
Requisites
Like Someone In Love is a 1960 album by Art Blakey and the Jazz Messengers. It was recorded for the Blue Note label at the Van Gelder Studios in Englewood Cliffs, New Jersey and ran 39 minutes and 56 seconds. It was produced by Alfred Lion and the cover design was created by Reid Miles with photograph provided by Francis Wolff.
The title is taken from the popular song of the same name composed in 1944 by Jimmy Van Heusen, with lyrics by Johnny Burke. It was written (along with “Sleigh Ride in July”) for the 1944 film Belle of the Yukon, and has since become a jazz standard.
The personnel on this session were leader and drummer Art Blakey, Lee Morgan on trumpet and flugelhorn, tenor saxophonist Wayne Shorter, pianist Bobby Timmons and Jymie Merritt on bass.
The album was recorded in two sessions on August 7 (#3, 4, 6) and August 14 (#1, 2, 5), 1960 rendering the tunes Like Someone in Love, Johnny’s Blue (Morgan), Noise in the Attic (Shorter), Sleeping Dancer Sleep On (Shorter), Giantis (Shorter), and Sleeping Dancer Sleep On (Alternate Take and Bonus Track On CD).
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Requisites
Introducing The Afro Blues Quintet Plus One is a 1965 recording on the Mira label. The photograph and cover design was by George Whiteman, exemplifies a typical 1960s post-exotica style. Active as a photographer-designer during the Sixties, he produced covers for both jazz and blues artists, such as Jimmy Reed and B.B. King.
An obscure album from an obscure Los Angeles, California based jazz combo, the surprise is finding how much it swings. Possible reasons: the youthful exuberance of its then-22-year-old leader and vibraphonist Joe De Aguero, the clever arrangements of standards and pop tunes, and the live recording (though no date or location is given).
Some reasons why, on the other hand, it’s not as good as it could be: a sameness to the arrangements (similar chord changes and runs in both “Liberation” and “Together” really stand out), soloing that never stakes its claim, missed opportunities to really add the “Afro” (read: African percussion) that makes up half of its name. The main ingredient here is a gospel swing that infects “Jericho” as well as an inventive take on “Walk On By.”
Young compiles on this recording the following eight compositions: Moses, Liberation, The Monkey Time, Summertime, Jericho, Walk On By, Together, and The “In” Crowd. Long out of print, this album is worth hunting down. #jazz #classic #collectible #music
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Requisites
Larry Young’s Fuel is a jazz fusion album by organist/keyboardist Larry Young, recorded and released on the Arista Records label in 1975. The cover photography was provided by Benno Friedman with art direction and design by Bob Heimall.
The composers on the album included Young, Philips, Santiago Torano, Laura Logan and Fernando Saunders. The album is comprised of seven compositions Fuel for the Fire, I Ching (Book of Changes), Turn off the Lights, Floating, H + J = B (Hustle + Jam = Bread), People Do Be Funny and New York Electric Street Music.
The players on this session were: Larry Young – keyboards, Santiago Torano – guitar, Fernando Saunders – bass and background vocals, Rob Gottfried – drums and percussion, and Laura “Tequila” Logan – vocals
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Requisites
Black Christ of the andes is a 1963 recording from Mary Lou Williams on the MPS label. Photographer Charles “Chuck” Stewart provided the original cover image for designer Gigi Berendt, however, there was a second image provided for the 2004 reissue. In the mid-to-late 1950s, the jazz composer and pianist retired from public performance for nearly four years. During her hiatus she converted to Catholicism, and the first record she made after her return was a marked departure from her previous work: it was a mass.
In 1962, the Catholic Church canonized a new saint: A Peruvian brother of the Dominican Order named Martin de Porres, the son of a freed slave named Ana Velazquez and a Spanish gentleman who refused to recognize him because he was born with his mother’s dark features. St. Martin de Porres was a gifted healer who was dedicated to the poor — today, he is the patron saint of those who seek racial harmony.
The fourteen tracks on the album are St. Martin de Porres, It Ain’t Necessarily So, The Devil, Miss D. D., Anima Christi, A Grand Night For Swinging, My Blue Heaven, Dirge Blues, A Fungus Amungus, Koolbonga, Forty-Five Degree Angle, Nicole, Chunka Lunka and Praise The Lord.
The opening hymn, “St. Martin de Porres,” begins with a choir singing a cappella. The chords — dense and full of satisfying tensions — showcase Williams’ previously underutilized aptitude for vocal arrangement. As they sing the saint’s name, the choir slows down, masterfully swelling on the vowels as if to prove their devotion. When Williams finally enters on the keys, she does so with an Afro-Latin groove, perhaps a nod to the heritage of the hymn’s subject.
Williams, a leading exponent of stride piano, a difficult style of playing similar to ragtime, was developed in New York City’s Harlem during World War I. As one of the most influential women in jazz, she was a mentor to the likes of Charlie Parker and Thelonious Monk.
Mary Lou Williams’ Black Christ of the andes is jazz for the soul and an overlooked choral masterpiece that should be a part of every collection.
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Requisites
Maurice Vander is the self-titled album recorded in 1955 by Maurice Camille Gustave Vanderschueren, better known as his stage sir name Vander. This bop session was recorded in Paris, France on the Disques Vega label and the cover art/photography was designed by Roberlus Tervueren. The band, unfortunately, is uncredited on this session.
Eight standards were set for this recording session that included Pennies From Heaven, I’ll Remember April, The Nearness Of You, Strike Up The Band, How About You, There’ll Never Be Another You, Everything Happens To Me and Get Happy.
To my dismay and probably to that of others, I can find no audio version of this album and this album is out of print but there are a few used copies on the market that one may be able to claim and make a part of their collection.
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