Jazz at Massey Hall [Live]

1. Perdido

2. Salt Peanuts

3. All the Things You Are/52nd Street Theme

4. Wee (Allen's Alley)

5. Hot House

6. Night in Tunisia

Editorial Reviews

Amazon.com essential recording
One of the most famous live recordings in jazz history, this May 1953 concert from Toronto brought together five of bebop's greatest figures in alto saxophonist Charlie Parker (credited here as "Charlie Chan" in a purposely transparent attempt to sidestep Parker's exclusive recording arrangement with another record company), trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and bassist Charles Mingus. Released following Parker's death two years after the date, the recording finds him in remarkable form, his playing robust, pointed, and witty. And although each participant is a band leader, composer, and groundbreaking stylist on his instrument, the performance demonstrates that Parker remained first among equals. Compositionally, Jazz at Massey Hall leans heavily on the bebop book developed by Gillespie, and includes "Salt Peanuts," "Wee," and "A Night in Tunisia." Also featured are Tadd Dameron's "Hot House," the Ellington standard "Perdido," and "All the Things You Are." Initially released on Debut Records, a label co-owned by Mingus and Roach, the sound quality is certainly of the time, but has benefited over the years from digital technology. --Fred Goodman

Jazz at Massey Hall,The Quintet,Ojc,Bop,Jazz,Pop,United States of America

Jazz

Music

jazz

Tracks:

Perdido
Salt Peanuts
All the Things You Are
52nd Street Theme
Drum Conversation - Max Roach
Cherokee
Enbraceable You
Hallelujah (Jubilee)
Sure Thing
Lullaby of Birdland
I've Got You Under My Skin
Wee (Allen's Alley)
Hot House
Night in Tunisia

Album Description

One of the most memorable live recordings in jazz history, featuring Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. This phenomenal edition includes all of the original tracks recorded by The Quintet at Toronto's Massey Hall, without the Mingus, overdubbed bass added later. 24-bit remastered. The Jazz Factory. 2003.

Album Details

Digitally Remastered Edition of Parker's Landmark Performance at Toronto's Massey Hall. Includes Amazing Performances of "Salt Peanuts", "Embraceable You", "Lullabye of Birdland", "Perdido" and Many More.

Customer Reviews:

I don't quite get the reputation of this concert.......2006-12-28

Once again, disappointment strikes with "event" concerts, no matter what genre of music they're in. Previously I had the vinyl version with the overdubbing, and never thought maybe I didn't dig it because of the bass, which always did sound like it was in another room to me. Admittedly this way of hearing it *is* better, but this is still not a "recording to end all recordings" or anything close. I've heard that Bird and Diz, long having gone their separate ways, were barely speaking to each other on this night. It shows. There's little interplay, little of the joy of spontaneous creation so vital to jazz. Instead I hear a group of men who were paid to play this gig and are fulfilling a contract. Also Roach sounds stiff--unusual for him--and bangy in the quintet numbers. The Powell trio pieces fare better, and they are the highlight of the album, but for Parker and Dizzy there are far better recordings out there than this outing, with its long patches where they just quote to fill time or repeat simple phrases over and over. After listening to the recently unearthed Bird and Dizzy material from Town Hall in June of 1945, with a Salt Peanuts that simply has to be heard to be believed, the tiredness of this night becomes all the more apparent. This is one of those albums whose legend, I think, has superceded its musical content, and must be listened to again with cold, objective ears. I'm sure I'll get a lot of dissenting votes from the cultists, but so be it.

Best musicians of an era... performing together!.......2005-12-23

Everybody should thanks Mingus for taping this concert. It was an unique reunion of the greatest musicians of an era: Charlie "Bird" Parker, Dizzy Gillepsie, Bud Powell, Max Roach and Mingus himself. A memorable night in which they show the public(about 700 persons acording to the booklet) the magic of their music and their amazing musicianship.

Ironically, the problems started when Mingus decided to record the live session. He did a terrible job and the resulting mix almost eliminited the sound of his bass. So he dubbed it later, affecting the entire sound and pitch of the music. That's what you got when you purchase "Live at Massey Hall" A live performance must be a live performance. Overdubbing is not an option to me, it's like cheating. "Complete live at Massey Hall" is a gret product because it presents the concert as it was: The tracks appear in the order they were performed with a more natural sound. Beware, the sound quality of the CD is not not the best, but it's enough to identify the instruments and enjoy the wonderful performance of these great musicians.

What I can say about the concert? The tracks appear in the right order. If you listen the concert from the beginning to the end you can feel that the band is increasing their level, reaching the musical climax in "A Night in Tunisia": Incredible Charlie Parker saxo chops, Gillespie groundbreaking trumpet solo, Powell rythm section hot as hell, Mingus bass lines sounding loud and clear and Max Roach's drums section in perfect sinchronicity with the band. It's true that some of the tracks reach that musical peak and that a few of them sound erratic and chaotic, but still it's a great concert. My favorite themes are: Salt peanuts, Wee and Hot House.

Packaging of this edition please me a lot. As a graphic designer I can tell you that I prefer it to the standard version (the B&W cover) The liner notes included in this edition give details about the concert itself, the problems between musicians, and the conditions in which the concert was realized.

"Complete Jazz at Massey Hall" is a pefect oportunity to hear the best musicians of the bebop era performing together in an unforgetable, magic night.

The only hall you'll need.......2005-11-17

The recent hype about the discovery of the Diz-Bird concert at Town Hall in 1945 led me to compare it with their other two "live" recordings: the Carnegie Hall concert of 1947 and the Massey Hall concert of 1953. Give the nod to the Massey Hall date. The audio, though admittedly problematic, still has more "presence" than the other two dates; the solos are both more extended and more inspired; the overall level of musicianship is inarguably of a higher order (Bud Powell clearly blows away both Al Haig and John Lewis, the pianists on the other two recordings).

This edition is the closest you'll get to the original event--in terms of the programming as well as the original audio recording made by Mingus. Unlike the better-known Debut/OJC edition, this Spanish import dispenses with Mingus' later overdubbing of his bass part, has more "presence" in the treble frequencies (Roach's drum kit and the crowd ambiance are more noticeable along with slightly brighter horns), and contains 24 additional minutes of music. Any listener who first discovered Diz in the '60's (my situation) is likely to experience some eye-opening moments at hearing him on all three concert recordings with Bird. In his prime he clearly was at least the equal of Charlie Parker and very likely the greatest jazz trumpet player of all time.

Footnote: It's of particular interest to listen carefully to Bird's 4-bar break on "Night in Tunisia" on all three recordings. The 1947 Carnegie Hall date is simply unreal--a microcosmic moment of pure genius. On the Town Hall date he's fast and flashy but not as linguistically rich and complex; on the Massey Hall date he eschews pyrotechnics in favor of majestic statement.

What was Mingus on?.......2005-10-26

I can hear his bass perfectly well! This is possibly the most famous jazz concert EVER recorded - the Massey Hall concert has over the years gained an almost beatific reputation which sort of spoils you for the real thing.

The performance took place under a cloud, with Bird and Diz still refusing to speak to each other, and various members of the band skipping backstage every now and again to check out a big boxing match on TV!

Nevertheless the concert is a thing of beauty. I love especially Salt Peanuts and All the Things, as well as Dizzy's trumpet soloing on Night in Tunisia.

The old problem with this disc is that of sound. Charlie Mingus put the microphone under the stage, and was typically angry when he listened to the recording and thought his own bass was inaudible. He then ovrdubbed his bass on the released record.

Whatever the truth of that, this CD rereleases the entire concert (minus two permanently lost tracks) in a 24 bit remastered edition without Mingus' overdub. Hearing it, I wonder what Mingus was complaining about. True, the piano tracks are a little muffled, but the horn tracks (seven tracks) are loud and sharp, with tape hiss being perhaps the biggest problem. And yes, I can clearly hear the bass!

Full marks for this historical artefact.

Get This CD Instead of the OJC or Debut (20-bit) Versions.......2004-07-01

Other than excerpts available here on Amazon, I haven't actually heard either the Original Jazz Classics CD of this concert or the Debut 20-bit remastered version of it. Based solely on the description, however, I instead ordered THIS CD, and I am very glad I did. Here's why:

1. In addition to the 6 quintet tracks on the other CD's, THIS CD includes 8 additional tracks from the concert, including a 4-and-a-half-minute self-contained drum solo by Max Roach, and 6 great tracks by a trio of Powell, Mingus, and Roach (Cherokee, Embraceable You, Halleluja, Sure Thing, Lullaby of Birdland, and I've Got You Under My Skin). Also, according to the liner notes, all 14 tracks are in the order in which they were performed at the concert.

2. NONE OF MINGUS' OVERDUBBED BASS is included on THIS CD. You can still hear him, though, but much more naturally than he sounds on the overdubbed Original Jazz Classics excerpts I've heard here on Amazon.

3. According to the notes on this CD's case, the "original analogue masters have been digitally transferred at 24 bit resolution, processed using Sonic Solutions NoNoise technology and mastered to 16 bit for CD using prism SNS Noise Shaping." Whatever that means, the sound for the most part is great. Some of the tracks start a bit abruptly, and the sound on the 6 trio tracks is variable, but the sound quality of the 6 quintet tracks is phenomenal. Again, there is no Mingus overdubbing present, and--especially when Bird and Diz are playing--the sound has great clarity and presence. There is no real audible tape hiss except when only the rhythm section is playing and the levels are raised a bit. In general, the sound is far from perfect, but is pretty amazing given the time and circumstances of the original recording.

4. This CD is very nicely packaged and presented, including a 12-page pamphlet with extensive notes about and photos of the concert.

Tracks:

The Sorcerer
The Poet
So What/Impressions
Misstery
Naima
Transition
My Ship
D Trane

Amazon.com

Directions in Music marks Herbie Hancock's all-star tribute to Miles Davis and John Coltrane. It's clearly a chance for Hancock to return once again to his creative roots, when he was in Davis's great quintet of the mid-'60s, and he has excellent companions for the journey in Michael Brecker and Roy Hargrove, the tenor saxophonist and trumpeter who clearly demonstrate their inspiration in Coltrane and Miles. The CD begins with a reprise of Hancock's "Sorcerer" from his Miles period, with bassist John Patitucci and drummer Brian Blade, who were so crucial a part of Wayne Shorter's Footprints Live, and prove themselves just as important here. Blade is especially driving, pressing Hancock and the horns to complex creative dialogue. The synthesis of "So What/Impressions," already closely linked tunes, benefits from the input of some fresh creative thinking, while Brecker's long cadenza on "Naima" is an effective invocation of Coltrane's intrepid virtuosity. Over 78 minutes in length, this is energetic, sometimes brilliant music, in many ways resembling Hancock's own classic, Maiden Voyage. --Stuart Broomer

Customer Reviews:

Excellent.......2006-03-12

I almost had the chance to hear this group live. It would have been an incredible experience to see and hear these guys in concert.

This album pays homage to John Coltrane and Miles Davis, who were not only highly innovative players, but great composers, too. It never really hit me that almost everything Coltrane recorded as a solo artist had been written by him.

Anyway, this album has a very modern sound to it (hence the pushing music forward, "directions" part). The standout track in my opinion, since I am an asipiring jazz saxophonist, is Michael Brecker's solo performance of Coltrane's "Naima". Brecker has the most impressive technique of any living jazz saxophonist. I was not too familiar with Brecker before hearing this album, so hearing him play something like "Naima" was pretty moving.

Noisy and Pretentious.......2005-08-26

OK, I must be in the distinct minority here, but this is an album that is difficult to listen to, and somewhat avant garde. I suppose the bulk of the reviewers here as well as the cheering crowd in Massey Hall are more sophisticated than I. I've been listening to jazz for over 40 years, had my own jazz radio show and play a little myself. I've enjoyed Herbie Hancock and respect his contributions. I've seen him live twice, once with the Headhunters in 1975 and again about 4 or 5 years ago with Wayne Shorter. Hancock has gone through many phases. I didn't get Mwandishi or Rockit with that guitar/keyboard contraption. Also, I didn't get the performance with Wayne Shorter with all the meandering and drifting. My sense at that time was he is the star, and if you don't get it, tough cookies.
Now we get some superb jazz performers doing their thing, with more meandering, squawking, off key sounding horns (as if they were sucking lemons) and we're supposed to cheer about it. So great, they've made their names, they can screw around with these bizarre arrangements, but I'm not obligated to pretend I like it.

A challenging and rewarding trip.......2005-03-06

First, I'd like to address the complaint that bassist John Patitucci and drummer Brian Blade didn't make the front cover. The reason for this is that "Directions in Music" is Hancock, Brecker, and Hargrove. Directions in Music is now touring again, and I just got back from seeing their show in Minneapolis, where their drummer and bassist were Terri Lyne Carrington and Scott Colley, respectively. If there is ever a CD released as a result of the current tour, I suspect there will be similar indignation from Colleyacs and Carringtonphiles.

This CD is very advanced jazz. There is a level of abstraction here that demands that this music be listened to actively, if at all. That isn't to say that this is free jazz; there is a predetermined structure behind what you're hearing, but it feels loose and impressionistic. It is worth the trouble of warming up to. The rhythym section is delightfully responsive to the solos of Brecker and Hargrove, and that goes double for Herbie Hancock, who comes off as a complementary counter-soloist more often than not. Brecker and Hargrove use this support to their advantage. Their solos typically will develop slowly and deliberately, starting out ponderous and using spaces effectively as they build tension to a climactic point at which they get to use the full strength of their dexterity.

At this point, I must make the obligatory "______ alone is worth the price of admission" statement about Impressions. My previous experiences with this song have been Coltrane-styled modal romps. The Directions in Music approach to it was a stunning reinvention (a slow-developing Impressions!).

Naima is just an extended solo by Brecker. It should be treated as an intermission. It tended to get a little too showy as it wore on, but you can take it or leave it; other reviewers have chosen to take it.

I have heard nothing about plans for another Directions in Music CD, but if there is one, here's an idea of what to expect. The most obvious change is the addition of electronic effects in a few of the songs. Hancock has his keyboard, Brecker picks up an EWI (electronic wind instrument), and Hargrove even has a second microphone which he uses to get sound effects out of his trumpet. The concert was also in surround sound. The song selection was entirely different, except for a revisting of The Poet. They also played John Coltrane's Cresent, a tune which is designed to be played dramatically, patiently, and deliberately, so it fits Directions in Music like a glove. Brecker's intermission solo is on the EWI this time. He layers over himself until he's a regular one-man band, playing a funky version of Wayne Shorter's Pinocchio. Again, expendable, but perhaps you would be amused.

Pick this up, figure out what it's about, and keep an eye out for a sequel.

NO GREENHORNS.......2004-11-29

A loving homage to Miles Davis and John Coltrane. Of the three main players here, only Herbie Hancock actually played with Miles Davis. To my knowledge, even Hancock never played with Coltrane. So it is that Michael Brecker in the liner notes writes of listening to Miles and Hancock playing on FOUR PLUS MORE while he was in high school. (Hancock must be feeling old these days.) Even still at least another generation has come up since Brecker and Hargrove won national recognition, so this is not a bunch of greenhorns laying their praises at the memory of the masters.

What Hancock and company have produced are high quality acoustic performances that are more reminiscent of Davis and Coltrane than note for note reproductions of the originals. Roughly half of the cuts are pieces the dynamics duo recorded themselves at one time; the remainder are musical impressions written in their wake. ("The Sorcerer" falls into both categories.)

With the chances to hear these musicians play live declining, this may be the only opportunity we may get to hear jazz of this caliber outside the confines of the studio. This recording comes highly recommended.

Directions in Music:Live at Massey Hall.......2004-01-02

As I listen to this CD, I am brought into an incredible musical journey that completely transcends song forms and grabs hold of the sheer impact that musical lines forged into place have when they reflect the light of the new pathway through the harmonic template. As a musician who is profoundly impacted by this music, with much BIAS, I recommend you give this music a listen.
WOW! I should have flown to Atlanta to see the show.

Average customer rating:

My favorite 'live' recording of all-time
Greatest Jazz Concert of All Time. No, Really. I Mean It.
A Meeting of Giants
Be-bop at its relaxed best
48 minutes vs. 72 minutes minus Mingus' overdubs

Jazz at Massey Hall
Quintet , Charlie Parker , Dizzy Gillespie , Bud Powell , and Max Roach
Manufacturer: Ojc
ProductGroup: Music
Binding: Audio CD

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Release Date: 1991-07-01

Tracks:

Perdido
Salt Peanuts
All The Things You Are
Wee
Hot House
A Night In Tunisia

Amazon.com essential recording

One of the most famous live recordings in jazz history, this May 1953 concert from Toronto brought together five of bebop's greatest figures in alto saxophonist Charlie Parker (credited here as "Charlie Chan" in a purposely transparent attempt to sidestep Parker's exclusive recording arrangement with another record company), trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and bassist Charles Mingus. Released following Parker's death two years after the date, the recording finds him in remarkable form, his playing robust, pointed, and witty. And although each participant is a band leader, composer, and groundbreaking stylist on his instrument, the performance demonstrates that Parker remained first among equals. Compositionally, Jazz at Massey Hall leans heavily on the bebop book developed by Gillespie, and includes "Salt Peanuts," "Wee," and "A Night in Tunisia." Also featured are Tadd Dameron's "Hot House," the Ellington standard "Perdido," and "All the Things You Are." Initially released on Debut Records, a label co-owned by Mingus and Roach, the sound quality is certainly of the time, but has benefited over the years from digital technology. --Fred Goodman

Customer Reviews:

My favorite 'live' recording of all-time.......2007-04-08

There are some pretty excellent reviews already written about this amazing recording (C. Craddock's in particular). It is one of my top five favorite jazz CD's that I own and definitely my favorite 'live' recording. I love hearing the applause of the audience after each solo. These cats were simply the 'DREAM TEAM' of Jazz music - Dizzy, Bird, Bud Powell, Max Roach, and last but not least the incredible Charles Mingus on bass.

From the moment the first song "Perdido" begins your heart starts pounding quickly with excitement and glee cause you just know you are in for some kind of magical journey. I still can't believe the story about Bird and his borrowed horn (the infamous white, plastic alto). Talk about turning chicken sh.. into chicken salad! How in the hec does he play like that?!! Especially considering how much he was drinking and shooting up at the time. According to Miles, it never mattered how f...ed up Bird was on booze and heroin, it seemed the more trashed he was, the better he played. Go figure.

I don't think any fan of jazz will be disappointed if they make this purchase. It's difficult for me to comprehend how you could be a fan without this one in your collection. This one is a no-brainer!

Greatest Jazz Concert of All Time. No, Really. I Mean It........2007-03-07

This concert was a reunion for Charlie Parker and Dizzy Gillespie. In spite of his name, Dizzy was actually a pretty stable guy, who was fed up with Bird's shennanigans. It was a shame, because they were two virtuosos, and Parker replaced Diz with a young Miles Davis, who was just not up to the task, not playing at a level to meet and challenge Bird.

To give you an idea of what Dizzy had been putting up with, Parker played the gig on a white plastic saxophone, because his horn was in the pawn shop. That was a common tactic of Charlie Parker, drug addict, pawning his horn before a gig, in order to get money for heroin. In spite of the plastic horn (that actually became kind of a collector's item because Bird had used the horn on this notorious recording) he played fantastic, and the alto break on Night in Tunisia, where the band stops just after playing the head, and then the alto carries it, and the band rejoins him for the first solo chorus, is classic, and is now referred to as THE "alto break." In addition to his pawn shop situation, Parker also had to record under the name of Charlie Chan, due to other contractual obligations. It is just amazing, that in spite of the situation, they had assembled the greatest band of all eternity, who were able to perform the Greatest Jazz Concert of All Time.

Charles Mingus was quite a bass player, but a volatile personality as well. One time when a trumpeter announced he was quitting, Mingus punched him in the mouth, breaking several teeth. This is even more serious for a musician, especially a trumpet man, than it is for the average citizen. What a prick. But what a bass player he was.

Bud Powell suffered from mental illness. I think there was an incident where he got beat up by bouncers at a club, much like the way Jaco Pastorius was killed. He was also a genius, and developed a stripped down left hand style, just suggesting the chords with 2 or 3 notes, while freeing up his right hand for furious bebop explosions. Titles of his original tunes, like Glass Enclosure, or Dance of the Infidels, gives you a glimpse into his mind set.

Max Roach was like the match to this molotov cocktail. What a perfect drummer for this ensemble. Roach, Mingus, Powell, Gillespie and Parker. Not even white plastic saxophones, mental illness, or chronic bad attitude could hold them back. Added bonus is Dizzy and/or Bird anouncing the tunes, sometimes even in French.

Check out their version of Hot House, a wonderiferous tune composed by Tadd Dameron. This tune has a lovely and beautimus head based on the changes to Cole Porter's What Is This Thing Called Love?

In spite of any qualms you might have about the sound quality (it was recorded by Mingus with a back stage recorder and never intended to be released or anything) it is a document of 5 virtuouso geniuses, brought together by fate for this single recording that is rightly referred to as the Greatest Jazz Concert of All Time.

I remember that I had the Double LP, and the second LP was Bud Powell playing in piano trio format. To include that would be the only possible improvement to this fantastic CD. 5 stars. 6 or 7 even if they would let me.

A Meeting of Giants.......2006-11-24

This concert from 1955 is a "must have " for anyone interested in the history of jazz.This is something of a time capsule - an impromptu concert in Toronto by the individual winners of a jazz poll.No rehearsal - they just turned up and played.
This is all about "bebop" and reeks of late 40s New York : Charlie Parker and Dizzy Gillespie playing a mixture of Gillespie compositions ( Salt Peanuts ) and standards such as A Night In Tunisia and Perdito.
The rythm section is Bud Powell,Charles Mingus and Max Roach and the standard of playing overall is breathtaking.The sound is actually pretty good,considering that this is a 50 year old tape recording.
A treasure.

Be-bop at its relaxed best.......2006-06-05

The amazing music at this concert is rightly famous in spite of the uneven levels and other recording problems that often trouble great jazz records.
Being a fan of classical jazz who appreciates even the primitively recorded music from the 1920s ("squeek", "screetch"), I can't be very critical of problems that Mr. Greenbaum points to in his elaborate and extremely useful review on this site.
For me, this recording compares to some earlier artists' classical work like a theater performance given months ofter the opening night to the performance at the very opening night. When the actors know each other well and no longer worry about the outcome of the production and the reaction of the critics, they can relax and trully create.
Compared to Gillespie's and Parker's recordings from the 40's, this music is more relaxed but still trully creative and imaginative; it seems that experience in be-bop idiom (like in most any other idiom) is beneficial for all the involved parties.
I have mentioned only two players from this great quintet full of fire and rhythm but, let's face it, they are the reason to buy this cd. The others, great musicians themselves, are ("only") first class supporting crew at this historical concert.
I'm not really an expert in jazz, but I still want to contribute my five stars at this point...

48 minutes vs. 72 minutes minus Mingus' overdubs.......2006-03-14

Five stars for the music (a no-brainer), but as someone who owns both this Debut/OJC edition and the Spanish import, "The Complete Jazz at Massey Hall," on the Jazz Factory label, I must echo the sentiments of "shurbuilders" (below). The European edition is from the same company--Disconforme--that did such an excellent job of mastering the "Complete Duke Ellington at Fargo Concert," and at an affordable price. Score them another winner with their edition of the Massey Hall concert. Not only does the Jazz Factory version contain 24 additional minutes of music, but it has more "presence" in the treble frequencies (especially noticeable with Roach's drum kit) and features Mingus' original bass lines, which to my ears are sufficiently audible without Mingus meddling with them after the fact. Moreover, the tunes are complete (the OJC version begins "Perdido" after the bridge).

The strengths of the Spanish import may not be so apparent to listeners who prefer a tighter and shorter program and who have become accustomed to bottom-heavy modern recordings. Also, the reduced crowd noise on the OJC edition may permit more exclusive concentration on the soloists. But this was an historic musical event, and no doubt many listeners will wish to experience "up-close" and in full the magical moment that occurred in Canada on the night of May 15, 1953. If so, the Spanish import is definitely your best ticket to Toronto.

Average customer rating:

Jazz at Massey Hall
The Quintet
Manufacturer: Original Jazz Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FIHBU4
Release Date: 2006-07-03

Tracks:

Perdido
Salt Peanuts
All the Things You Are/52nd Street Theme
Wee (Allen's Alley)
Hot House
Night in Tunisia

Album Details

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Directions in Music: Live at Massey Hall

Average customer rating:

Directions in Music: Live at Massey Hall
Herbie Hancock , Michael Brecker , and Roy Hargrove
Manufacturer: Universal/Verve
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Binding: Audio CD

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ASIN: B000065E9L
Release Date: 2002-05-29

Tracks:

Sorcerer
Poet
So What/Impressions
Misstery
Naima
Transition
My Ship
D Trane

Album Details

Tribute to Miles Davis and John Coltrane.

Average customer rating:

NOT a 5.1 hybrid!

Jazz at Massey Hall
The Quintet
Manufacturer: Debut
ProductGroup: Music
Binding: Audio CD

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ASIN: B00013RC9S
Release Date: 2004-01-20

Tracks:

Perdido
Salt Peanuts
All the Things You Are/52nd Street Theme
Wee (Allen's Alley)
Hot House
Night in Tunisia

Customer Reviews:

NOT a 5.1 hybrid!.......2004-05-19

Other than expecting a 5.1 remix, I am VERY happy with the SACD sound of this release. This is an essential CD for any jazz fan, capturing an all-star quintet hitting on all cylinders.

Average customer rating:

Among Bud's best
Deep Powell
Tortured genius
A bop classic.

Jazz at Massey Hall, Vol. 2
Bud Powell
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The Amazing Bud Powell, Vol. 1
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Thelonious Monk with John Coltrane

ASIN: B000000Y6M
Release Date: 1991-07-01

Tracks:

Embraceable You
Sure Thing
Cherokee
My Devotion
Polka Dots And Moonbeams
Jubilee
Lullaby Of Birdland
Bass-ically Speaking
Bass-ically Speaking (Alternate Take 1)
Bass-ically Speaking (Alternate Take 2)
Bass-ically Speaking (Alternate Take 3)
(Untitled Blues)
My Heart Stood Still
I Want To Be Happy
Drum Conversation
I've Got You Under My Skin

Customer Reviews:

Among Bud's best.......2007-03-10

Bud Powell once acknowledged that his favorite pianist was Thelonious Monk. What's always fascinated me about this Massey Hall + material is the way, on the slow ballads (SURE THING, EMBRACEABLE YOU, MY DEVOTION), Powell plays so much like Monk. Bird once said that "the Monk runs deep," and Powell plows that deep furrow of Monk's marvelously here. On the up-tempo selections Bud is the penultimate fleet-fingered bop pianist, with CHEROKEE and HALLELUJAH being prime examples of Bud at his best in this groove. Max Roach's brush work on these swingers is also terrific. Bassist Charles Mingus, whom we can thank for having these recordings at all, is right on top of things in his forceful, striking style. These are among Powell's finest live performances.

Deep Powell.......2002-07-20

This collection is a treasure--and not just for reasons many Powell commentators put forth. Look beyond the fact that seven tracks are from the trio portion of the legendary Massey Hall "summit meeting", and get into the material. Two of Powell's most interesting ballads are here. The version of "Embraceable You" here is the definitive one, mysterious, poignant and alive---arguably one of the best interpretations of the composition ever recorded. Similarly, "Polka Dots and Moonbeams" is superior and emotionally more complex than the more conventional (and more popular) treatment recorded on Blue Note. Finally, "My Heart Stood Still" is Powell at his fleeting, snaking best at the height of his powers.

Tortured genius.......2001-07-14

This strange CD consists of 7 tracks from the legendary Massey Hall concert of 1953 featuring the rhythm section from that night only(Powell, Mingus, Roach), 4 tracks of Powell, George Duvivier (bs) and Art Taylor (d)from a 1953 nightclub gig, and 4 tracks featuring pianist BILLY TAYLOR (not Bud Powell) dueting with Mingus. The inclusion of the Billy Taylor tracks makes no sense whatsoever (Fantasy Inc. has chosen to keep them, because Charles Mingus' Debut label, which originally produced the LP, mistakenly included these tracks for years). In the Massey Hall performance, Powell vacillated between brilliant up-tempos and overbearing, thick, pounding ballads that I found disturbing and hard to take...however, Bud is perfection on "My Heart Stood Still" (from a 1953 club date), and "Embraceable You" is a haunting and wonderful ballad that does not suffer from the heavy block chords of "Polka Dots". These two tracks are worth the entire album.

A bop classic........2000-12-07

This cd includes music recorded the same night as the classic Massey Hall concert that featured Charlie Parker, Dizzy Gillspie, Powell, Max Roach and Charles Mingus. Also heard here is music from a later night club engagement and, for some reason two tracks, one with several alternate takes, lead by Charles Mingus. The Powell music features two trios lead by Powell. The first is from the Massey hall gig and features Mingus on bass and Roach on drums. The second has George Duvivier on bass, and Art Taylor on drums. The music is classic Powell. On uptempo numbers such as "Cherokee" and "Jubilee" his Powell shows off his furious right hand, blazing through the material at near light speed. He also displays his soft touch with his tender takes of "My Devotion" and "Polka Dots and Moonbeams".The material that takes up the middle of the cd is from a studio trio lead by Mingus. The master and three alternates of "Bass-ically Speaking" and "Untitled Blues" give the great bassist room to roam and diplay his technique. Max Roach takes an extended, thunderous drum solo on "Drum Coversation" before the Massey hall trio closes out the cd with a delicate take on "I've Got You Under My Skin". This cd is full of classic bop performances by some of it's founders. The sound quality may not excite the 24bit remaster crowd, but never takes away from the performances. This is a perfect companion to the classic "Charlie Parker Jazz at Massey Hall" and is a must for bop fans.

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Jazz at Massey Hall
Charlie Parker
Manufacturer: Debut
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music

Jazz | Imports | Stores | Music
ASIN: B0000565XC
Release Date: 2003-08-21

Tracks:

Perdido
Salt Peanuts
All The Things You Are
Wee
Hot House
Night In Tunisia

Album Details

Part of the 'masters of Jazz: The History Series 1949-1969'. 20 Bit Digitally Remastered.

Average customer rating:

Jazz at Massey Hall
Charlie Parker
Manufacturer: Jvc Victor
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
ASIN: B0002V00XE
Release Date: 2004-10-04

Average customer rating:

The Quintet : Jazz At Massey Hall
The Quintet
Manufacturer: Debut
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music
ASIN: B000KFVOK0

Jazz Music:

Jazz Music

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