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Stan Getz
Birdland Days 2

Birdland Days 2
Birdland Days 2Birdland Days 2Birdland Days 2Birdland Days 2Birdland Days 2

Artists

Stan Getz

Catno

NLP1028

Formats

1x Vinyl LP 10" Mono

Country

Japan

Release date

Jan 1, 2001

Genres

Jazz

Styles

Media: VG+i
Sleeve: VG+

$50*

*Taxes included, shipping price excluded

A1

Parker 51

A2

Moonlight In Vermont

A3

Stella By Starlight

B1

I'll Remember April

B2

Yesterdays

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The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record a solo album as a leader on his own WENHA imprint where “Reminiscing” found release in 1981. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name. This can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album. “Reminiscing” is a deep and rewarding spiritual jazz album with bass lines that can blow through walls as if they were made from paper. Foot stomping rhythmic beats and lyrics that are pure poetry, far-out (and less obvious) vocal duties … this all takes the avant-garde approach featured here on his album to new ‘cosmic’ heights. ‘Originality’, ‘unique’ and ‘standing out’ are the main key-words here. Also…a quick closer look at the cast of players is most likely to be enough to get an impression that this is a special record. The album features an all-star line-up that includes Billy McCoy (Pharoah Sanders) on piano, Tani Tabbal (Roscoe Mitchell, Sun Ra) on percussion, Allan Barnes (Nina Simone, Bootsy Collins, Gill Scott-Heron) on saxophone, and Wendell Harrison (Tribe) himself on tenor saxophone/vocals.
The completely unknown debut album of Issam Hajali (Ferkat Al Ard) fuses jazz and folk with Arabic and Iranian influences into unique beauty. Originally released in a limited run of 75 cassette tape copies.Issam Hajali might be most known for being the singer and main composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic „Oghneya“ release saw a vinyl release and is probably the most in demand record in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000$). Before the band came together Issam recorded a debut album called "Mouasalat Ila Jacad El Ard" in 1977 in Paris, most likely in May or June. Issam Hajali had to leave Lebanon after the Syrian intervention for political reasons and spent one year in exile in France. At this time he could only afford one studio day to record the whole project together with a band compromised of some musicians from France, one from Algeria, one from Iran and a friend from Beirut called Roger Fahr, whom had left Lebanon around the same time. While you can hear the musical roots of what later became Ferkat Al Ard in "Mouasalat Ila Jacad El Ard", the album also differs from Issam’s later recordings. "It’s more of just me, whereas the sound of the band was more of a group effort", he recalls. Melancholic stripped-down, guitar-based folk is followed by jazz-fused breaks and every here and there that unique sound of the santour glistening through. While the music is very accessible, some song structures are rather atypical neglecting the common patterns of verse, hook, verse, hook. The lyrics mostly trace back to the poetic work of Palestinian author Samih El Kasem with one song also written by Issam, who composed the music for all of them.In late 1977 Issam could return to Beirut and took the not yet released album back with him. He could only afford to spend a short time in the studio, just to add little bits and pieces like percussion to finish an album that still felt unfinished to him. Even back in Beirut his economic situation was complicated, and it was impossible to find a label which was still operating under the circumstances of war. So, he started dubbing the tapes himself and producing black and white copies at the corner store. Most of the copies of the album were sold or given to friends. One record shop had them on the shelves on a commission basis. But as the shop owner was no fan of the music, she did little to sell them, hiding the tapes behind other releases. Eventually one of those tapes fell into the hands of Ziad Rahbani, Fairuz's son and a Lebanese musical institution in his own right. Ziad liked the music a lot and used to play on most of Ferkat Al Ard’s releases. And Issam also played on some of Ziad’s recordings and sessions. Nevertheless, the album was never known outside a very small scene of like-minded individuals and musicians of late 1970s Beirut. Issam is fairly certain that less than 100 copies of the tape were made back then in total and he only managed to hang onto one copy himself, from which this recording was made.
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Andrew Hill is one of the most distinctive pianists and composing talents in jazz. Yet this profoundly moving session recorded in 1969 sat unreleased until 2003 when it was finally issued on CD through the efforts of Blue Note archivist Michael Cuscuna. Hill penned all seven of Passing Ships’ compositions for an ensemble featuring Woody Shaw and Dizzy Reece on trumpet, Julian Priester on trombone, Joe Farrell on saxes, flute and bass clarinet, Howard Johnson on tuba, Bob Northern on French horn, Ron Carter on bass, and Lenny White on drums. Passing Ships stands comparison to Hill’s greatest work, and is presented for the first time on vinyl with this Tone Poet Edition.

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