Все мы знаем историю о дне рождения Мортона и о том, что он приписывал себе 5 лет, чтобы доказать, что он - истиный отец джаза. Церковь утверждает, что он родился сегодня - 20 октября 1890 г, а сам он настаивал на дате 20 сентября 1885. Ну а нам главное, что он родился, жил (непростой, кстати, жизнью), сочинял и исполнял музыку.
В любом случае, отметить день рождения великого человека дважды никто ведь не запрещает

"Jelly Roll" Morton - an American ragtime pianist, bandleader and composer who is considered to be one of the originators of jazz music and was a colorful character - was born today (possibly) - October 20, 1890

Happy Birthday Don Byas!

Although Latin percussionists (including Mongo Santamaria) are utilized on this set (a RCA album reissued in 1998 as a Koch CD), most of the selections certainly do not sound like they came from a Tito Puente record. For a change of pace, Puente is heard leading a fairly straight-ahead big band which includes among its main soloists trumpeter Doc Severinen (heard throughout in excellent form) and tenor saxophonist Marty Holmes, who often recalls Paul Quinichette. From the opening stripper-style blues of "Night Beat," through a variety of group originals and an uptempo "Carioca," the music swings and generally avoids most of the expected Latin influences. A very interesting (and musically rewarding) departure for Puente. ~ Scott Yanow, All Music Guide

The Pat Metheny Trio’s Tokyo Day Trip EP collects five tracks that were originally issued as bonus tracks on different projects—in Japan and by Nonesuch—and offers them to fans for a bargain price tag. This is no mere marketing gag. For a long time now, fans have been requesting these cuts, all of which were recorded before the trio went in to record the phenomenal Day Trip album that was released in January of 2008. Metheny, bassist Christian McBride, and drummer Antonio Sanchйz offer a solid and wildly diverse 40-minute set of music. The disc opens with the lengthy introspective and wonderfully atmospheric electric ballad ”Tromsш.” It’s followed by the guitarist’s trademark euphoric and sophisticated post-bop jazz ”Traveling Fast” and the acoustic pastoral piece ”Inori.” ”The Night Becomes You,” which closes the set, is a gorgeous impressionistic jazz ballad that marries Metheny’s harmonic palette with Bill Evans’ lyric sensibility and sense of sparseness. These four cuts are all worthy additions to Metheny’s catalog and make for a compelling listen. All of this said, the real icing on the cake for many will be the kinetic, knotty, and overdriven ”Back Arm & Blackcharge,” which places the trio firmly in the category of electric jazz-rock—all the more impressive given the fact that McBride plays an acoustic bass on it. Long, loud, labyrinthine lines flow from Metheny’s guitar, wedding bebop, funk, controlled feedback, choppy Hendrixian chord voicings, and a pure rockist’s sense of attack to a rhythm section set on stun. Sanchйz’s breakbeats and triple-time polyrhythmic inversions take in jazz history from Gene Krupa and Max Roach to Elvin Jones and postmodern Afro-Cuban clave extrapolations. McBride’s force and brutally quick changes between single line and chords act as a bridge between Metheny and Sanchйz—but all the while it’s his game, given the way rhythms shift and interlock and create new pulses. This track alone is worth the price of admission, and makes the EP essential. Metheny, who understands his fan base better than just about any other jazz artist out there, knows that some fans already have some of these cuts, and has made the individual selections available as digital downloads as well. Thom Jurek, All Music Guide

Вашему вниманию довольно редкий альбом, выходивший всего один раз на виниле и на CD два раза (один раз в Японии). Состав великолепен во всех отношениях.
Одним словом очередной шедевр стиля hard-bop. Приятного прослушивания и на заметку всем любителям хорошей музыки

Dave Brubeck is still going strong at the age of 83 during this 2004 concert in Baden-Baden at the Festspielhaus, well accompanied by alto saxophonist Bobby Militello, bassist Michael Moore, and his longtime drummer Randy Jones. At a point where many jazz musicians rest on their laurels, revisiting past hits exclusively, the pianist mixes in several recent songs. His quartet easily negotiates the demands of his tricky "London Flat, London Sharp" while Brubeck's haunting "Elegy" showcases Militello on flute and Moore's matchless arco bass. Jones is featured extensively in "Out of the Way of the People" and the inevitable "Take Five." Although Brubeck seems reserved during several of the performances, his lyrical touch is evident throughout much of the concert, which is capped by an encore consisting of a single chorus of "Brahms' Lullaby" at the piano. The audio, video, and editing of this concert is flawless, though Manfred Frei's interview of Brubeck on the empty stage rambles on far too much, as Frei seems unprepared and unable to stay on track with his subject. ~ Ken Dryden, All Music Guide

Covering an important six-year period in Ella Fitzgerald's career, this two-CD set contains some of the highlights of the period as she develops from a top big-band singer into a masterful jazz improviser. Although one wishes that this survey were "complete," the 43 selections do feature Fitzgerald in a wide variety of settings, including with small groups, collaborating with The Ink Spots, the Delta Rhythm Boys Louis Jordan, Louis Armstrong and fronting various studio groups. Most of her hits from the period are here along with previously unissued alternate takes of "It's Only a Paper Moon," "Flying Home" and two of "How High the Moon," making this a strong introduction to her early years. ~ Scott Yanow, All Music Guide

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