JAZZ AT THE PHILHARMONIC - Complete Live in Stockholm November 21 1960
Essential Jazz Classics EJC55688 (Three CD Set)
CD 1 tracks 1 & 2
Dizzy Gillespie ( tpt ) Cannonball Adderley ( alto ) J.J.Johnson ( tmb ) Benny Carter ( alto ) Lalo Schifrin ( pno ) Art Davis ( bass ) Chuck Lampkin ( drs )
CD 1 track 3
Stan Getz ( tnr ) Coleman Hawkins ( tnr ) Don Byas ( tnr ) Roy Eldridge ( tpt ) Lalo Schifrin ( pno ) Art Davis ( bass ) Jo Jones ( drs )
CD 1 tracks 4 to 8 & CD 2 track 8
Dizzy Gillespie ( tpt ) on CD 2 track 8 only Stan Getz ( tnr ) J.J.Johnson ( tmb ) Victor Feldman ( vibes / pno ) Sam Jones ( bass ) Louis Hayes ( drs )
CD 2 tracks 1 to 7
Coleman Hawkins ( tnr ) Don Byas ( tnr ) Roy Eldridge ( tpt ) Benny Carter ( alto ) Lalo Schifrin
( pno ) Art Davis ( bass ) Jo Jones ( drs )
CD 3 tracks 1 to 3
Dizzy Gillespie ( tpt ) Stan Getz ( tnr ) J.J.Johnson ( tmb ) Leo Wright ( alto / flute ) Lalo Schifrin
( pno ) Art Davis ( bass ) Chuck Lampkin ( drs ) Candido Camero ( conga )
Recorded live at Konserthuset, Stockholm, 21 November 1960
CD 3 tracks 4 to 10
Roy Eldridge ( tpt / vocal ) Stuff Smith ( violin ) Herb Ellis ( gtr ) Oscar Peterson ( pno ) Ray Brown ( bass ) Jo Jones ( drs )
Recorded live at Konserthuset, Stockholm, 21 November 1960
Norman Granz did a great deal over the years to broaden the appeal of jazz for a wider audience and to improve conditions for touring musicians particularly black ones by refusing to play for white audiences only.
We must be particularly for his recorded legacy on his own recording companies such as, Norgran, Clef, Verve and Pablo, without his initiative we would not have the Ella Fitzgerald Songbooks, Art Tatum‘s Solo Masterpieces and Group Masterpieces.
He was also responsible for extending the recording careers of a number of great musicians like Charlie Parker, Lester Young and Billie Holiday.
It is true that his Jazz at the Philharmonic concerts did tend to appeal to the lowest common denominator but they well have brought an audience to jazz that more sophisticated forms of the music did not. On noting the personnel these three CDs they seem nothing short of mouth watering but although there are some high moments in general the results are disappointing.
The first two tracks on CD One, “Bernie’s Tune” and “Swedish Jam” have good solos by all involved with Gillespie contributing some exciting trumpet choruses. The rhythm section was Gi.llespie’s current working section and it shows as they sound like a tight knit unit.
There is much discussion between the musicians at the start of each number as though there has been no prior rehearsals and this may account for the rather ragged ensembles.
The most interesting and satisfying tracks on the this three cd set are the ones by the Stan Getz and
J.J. Johnson group and particular the two Stan Getz ballads “I Waited For You” and “Yesterdays” with the Getz lyrical tenor playing at its best.
CD Two has much more of a jam session flavour and although the soloists play fairly well there are much better examples of their work to be found. There is always a certain air of competition with this type of completion which can sometimes have a positive effect and at other times be negative and does not always bring out the best in the players.
“Indiana” is notable for a very inventive drum solo by Jo Jones and Lalo Schifrin’s most interesting solo of the concert. The best of the ballad features is the Don Byas interpretation of “Yesterdays” followed closely by Benny Carter’s take on”The Nearness of You “, Roy Eldridge shows he is not all bluster and showmanship on “You Go To My Head”.
The first three tracks on CD Three are essentially the Dizzy Gillespie Quintet of the time plus Stan Getz, J. J. Johnson and conga drummer Candido. The first track commences with some very atmospheric muted trumpet by Dizzy on his own composition “Kush” aided by Leo Wright’s soulful flute which leads into a well thought out solo by J. J. Johnson. The Stan Getz tenor solo retains the mood with his short incisive phrases interspersed with longer lines.
With the bonus tracks recorded at the same venue three years earlier with have some more excitable trumpet from Roy Eldridge although he does redeem himself with a passionate “Embraceable you".The main interest is two finely played ballads from violinist Stuff Smith who deserved much wider recognition.
On balance the three Cds contain many fluctuations in artistic content and may well had a wider appeal at the original live concert but they lose much when listened to in the cold light of day.
Reviewed by Roy Booth
Essential Jazz Classics EJC55688 (Three CD Set)
CD 1 tracks 1 & 2
Dizzy Gillespie ( tpt ) Cannonball Adderley ( alto ) J.J.Johnson ( tmb ) Benny Carter ( alto ) Lalo Schifrin ( pno ) Art Davis ( bass ) Chuck Lampkin ( drs )
CD 1 track 3
Stan Getz ( tnr ) Coleman Hawkins ( tnr ) Don Byas ( tnr ) Roy Eldridge ( tpt ) Lalo Schifrin ( pno ) Art Davis ( bass ) Jo Jones ( drs )
CD 1 tracks 4 to 8 & CD 2 track 8
Dizzy Gillespie ( tpt ) on CD 2 track 8 only Stan Getz ( tnr ) J.J.Johnson ( tmb ) Victor Feldman ( vibes / pno ) Sam Jones ( bass ) Louis Hayes ( drs )
CD 2 tracks 1 to 7
Coleman Hawkins ( tnr ) Don Byas ( tnr ) Roy Eldridge ( tpt ) Benny Carter ( alto ) Lalo Schifrin
( pno ) Art Davis ( bass ) Jo Jones ( drs )
CD 3 tracks 1 to 3
Dizzy Gillespie ( tpt ) Stan Getz ( tnr ) J.J.Johnson ( tmb ) Leo Wright ( alto / flute ) Lalo Schifrin
( pno ) Art Davis ( bass ) Chuck Lampkin ( drs ) Candido Camero ( conga )
Recorded live at Konserthuset, Stockholm, 21 November 1960
CD 3 tracks 4 to 10
Roy Eldridge ( tpt / vocal ) Stuff Smith ( violin ) Herb Ellis ( gtr ) Oscar Peterson ( pno ) Ray Brown ( bass ) Jo Jones ( drs )
Recorded live at Konserthuset, Stockholm, 21 November 1960
Norman Granz did a great deal over the years to broaden the appeal of jazz for a wider audience and to improve conditions for touring musicians particularly black ones by refusing to play for white audiences only.
We must be particularly for his recorded legacy on his own recording companies such as, Norgran, Clef, Verve and Pablo, without his initiative we would not have the Ella Fitzgerald Songbooks, Art Tatum‘s Solo Masterpieces and Group Masterpieces.
He was also responsible for extending the recording careers of a number of great musicians like Charlie Parker, Lester Young and Billie Holiday.
It is true that his Jazz at the Philharmonic concerts did tend to appeal to the lowest common denominator but they well have brought an audience to jazz that more sophisticated forms of the music did not. On noting the personnel these three CDs they seem nothing short of mouth watering but although there are some high moments in general the results are disappointing.
The first two tracks on CD One, “Bernie’s Tune” and “Swedish Jam” have good solos by all involved with Gillespie contributing some exciting trumpet choruses. The rhythm section was Gi.llespie’s current working section and it shows as they sound like a tight knit unit.
There is much discussion between the musicians at the start of each number as though there has been no prior rehearsals and this may account for the rather ragged ensembles.
The most interesting and satisfying tracks on the this three cd set are the ones by the Stan Getz and
J.J. Johnson group and particular the two Stan Getz ballads “I Waited For You” and “Yesterdays” with the Getz lyrical tenor playing at its best.
CD Two has much more of a jam session flavour and although the soloists play fairly well there are much better examples of their work to be found. There is always a certain air of competition with this type of completion which can sometimes have a positive effect and at other times be negative and does not always bring out the best in the players.
“Indiana” is notable for a very inventive drum solo by Jo Jones and Lalo Schifrin’s most interesting solo of the concert. The best of the ballad features is the Don Byas interpretation of “Yesterdays” followed closely by Benny Carter’s take on”The Nearness of You “, Roy Eldridge shows he is not all bluster and showmanship on “You Go To My Head”.
The first three tracks on CD Three are essentially the Dizzy Gillespie Quintet of the time plus Stan Getz, J. J. Johnson and conga drummer Candido. The first track commences with some very atmospheric muted trumpet by Dizzy on his own composition “Kush” aided by Leo Wright’s soulful flute which leads into a well thought out solo by J. J. Johnson. The Stan Getz tenor solo retains the mood with his short incisive phrases interspersed with longer lines.
With the bonus tracks recorded at the same venue three years earlier with have some more excitable trumpet from Roy Eldridge although he does redeem himself with a passionate “Embraceable you".The main interest is two finely played ballads from violinist Stuff Smith who deserved much wider recognition.
On balance the three Cds contain many fluctuations in artistic content and may well had a wider appeal at the original live concert but they lose much when listened to in the cold light of day.
Reviewed by Roy Booth
