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I can describe the latest release from Jazz sensation John McLaughlin for you with just one word … Outstanding!
This is a rare day that the I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I am happy to announce that's exactly what I should say about on this one. There just is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.
Industrial Zen is a pleasantly varied, mix of 8 tracks very well written songs by this clearly superb artist. Many of the songs that show a lot of kind of emotion that makes for A really great listen. Clearly drawing from what I can only imagine are her own personal experience. Different points touching on the most real emotions like love, and the pain of failed relationships can certainly hear.
If you are a fan John McLaughlin, or merely a fan of Jazz music this is a CD of your collection simply should not be without.
While the entire CD is outstanding some of my favorites are track 2 – New Old Blues bruise, track 5 – To Be Or Not To bop, and track 8 – Mother Nature
My Bonus Pick, and the one that got Sore [... as in "proud On Repeat"] track 1 – For Jaco. This is a great track!
Industrial Zen Release Notes:
John McLaughlin originally released in August Industrial Zen 1, 2006 on the label downtrend.
CD Track List Follows:
1. For Jaco
2. New Old Blues bruise
3. Wayne's Way
4. Only More So only
5. To bop Or Not To Be (For Michael Brecker)
6. Dear Dalai Lama
7. Senor CS
8. Mother Nature
Personnel: John McLaughlin (vocals, guitar, fretless guitar, programming, drum programming); Shankar Mahadevan (vocals), Eric Johnson (guitar); Rovatti Ada, Bill Evans (soprano saxophone, tenor saxophone), Gary Husband (keyboards, drums); Otmaro Ruiz (synthesizer); Hadrien Faraud, Tony Gray, Matthew Garrison (bass Guitar), Mark Mondasir, Dennis Chambers, Vinnie Colaiuta (drums); Zakir Hussain (board), Marcus Wippersberg (drum programming). Recording information: Metropolis Studios, London, England.
Vancouver Coquitlam Auto Dealers
I have another drum cover up YAY !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!?
Blitzkrieg bop http://www.youtube.com/watchv=YChJS8DDEbw&feature=channel_page also check out my cover of rock and roll band in Boston by ok well heres my channel you can find it there its a cover of Blitzkrieg bop the ramones http://www.youtube.com/user/drummerchris13 The thing hanging from the door Moving is a giant quilt. We moved into a new house a few months ago and I put my drum kit in a storage room and Hung up the giant quilts all over a soundproof room in it a little HEY Ho, Let's Go, HEY Ho Lets GO
wow! you know that you are crazy good right! i love how You drum and the part that goes HEY HO Let's GO! Bravo! and I like the rock posters too!
Speed Bumps Ahead (from John Riley’s Beyond Bop drumming)
Below are some cheap but quality products related to bop drums. We are pretty sure you will find good deals with the products below relating to bop drums. Enjoy!
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Gretsch Drums New Classic 3-Piece Bop Shell Pack $1799 Gretsch Drums New Classic 3-Piece Bop Shell Pack |
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Be Bop $49.99 Be Bop |
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Be-Bop $6 Be-Bop – Dizzy Gillespie |
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Drums $9.99 Drums |
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Hey! Ba-Ba-Re-Bop – Drums (Digital Sheet Music) $6 By Lionel Hampton. By Curley Hammer and Lionel Hampton. Arranged by Steve Zegree. For Drums. Combo. Blues; Concert; Jazz; Novelty. Individual instrument part. 2 pages. Duration 3:15. Published by Hal Leonard – Digital Sheet Music |
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Hi-Bop Ska $14.99 Skatalites: Doreen Shaeffer (vocals); Devon James (guitar); Tommy McCook, Roland Alphonso (tenor saxophone); Nathan Breedlove (trumpet); Will Clark (trombone); Bill Smith (piano, organ); Lloyd Brevett (bass); Lloyd Knibbs (drums).Additional personnel: Toots & The Maytals, Prince Buster, Val Douglas (bass); Larry McDonald (percussion); Joe Ferry, Doug Munro, Charlie B. Dahan (handclaps); Britt Savage, Kara Dioguardi (background vocals, handclaps); David Murray, Lester Bowie, Steve Turre, Monty Alexander.Recorded at The Loft, Bronxville, New York. Includes liner notes by Don Snowden and Dermot Hussey.HI-BOP SKA was nominated for a 1996 Grammy Award for Best Reggae Album.Monty Alexander.Personnel: Doreen Shaffer, Prince Buster, Toots & the Maytals (vocals); Devon James (guitar); David Murray, Roland Alphonso, Tommy McCook (tenor saxophone); Lester Bowie, Nathan Breedlove (trumpet); Will Clark, Steve Turre (trombone); William D. “Smitty” Smith (piano, organ); Lloyd Knibbs (drums); Kara DioGuardi, Britt Savage (hand claps, background vocals); Doug Munro (hand claps); Larry McDonald (percussion).Producers: Doug Munro; Joe Ferry; Randall Grass; Tommy McCook.Engineers: Rick Angelori; Devin Emke; Peter Beckerman.Audio Mixers: Joe Ferry; Peter Beckerman; Randall Grass; Tommy McCook; Herbie Miller.Liner Note Author: Don Snowden.Recording information: The Loft, Bronxville, NY.Photographer: Richard Laird.A tighter and jazzier album than the Skatalites’ first ’90s reunion effort, 1993′s SKAVOOVEE, 1994′s HI-BOP SKA is closer to the ska-jazz fusion of 1983′s STRETCHING OUT than the concise, hyperactive singles that made the group a legend on the ultra-competitive Kingston music scene of the mid ’60s. Opening with a completely reworked version of their ’60s signature hit “Guns of Navarone,” slowed down with a cinematic Ennio Morricone flavor, the regrouped Skatalites settle into a series of exciting grooves, alternately slinky and skanking, with the enthusiasm of musicians half their age and the grace that only comes with experience. Guests include hornmen Steve Turre, David Murray and Lester Bowie, whose unexpectedly avant-garde trumpet solos give the songs an angularity they might otherwise lack. This is particularly notable on the Bowie-composed “Ska Reggae Hi-Bop,” an 8-minute workout that’s among the band’s most exciting pieces. The other key guest is vocalist Doreen Schaeffer, whose cooing delivery on “You’re Wondering Now” is the highlight of the entire disc. |
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Bop It $19.99 Get ready to react fast! Turn on the BOP IT game unit and get ready to Bop, Pull, and Twist your way to victory. For even more of a challenge, activate the microphone and Shout It, too! Choose to play alone or invite your friends for a game of Party Bop?you?ll all have to use your knees, elbows, and hips to win! The better you get, the more skill levels you unlock, so think fast and be the BOP IT master! BOP IT calls out commands and you react?fast! Includes Bop It game unit and instructions. 3 “AAA” batteries included. For 1 or more players. Ages 8 and up. |
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Hot Drums $11.99 Track Listing: 1. Gene’s Boogie, 2. Drum Boogie, 3. Futurama, 4. G-Bop, 5. Lemon Drop, 6. Birdhouse, 7. Samaba, 8. Pennies from Heaven, 9. Disc Jockey Jump, 10. Let Me off Uptown |
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Be Bop Wig $19.99 Be Bop Wig |
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To Be Or Not To Be Bop A Lula $14.99 To Be Or Not To Be Bop A Lula |
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Birth Of Bop $11.99 Birth Of Bop |
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E-Bop $14.99 E-Bop |
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Bop For The People $22.99 Bop For The People |
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Spanish Bop $11.99 Spanish Bop |
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Professor Bop $11.99 Professor Bop |
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Oui Bop $9.99 Oui Bop |
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Sonor Bop 4-Piece Drum Shell Kit $399 The Sonor Bop shell kit provides that great Sonor feel and superb quality in Jazz sizes. Full depth drums and a full size snare round out this great kit offered at an excitingly affordable price. Perfect for the gigging drummer on the go, this 4-piece shell kit has a tiny footprint which means quick setup and pack-up times. |
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The Tigger Bop $6 The Tigger Bop – Tiggermania Cast |
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Gangsta Bop $6 Gangsta Bop – Akon |
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Bop $11.99 Track Listing: 1. Milano, 2. Well, You Needn’t, 3. K.C. Blues, 4. Night in Tunisia, A, 5. Blue Monk, 6. Half Nelson, 7. Lover Man, 8. 52nd Street Theme |
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Be Bop Dilemma $34.99 Gil Mayers Be Bop Dilemma – Giclee Print |
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Baby Bop Plush Infant $39.99 Baby Bop Plush Infant |
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Hasbro Bop It! Reaction Game $14.99 Hasbro Bop It! Reaction Game |
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Hasbro Bop It XT $26.24 Hasbro Bop It XT |
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Bee-bim Bop! $4.89 Bee-bim Bop! |
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Kyrian Bee Bop $6 Kyrian Bee Bop – Bassnectar |
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Blue Jean Bop $9.99 Blue Jean Bop |
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Kidz Bop 22 $17.99 Kidz Bop 22 |
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Snap Crackle Bop $15.99 Snap Crackle Bop |
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Be Hop Hip Bop $11.99 Be Hop Hip Bop |
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Sweety’s Party Bop $6 Sweety’s Party Bop – Sweety & Fluffy |
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Diddy Bop (Edited) $6 Diddy Bop (Edited) – Red Cafe |
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Bop It! Game $20.99 Bop it, baby! Can you react to the commands fast enough? With the bop it! game, you never know what’s coming next! Bop it, baby! With bop it!, you never know what’s coming next. Can you react to the commands quickly enough to beat your high score? Three different orders come at you fast, and there’s even a new “Yell It!” command to keep you guessing. Play the game alone or with a group of friends in the new “Party Bop” mode! |
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Bop Bop Dinosaur $10.99 Track Listing: 1. Bop Bop Dinosaur, 2. Buddy Green, 3. Out in the Jungle, 4. Pickup Hiccup Truck, 5. St. Patrick Saves the Day, 6. You’ve Got to Laugh a Little, 7. I Knew a Young Girl (La Lee Lee), 8. Kazoo Song, 9. Hey Lucy, 10. When You Look That Way at Me, 11. Old King Cole Revisited, 12. Let It Rain |
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ZAGGskins (Drums) $19.99 ZAGGskins (Drums) |
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Percussion Drums $6 Percussion Drums |
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Jami – Drums $6 Jami – Drums |
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Drums On Fire $6 Drums On Fire |
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Japanese Drums $13.99 Japanese Drums |
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Korean Drums $13.99 Korean Drums |
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Spirit Of The Drums $32.99 Spirit Of The Drums |
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Art Blakey and the jazz messengers Blue notes 4003 $4.67 All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed…. |
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Inspiration Information $16.98 Our Seller’s Notes and Fine Print :..From Luacabop..out of print from 1990…in great shape with all inserts and booklet,… |
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The Master Drummer $16.68 The Master Drummer is based on over 40 years of observing and studying master players. In the drum lessons on this DVD, renowned player, author, and teacher John Riley defines and explores the four key musical components drummers must develop in order to play at the highest level. John’s insightful approach will help any drummer grow, regardless of level or style, helping them to achieve their mus… |
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Ricky, The Drummer $0.99 … |
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Genuine Xerox 013R00603 Color Toner Cartridge (13R603) $147.50 Specifications ShortAttributeDescription: 13R603 Drum Global Product Type: Drums/Photo Developers w/ Toner-Drum Supply Type: Drum Device Types: Laser Printer OEM/Compatible: OEM Color(s): Color Page-Yield : 90000 Remanufactured: No… |
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Fxpansion BFD Greatest Hits Vol. 1 Expansion Pack $169.00 Fxpansion BFD Greatest Hits Vol. 1 Expansion Pack is a compilation of some of the best instruments from FXpansion’s Jazz & Funk Collection, Percussion, and Big Orchestral Marching Band expansion packs, ready to slot into your BFD2.1 installation to give you even more sound samples, sonic variety, and expressive detail for your musical productions.All the instruments were recorded in the same room … |
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B. Parum Pum Pum Drum – Lime $24.99 B. Parum Pum Pum Drum Drum with Handle and strap. 8 instruments. Centipede drumsticks, jingle bells ants, busy bee maraca & clacker, caterpillar tambourine, two shaka shaka eggs.Product Measures: 9.5×11.75x9Recommended Ages: 18 months – 3 Years… |
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Fisher-Price Crawl-Along Drum Roll $19.99 Whether sitting or crawling, baby can make exciting things happen with the Crawl-Along Drum. Sitting babies can tap the bongo drums for fun music, sounds and lights. And when they’re ready to crawl, the fun’s ready to roll! Baby can chase the rolling drum while music, lights and fun rewards encourage movin’ and groovin’. Drum plays four fun songs and features colorful spinners, busy activities and… |
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Fisher-Price Go Baby Go! Bop & Rock Musical Lion $18.99 This musical lion keeps a wild beat, encouraging baby to bop the balls and pound them through the holes for rewarding lights, sounds, roll-out action, and plenty of lively fun! It’s a great way to encourage eye-hand coordination and other physical skills as baby learns to sit, balance, grasp and tap.Requires 2 AA batteries (Included).For Ages: 6-36 months. Product Dimensions: 9″ x 6.75″ x 9.5″ (As… |
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The Art of Bop Drumming (Book & CD) (Manhattan Music Publications) $15.98 The Art Of Bop Drumming Book & CDComprehensiveThis comprehensive book and audio presentation covers time playing, comping, soloing, brushes, more jazz essentials, and charts in an entertaining mix of text, music and pertinent quotes…. |
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Bop 4-pc Drum Set Shell Pack in Silver Galaxy Sparkle $399 The Sonor Bop 4-pc drum set is the perfect combination of response, power and feel, but small enough to travel easy. Travel light, swing hard." It comes in a fantastic Silver Galaxy Sparkle finish. This Sonor quality drum set features shells made of select basswood and includes an 18"x16" bass drum with tom holder, 14"x14" floor tom, 12"x8" tom and a full-sized 5"x14" snare with Remo UT heads. Affordably priced, it is the perfect alternative set for those small stages and venues.This drum set is a "shell pack", drums only. Hardware and cymbals are not included.Get your Sonor Bop 4-pc Drum Set shell Pack from Sam Ash Direct today, with fast, free shipping at the guaranteed lowest price. Sam Ash Direct gives you the security of more than 86 years of experience, 24/7 customer support and the Sam Ash Direct 45 day return and 60 day price protection policy. You cannot go wrong! |
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‘Round Midnight $11.99 Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn’t really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other’s voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, ‘Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy’s underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this reissue, which is quite short (only around 33 minutes) by modern CD standards, are a wonderfully balanced version of Ray Charles’ “Hallelujah, I Love Her So,” a stirring take on Billie Holiday’s “God Bless the Child,” the ever expanding and ascending “Feeling Good,” and a fine rendition of the title track, Thelonious Monk’s “‘Round Midnight,” which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. Prestige released Andy Bey & the Bey Sisters in 2000, which includes both the trio’s albums for the label on one disc, and that is definitely the way to go, although this short set does do a decent job showing off the range and talents of thi… |
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Afro Bop Alliance $18.98 Where once they were three — Dave Samuels on vibes, Paquito D’Rivera on saxophone, and Andy Narell on steel drums — Caribbean Jazz Project has morphed over the past decade-plus into a big band of close to 20 members, 13 of them horn players. Samuels, who contributes marimba as well as vibes, remains at the helm, and it’s clearly his vehicle — he also wrote five of the nine tracks on this set. The band cooks, no question about it, and Samuels’ Latin-leaning arrangements are smart and steamy. But new material is in short supply, and the album ultimately has a sense of d? j? vu about it. Nearly all of the material, including covers of Thelonious Monk’s “Bemsha Swing,” Oliver Nelson’s “Stolen Moments,” and John Coltrane’s “Naima,” has appeared on previous CJP recordings, and even if Samuels felt a burning need to return to these songs to recast them as big-band numbers, he might have tried reworking them while he was at it — outside of the sheer volume of players involved, there’s simply not much going on here that adds a new dimension to the Caribbean Jazz Project story. That said, the quality of musicianship throughout the album is superb, and those unfamiliar with the previous releases will undoubtedly find it exhilarating. But those who’ve experienced the previous recordings and seek newness won’t find it here. ~ Jeff Tamarkin, Rovi |
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Alison Brown Quartet $11.99 Alison Brown, believe it or not, is a five-string banjo player. The rest of her quartet is a standard jazz ensemble consisting of piano, bass, and drums, and you can be confident that there’s nary a bluegrass lick anywhere on this album. Like her compadre B? la Fleck (to whom she must be absolutely sick of being compared), Brown figured out some time ago that the banjo is a fully chromatic instrument with every bit as much melodic flexibility as a guitar, and that its clear, crisp tone is perfectly suited to jazz. It works especially well as a bebop instrument, which Brown demonstrates on this album’s opening track, the rollicking, Charlie Parker-ish “G Bop.” It also works pretty well as a cool jazz instrument, which Brown demonstrates on the album’s second track, the loping, Bill Evans-ish “Red Balloon.” This sort of stylistic variety is grist for Brown’s mill, but it doesn’t always work in her favor: “My Favorite Marsha” (one of several tracks on which she switches to guitar) is nice but borders on new acoustic sappiness — her guitar playing is good but not exceptional. However, “Without Anastasia” draws nicely on classical influences without sounding pedantic, and “Banjo Mambo (Revisited)” is a very fun Latin romp. ~ Rick Anderson, Rovi |
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Art Blakey & the Jazz Messengers concert at Central Park on 07 Jul 73 $8.98 This Central Park performance opens with bandleader Blakey intoning, in his distinctively gruff voice, the presentation of a special plaque to his friend and colleague, Gene Krupa, a champion of the drums from his days with the Benny Goodman Orchestra in the 1930s. Following that brief ceremony, which includes an eloquent acceptance speech from Krupa, the 1973 edition of the Jazz Messengers launches into Cedar Walton’s aggressive “Plexus,” a 1961 composition originally written for Freddie Hubbard’s 1961 Blue Note album, Hub Cap. In the solo order Carter Jefferson goes first, unleashing a potent tenor solo over the percolating groove provided by Ray Mantilla’s conga, Mickey Bass’ insistently walking bass lines and Blakey’s irrepressible presence behind the kit, dropping ‘bombs’ on the bass drum while cutting up the beat on the snare in unpredictable ways as he keeps the ride cymbal pulse steady and swinging. Eddie Henderson follows with a bravura high-note trumpet solo that is coming directly out of Freddie Hubbard school of audacious virtuosity. Veteran Messenger Fuller follows with a mellower but no less swinging trombone solo. Stitt enters the fray with a brief tenor statement before pianist-composer Walton completes the succession of solos on this blazing opener. Curtis Fuller’s “Alamode” pits Carter Jefferson against Sonny Stitt in an exhilarating bit of one-upsmanship. As Blakey’s uncanny forward momentum and powerful accents on the kit propel this Messengers staple, Jefferson solos first with robust tones and wild abandon. Stitt follows on alto with Bird-like facility and an urge to burn. Henderson turns in another pyrotechnic trumpet solo that nearly bursts with intensity in the high range and Walton negotiates the changes with hard bop fervor on his impeccably swinging piano solo. Blakey and the Messengers close out their Wollman Ampitheater set with drumming legend Roy Haynes, who played with Charlie Parker, Thelonious Monk and John Coltrane, joining the c |
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Astral Project (Acid Jazz) – Voodoo Bop $14.99 Astral Project: John Vidacovich (vocals, drums, percussion); Steve Masakowski (acoustic & 7-string guitars); Tony Dagradi (soprano &… |
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Awakening $16.98 When jazz critic Peter Margasak interviewed Nicole Mitchell for the liner notes he wrote for Awakening, she explained: “I wanted to dig back into the old-school jazz a bit and yet still make room to branch out into never-never land.” And that is a perfect description of what the Chicago-based flutist/composer does on this 2011 date, which finds her leading a pianoless quartet that employs Jeff Parker on electric guitar, Harris Bankhead on upright bass and Avreeayl Ra on drums and percussion. Presumably, the “old-school jazz” that Mitchell is referring to is post-bop, while “the never-never land” is avant-garde jazz. Of course, avant-garde jazz comes in many different flavors. Avant-garde jazz can be totally outside (whether it is scorching, dense, brutally atonal free jazz or the spaciness of the AACM), or it can be avant-garde jazz with an inside/outside perspective–and Awakening, like previous Mitchell releases, has an inside/outside perspective. The material that Mitchell composed for Awakening is fairly melodic; “There,” “Momentum” and the bluesy “F.O.C.,” for example, offer appealing post-bop melodies. “Curly Top” even has a somewhat Horace Silver-ish funkiness. So no, this 64-minute CD is not an exercise in atonality; that isn’t the scenario at all. But at the same time, Mitchell and her colleagues don’t hesitate to venture into outside playing when they feel like it. They don’t venture far outside, but they do venture outside–and while Awakening is more inside than outside, the outside element is an attractive part of the equation. Mitchell, it should be noted, has favored different combinations of musicians on different albums; she is quite proficient when it comes to ensemble playing and arranging, but an intimate quartet format serves her equally well on Awakening. And once again, the Chicago resident excels as both a composer and a soloist. ~ Alex Henderson, Rovi |
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Bags’ Groove $40.98 There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of “Airegin” flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned “Oleo” features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. The remastered CD includes both historic takes of “Bags’ Groove” as well as one additional rendering of the pop standard “But Not for Me.” ~ Lindsay Planer, Rovi |
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Billy Taylor Jazz All-Stars concert at Carnegie Hall on 25 May 74 $9.98 To open this “52nd Street Revisited” program, emcee and eminent author Arnold Shaw provides a little background on that strip of real estate in midtown Manhattan where the bebop scene took hold back in the mid-1940s: “While Harlem was the incubator of bebop, it was 52nd Street that brought the music to the public, and in so doing, itself became a musical scene of musical conflict???Jimmy Ryan’s was the bastion of the two-beat crowd as The Three Deuces, Spotlight, Downbeat and Onyx provided a showcase for fanatics of the flatted fifth.” Shaw goes on to explain how the Oscar Pettiford-Dizzy Gillespie band was the first group on 52nd Street playing bebop. A young pianist named Bill Taylor, who was working at the Three Deuces with his own trio, subbed for Pettiford’s regular pianist George Wallington one night at the Onyx, igniting his life-long infatuation for these new harmonic and rhythmic concepts in jazz. Thirty years later, Taylor was on hand to celebrate that golden era of bebop in this special Carnegie Hall concert on May 25, 1974. Accompanying him are bebop stalwart Howard McGhee on trumpet, Jimmy Heath on tenor sax, Lyle Atkinson on bass and Bobby Thomas on drums. Together they burn through three bop staples frequently heard on 52nd Street back in the day — Charlie Parker’s chops-busting anthem “Donna Lee,” Thelonious Monk’s moody meditation “‘Round Midnight” and a rousing rendition of the popular Duke Ellington-Juan Tizol jamming vehicle, “Perdido.” Thomas’ irrepressibly swinging ride cymbal pulse fuels the heated proceedings on their sizzling rendition of “Donna Lee,” which opens with tight, blistering unison lines on the head between McGhee and Heath, who each turn in potent solos as the piece develops. Taylor (who would later be known as Dr. Billy Taylor) reveals the considerable influence of another 52nd Street regular, piano great Art Tatum, with a remarkably facile solo here. And in classic bop fashion, McGhee and Heath take turns exchanging whirlwin |
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Bob Mintzer – Bop Boy $9.99 Personnel: Bob Mintzer (bass clarinet, tenor saxophone); Bob Mintzer; Steve Kuhn (piano); Steve Gadd (drums). Additional personnel:… |
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CP 9 & 10 Natural Wood Conga Set with Stand $359 The CP Wood Conga set features 9″ and 10″ congas with a height adjusatble stand. |
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Cajon Method and Other Percussions – Latino $17.82 Used – Rhythm patterns covered on this Cajon Method FUSION DVD: Funk, Hip Hop, Fusion, Bossa Nova, Shuffle, Shuffle (Be-Bop), Swing and Swing (Be-Bop). Dany Moreno proposes the cajon as an alternative and complement of the drum kit, not as a substitute but an alternative for performances in small venues where using the drums becomes a problem of room. One can also take advantage of the similar low-high sound that the cajon shares with the drum and the bass drum. The method consists in a DVD + |
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Cajon Method and Other Percussions – Latino $53.13 New – Rhythm patterns covered on this Cajon Method FUSION DVD: Funk, Hip Hop, Fusion, Bossa Nova, Shuffle, Shuffle (Be-Bop), Swing and Swing (Be-Bop). Dany Moreno proposes the cajon as an alternative and complement of the drum kit, not as a substitute but an alternative for performances in small venues where using the drums becomes a problem of room. One can also take advantage of the similar low-high sound that the cajon shares with the drum and the bass drum. The method consists in a DVD + b |
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Cajon Method and Other Percussions – Latino $15.48 Used – Rhythm patterns covered on this Cajon Method FUSION DVD: Funk, Hip Hop, Fusion, Bossa Nova, Shuffle, Shuffle (Be-Bop), Swing and Swing (Be-Bop). Dany Moreno proposes the cajon as an alternative and complement of the drum kit, not as a substitute but an alternative for performances in small venues where using the drums becomes a problem of room. One can also take advantage of the similar low-high sound that the cajon shares with the drum and the bass drum. The method consists in a DVD + |
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Cajon Method and Other Percussions – Latino $77.95 New – Rhythm patterns covered on this Cajon Method FUSION DVD: Funk, Hip Hop, Fusion, Bossa Nova, Shuffle, Shuffle (Be-Bop), Swing and Swing (Be-Bop). Dany Moreno proposes the cajon as an alternative and complement of the drum kit, not as a substitute but an alternative for performances in small venues where using the drums becomes a problem of room. One can also take advantage of the similar low-high sound that the cajon shares with the drum and the bass drum. The method consists in a DVD + b |
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Candygram for Mowo! $11.98 Adam Dorn, aka Mocean Worker, has looked around at the current socio-economic situation and decided that what the world needs is a little bit of feel-good dance music. So he gathered some friends (including Bill Frisell, Hal Willner, Rahsaan Roland Kirk, Charlie Hunter, and Lyrics Born) and put together a jazzy, funky, sometimes downright humorous program that blends up-to-the-minute breakbeats, pre-swing jazz, ’70s rare groove, Latin hip-hop, hard bop, and house to create something that sounds simultaneously familiar and fresh. The cover illustration shows a chocolate bar dressed in a Roaring Twenties-style top hat and tuxedo, insouciantly smoking a cigarette, and that gives you a good idea of what kind of sound and mood to expect. Jazz-leaning electronica artists often make the mistake of eviscerating the beat in favor of a faux sophistication, but Dorn manages to convey all the sonic complexity of five decades of jazz without sacrificing slamming grooves: notice in particular the ancient-sounding jazz combo combined with hard funk beats on “Hoot and Hollah,” and the way Kirk, Frisell, and Hunter all integrate themselves beautifully with the orchestral backdrop and the ethereal female vocals on “Sho Nuff Now.” Lyrics Born sounds like he’s having the time of his life over the stripped-down boogie of “My Own Little World,” and “Do Like Ya Like” blends fragmented layers of soul horns with skittering brushed drums to very fine effect. This album won’t change the way you think about macroeconomics, but if you want to forget your pension-fund losses and swing the night away in your living room, this is the perfect vehicle for it. ~ Rick Anderson, Rovi |
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Catalina Club Jazz 4 Piece Shell Set (Assorted Colors) $649 The Gretsch Catalina Jazz set is designed for the player who is looking for a versatile 4-piece set with quality features. Featuring Mahogany shells and 30-degree bearing edges, this set projects a warm, round, classic tone. The traditional Be Bop sizes with 18″ bass drum makes it a fine gigging jazz kit but the Club Jazz can also play comfortably in other music styles, especially if you need to lay into a kit in a smaller live venue. Plus its distinctive retro looks are sure to capture attention. Whether you’re looking for a classic jazz kit or small kit for gigs/rehearsals, the Catalina Club Jazz kit projects a retro sound, vibe and spirit that will keep you deeply grooving. Sizes: 14×18″ bass drum, 8×12″ tom, 14×14″ floor tom, and 5×14″ snare. Includes single top holder, other hardware and cymbals sold separately. Mahogany shells with natural interiors Mini GTS suspension systems Mini Gretsch lugs Bass Drum riser Inlaid bass drum hoops Warranty:Gretsch Drums are guaranteed against defects in materials and workmanship for a period of 1 year from the date of original purchase through an authorized Gretsch drum dealer. |
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Catalina Jazz 4 Piece Shell Set (Galaxy Black Sparkle) $649 The Gretsch Catalina Jazz set is designed for the player who is looking for a versatile 4-piece set with quality features. Featuring Mahogany shells and 30-degree bearing edges, this set projects a warm, round, classic tone. The traditional Be Bop sizes with 18" bass drum makes it a fine gigging jazz kit but the Club Jazz can also play comfortably in other music styles, especially if you need to lay into a kit in a smaller live venue. Plus its distinctive retro looks are sure to capture attention. Whether you're looking for a classic jazz kit or small kit for gigs/rehearsals, the Catalina Club Jazz kit projects a retro sound, vibe and spirit that will keep you deeply grooving. Features:The Catalina Club Jazz all-Mahogany shells have 30-degree bearing edges that project a classic warm and round tonality.All Catalina Jazz shell packs include a wood shell snare drum with side throw-off in the matching finish.Bass drums include maple bass hoops and pre-muffled heads for a great sound right out of the box.Fully adjustable tom holders with GTS suspension systems are standard on all mounted toms. Cymbals and hardware not included |
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Catalina Jazz 4 Piece Shell Set (Gloss Natural) $649 The Gretsch Catalina Jazz set is designed for the player who is looking for a versatile 4-piece set with quality features. Featuring Mahogany shells and 30-degree bearing edges, this set projects a warm, round, classic tone. The traditional Be Bop sizes with 18" bass drum makes it a fine gigging jazz kit but the Club Jazz can also play comfortably in other music styles, especially if you need to lay into a kit in a smaller live venue. Plus its distinctive retro looks are sure to capture attention. Whether you're looking for a classic jazz kit or small kit for gigs/rehearsals, the Catalina Club Jazz kit projects a retro sound, vibe and spirit that will keep you deeply grooving. Features:The Catalina Club Jazz all-Mahogany shells have 30-degree bearing edges that project a classic warm and round tonality.All Catalina Jazz shell packs include a wood shell snare drum with side throw-off in the matching finish.Bass drums include maple bass hoops and pre-muffled heads for a great sound right out of the box.Fully adjustable tom holders with GTS suspension systems are standard on all mounted toms. Cymbals and hardware not included |
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Chris Byars Quartet – Bop-Ography $17.99 Personnel: Chris Byars (alto saxophone, tenor saxophone); John Mosca (trombone); Stefan Schatz (drums). Audio Mixer: Nils… |
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Contemporary Jazz Styles for Drums: The Collective: Contemporary Styles Series $12.13 Used – Peter Retzlaff and Ian Froman provide an overview of jazz playing from early small-group jazz right up through post-bop and ECM styles. Retzlaff’s section contains a complete approach to ride cymbal playing, ideas for handling turnarounds, and a section on brushes, while Froman tackles approaches to modern jazz timekeeping. Included are extensive exercises in 3/4 time (an area overlooked by most jazz books). Explanatory audio examples are included, as well as play-along tracks. |
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Contemporary Jazz Styles for Drums: The Collective: Contemporary Styles Series $12.13 New – Peter Retzlaff and Ian Froman provide an overview of jazz playing from early small-group jazz right up through post-bop and ECM styles. Retzlaff’s section contains a complete approach to ride cymbal playing, ideas for handling turnarounds, and a section on brushes, while Froman tackles approaches to modern jazz timekeeping. Included are extensive exercises in 3/4 time (an area overlooked by most jazz books). Explanatory audio examples are included, as well as play-along tracks. |
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Contemporary Jazz Styles for Drums: The Collective: Contemporary Styles Series $10.29 New – Peter Retzlaff and Ian Froman provide an overview of jazz playing from early small-group jazz right up through post-bop and ECM styles. Retzlaff’s section contains a complete approach to ride cymbal playing, ideas for handling turnarounds, and a section on brushes, while Froman tackles approaches to modern jazz timekeeping. Included are extensive exercises in 3/4 time (an area overlooked by most jazz books). Explanatory audio examples are included, as well as play-along tracks. |
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Contemporary Jazz Styles for Drums: The Collective: Contemporary Styles Series $10.29 Used – Peter Retzlaff and Ian Froman provide an overview of jazz playing from early small-group jazz right up through post-bop and ECM styles. Retzlaff’s section contains a complete approach to ride cymbal playing, ideas for handling turnarounds, and a section on brushes, while Froman tackles approaches to modern jazz timekeeping. Included are extensive exercises in 3/4 time (an area overlooked by most jazz books). Explanatory audio examples are included, as well as play-along tracks. |
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Cow Bop – Swingin Out West [Digipak] $14.99 Cow Bop: Pinto Pammy (vocals); Dan Robbins (double bass); Mike McKinley (drums); David P. Jackson , Bruce Forman. Personnel: Dan Hicks,… |
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Daniel Block – Almost Modern: The Swing to Bop Project $15.99 Personnel: Daniel Block (clarinet, tenor saxophone); Chris Flory, Jon Hart (guitar); Larry Ham (piano); Chuck Riggs (drums). Liner Note… |
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Double Booked $17.98 There is a certain hipness in title of Double Booked that reflects the hipness of the music itself. It hints at two voicemail messages by Terrence Blanchard and ?uestlove, respectively, that ask Robert Glasper about apparently being double booked on the same night with two different bands at different clubs. The irony in that paradox is that Glasper performs with his acoustic trio on the first half of the record, and with his Experiment on the second half. Glasper? s trio is a crack unit with Chris Dave on drums and bassist Vincente Archer. They understand where he? s at rhythmically and know how to knot things up and swing simultaneously. The expansive harmonics inherent in the album? s first two tracks — the skittering flow on ? No Worries? that takes its post-bop seriously with some amazing improvisation, and the more open, airy lyricism on ? Yes I? m Country (And That? s OK)” — are kind of opposite ends of the coin, but they’re underscored and punctuated by an innovative reading of Thelonious Monk? s ? Think of One? to close the trio part of the record. The Experiment’s half begins as Mos Def raps over Glasper’s Rhodes piano and Dave? s hip-hop drums. It expands from here with Derrick Hodge? s funky electric bass, and saxophonist? s Casey Benjamin’s use of a vocoder over Dave’s breakbeats. The centerpiece is the ten-minute ? Festival,? an ultra-modern, funky jazz tune with some complex improvisational navigation. Glasper plays acoustic piano and Rhodes going head to head with that low-tuned funky bass and Benjamin? s outward-bound sax and spacy vocoder. Bilal joins the band on the last two cuts. He is as comfortable singing jazz and soul as he is hip-hop; he? s a kindred spirit for Glasper. ? All Matter? walks on the hip-hop side of jazz, and Hodge’s ? Open Mind,? which makes use of Jahi Sundance? s turntablism, is a midtempo ballad drenched in experimental jazz and nu-soul as Dave practices frantic breaks inside the shimmering … |
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Famous Jazz Bass Chord Progressions Qwikguide $3.96 New – This 5 1/2″ by 8″ QWIKGUIDE shows bassists how to play along with popular jazz chord progressions. The examples demonstrate how to use triads, arpeggios, scales, and passing tones in swing, be-bop, bossa nova, and ballad styles. The sample bass lines are all written in tablature for the 4-string bass, making it easy to learn fingerings and positions. The included CD presents each example twice, once as bass solo with accompaniment (piano and drums) and then as accompaniment only. |
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Famous Jazz Bass Chord Progressions Qwikguide $7.49 Used – This 5 1/2″ by 8″ QWIKGUIDE shows bassists how to play along with popular jazz chord progressions. The examples demonstrate how to use triads, arpeggios, scales, and passing tones in swing, be-bop, bossa nova, and ballad styles. The sample bass lines are all written in tablature for the 4-string bass, making it easy to learn fingerings and positions. The included CD presents each example twice, once as bass solo with accompaniment (piano and drums) and then as accompaniment only. |
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Famous Jazz Bass Chord Progressions Qwikguide $7.49 New – This 5 1/2″ by 8″ QWIKGUIDE shows bassists how to play along with popular jazz chord progressions. The examples demonstrate how to use triads, arpeggios, scales, and passing tones in swing, be-bop, bossa nova, and ballad styles. The sample bass lines are all written in tablature for the 4-string bass, making it easy to learn fingerings and positions. The included CD presents each example twice, once as bass solo with accompaniment (piano and drums) and then as accompaniment only. |
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Famous Jazz Bass Chord Progressions Qwikguide $3.96 Used – This 5 1/2″ by 8″ QWIKGUIDE shows bassists how to play along with popular jazz chord progressions. The examples demonstrate how to use triads, arpeggios, scales, and passing tones in swing, be-bop, bossa nova, and ballad styles. The sample bass lines are all written in tablature for the 4-string bass, making it easy to learn fingerings and positions. The included CD presents each example twice, once as bass solo with accompaniment (piano and drums) and then as accompaniment only. |
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First Book of Jazz $104.9 New – Langston Hughes originally wrote this book in 1962 as a tribute to the music he loved. It is a history of jazz from Africa to the 20th century, from the tribal drums to New Orleans quadrilles. Hughes recalls the marching bands and old working songs, as well as spirituals, jubilees, blues, and ragtime. He also draws affectionate portraits of some of the people who brought the music along. Illustrated by Cliff Roberts’ stylized be-bop drawings, this book also contains Hughes’s list of “100 o |
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First Book of Jazz $163.96 New – Langston Hughes originally wrote this book in 1962 as a tribute to the music he loved. It is a history of jazz from Africa to the 20th century, from the tribal drums to New Orleans quadrilles. Hughes recalls the marching bands and old working songs, as well as spirituals, jubilees, blues, and ragtime. He also draws affectionate portraits of some of the people who brought the music along. Illustrated by Cliff Roberts’ stylized be-bop drawings, this book also contains Hughes’s list of “100 o |
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Frank Morgan – Bop $6.99 Personnel: Frank Morgan (alto saxophone); Rodney Kendrick (piano); Curtis Lundy, Ray Drummond (bass); Leroy Williams (drums). Although… |
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Gene Krupa – Boogie, Ballads and Be-Bop: The Best of Columbia Years $14.49 Personnel includes: Gene Krupa (drums); Carolyn Grey, Dave Lambert, Buddy Stewart, Anita O’Day, Frankie Ross (vocals). Recorded between… |
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Hank Jones (Piano) – Bop Redux $14.99 Personnel: Hank Jones (piano); Ben Riley (drums). Liner Note Author: Allen Goodman. Recording information: New York, NY… |
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Herbie Mann Sextet concert at Newport Jazz Festival on 02 Jul 60 $9.98 A world music pioneer, flutist, and native New Yorker, Herbie Mann broke in with various bebop groups before making his first trip abroad on a 1959 US State Department-sponsored tour of Africa. That excursion altered his musical course for all time, leading Mann into a lifetime of bringing Brazilian, Cuban, African, and other world music influences into his pan-cultural jazz aesthetic. Mann’s Afro-Jazz Sextet kicks off its Saturday afternoon set with a lively rendition of Sonny Rollins’ “St. Thomas,” a calypso-flavored number given more of an Afro-Cuban treatment on the head, before shifting into the straight-ahead swinging section for Johnny Rae’s bop-fueled vibraphones solo. Ray Mantilla’s churning conga work and Rae’s clave pulse on the cowbell returns the piece to an Afro-Cuban groove before Mann solos over another 4/4 swing section, paced by Knobby Totah’s walking bass and Collins’ insistent ride cymbal work. Shifting nimbly back and forth between straight-ahead and Afro-Cuban, this concert opener deftly bridges both worlds. Bassist Totah also contributes a vibrant arco solo which is followed by a whirlwind jam by the percussive battery of Mantilla and Collins. For the entrancing 12/8 “Bedouin,” a piece from Mann’s African Suite of 1959, they introduce such exotic instruments as the marimba from Mozambique, Nigerian drums, Japanese flute, and “finger cymbals from Henry Adler’s” (a popular percussion store at the time in midtown Manhattan). African drumming master Michael Babatunde Olatunji, joins the group here on djembe drum while Rae mans the marimba and Mann blows on the high-pitched Japanese flute. Olatunji had the previous year released Drums of Passion, the first African album recorded in a United States studio. He later played at John Coltrane’s final live performance in Harlem on April 23, 1967, the same year he appeared at the Newport Jazz Festival with a 12-piece percussion orchestra. Olatunji would gain international celebrity as a world music amb |
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Horace Silver Quintet concert at Newport Jazz Festival on 03 Jul 59 $7.98 This most potent edition of the Horace Silver Quintet had hit its stride at the time of its appearance at the 1959 Newport Jazz Festival. Their superb Blue Note recording Finger Poppin’ (now widely acknowledged as a hard bop classic) had only recently been released and the same lineup — Silver on piano, Blue Mitchell on trumpet, Junior Cook on tenor sax, Gene Taylor on bass and Louis Hayes on drums — would go into the studio just six weeks later to record the equally successful Blowin’ the Blues Away for Blue Note. They premiered material from both albums at their triumphant July 3rd set at Freebody Park in Newport. They open with the energetic title track from Blowin’ the Blues Away, which is underscored by Silver’s funky comping and the ferociously swinging momentum of drummer Hayes, who would end up leaving Silver’s quintet later that year to join the Cannonball Adderley Quintet. Cook is highlighted first, turning in a typically driving, robust-toned tenor solo. Mitchell answers with a bristling trumpet solo that is imbued with soulful virtuosity and crackling intensity while Silver’s piano solo is marked by quirky, off-kilter rhythmic phrases and extrapolations on the bluesy theme. Cook and Mitchell follow with some spirited call-and-response before returning to the tight harmonies on the infectious head. Mitchell and Cook are prominently featured on Silver’s beautiful ballad “Peace,” yet another premiere for this Newport crowd. Cook, a respected hard bop improviser with a forceful approach to his horn, turns in a particularly thoughtful and highly expressive tenor solo here while Mitchell’s lyrical trumpet solo perfectly reflects the title of this restful number. Radically shifting gears, the quintet then jumps into a frantic rendition of the uptempo burner “Cookin’ at the Continental” (from Finger Poppin’). Cook and Mitchell play tight unisons on the head of this hard bop romp before Cook breaks loose for an extended fire-breathing tenor solo. Mitchell res |
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Jon Mayer – Full Circle $15.99 Personnel: Jon Mayer (piano); Rufus Reid (bass); Victor Lewis (drums). Using bop of the 1950s as his foundation, pianist Jon Mayer has… |
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Kidz Bop Kids – Kidz Bop, Vol. 9 $14.99 Kidz Bop Kids: Amelia (vocals); Vasco (guitar); Tammy (bass guitar); Jessica (drums); Eli (programming). The KIDZ BOP series, which… |
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LP Aspire 10 & 11 Wood Conga Set Checker Board/Chrome $599 LP’s most popular Aspire Conga Set now comes in a cool new Cheker Board finish with all chrome hardware. LP Aspire Wood Congas are ideal for students, hobbyists and aspiring musicians. They provide great value at affordable prices. This 10″ and 12″ Aspires conga set is crafted from kiln dried, environmentally friendly Siam Oak and features the newly designed Aspire Slide Mount double conga stand. The EZ Curve chrome rims have improved strength, a unique skin wire channel, and a curved surface for great playing comfort. 9?32″ diameter tuning lugs and natural rawhide complete this affordable set of congas. |
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LP Aspire 10 & 11 Wood Conga Set w/ Std Vtg Sunburst $535 This 10″ and 12″ Aspires conga set is crafted from kiln dried, environmentally friendly Siam Oak and features the newly designed Aspire Slide Mount double conga stand. The EZ Curve black rims have improved strength, a unique skin wire channel, and a curved surface for great playing comfort. 9?32″ diameter tuning lugs and natural rawhide complete this affordable set of congas. |
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LP Aspire 10 & 11 Wood Conga Set with Stand Dark Wood $535 This 10″ and 12″ Aspires conga set is crafted from kiln dried, environmentally friendly Siam Oak and features the newly designed Aspire Slide Mount double conga stand. The EZ Curve black rims have improved strength, a unique skin wire channel, and a curved surface for great playing comfort. 9?32″ diameter tuning lugs and natural rawhide complete this affordable set of congas. |
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LP Aspire 10 & 11 Wood Conga Set with Stand Natural $535 This 10″ and 12″ Aspires conga set is crafted from kiln dried, environmentally friendly Siam Oak and features the newly designed Aspire Slide Mount double conga stand. The EZ Curve black rims have improved strength, a unique skin wire channel, and a curved surface for great playing comfort. 9?32″ diameter tuning lugs and natural rawhide complete this affordable set of congas. |
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LP Aspire 10 & 11 Wood Conga Set with Stand Red Wood $535 This 10″ and 12″ Aspires conga set is crafted from kiln dried, environmentally friendly Siam Oak and features the newly designed Aspire Slide Mount double conga stand. The EZ Curve black rims have improved strength, a unique skin wire channel, and a curved surface for great playing comfort. 9?32″ diameter tuning lugs and natural rawhide complete this affordable set of congas. |
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LP Aspire Accent Cajon Sunburst Streak $209 There is much more to LP’s Aspire Accents Cajons than meets the eye, beautiful as that may be. To begin with, their 11-¾” w x 12″ d x 17-¼” h shells are made of eco-friendly plantation-grown Siam oak renewable wood that’s highly regarded for its resonant qualities. Next, they utilize a hybrid design that combines various traditional features in order to achieve optimum musical performance. The front striking plate is secured to the body of the cajon with screws, in the Peruvian style. This allows the plate to be loosened or tightened in order to adjust the amount of high-end “click” produced when the top edge is struck. Meanwhile, the cajon is fitted with two sets of internal wires in the Flamenco style, adding crispness and character to the rich, deep tones produced by the shell. |
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LP Aspire Cajon $179 Producing solid low-end tones and crisp highs, the Aspire cajon can sound like an entire drum set. The solid hardwood body features a textured seating surface and rubber feet for secure positioning. Internal snare wires are adjustable allowing for a traditional Flamenco sound and rich bass tones. The Aspire cajon sounds great and won’t break the bank! Perfect for acoustic gigs and venues with limited space. |
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LP Aspire Santana Abraxas 10 & 11 Conga Set w/ Stand $599 LP Aspire Santana Abraxas Angel conga drums feature 28″ tall Siam Oak shells in a 10″ & 11″ conga set complete with the all new Aspire slide mount double conga stand. They’re fitted with natural rawhide heads for deep tones and dynamic projection, and with EZ Curve rims for comfortable playability. Their slim shell contours and light-but-strong chrome hardware make them easy to handle—and affordable—for students, hobbyists, and budget-conscious professionals alike. |
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Mark Murphy (Vocal) – Bop for Miles $15.99 Personnel: Mark Murphy (vocals); Mark Murphy ; Peter Mihelich, Peter Mihelich (piano); Vito Lesczak (drums); Allan Praskin… |
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Matthew Shipp – Nu Bop Live [Digipak] $20.99 Personnel: Matthew Shipp (piano); Daniel Carter (alto saxophone, tenor saxophone); Guillermo E. Brown (drums, electronics). Recording… |
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Max Roach Quintet concert at Newport Jazz Festival on 02 Jul 67 $9.98 For his appearance at the 1967 Newport Jazz Festival, drummer, bandleader and bebop revolutionary Max Roach showed that he was up-to-date by crossing into the modal and avant-garde camps while retaining touches of his bop roots. Drawing energy from his fiery young frontline of 25-year-old trumpeter Charles Tolliver and 28-year-old tenor saxophonist Odean Pope, along with 26-year-old pianist Stanley Cowell, the elder Roach (who was 43 at the time) came out of the gate blazing on a set that drew from material that appeared on his now-classic 1966 Atlantic recording, Drums Unlimited, and other pieces which would appear the following year on 1968′s Members, Don’t Git Weary. Roach’s contemporary, former Jazz Messengers bassist Jymie Merritt, grounds this set with his intricate, swinging lines on Ampeg electric upright bass. Roach’s quintet opens this July 2nd concert with Cowell’s stirring “Effi,” which is based on a repeated descending figure that sets up a mesmerizing tone. This modal number features some intense probing within the form from both Tolliver on trumpet and the Philadelphia-based Pope on a brawny-toned, Trane-inspired tenor sax. Roach, who showcased three unaccompanied drum solos on Drums Unlimited from the previous year, demonstrates his mastery on the kit, combining complex polyrhythms and an uncanny ability to draw melody out of the drums on the unaccompanied showpiece, “It’s In Five.” Next up is Merritt’s “Nommo,” a piece he introduced on Drums Unlimited and later recorded with Lee Morgan on his classic 1970 Blue Note album, Live at the Lighthouse. Based on a hypnotic three-note bass figure, it starts off in a conventional manner, featuring some swagger on the frontline between the tight unisons played by Pope and Tolliver. This gradually builds to intense peaks of atonality, with searing solos along the way by Pope and Tolliver, the latter dipping into a latter day Trane vibe marked by avant-garde-ish overblowing and streams of notes being forced thr |
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Mingus Midnight Jam concert at Radio City Music Hall on 07 Jul 74 $3.98 At the 1974 Newport Jazz Festival in New York, impresario George Wein revived a longstanding Newport tradition — the jam session. Since the very first summer bash in Rhode Island, Wein liked to mix-and-match different musicians on stage to exchange ideas and establish some kind of instant chemistry. (Perhaps the most audacious example of that was in 1958 when he matched seminal rock ‘n’ roller Chuck Berry with Swing-era sidemen, including clarinetist Rudy Rutherford and drummer Papa Jo Jones on a “Sweet Little Sixteen” jam). And as with all jam sessions, it’s all about the solos, which puts the onus here on Mingus, Waits, and Hanna to be the glue that holds it all together. The site of Wein’s midnight jam session (following a concert by pop star Diana Ross) at the ’74 festival was spacious Radio City Music Hall, which seats 6,000 or more. An unlikely crew of Charles Mingus on bass, Freddie Waits on drums, Roland Hanna on piano, Michael Urbaniak on violin, Howard McGhee on trumpet, and a phalanx of tenor saxophonists Eddie Daniels, Joe Farrell, and Dewey Redman opens with an extended interpretation of the jazz standard “All the Things You Are.” Mingus kicks off a brisk tempo, and McGhee boldly states the familiar theme before the rest of the troops quickly fall into place. The bebop trumpeter solos first, showing off his impressive facility and fertile imagination along the way. He is followed by tenor saxophonist Farrell, a Trane disciple and former Elvin Jones sideman, who at the time was enjoying a successful solo career with CTI Records. He summons up bold tones and a powerful flow of ideas in his solo before yielding to violinist Urbaniak, who turns in a potent bop-informed solo on his electrified instrument. Next up is Dewey Redman, a member of Keith Jarrett’s quartet at the time, who turns in a pungent-toned tenor solo that is teeming with renegade detours and audacious filigrees. He is followed in the solo order by fellow tenorman Daniels, who more closely |
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One for All (Band) $56.4 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One for All is a New York City-based hard bop sextet, featuring Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), John Webber (bass) and Joe Farnsworth (drums). The style of the group has been likened to 1960s-era Blue Note jazz and has been described as being reminiscent of Art Blakey’s Jazz Messengers. Cri |
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One for All (Band) $31.33 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One for All is a New York City-based hard bop sextet, featuring Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), John Webber (bass) and Joe Farnsworth (drums). The style of the group has been likened to 1960s-era Blue Note jazz and has been described as being reminiscent of Art Blakey’s Jazz Messengers. Cri |
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One for All (Band) $31.33 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One for All is a New York City-based hard bop sextet, featuring Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), John Webber (bass) and Joe Farnsworth (drums). The style of the group has been likened to 1960s-era Blue Note jazz and has been described as being reminiscent of Art Blakey’s Jazz Messengers. Cri |
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One for All (Band) $56.4 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. One for All is a New York City-based hard bop sextet, featuring Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), John Webber (bass) and Joe Farnsworth (drums). The style of the group has been likened to 1960s-era Blue Note jazz and has been described as being reminiscent of Art Blakey’s Jazz Messengers. Cri |
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Paul Motian – Bill Evans: Tribute to the Great Post-Bop Pianist $14.99 Personnel: Paul Motian (drums); Joe Lovano (tenor saxophone); Bill Frisell (electric guitar); Marc Johnson (bass). Recorded at Sorcerer… |
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Porgy and Bess $11.99 Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin’s Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans’ intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian “Cannonball” Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on “Prayer (Oh Doctor Jesus),” “I Loves You, Porgy,” and “There’s a Boat That’s Leaving Soon for New York” are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks’ (alto flute) solos, which commence on “Fishermen, Strawberry and Devil Crab.” Or the emotive bass and tuba duet that runs throughout “Buzzard Song.” The impeccable digital remastering and subsequent CD reissue — which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set — only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker’s dozen. No observation or collection… |
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Prasanna (Guitar)/George Brooks/Steve Smith (Jazz Bass) – Raga Bop Trio [Digipak] $15.99 Personnel: Prasanna (acoustic guitar, electric guitar); George Brooks (alto saxophone, tenor saxophone); Steve Smith (drums). Audio… |
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Punk-Bop/Ari Hoenig – Punkbop: Live at Smalls [Digipak] $12.99 Personnel: Ari Hoenig (drums); Jonathan Kreisberg (guitar); Will Vinson (alto saxophone); Tigran Hamasyan (piano). Audio Mixer: Ben… |
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The Honky Tonk Pounders – Devil Bop $14.99 Lyricist: Gunnar Frick. Personnel: Gunnar Frick (vocals, guitar); Gabriel Prokscha (drums). Liner Note Author: Don Camino. Recording… |
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The Ryoko Trio – Bonsai Bop $15.99 The Ryoko Trio: marc peillon (bass guitar); Le Fakir Abou (drums). |
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U.Play.Plus: Pops (Viola) $7.59 The U.Play.Plus Series, arranged by Victor Lpez, provides solos, duets, trios, quartets, and larger ensembles with flexible instrumentation. Each book has a two-line score for every title. The top line (A) is the melody. The second line (B, C, or D) may be played as a duet with line A and is one of the four-part harmony lines. Adding instruments with B, C, and D lines will complete the harmony. Cue notes are included to fill in missing parts. Woodwinds, brass, strings, and percussion may play together, with or without the rhythm section accompaniment (Piano/Guitar/Score book) or the CD. The CD includes a concert Bb tuning note and two tracks for each song. The first is a demonstration track, and the second is the rhythm section accompaniment (piano, guitar, electric bass, and drums). Titles: Billie Jean * Blitzkrieg Bop * Dont Stop Believing * Eye of the Tiger * Hey! Baby! * Know Your Enemy * Lets Get Loud * Open Arms * (I Cant Get No) Satisfaction * Wizard Wheezes (From Harry Potter and the Half-Blood Prince) * You Raise Me Up. |
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USED: Porgy and Bess $6.99 Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin’s Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans’ intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian “Cannonball” Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on “Prayer (Oh Doctor Jesus),” “I Loves You, Porgy,” and “There’s a Boat That’s Leaving Soon for New York” are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks’ (alto flute) solos, which commence on “Fishermen, Strawberry and Devil Crab.” Or the emotive bass and tuba duet that runs throughout “Buzzard Song.” The impeccable digital remastering and subsequent CD reissue — which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set — only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker’s dozen. No observation or collection… |
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Uli Lenz – Live at Sweet Basil $13.99 Personnel: Uli Lenz (piano); Cecil McBee (upright bass); Joe Chambers (drums). A fine post-bop pianist based in the tradition, but with… |
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Violent New Breed $35.51 Used – Violent New Breed is the third and final album by Shotgun Messiah, released in 1993 on Relativity Records. Breaking from their previous albums, Violent New Breed featured a more industrial rock sound. The band originally went under the name “Kingpin” while in Sweden, recording the album Welcome To Bop City; the line-up featured Zinny J. Zan (vocals), Tim Skold (going by “Tim Tim”) (bass), Harry K. Cody (guitar) and Pekka “Stixx” Ollinen (drums). This would become the original line-up of S |
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Violent New Breed $49.2 New – Violent New Breed is the third and final album by Shotgun Messiah, released in 1993 on Relativity Records. Breaking from their previous albums, Violent New Breed featured a more industrial rock sound. The band originally went under the name “Kingpin” while in Sweden, recording the album Welcome To Bop City; the line-up featured Zinny J. Zan (vocals), Tim Skold (going by “Tim Tim”) (bass), Harry K. Cody (guitar) and Pekka “Stixx” Ollinen (drums). This would become the original line-up of Sh |
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Violent New Breed $35.51 New – Violent New Breed is the third and final album by Shotgun Messiah, released in 1993 on Relativity Records. Breaking from their previous albums, Violent New Breed featured a more industrial rock sound. The band originally went under the name “Kingpin” while in Sweden, recording the album Welcome To Bop City; the line-up featured Zinny J. Zan (vocals), Tim Skold (going by “Tim Tim”) (bass), Harry K. Cody (guitar) and Pekka “Stixx” Ollinen (drums). This would become the original line-up of Sh |
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Violent New Breed $49.2 Used – Violent New Breed is the third and final album by Shotgun Messiah, released in 1993 on Relativity Records. Breaking from their previous albums, Violent New Breed featured a more industrial rock sound. The band originally went under the name “Kingpin” while in Sweden, recording the album Welcome To Bop City; the line-up featured Zinny J. Zan (vocals), Tim Skold (going by “Tim Tim”) (bass), Harry K. Cody (guitar) and Pekka “Stixx” Ollinen (drums). This would become the original line-up of S |
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