Originally cut for the Japanese Baystate label and then later released by French RCA, this trio set by pianist Duke Jordan (with bassist Harry Memmery and drummer James Martin in Holland) differs from his usual recordings in putting an emphasis on blues, although not exclusively. Jordan performs six of his originals (including "No Problem," "Ben Sugar Blues," "Jordu" and "From Duke to Duke") plus "All the Things You Are," "C Jam Blues" and "St. Louis Blues." The classic bebop pianist's consistency holds up on this set (cut when he was 61), making the obscure LP worth searching for.
Duke Robillard pays homage to T-Bone Walker with this collection of swing, big band and blues songs. The bubbly and bouncy "Lonesome Woman Blues" has a be-bop Count Basie feeling as his supporting players are given brief solos to shine, particularly the horn section. There is far more substance and style to this approach than a rehashed run-through à la Brian Setzer. This fluidity continues, albeit a bit slower in tempo with the swinging "T-Bone Shuffle" which carries the same head-bobbing groove. Here the horns lead the way but Robillard makes his presence felt on guitar near the homestretch, and throughout the stellar "Pony Tail." The barroom blues and drum brushes on "Love Is a Gamble" takes things down to a creepy crawl, bringing to mind Dr. John or Delbert McClinton. An early favorite has to be the rousing and toe-tapping "Alimony Blues," an indication that Robillard wants to pay tribute in the right way by nailing each song beautifully.
Duke Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered as one of the twentieth century's best known African American personalites. As both a composer and a band leader, Ellington's reputation has increased since his death, with thematic repackagings of his signature music often becoming best-sellers…
Born in Brooklyn, and raised in Toronto, Marc grew up in a household that abounded with music. Classically-trained Charles Jordan, a singer and radio personality, exposed Marc to everything from Woody Guthrie to Grieg, and to all of the jazz greats.
There is no greater paragon of tenor saxophonist taste than Harry Allen. While the fickle winds of prevailing styles continue to blow this or that way, Allen stands tall like the mighty oak, unswayed by fad fashions and firmly rooted to the music of the Great American Songbook. On this appealing date, Allen visits the music of George Gershwin, Cole Porter, and Duke Ellington.
Doug Raney was an American jazz guitarist. He was the son of Jimmy Raney. Raney began his career in his father's band, with Al Haig, at the age of 18. He later played in a duo with his father. He recorded as a leader for SteepleChase extensively in the 1970s and 1980s, and worked with Kenny Barron, Joey DeFrancesco, Billy Hart, Duke Jordan, Jesper Lundgaard, Horace Parlan, Niels-Henning Ørsted Pedersen, Tomas Franck, Bernt Rosengren, and Chet Baker among others. Doug Raney moved to Denmark in 1977…
Some of Kenny Burrell's best early work ! The album catches Kenny in the perfect Blue Note jam session mode of the late 50s — one used also with Jimmy Smith, and which features a number of the label's star players hitting hard with the main soloist. Players on the two volume set include Duke Jordan or Bobby Timmons piano, Junior Cook and Tina Brooks tenor, Louis Smith trumpet, and Art Blakey on Drums. The cuts have a very open-ended blowing session feel, and Kenny comes through surprisingly well, really picking up steam on a way you don't always hear in more restrained recordings.
Duke Jordan Trio and Quintet is an album by American pianist Duke Jordan recorded in 1955 and first released on released on Don Schlitten's Signal label before being acquired by the Savoy label.
This was the first and last time Pepper worked with Jordan, and came about as a result of Pepper's usual pianist, George Cables, being unable to make the dates at Club Montmartre in Copenhagen. To Pepper's dismay, Danmarks Radio decided to record the first gig of the Montmartre series. Pepper need not have worried – the show was a rousing success, with the band tackling a set of standards (and a couple of Pepper originals) with such verve and determination that relatively simple tunes turned into astounding solo workouts (there are several drum and bass solos to be heard on this record), the amazing highlight of which is a shot at "Besame Mucho" that rounds out to twenty-two minutes. Art Pepper was in the process of dying at the time this recording was made, but there's no lack of energy, no loss of vitality. A two-CD live jazz set that's well worth having and should not be overlooked.