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Under The Rainbow

Clara Vuust: Here's To Love

Barry Levenson/Jake Sampson: Closer To The Blues

Big Voice Odom: Going To California

Uffe Markussen: Back To Basics

Papa Bue's Viking Jazzband: Hamburg 1970-71 - A Tribute To Finn Otto Hansen

Frank Rosolino: In Copenhagen

Jay McShann: In Copenhagen

Palle Mikkelborg: Imagine

Fredrik Lundin/Trine-Lise Væ: People Places Times And Faces

Martial Solal: Contrastes

Wild Bill Davidson: The Danish Sessions, 1973-1978

Wild Bill Davidson: The Danish Sessions, 1973-1978

Brash and sensitive – new large box set with the legendary American trumpeter Wild Bill Davison William Edward Davison (1906-1989) was an American trumpeter, and among the best of his kind. Louis Armstrong himself thanked him in his old age for bringing forward the very music to which Armstrong himself had vowed his whole life.  He had an ear for rhythm and music like no other. His sound is a demonstration of power, but never extortion. Rather, he is precise, athletically sharp and just a moment ahead of the beat, laid-back and superior. He wasn’t interested in sheet music or chords, but had an ear and a routine equal to few. For Davison, it was not a question of which playing style was in fashion: he was driven by a simple desire to create good music. It wasn’t only his musical style that earned him his Wild Bill nickname. He loved partying and was known to drink like an entire band. He could be gruff and violent, tender and touching, generous or stingy. His fifth and last wife, Ann Stewart, put him under and administration and that diminished the number of female acquaintances and his consumption of boozed dwindled to a trickle. But how did this musician from the great USA turn up in Denmark, settle here and play so prolifically for five years? The story begins at the 1972 Newport Jazz Festival. Papa Bue’s Viking Jazzband was on the program, and went backstage to say hello to musicians such as Eddie Condon, Bobby Hackett among others. They invite Davison to Copenhagen, and he likes the city so much he decides to stay around. Ole “Fessor” Lindgreen recalls Wild Bill Davisons particular and powerful style: “ I’ve played with many of the Americans, but I have to say I was always impressed by the punch there was in Wild Bill. No matter whether he was playing for forty people or four hundred, there was an enormous amount of power. If the concert was being recorded, the sound people always thought there was something wrong with the equipment – that’s how strong he played. The fact that later in the evening he drank himself stinking drunk didn’t matter so much… He was more serious with his music than you’d think, behind that smash-bang-pow façade. He practiced all the time. He said ‘I have the kind of chops that, if I don’t practice one day, it’s okay. Two days, problems. Three days, serious shit ’”. Wild Bill Davison lived the good life in Denmark for more than five years, between 1973 and 1978. He played countless gigs with Danish bands, especially Fessor’s Big City Band and Papa Bue’s Viking Jazzband, and made trips to Argentina, Spain and Italy with Copenhagen as his base. The music in this box set focuses on his successful collaboration with the Danish bands, who are performing on a high level with deep, affectionate insight into the essence of jazz.  

SEK 414.00
1

'Sleepy' John Estes/John Henry: Blues Live!

NHØP/Mulgrew Miller: The Duo - Live!

NHØP/Mulgrew Miller: The Duo - Live!

Exclusive to Storyville Records, a previously unreleased live concert with jazz stars Niels-Henning Ørsted Pedersen (Bass) and Mulgrew Miller (Piano) is now finally available for everyone to enjoy. For a short but magnificent time, the two played together, and Storyville's revival of their visit to the North Sea Jazz Festival in Holland in 2000 testifies to their musical brightness and beauty. In 1999-2000, Niels-Henning Ørsted Pedersen was given the chance to make a studio recording on the occasion of Duke Ellington’s 100th birthday. For this duo session, NHØP chose Mulgrew Miller , whom he had heard, but never played with. Both were at the height of their careers, giants in their own right, and with totally different backgrounds. NHØP was born into the Danish folk high-school milieu that promoted freedom of thought and had a prolific song tradition. Growing up as the child of plantation workers in Greenwood, Mississippi, Mulgrew had his roots in gospel music and the racially divided USA of the 1960s. A Duke Ellington connoisseur, he had played with the Ellington Orchestra under direction of Mercer Ellington. Still, from the moment NHØP and Miller met and played together, the two had an affinity as human beings and musicians. They chose a repertoire based on the historic 1941 Duke Ellington—Jimmy Blanton duets. Mik Neumann, NHØP ’s long-time producer, says about their collaboration: “What was special was how their music assimilated the divergent influences of their younger days. Remarkable, too, was the degree of profundity in their interplay – a talent that demands years of experience for a musician to deliver, and possibly also for an audience to understand. At the same time, thanks to their ability to swing, and their inbred musicality, the music was also immediately accessible.” In many ways, Piano-and-Bass was the ultimate constellation for  NHØP and Miller . Here, NHØP had the necessary room to display the same creative brilliance that revolutionized modern contrabass playing. In 2000, NHØP and Mulgrew Miller embarked on a world tour celebrating Duke Elington’s 100th birthday. Mik Neumann recalls the special connection between the two musicians: “Not once during the tour did they sit down and discuss what they were going to play – it materialized on stage, in the moment.” Recorded live, all the tracks on this never before released concert remain in the same order as the two masters chose that evening at the North Sea Jazz Festival. They are at the peak of their abilities, combining new version of the Ellington songs they had previously recorded together with jazz standards. NHØP and Miller  have sadly passed away, but are remembered as intelligent and insightful musicians on and off stage, but also as unconditionally generous mentors and influences for generations of musicians after themselves.

SEK 296.00
1

Svend Asmussen: Rhythm Is Our Business

Stuff Smith: Five Fine Violins

Art Tatum Live: Volume Two 1944-1945

Mads Vinding/Margrete Grarup/Carsten Dahl: Walk With Me

Fessor's Funky New Orleanians: Decatur Street Stomp

Rodney Green: Live at Montmatre (CD)

Rodney Green: Live at Montmatre (CD)

New live recording from the legendary Jazzhus Montmartre in the heart of Copenhagen. This time with Rodney Green Quartet and Warren Wolf on vibraphone. The recordings on this release are chosen from three terrific evenings at Montmartre in February 2016. Christian Brorsen, Music Director at Montmartre 2011-2016, says: “Dexter Gordon said it himself when he returned to the United States after 14 years in Copenhagen: “ I miss the American drummers.” If you have been lucky enough to experience one of them live, you know why. Among the masterful drummers who have visited Montmartre in the course of time, we find the likes of Art Blakey, Art Taylor, Ed Thigpen and Billy Higgins. Rodney Green belongs to a new generation of great drummers. Brought up by elite musicians such as Mulgrew Miller and Charlie Haden, he knows something about the nature of jazz and what it takes to perform on a level so few others are capable of. Rodney’s got it all: good taste, a dazzling technique, and a formidable beat ”. For Rodney Green, the music always comes first. It all looks so simple when he’s sitting there, behind the drum set. There’s no showing off, but it always sounds incredibly good, so there’s a good reason why he is so much in demand. Simplicity and authenticity also underpinned these three terrific evenings at Montmartre, where he was asked to put together a quartet of musicians who, like himself, are capable of being present in the moment, doing away with long rehearsals. “ As far as I’m concerned, real jazz musicians must be able to meet and play without discussions or long rehearsals, and just let their instruments speak ,” says Green. And that is how these sessions unfolded at Montmartre, to the delight of an enthusiastic audience who couldn’t get enough of this ardent quartet of musicians that, besides Rodney Green, comprised Danish pianist Jacob Christoffersen and American bassist David Wong. Together the three laid a hard-swinging foundation for Warren Wolf´, also from the U.S. and possibly the greatest vibraphone virtuoso ever.

SEK 188.00
1

The Henry Allen Collection - Volume 6 1941-1946

Johnny Griffin/Art Taylor: In Copenhagen

Art Tatum Live: Volume Four 1949-1951