#Sahib Shihab

[jazzdailyblog]

"Jazz Lab:" A Quintessential Hard Bop Collaboration

Introduction: The late 1950s were a transformative period in jazz, as musicians explored new forms of expression within the evolving subgenre of hard bop. This era gave rise to some of the most innovative recordings in jazz history, many of which still resonate with listeners today. One such recording is “Jazz Lab”, a remarkable collaboration between alto saxophonist and arranger Gigi Gryce and…

[adreciclarte4]

Thelonious Monk e Sahib Shihab 1948 by Francis Wolff

[sonntagsschule]

Mal Waldron, »From This Moment On« (Cole Porter Song) from the Album Mal/2, USA 1957. Piano: Mal Waldron, Tenor Sax: John Coltrane, Trumpet: Idrees Sulieman, Sahib Shihab: Alto Sax & Baritone Sax, Bass: Julian Euell, Drums: Ed Thigpen.

[vintageurovision]

För länge sedan i världen fanns | Once upon a time there was En svinaherde, en stenhipp man | A pig breeder, a really cool man Och en prinsessa, stolt jungfru hon var | And a princess, a proud maiden she was En dag möttes de och han steg fram och sa: | One day they met and he stepped up to her and said: [lyrics]

Nygammal vals (Hip man svinaherde), Lill Lindfors & Svante Thuresson | Sweden, Eurovision Song Contest Grand Prix de la Chanson Européenne 1966

[dreaminginthedeepsouth]

TODAY'S FROZEN MOMENT - Today marks the 65th Anniversary of this phenomenal photo - August 12th, 1958 - this now-famous photo was taken… later to be given the title "A Great Day in Harlem" when it was published in Esquire magazine. Art Kane, an art director for the magazine, was finally allowed to do a photo assignment... A jazz lover, Kane said he wanted to assemble the best in jazz for a shot, at 10 in the morning... Most people laughed at him...but...somehow he pulled this off; they showed up...as requested, to 17 East 126th Street...astonishing really... Subsequently, a documentary about the photo added to the magic... as did the allowance of the neighbors, the kids in the front and the folks in the windows… just so special… See below for a list of who's who... of the 57 musicians here, only 2 remain: Sonny Rollins and Benny Golson... but the shot, like all of the music, is eternal…

[01 – Hilton Jefferson, 02 – Benny Golson, 03 – Art Farmer, 04 – Wilbur Ware, 05 – Art Blakey, 06 – Chubby Jackson, 07 – Johnny Griffin, 08 – Dickie Wells, 09 – Buck Clayton, 10 – Taft Jordan, 11 – Zutty Singleton, 12 – Red Allen, 13 – Tyree Glenn, 14 – Miff Molo, 15 – Sonny Greer, 16 – Jay C. Higginbotham, 17 – Jimmy Jones, 18 – Charles Mingus, 19 – Jo Jones, 20 – Gene Krupa, 21 – Max Kaminsky, 22 – George Wettling, 23 – Bud Freeman, 24 – Pee Wee Russell, 25 – Ernie Wilkins, 26 – Buster Bailey, 27 – Osie Johnson, 28 – Gigi Gryce, 29 – Hank Jones, 30 – Eddie Locke, 31 – Horace Silver, 32 – Luckey Roberts, 33 – Maxine Sullivan, 34 – Jimmy Rushing, 35 – Joe Thomas, 36 – Scoville Browne, 37 – Stuff Smith, 38 – Bill Crump, 39 – Coleman Hawkins, 40 – Rudy Powell, 41 – Oscar Pettiford, 42 – Sahib Shihab, 43 – Marian McPartland, 44 – Sonny Rollins, 45 – Lawrence Brown, 46 – Mary Lou Williams, 47 – Emmett Berry, 48 – Thelonius Monk, 49 – Vic Dickenson, 50 – Milt Hinton, 51 – Lester Young, 52 – Rex Stewart, 53 – J.C. Heard, 54 – Gerry Mulligan, 55 – Roy Eldridge, 56 – Dizzy Gillespie, 57 – Count Basie.]

[Mary Elaine LeBey]

[onetwofeb]

Noon in Tunisia, 1967 

George Gruntz (p, celesta)  - Don Cherry (cnt, fl) - Sahib Shihab (fl, alto fl, sop)  - Henri Texier (b) - Daniel Humair (d) - Salah El Mahdi (ney) Moktar Slama (zoukra)  - Jelloul Osman (mezzuette) - Hattab Jouini (tabla, darbouka, bendire)

[madamlaydebug]

{A Great Day in Harlem}

Red Allen

Buster Bailey

Count Basie

Emmett Berry

Art Blakey

Lawrence Brown

Scoville Browne

Buck Clayton

Bill Crump[2]

Vic Dickenson

Roy Eldridge

Art Farmer

Bud Freeman

Dizzy Gillespie

Tyree Glenn

Benny Golson*

Sonny Greer

Johnny Griffin

Gigi Gryce

Coleman Hawkins

J.C. Heard

Jay C. Higginbotham

Milt Hinton

Chubby Jackson

Hilton Jefferson

Osie Johnson

Hank Jones

Jo Jones

Jimmy Jones

Taft Jordan

Max Kaminsky

Gene Krupa

Eddie Locke

Marian McPartland*

Charles Mingus

Miff Mole

Thelonious Monk

Gerry Mulligan

Oscar Pettiford

Rudy Powell

Luckey Roberts

Sonny Rollins*

Jimmy Rushing

Pee Wee Russell

Sahib Shihab

Horace Silver*

Zutty Singleton

Stuff Smith

Rex Stewart

Maxine Sullivan

Joe Thomas

Wilbur Ware

Dickie Wells

George Wettling

Ernie Wilkins

Mary Lou Williams

Lester Young

[projazznet]

Sahib Shihab / Herbie Mann – The Jazz We Heard Last Summer

The Jazz We Heard Last Summer is a split album featuring saxophonist Sahib Shihab and flautist Herbie Mann‘s groups recorded in 1957 for the Savoy label.

[odedmusic]

Sabu Martinez & Sahib Shihab | Album: Winds & Skins | Jazz • Percussion ...

#OdedFriedGaon #OdedMusic #OdedFullAlbumPlaylist #OdedWeekendPlaylist

[bamboomusiclist]

9/13 おはようございます。 Sarah Vaughan / After Hours Cl660 等更新しました。

Sarah Vaughan / After Hours Cl660Sarah Vaughan / My Kinda Love E3274Art Pepper / Early Art bnla591hSahib Shihab / Jazz Sahib MG12124Rune Gustafsson Zoot Sims / The Sweetest Sounds 2312-106Basso Valdambrini Octet / New Sound From Italy DJV2000030Lee Konitz E Il Complesso Di Giovanni Tommaso / Stereokonitz DJV2000042LPTony Fruscella / Tony Fruscella 1220Beach Boys / Wild Honey st2859Lou Reed /…

[jazzdailyblog]

Exploring "Milt Jackson and the Thelonious Monk Quintet": A Timeless Jazz Collaboration

Introduction: In the world of jazz, certain albums transcend their era, becoming essential listening for aficionados and new fans alike. One such album is “Milt Jackson and the Thelonious Monk Quintet,” a compilation that showcases the collaborative genius of vibraphonist Milt Jackson and pianist Thelonious Monk. Recorded over several sessions from 1948 to 1952 and released by Blue Note Records…

[cdbrainrecords]

Phil Woods, Gene Quill, Sahib Shihab, Hal Stein - Four Altos (LP, Album, Mono, RE)

Vinyl(VG++) Sleeve(VG++) Insert(VG++) Obi(VG++) // with Obi 帯つき / No scratches on Vinyl, VG+ or better. in great shape / / nice sleeve, more than VG+ conditions / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good Plus (VG+) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : Prestige – VIJ-5044(M) フォーマット : Vinyl, LP, Album, Mono, Reissue 生産国 : Japan 発売年 : 1977 Recorded in…

[sheetmusiclibrarypdf]

Amazing Bill Evans music playlist: 30 tracks (Best jazz collection)

Amazing Bill Evans music playlist: 30 tracks (Best jazz collection) Best Sheet Music download from our Library.Track List: Please, subscribe to our Library. Thank you! Bill Evans biographyFirst recordings 1960s 1970s

Amazing Bill Evans music playlist: 30 tracks (Best jazz collection)

https://www.youtube.com/watch?v=qjKtO7cus4U Track List: 0:00:00 Bill Evans Trio - My Foolish Heart 0:04:56 Bill Evans Trio - Like Someone In Love 0:11:22 Bill Evans Trio - When I Fall In Love 0:16:15 Bill Evans Trio, Stan Getz - But Beautiful 0:22:01 Bill Evans Trio - Polka Dots And Moonbeams 0:27:01 Bill Evans - I Loves You Porgy 0:33:04 Bill Evans Trio - I Wish I Knew 0:37:45 Bill Evans - The Peacocks 0:43:58 Bill Evans Trio - Young And Foolish 0:49:51 Bill Evans, Bob Brookmeyer - As Time Goes By 0:56:46 Bill Evans Trio - Waltz For Debby 1:03:48 Bill Evans Trio - Alice In Wonderland 1:12:24 Bill Evans Trio - Autumn Leaves 1:18:22 Bill Evans Trio - Danny Boy 1:22:06 Bill Evans - Here's That Rainy Day 1:27:28 Bill Evans - Midnight Mood 1:32:46 Bill Evans - Emily 1:37:39 Bill Evans - Peace Piece 1:44:20 Bill Evans - Never Let Me Go 1:58:47 Bill Evans, Jim Hall - Skating In Central Park 2:04:12 Bill Evans, Jim Hall - Romain 2:09:37 Bill Evans - Love Theme From 'Spartacus' 2:14:47 Bill Evans Trio - Spring Is Here 2:19:53 Bill Evans Trio - My Romance 2:21:55 Bill Evans Trio - I'll See You Again 2:25:51 Bill Evans Trio - Come Rain Or Come Shine 2:29:11 Tony Bennett, Bill Evans - You Must Believe In Spring 2:35:03 Bill Evans Trio - Nardis 2:40:55 Bill Evans - Soiree 2:44:22 Bill Evans - Comrade Conrad

Bill Evans biography

Bill Evans ( Plainfield , August 16 , 1929 - Fort Lee , September 15 , 1980, born William John Evans , was an American jazz pianist and composer. Bill Evans was born in New Jersey to Harry L. Evans, born in Wales and Mary Saroka Evans, born in Rusyne, both lovers of music. They make him study piano and, as a second instrument, violin (which he will give up after two years) and then flute . When he was a teenager he began to be interested in jazz , and in particular by Bud Powell, Nat King Cole , George Shearing and Lennie Tristano; he plays in orchestras as a local amateur . Bill Evans continued his musical studies at Southern Louisiana College, graduating in 1950. After a brief stint in clarinetist Herbie Fields' orchestra, he spent three years in the Army as a flautist , stationed at Fort Sheridan. It will preserve for a long time a bitter memory of these years. Demobilized in 1954, he began playing and recording with New York's minor orchestras (the best known being the "variety" orchestra led by Jerry Wald), while taking composition classes at the Mannes School of Music. First recordings In 1955, he was noticed by the composer and theoretician of the "lydian concept" George Russell who invited him to record the album The Jazz Workshop with his "jazz smalltet" (1956) and then the title All about Rosie on the collective album Brandeis Jazz Festival (1957). Russell and Evans would later reunite for other albums: New York, NY (1959), Jazz in the Space Age (1960), Living Time (1972). In September 1956, Bill Evans recorded under his own name, for the Riverside label (with producer Orrin Keepnews), the trio New Jazz Conceptions with Teddy Kotick on double bass and Paul Motian on drums. If Bill Evans had not yet found the interaction that will characterize his approach to the jazz trio, he already demonstrates his innovative harmonizing technique on this album. After this album and his work with Russell made him known, Bill Evans became an in-demand studio musician and many musicians called on his services, including Tony Scott, Don Elliott, Eddie Costa, Jimmy Knepper, Helen Merrill, Sahib Shihab and Charles Mingus . Alongside John Coltrane and Cannonball Adderley ' regular sextet, Between February and November 1958, he was part of Miles Davis . In 1959, the trumpeter called him back for the recording of the Kind of Blue album . Miles Davis has always recognized the importance of Evans' contribution to this emblematic record of modal jazz . After this interlude with Miles Davis , Bill Evans resumed an intense career as a sideman - which did not stop until 1963, the date of his contract with Verve - recording, among others, with Cannonball Adderley , Michel Legrand , Art Farmer, Chet Baker , Lee Konitz , John Lewis, Oliver Nelson, Kai Winding , JJ Johnson and Bob Brookmeyer. At the same time, although he did not have a regular trio, he recorded records with this formula under his own name: Everybody digs Bill Evans (1958) and On Green Dolphin Street (1958 – unreleased at the time). 1960s In 1959, he formed a regular trio with bassist Scott LaFaro and drummer Paul Motian. The three partners, breaking with the tradition in which the double bass player and the drummer were limited to an accompanying role, dedicate themselves to an authentic "three-way improvisation". It is this "interaction" – this constant synergy between the three musicians – that makes this trio specific and modern. The three recorded four albums: Portrait in Jazz (1959), Explorations (1961) and especially two legendary albums from the same session at the Village Vanguard in New York: Waltz for Debby and Sunday at the Village Vanguard. Scott LaFaro died in a car accident just ten days after recording these records. Deeply affected by the death of LaFaro, Bill Evans, although he continues his career as an accompanist (albums as an accompanist for Mark Murphy , Herbie Mann, Tadd Dameron , Benny Golson …), does not record anything as a trio during almost a year Under his name, he recorded, in duo with Jim Hall, the album Undercurrent . It wasn't until May 1962 that he found himself in the studio as a trio, this time with Chuck Israels on double bass and Paul Motian on drums. What comes out of these sessions are the albums How My Heart Sings! and Moon Beams . In late 1962 - early 1963, he recorded his last albums for the Riverside label: Interplay (as a quintet with Freddie Hubbard and Jim Hall), Loose Blues (as a quintet with Zoot Sims and Jim Hall, unreleased at the time ), At Shelly's Manne-Hole (as a trio with Chuck Israels and Larry Bunker), and 13 solo tracks ( The Solo Sessions: Volume 1 & 2 - unedited at the time). Breaking album time with his usual trio, he recorded in 1962 for Verve trio album , while still under contract with Riverside, the Empathy of which Shelly Manne was co-leader. Evans signs with Verve-MGM. For Verve , Bill Evans will continue to record with his usual trios, but Creed Taylor, then producer of the label, will push him to diversify his production: albums with other stars of the brand ( Stan Getz , Gary McFarland…), solo, re-recording, with symphony orchestra… Between 1962 and 1969, the personnel of Evans' "regular" trio was reworked quite frequently. Between 1962 and 1965, Chuck Israels was occasionally replaced on double bass by Gary Peacock ( Trio '64 ) and veteran Teddy Kotick. From 1966 and for 11 years, Eddie Gómez will occupy the position of double bass player. The successive drummers were Larry Bunker ( Live ( 1964 ), Trio '65 ), Arnold Wise ( Bill Evans at Town Hall , 1966), Philly Joe Jones ( California, Here I Come , 1967), Jack DeJohnette ( Bill Evans at Montreux Jazz ). Festival , 1968) and, more briefly, Joe Hunt and John Dentz. In 1969, drummer Marty Morell joined the trio, remaining until 1975. During this period, on European tours, Evans sometimes travels without his usual accompanists and then turns to "local" musicians: Palle Danielsson, Niels-Henning Ørsted Pedersen, Rune Carlsson (1965), Alex Riel (1966)… During his Verve period , Evans recorded with different formulas than his "usual trio". He recorded Alone (1968) . He re-recorded Conversations with Myself (1963), then Further Conversations with Myself (1967). With string orchestra (conducted by Claus Ogerman) and trio, Bill Evans trio with symphony orchestra (1965). With other musicians, Gary McFarland (1962), Stan Getz (1964), Monica Zetterlund ( Waltz for Debby , 1964), Jim Hall ( Intermodulation , 1966), Shelly Manne ( A Simple Matter of Conviction - 1966), Jeremy Steig ( What's New , 1969). Here ends the "Verve Period", with the album From Left to Right (1970), a recording on the border between light music and jazz, where Bill Evans, accompanied by a string orchestra, uses the electric piano for the first time " Fender Rhodes ". It should be noted that Evans' last albums for Verve are no longer produced by Creed Taylor but by Helen Keane (Evans' artistic agent since 1962). From the end of the contract with Verve , it is Helen Keane who will act as "coach" of the pianist's career. It will be the producer of the records that Evans will record for Columbia , CTI Records, Fantasy and Warner Bros. 1970s Between 1969 and 1975, Bill Evans performed mainly with Eddie Gómez and Marty Morell. This trio recorded many albums: among others, Jazzhouse , You're Gonna Hear From Me (1969), Montreux II (1970), The Bill Evans Album (1971), The Tokyo concert , Half Moon Bay (1973), Since We Met , Re: Person I Knew, Blue in green (1974). During this period, Bill Evans participates in two recordings quite far removed from his usual productions: Living Time , an experimental composition for piano and large ensemble by George Russell (1972) and Symbiosis (1974), a concerto for piano and orchestra by "Third stream music" composed by Claus Ogerman. He also recorded at this time two duet albums with Eddie Gómez ( Intuition - 1974, Montreux III - 1975) and one solo ( Alone (Again) - 1975). Evans also recorded two sessions ( The Tony Bennett: Bill Evans Album - 1975, Together again - 1976) with crooner Tony Bennett . Finally, Evans signs his last record in re-recording, New Conversations (1978). In 1976, Marty Morell was replaced on drums by the understated but subtle Eliot Zigmund. This will remain the last rhythm that will be perfectly integrated into the pianist's universe. The trio thus composed finds a second wind and records I Will Say Goodbye (1977, published in 1980, after the death of the pianist) and the elegiac You Must Believe in Spring (1977, published in 1981). The three men also recorded Crosscurrents (1977) with Lee Konitz and Warne Marsh. Eddie Gómez left Evans in 1978. After trying numerous double bass players (Michael Moore, Michel Donato…), Evans hired the young Marc Johnson. and Larry Schneider was recorded It was around this time that the Affinity quintet album with Toots Thielemans . In 1979, he reunited with Larry Schneider but this time with Tom Harrell , for another quintet album, We will meet again . For a brief period, "veteran" Joe Philly Jones returned to fill in as drummer, before Evans hired another young musician, Joe LaBarbera. There are no studio recordings of this definitive trio. On the other hand, it was recorded a lot in discos or in concerts ( Homecoming , The Paris concert. ed. 1 & 2 , Turn out the stars: the final recordings of Village Vanguard , The Last Waltz , Consecration …). All these recordings were only published after the death of the pianist. The music of this trio is the "swan song" of the pianist. He performed for the penultimate time in August 1980 at the Molde Jazz Festival. On September 15, 1980, at the age of fifty-one, with poorly treated hepatitis , his body exhausted by addiction too long a drug ( heroin in the 60s and 70s, cocaine at the end of his life), Bill Evans died as a result of internal bleeding. Discography Bill Evans' discography is particularly important. In addition to "official" recordings for labels such as Riverside, Verve , CTI, Columbia , Fantasy and Warner Bros. Records , there are a significant number of more or less official albums. Musical compositions B minor waltz Bill's belle (àlies Just a beginner in love ) Bill's hit tune Blue in Green (co-author Miles Davis ) C minor blues chase Carnival Catch the wind (àlies Get yourself another fool ) Children's play song Chromatic tune Comrade Conrad (aka Theme for Crest ) Displacement Epilogue Five For Nenette (alias In April ) Fudgesicle built for two Fun ride Funkallero Funny man G waltz Here's something to you Hollywood (written with Claus Ogerman ) Interplay It's love, it's Christmas It must be love * Knit for Mary F. Laurie (alias The dream ) Letter To Evan Loose blues Maxine My bells NYC's: no lark One for Helen Only child The opener Orbit (alias Unless it's you ) Peace Piece Peri's scope Prologue Re: person I knew Remembering the rain Show type tune (alias Tune for a lyric ) A simple matter of conviction Since we met Song for Helen Story line Sugar plum * (coautor John Court) Theme: what you gave (àlies Don't count your dreams till they come true! ) There came you These Things Called Changes 34 skidoo Tiffany Time remembered Turn out the stars Twelve tone tune (alias TTT ) Twelve tone tune two (aka TTTT ) The two lonely people (àlies The man and the woman ) Very early Walkin' up Waltz for Debby Waltz in Eb We will meet again Yet ne'er broken Your story Read the full article

[ozkar-krapo]

Thelonious MONK

"Genius of modern Music - vol.2"

(LP. Blue Note. 1982 / rec. 1947/1951-52) [US]

[allmusic]

AllMusic Staff Pick: Sahib Shihab Conversations

This great expatriate saxophonist is primarily known for his role as a baritonist and flutist with the Clarke-Boland Big Band and sextet groups. That' said, he issued a number of fine sides under his own name including Dawn, Seeds and Companionship. This cooking live date from 1963 may just take the cake though. Playing alto and soprano as well as his other two instruments, he is featured in a kicking quintet setting that included a teenage Niels Henning Orsted Pederson on bass. Through originals and covers--including the three part-title cut suite, Shihab offers an a killer grasp of Jazz's emerging New Thing without ever forsaking an engagement with bop or hard bop. This is a cooker!

- Thom Jurek