#irasullivan

[projazznet]

Questique – Questique

Ira Sullivan – Trumpet, Alto Saxophone, Flute, Percussion Tony Castellano – Piano Pete Minger – Trumpet, Flugelhorn Gary Campbell – Tenor Saxophone Don Coffman – Bass Neil Rogers- Drums

[projazznet]

Red Rodney and Ira Sullivan Quintet – Sprint

Sprint is alive album by the Red Rodney and Ira Sullivan Quintet . Red Rodney – trumpet, flugelhorn Ira Sullivan – flute, soprano saxophone, alto saxophone, flugelhorn Garry Dial – piano Jay Anderson – bass Jeff Hirshfield – drums

[projazznet]

Ira Sullivan with Johnny Griffin – Blue Stroll

Blue Stroll is an album by American jazz multi-instrumentalist Ira Sullivan, which was recorded in 1959 and released on Delmark. He leads a quintet with saxophonist Johnny Griffin, pianist Jodie Christian, bassist Victor Sproles and drummer Wilbur Campbell.

Ira Sullivan – trumpet, baritone sax, peck horn, alto sax Johnny Griffin – alto sax, tenor sax, baritone sax Jodie Christian – piano Victor Sproles – bass Wilbur Campbell – drums

[projazznet]

Red Rodney and Ira Sullivan Quintet – Sprint (Full Album)

Sprint is alive album by the Red Rodney and Ira Sullivan Quintet . Recorded: 1982

[kari3622-blog]

J.R.Monterose "J.R.Monterose" 気になったアルバム、題して｢気にアル｣を5枚。 最初は、ジャケット・デザインにいつもそそられつつも低い知名度から手にしていなかったアルバムの代表例で、幻のテナーマンJ.R.モントローズが1956年に録音した最初で最後のBlue Noteリーダー作！そして、このメンバーなら期待も膨らみます。▲Jazz beginner's personal challenge No.72。 1956年10月21日、Van Gelder Studio, Hackensack, New Jersey 録音。 オリジナルは、 #BlueNoteRecords  ‎- BN 1536 、本盤はオリジナルのアナログ・ソースからマスターされた180g重量盤 Virgin Vinyl HQ-180のBlue Note Records Connoisseur Lp シリーズ、 Blue Note B1 7243 8 29102 1 3 と実に長い品番でバーコード入り、1994年 #CapitolRecords , Inc からのリリース。 オリジナルはかなりの高値となっているモントローズ屈指の名盤でマニアには人気盤とのこと。さて、どんな演奏、どんな音質でしょうか。 録音評は... 当たり前の相変わらずBlue Noteの音質。新しいリリースなので期待したのですが、リマスターしているわけではないBlue Note好きには安心の音。カートリッジをShure SC35CからShure M44-7に替えてみます。テナーとトランペットは艶っぽく元気に甦ります。さらに、MONOなので、Grado MC+ MONOに交換。くすんだテナーなど元音源を最も忠実に再現、ピアノの音色なども自然。でも、Shure M44-7がベストマッチ。ハード・バップに合った力強い音色が魅力を倍増します。 重量盤は高音質盤と言われますが、厳密には少し違います。重量盤(大体180g)は、レコード自体の重みがある分(通常120g〜130g前後)、回転が安定することで、ピッチの揺らぎを抑えることができ、より忠実に曲が再現されます。これが"重量盤=音が良い"の真実。良くすると言うより、原音の忠実な再現性です。 演奏評は... 独特のくすんだ音色、｢ぷっ、ぷっ｣と鋭くスタッカートを混ぜながらのくねくね蛇行したフレーズ、万人受けする演奏ではないと思います。しかし、何か強烈な中毒を起すような個性がマニアには支持されているそう。私的には、印象に残る曲や特長に欠けているかなぁと。 J.R.モンテローズと言えば、有名なアルバムは(と言っても他人名義だが)チャールズ・ミンガスの｢直立猿人｣。フリーっぽいのは苦手なのですが、しかし、本作の方のモンテローズの演奏はピュアなハード・バップで、まるで別人。 本作は、そのチャールズ・ミンガスのバンドを脱退して心機一転、ホレス・シルヴァー、イラ・サリヴァン、ウィルバー・ウェアらと共演した初のリーダー作で、渋めのテナーを聴かせる力強いハード・バップ作となっている点が見逃せません。 盤イチは... シルヴァーのファンキーな感覚が再評価されるスリリングなSide 1-1 "The Third"かな、クールです。 #JRMonterose (ts) #IraSullivan (tp) #HoraceSilver (p) #WilburWare (b) #PhillyJoeJones (ds) Produced by - #AlfredLion Produced for releace by - #MichaelCuscuna Recording by - #RudyVanGelder Mastering by - #WallyTraugott Liner Notes - #LeonardFeather Cover Photo - #FrancisWolff Cover Design - #ReidMiles J.R.モンテローズ... デトロイト生まれ、マルチ・リード奏者、作曲家、編曲家。Jack Montrose(ジャック・モントローズ)と間違いやすいが別人。 生涯に渡り、米国や欧州の小さなジャズ・クラブを渡り歩いた。スタッカート、低音の咆哮、高音のこぶしなどを多用する個性の強い演奏から、一部に熱烈なファンがいるが、知る人ぞ知るという存在。ケニー・ドーハムのJazz Prophetsやチャールズ・ミンガスのバンドで活躍、骨太かつ逞しいプレイで50年代のジャズ・シーンに輝いたテナー・サックス奏者だと。 #jazz #fuzey #vinyl #jazzvinyl #vinylcollection #ジャズ #スイングジャーナル #レコード *作品を知るとジャズはもっと輝きます。情報くださる先輩諸氏に感謝。 https://www.instagram.com/p/CQ2rM9csHV4/?utm_medium=tumblr

[tevotbegotnaught]

Ira Sullivan

"The land of the living was not far removed from the land of the ancestors. There was coming and going between them, especially at festivals and also when an old man died, because an old man was very close to the ancestors. A man's life from birth to  death was a series of transition rites which brought him nearer and nearer to his ancestors." Chinua Echebe

I met and heard Ira Sullivan when I was a teenager. A local business man, Steve Patton brought him to my hometown. In 50's Chicago, Steve partnered with Joe Segal to promote shows. Ira, one of their local stars. Twenty years later, in his toasty living room, aided by his LPs, Steve educated me on Ira's precipitous Chi-town rise and permanent Florida detour.

For East Coast visits, Steve built bands from a short list of stars: Reuben Brown-piano, Joe Diorio-guitar, Rufus Reid or Michael Formanek-bass, Billy Hart or Steve Bagby-drums. When the first gig happened, Steve called my dad to make sure I'd be there. I can't recall the first tune or set I heard Ira play, but from then on he added my own tenor to his lineup of brass and woodwinds. My horn remembers that.

 Ira was a stream-of-consciousness bandleader. While the other cats burned and churned, he stood stage left with an instrument, warming it with breath, testing his embouchure and shouting encouragement. Back at the mic, the next tune appeared headlong-a radically different tempo, a soulful chunk of melody or cascades of bebop elegance. With Ira's magnetic ears and catholic tastes, his choices and segues sometimes surprised and flummoxed harmonic players. Eventually someone made it work, though. His set always ended on alto flute and a long vamp surrounding "Amazing Grace". Ira's faith didn't make his playing sanctimonious or chasten his jazz musician argot. It did seem to keep him forever grateful for the life he had been given and music he shared.

I got to chauffer Ira a bit and have meals with him. I always brought a horn, in case we could play on downtime. He once asked me what I was learning. I told him, 'Infant Eyes". He gasped, "That's  Wayne's tune! So beautiful. Let's play it" He tilted his alto toward my tenor. "What note do you start on?" I told him. "Go ahead, man" he said, closing his eyes. As I played, he accompanied me with counterpoint, both simple and elaborate. I found I didn't know the music well enough to keep my place and listen to him and finally stopped, defeated. "You sound great. I haven't heard you in long time. Man, you're just getting better and better."

This was his teaching: dig deep into the music together, spread love, acceptance and encouragement. Onstage, Ira always invited young folk to stand next to him. He beamed at all of us while we played, never cutting us off (even when it would have been merciful), keeping us ever-involved playing backgrounds or trading with him.

I believe I remember everything he ever said to or around me. Heros make us both truly humble and falsely confident. Our small bodies spun wide by their powerful gravity.

 What I still aspire to is what I always witnessed from him: the highest standards of skill, a loving, accepting attitude, hunger for life on and off the bandstand. Mac Olsen, an old and dear friend of Ira's told me of a hang so extended they returned to diner multiple times over a weekend. When the wee-hour waitress saw Ira, she cracked, "YOU, AGAIN?"