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Under The Rainbow

Tex Beneke: 1946-1949

'Sleepy' John Estes/John Henry: Blues Live!

Martial Solal: Contrastes

Palle Mikkelborg: Imagine

Sigurdur Flosason: The Eleventh Hour

Bing And Louis - Havin' Fun

Stuff Smith: Five Fine Violins

Jazzcraft Studio Recordings 1978-79

Jazzcraft Studio Recordings 1978-79

Jazzcraft is a new addition to the Storyville family of labels. It was founded by Lars Johansen, who went to New York and Los Angeles in 1977, 1978, and 1979 for the purpose of recording some of the key players of post-war jazz. In various combinations, they perform music that is a staple in the Bop repertoire: compositions by Charlie Parker, Thelonious Monk, Tadd Dameron, Oscar Pettiford, Fats Navarro, and Bud Powell, right up to John Coltrane.The initial release of three double albums features performances by stellar groups under the leadership of such mainstays of modern post-war jazz as Howard McGhee, Teddy Edwards, and Benny Bailey. The ?sidemen? are also of up-front caliber, including Barry Harris, Sonny Redd, and Art Hillery - all stunningly propelled by the likes of Leroy Vinegar, Lisle Atkinson, Billy Higgins, and Bobby Durham.WISE IN TIMEHOWARD McGHEE /TEDDY EDWARDS1. I Want To Talk About You (take-2)2. If You Could See Me Now3. Crescent (take-1)4. Ruby My Dear (take-3)5. Time Waits (take-1)6. Relaxing At the Camarillo (take-1)7. Reflections (take-5)8. Blues In the Closet9. On a Misty Night (take-4)10. In Walked Bud (take-4)11. Yardbird Suite (take-3)12. Moose the Mooche (take-2)HOME RUNHOWARD McGHEE / BENNY BAILEY SEXTET - HOWARD McGHEE /TEDDY EDWARDS QUINTET1. Get It On (take-3)2. Nostalgia (take-1)3. Blues For Helene (take-1)4. Jonas (take-4)5. Brownie Speaks (take-2)6. You Never Know (take-1)7. Funky Senor (take-1)8. Alone Together (take-1)9. I Remember Clifford (take-1)10. Moose the Mooche (take-1)11. On a Misty Night (take-1)12. In Walked Bud (take-3) 

SEK 183.00
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NHØP/Mulgrew Miller: The Duo - Live!

NHØP/Mulgrew Miller: The Duo - Live!

Exclusive to Storyville Records, a previously unreleased live concert with jazz stars Niels-Henning Ørsted Pedersen (Bass) and Mulgrew Miller (Piano) is now finally available for everyone to enjoy. For a short but magnificent time, the two played together, and Storyville's revival of their visit to the North Sea Jazz Festival in Holland in 2000 testifies to their musical brightness and beauty. In 1999-2000, Niels-Henning Ørsted Pedersen was given the chance to make a studio recording on the occasion of Duke Ellington’s 100th birthday. For this duo session, NHØP chose Mulgrew Miller , whom he had heard, but never played with. Both were at the height of their careers, giants in their own right, and with totally different backgrounds. NHØP was born into the Danish folk high-school milieu that promoted freedom of thought and had a prolific song tradition. Growing up as the child of plantation workers in Greenwood, Mississippi, Mulgrew had his roots in gospel music and the racially divided USA of the 1960s. A Duke Ellington connoisseur, he had played with the Ellington Orchestra under direction of Mercer Ellington. Still, from the moment NHØP and Miller met and played together, the two had an affinity as human beings and musicians. They chose a repertoire based on the historic 1941 Duke Ellington—Jimmy Blanton duets. Mik Neumann, NHØP ’s long-time producer, says about their collaboration: “What was special was how their music assimilated the divergent influences of their younger days. Remarkable, too, was the degree of profundity in their interplay – a talent that demands years of experience for a musician to deliver, and possibly also for an audience to understand. At the same time, thanks to their ability to swing, and their inbred musicality, the music was also immediately accessible.” In many ways, Piano-and-Bass was the ultimate constellation for  NHØP and Miller . Here, NHØP had the necessary room to display the same creative brilliance that revolutionized modern contrabass playing. In 2000, NHØP and Mulgrew Miller embarked on a world tour celebrating Duke Elington’s 100th birthday. Mik Neumann recalls the special connection between the two musicians: “Not once during the tour did they sit down and discuss what they were going to play – it materialized on stage, in the moment.” Recorded live, all the tracks on this never before released concert remain in the same order as the two masters chose that evening at the North Sea Jazz Festival. They are at the peak of their abilities, combining new version of the Ellington songs they had previously recorded together with jazz standards. NHØP and Miller  have sadly passed away, but are remembered as intelligent and insightful musicians on and off stage, but also as unconditionally generous mentors and influences for generations of musicians after themselves.

SEK 296.00
1

Wild Bill Davidson: The Danish Sessions, 1973-1978

Wild Bill Davidson: The Danish Sessions, 1973-1978

Brash and sensitive – new large box set with the legendary American trumpeter Wild Bill Davison William Edward Davison (1906-1989) was an American trumpeter, and among the best of his kind. Louis Armstrong himself thanked him in his old age for bringing forward the very music to which Armstrong himself had vowed his whole life.  He had an ear for rhythm and music like no other. His sound is a demonstration of power, but never extortion. Rather, he is precise, athletically sharp and just a moment ahead of the beat, laid-back and superior. He wasn’t interested in sheet music or chords, but had an ear and a routine equal to few. For Davison, it was not a question of which playing style was in fashion: he was driven by a simple desire to create good music. It wasn’t only his musical style that earned him his Wild Bill nickname. He loved partying and was known to drink like an entire band. He could be gruff and violent, tender and touching, generous or stingy. His fifth and last wife, Ann Stewart, put him under and administration and that diminished the number of female acquaintances and his consumption of boozed dwindled to a trickle. But how did this musician from the great USA turn up in Denmark, settle here and play so prolifically for five years? The story begins at the 1972 Newport Jazz Festival. Papa Bue’s Viking Jazzband was on the program, and went backstage to say hello to musicians such as Eddie Condon, Bobby Hackett among others. They invite Davison to Copenhagen, and he likes the city so much he decides to stay around. Ole “Fessor” Lindgreen recalls Wild Bill Davisons particular and powerful style: “ I’ve played with many of the Americans, but I have to say I was always impressed by the punch there was in Wild Bill. No matter whether he was playing for forty people or four hundred, there was an enormous amount of power. If the concert was being recorded, the sound people always thought there was something wrong with the equipment – that’s how strong he played. The fact that later in the evening he drank himself stinking drunk didn’t matter so much… He was more serious with his music than you’d think, behind that smash-bang-pow façade. He practiced all the time. He said ‘I have the kind of chops that, if I don’t practice one day, it’s okay. Two days, problems. Three days, serious shit ’”. Wild Bill Davison lived the good life in Denmark for more than five years, between 1973 and 1978. He played countless gigs with Danish bands, especially Fessor’s Big City Band and Papa Bue’s Viking Jazzband, and made trips to Argentina, Spain and Italy with Copenhagen as his base. The music in this box set focuses on his successful collaboration with the Danish bands, who are performing on a high level with deep, affectionate insight into the essence of jazz.  

SEK 414.00
1

Thomas Fonnesbæk Trio: Sharing

Thomas Fonnesbæk Trio: Sharing

Release November 09, 2018.   Thomas Fonnesbæk and Justin Kauflin are ready to follow up on the critically acclaimed album Synethesia from 2017. This time they are joined by Billy Williams on drums, making this a trio record.   The album, entitled Sharing, was recorded during November 2017 in Gothenburg, Sweden. It consists of 10 tracks, with the main part composed by Fonnesbæk, alongside one improvisation and a rendition of the classic track Inception, written by McCoy Tyner. On Sharing the trio exemplifies the fact that jazz has never been a more international art form than it is today, and that new generations continue to set their own fascinating imprint on the music.   Opening track Point Of No Return starts with a ride-cymbal that sets a kind of upbeat but still very spacious sound, and within the first minute the piano and bass kicks in giving the intro a form that slowly transcends into the theme of the song. First Dance is as the title suggest, a percussion-heavy song that invites the listener to dance to the rhythms. Title-track Sharing is a beautiful ballad that really displays the immense talents of the trio, with the piano in a leading role and almost playful in the way it explores the melody and chords within the song. Tokyo Tower is one of the more upbeat songs, shapeshifting between a kind of metric funk and more traditional jazz within the blink of an eye. The album closes on a high beat, with the trio’s rendition of Inception. Presented here in a very high tempo, the trio once again displays what they are capable of, this time playing fast and precise, without ever sounding forced.   Danish bassist Thomas Fonnesbæk is a fascinating musician who exudes technical brilliance and a superior sense of rhythm, as well as a melodic and harmonic sensitivity reminiscent of Niels-Henning Ørsted Pedersen that never overshadows his own unique style.   Justin Kauflin is one of the great piano talents of recent times. Renowned trumpetist Clark Terry and Quincy Jones has both taken the young prodigy under their wings, playing a crucial part in his success. The maturity he displays and focus with which he plays is exceptional.   Billy Williams is the childhood friend of Kauflin and has worked professionally with a long list of great jazz musicians such as Christian McBride, Larry Willis, Steve Wilson, Benny Golson and Ellis Marsalis Kauflin and Fonnesbæk met for the first time when they were put together for a show at Montmartre in Copenhagen.   Kauflin was so impressed with Fonnesbæk, that he invited him to go on tour with him in Europe and Asia. Both Justin Kauflin and Thomas Fonnesbæk perceive music as colour, a form of synesthesia where one sense stimulates another. It is an aptitude that permeates this record and boosts the level of interplay to new heights. As a result, almost everything is possible and the music becomes boundless when Kauflin, Fonnesbæk and Billy Williams let themselves go. In all of this, Williams plays a major role. His style, at once powerful and sensitive, binds the music together while giving it the groove to constantly propel the group forward.   Great art gets us to forget daily life for a moment. It makes us aware of our fe

SEK 188.00
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