What Jazz are you listening to now?

[Jazzrook]

Chu Berry's 1938 version of 'Body and Soul' with Roy Eldridge:

https://www.youtube.com/watch?v=Lor80WUVbtw

JR

[Stanfordian]

‘The Rat Race Blues’
Gigi Gryce with Mickey Roker, Richard Gene Williams, Richard Rylands & Reggie Workman
New Jazz (1960)

For later.

[CGR]

Partikel - Counteraction.

Saw them give an excellent concert last Sunday. So good I had to buy the album. Very enjoyable prog-ish jazz.

[CGR]

Have you seen the 1986 Tavernier movie "Round Midnight", starring Dexter and others? Unavailable on youtube, sadly, due to copyright isssues.

Great film if you're in the right mood. It unfolds at quite a slow pace.

[Tenor Freak]

Weather Report - Live in Tokyo 1972

[Stanfordian]

‘Hootin' 'n Tootin'
Fred Jackson with Earl Van Dyke, Willie Jones, Sam Jones & Wilbert Hogan
Blue Note (1962)

For tonight!

[Jazzrook]

Yusef Lateef's 1965 album 'Psychicemotus' with George Arvanitas(piano); Reggie Workman(bass) & James Black(drums).
Such an underrated tenorist:

https://www.youtube.com/watch?v=WwXXi7InrB4

JR

[Beef Oven!]

Weather Report - Live in Tokyo 1972

Love this album! Your post prompted me to spin it, now!

I also have 2 other live WR albums - Live in Offenbach 1978 and 8.30

[Stanfordian]

‘Face to Face’
Baby Face Willette with Fred Jackson, Grant Green & Ben Dixon
Blue Note (1961)

Taken out for tonight!

[Beef Oven!]

I bought this album when it came out in 1991. I still spin it 3 or 4 times per year. One of my favourites of the genre, although I feel Weckl spoils it a bit in places by seriously overplaying.

[Stanfordian]

'Blues Up & Down'
Eddie ‘Lockjaw’ Davis with Johnny Griffin, Lloyd Mayers, Larry Gales & Ben Riley
Jazzland (rec. 1961)

For playing later on.

[Serial_Apologist]

Just been listening to a Jon4 broadcast from The QEH in October 1999 of the Vaughan Hawthorne-Nelson Quartet - part of my long chronological journey through all my recorded British jazz, in this case on a cassette. V.H-N came up with the Courtney Pine/Julian Joseph generation of the late 1980s, plentifully backed with plaudits from Mr Pine, before dropping out to study, qualify, and then practice in psychotherapy, running a refuge for disturbed male teenagers in his home town of Margate, and only returning to performance again after 10 years, with a fine line-up consisting of the much-missed Bheki Mseleku on piano - who plays in a subtly nuanced post-Tyner manner - Jeremy brown on bass, and Mark Mondesir, drums. I'd lost track of Vaughan, assuming he must have dropped out of the scene again, but here he is, backers unknown, demonstrating his mid-period Coltrane transferred to alto style in what I take to be a recent gig:

https://www.youtube.com/watch?v=RQkC7Waaby4

And now, onto Tim Garland's gorgeous band Lammas, recorded from Wavendon for that same series of programmes.

[Ian Thumwood]

‘Hootin' 'n Tootin'
Fred Jackson with Earl Van Dyke, Willie Jones, Sam Jones & Wilbert Hogan
Blue Note (1962)

For tonight!

I think this record is a kind of classic of it's kind. The copy I have includes a previous unissued session but I first came across this music when I was loaned an of LP copy back in the mid 80's which made a huge impression. Fred Jackson spent most of his career as a session musician. This record is pretty much unique in that the music is really close to the R n' B of the time yet Jackson's sound owes something to Coltrane even if the latter was never prone to his bar-walking honks and shrieks. I particularly like Earl Van Dyke's organ playing on this record and the compositions have a far more sonorous feel than any of the other Soul Jazz of that era. The whole feel of this record is quite unlike anything else.

The Soul Jazz of this era is pretty cultish and it is almost a sub-genre in it's own right. Jimmy Smith is usually heralded as the leading protagonist in this field and I think his stellar records with the likes of Stanley Turrentine are hugely enjoyable. The Baby Face Willette record seems to channel these ideas in to something more commercial and it is a path that ultimately led to increasingly minimal returns as the late sixties merged in to the 70's when Blue Note was absolute dross. However, "Hootin' & tootin'" presents a high point when this style was still fresh and if the shadow of Coltrane led to poor sales at the time, it is a record which now has quite a large following, For me, Smith seemed to offer the maximum jazz potential at that time but Fred Jackson's sole output as leader presented a far more left-field alternative.

I know really little about Fred Jackson. He appears from time to time as a sideman with Quincy Jones but I have never seen an interview with him or read anything that expanded upon his career. He is a real man of mystery and nicely obscure enough to merit his cult status.

[Stanfordian]

'Dippin’'
Hank Mobley with Lee Morgan, Harold Mabern Jr, Larry Ridley & Billy Higgins
Blue Note (1965)

[Jazzrook]

I think this record is a kind of classic of it's kind. The copy I have includes a previous unissued session but I first came across this music when I was loaned an of LP copy back in the mid 80's which made a huge impression. Fred Jackson spent most of his career as a session musician. This record is pretty much unique in that the music is really close to the R n' B of the time yet Jackson's sound owes something to Coltrane even if the latter was never prone to his bar-walking honks and shrieks. I particularly like Earl Van Dyke's organ playing on this record and the compositions have a far more sonorous feel than any of the other Soul Jazz of that era. The whole feel of this record is quite unlike anything else.

The Soul Jazz of this era is pretty cultish and it is almost a sub-genre in it's own right. Jimmy Smith is usually heralded as the leading protagonist in this field and I think his stellar records with the likes of Stanley Turrentine are hugely enjoyable. The Baby Face Willette record seems to channel these ideas in to something more commercial and it is a path that ultimately led to increasingly minimal returns as the late sixties merged in to the 70's when Blue Note was absolute dross. However, "Hootin' & tootin'" presents a high point when this style was still fresh and if the shadow of Coltrane led to poor sales at the time, it is a record which now has quite a large following, For me, Smith seemed to offer the maximum jazz potential at that time but Fred Jackson's sole output as leader presented a far more left-field alternative.

I know really little about Fred Jackson. He appears from time to time as a sideman with Quincy Jones but I have never seen an interview with him or read anything that expanded upon his career. He is a real man of mystery and nicely obscure enough to merit his cult status.

Have just ordered a S/H limited edition copy prompted by your comments.

Here's 'Southern Exposure' from the album:

https://www.youtube.com/watch?v=QnDOx1v_iI8

JR