SCCD 31085 First Set / Cedar Walton Quartet
“… a magnificent quartet….outstandingly good ….” (Jazz Journal)
1. Introduction ()
2. Off minor (Thelonious Monk)
3. For all we know (S/Coots Lewis)
4. Introduction ()
5. Holy land (Cedar Walton)
6. I'm not so sure (Cedar Walton)
7. Ojos de rojo (Cedar Walton)
SCCD 31061 Cunningbird / Jimmy Knepper Quintet
When this album was first released as LP in February 1977, the unanimous reaction from the press all over the world was “ .. .at long last, the first leader album by Knepper in 18 years! ….and it was worth waiting for …”.
Trombonist Jimmy Knepper (b. Nov. 22, 1927 in L.A.) has been the essential part of the Mingus Dynasty in the 50s and later with Gil Evans Orchestra, Jones-Lewis Big Band and Nonet led by Lee Konitz.
“ Cunningbird is simply one of the best straight-ahead trombone albums in many years …” (The Daily California)
1. Figment fragment (Jimmy Knepper)
2. Languid (Jimmy Knepper)
3. Just tonight (Jimmy Knepper)
4. Noche triste (take 1) (Jimmy Knepper)
5. Spotlight girl (take 2) (Jimmy Knepper)
6. Cunningbird (Jimmy Knepper)
7. Noche triste (Jimmy Knepper)
8. Spotlite girl (Jimmy Knepper)
SCCD 31059 Don't Look Back / Nat Adderley Septet
Cornetist and composer Nat Adderley (b. Nov. 25, 1931 in Tampa, FL) recorded this first album with his new band just one year after the untimely death of his brother Julian “Cannonball” Adderley, three years his senior. The Adderley brothers had worked side by side in the highly successful, one of the funkiest jazz bands in USA for more than 15 years.
“ The septet here, whose members are mostly young, New York -based musicians, is more interesting by far than the celebrated Cannonball Adderley Quintet ever was . ..” (Stereo Review)
“… This is some of the best straight-ahead jazz to have come out in the last few months ….” (Musician Magazine)
1. Funny funny (Nat Adderley)
2. K. High (Ira Williams)
3. Just a quickie (Fernando Gumbs)
4. I think I got it (Onaje Allan Gumbs)
5. Home (Ken McIntyre)
6. Don't look back (Harold Vick)
7. Home (Ken McIntyre)
SCCD 31058 Swingin' Till The Girls Come Home / Eddie “Lockjaw” Davis Quartet
One of the best assets of the Count Basie Big Band in the 50s, Eddie “Lockjaw” Davis was a frequent guest player in Europe in the 70s.
In the Spring of 76 Lockjaw went into a studio in Copenhagen with “ the excellent Danish rhythm section ” which “ manage to coax some of the best playing from the tenor saxophonist since his days with Basie” (Gramophone).
“.. .The mood, as always with Davis, is a happy one. With the help of the fine, supportive rhythm section it becomes contagious, and …it is an awful lot of fun to listen to .” (Fanfare)
“ Thankfully, the girls haven’t come home yet, so this rhythmic set of eight tunes (11 on this CD) swings out nicely…” (Billboard)
1. Swingin' till the girls come home (Oscar Pettiford)
2. Love for sale (Cole Porter)
3. Out of nowhere (Green/Heyman)
4. Ghost of a chance (Young/Washington)
5. Locks (Eddie Lockjaw Davis)
6. Wave (Antonio Carlos Jobim)
7. Back home in Indiana (MacDonald)
8. Bye bye blackbird (Dixon/Henderson)
9. Ghost of a chance (Young/Washington)
10. Swingin' till the girls come home (Oscar Pettiford)
11. Bye bye blackbird (Dixon/Henderson)
SCCD 31057 Windows / Lee Konitz & Hal Galper
“… Lee has in pianist Hal Galper (former Chet Baker sideman) a sympathetic helpmate. They work together effortlessly and with a unity that suggests an ample measure of mutual respect….sober, beautifully constructed performances ….” (M.G. Jazz Journal International August 1977)
1. I'm getting sentimental over you (Washington/Bassman)
2. Windows (Chick Corea)
3. Villainesque (Hal Galper)
4. Sweet and lovely (Arnheim/Tobias/Lemare)
5. Stella by starlight (Victor Young)
6. Goodbye (Gordon Jenkins)
7. Solar (Miles Davis)
8. Soliloquy (Lee Konitz)
9. Softly as in a morning sunrise (Oscar Rombers/Hammerstein)
10. Solar (Miles Davis)
11. Stella by starlight (Victor Young)
12. Windows (Chick Corea)
13. Sweet and lovely (Arnheim/Tobias/Lemare)
SCCD 31048 Morning / Kenny Drew Trio
Drew and Pedersen DUO was one of the most popular ensembles in Europe in the 70s. During their Belgian tour, Europe’s most prominent “fusion” star Philip Catherine sat in with them one night. That was the beginning of this unusual trio.
“.. .Three obviously different musical backgrounds converge neatly in a lyrical set which includes a pair of standards done up in fascinating style …”
1. An evening in the park (Kenny Drew)
2. Autumn leaves (Joseph Kosma)
3. Bossa mood (Kenny Drew)
4. Poor brother's blues (Kenny Drew)
5. Morning (Kenny Drew)
6. Isn't it romantic (Richard Rodgers)
SCCD 31045 In The Tradition Vol. 2 / Anthony Braxton Quartet
Here is the second volume of “In The Tradition” with all titles in first takes to complete the session which started with Volume one.
The session was originally meant for Dexter Gordon. As Dexter was taken ill at the time of recording, Braxton filled in and the rest is history.
“ This music confirms Braxton’s talent for striking a fine balance between the purely experimental and the more conventional .” (Jazz Journal)
1. What's new (Haggart/Burke)
2. Duet (Anthony Braxton)
3. Body and soul (Johnny Green)
4. Marshmallow (Warne Marsh)
5. Donna Lee (Charlie Parker)
6. My funny Valentine (Richard Rodgers)
7. Half Nelson (Miles Davis)
SCCD 31043 Free Spirits / Mary Lou Williams Trio
The First Lady of jazz, Mary Lou Williams (1910 – 1981) was the evolution of jazz itself. Starting her professional career as pianist/composer/arranger in the 20s, her style was swing but in the 40s she adopted the bop and later on she even ventured into the realm of avant-garde jazz. Yet she never lost her blues feeling which is evident in this CD.
She contributed compositions and arrangements for many famous big bands such as Andy Kirk, Benny Goodman, Earl Hines, Duke Ellington. In the late 60s and the 70s she was more focused on composing sacred music. And one of her jazz masses was choreographed by Alvin Ailey.
Around the time of this recording Mary Lou in her mid-60s was still active in the New York jazz scene performing regularly at the Cookery with the group recorded here. SteepleChase was proud to have the opportunity of recording one of the most significant artists of jazz of this century.
1. Dat dere (Bobby Timmons)
2. Baby man (John Stubblefield)
3. Baby man (John Stubblefield)
4. All blues (Miles Davis)
5. Temptation (Brown / Freed)
6. Pale blue (Buster Williams)
7. Free spirits (John Stubblefield)
8. Free spirits (John Stubblefield)
9. Blues for Timme (Mary Lou Williams)
10. Ode to Saint Cecilie (Mary Lou Williams)
11. Surrey with the fringe on top (Richard Rodgers)
12. Gloria (Mary Lou Williams)
SCCD 31041 Jaywalkin' / Niels-Henning Ørsted Pedersen Quartet
The tremendous career this double bass player with a non-stop-name had already achieved by the time of the recording of his first leader album here is as impressive as his technique. NHØP (b. May 27, 1946 in Osted, Denmark) started playing professionally at an early teenage and recorded with Bud Powell when he was 14! He turned down the offer to join Count Basie’s orchestra in order to finish high school.
“… a superb musician with a gorgeous tone, great technique and dazzling virtuosity…This is a great music .” (High Fidelity Magazine USA)
“ Immensely satisfying, Jaywalkin’ is a must for anyone seriously interested in contemporary jazz .” (Overseas Life)
“ Extremely enjoyable !” (Swing Journal)
1. Summer song (Niels-Henning Ørsted Pedersen)
2. Sparkling eyes (Niels-Henning Ørsted Pedersen)
3. A felicidade (Luiz Bonfa)
4. Jaywalkin' (Niels-Henning Ørsted Pedersen)
5. My little Anna (Niels-Henning Ørsted Pedersen)
6. Yesterday's future (Niels-Henning Ørsted Pedersen)
7. Interlude (Niels-Henning Ørsted Pedersen)
8. Cheryl (Charlie Parker)
9. That's all (Brandt/Haymes)
10. Summer song (Niels-Henning Ørsted Pedersen)
SCCD 31035 Lone-Lee / Lee Konitz
Alto saxophonist Lee Konitz is one of the very few who have escaped the dominating influence of Charlie Parker and created his own style and became the central figure in the “cool” jazz.
While it was a very courageous, lonely and hard work to do, recording unaccompanied solo alto performance of almost one hour suited Konitz’ particular style of even and smooth blowing using the full range of the instrument.
The result was “ a very unique Lee Konitz’ world with limitless imagination which enchants the listeners …. not a single second boring ” (Swing Journal).
“ The Konitz sound, richer and much more expressive than in his earlyer years, also goes through intriguing changes during the course of these performances …”(The Boston Phoenix)
1. The song is you (Jerome Kern)
2. Cherokee (Ray Noble)