Funde aus dem Archiv (alte Aufnahmen, erstmals/neu veröffentlicht)

News von Sonorama:

Out now:
CD & Vinyl: 6-Page CD-Digipack/ Vinyl-LP/ Digital
OSCAR PETTIFORD QUARTET – “WE GET THE MESSAGE”
UNEARTHED MODERN JAZZ 1958
(Sonorama C-90/ L-90)

Newly unearthed live recordings of jazz bass and cello legend Oscar Pettiford and his quartet from Hamburg in 1958, featuring the great Kenny Clarke (dr), Hans Koller (ts), Attila Zoller (g) & guests in front of an excited audience. Eight tracks full of bluesy modern jazz, with a gloomy version of Friedrich Gulda`s “Dark Glow” or the cheerful “Gertberg Walk”, written by Pettiford especially for the occasion. Excellent sound quality, carefully mastered in 2015, new liner notes and unseen concert photos from the same evening by Susanne Schapowalow. Oscar at his best, passing the message of jazz as it was received.

Out now:
CD & Vinyl: 6-Page CD-Digipack/ Vinyl-LP/ Digital
GREETJE KAUFFELD – “YOUNG GIRL SUNDAY JAZZ”
LOST VOCAL JAZZ 1960-1969
(Sonorama C-89/ L-89)

New compilation showcasing some great early works by the outstanding Dutch jazz singer, featuring 16 lost songs from the 1960s – short, soulful and to the point. Contains incredibly tight versions of “Fever”, “Love For Sale”, “Handful Of Soul”, “You And I ( Você E Eu)”, “Almost Like Being In Love” or “Who Knows Why”, with the deep tenderness of Greetje Kauffeld and renowned jazz masters such as Rolf Kühn, Tony Vos, Ingfried Hoffmann, Cees Slinger and Wolfgang Schlüter. Remastered in 2015 for Vinyl-LP and Digipack CD, including many previously unknown finds from the artists` private collection.

Out now:
CD & Vinyl: 6-Page CD-Digipack/ Vinyl-LP/ Digital
BREW MOORE – “LIVE IN EUROPE 1961”
UNEARTHED MODERN JAZZ 1961
(Sonorama C-91/ L-91)

The music presented on this album for the first time was recorded in the year when West Coast tenorist Brew Moore immigrated to Europe. He arrived in Paris and played with renowned drummer Kenny Clarke at “The Blue Note” jazz club, later at “Nalen” in Stockholm and for Danish TV with Scandinavian cats Lars Bagge, Niels-Henning Ørsted Pedersen or Alex Riel. “Live In Europe 1961” is a compilation of seven tremendous quartet performances from Scandinavia and France, newly mastered, with unseen Danish archive photos and fresh liner notes by Arne Reimer, author of “American Jazz Heroes”.

Release Date October 23, 2015:
CD & Vinyl: 6-Page CD-Digipack/ Vinyl-LP/ Digital
ALBERT MANGELSDORFF – “MAINHATTAN MODERN”
LOST MODERN JAZZ FILES 1955-1963
(Sonorama C-80/ L-80)

Lost jazz files: Recently discovered treasures from the world renowned “German ambassador of jazz”, trombonist Albert Mangelsdorff from Frankfurt/Main. Unique modern jazz and hard bop recorded in the late 1950s and early 60s, featuring Joki Freund, Hans Koller, Peter Trunk, Heinz Sauer, Günter Lenz and many more big names from the German scene. Collection of nine mostly unreleased tunes, including “Improvisation zu einem Klang”, “Tower Blues”, “Jo-Jo Blues” or “Vierd Blues”. Careful audio restoration and final mastering for Vinyl LP and 6-page-digipack CD with new sleeve notes.

Release Date November 21, 2015:
CD & 2LP-Vinyl: 6-Page CD-Digipack/ Vinyl-2LP Gatefold/ Digital
OSCAR PETTIFORD & FRIENDS – “BLUES IN MY MIND”
UNEARTHED MODERN JAZZ 1958
(Sonorama C-92/ L-92)

The great bassist Oscar Pettiford live in Hamburg 1958, second chapter. Fine mélange of modern mainstream, cool jazz and hard bop, with Jimmy Pratt (dr), Hans Koller (ts), Dusko Goykovich (tp), Michel Hausser (vib), Attila Zoller (g), Roger Guerin (tp) and Armin Rusch (p) heard in a second previously unknown Pettiford session. Longplay CD and 2-LP vinyl set (gatefold), with photos of the event by Susanne Schapowalow and new liner notes, with Goykovich and Hausser sharing their memories of the time. Certainly Pettiford`s best recorded live performance on the European jazz scene in excellent sound quality.

Herbie Mann – Live at the Whisky 1969: The Unreleased Masters

While jazz flautist Herbie Mann is often remembered as a pop-jazz player, he was actually a pioneer in popularizing world music and even prog-rock with recordings released on his own Embryo imprint (as part of Atlantic Records). And in the late 60s, he was fronting one of the most progressive and electrifying bands in the world: guitarist Sonny Sharrock, Miroslav Vitous on electric & upright bass, saxophonist Steve Marcus, drummer Bruno Carr, and vibraphonist Roy Ayers. Together, the sextet cut the dynamic Live at the Whisky A Go Go album in 1969, drawn from a four night run at the legendary nightclub on Los Angeles Sunset Strip. Though the band s repertoire was quite varied on these dates, just two side-long tracks, Ooh Baby and Philly Dog, surfaced on the Atlantic Records release.

Now, reissue producer Pat Thomas has unearthed the multi-track tapes for these shows (never before mixed), and has programmed a double-CD set that shows this high-energy jazz-rock outfit stretching out sometimes, on Sharrock s solos, way out with, as an added bonus, the appearance of Linda Sharrock on songs that appeared (in studio versions) on the seminal Sonny Sharrock album Black Woman released around the time of these live shows.

All performances are previously unreleased, including a 23-minute jam of Donovan s Tangier blending into Tim Hardin s If I Were A Carpenter and a newly discovered take of Ooh Baby that clocks in at 21 minutes! Sonny Sharrock s searing lead guitar work is featured on songs first recorded by Aretha Franklin, Miles Davis, and Simon & Garfunkel plus Black Woman and Portrait of Linda in Three Colors with Linda on vocals. Live at the Whisky 1969 The Unreleased Masters presents two CDs filled to the brim with explosive, yet ethereal innovative jazz-rock at its best. Fans of Bitches Brew, The Inner Mounting Flame, early Weather Report and similar-era titles will quickly realize that Herbie Mann was not just a pop-jazzbo but a force to be taken more seriously than history has accorded him. File this CD between Soft Machine 3rd and the jazz-funk of The Crusaders.

Packaging includes several previously unpublished live photos of this band in action, with notes by Thomas. A huge jazz find!

Disc: 1
1. Untitled Jam
2. Tangier/If I Were a Carpenter
3. Memphis Underground
4. Ooh Baby
5. Scarborough Fair

Disc: 2
1. Black Woman
2. All Blues
3. If I Were a Carpenter
4. Philly Dog
5. Portrait of Linda
6. Come Home Baby/Battle Hymn of the Republic/Come Home Baby
7. Chain of Fools

Real Gone Music, 2 CDs, 11. März 2016

Quelle: http://www.amazon.com/gp/product/B01AAU2R8C/

Dürfte interessant sein! Mit Sharrock und Carr ist das gewiss eine hörenswerte Sache!

Die gelben Jungs von Fresh Sound brauche ich auch noch, hast Du das schon?

Mein erster Eindruck von den Pettifords auf Sonorama ist übrigens ziemlich gut, die zweite ist wohl besser, was aber kein Grund ist, bei der ersten soviel wegzulassen* … für alle, die an OP oder Hans Koller interessiert sind, lohnen die Veröffentlichungen bestimmt!

*) vgl. hier

Stan Getz and Joao Gilberto – Getz/Gilberto ’76

Release Date: Feb. 19, 2016
Deluxe CD Set: $18.98
Deluxe LP Set: $24.98
Digital Download with digital booklet – Available on iTunes soon!
Mastered for iTunes version includes a complete digital booklet

Available as a Deluxe CD and Limited Edition 12″ LP

—   A follow-up album to the biggest selling bossa nova record of all time, the GRAMMY Award-winning Getz/Gilberto (Verve) and Getz/Gilberto #2 which sold over 1 million copies
—   A newly discovered unearthed classic of never-before-released music recorded in May 1976
—   32-page booklet includes essays by author James Gavin, bossa nova legend Carlos Lyra, pianist Joanne Brackeen, drummer Billy Hart, and producers Zev Feldman & Todd Barkan
—   Includes rare unpublished photographs
—   Cover art painting by Puerto Rican expressionist painter, Olga Albizu (Jazz Samba and Getz/Gilberto)
—   Release endorsed by João Gilberto & the Stan Getz Estate
—  

Deluxe LP Set

—   Limited Edition first pressing of 2,000
—   180 gram vinyl at 33 1/3 RPM by Record Technology Incorporated (RT.I.)
—   Gatefold LP includes booklet with essays & unpublished photographs
—   Mastered by legendary engineer Bernie Grundman
—  

Just over 50 years after the release of João Gilberto’s and Stan Getz’s classic Grammy®-winning album Getz/Gilberto (1964), and its sequel Getz/Gilberto #2 (1966, both on Verve Records), Resonance Records proudly announces Getz/Gilberto ’76, set for release on February 19, 2016. Getz/Gilberto ’76 is an instant classic collection of never-before-released recordings captured May 11-16, 1976 at the legendary San Francisco jazz club Keystone Korner, showcasing the legendary Brazilian singer, guitarist and composer João Gilberto, accompanied by the saxophone icon Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. These recordings were made during João Gilberto’s and Stan Getz’s weeklong engagement at the Keystone, which took place nearly 12 years after the release of their initial award-winning album. The first Getz/Gilberto album sold over one million copies and almost single-handedly launched the bossa nova craze in America and around the world. It’s been said that the hit single off that album, „The Girl From Ipanema,“ is the second most recorded song of all time, behind only „Yesterday“ by the Beatles. The 1976 Keystone engagement represents one of the very few times this famed duo reunited after their initial creative collaboration in 1962, and according to the club’s founder and owner Todd Barkan, this engagement was João Gilberto’s first public performance after a four year hiatus.

Getz/Gilberto ’76 is available as a deluxe CD and limited-edition 12“, 33-1/3 rpm LP mastered by legendary engineer Bernie Grundman and pressed on 180-gram vinyl at Record Technology Incorporated (R.T.I.) in a limited edition of 2,000 copies. Also available digitally for pre-sale on iTunes with 3 „instant gratification“ tracks upon purchase: „É Preciso Perdoar,“ „Chega de Saudade“ and „Morena Boca de Ouro.“

The famed jazz club Keystone Korner, located in San Francisco’s North Beach neighborhood, opened its doors in 1972 and operated until 1983. The Keystone hosted an impressive roster of jazz greats, among them Miles Davis, Bill Evans, Art Blakey, McCoy Tyner, Bobby Hutcherson, Joe Henderson, Freddie Hubbard, Herbie Hancock, Rahsaan Roland Kirk and many, many others. Barkan captured on tape live performances by the greats who appeared at the Keystone, collecting a virtual goldmine of archival treasures. In 2011, producer Zev Feldman and the founder/president of Resonance Records, George Klabin, collaborated with Barkan to release a few of those gems on the Resonance label. To date, these include Freddie Hubbard’s Pinnacle (2011) and the Jaki Byard/Tommy Flanagan two-piano collaboration The Magic of 2 (2013). After several years of patient relationship building, Barkan shared one of his most prized recordings with Resonance — tapes documenting a week of performances by the Stan Getz Quartet with special guest João Gilberto from May of 1976. These tapes are truly the „crown jewels“ of Barkan’s archives, and represent one of the few times in their careers that Getz and Gilberto collaborated. Recognizing the significance of this special engagement, Feldman and Klabin made it their mission to share these recordings with music lovers in two special, deluxe releases.

Feldman on Getz’s legacy: „We really wanted to give Stan Getz the royal treatment with these deluxe releases, and we’re honored to be able to add a new chapter to his timeless musical history. He’s simply one of the greatest saxophonists who ever lived and deserves to be heard by new audiences with each generation so that his legacy continues to grow and grow. Even John Coltrane was a fan and said ‚We’d all sound like that if we could!'“ And on working with co-producer Todd Barkan on these releases, Feldman adds humorously, „It took a few years of George [Klabin] and I staring over at the corner of Todd’s archives and salivating over those Getz tapes when we would come by, and he’d just say something like ‚Oh, we can talk about those later.‘ We’re so thankful our persistence paid off in the end, and grateful not only for the amazing tapes Todd has shared with us, but the great relationship we’ve built over the years.“

Resonance worked tirelessly over a number of years tracking down all the appropriate parties to ensure that both Getz/Gilberto ’76 and Moments in Time were fully endorsed and cleared by both João Gilberto and the Stan Getz Estate, and the living musicians involved. Both albums will be released on the same day, with Keystone’s Barkan as co-producer on each.

Resonance’s historical releases typically include elaborate books featuring newly commissioned essays, personal accounts of those involved in the creation of the music and the recordings, and rare archival photos that provide listeners with a detailed historical context of everything that went into making that music. These extensive books have become a defining characteristic of each Resonance historical release, and 2014’s John Coltrane: Offering Live at Temple University even garnered the label a Grammy award for Best Album Notes (by Ashley Kahn). Likewise, Getz/Gilberto ’76 includes a 32-page book featuring essays by producers Feldman and Barkan, Stan Getz’s son Steve Getz, author and jazz authority James Gavin, as well as interviews with Brackeen, Hart and bossa nova legend Carlos Lyra. Included in the package are rare, previously unpublished photographs by San Francisco’s heralded music photographer, Tom Copi. The deluxe gatefold LP features striking photos from Tom Copi, and a beautiful painting („Equilibrium Verde“) by the late celebrated Puerto Rican abstract expressionist artist Olga Albizu graces the cover. Her paintings also appeared on the album covers for the original Getz/Gilberto and Getz/Gilberto #2 releases and Stan Getz and Charlie Byrd’s first Brazilian-music collaboration, Jazz Samba (1962).

Bossa nova (Portuguese for „new trend“) became enormously popular in the in the United Sates beginning in the early 1960s thanks largely to Stan Getz’s 1962 releases, Jazz Samba (co-led with Charlie Byrd) and Big Band Bossa Nova (Verve). Jazz Samba, one of the first important bossa nova releases in the United States, included arrangements by guitarist Charlie Byrd, who had recently traveled to Brazil and been exposed to bossa nova, and featured compositions by noted Brazilian composers. Bossa nova, then a novelty for Americans, combines many American jazz elements with traditional samba structures yielding a light, syncopated groove that, while reminiscent of classic samba, is lighter and more intimate. This new sound immediately captivated American audiences and caught the attention of jazz and pop fans alike. It was also quickly adopted by many top jazz and popular musicians, including Frank Sinatra, Dizzy Gillespie, Quincy Jones and even Elvis Presley. By August 1, 1964, Stan Getz’s single „The Girl From Ipanema“ (by the preeminent Brazilian composer Antônio Carlos Jobim), drawn from Jazz Samba, hit the Billboard’s top ten list alongside the Beatles, Dean Martin, Roger Miller and the Supremes. Stan Getz’s smooth tenor saxophone sound became synonymous with bossa nova in the United States. In Billy Hart’s interview with Feldman, he notes, „Stan was considered by many as the number one tenor saxophone player in the world at that time.“

A decade earlier, in the 1950s, João Gilberto was refining the bossa nova sound in his home country of Brazil. His guitar playing de-emphasized the percussive quality of samba, while creating a lightness to the syncopated rhythms that defined the new sound. In the album book, author James Gavin writes of Gilberto’s unearthly calm: „João had already become a mythic figure. A nondescript man in a dark suit, he looked like he could have been a banker. Instead, this eccentric genius, reclusive and painfully shy, had changed the course of Brazilian music . . . His vibratoless, nasal-toned, sotto voce croon floated with seeming detachment above his guitar. The push-and-pull between the two was a marvel of rhythmic and melodic tension and release.“ Gilberto recorded several of Jobim’s songs and launched the bossa nova movement in 1958 in Brazil with the recording of „Chega de Saudade,“ showcasing his groundbreaking guitar style on a record by Elizeth Cardosa. This song became a celebrated single. Billy Hart describes João Gilberto as the „Frank Sinatra of Brazil.“

Stan Getz and João Gilberto joined forces in 1963 to record Getz/Gilberto. Their artistry, talent and broad appeal with the public that each of them enjoyed combined to create a national sensation in the United States. In his essay for the Getz/Gilberto ’76 package, James Gavin paints a portrait of João Gilberto in performance: „Gilberto sat on a stool, head hunched over his guitar, drama-free except for his spacey, enigmatic presence. His music was wistful but cool; Gilberto was a man of secrets. That seeming detachment lent irony to the tortured songs he loved. In ‚É Preciso Perdoar‘ (One Must Forgive) – written in the mid-’60s . . . popularized by Gilberto – Gilberto sings in his humming head voice: ‚Dawn has already broken/You’re going to abandon me/I feel you don’t deserve forgiveness/I wanted the illusion, now I am the pain.'“

Getz/Gilberto ’76 begins with Stan Getz introducing João Gilberto as „the most individual singer of our time – a true originator“ and muses over how „a performer, so gifted, one of the true greats in music should be so hesitant about public appearance, is just one of those mysteries. But he’s here this week.“ The album begins with „É Preciso Perdoar'“ followed by the popular Jobim compositions „Águas de Março“ (Waters of March) and „Retrato em Branco e Preto.“ The 13-song album includes such bossa nova favorites as „Chega de Saudade,“ „Doralice“ and „Eu Vim da Bahia.“ With these songs, Gilberto and Getz seduce the audience with their incomparable artistry. The passage of time has only served to underscore the magnitude of what they achieved, first in the ’60s and then here, ten years later at the Keystone in their rare joint appearance. Steve Getz nicely summarizes this album: „This recording is a jewel; it’s a demonstration of the natural musical chemistry between João and my father. And it’s particularly fine that they were able to make this recording with Joanne Brackeen, Clint Houston and Billy Hart, my father’s stellar sidemen of the day, in a restrained but relaxed backing of the Brazilian master.“ Resonance Records is pleased to unearth this notable historic recording of Stan Getz/Joao Gilberto ’76 and to share this with the public.

Track Listing

1. Spoken Intro by Stan Getz (1:07)
2. É Preciso Perdoar (5:50)
3. Aguas de Março (5:46)
4. Retrato Em Branco E Preto (4:47)
5. Samba da Minha Terra (3:20)
6. Chega de Saudade (3:42)
7. Rosa Morena (4:25)
8. Eu Vim Da Bahia (4:11)
9. João Marcelo (3:20)
10. Doralice (3:47)
11. Morena Boca de Ouro (3:34)
12. Um Abraço No Bonfá (4:38)
13. É Preciso Perdoar (Encore) (6:29)

http://www.resonancerecords.org/release.php?cat=HLP-9021
http://www.resonancerecords.org/release.php?cat=HCD-2021

Stan Getz – Moments In Time

Release Date: Feb. 19, 2016
Deluxe CD Set: $18.98
Digital Download with digital booklet – Available on iTunes soon!
Mastered for iTunes version includes a complete digital booklet

—   Never-before-released music recorded in 1976 at San Francisco’s Keystone Korner
—   Features the Stan Getz Quartet with tenor saxophonist Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart
—   Booklet includes essays by Ted Panken, Steve Getz, Joanne Brackeen (pianist), Billy Hart (drummer), and producers Zev Feldman & Todd Barkan
—   28-page booklet includes rare unpublished photographs
—   Cover art by Japanese artist Takao Fujioka
—   Release endorsed by the Stan Getz Estate

As a companion to Getz/Gilberto ’76, on February 19, 2016 Resonance Records will also release the deluxe CD Moments in Time. This album was also recorded at the Keystone Korner, the same week as Getz/Gilberto ’76 and features Stan Getz’s same adventurous rhythm section. Moments in Time and Getz/Gilberto ’76 document the only time this dynamic quartet recorded together.

The accompanying 28-page book includes essays by producers Feldman and Barkan, journalist Ted Panken, a tribute by Steve Getz, interviews with Brackeen and Hart and statements from saxophonists Branford Marsalis and Joshua Redman. The album cover is beautifully designed by the acclaimed Japanese artist Takao Fujioka.

Ted Panken describes Moments in Time as capturing the artists on this recording as a „unit of thirty-something masters-in-the-making.“ Keystone’s Barkan recalls: „Stan explained to me quite a few times backstage at Keystone Korner that ‚I have never felt as free and as totally supported as I do with this band with Joanne Brackeen, Clint Houston, and Billy Hart. They are happy and free to go with me wherever I go . . .'“ Barkan relates that Getz frequently told him that he felt the most comfortable at the famed San Francisco club, more than he did at any other club.

Brackeen talks about playing with Getz in her interview with Feldman: „I think that it kind of really also displays the quartet at its best, which we rapidly became and stayed. And he had to be really daring to hire us. He already had his thing. He was already famous. He didn’t have to have this band. And this band was crazy! I mean, we would do anything and everything we possibly could. We weren’t just there as accompaniments . . . And then you hear how he played on it, it’s so lyrical. He doesn’t play one note that he doesn’t mean. At any time. That’s the one thing I guess that I would say about him that was so unique to me. And he also talked that way, when he was speaking.“

The release features eight tracks, including Antonio Carlos Jobim’s „O Grande Amor,“ Wayne Shorter’s „Infant Eyes,“ Horace Silver’s „Peace,“ Dizzy Gillespie’s „Con Alma,“ Jimmy Rowles’s „Morning Star“ and others. These tunes were staples of Getz’s repertoire and remained so for many years. Pre-order digitally via iTunes and receive three tracks instantly: „Summer Night,“ „The Cry of the Wild Goose“ and „Peace.“

In his contribution to the album package for Moments in Time, saxophonist Joshua Redman pays homage to Getz: „His virtuosity – he could play any tune in any key at any tempo, with command and control and a sense of relaxation.“ And he further celebrates Getz’s“. . . incredible storytelling ability – the natural, organic logic in the flow of his phrases and ideas.“ Resonance Records is pleased to unearth these notable historic recordings of Stan Getz/João Gilberto and the Stan Getz Quartet and to share them now with the public.

Track Listing

1. Summer Night (9:18)
2. O Grande Amore (6:50)
3. Infant Eyes (7:45)
4. The Cry of the Wild Goose (8:23)
5. Peace (5:06)
6. Con Alma (12:36)
7. Prelude To A Kiss (5:42)
8. Morning Star (8:42)

http://www.resonancerecords.org/release.php?cat=HCD-2020

kurganrsDas sagt amazon.de:
One Night in Indy 2016
von Montgomery,Wes
Audio CD
EUR 26,55
Vorbestellbar. Erscheinungstermin: 19. Februar 2016

Ich sah sie auf .fr mit 18. Jan aber vorübergehend nicht an Lager. Egal, da sie in den USA schon draussen ist, kann man sie im Bedarfsfall via Marketplace schon bestellen, aber mir eilt es damit nicht.

Ach so, jazzmessengers.com im Barcelona hat sie auch schon, LP und CD:
http://www.jazzmessengers.com/en/70780/wes-montgomery/one-night-in-indy-feat-eddie-higgins-trio
http://www.jazzmessengers.com/en/68962/wes-montgomery/one-night-in-indy-feat-the-eddie-higgins-trio