Smokin' at the Half Note - Digipack
Paul Chambers, Wynton Kelly, Jimmy Cobb
Smokin' at the Half Note - Digipack
- No blue
- If you could see me now
- Unit 7
- Four on six
- What's new ?
- Willow weep for me
- Portrait of Jennie
- Surrey with the fringe on top
- Oh, you crazy moon
- Misty
- Impressions
Unit 7
16/03/2008 : Wynton Kelly Trio & Wes Montgomery - Unit 7 (from the album 'SMOKIN' AT THE HALF NOTE') Personnel: Wes Montgomery (guitar), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums)
John Coltrane Quintet - Ballad Medley
31/01/2008 : The John Coltrane Quartet appearing in Germany in 1960 for the German TV. John Coltrane is accompanied by Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Tenor sax great Stan Getz steps in to give us a beautiful ballad medley consisting of Autumn LEaves,What's New and Stan's signature tune, Moonlight In Vermont.
The John Coltrane Quartet -The Theme
31/01/2008 : The John Coltrane Quartet appearing in Germany in 1960 for the German TV. John Coltrane is accompanied by Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Third number, "The Theme".
The John Coltrane Quartet - Walkin'
31/01/2008 : The John Coltrane Quartet appearing in Germany in 1960 for the German TV. John Coltrane is accompanied by Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Second number, "Walkin'".
The John Coltrane Quartet - On Green Dolphin Street
31/01/2008 : The John Coltrane Quartet appearing in Germany in 1960 for the German TV. John Coltrane is accompanied by Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. First number, "On Green Dolphin Street".
Miles Davis Quintet
16/01/2008 : Miles Davis Quintet 1961 Recording Session (from the album 'SOMEDAY MY PRINCE WILL COME') 1) Old Folks (Hill / Robinson) 2) Teo (Davis) Personnel: Miles Davis (trumpet), John Coltrane (tenor sax - omit 1), Hank Mobley (tenor sax - omit 2), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums)
John Coltrane w Wynton Kelly -1960
22/09/2007 : The performance was a part of the 1960 JATP tour. It's actually the Miles Davis Quintet without Miles. He refused to play on this TV show.
Miles Davis Quintet - So What
13/08/2007 : A classic from the golden days of televised jazz: CBS producer Robert Herridge (seen talking) brought to CBS studio 61 in NYC on April 2, 1959 Miles Davis, John Coltrane, Wynton Kelly, Paul Chambers and Jimmy Cobb to give us their masterpiece "So What". This date was taped for The Sound of Miles Davis, an installment of The Robert Herridge Theater. Cannonball Adderley was absent because of a migraine headache, which may explain why Davis solos twice on "So What," both before and after Coltrane. Broadcast on July 21, 1960. A jazz moment to cherish forever.
So What - Miles Davis-Coltrane
12/02/2007 : So What Davis Miles- John Coltrane 1959 This clip by trumpet player Miles Davis was recorded in New York in April 1959. With Miles is saxophonist John Coltrane. In the rhythm group are Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. At the end there is some back up from the trombone section of the Gil Evans Orchestra. From Wikipedia: Miles Dewey Davis III (May 26, 1926 -- September 28, 1991) was one of the most influential and innovative musicians of the 20th century. A trumpeter, bandleader and composer, Davis was at the forefront of almost every major development in jazz from World War II to the 1990s. He played on some of the important early bebop records and recorded the first cool jazz records. He was partially responsible for the development of modal jazz, and jazz fusion arose from his work with other musicians in the late 1960s and early 1970s. Free jazz was the only post-war style not significantly influenced by Davis, although some musicians from his bands later pursued this style. His recordings, along with the live performances of his many influential bands, were vital in jazz's acceptance as music with lasting artistic value. A popularizer as well as an innovator, Davis became famous for his languid, melodic style and his laconic, and at times confrontational, personality. As an increasingly well-paid and fashionably-dressed jazz musician, Davis was also a symbol of jazz music's commercial potential.
