タグ別アーカイブ: Creed Taylor

Howard McGhee and his Korean All Stars

January 11.2018

Photo by courtesy of Jazzinphoto(WordPress)

Last week I introduced the photo of “Hi-Lo 1405 on Hi-lo label“ which was published to the net.

Today I would like to post about Howard McGhee and his All Stars which recorded on Hi-Lo label.

These recordings were made in Guam at an Armed Forces Services Concert, when the McGhee’s group  was touring Korean and other U. S. Pacific bases in 1951.


Photo by Discogs

先週、Hi-Loレコードに録音されたMilt Jackson Quartet(Hi-Lo 1405)の写真を紹介しました。(上記)

今日は同じHi-Loレコードで録音された「Howard McGhee and his Korean All Stars」について投稿したいと思います。

1951年から1952年の間、Howard McGheeが率いるグループは極東ツアーを行いました。又、グアムおよび太平洋諸島の米軍基地でも慰問コンサートを行なっていました。


米軍慰問コンサートということで「12th street bop」のような楽しい演奏も収録されています。

余談ですが、Creed Taylorも朝鮮戦争の最前線に派遣されていました。(1953年9月に停戦が発表されるまで従軍したそうです)

Creed Taylorが経験した最前線での行動については、ブログの末尾にJazzWaxさんによるインタービュー記事を引用しました。

Interview: Creed Taylor (Part 1) May 12, 2008 こちらをクリックして下さい。

Howard McGhee and his Korean All Stars
Howard McGhee (tp) J.J. Johnson (tb) Rudy Williams (ts) Skeeter Best (g) Charlie Rice (d) an unknown Philipino bass player named Chris … (b)
Guam, Pacific Islands   January 17, 1952

Here is Howard McGhee Korean All Stars play “How high the moon” (part 1) HL401   HiLo 1409

Here is Howard McGhee Korean All Stars play “How high the moon” (part 2)  HL402 HiLo 1409

Here is Howard McGhee Korean All Stars play “Star dust”. HL403     HiLo 1410

Billboard誌 (1952年6月28)

Here is Howard McGhee Korean All Stars play “Body and soul”. HL403     HiLo 1410

Here is Howard McGhee Korean All Stars play “12th Street bop”. HL405  HiLo 1414

Here is Howard McGhee Korean All Stars play “The man with a horn”. HL406    HiLo 1414

Photo above of Creed Taylor and Wes Montgomery by courtesy of pinterst.com

By the way Creed Taylor spent one year at the forefront of the battlefield of the Korean War.

Below I quated JazzWax. Interview: Creed Taylor (Part 1)

May 12, 2008.Go here

JazzWax: Did you see action in Korea?

Creed Taylor:I spent a year in combat. For a time I was a forward observer. I worked with a map that had quadrants of the terrain out front. When I saw lights on a convoy traveling through no-man’s land, my job was to call them back to the 105mm Artillery, which opened up on the lights. We were under the auspices of the UN. I was there until the truce was announced in September 1953, exactly two years after I was drafted.


I listened to the mourning radio program of George Avakian(3)

December 08. 2017

Photo by courtesy ©Burt Goldblatt/CTS Images George Avakian, Coleman Hawkins and Sonny Rollins
Newport Jazz Festival, July 6, 1963

Mr.Chris selected “My Song by Keith Jarrett” as the last song of the program.

My Song is an album which was released on the ECM label in 1978.

George Avakian had also contributed to the success of Keith Jarrett ,because he introduced Keith Jarrett to Manfred Eicher.

Photo above of Manfred Eicher and Keith Jarrett by courtesy of Stereophile.com

About Manfred Eicher,please refer to ECM HP.Go here

In 1968 George Avakian produced ”Life Between the Exit Signs by ”Keith Jarrett”on Vortex label.

Interestingly George Avakian wrote the liner notes of “Life Between the Exit Signs.”

Also in the program Creed Taylor’s work was broadcast.

I guess Creed Taylor is a great jazz producer.

Finally, please listen to “Goodbye” by Keith Jarrett.

Photo by courtesy of JazzTimes

DJのクリスさんは番組の最後に「Keith JarrettのMy Song」から「Country」を選曲されました。

My Songは1978年にECMレーベルで発売され今でも人気のあるアルバムです。

George AvakianはKeith JarrettをManfred Eicherに紹介しKeithの成功にも貢献していました。

Manfred EicherについてはECMのHPを参照してください。こちらをクリックして下さい

1968年、George AvakianはVortexレコード (アトランティック系列会社)でKeith Jarrettをリーダとする「Life Between the Exit Signs」を制作しました。

「Life Between the Exit Signs」のライナーノートにおいてGeorge Avakian自らがKeith Jarrettについて紹介した文章は興味深いです。(ラーナーノートを写真として添付しました)

又、私にとって嬉しいことにCreed Taylorの作品も番組で放送されました。

Creed TaylorはGeorge Avakian亡き後、ジャズ界では最高のプロデューサーであると思います。George Avakianとは関係ありませんが私の好きな演奏( CTI録音)を添付しました。

最後にKeith Jarrettによる「Goodbye」をお聞き下さい。

Keith Jarrett Trio
Here is Keith Jarrett Trio play “Life Between The Exit Signs”.
Keith Jarrett(p),Charlie Haden(double-bass),Paul Motian(ds)
May 4, 1967 NYC

Here is Freddie Hubbard plays “Sky Dive”.
Freddie Hubbard (trumpet) Alan Rubin, Marvin Stamm (trumpet, flugelhorn) Wayne Andre, Garnett Brown (trombone) Paul Faulise (bass trombone) Tony Price (tuba) Hubert Laws (flute, alto, bass flute) Phil Bodner (flute, alto, bass flute, bass clarinet, piccolo) Romeo Penque (flute, alto flute, clarinet, oboe, English horn) George Marge (flute, alto flute, clarinet, bass clarinet) Wally Kane (bass clarinet, piccolo) Keith Jarrett (piano, electric piano) George Benson (guitar) Ron Carter (bass) Billy Cobham (drums) Airto, Ray Barretto (percussion) Don Sebesky (arranger, conductor) Van Gelder Studio, Englewood Cliffs, NJ, October, 1972

Photo by curtesy of ECM Records

Here is Keith Jarrett and Charlie Haden play “Goodbye”.
Keith Jarrett(p),Charlie Haden(double-bass) NJ, March, 2007

Photo by Wikipedia

Cal Tjader(2)

May 07.2017

Photo by Jazz News(All About News)

Cal Tjader was playing with Dave Brubeck between 1949 and 1951.

Two days ago Mr.Seya uploaded 78 rpm disc of Dave Brubeck octet on his website.Go here

Then, Cal joined George Shearing’s Quintet as featured vibraphonist and percussionist.

Photo by Latin Jazz Poster by courtesy of American Sabor

Also  Cal made frequent trips to New York and began listening to the Latin New York bands of Tito Puente and Machito.

During this time he developed an active in interest in Latin percussion.

After leaving George Shearing band, Cal formed his own group  and began to record prolifically for Fantasy.

Cal Tjader recorded a series of over 20 albums for Fantasy between 1954 and 1962.

In 1963 he transferred to Verve label.

In those days Verve label producer was Creed Taylor.

So Cal made his biggest-selling record “Soul Sauce” in 1964.

Creed Taylor as a producer is amazing.

Please refer to my past writing about Creed Taylor.Go here

Photo above of Creed Taylor and Wes Montgomery by courtesy of pinterst.com

Cal Tjaderは1949年から1951年にかけてDave Brubeckバンドで演奏しました。
その後、ニューヨークでGeorge Shearingバンドに加入し、演奏の合間にTito PuenteやMachitoを聞きラテン・パーカッションへの関心が高まりました。
当時、VerveレーベルのプロデューサーはCreed Taylorでした。
1964年に最大のヒット作「Soul Sauce」を製作しました。
個人的な感想ですがプロデューサーとしてのCreed Taylorは素晴らしいです。
Creed Taylorについては私の過去の記事を参照してください。

Here is Cal Tjader Modern Mambo Orchestra play “Mambo Macumba”.

Here is George Shearing Quintet (Jean Thielemans, Cal Tjader and others) play “Body And Soul”.(1953)

Here is Cal Tjader and Stan Getz Quintet play “Ginza Samba”.

Stan Getz (ts), Cal Tjader (vib), Eddie Duran (g), Scott LaFaro (b), Billy Higgins (ds)

Here is Cal Tjader plays “Soul Sauce”.

The legend manager,Martha Glaser and Helen Keane(7)


As Bill’s manager,Ms.Helen was present at all of the recording sessions.

Creed Taylor produced for Bill at MGM/Verve labels.

Also Creed Taylor recognized her competence as a producer.

Then she produced some thirty of Evans’ records over a period of 15 years on the Verve, Warner, Columbia, CTI, Fantasy labels.


Fortunately “Bill Evans Trio in Tokyo” was produced by Helen Keane.

This recording is most valuable record for Japanese jazz fan.

At that time she and Bill had been eliminated the contract to Columbia Records.

So she decided to have the copyright about this live recording in United States.

Then 1974 July they were moved to Fantasy Records and as transfers first work,it was named “The Tokyo Concert”.

This is Bill Evans Trio in Tokyo –  January 20, 1973.

Bill Evans (p), Eddie Gomez (b), Marty Morell (ds)

Go here


Quincy Jones(5)

April 25.2016


I am most fond of his “This Is How I Feel About Jazz”.

It was the 1957 debut album by Quincy Jones.

The album was originally produced by Creed Taylor and released on ABC-Paramount.

In addition, this record became first big seller on ABC-Paramount.

Quincy Jones and Creed Tailor were already close friends when Quincy recorded the album.

They were the same age and had the same musical taste.

Also they were a trumpet player and had an unspoken empathetic relationship.

Quincy Jones played as arranger and conductor of three different recording sessions.

He convened superior musicians like Art Farmer, Phil Woods, Lucky Thompson, Hank Jones, Paul Chambers, Milt Jackson.


Photo of Quincy Jones and producer Creed Taylor

I posted in reference to JazzWax.[Interview:CreedTaylor]





Creed Taylor (2) Bethlehem Record (1954-56)

January 19.2016

Creed Taylor pioneered new ways of recording and packaging artists.
He was active in music circles as a producer.
[Recording with Chris Connor]
I have two pieces of 10 inch record of Chris  Connor. ‘BCP1001’  ‘BCP1002’
In 1954, Bethlehem record were still recording 78-rpms at a time when the 10-inch LP was coming in. He told , “There are 10-inch LPs out there and you guys have a singer who’s great named Chris Connor.”
He told the owner of Bethlehem to let me go in and produce the label’s first 10-inch LP with her.

Also he thought Ellis Larkins was fantastic.” For me, he was like Wynton Kelly, who was recording for Blue Note and Verve at the time. ” He told Chris we should do her album with the Ellis Larkins trio.

Chris Connor recorded four LPs for Bethlehem, three under Creed Taylor’s direction. The Creed Taylor albums featuring the Ellis Larkins Trio, the Vinnie Burke Quartet and the Kai Winding-J.J. Johnson Quintet.

[He made every effort to sell her records]

He had to get the record on the radio. So he went over to some broadcasting station with a dub of the session and did on-air interviews. Also when Lullaby of Birdland came out, he had a big six-foot high cutout of Chris standing in front of Birdland to promote the album.