giovedì 28 gennaio 2010


In the Seventies, going often to meet, in big cities like Rome or Milan, the great African American musicians who came to give concerts, but it was a little more rare to find Italian jazz musicians, or producers, who took advantage of these "trips".
Once it was successful, for example, on 24 October 1970, when Giorgio Buratti, taking advantage of some free hours of the group that Charles Mingus had presented to International Jazz Festival in Milan, he recorded the excellent LP "A Smooth Day" by Dannie Richmond, Jaki Byard, Eddie Preston and Bobby Jones (soon on Jazz from Italy).

Mingus's quintet, returned to Italy in July 1975, and even on that occasion, in a break from the "official tour", the musicians take the opportunity to record their music on vinyl, this vinyl that today you can listen, recorded in Rome by Dannie Richmond, Don Pullen, George Adams, Jack Walrath and more...

This happened a few times, I said, but almost every time, there was Aldo Sinesio.

Dannie Richmond by Roberto Polillo, courtesy Siena Jazz

Closely associated with Charles Mingus, Dannie Richmond was on most of his sessions from 1955-1978, showing impressive versatility.
Richmond and Mingus made for a very potent team, shifting rhythms, tempos, and grooves together, hinting at New Orleans jazz now and then while sometimes playing very freely. Richmond was originally a tenor saxophonist who as a teenager played R&B, touring with Paul Williams.
He took up the drums in 1955, and six months later joined Charles Mingus when he proved that he could play at very fast tempos. During Mingus' off periods, Richmond freelanced with Chet Baker, the group Mark-Almond, Joe Cocker, and even Elton John.
After Mingus' death, Richmond played with Mingus Dynasty and then became a member of the George Adams-Don Pullen Quartet (1980-1985), occasionally leading his own groups.

by Scott Yanow from All Music Guide


Label: HORO
Catalog#: HLL 101-25
Format: LP
Country: Italy

Recorded in Rome 1975, July 28

Dannie Richmond (drums), Don Pullen (piano),
George Adams (tenor sax), Jack Walrath (trumpet),
David Friesen (bass), Irio De Paula (guitar), Afonso Vieira (percussion)


Side A

A1) Neata Babe Boogie - 7'10"
A2) Waltz For Tamia - 7'16"
A3) April Denise - 7'08"

Side B

B1) I Told You So - 20'26"

domenica 24 gennaio 2010



Until some time ago, my wishlist of HLL, Jazz A Confronto series, was blocked.

I was also thinking about starting to publish, in this same blog, the records of the other two series of HORO, the HZ and the HDP, where Aldo Sinesio recorded, as rare documents that remained over time, musicians like these: Gil Evans, Don Pullen, George Adams, Dave Burrell, Stafford James, Steve Lacy, Roswell Rudd, Ran Blake, David Murray, Sam Rivers, Roy Haynes, Karl Berger, Martial Solal, M.E.V, etc.

Then, with the help of Alessandro, musician and jazz's fan, I had the opportunity to hear two chapters missing in my collection, and also to shorten my wish list, and I'm here.

The first one that I share with you, is the Jazz A Confronto n° 24.

Enrico Pieranunzi six years

According to Enrico Pieranunzi discography, compiled by Maurizio Franco and published in the Musica Jazz magazine, this is the first LP recorded by the roman pianist as a leader.
This discography, including his records only until 1993, is the most complete documentation on the recordings of the first Pieranunzi.

Thanks again to Alessandro, who also sent me the volume No. 4 of this legendary series that I'll put online soon, I wish to say thanks to Steve Williams, collaborator to, and my greatest supporter since the beginning of this project.


Label: HORO
Catalog#: HLL 101-24
Format: LP
Country: Italy
Recorded in Rome, between June 21 and June 30, 1975
Enrico Pieranunzi (p),
Bruno Tommaso (bass), Ole Jorgensen (drums)


A1) Piece for Joan - 4'59"
A2) After You - 5'18"
A3) Polychrome - 4'22"
A4) Blues Smiles - 5'04"

Enrico with his father, Alvaro Pieranunzi,
one of the pioneers of jazz in Italy.

B1) Long Drink - 3'34"
B2) Soul Day - 6'58"
B3) Ragnhild - 3'52"
B4) Camping 72 - 6'28"

giovedì 21 gennaio 2010


STEVE GROSSMAN was born in New York City on January 18, 1951.
When Wayne Shorter left the Miles Davis band in 1969, his place was taken by 18 year old, Grossman.

Initially the teenager was much criticized, yet his fresh approach and an emotional intensity beyond his years added much to the band. Grossman studied saxophone with his brother, starting on alto, moving to soprano and tenor by 1968. He played with a number of groups including the Jazz Samaritans, with George Cables and Lenny White before joining Davis and recording his first sessions.
During the 70s Grossman played with Lonnie Liston Smith and in Elvin Jones' group and in 1975 founded the Stone Alliance with Gene Perla. Since 1991, Grossman has completed a handful of top-notch albums for Dreyfus Records.

His most recent recordings prior to Quartet are a live trio date from 1989, “Bouncing with Mr. A. T.”, released as a tribute to the late drummer Art Taylor, “Time to Smile”, a 1993 studio date bedrocked by Elvin Jones; and the wholly spectacular “In New York”, taken from a 1991 club stay that featured Taylor on drums and McCoy Tyner on piano.
Presently shuttling between Italy and France, Steve Grossman is in the full flower of his artistic maturity.

Potent display of the saxophonist's heartfelt playing and improvisatory genius are found on his recent sides, “Steve Grossman Quartet Featuring Michel Petrucciani” and “Steve Grossman/Johnny Griffin Quintet”.



Label: HORO
Catalog#: HLL 101-23
Format: LP
Country: Italy

Recorded at "Titania Studios", Rome 1975, April 06

Steve Grossman (tenor sax, soprano sax, piano),
Irio De Paula (guitar),
Alessio Urso (bass), Afonso Vieira (drums),
Nilton Castro (percussion)


Side A

A1) Piazza Di Spagna - 7'56"
A2) Maracanà - 7'10"
A3) Scala Dei Turchi - 6'30"

Side B

B1) Moon Dance - 5'53"
B2) So Brasa - 6'05"
B3) Libra Rising - 11'23"

lunedì 11 gennaio 2010


A soulful soloist of fierce energy, with a sound that could break into a bluesy, vocalized cry, George Adams was heavily steeped in the blues and gospel tradition of his roots.

read more

Track Recording at 32 bit
Encoder Bitrate 320 kbps


Label: HORO
Catalog#: HLL 101-22
Format: LP
Country: Italy

Recorded at "Mama Dog Studios", Rome 1975, March 29

George Adams* (tenor sax, flute, piano, vocal), Don Pullen (piano),
David Williams (bass), Dannie Richmond (drums)


Side A

A1) Cry From The Mountain - 7'29"
A2) Song Of Adam* - 7'30"
A3) Requiem For A Slumlord - 8'40"

* George Adams played tenor sax and piano at the same time

Side B

B1) Payday Blues - 17'40"
B2) You Name It - 5'22"

giovedì 7 gennaio 2010


Don Pullen was one of those rare creative geniuses who could inspire others not only through his music, but through the example he set as a human being." (D.D.Jackson)

I bought this vinyl on e-bay, and the seller knew that the cover identify the first printing of the record, but when this record I was delivered, inside label identified it as a reprint (you remember the specifications of this label?).
Once placed it on the turntable, I understood the reason for this exchange: the B side is just VG-, because of several clicks away disturbing listening, especially toward the end of the track "Traceys Of Daniel".
But the music of Don Pullen, and his companions, made me forget the trick of the seller.

Track Recording at 32 bit
Encoder Bitrate 320 kbps


Label: HORO
Catalog#: HLL 101-21
Format: LP
Country: Italy

Recorded at "Titania Studios", Rome 1975, March 21

Don Pullen (p), George Adams (tenor sax, flute, perc),
David Williams (bass, perc), Dannie Richmond (drums, vocal)


Side A

A1) Calypso In Roma - 7'55"
A2) Sploogie Doo - 11'36"

Side B

B1) Dee Arr - 6'18"
B2) Traceys Of Daniel - 11'48"

mercoledì 6 gennaio 2010

HORO 19 - MAL WALDRON - HLL 101-19

Malcom Earl "Mal" Waldron was born in New York in 1926, in the sign of Leo, whose symbolism - we all know - is based on realization, rationality, honor, generosity and nobleness.
Saturn is out of sight, so no sense of death, of firmness and malediction is present.
Both the man and the musician seem to be the exemplification of a tipical Sun-influenced person. The body is swift, average tall; the forehead is broad and it gives an impression of serenity.

Giampiero Cane from the liner notes.

Mal Waldron Biography

Mal Waldron Discography


Label: HORO
Catalog#: HLL 101-19
Format: LP
Country: Italy

Recorded in Rome 1972, April 1th

Mal Waldron (piano)


Side A

A1) Tew Nune (M. Waldron) - 4'36"
A2) Picchy's Waltz (M. Waldron) - 7'22"
A3) Breakin' Through (M. Waldron) - 6'50"

Side B

B1) Canto Ritrovato (G. Gaslini) - 5'22"
B2) Lullaby (M. Waldron) - 4'18"
B3) Appia Antica (M. Waldron) - 9'13"

martedì 5 gennaio 2010


Kenny Clarke (born Kenneth Clarke Spearman, later aka, Liaqat Ali Salaam, on January 9, 1914 in Pittsburgh, Pennsylvania-died January 26, 1985 in Paris, France) was a jazz drummer and an early innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940's, he participated in the after hours jams that led to the birth of Be-Bop, which in turn lead to modern jazz. He is credited with creating the modern role of the ride cymbal as the primary timekeeper.

Before, drummers kept time on the high-hat and snare drum (”digging coal”, Clarke called it) with heavy support from the bass drum. With Clarke time was played on the cymbal and the bass and snare were used more for punctuation. This led to a much more relaxed style of drumming. From this point more and more rhythms and poly-rhythms are made possible. For this, “every drummer” Ed Thigpen said, “owes him a debt of gratitude.” Clarke was nicknamed “Klook” or “Klook-mop” for the style he innovated.

Clarke was a founder member of the Modern Jazz Quartet (as the Milt Jackson Quartet) in 1951 and also participated in many recording sessions as house drummer for Savoy Records. Connie Kay took his place in the MJQ in 1955 and from 1956 Clarke was resident in France where he regularly worked with visiting American musicians in Paris, in particular forming a working trio, known as “The Bosses”, with Bud Powell and Pierre Michelot.

Later in 1961, with Belgian pianist Francy Boland he formed a regular big band featuring leading European and ex-patriate American musicians, including among many others, Johnny Griffin and Ronnie Scott on tenor saxes. The big band, which had been the idea of Italian producer Gigi Campi, lasted for eleven years.

source AAJ


Label: HORO
Catalog#: HLL 101-20
Format: LP
Country: Italy

Recorded at "Titania Studios", Rome 1975, March 3

Cicci Santucci (tp), Enzo Scoppa (tenor sax),
Enrico Pieranunzi (piano), Roberto Della Grotta (bass),
Kenny Clarke (drums)


Side A

A1) Close The Door - 4'19"
A2) I Am Louis Armstrong - 3'36"
A3) Big Bang - 5'35"
A4) Jay Jay - 5'26"

Side B

B1) Waiting - 6'34"
B2) New April - 3'48"
B3) Nudibranco - 3'54"
B4) Via Sistina - 3'39"

lunedì 4 gennaio 2010

New Upload Track Recording at 32 bit - Encoder bitrate 320 kbps

Thanks to the advice of kingsilvertone and fslmy, I decided to republish all the records music of HORO in high quality, recorded by the original vinyl 32-bit, setting the playback speed to 320kbps.

I decided to start from the last volume published in this blog, and to date, I've re-edited, in high quality, the volumes 18, 17 and 16 of JAZZ A CONFRONTO series, but I promise you, it will reload all the records of HORO with this system.

So, if you want the highest quality of one of the best labels ever existed in jazz, you rerun the download.

Each new upload will be clearly reported and, of course, I'll continue to publish the subsequent volumes to complete this amazing discography.