Charlie Haden - Nocturne

For the lovers out there.

Charlie Haden - Nocutrne (with gonzalo rubacalba and friends..)


The Eminent Jay Jay Johnson, Vol. 1

By Scott Yanow / Allmusic

Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone. Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-1942, and then spent 1942-1945 with Benny Carter's big band. He made his recording debut with Carter (taking a solo on "Love for Sale" in 1943), and played at the first JATP concert (1944). Johnson also had plenty of solo space during his stay with Count Basie's Orchestra (1945-1946). During 1946-1950, he played with all of the top bop musicians, including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-1949), and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. Johnson, who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952), but then was outside of music, working as a blueprint inspector for two years (1952-1954). His fortunes changed when, in August 1954, he formed a two-trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years.
After Johnson and Winding went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar. He began to compose ambitious works, starting with 1956's "Poem for Brass," and including "El Camino Real" and a feature for Dizzy Gillespie, "Perceptions"; his "Lament" became a standard. Johnson worked with Miles Davis during part of 1961-1962, led some more small groups of his own, and by the late '60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore. In the mid-'90s, he remained at the top of his field, but by the late '90s and early into the 2000s, the legendary musician fell ill with prostate cancer, and sadly took his own life on February 4, 2001.


Capri / Gigi Gryce / 3:40
Lover Man / Davis-Ramirez-Sherman / 3:54
Turnpike / J. J. Johnson / 4:18
Sketch / John Lewis / 4:25
It Could Happen To You / J. van Heusen – J. Burke / 4:46
Get Happy / H. Arlen – T. Koehler / 4:51
Capri / Alternate take / 3:51
Turnpike / Alternate Take / 4:13
Get Happy / Alternate Take

Link: Jay Jay Johnson - The Eminent

Ornette Coleman - Sound Grammar


Fifty years after he astonished the musical world with his initial recorded forays into free jazz, Ornette Coleman remains astounding. Sound Grammar introduces his so-called two-bass band, a quartet featuring son Denardo on percussion and Tony Falanga and Greg Cohen on acoustic bass. The unusual combination works spectacularly well, as displayed on this fervent live album. Now in his 70s, Coleman has lost little in terms of instrumental prowess on his customary alto saxophone (his occasional trumpet and violin remain as attractively flinty as ever); his utterly distinctive writing still stands heads above both his peers and even the most inventive of jazz's younger generations. Coleman's ace in the hole has always been his combustible mixture of the aggressive and the lyrical. Where, say, "Jordan," and "Song X" roil and slash, the gorgeous ballad "Sleep Talking" and the easy-grooving blues "Turnaround" speak in poetic tongues. If Coleman naturally dominates the proceedings with his riveting horn, his compatriots provide proactive interplay whose fascinating tonal qualities (Falanga's bowed bass against Cohen's pizzicato) add layers of bracing texture. Coleman has been shaking things up since he first made himself known, and Sound Grammar sends the message that he doesn't intend to quit stirring up action anytime soon. -- Steve Futterman

When so much jazz is recycled or reissued, a new Ornette Coleman album is cause for celebration. But Sound Grammar, the free-jazz legend's first release in a decade, is special even by his lofty standards. Coleman was 75 when this live-in-Italy set was recorded in 2005. But he sounds pluckier than he has in years. Pared down to its eloquent basics, the music has a rare combination of beauty, power, lift, and melodic immediacy. With two bassists providing contrasting textures and internal drama--Greg Cohen plucks his acoustic instrument while Tony Falanga bows his--Ornette plays with his usual songful brilliance on alto saxophone and also sounds great on trumpet, a secondary instrument on which he usually demonstrates yeoman skills. (He also dabbles on violin.) Sound Grammar could be better engineered--the astute catchall drumming of Ornette's son Denardo Coleman is too far back in the mix and the basses frequently don't have enough presence. But this album stands with Ornette's best. Two of the songs, "Turnaround" and "Song X," are remakes; the rest of the material is just as good. --Lloyd Sachs

Ornette Coleman: sax, violin and trumpet
Denardo Coleman: drums and percussion
Gregory CVohen: bass
Tony Falanga: bass

1. Jordan (after introducing the band members)
2. Sleep Talking
3. Turnaround
4. Matador
5. Waiting for You
6. Call to Duty
7. Once Only

All songs composed and arranged by Ornette Coleman

Link: Ornette Coleman - Sound Grammar