This gallery contains 10 photos.
Selection: Park Avenue Petite (Golson) . . . Artists Howard McGhee, trumpet; Bennie Green, trombone; Roland Alexander, tenor saxophone; Pepper Adams, baritone saxophone; Tommy Flanagan, piano; Ron Carter, bass; Walter Bolden, drums; recorded NYC, June 13, 1960 Track List A1 … Continue reading
Last post of the year, and some year it has been, so much discovery in modern jazz 1956-66 (give or take a few years) 2017 has really been a landmark. Not a lot of new acquisitions, the collector world seems … Continue reading
This gallery contains 9 photos.
Track Selection 1: Park Avenue Petite (Golson) . . . Selection 2: Dusty Blue (on vinyl) . . . Artists Howard McGhee, trumpet; Bennie Green, trombone; Roland Alexander, tenor saxophone; Pepper Adams, baritone saxophone; Tommy Flanagan, piano; Ron Carter, bass; … Continue reading
This gallery contains 7 photos.
Track Selection: Wigglin’ Artists Howard McGhee (tp) Tina Brooks (ts) Freddie Redd (p) Milt Hinton (b) Osie Johnson (d)recorded NYC, June 13, 1960 Music: Freddie Redd’s Music from The Connection stage play, the alternate score to the more famous Jackie … Continue reading
This gallery contains 4 photos.
Track Selection 1: Boperation (with Navarro) Track Selection 2. I’ll Remember April Track Selection 3. Fluid Drive Artists Boperation: Fats Navarro (tp) Howard McGhee (tp, p) Ernie Henry (as) Milt Jackson (vib, p) Curly Russell (b) Kenny Clarke (d) recorded Apex … Continue reading
This gallery contains 3 photos.
Track Selection:  Jarm (McGhee) Artists Howard McGhee (tp) Gigi Gryce (as, fl) Horace Silver (p) Tal Farlow (g) Percy Heath (b) Walter Bolden (d) recorded WOR Studios, NYC, May 20, 1953 Music Described by one Amazon customer reviewer as “very possibly the best music on record that … Continue reading
This gallery contains 4 photos.
Selected Track: Together Again Artists Howard McGhee (tp) Teddy Edwards (ts) Phineas Newborn Jr. (p) Ray Brown (b) Ed Thigpen (d) recorded Contemporary Records’ Studio, Los Angeles, CA, May 15 & 17, 1961 Recording Engineer Roy DuNann. Music McGhee album titles in the … Continue reading
This gallery contains 5 photos.
Track Selection: Get Happy Artists Howard McGhee (tp) Sahib Shihab (bars, as) Duke Jordan (p) Percy Heath (b) Philly Joe Jones (d) recorded NYC, October 22, 1955.  From the title, recorded after one of McGhees not infrequent releases from the Penitentary on narcotics charges. … Continue reading
This gallery contains 4 photos.
Track Selection: “The Thrill has Gone” > Artists Howard McGhee (tp) Danny Bank, Phil Bonder, Sid Brown, Leon Cohen, Herbie Mann (sax) Donn Trenner (p) Al Caiola (g) Arnold Fishkin (b) Osie Johnson, Don Lamond (d) Frank Hunter (arr, dir) … Continue reading
This gallery contains 4 photos.
Track Selection: “Demon Chase” Artists Howard McGhee (tp) Leroy Vinnegar (b) Shelly Manne (d) Phineas Newborn Jr.(p) Recorded June 26, 1961 at Contemporary Records in Los Angeles. Music AllMusic’s take: “After spending much of the 1950s only partly active in music due … Continue reading
Something new, a competition, and you get to decide which version you prefer! The stage is set for Freddie Redd’s Music from “The Connection”, the track, the poignant “Theme for Sister Salvation”
First contender the original New York cast soundtrack on Blue Note, with Jackie McClean (click the arrow below to hear audio player, click on bars to adust volume)
Next up we have the official understudy to Jackie in “The Connection” stage play, Tina Brooks, in the alternative recording on Felsted Records (Close the flash audio player above by clicking the double-bar on its right, or it will play on top of the next audio sample)
Due to contractual problems Freddie Redd – the composer – performs under the pseudonym “I Ching”, Howard McGhee lead on trumpet, and Tina Brooks takes the honours on saxophone in place of Jackie McClean. Everyone knows the Blue Note 4027 from 1960. very few know the ultra rare Felsted alternative. Despite its poorer audio quality, the Felsted version showcases the extraordinary emotional drive of Tina Brooks, and Freddie’s triumphant piano solo, which clutches at the heartstrings as it strains at holding the key
I know which I prefer. Any views out there?
LondonJazzCollector 