The Great Jazz Trio At The Village Vanguard Rarest

At The Village Vanguard (CD) by Great Jazz Trio The is in stock now.,Japan,Music CD, (UHQCD/MQA-CD)(reissue) / Limited pressing edition. Reissue album from THE GREAT JAZZ TRIO. Release in UHQCD/MQA-CD (44.1kHz/16bit on normal player; 352.8kHz/24bit on player with MQA decoder). Originally released in 1978. Features 2020 DSD master. Nov 29, 2000. Limited pressing edition. Remaster album from THE GREAT JAZZ TRIO. East Wind Masters Collection encore pressing. Using the DSD remaster. Recorded at Village Vanguard in New York on February 19-20, 1977. Hank Jones(p), Ron Carter(b), Tony Williams(ds). The Great Jazz Trio is in terrific form on this 1981 follow-up to earlier sessions at the Village Vanguard. Hank Jones generously showcases his bandmates, bassist Ron Carter and Tony Williams, rather than relegating them strictly to supporting roles as far too many piano trio leaders have done.Each track is an extended workout. The opener, 'Hi-Fly,' features an often humorous solo by Jones. Aug 22, 2005.

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While finishing “Bird-Watcher,” a Profile of the jazz broadcaster and expert Phil Schaap, I thought it might be useful to compile a list of a hundred essential jazz albums, more as a guide for the uninitiated than as a source of quarrelling for the collector. First, I asked Schaap to assemble the list, but, after a couple of false starts, he balked. Such attempts, he said, have been going on for a long time, but “who remembers the lists and do they really succeed in driving people to the source?” Add to that, he said, “the dilemma of the current situation,” in which music is often bought and downloaded from dubious sources. Schaap bemoaned the loss of authoritative discographies and the “troubles” of the digital age, particularly the loss of informative aids like liner notes and booklets. In the end, he provided a few basic titles from Louis Armstrong, Count Basie, Benny Goodman, Miles Davis, and other classics and admitted to a “pyrrhic victory.”

What follows is a list compiled with the help of my New Yorker colleague Richard Brody. These hundred titles are meant to provide a broad sampling of jazz classics and wonders across the music’s century-long history. Early New Orleans jazz, swing, bebop, cool jazz, modal jazz, hard bop, free jazz, third stream, and fusion are all represented, though not equally. We have tried not to overdo it with expensive boxed sets and obscure imports; sometimes it couldn’t be helped. We have also tried to strike a balance between healthy samplings of the innovative giants (Armstrong, Ellington, Parker, Davis, Coltrane, etc.) and the greater range of talents and performances.

Since the nineteen-seventies, jazz has been branching out in so many directions that you would need to list at least another hundred recordings, by the likes of Steve Coleman, Stanley Jordan, Joe Lovano, Jacky Terrasson, John Zorn, David Murray, Avishai Cohen, Béla Fleck, Eliane Elias, Roy Hargrove, Dave Douglas, Matthew Shipp, Gonzalo Rubalcaba, Fat Kid Wednesdays, and many, many others. There is a suggestion below of the dazzling scope of contemporary jazz, but the focus is on the classic jazz that is Schaap’s specialty.

  1. Fats Waller, “Handful of Keys” (Proper, 2004; tracks recorded 1922-43).

  2. King Oliver, “King Oliver’s Creole Jazz Band: The Complete Set” (Challenge, 1997; tracks recorded 1923).

  3. Louis Armstrong, “The Complete Hot Five and Hot Seven Recordings” (Sony, 2006; tracks recorded 1925-29).

  4. Louis Armstrong, “The Complete RCA Victor Recordings” (RCA, 2001; tracks recorded 1932-33 and 1946-47).

  5. Louis Armstrong, “Louis Armstrong Plays W. C. Handy” (Columbia, 1954).

  6. Fletcher Henderson, “Tidal Wave” (Verve, 1994; tracks recorded 1931-1934).

  7. Bessie Smith, “The Essential Bessie Smith” (Sony, 1997; tracks recorded 1923-33).

  8. Bix Beiderbecke, “The Bix Beiderbecke Story” (Proper, 2003; tracks recorded 1924-30).

  9. Django Reinhardt, “The Classic Early Recordings in Chronological Order” (JSP, 2000; tracks recorded 1934-39).

  10. Jelly Roll Morton, “Jelly Roll Morton: 1926-1930” (JSP, 2000).

  11. Sidney Bechet, “The Sidney Bechet Story” (Proper, 2001; tracks recorded 1923-50).

  12. Duke Ellington, “The OKeh Ellington” (Sony, 1991—tracks recorded 1927-31).

  13. Duke Ellington, “Golden Greats” (Disky, 2002; tracks recorded 1927-48).

  14. Duke Ellington, “Never No Lament: The Blanton-Webster Band” (RCA, 2003; tracks recorded 1940-42).

  15. Duke Ellington, “Ellington at Newport 1956” (Sony, 1999).

  16. Duke Ellington, “Money Jungle” (Blue Note Records, 1962).

  17. Coleman Hawkins, “The Essential Sides Remastered, 1929-39” (JSP, 2006).

  18. Coleman Hawkins, “The Bebop Years” (Proper, 2001; tracks recorded 1939-49).

  19. Billie Holiday, “Lady Day: The Master Takes and Singles” (Sony, 2007; tracks recorded 1933-44).

  20. Teddy Wilson, “The Noble Art of Teddy Wilson” (ASV Living Era, 2002; tracks recorded 1933-46).

  21. Lester Young, “The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008; available direct through Mosaic).

  22. Lester Young, “Kansas City Swing” (Definitive, 2004; tracks recorded 1938-44).

  23. Count Basie, “The Complete Decca Recordings” (Verve, 1992; tracks recorded 1937-39).

  24. Count Basie, “The Complete Atomic Basie” (Blue Note, 1994; tracks recorded 1958).

  25. Benny Goodman, “At Carnegie Hall—1938—Complete” (Columbia, 1999).

  26. John Kirby Sextet, “Night Whispers: 1938-46” (Jazz Legends, 2005).

  27. Chick Webb, “Stomping at the Savoy” (Proper, 2006; tracks recorded 1931-39).

  28. Benny Carter, “3, 4, 5: The Verve Small Group Sessions” (Polygram, 1991; tracks recorded 1954).

  29. Charlie Christian, “The Genius of the Electric Guitar” (Definitive, 2005; tracks recorded 1939-41).

  30. James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos” (Smithsonian Folkways, 1996).

  31. The Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classics, Vol. 1, 1942-1946” (Blue Note, 1995).

  32. Charlie Parker, “The Complete Savoy and Dial Sessions” (Uptown Jazz, 2005; tracks recorded 1944-48).

  33. Charlie Parker, “Bird: The Complete Charlie Parker on Verve” (Polygram, 1988; tracks recorded 1946-54).

  34. Charlie Parker, “Best of the Complete Live Performances on Savoy” (Savoy, 2002; tracks recorded 1948-49).

  35. Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945” (Uptown Jazz, 2005).

  36. Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49” (RCA, 1995).

  37. Thelonious Monk, “Genius of Modern Music, Vol. 1” (Blue Note, 2001; tracks recorded 1947).

  38. Thelonious Monk, “Live at the It Club, 1964” (Sony, 1998).

  39. Thelonious Monk, “Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings” (Riverside, 2006).

  40. Lennie Tristano and Warne Marsh, “Intuition” (Blue Note, 1996; tracks recorded 1949 and 1956).

  41. Miles Davis, “The Complete Birth of the Cool” (Blue Note, 1998; tracks recorded 1948-50).

  42. Miles Davis, “Bags’ Groove” (Prestige, 1954).

  43. Miles Davis, “Kind of Blue” (Sony, 1959).

  44. Miles Davis, “Highlights from the Plugged Nickel” (Sony, 1995; tracks recorded 1965).

  45. Miles Davis, “Bitches Brew” (Columbia, 1969).

  46. Bud Powell, “The Amazing Bud Powell, Vol. 1” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953).

  47. Gerry Mulligan, “The Original Quartet with Chet Baker” (Blue Note, 1998; tracks recorded 1952-53).

  48. Modern Jazz Quartet, “Django” (Prestige, 1953).

  49. Art Tatum, “The Best of the Pablo Solo Masterpieces” (Pablo, 2003; tracks recorded 1953-56).

  50. Clifford Brown and Max Roach, “Clifford Brown & Max Roach” (EmArcy, 1954).

  51. Sarah Vaughan, “Sarah Vaughan with Clifford Brown” (EmArcy, 1954).

  52. Charles Mingus, “Mingus at the Bohemia (Debut, 1955).

  53. Charles Mingus, “Mingus Ah Um” (Columbia, 1959).

  54. Charles Mingus Sextet, “Cornell 1964” (Blue Note, 2007).

  55. Ella Fitzgerald, “Ella Fitzgerald Sings the Cole Porter Songbook” (Verve, 1956).

  56. Sonny Rollins, “Saxophone Colossus” (Prestige, 1956).

  57. Sonny Rollins, “Night at the Village Vanguard” (Blue Note, 1957).

  58. Sonny Rollins and Coleman Hawkins, “Sonny Meets Hawk!” (RCA, 1963).

  59. Tito Puente, “King of Kings: The Very Best of Tito Puente” (RCA, 2002; tracks recorded 1956-60).

  60. Sun Ra, “Greatest Hits—Easy Listening for Intergalactic Travel” (Evidence, 2000; tracks recorded 1956-73).

  61. Abbey Lincoln, “That’s Him” (Riverside, 1957).

  62. Art Blakey and the Jazz Messengers, “Moanin’” (Blue Note, 1958).

  63. Ahmad Jamal Trio, “Cross Country Tour: 1958-1961” (Verve, 1998).

  64. The Dave Brubeck Quartet, “Time Out” (Sony, 1959).

  65. Jimmy Witherspoon, “The ’Spoon Concerts” (Fantasy, 1989; tracks recorded 1959).

  66. Ornette Coleman, “Beauty Is a Rare Thing: The Complete Atlantic Recordings” (Atlantic, 1993; tracks recorded 1959-61).

  67. Ornette Coleman, “Dancing in Your Head” (Horizon, 1973).

  68. Freddie Hubbard, “Open Sesame” (Blue Note, 1960).

  69. Jimmy Smith, “Back at the Chicken Shack” (Blue Note, 2007; tracks recorded in 1960).

  70. Dinah Washington, “First Issue: The Dinah Washington Story” (Polygram, 1993; tracks recorded 1943-61).

  71. John Coltrane, “My Favorite Things” (Atlantic, 1960).

  72. John Coltrane, “The Complete 1961 Village Vanguard Recordings” (GRP, 1997; tracks recorded 1961).

  73. John Coltrane, “A Love Supreme” (Impulse!, 1964).

  74. John Coltrane, “Ascension” (Impulse!, 1965).

  75. Eric Dolphy, “Out There” (New Jazz, 1960).

  76. Eric Dolphy, “Out to Lunch!” (Blue Note, 1964).

  77. Bill Evans, “The Complete Village Vanguard Recordings, 1961” (Riverside, 2005).

  78. Jackie McLean, “A Fickle Sonance” (Blue Note, 1961).

  79. Stan Getz and João Gilberto, “Getz/Gilberto” (Verve, 1963).

  80. Dexter Gordon, “Our Man in Paris” (Blue Note, 1963).

  81. Andrew Hill, “Smokestack” (Blue Note, 1963).

  82. Lee Morgan, “The Sidewinder” (Blue Note, 1963).

  83. Usb driver download windows 10. Albert Ayler, “Spiritual Unity” (ESP, 1964).

  84. Archie Shepp, “Four for Trane” (Impulse!, 1964).

  85. Horace Silver, “Song for My Father” (Blue Note, 1964).

  86. Wes Montgomery, “Smokin’ at the Half Note” (Verve, 2005; tracks recorded 1965).

  87. Cecil Taylor, “Conquistador!” (Blue Note, 1966).

    Called Vachana Sahitya in Kannada Language which are derived from the Upanishads and. It is believed that Lord Basava was born into a Shaiva Brahmin. Basavanna life history in kannada pdf. Basavanna (ಬಸವಣ್ಣ) was a 12th-century Hindu philosopher, statesman, Kannada poet in the. Basava literary works include the Vachana Sahitya in Kannada Language. Michael states that it wasn't birth but behavior that determined a true saint and Shaiva bhakta in the view of Basava and Sharanas community. Modem Kannada language and literature. This reminds us. Basavanna's Philosophy of Life. Moksa or liberation is from the chain of birth, death and rebirth.

  88. Betty Carter, “Betty Carter’s Finest Hour” (Verve, 2003; tracks recorded 1958-92).

  89. Frank Sinatra, “Sinatra at the Sands with Count Basie & the Orchestra” (Reprise, 1966).

  90. Frank Sinatra, “The Capitol Years” (Capitol, 1990; tracks recorded 1953-62).

  91. Nina Simone, “Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972” (RCA, 1998).

  92. Pharoah Sanders, “Karma” (Impulse!, 1969).

  93. Chick Corea, “Return to Forever” (ECM, 1972).

  94. Keith Jarrett, “The Köln Concert, 1975” (ECM, 1999).

  95. World Saxophone Quartet, “World Saxophone Quartet Plays Duke Ellington” (Nonesuch, 1986).

  96. Charlie Haden and Hank Jones, “Steal Away” (Polygram, 1995).

  97. Joshua Redman Quartet, “Spirit of the Moment: Live at the Village Vanguard” (Warner Bros., 1995).

  98. Cassandra Wilson, “Traveling Miles” (Blue Note, 1999).

  99. Wynton Marsalis Septet, “Live at the Village Vanguard” (Sony, 1999).

  100. The Bill Charlap Trio, “Live at the Village Vanguard” (Blue Note, 2007).

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With this album Blue Note almost invented jazz nostalgia and it set the tone for Joe Henderson’s late comeback years in the 1990s. Now it gets reissued on vinyl, which is another kind of nostalgia.

Joe Henderson – The State of the Tenor, Live at the Village Vanguard Volume 1 (Blue Note, 2020)

Great Jazz Trio At The Village Vanguard

In a recent obituary on Steve Grossman on the site Do the math writer Mark Stryker wrote of the chock of hearing the previously more adventurous Steve Grossman playing standard songs in the manner of Sonny Rollins on the two volumes of Way Out East which was released on the Red records label in 1984. Another way of seeing it is that Grossman continued to be a trailblazer, because the following year Blue Note records put out two volumes of another saxophone trio led by one of the instrument’s premier practitioners: Joe Henderson.

1985 was an important year in the Blue Note label’s history. It was relaunched with the help of former label owner Alfred Lion who was there when all the classics Blue Note recordings with Thelonious Monk, Bud Powell and Miles Davis was done. Some classic albums were reissued, and some new ones was made by musicians like saxophonist Jackie McLean, and pianist McCoy Tyner who all had a rich past with the label.

The Great Jazz Trio At The Village Vanguard Rarest Cars

The goal was clearly to record new music which built on the tradition of the label. They even joked about it as a series of new recording by past stars of the label like Herbie Hancock and Bobby Hutcherson had cover pictures of jars of pickled fruit and jam.

No other albums reflect this better than the two volumes of The State of the Tenor, Live at the Village Vanguard (1986) by Joe Henderson, bassist Ron Carter and drummer Al Foster. They connect to saxophonist Sonny Rollins’ famous 1957 Blue Note trio recording A Night at the Village Vanguard (1958) both by being recorded at the same place and by using the same instrumentation.

Further trio recordings

They even connect to the label’s and Joe Henderson’s joint history in the choice of repertoire. Volume 1 which now gets reissued on vinyl has Henderson playing saxophonist Sam Rivers’ lovely ballad “Beatrice” which Rivers recorded for the label in 1965, Thelonious Monk’s likewise lovely ballad “Ask Me Now” which Monk recorded for Blue Note in 1951, and Henderson’s own “Isotope” which he recorded on his Blue Note album Inner Urge (1966).

The trio and Henderson are of course top class and the performances are great and has become classic in themselves since they were released. Henderson’s tone and improvisations are unique, and the rhythm section of Carter and Foster are the best that money can buy. The albums were also some of Alfred Lion’s own favorite recordings done for the label and were some of the Blue Note albums placed at his gravestone at his funeral.

Henderson continued to tour and record with various trios the following years as can be heard on the albums An Evening with Joe Henderson (1987) with Charlie Haden and Foster, and The Standard Joe Henderson (1992) with Rufus Reid and Foster. Both was released by the Red records label for which Steve Grossman also recorded. Henderson played a similar and sometimes overlapping repertoire on these recordings as on The State of the Tenor.

Double nostalgia

Following these recordings Henderson started to record albums for Verve records which were tributes to musicians and composers like Billy Strayhorn, Miles Davis, and Antonio Carlos Jobim. They gave him big success and critical acclaim, but they like the previous trio albums also had him looking back at his own and other’s past rather than creating new material. Henderson was 48 when he recorded The State of the Tenor, and 55 when he started recording for Verve. Many other musicians around the same age, as Roscoe Mitchell and Lester Bowie in the Art Ensemble of Chicago continued to create and record new music at the time.

There is nothing wrong with playing repertoire music the way Henderson or Grossman did in the 1980s and ‘90s. It is something like hearing a great pianist playing pieces by classic composers like Frederic Chopin or Claude Debussy. There is a demand for standard bearers who can recreate the great past of the music, just as there are for the ones who keeps being creative, and there will be musicians willing to do both things.

Having this album reissued on vinyl is perhaps most fitting as it is another nostalgia trend in jazz right now. There is double nostalgia for you with Joe Henderson.