Jazz

Thad Jones & Mel Lewis Jazz Orchestra ‎– Central Park North (1969)

2017-07-17T15:06:07Z

Thad Jones & Mel Lewis Jazz Orchestra ‎– Central Park North (1969)


1 	Tow Away Zone		4:27
2 	Quietude	4:04
3 	Jive Samba	8:51
4 	The Groove Merchant	5:09
5 	Big Dipper	5:51
6 	Central Park North	9:14

Arranged By – Thad Jones
Bass, Electric Bass [Fender] – Richard Davis
Drums – Mel Lewis
Flugelhorn – Thad Jones
Guitar – Barry Galbraith, Sam Brown
Piano – Roland Hanna
Saxophone – Eddie Daniels, Jerome Richardson, Jerry Dodgion, Joe Farrell, Joe Temperly
Trombone – Bennie Powell, Cliff Heather, Eddie Bert, Jimmy Knepper
Trumpet – Danny Moore, Jimmy Nottingham, Richard Williams
Trumpet [1st] – Snooky Young

One doesn't automatically think of big bands when remembering late-'60s jazz, though big bands like the Thad Jones-Mel Lewis Orchestra continued to make stimulating recordings. Central Park North, recorded and released in 1969, testifies that one could be a big band and progressive at the same time. Flügelhornist Jones and percussionist Lewis are joined by a large cast of players, including tenor Joe Farrell, trombonist Jimmy Knepper, and pianist Roland Hanna. The music runs the gauntlet from funky soul-jazz to more gentle traditional work, sometimes within the same piece. Jones' "Tow Away Zone" begins like a rather typical late-'60s composition (horns and organ with a soulful groove), but as the individual players cut loose with excellent solo work -- built within a multi-layered arrangement -- the piece takes on a character of its own. "Quietude" moves in the opposite direction, living up to its title by keeping things low-key, while "Jazz Samba" is a nine-minute romp with some great piccolo work. The swinging "Big Dipper" and ambitious title cut bring Central Park North to a satisfying close. The album, at 37 minutes, will seem a bit short by post-millennium standards, but the Thad Jones-Mel Lewis Orchestra makes every minute count. The 2004 reissue will be a welcomed by fans of adventurous big band music. ---Ronnie D. Lankford, Jr., AllMusic Review

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Thad Jones with Pepper Adams Quintet - Mean What You Say (1966)

2011-03-08T09:44:15Z

Thad Jones with Pepper Adams Quintet - Mean What You Say (1966)


01.-Mean What You Say (4:36)
02.-H And T Blues (7:42)
03.-Wives And Lovers (4:55)
04.-Bossa Nova Ova (3:23)             play
05.-No Refill (4:38)
06.-Little Waltz (6:30)
07.-Chant (5:20)
08.-Yes Sir, That’s My Baby (4:07)    play

Musicians:
*Thad Jones: flugelhorn
*Pepper Adams: baritone sax
*Duke Pearson: piano
*Ron Carter: bass
*Mel Lewis: drums

A really unique little small group effort from the team of Thad Jones and Pepper Adams -- one that predates Jones' bigger band work with Mel Lewis (also part of the group here), and offers one of the few chances to hear him in a small group in the late 60s! The record's got a care and charm that reminds us both of Adams' excellent late 50s sides as a leader, and of some of Thad's few records for Blue Note -- an approach to jazz that's soulful, but always slightly thoughtful -- yet never too pensive to swing, nor too overly complex. Jones and Adams both get in plenty of long solos, and the record also features some wonderful piano by Duke Pearson, as well as bass by Ron Carter and drums from Mel Lewis. A really special little record, and one we totally love -- with titles that include "Mean What You Say", "H & T Blues", "Bossa Nova Ova", "No Refill", and "Chant". --- Dustygroove.com

A classic set recorded for Milestone and reissued in the OJC series, this date is co-led by Thad Jones (heard throughout on flugelhorn) and baritonist Pepper Adams; pianist Duke Pearson, bassist Ron Carter and drummer Mel Lewis complete the band. The high-quality hard bop unit performs four of Jones' originals, a song apiece by Carter and Pearson, and Burt Bacharach's "Wives and Lovers" and "Yes Sir, That's My Baby." Jones and Adams always made for a potent team, but the rise of the Thad Jones/Mel Lewis Orchestra meant that this particular quintet only lasted a short time. ---AMG

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Thad Jones ‎– The Magnificent Thad Jones (1956/2007)

2019-03-23T15:40:04Z

Thad Jones ‎– The Magnificent Thad Jones (1956/2007)


1 	April In Paris	6:39
2 	Billie-Doo	7:26
3 	If I Love Again	7:23
4 	If Someone Had Told Me	5:48
5 	Thedia	10:31
6 	I've Got A Crush On You	7:36
7 	Something To Remember You By	3:53

Bass – Percy Heath
Drums – Max Roach
Piano – Barry Harris
Tenor Saxophone – Billy Mitchell
Trumpet – Thad Jones

In 1956, trumpeter Thad Jones was making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for the Charles Mingus owned "Debut" and Period labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath's bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. Starting with Heath's spooky bass lines surrounding "April in Paris" melting into the silky smooth tenor of Mitchell, you immediately know you're in for a unique listening experience. Jones' singing soul on his horn comes through best on the ballads "If Someone Had Told Me," in tandem with the pristine piano of Harris during "I've Got a Crush on You," and in duet with Kenny Burrell on "Something to Remember You By." Not forgetting to follow in the footsteps of Dizzy Gillespie/Miles Davis/Clifford Brown examples before him, Jones bops strong and proud on "If I Love Again," spurred on by Roach constantly mutating the rhythm changes, and using counter-melodies while jousting with Mitchell on "Billie-Doo." The single, definitive, and most enduring piece is the near-11-minute "Thedia," a classic post-bop case study that everyone should know and revere. The musicianship being at such a lofty plateau, so intelligently selected and executed, this CD is a must-have for every collection, and is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding. [An RVG remastered version of the CD was released in 2007.] ---Michael G. Nastos, AllMusic Review

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