymie Merritt. All of these men were from Philadelphia and were picked for Blakey by Benny Golson, also from Philly. The bulk of the compositions were by Golson and Timmons. It's a treat to hear this band play before a hip and animated crowd and respond in such a musical way. These performances were only available on French RCA Records and were hard to find. This is one of the greatest editions of Jazz Messengers so.......enjoy!

As this great edition of Art Blakey's Jazz Messengers only recorded one domestically produced album, the classic "Moanin'" on Blue Note in Oct. 1958, this set recorded before a live audience in Paris is especially valuable. This set, recorded at Le Club Saint Germain in December 1958 was done on Blakey's first tour of Europe. The newly re-organized Jazz Messengers had tenor saxophonist Benny Golson as musical director along with the young 20 year old herald of the trumpet, Lee Morgan. Bobby Timmons was the pianist and the "workhorse of the band" was bassist, Jymie Merritt. All of these men were from Philadelphia and were picked for Blakey by Benny Golson, also from Philly. The bulk of the compositions were by Golson and Timmons. It's a treat to hear this band play before a hip and animated crowd and respond in such a musical way. These performances were only available on French RCA Records and were hard to find. This is one of the greatest editions of Jazz Messengers so.......enjoy!

http://playlist.citr.ca/podcasting/audio/20080526-210200-to-20080527-000700.mp3CiTR 101.9 VancouvernoArt Blakey and The Jazz Messengers in Paris(1958).CiTR 101.9 VancouverArt Blakey and The Jazz Messengers in Paris(1958).http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/HmXoFQUcrOE/20080526-210200-to-20080527-000700.mp3http://playlist.citr.ca/podcasting/audio/20080526-210200-to-20080527-000700.mp3 Mon, 19 May 2008 21:02:00 -0700 Saxophonist/composer Oliver Nelson and his Orchestra:'Fantabulous!"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/qE6ojsSBscE" height="1" width="1"/> Saxophonist/composer Oliver Nelson and his Orchestra:'Fantabulous!" Oliver Nelson was a musical 'man for all seasons': a great saxophonist who played alto, tenor, and soprano saxophones as well as clarinet and flute. Nelson was a composer and arranger who had his own style and sound and was at his best playing with a large band of his favourite players. Some of them are here on this recording done with New York and Chicago players, people like Chicago born trumpet star Art Hoyle and tenor saxophonist Kenny Soderblom plus New Yorkers like Phil Woods on alto saxophone and Jerome Richardson on baritone saxophone and flute. Seattle born pianist Patti Bown is heard to good advantage here as well as the great rhythm section of bassist Ben Tucker and drummer Grady Tate. Mr. Nelson plays some inspired solos on the tenor saxophone as well but first and foremost are his compositions and arrangements.......all adding up to "Fantabulous!"

Oliver Nelson was a musical 'man for all seasons': a great saxophonist who played alto, tenor, and soprano saxophones as well as clarinet and flute. Nelson was a composer and arranger who had his own style and sound and was at his best playing with a large band of his favourite players. Some of them are here on this recording done with New York and Chicago players, people like Chicago born trumpet star Art Hoyle and tenor saxophonist Kenny Soderblom plus New Yorkers like Phil Woods on alto saxophone and Jerome Richardson on baritone saxophone and flute. Seattle born pianist Patti Bown is heard to good advantage here as well as the great rhythm section of bassist Ben Tucker and drummer Grady Tate. Mr. Nelson plays some inspired solos on the tenor saxophone as well but first and foremost are his compositions and arrangements.......all adding up to "Fantabulous!"

http://playlist.citr.ca/podcasting/audio/20080519-210200-to-20080520-000300.mp3CiTR 101.9 VancouvernoSaxophonist/composer Oliver Nelson and his Orchestra:'Fantabulous!"CiTR 101.9 VancouverSaxophonist/composer Oliver Nelson and his Orchestra:'Fantabulous!"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/qE6ojsSBscE/20080519-210200-to-20080520-000300.mp3http://playlist.citr.ca/podcasting/audio/20080519-210200-to-20080520-000300.mp3 Mon, 12 May 2008 21:05:00 -0700 Drummer/composer Tony (Anthony) Williams: "Spring"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/jQQ1wGwTkKo" height="1" width="1"/> Drummer/composer Tony (Anthony) Williams: "Spring" "Spring" was twenty year old Tony William's second album for Blue Note and it's a stunner in creativity. Williams surrounded himself with some of the most cutting edge players on the scene in 1965, when the date was recorded. Wayne Shorter and Sam Rivers are heard at length on tenor saxophones. Herbie Hancock is on piano and Gary Peacock is on bass. The players are assembled in various combinations and all of the compositions are by Williams. Tony Williams changed the way we listen to drums and changed the way Miles Davis played as Tony, beginning when he was only 17, joined Miles Davis' band in 1963 and remained until 1969. Tony passed away after suffering a heart attack after a routine gall bladder operation in San Francisco. He was only 50. His place in Jazz history is assured.

"Spring" was twenty year old Tony William's second album for Blue Note and it's a stunner in creativity. Williams surrounded himself with some of the most cutting edge players on the scene in 1965, when the date was recorded. Wayne Shorter and Sam Rivers are heard at length on tenor saxophones. Herbie Hancock is on piano and Gary Peacock is on bass. The players are assembled in various combinations and all of the compositions are by Williams. Tony Williams changed the way we listen to drums and changed the way Miles Davis played as Tony, beginning when he was only 17, joined Miles Davis' band in 1963 and remained until 1969. Tony passed away after suffering a heart attack after a routine gall bladder operation in San Francisco. He was only 50. His place in Jazz history is assured.

http://playlist.citr.ca/podcasting/audio/20080512-210500-to-20080513-000800.mp3CiTR 101.9 VancouvernoDrummer/composer Tony (Anthony) Williams: "Spring"CiTR 101.9 VancouverDrummer/composer Tony (Anthony) Williams: "Spring"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/jQQ1wGwTkKo/20080512-210500-to-20080513-000800.mp3http://playlist.citr.ca/podcasting/audio/20080512-210500-to-20080513-000800.mp3 Mon, 05 May 2008 21:01:00 -0700 Pianist/composer Elmo Hope:"The Elmo Hope Trio".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/sgzcAvIdlAM" height="1" width="1"/> Pianist/composer Elmo Hope:"The Elmo Hope Trio". The late Elmo Hope who was born in New York, the only child of West Indian parents, on June 27 1923 and died quite young of a heart attack on May 19,1967. Elmo grew up with pianist Bud Powell and Thelonious Monk and reflects a little of each in his style but remains his own man. Elmo's compositions reflect his complex personality and range from happy and swinging to bittersweet and melancholy. Unlike Powell and Monk, Elmo Hope never reached fame or fortune. His career was blighted by ill health and an addiction to hard drugs. His few recordings under his own name are not easy to find but worth looking for. His sideman appearances with Sonny Rollins, Lou Donaldson, Clifford Brown and Jackie Mclean are also worth the search. This recording done while Hope lived in Los Angeles is his masterpiece and was first issued on the Hifijazz label then reissued several times on the Contemporary label and can be found on the OJC label owned by Concord Inc. 'The Elmo Hope Trio' is a classic and features with the exception of one tune, seven of his own creations. His trio consists of Hope on piano, bassist Jimmy Bond and drummer Frank Butler and was recorded in L.A. on February 8,1959.

The late Elmo Hope who was born in New York, the only child of West Indian parents, on June 27 1923 and died quite young of a heart attack on May 19,1967. Elmo grew up with pianist Bud Powell and Thelonious Monk and reflects a little of each in his style but remains his own man. Elmo's compositions reflect his complex personality and range from happy and swinging to bittersweet and melancholy. Unlike Powell and Monk, Elmo Hope never reached fame or fortune. His career was blighted by ill health and an addiction to hard drugs. His few recordings under his own name are not easy to find but worth looking for. His sideman appearances with Sonny Rollins, Lou Donaldson, Clifford Brown and Jackie Mclean are also worth the search. This recording done while Hope lived in Los Angeles is his masterpiece and was first issued on the Hifijazz label then reissued several times on the Contemporary label and can be found on the OJC label owned by Concord Inc. 'The Elmo Hope Trio' is a classic and features with the exception of one tune, seven of his own creations. His trio consists of Hope on piano, bassist Jimmy Bond and drummer Frank Butler and was recorded in L.A. on February 8,1959.

http://playlist.citr.ca/podcasting/audio/20080505-210100-to-20080506-000200.mp3CiTR 101.9 VancouvernoPianist/composer Elmo Hope:"The Elmo Hope Trio".CiTR 101.9 VancouverPianist/composer Elmo Hope:"The Elmo Hope Trio".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/sgzcAvIdlAM/20080505-210100-to-20080506-000200.mp3http://playlist.citr.ca/podcasting/audio/20080505-210100-to-20080506-000200.mp3 Mon, 28 Apr 2008 21:02:00 -0700 The George Russell Sextet: "Stratusphunk".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/L5c9GNQ37BQ" height="1" width="1"/> The George Russell Sextet: "Stratusphunk". George Russell is one of the true pioneers of Modern Jazz. He is one of the great composers and theorists in this music and wrote an influential book called "The Lydian Concept of Tonal Organization" which most major musicians have studied and is still used in colleges and music schools today. Here Mr. Russell leads his own band which was together from 1960 to 1964. All the players were versed in Mr. Russell's theories. Russell plays piano and leads Al Kiger on trumpet, David Baker on trombone(who became one of the leading Jazz educators),Dave Young on tenor saxophone, Chuck Israels on bass and the underrated Joe Hunt on drums. Russell arranged all the pieces and composed three himself. We hear one by Baker and one by a Russell student, pianist David Lahm and one by a young lady making her composing debut.....Carla Bley. Even though this music was recorded in 1960 it sounds as modern as today and is a tribute to George Russell's lasting legacy.

George Russell is one of the true pioneers of Modern Jazz. He is one of the great composers and theorists in this music and wrote an influential book called "The Lydian Concept of Tonal Organization" which most major musicians have studied and is still used in colleges and music schools today. Here Mr. Russell leads his own band which was together from 1960 to 1964. All the players were versed in Mr. Russell's theories. Russell plays piano and leads Al Kiger on trumpet, David Baker on trombone(who became one of the leading Jazz educators),Dave Young on tenor saxophone, Chuck Israels on bass and the underrated Joe Hunt on drums. Russell arranged all the pieces and composed three himself. We hear one by Baker and one by a Russell student, pianist David Lahm and one by a young lady making her composing debut.....Carla Bley. Even though this music was recorded in 1960 it sounds as modern as today and is a tribute to George Russell's lasting legacy.

http://playlist.citr.ca/podcasting/audio/20080428-210200-to-20080429-000800.mp3CiTR 101.9 VancouvernoThe George Russell Sextet: "Stratusphunk".CiTR 101.9 VancouverThe George Russell Sextet: "Stratusphunk".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/L5c9GNQ37BQ/20080428-210200-to-20080429-000800.mp3http://playlist.citr.ca/podcasting/audio/20080428-210200-to-20080429-000800.mp3 Mon, 21 Apr 2008 21:02:00 -0700 Tenor saxophonist Warne Marsh: "All Music".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/r0HW0oN123w" height="1" width="1"/> Tenor saxophonist Warne Marsh: "All Music". Warne Marsh(born in L.A,Oct. 26,1927 and died Dec.18,1987) was one of the great individualists of the tenor saxophone. He was pianist/teacher/Jazz pioneer, Lennie Tristano's prize pupil and worked and played on Tristano's few recordings with altoist Lee Konitz. Marsh was true to Jazz throughout his career and never veered into any kind of commercial music devoting his life to playing music that he could feel proud about. This is one of Marsh's finest and most personal recordings. With Warne on this date is Lou Levy on piano, Fred Atwood on bass and the great Jake Hanna on drums. The album sums up Marsh's philosophy......it's called "All Music".

Warne Marsh(born in L.A,Oct. 26,1927 and died Dec.18,1987) was one of the great individualists of the tenor saxophone. He was pianist/teacher/Jazz pioneer, Lennie Tristano's prize pupil and worked and played on Tristano's few recordings with altoist Lee Konitz. Marsh was true to Jazz throughout his career and never veered into any kind of commercial music devoting his life to playing music that he could feel proud about. This is one of Marsh's finest and most personal recordings. With Warne on this date is Lou Levy on piano, Fred Atwood on bass and the great Jake Hanna on drums. The album sums up Marsh's philosophy......it's called "All Music".

http://playlist.citr.ca/podcasting/audio/20080421-210200-to-20080422-000400.mp3CiTR 101.9 VancouvernoTenor saxophonist Warne Marsh: "All Music".CiTR 101.9 VancouverTenor saxophonist Warne Marsh: "All Music".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/r0HW0oN123w/20080421-210200-to-20080422-000400.mp3http://playlist.citr.ca/podcasting/audio/20080421-210200-to-20080422-000400.mp3 Mon, 14 Apr 2008 21:02:00 -0700 "The Cannonball Adderley Sextet in New York"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/vahwziUEFrk" height="1" width="1"/> "The Cannonball Adderley Sextet in New York" This recording, done live at the Village Vanguard in early 1962 marked a turning point in the evolution of alto saxophone master, Cannonball Adderley's band. Adderley had a very successful quintet for a couple of years with a permanent group of players. The only change in the band was the pianist, first Bobby Timmons then Barry Harris then Walter Bishop Jr. and Victor Feldman and finally Joe Zawinul, who stayed with the Adderley organization for nine years. The next step was to add another horn to the front line, and what an addition! Yusef Lateef added not only his big toned tenor but also his flute and oboe to the mix. The Adderley Sextet was born: Julian 'Cannonball' Adderley on alto, Nat Adderley on cornet, Lateef on tenor, flute and oboe, Joe Zawinul, piano, Sam Jones on bass and Louis Hayes on drums. This recording was the debut of this group and Adderley's first live recording in New York and it cooks from bar one!

This recording, done live at the Village Vanguard in early 1962 marked a turning point in the evolution of alto saxophone master, Cannonball Adderley's band. Adderley had a very successful quintet for a couple of years with a permanent group of players. The only change in the band was the pianist, first Bobby Timmons then Barry Harris then Walter Bishop Jr. and Victor Feldman and finally Joe Zawinul, who stayed with the Adderley organization for nine years. The next step was to add another horn to the front line, and what an addition! Yusef Lateef added not only his big toned tenor but also his flute and oboe to the mix. The Adderley Sextet was born: Julian 'Cannonball' Adderley on alto, Nat Adderley on cornet, Lateef on tenor, flute and oboe, Joe Zawinul, piano, Sam Jones on bass and Louis Hayes on drums. This recording was the debut of this group and Adderley's first live recording in New York and it cooks from bar one!

http://playlist.citr.ca/podcasting/audio/20080414-210200-to-20080415-000700.mp3CiTR 101.9 Vancouverno"The Cannonball Adderley Sextet in New York"CiTR 101.9 Vancouver"The Cannonball Adderley Sextet in New York"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/vahwziUEFrk/20080414-210200-to-20080415-000700.mp3http://playlist.citr.ca/podcasting/audio/20080414-210200-to-20080415-000700.mp3 Mon, 07 Apr 2008 21:02:57 -0700 The Bill Evans Trio:Portrait In Jazz<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/XceN1ChHAcQ" height="1" width="1"/> The Bill Evans Trio:Portrait In Jazz This was pianist Bill Evans' first recording with what was to be his quintessential trio with Scott LaFaro on bass and Paul Motian on drums. Standards are the basic bill of fare here as they had only played a few gigs and were dealing with the 'standard' repertoir. A few Evans' originals make their appearance here as well. A fine debut of an exceptional, one of a kind trio.

This was pianist Bill Evans' first recording with what was to be his quintessential trio with Scott LaFaro on bass and Paul Motian on drums. Standards are the basic bill of fare here as they had only played a few gigs and were dealing with the 'standard' repertoir. A few Evans' originals make their appearance here as well. A fine debut of an exceptional, one of a kind trio.

http://playlist.citr.ca/podcasting/audio/20080407-210257-to-20080408-000918.mp3CiTR 101.9 VancouvernoThe Bill Evans Trio:Portrait In JazzCiTR 101.9 VancouverThe Bill Evans Trio:Portrait In Jazzhttp://feedproxy.google.com/~r/Citr--TheJazzShow/~3/XceN1ChHAcQ/20080407-210257-to-20080408-000918.mp3http://playlist.citr.ca/podcasting/audio/20080407-210257-to-20080408-000918.mp3 Mon, 31 Mar 2008 21:03:00 -0700 The Curtis Counce Group: with Jack Sheldon (trumpet)& Harold Land(tenor saxophone).<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/Gufcg8fKolM" height="1" width="1"/> The Curtis Counce Group: with Jack Sheldon (trumpet)& Harold Land(tenor saxophone). Bassist Curtis Counce was one of the first African-American musicians to be part of what was called in the 1950's "West Coast Jazz".....as part of the scene in Los Angeles, Counce worked with Shorty Rogers, Jimmy Giuffre and was for a couple of years a member of Stan Kenton's band. Counce died in 1963 at the young age of 37 of a heart attack but will be remembered for forming and recording with this band called "The Curtis Counce Group" The great Harold Land was featured on tenor saxophone, Jack Sheldon on trumpet with some of his best work, the legendary Carl Perkins, who also died young in 1958, on piano and the incredible Frank Butler on drums. They recorded during their time from late 1956 to April 1958, a whole series of albums for the Contemporary label. Their sound was not the cool "West Coast Jazz" style but "New York tough". One great band that made Jazz history.

Bassist Curtis Counce was one of the first African-American musicians to be part of what was called in the 1950's "West Coast Jazz".....as part of the scene in Los Angeles, Counce worked with Shorty Rogers, Jimmy Giuffre and was for a couple of years a member of Stan Kenton's band. Counce died in 1963 at the young age of 37 of a heart attack but will be remembered for forming and recording with this band called "The Curtis Counce Group" The great Harold Land was featured on tenor saxophone, Jack Sheldon on trumpet with some of his best work, the legendary Carl Perkins, who also died young in 1958, on piano and the incredible Frank Butler on drums. They recorded during their time from late 1956 to April 1958, a whole series of albums for the Contemporary label. Their sound was not the cool "West Coast Jazz" style but "New York tough". One great band that made Jazz history.

http://playlist.citr.ca/podcasting/audio/20080331-210300-to-20080401-000700.mp3CiTR 101.9 VancouvernoThe Curtis Counce Group: with Jack Sheldon (trumpet)& Harold Land(tenor saxophone).CiTR 101.9 VancouverThe Curtis Counce Group: with Jack Sheldon (trumpet)& Harold Land(tenor saxophone).http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/Gufcg8fKolM/20080331-210300-to-20080401-000700.mp3http://playlist.citr.ca/podcasting/audio/20080331-210300-to-20080401-000700.mp3 Mon, 24 Mar 2008 21:06:00 -0700 Trombonist Bennie Green: "The 45 Session"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/1vzb5X4smmc" height="1" width="1"/> Trombonist Bennie Green: "The 45 Session" Bennie Green was as important as J.J. Johnson in the development of Modern Jazz Trombone but sad to say he died in 1977 in obscurity. We bring Bennie to life again with a working band comprising Eddy Williams on tenor saxophone, a schoolmate of Bennie's from Chicago, the legendary Sonny Clark on piano, Paul Chambers on bass and the unheralded Jerry Segal on drums. Bennie's approach to Jazz was swinging, melodic and blues based and it's all there tonight. Have a good time.

Bennie Green was as important as J.J. Johnson in the development of Modern Jazz Trombone but sad to say he died in 1977 in obscurity. We bring Bennie to life again with a working band comprising Eddy Williams on tenor saxophone, a schoolmate of Bennie's from Chicago, the legendary Sonny Clark on piano, Paul Chambers on bass and the unheralded Jerry Segal on drums. Bennie's approach to Jazz was swinging, melodic and blues based and it's all there tonight. Have a good time.

http://playlist.citr.ca/podcasting/audio/20080324-210600-to-20080325-001000.mp3CiTR 101.9 VancouvernoTrombonist Bennie Green: "The 45 Session"CiTR 101.9 VancouverTrombonist Bennie Green: "The 45 Session"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/1vzb5X4smmc/20080324-210600-to-20080325-001000.mp3http://playlist.citr.ca/podcasting/audio/20080324-210600-to-20080325-001000.mp3 Mon, 17 Mar 2008 21:04:00 -0700 "Phil Woods and The European Rhythm Machine at The Montreux Jazz Festival"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/0Eu42GuKcMM" height="1" width="1"/> "Phil Woods and The European Rhythm Machine at The Montreux Jazz Festival" When alto saxophonist Phil Woods relocated to Europe in 1968 it was not that his career was moribund but it was because of the negative political atmosphere in the U.S......assassinations, racism, the ongoing Vietnam War etc. Woods relocated in Paris and formed one of his greatest bands, The European Rhythm Machine. Tonight we hear them in concert at the Montreux Jazz Festival in 1969. Woods on alto saxophone is re-ignited by this band. George Gruntz on piano and Daniel Humair on drums are Swiss and bassist Henri Texier is French and the band is on fire!

When alto saxophonist Phil Woods relocated to Europe in 1968 it was not that his career was moribund but it was because of the negative political atmosphere in the U.S......assassinations, racism, the ongoing Vietnam War etc. Woods relocated in Paris and formed one of his greatest bands, The European Rhythm Machine. Tonight we hear them in concert at the Montreux Jazz Festival in 1969. Woods on alto saxophone is re-ignited by this band. George Gruntz on piano and Daniel Humair on drums are Swiss and bassist Henri Texier is French and the band is on fire!

http://playlist.citr.ca/podcasting/audio/20080317-210400-to-20080318-000400.mp3CiTR 101.9 Vancouverno"Phil Woods and The European Rhythm Machine at The Montreux Jazz Festival"CiTR 101.9 Vancouver"Phil Woods and The European Rhythm Machine at The Montreux Jazz Festival"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/0Eu42GuKcMM/20080317-210400-to-20080318-000400.mp3http://playlist.citr.ca/podcasting/audio/20080317-210400-to-20080318-000400.mp3 Mon, 10 Mar 2008 21:05:00 -0700 Sonny Stitt(alto and tenor saxophone):"The Hard Swing"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/DNOjYx6oSag" height="1" width="1"/> Sonny Stitt(alto and tenor saxophone):"The Hard Swing" Alto and tenor saxophone master Sonny Stitt(born in Boston Feb. 2,1924) was one of the most recorded musicians in Jazz. He liked to travel alone and pick up musicians to back him in whatever town be was in...he dealt in standard tunes and the blues and voiced them on either saxophone. He was a virtuoso and took no prisoners when it came to playing. Throughout his long career he was often called an imitator of Charlie Parker on alto and an imitator of Lester Young on tenor. He acknowledged their influences but he was his own man and toward the end of his life, he was finally recognized as an original 'great'. Sonny died on July 22,1982 from cancer....he was 58.

Alto and tenor saxophone master Sonny Stitt(born in Boston Feb. 2,1924) was one of the most recorded musicians in Jazz. He liked to travel alone and pick up musicians to back him in whatever town be was in...he dealt in standard tunes and the blues and voiced them on either saxophone. He was a virtuoso and took no prisoners when it came to playing. Throughout his long career he was often called an imitator of Charlie Parker on alto and an imitator of Lester Young on tenor. He acknowledged their influences but he was his own man and toward the end of his life, he was finally recognized as an original 'great'. Sonny died on July 22,1982 from cancer....he was 58.

http://playlist.citr.ca/podcasting/audio/20080310-210500-to-20080311-000200.mp3CiTR 101.9 VancouvernoSonny Stitt(alto and tenor saxophone):"The Hard Swing"CiTR 101.9 VancouverSonny Stitt(alto and tenor saxophone):"The Hard Swing"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/DNOjYx6oSag/20080310-210500-to-20080311-000200.mp3http://playlist.citr.ca/podcasting/audio/20080310-210500-to-20080311-000200.mp3 Mon, 03 Mar 2008 21:03:00 -0800 The Bad Plus:'Prog"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/ZcOk-qRrlPc" height="1" width="1"/> The Bad Plus:'Prog" The Bad Plus is an accoustic trio with Ethan Iverson on piano, Reid Anderson on bass and David King on drums. They all compose and they move in their own direction. In other words they are not your "standard' Jazz piano trio. They have carved out an niche for themselves through their original compositions and compositions by people outside the Jazz spectrum like Davis Bowie, Kurt Cobain etc. They also play the odd standard tune as well but with their own imprint. They are all virtuoso musicians and represent the best definition of Jazz: the sound of surprise.

The Bad Plus is an accoustic trio with Ethan Iverson on piano, Reid Anderson on bass and David King on drums. They all compose and they move in their own direction. In other words they are not your "standard' Jazz piano trio. They have carved out an niche for themselves through their original compositions and compositions by people outside the Jazz spectrum like Davis Bowie, Kurt Cobain etc. They also play the odd standard tune as well but with their own imprint. They are all virtuoso musicians and represent the best definition of Jazz: the sound of surprise.

http://playlist.citr.ca/podcasting/audio/20080303-210300-to-20080304-000300.mp3CiTR 101.9 VancouvernoThe Bad Plus:'Prog"CiTR 101.9 VancouverThe Bad Plus:'Prog"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/ZcOk-qRrlPc/20080303-210300-to-20080304-000300.mp3http://playlist.citr.ca/podcasting/audio/20080303-210300-to-20080304-000300.mp3 Mon, 25 Feb 2008 21:01:00 -0800 Pianist/composer Herbie Hancock:"Inventions and Dimensions".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/at4YQwQt0nA" height="1" width="1"/> Pianist/composer Herbie Hancock:"Inventions and Dimensions". Herbie Hancock's album called "Inventions and Dimensions" is one of his most unique. Almost every composition is 'off the top'....total improvisation, with the exception of one tune where Hancock wrote down a few chords to play. Mr. Hancock performs with the ex-Miles Davis bassist Paul Chambers and two Latin percussionists: Willie Bobo(William Correa) on regular drums and timbales and Oswaldo "Chihuahua" Martinez on guiro, congas, bongos etc. This recording is an overlooked masterpiece.

Herbie Hancock's album called "Inventions and Dimensions" is one of his most unique. Almost every composition is 'off the top'....total improvisation, with the exception of one tune where Hancock wrote down a few chords to play. Mr. Hancock performs with the ex-Miles Davis bassist Paul Chambers and two Latin percussionists: Willie Bobo(William Correa) on regular drums and timbales and Oswaldo "Chihuahua" Martinez on guiro, congas, bongos etc. This recording is an overlooked masterpiece.

http://playlist.citr.ca/podcasting/audio/20080225-210100-to-20080226-000400.mp3CiTR 101.9 VancouvernoPianist/composer Herbie Hancock:"Inventions and Dimensions".CiTR 101.9 VancouverPianist/composer Herbie Hancock:"Inventions and Dimensions".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/at4YQwQt0nA/20080225-210100-to-20080226-000400.mp3http://playlist.citr.ca/podcasting/audio/20080225-210100-to-20080226-000400.mp3 Mon, 18 Feb 2008 21:02:00 -0800 The Dave Brubeck Quartet at Carnegie Hall: Feb. 22,1963.<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/8jrnAMMlwdc" height="1" width="1"/> The Dave Brubeck Quartet at Carnegie Hall: Feb. 22,1963. The 'classic' Brubeck Quartet with alto saxophonist Paul Desmond, bassist Gene Wright, drummer Joe Morello and of course, Mr.Brubeck on piano. Just coming off a world tour, the band was exhausted but found energy to deliver one of their very best performances at Carnegie Hall on this cold night in February 1963. Written off as 'old hat' by this time, Brubeck and the band reassert their authority and freshness with one of their greatest recorded dates. 'Blue Rondo a la Turk' and Desmond's immortal 'Take Five' sounded ten times better than the original versions. Bru at his best!!!

The 'classic' Brubeck Quartet with alto saxophonist Paul Desmond, bassist Gene Wright, drummer Joe Morello and of course, Mr.Brubeck on piano. Just coming off a world tour, the band was exhausted but found energy to deliver one of their very best performances at Carnegie Hall on this cold night in February 1963. Written off as 'old hat' by this time, Brubeck and the band reassert their authority and freshness with one of their greatest recorded dates. 'Blue Rondo a la Turk' and Desmond's immortal 'Take Five' sounded ten times better than the original versions. Bru at his best!!!

http://playlist.citr.ca/podcasting/audio/20080218-210200-to-20080219-000300.mp3CiTR 101.9 VancouvernoThe Dave Brubeck Quartet at Carnegie Hall: Feb. 22,1963.CiTR 101.9 VancouverThe Dave Brubeck Quartet at Carnegie Hall: Feb. 22,1963.http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/8jrnAMMlwdc/20080218-210200-to-20080219-000300.mp3http://playlist.citr.ca/podcasting/audio/20080218-210200-to-20080219-000300.mp3 Mon, 11 Feb 2008 21:02:00 -0800 Ornette Coleman:His Pulitzer Prize winning recording "Sound Grammar".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/3p1NZV991ls" height="1" width="1"/> Ornette Coleman:His Pulitzer Prize winning recording "Sound Grammar". Ornette Coleman's latest recording won the Pulitzer Prize and was the first Jazz recording to receive this great honour. Mr. Coleman has been recognized throughout the world as an important innovative artist who never gave up on his musical dream and never compromised his music. He appears here with Gregory Cohen and Tony Falanga on accoustic basses and Denardo Coleman(Ornette's son) on drums. Mr. Coleman plays mainly alto saxophone, his main instrument, but also trumpet and violin. All the compositions are by Mr. Coleman.

Ornette Coleman's latest recording won the Pulitzer Prize and was the first Jazz recording to receive this great honour. Mr. Coleman has been recognized throughout the world as an important innovative artist who never gave up on his musical dream and never compromised his music. He appears here with Gregory Cohen and Tony Falanga on accoustic basses and Denardo Coleman(Ornette's son) on drums. Mr. Coleman plays mainly alto saxophone, his main instrument, but also trumpet and violin. All the compositions are by Mr. Coleman.

http://playlist.citr.ca/podcasting/audio/20080211-210200-to-20080212-000400.mp3CiTR 101.9 VancouvernoOrnette Coleman:His Pulitzer Prize winning recording "Sound Grammar".CiTR 101.9 VancouverOrnette Coleman:His Pulitzer Prize winning recording "Sound Grammar".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/3p1NZV991ls/20080211-210200-to-20080212-000400.mp3http://playlist.citr.ca/podcasting/audio/20080211-210200-to-20080212-000400.mp3 Mon, 04 Feb 2008 21:02:00 -0800 Drummer/composer Max Roach:"The Freedom Now Suite".<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/cQ8bQZkpRGA" height="1" width="1"/> Drummer/composer Max Roach:"The Freedom Now Suite". Drummer/composer Max Roach in conjunction with lyricist Oscar Brown Jr. created this suite in honour of the 100th anniversary of Lincoln's Emancipation Proclamation and it reflected Mr. Roach's growing involvement with the Civil Right Movement that was taking shape in America in the late 1950's. This powerful and still controversial recording features Roach's working band that includes Booker Little on trumpet, Julian Priester on trombone and the underrated Walter Benton on tenor saxophone, James Schenk on bass and the great Abbey Lincoln on vocals. Coleman Hawkins('the father of the tenor saxophone') makes an intense cameo on the first tune called 'Driva' Man'.Later the band is augmented by two percussionists and African drummer Michael Olatunji on the pieces depicting Africa. This recording is a powerful musical and political statement and is perfectly suited to honouring Black History Month.

Drummer/composer Max Roach in conjunction with lyricist Oscar Brown Jr. created this suite in honour of the 100th anniversary of Lincoln's Emancipation Proclamation and it reflected Mr. Roach's growing involvement with the Civil Right Movement that was taking shape in America in the late 1950's. This powerful and still controversial recording features Roach's working band that includes Booker Little on trumpet, Julian Priester on trombone and the underrated Walter Benton on tenor saxophone, James Schenk on bass and the great Abbey Lincoln on vocals. Coleman Hawkins('the father of the tenor saxophone') makes an intense cameo on the first tune called 'Driva' Man'.Later the band is augmented by two percussionists and African drummer Michael Olatunji on the pieces depicting Africa. This recording is a powerful musical and political statement and is perfectly suited to honouring Black History Month.

http://playlist.citr.ca/podcasting/audio/20080204-210200-to-20080205-000400.mp3CiTR 101.9 VancouvernoDrummer/composer Max Roach:"The Freedom Now Suite".CiTR 101.9 VancouverDrummer/composer Max Roach:"The Freedom Now Suite".http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/cQ8bQZkpRGA/20080204-210200-to-20080205-000400.mp3http://playlist.citr.ca/podcasting/audio/20080204-210200-to-20080205-000400.mp3 Mon, 28 Jan 2008 21:04:00 -0800 Lee Morgan with Wayne Shorter, Herbie Hancock and Bobby Hutcherson:"The Procrastinator"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/oBuJRiYehV0" height="1" width="1"/> Lee Morgan with Wayne Shorter, Herbie Hancock and Bobby Hutcherson:"The Procrastinator" This is a unique album in Morgan's recorded legacy. It is more open and spacy than the trumpeter's usual output because of the presence of Wayne Shrter on tenor saxophone, Herbie Hancock on piano, and Ron Carter on bass plus Bobby Hutcherson on vibes and the restrained yet driving drums of Billy Higgins. A different Lee Morgan and a great addition to his prolific output.

This is a unique album in Morgan's recorded legacy. It is more open and spacy than the trumpeter's usual output because of the presence of Wayne Shrter on tenor saxophone, Herbie Hancock on piano, and Ron Carter on bass plus Bobby Hutcherson on vibes and the restrained yet driving drums of Billy Higgins. A different Lee Morgan and a great addition to his prolific output.

http://playlist.citr.ca/podcasting/audio/20080128-210400-to-20080129-001000.mp3CiTR 101.9 VancouvernoLee Morgan with Wayne Shorter, Herbie Hancock and Bobby Hutcherson:"The Procrastinator"CiTR 101.9 VancouverLee Morgan with Wayne Shorter, Herbie Hancock and Bobby Hutcherson:"The Procrastinator"http://feedproxy.google.com/~r/Citr--TheJazzShow/~3/oBuJRiYehV0/20080128-210400-to-20080129-001000.mp3http://playlist.citr.ca/podcasting/audio/20080128-210400-to-20080129-001000.mp3 Mon, 21 Jan 2008 21:02:00 -0800 Sal Nistico(tenor saxophone) with the Joe Haider Trio:"Just For Fun"<img src="http://feeds.feedburner.com/~r/Citr--TheJazzShow/~4/cznmrbv08Ms" height="1" width="1"/> Sal Nistico(tenor saxophone) with the Joe Haider Trio:"Just For Fun" Sal Nistico was a great tenor saxophonist who left us far too soon. He was born in Syracuse, New York on April 2,1938 and died at 53 in Berne, Switzerland. Sal was most famous for his off and on stay with Woody Herman's band in the 60's but he loved to just play in small clubs with a quartet and he found those clubs throughout Europe. We hear Sal with a great German trio with Joe Haider on piano,Gunther Lenz on bass and Joe Nay on drums. Sal plays compositions by Haider and Lenz and one by himself and the standard, 'Invitation'. Sal Nistico could tell a story and he does here on "Just For Fun' recorded in 1976.

Sal Nistico was a great teno