BASIE-ECKSTINE

Stormy Monday

BUDDY RICH

In A Mellow Tone

Concert, Stadshalle Leonberg, 

Germany, July 10, 1986

Here's How Oliver Nelson thought this tune should sound.

THAD JONES and The COUNT BASIE ORCHESTRA - And That's That

 Sonny Cohn, Johnny Coles, Byron Stripling, Bob Ojeda (tp) Dennis Wilson, Clarence Banks, Mel Wanzo, Bill Hughes (tb) Danny Turner, Danny House (as) Eric Dixon, Kenny Hing (ts) John Williams (bar) Tee Carson (p) Freddie Green (g) Lynn Seaton (b) Dennis Mackrel (d) Thad Jones (cond)

LEO P - Thr Dance Party

Green Chimneys

(hmmmm)

Leo Pellegrino, sometimes also referred to as Leo P, is a baritone saxophonist based in New York City, born in Pittsburgh. He graduated from the Manhattan School of Music in 2013. He is a member of the "brass house" band Too Many Zooz and former member of the Lucky Chops brass band.

"Chase"-ing THE MANHATTAN JAZZ OTCHESTRA

DUKE ELLINGTON - And His Mother Called Him Bill

Complete Recording

When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions and charts. The album features well-known and previously unrecorded Strayhorn tunes that showcased his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music. The set opens with a vehicle for Johnny Hodges called "Snibor," written in 1949. A loose blues tune, its intervals showcase Hodges against a stinging I-IV-V backdrop and turnaround, with a sweeping set of colors in the brass section before Cootie Williams takes a break and hands it back to Hodges to take out. The melancholy "Blood Count" was written in 1967 for the band's Carnegie Hall concert. It proved to be his final composition and chart. Hodges again gets the call and blows deep, low, and full of sadness and even anger. The music is moody, poignant, and full of poise, expressing a wide range of feelings as memories from different periods in the composers' and bandleaders' collective careers. Given all the works Strayhorn composed, this one -- with its muted trumpet section set in fours against Hodges' blues wailing -- is both wistful and chilling. Also included here is a remake of 1951's "Rock Skippin' at the Blue Note," in a spicy, funky version with a shimmering cymbal ride from Sam Woodyard and a punched up, bleating Cootie Williams solo as well as one from Jimmy Hamilton on clarinet, smoothing out the harmonic edges of the brass section (which features a ringing break from John Sanders). In cut time, the tune shuffles in the groove with Ellington accenting on every eight as the brass and reeds mix it up joyously. There are two versions of "Lotus Blossom." Ellington claimed it was the piece Strayhorn most liked to hear him play. The LP version is a quiet, restrained, meditative rendition played solo by Ellington, with the most subtle and yet emotional nuances he ever presented on a recording as a pianist. Finally, closing the album is a bonus track, a trio version played in a whispering tone with only baritone saxophonist Harry Carney and bassist Aaron Bell accompanying Ellington. The piece was supposedly recorded as the band was packing up to leave. Its informality and soulful verve feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?" They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded mom
AllMusic Review by Thom Jurek

Aaron Bell
Bass
Jeff Castelman
Bass
Jeff Castleman
Bass
Johnny Hodges
Clarinet, Guest Artist, Sax (Alto), Saxophone
Harry Carney
Clarinet, Guest Artist, Sax (Baritone), Saxophone
Jimmy Hamilton
Clarinet, Sax (Alto), Saxophone
Russell Procope
Clarinet, Sax (Alto), Saxophone
Paul Gonsalves
Clarinet, Sax (Tenor), Saxophone
Duke Ellington
Composer, Piano, Primary Artist
Steve Little
Drums
Sam Woodyard
Drums
Clark Terry
Flugelhorn
Chuck Connors
Trombone, Trombone (Bass)
John Sanders
Trombone, Trombone (Valve)
Lawrence Brown
Trombone
Buster Cooper
Trombone
Cat Anderson
Trumpet
Mercer Ellington
Trumpet
Herbie Jones
Trumpet
Cootie Williams
Trumpet

KIM RICHMOND CONCERT JAZZ ORCHESRTA - Refractions

Complete Recording

One of the most respected figures in big band jazz for two decades, LA-based saxophonist/composer/arranger Kim Richmond takes it up a notch with his latest recording "Refractions." Featuring his Concert Jazz Orchestra, Richmond blends a collection of original compositions and arrangements of classics into a lush, cinematic soundscape. "I am seeking a broader emotional palette for Jazz," states Richmond, "I feel that all too often Jazz, especially for large ensemble, expresses only a small range of emotions. My writing for this 24-piece jazz orchestra combines elements of both large ensemble jazz with free-swinging improvisation and symphonic colors and textures. This is truly an orchestra rather than simply a jazz band."
Jack Bowers, All About Jazz

KIM RICHMOND - conductor, alto/soprano saxes
JEFF DRISKILL - woodwinds
PHIL FEATHER - woodwinds
GLEN BERGER - woodwinds
JOHN YOAKUM - woodwinds
BOB CARR - woodwinds
MIKE MCGUFFEY, RON KING, STEVE HUFFESTETER, CLAY JENKINS - trumpet/ flugelhorn
JOHN DICKSON, PAUL LOREDO or JEAN MARINELLI - French horns
BRUCE FOWLER - trombone
JOEY SELLERS or BILL TOLE - trombone
GEORGE MCMULLEN - trombone
MORRIS REPASS - bass trombone
BILL ROPER - tuba/ voice
TOM HYNES - guitar
RICH EAMES - piano
TREY HENRY, KEN WILD - basses
RALPH RAZZE - drums
BRAD DUTZ - hand percussion
DAVID JOHNSON - mallet percussion
BOB FLORENCE - guest piano solo

BILL O'CONNELL - Unfinished Business

ROBBIN'S NEST

Andy Meachum
Guitar
Bill O'Connell
Liner Notes, Mixing, Primary Artist
Erik Scott
Piano
Bill O'Connell Chicago Skyliners Big Band
Primary Artist
Danny Beher
Release Preparation
Dave Creighton
Sax (Alto), Saxophone
Jim Johnson
Sax (Soprano), Saxophone
Mike Knauf
Sax (Tenor), Saxophone
Mark Tuttle
Sax (Tenor), Saxophone
Johnny Bender
Saxophone
Mark Corey
Trombone
Craig Kaucher
Trombone
Rich Lapka
Trombone
Edwin Williams
Trombone
Jared Brame
Trumpet
Terry Connell
Trumpet
Kirk Garrison
Trumpet
Steve O'Brien
Trumpet
Jim Peterson
Trumpet
Rex Richardson
Trumpet
Sherrilynn Riley
Vocals