2018. március 22., csütörtök

Original Prague Syncopated Orchestra - Happy Crazy Years Music (1978) 1980 LP Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.






DATA       01     02     03

01 - Oriental 
02 - Rock Bottom 
03 - Love Found You For Me 
04 - I'm Notworrying 
05 - Ghost Of The Blues 
06 - Up The Country Blues 
07 - Chinaman Blue 
08 - Mamaâ??s Gonna Slow You Down 
09 - Kansas City Man Blues 
10 - Five Foot Two Eves Of Blue 
11 - Bombay 
12 - Navigator (Why Cana You )

Aranged: Pavel Klikar

Pavel Klikar - Cornet, Leader ( 1 - 12 )
Tomas Valínsky - Trobone ( 1 - 12 )
Jan Stolba - Clarinet (12) Alto Sax ( 1, 3-8, 10-12 )
Franticek Rubas - Clarinet  ( 1, 3, 6, 7, 12 )
Soprano Sax  (2, 9)  Tenor Sax ( 4, 5, 8, 10,12, )
Zbynek Maly - Violinophone (1, 2, 4, 5, 11, 12 )
Jiri Gilik - Piano ( 1-12 )
Jiri Sicha  - Banjo ( 1-12 )
Ondrej Havelka - Vocal ( 3, 4, 10, 12, )

and guest performers:

Oleg Petrus - Cornet ( 12 )
Vaclav Harmacek - Clarinet, Alto Sax ( 12 )
Petr Karen - Bass Sax (10 )
Milan Pekny - Voilin ( 12 )
Michal Pospisil - Sousaphon ( 12 )
Michal Hejna - Drums ( 1, 10, 12, )

Produced: Tony Matzner
RECORDER IN PRAGUE IN NOVEMBER 1978
Recorder director: Tony Matzner
Recorder engineer: Petr Kocfelda
Cover design: Frantisek Vlach 1980
Liner notes: Stanislav Titzl 1980
Made In Czechoslovakia

For the record, we list the orchestras which
recorded the pieces recreated for this LP
by THE ORIGINAL PRAGUE SYNCOPATED
ORCHESTRA:

New Orleans Rhythm Kings (1,)
Chicago, 1922
Tiny Parham and His Musicians (2, 11,)
Chicago, 1929
Cockie's Gingersnaps (3,)
Chicago, 1926
Clarence Williems and His Orchestra (4,)
New York, 1929
Fletcher Henderson's Oechestra (5, 8,)
New York, 1924
Joe Manone's Harmony Kings (6,)
Chicago, 1927
Erskine Tate's Vendome Orchestra (7,)
Chicago, 1923
Clarence Williams' Blue Five (9,)
New York, 1923
California Ramblers (10,)
New York, 1925
Fred Rich and His Orchestra (12,)


New York, 1929

The Jazz Fiddlers LP 1970 / Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.







 DATA     01     02    03    04


01 - Go' Long, Mule!
02 - Melancholy Blues
03 - High Fever
04 - Congo Love Song
05 - Original Rags    
06 - Washboard Wiggles
07 - Rhythm King
08 - Chef Menteur Joys
09 - Deep Spring 
10 - Cleopatra Rag
11 - I Never Know What A Gal Could Do ( Zero )
12 - Saint Louis Shuffle

Personel of The Jazz Fiddlers
----------------------------------------
Karel Mezera: alto sax, oboe leader
Jiri Kotrc: cornet
Jozef Rejman: clarinet, soprano sax,
Petr Kavalier: trombone
Petr Scocdopole: piano
Miroslav Klimes: banjo
Zdenek Fibrich: tuba
Ales Sladek: drums, washboard
Vladimir Krusak: piano
Dagmar Zarubová: violin
Jiri Pechar: trumpet

Supraphon Records 1970. Prague

The Steamboat Stompers LP 1971 / Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.









DATA        01     02     03   

The Steamboat Stompers

SIDE 1

1 - WAITING FOR ROBERT E. LEE .
(L. Wolfe Gilbert / Lewis F. Muir)
Jaromír Konúpka, Váciav Fiala, Jifi Kadlus ond Jan Jelínek (vocal)

2 - SEE SEE RIDER
(Ma Rainey)

3 - HOW LONG BLUES
(Traditional)
Svetla Gosteva (vocal)

4 - SEE IF I CARE
(Traditional)
Svetla Gosteva ond the Steamboat Stompers Chorus (vocal)

5 - ARAB STRUIT
(Roy Giomi)

6 - ST. LOUIS BLUES . . .
(W. C. Handy)
Jaromír Kontpka (vocal)

SIDE 2

01 - AT THE JAZZ-BAND BALL
(La Rocca / Eddig Edwards I Larry Shields)

2 - THE BUCKET GOT A HOLE IN IT
(Traditional)
Jaromír Konúpka, Váciav Fiala, Antonín Brych,
Jifí Kadlus and Jan Jelínek (vocal)

3 - BABY, WON’T YOU PLEASE COME HOME?
(Charlie Warfield / Ciarence Williams)
Svetla Gosteva (vocal)

4 - BEALE STREET BLUES . .
(W. C. Handy)
Svetla Gosteva (vocal)

5 - BILL BAILEY, WON’T YOU PLEASE COME HOME?
(Hughie Cannon)
Jaromír Konúpka, Váciav Fiala, Jifí Kadlus ond Jan Jelínek (vocal)

6 -  SWEET GEORGIA BROWN (Ben Bernie / Maceo Pinkard / Kenneth Casey / 
Charlie Warfield) Antonin Brych (scat) )

The Personnel of THE STEAMBOAT STOMPERS:

Jiri Kadlus - trumpet, banjo; 
Jaromír Konupka - ciarinet; 
Váciav Fiala - trombone;
Karel Kales - piano; 
Jan Jelinek - guitar; 
Antonín Brych - bass, violin;
Frantisk Hruza - drums

Arronged by 
Jaromír Konúpka (1/1, 2, 11/4), Korel Koles (1/3, 11/1), 
Steve Laine (1/4), Jií Kodlus (1/5, 11/2), Vóclav Fiola (1/6, 11/3) 
and Jon Jelínek (11/5)

Produced by Zbynek Mácha

RECORDED AT THE SUPRAPHON STUDIOS, PRAGUE,
ON APRIL 27, 1970 AND FEBRUARY 2—5, 1971
Recording directors: Siáva Kunst, Mojmír BaJling ond Jindflcb Bauer
Recording engineer: Petr Kocfelda
Cover design © Antonín Sládek — Sleeve-note © Zbynék Mácha




Mark Twain and other pessimists might regard the name of the orchestra os an anachronism, sínce according to them there were no steamboats on the Mississippi by the 1880’s, let olone in the first two decodes of the 2Oth century when the stomp came into fashion. Vet snapshots Írom thot time contradict Mark Twain: they show steamboats hugging os ciosely to the New Orleans waterf ront os cubs to the famous Roman she-wolf. Troditional jozz Is just os resistont: so often deciared deod by historians of music, it constantly re-emerges Írom the mainstream of jazz, just Jike those Íomous steomboats on “01’ Man River”. The Steamboot Stompers oppeared on the Czech jazz scene four yeors ogo, to orrive olmost overnight among the very top ensembies. Such success seems extraordinary, but old fons were pleased to recognize omong the instrumentalists mony faces from the period of Czech jazz revivolism.
Richard B. Allen of New Orleans’ Tulane University ond jazz writer Al Rose define jazz os “ony music played two-to-a-bar or four-to-a-bar in syncopated rhythm by two or more improvising instruments”. Some people may contradict that definition, but the Stompers fit it flawlessly ond their music is also good jozz: the rhythmic ond the melodic element are well-balanced, there Is good use of the vocal, ond the Stompers prefer clossical jozz themes which hove not lost their freshness after half a century. The Stompers’ repertoire noturally includes not only stomps, thot is fast donce numbers (Arab Strut, At the JazzBond Ball), but also folk blues (See See Rider, How Long Blues), blues compositions — or compositions inspired by blues (St. Louis Blues, Beale Street Blues, Boby, Won’t You Please Come Home), Negro spirituals (See lf I Care), songs from old-time minstrel shows (Waiting For Robert E. Lee), Storyville drinking songs (Bill Boiley, Won’t Vou Please Come Home), os well os swing evergreens (Sweet Georgia Brown). The range Is broad, but the selection of numbers for the ensemble’s bosic repertolre was by no means arbitrary. Frantiek Hrúza, the spirituol father of the Stompers, puts it this way: “We acted on purpose in not selecting the materiol strictly monothemotically. This Is our first record, ond we wonted it to show the broad range Írom spirituals to swing. A contemporary revivalist ensemble must work in this entire range, becouse ali of it certainly belongs to that field of music which is now colled traditionol jazz. When we were setting up the band, we realized that only three style variants of troditionol jazz were known in Czechosiovakia: music inspired by ciassicol jozz of the twenties, dixieland, ond the so-calied Engiish school. We felt there wos o gap to be filled, that the main representative of troditional jazz wos missing, that is jazz inspired by clossical music of the New Orleans instrumentalists who have been playing it since its inception almost without alterations ond who are still playing it in New Orleans”.
And so, if you turn down the lights a bit in your room ond if you close your eyes, you may hear in the tones of the trumpet (once owned by the black Angel Gabriel) the thumping of poddles against the water of the nyer on which jazz sailed out to conquer the world.



2018. március 18., vasárnap

Benny Waters and The Traditional Jazz Studio - Blue Waters LP 1976 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.






DATA         01     02     03     04


01 - Blop Blop - Benny Waters
02 - Candy - Mack David/Joan Whitney/Alex Kramer
03 - The Not Knowing Lover - Pavel Smetáek
04 - Albert's Blues - Albert Nicholas
05 - Lady Be Good - George Ira Gershwin
--------------------
06 - Zigin' & Zagin' - Benny Waters
07 - If I Could Be With You - James P. johnson
08 - Blue Waters - Benny Waters
09 - Sweet Georgia Brown - Ken CaseyBen Bernie Maceo Pinkard

(ciarinet, soprano sax, alto sax, tenor sax, vocal)

Pavel Smetácek - leader, ciarinet, alto sax
Svatobor Macák - alto sax, tenor sax
VitézsIav Marek - trumpet, guitar
Jaroslav Fuksa - trombone
Antonín Bily - piano
lvo Pluhácek - banjo
Antonín Lodr - bass
Jirí Jirásek - drums

GUEST PERFORMERS

Josef Nachtman - baritone sax (1, 3, 7)
Miroslav Jelínek - trumpet (1, 2, 7)
Viadimír Zizka - drums (6, 8)

Produced by Tony Matzner

RECORDED AT THE SUPRAPHON STUDIO
IN DEJVICE. PRAGUE,
FROM 12 T0 I4 JANUARY, 1976

Recording director: Tony Matzner
Recording engineers: Jifí Brabec and Jan Chalupsky
Cover design ‘ Joset Zich Sc Ivanka Zichová 1976
Cover photo ‘ Pave Vácha 1976
Liner notes ‘ Tony Matzner 1976


The name of the coloured multi instrumentaiist Benny Waters (b. 1902 In Brighton, Maryland) Is not associated wlth any radlcal milestones in the history o( jazz, nor has it ever been the subject of glossy picture.magazine stories. His long and remarkable progress through the world of jazz, (rom his In. itial stint wth the Charlie Miller Orchestra in Philadelphia through dozens of prominent or less prominent bands has been modestly unostentatious - a career of dispensing joy and pleasure without winning personal honours. Nevertheless his historically vaiuable recordings with legendary jazz bandiead. ers like Joe King Oliver, Clarence Williams or Fletcher Henderson make him a particularly attractive personality now, when alt those names have irrevocably become a part of history. Vet there is another aspect to Benny Waters’ music, which makes his recordings something more than a mere document of what azz used to be like at the time of its progress (rom music.making by self-taught coloured people to music with defsnite artistic ambitions. Waters was one of the very few coloured musicians of his generation to receive all-round musical education at the Boston Conservatory, in the clty which boasts the greatest musical tradition in the United States. His education, plus his willingness to absorb the stimuli generated by the younger generatlons ot musicians, won him positions in the big bands ot the swing era which required instrumentalists ot high calibre (one instance was his short engagement In Jimmie Lunceford’s famous orchestra In the early forties), and helped him later to add to his range ot expression the new elements shaped by Don Byas, Charlie Parker, and others. This is what makes Waters’ session with
the Traditional Jazz Studio, Czechoslovakia’s leading revivalist ensemble, a highly exciting musical experience, distinc. tively unlque In terms ot styie among ali records by Smetá. ek’s band.
BIop Blop, the album’s very f.rst item, takes us to the atmosphere offull-blooded music-making associated with the famous dance-halls ot Hariem’s Lenox Avenue, which replaced in the mid.twenties New Orleans’ Storyville as the hotbed ot jazz, and went on to maintain that position tor a full decade. Riffs against the 12-bar blues background and an almost big.band texture with sharply accentuated rhythm - this is the famous Harlem Jump colour typical ot the orchestras with which Waters played in the thirties. Short piano, tenor-sax (Ma. cák) and trumpet (Marek) solos arc followed by Waters on the clarinet, whose rough verve and drive let us enjoy anew whar used to be most characteristic ot Negro swing music. Candy, the well-known post-war hit. Is presented by the soloist in the spirit ot the Hawkins tenor school, so eftective is transtorming standard Pop jazz materiai to jazz. In Smetáek’s original composition The Not Knowing Lover, Waters (on alto sax this time) presents convincing evidence ot his boundiessly rich power ot imp-ovisation. Albert’s Blues Is the soloist’s and the Traditional Jazz Studio’s homage to the recentiy deceased veteran ot the New Orleans Creole ciarinet school, Albert Nicholas (who played with the Traditional Jazz Studio on the album Albert’s Blues, Supraphon 115 1420). Smetáek’s introductory clarinet solo Is actually a respectful re.improvisation ot Nicholas’ chorus, and is fotlowed by tenor-sax solo impro. visation by Waters. The presentation ot Gershwin’s internationaily tamous Lady Be Good bears distinct traits ot the influence ot the early swing combos, particularly Benny Goodman, whose elegant melodic line is clearly reflected in the brilliant ciarinet solo by Waters. Waters also appears here in the role ot vocaiist in the tradition ot coloured vaudeville entertainers typifled by Fats Waller (his irreverent paraphras. ing ot Ira Gershwin’s original lyrics also includes Waters’ own appreciation ot Prague). Waters presents this facet ot his style still marc clearly in his own, pun-titted composition Zigin’ 8c Zagin’, with Marek’s remarkable guitar solo in Eddie Lang style, and the composer’s solo on soprano sax. lf I Could Be with You features the ensemble’s pianist Antonín Bíl’ along with Waters (clarinet and alto). Blue Waters Is Waters’ alto-sax solo atfair throughout, and his typical earthy “lowdown blues” style Is rich in the characteristic stop choruses. From the very first bars, this particular recording charms the is. tener by its combination ot blues traditions and innovations produced by modern alto-sax piayers, (rom Charlie Parker to soui-oriented Cannonball Adderley. Sweet Georgia Brown, the record’s finai item, is a sequel ot solos by the ensemble’s lndividual members; most listeners will probably find Svatobor Macák (tenor sax), VItzsiav Marek (trumpet). Jaroslav Fuksa (trombone) and JIN Jirásek (drums) the most attractIve - next to Waters hlmself, ot course (alto sax, and ciarinet In the flnale).

A Trubadur : Részletek Giuseppe Verdi operájából / Excerps / Lp 1960 LPX 1105 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.





DATA       01     02     03

Verdi  ‎- A Trubadur - Részletek - Verdi Operájából (Excerps)
Qualiton ‎- LPX 1105

Tracklist

 01 - Cigánykar
 02 - Máglya Ária - Jelenet
 03 - Manrico Áriája - Stretta
 04 - Leonóra Áriája - Miserere
 05 - Duett
 06 - Finale

Credits

Baritone Vocals - Palócz László 
Mezzo-soprano Vocals - Tiszay Magda
Soprano Vocals - Déry Gabriella 
Tenor Vocals - Simándy József , Kishegyi Árpád

Conductor - Lamberto Gardelli
Cover - Varga Győző
Sleeve Notes - Várnai Péter

2018. március 17., szombat

Noel Pointer - Feel It 1979 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.











DATA    01     02     03

Side A

01 - Captain Jarvis (7:40)
02 - Feel It (8:21)

Side B

03 - There's A Feeling (When You Touch Me) (4:32)
04 - For You (A Disco Concerto) (8:03)
05 - Niteroi (6:42)

Label: United Artists Records, EMI Electrola GmbH
Vinyl, LP,
Country: Germany
Released: 1979
Genre: Funk / Soul, Jazz
Credits: Mixed By - Bruce Hawes , Lionel Job
Producer - Noel Pointer
Producer [Associated], Arranged By, Orchestrated By - Paul Riser
Recorded By - Barney Perkins

2018. március 16., péntek

Oscar Peterson - Oscar Peterson LP 1974 (Opus records 9115 0387) - Digital transfer, noise cleaning and mixed, at Audio Design Studio made 2018 th.



DATA       01    02    03

A 01 - Mas Que Nada   (J. Ben )
A 02 - Manha De Carnaval   (L. Bonfa)
A 03 - Meditation  ( A.C. Jobim, Mendonça)
A 04 - How Insensitive  (A.C. Jobim, V. De Moraes)
A 05 - Carioca  (E. Eliscu, G. Kahn, V. Youmans)
------------------------------------------------------- 
B 01 - Soulville Samba  (O. Peterson)
B 02 - Amanha  (P. Bodner)
B 03 - Call Me  (T. Hatch)
B 04 - Samba Sensitive  (O. Peterson)
B 05 - Samba De Orfeu  (L. Bonfa)



Bass – Sam Jones
Drums – Louis Hayes
Liner Notes – Igor Wasserberger
Other Bass – Ray Brown
Other Drums – Ed Thigpen
Percussion – Harold Jones, Henley Gibson, 
Marshall Thompson
Piano – Oscar Peterson
Producer – Hal Mooney

Fontana special [logo]
Exported by Slovart, Bratislava
Printed by Grafobal, n.p., Skalica
Made in Czechoslovakia
Licenced by Phonogram International B.V. – Holland
V licencii firmy Phonogram International B.V. Holandsko
C/P 1974
Processed by Gramofonové závody, n.p.

2018. március 12., hétfő

Wild Bill Davison and Classic Jazz Collegium LP 1976 Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made 2018 th.








DATA      01    02     03

Side 1

1) AFTER YOV’VE GONE
(Creamer-Layton)
2) YOU TOOK ADVANTAGE OF ME
(Rodgers-Hart)
3) MEMORIES OF YOU
(Blake-Razaf)
4) ST. JAMES INFIRMARY (Trad.)
5) BLUES IN THE AIR (Bechet)
6) SUNDAY
(M IIer-Cohn-Stei n-Krueger)

Side 2

7)BLUE AND BROKEN HEARTED
(Handman-Clarke-Leslie)
8) SAVE IT PRETTY MAMA
(Denniker-Davis-Redman)
9) LOVE ME OR LEAVE ME
(Donaldson-Kahn)
10) BLUE, TURNING GREY OVER YOU
(WaIIer-Razaf-Brooks)
11) EMPTY ARMS (Jeiek)
12) I’LL BUILD A FENCE AROUND YOU
(Korba)

Arranged by

Josef Rejman (1, 4, 9, 11),
Karel Mezera (2, 6, 7, 10),
Pavel Klikar (3, 5, 8)
Lubo Zajíek (12 )
WILD BILL DAVISON - cornet (1-12) and vocal (8)

CLASSC JAZZ COLLEGIUM;
Lubo Zajíek - cornet (1, 2, 4-6, 8-12), leader
JirÍ Pechar - trumpet (1, 2, 4, 6, 9, 10, 12)
Miloslav Havránek - trombone (1, 2, 4, 6, 8-12)
Josef Rejman - alto sax, ciarinet (1, 2, 4-6, 8-12)
Karel Mezera - tenor sax, ciarinet (1,2,4-6,8-12)
Ivor Krátky - baritone sax (9-12)
Pavel Klikar - piano, celesta (1-12)
Miroslav KIime - banjo, guitar (1-12)
Zdenék Fibrich - tuba (1, 2, 4-12)
AIes Siádek - drums (1-12)


RECORDED AT THE SUPRAPHON STUDIO IN DEJVICE, PRAGUE,
FROM 14 TO 19 OCTOBER, 1976
Recording directors: Kvétoslav Rohieder ond Jan Hrábek
Recording engineer: Gustav Houdek
Cover design © Joska Skolník 1977
Cover photo © Frantiek Rous 1977
Liner notes © Stanislav Títzl 1977
MADE IN CZECHOSLOVAKIA- PRAGUE

Comment


The desire to remain “m”1 rather than economc necessity, is the prime reason why jazzmen continue to perform ‚after tlie c1stomary retirement age - and aiso the reason why tbey don’t grow old: Louis Armstrong, Duke Eilington ond Count Basie were ali active ot seventy, and their younger colleagues Benny Goodman, Woody Herman or Stan Kenton - to name but a few - show the same inciination. The same is true of cornetist Wild Bill Davison, an outstanding representative of white Dixieland, ond o no less devoted jazzman at seventy than he was when young. In 1957 he began to travel reguiarly to Europe, where jazz afficionados in twelve countries, inciuding Poland ond Czechoslovakia, have heard him live. Three years ago he settied permanently in Denmark, from where he traveis to ali points of the compass for one-nighters in clubs, to jazz festivais, or for recording sessions in gramophone studios with ounger international bands. The last such session was in October 1976 in Prague, where Wiid Biil Davison - then on a concert tour in Czechoslovakia - ond the Ciassic Jazz Collegium recorded 12 items on the Supraphon labI. A short review of Davison’s career is in order. Born at Defiance, Ohio, U. S. A., on January 5, 1906, he learned to play the horn, and recorded for the first time at the age of 19 with the Chubb-Steinberg Orchestra (many of his biographies faji to note that the band’s name was derived from two persons). In 1927 Davison moved to Chicago, where he performed as an allround free-!ancing artist, playing the vioiin, ciarinet, mellophone, cornet ond trumpet, singing witli chorus and solo, even dancing. An iniportant chapter in Davison’s iife was his own Swing Band, established in 1931, which also inciuded ciarinetist Frank teschenmacher, o representative of the Chicago jazz school. His tragic death in a car crash in 1932, when a convertible driven by Davison hit an unlighted taxi, had serious consequences: Wiid Biil Davison was wrongly deemed guiity, his band failed to survive without its two principal stars, ond Davison himself moved to Milwaukee, where he continued to perform for another ten years, albeit outside the main focus of the jazz public Unfortunately for him, this was just the time when many autstanding books on jazz were written. The evidently most important period of Davison’s activity came after 1945,
when - having returned to New York - he piayed regularly in banjoist Eddie Condon’s ciub with the latter’s bands. in the course of o decade he worked with many prominent personalities, such os the ciarinetists Edmond Hall, Pee Wee Russeil ond Peanuts Hucko, the tenor sax player Bud Freeman, the pianists Joe Suliivan ond Gene Schroeder, the trombonist Jack Teagarden, the drummer George Wettiing, ond others. Opinions on Wiid Biil Davison the performer differ - os they often do in art. For instance, the Dictionary of Jazz by the French writers Hugues Panassié and Madeleine Gautier presents the ultra-orthodox conventional view: Davison “is the archetype of the noisy ond vulgar Dixieland trumpet piayer ond his considerabie reputation must be regarded as somewhat infiated”. Berendt, on the other hand, has said that without Davison’s spontaneous and naturai expression themusic of Condon’s bands would be merely a tepid reminder of the old Chicago. And the cornetist himself remembers Louis Armstrong telling him on one occasion: “I’m happy knowing when I’m gone that you’li be here to keep on making of music.” However, the listener should be abie to arrive at his own opinion afterhearing this album, which presents Wild Biil Davison with the Classic Jazz Collegium - a remarkablePrague unit specializing in old jazz. It was established in 1975, but its members used to play for many years in the Traditional Jazz Studio of Prague, with which they toured clubs ond festivals from Finland to Italy and from the Soviet Union to Spwn. Two lines of opinion crystallized within the Traditionai Jazz Studio on its future orientation, ond one day the orchestra split into two, the majority of the performers now presenting themselves under the Ciassic Jazz Collegium vignette. It is no exaggeration to say that this solution has benefitted, rather than damaged, the Czechoslovak traditional jazz scene, since each of the two ensembies has enriched the contemporary Prague range of traditional jazz with its own special stimuli and instrumentai opproaches. Along with its three-piece bass section, which also includes the leader and cornetist Lubo Zajíek, Classic Jazz Coiiegium offers the sound of two or three reeds, plus a four-piece rhythm section, in which at ieast Zdenék Fibrich’s technicaily exceilent tuba with its warm and fiexible sound deserves special mention. While the principal attention is focused on Wild Bill Davison, his solos - except for the two compositions in which he is accompanied by the rhythm section only - are an integral part of the entire orchestra sound, along with the other, if less prominently featured, soloists - the reedmen Josef Rejman and Karel Mezera, the pianist Pavel Klikar, and others. Unlike the prevailing practice, the overall sound Is not the conventional three-part Dixieland pattern, but rather the happy sound of the larger orchestras of the late twenties. The orchestra’s repertory inciudes mostiy famous evergreens like After Vou’ve Gone, Sunday, or Blues in the Air, but even the much overplayed St. James infirmary Is pleasantly intriguing, thanks to the unconventional arrangement ond an attractive tuba solo with a finai cornet cadenza by Davison. Another remarkable thing about this album: it conciudes with two originai compositions from the period of the shaping of the history of Czech jazz, ond both go surprisingly weil with the album’s overali concept. Empty Arms was composed by the founder of Czech swing, Jaroslav Jeiek (b. 1906), an excellent (although almost blind) musician, graduate of the Prague Conservatory, ond composer of chamber pieces, jazz instrumentais, ond songs for the pre-war Liberated Theatre, which remain popular to this day. Jeiek escaped from the Nazis in 1939 to the U. S. A., where he died on January 1, 1942. Hardly any other country in Europe can boast a personality of such crucial importance and impact - Jeek’s significance for the Czech jazz tradition is comparable to that which the most famous jazz veterans have for the international scene. And the final composition, I’ii Build a Fence Around You, was written by one of the pioneers of modern Czech dance tunes in the forties, Leopold Korba, who played the piano at that time in the Karel Vlach Orchestra. This joint album by WiId Bill Davison ond Classic Jazz Collegium is only one ot the many recordings made in the past few decades by famous jazz soloists with young uropean revivalists, but its overail sound, ond above ali its pleasant, relaxed atmosphere make it more special than most.

The German critic Joachim-Ernst

2018. március 10., szombat

Tony Scott The Traditional Jazz Studio - Boomerang LP 1977 (1 15 2417) Supraphon Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made 2018 th.






DATA      01     02    03    04


1.Sweet Sue ((Victor Young))
3.55
2.I'm crazy ‘bout my baby (T. ‘Fats’ Waller)
5.00
3.Boomerang (Petr Lander)
3.25
4.The Golden Frame (Antonin Bily)
5.20
5.Royal garden blues (Clarence, Spencer Williams)
3.50
6.Love in Davos (Tony Matzner)
4.15
7.Life Is Matter of Chance (Jaroslav Jezek)
4.20
8.Scott Scat (Tony Scott)
5.10
9.Blues For Charlie Parker (Tony Scott)
5.15



1977, October 10 to 14 - Dejvice, Czechoslovakia - Supraphone Studio

Personel:
Tony Scott(ts,cl,vcl), Pavel Smetacek (as)
Jiri Niederle(ss, ts), Ivan Smetacek (brs)
Vitezslav Marek (tp,g), Ivo Pluhacek (bj,g),
Antonin Bily (p), Antonin Lodr (b),Jiri Jirasek (d)

Guests:

Jan Hyncica (tb), Rudolf Dasek (g),
Ludek Hulan (b),Vincenc Kummer (b)
Cond. Pavel Smetaceck

Arr.: Pavel Smetacek, Antonin Bily, Vitezslav Marek, Tony Scott

Tony Scott: Eredeti neve: Anthony Joseph Sciacca

Profil:

Tony Scott (született: 1921. június 17.) 
Morristown, New Jersey, USA - 2007. március 28., Róma, Olaszország) 
amerikai jazz klarinétos, 
A Billie Holiday , Sarah Vaughan és Harry Belafonte között szerepelt. 
Első felesége Fran Scott (1950-1960. Az 1970-es évek elején emigrált 
Olaszországba. Az ázsiai kultúrák és a meditáció zenéjét is megközelítette, 
például az 1964-es Zene For Zen Meditation.
Munkássága során nagyon sok híres zenésszel játszott együtt. Terjedelmes mennyiségű lemeze jelent meg, mint saját előadóként, és más művészekkel közös albumokon.


2018. március 7., szerda

Ralph Sutton and Classic Jazz Collegium LP 1977 (1 15 2416) Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made 2018 th.




Download_DATA 

01   02    03



Ez a lemez egy igazán DIXILAND is, meg a régi swinges korszakból jól ismerhető nagy zenekarok ötvözése, kicsiben. A dixieland ritmusával és a 30-as évek hangulataival keveredve rántja magával a hallgatót. A játék hangulatát a klasszikusnak mondható TUBA adja meg, mivel igazán a basszust ez a hangszer képviseli. Ettől lesz igazán olyan régi hangulatú de mégis mai.... dixi.
Az album 1977-ben készült a hajdani Csehszlovákiában. ( Supraphon records ) 
Figyelemre méltó zenei anyagot kaphat, aki letölti ezt a muzsikát !!!!!

A Zene Legyen Veletek

A Side

01 - Opus No.1
02 - Honeysuckle Rose 
03 - Alligator Crawl
04 - Them There Eyes 
05 - Gee Baby, Ain’t I Good To You 
06 - Stomp Off, Let’s Go 

B Side

07 - Savoy Blues
08 - Dream A Little Dream Of Me
09 - Open Ears 
10 - I’m Gonna Sit Right Down And Write Myself A Letter
11 - Dark Blue World
12 - You Don’t Know What The Middie Ages Were Like


Original:

A1 - Opus No. 1 Written-By - Sy Oliver 2:45
A2 - Honeysuckle Rose Written-By - Razaf , Waller  5:00
A3 - Alligator Crawl Written-By - Morton , Williams  2:40
A4 - Them There Eyes Written-By - Tauber , Pinkard , Tracey  2:30
A5 - Gee Baby, Ain't I Good To You Written-By - Razaf , Redman  4:05
A6 - Stomp Off, Let's Go ... Written-By - Schoebel  2:35

B1 - Savoy Blues Written-By - Ory  5:10
B2 - Dream A Little Dream Of Me Written-By - André , Kahn , Schwan  3:40
B3 - Open Ears Written-By - Hines , Hodges  2:30
B4 - I'm Gonna Sit Right Down And Write Myself A Letter Written-By - Ahlert , Young  3:10
B5 - Dark Blue World Written-By - Ježek  4:00
B6 - You Don't Know What The Middle Ages Were Like Written-By - Ježek  2:35

Recorded At - Mozarteum
Printed By - Severografia Děčín

Credits:

Alto Saxophone, Clarinet - Josef Rejman (tracks: A1, A2, A4 to B3, B5, B6)
Luboš Zajíček (tracks: A1, A2, A4, B1, B3), Ralph Sutton (2) (tracks: A3, B4)
Banjo - Miroslav Klimeš (tracks: A1, A2, A4, A6 to B3, B5, B6)
Baritone Saxophone - Ivor Krátký (tracks: A1, A2, B3, B5, B6)
Drums - Aleš Sládek (tracks: A1, A4 to B3, B5, B6)
Leader, Cornet - Luboš Zajíček (tracks: A1, A4, A6 to B3, B5, B6)
Piano - Ralph Sutton (2) (tracks: B4)
Tenor Saxophone - Bohumil Veselý (tracks: A1, A2, A4, A6 to B3, B5, B6)
Trombone - Miroslav Havránek (tracks: A1, A6 to B3, B5, B6)
Trumpet, Trumpet [Bass Trumpet] - Jiří Pechar (tracks: A1, A4, A6 to B3, B5, B6)
Tuba - Zdeněk Fibrich (tracks: A1, A2, A4, A6 to B3, B5, B6)
Vocals - Eva Svobodová (tracks: A4, B2)


Design [Cover] - Joska Skalník
Engineer - Gustav Houdek
Arranged By - Josef Rejman (tracks: A5, A6, B2, B5, B6), 
Photography [Back Cover] - František Rous
Photography [Front Cover] - Ivor Krátký
Liner Notes - Stanislav Titzl
Recording Supervisor [Recording Director] - Jan Spálený, Květoslav Rohleder
Recorded at the Supraphon "Mozarteum" Studio, Prague, from 10 to 11 June, 1977 
Zdenlk Flbrich - tuba (1, 2, 4, 6 — 9, 11, 12) Alo Siádek — drums (1, 2, 4 — 9, 11, 12)

2018. március 6., kedd

Budapesti Ragtime Együttes - Ragtime LP SLPX 17794 1984 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.





DATA      01    02    03   


01 - Maple Leaf Rag
02 - The Ragtime Dance
03 - Sunflower Slow Drag
04 - The Chrysanthemum
05 - Creole Belles
06 - Daisy
07 - Tiger Rag
08 - Scott Joplin's New Rag
09 - Ophella Rag
10 - Castle House Rag
11 - Original Rags
12 - Solace

Side A

01 - Scoti Joplin: Maple Leaf Rag
02 - Scott joplin: The Ragtime Dance
03 - Scott Joplin: Sunflower SIow Drag
04 - Scott Joplin: The Chiysanthemum
05 - J. Bodewalt Lampe: Creole Belles
06 - Heinz Both: Daisy

Side B

07 - N. La Rocca: Tiger Rag
08 - Scott joplin: Scott joplin’s New Rag
09 - James Scott: Ophelia Rag
10 - J. Reese Europe: Castle House Rag
11 - Scott Joplin: Original Rags
12 - Scott Joplin: Solace


SZUNYOGH XAVÉR, hegedű
FARKAS GÁBOR, - klarinét
KOVÁCS FERENC, trombita, II. hegedű (A/6)
BALOGH SÁNDOR, harsona
LUKÁCSHÁZY GYŐZŐ, tuba
KONTRA ZOLTÁN, zongora
JUHOS LÁSZLÓ, bendzsó
KISS GÁBOR, bőgő
SZÉKI JOZSEF, dob

Zenei rendező: Vittor Máté
Hangmérnök: Kiss István
Technikus: Vesszős Sándor, Rigler Róbert
A felvétel a Magyar Rádió 22-es stúdiójában készült 1984-ben