Jazz

Tommy Flanagan - Eclypso (1977)

2017-03-18T14:14:44Z

Tommy Flanagan - Eclypso (1977)


1.Oleo
2.Denzil's Best
3.Blue Time, A
4.Relaxing at Camarillo
5.Cup Bearers, The
6.Eclypso
7.Confirmation

Tommy Flanagan — piano
George Mraz — bass
Elvin Jones — drums

Exceptional late '70s trio date, with pianist Tommy Flanagan displaying the hard bop proficiency that's been taken for granted because he earned a reputation as a great accompanist backing Tony Bennett and Ella Fitzgerald. His lines, phrasing, and creative solos, plus his interaction with bassist George Mraz and drummer Elvin Jones, won the album rave reviews. ---Ron Wynn, AllMusic Review

Pianists grow humble at the mention of Tommy Flanagan’s name. There are few who, like Flanagan, use the linear and tonal resources of the piano with the exploratory depth and with that a Sonny Rollins or a Coleman Hawkins brought to the tenor. There are also few from whom each nuance of volume and touch is brought forth with such freshness that the music is a new story every time... Everyone shines here; the album is a treat and a feast. ---Jazz, No. 2/78, New York, jazzrecords.com

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Tommy Flanagan - Jazz Poet (1989)

2014-03-09T17:01:00Z

Tommy Flanagan - Jazz Poet (1989)


1. 	"Raincheck" (Billy Strayhorn) 	4:59
2. 	"Lament" (J. J. Johnson) 	5:09
3. 	"Willow Weep For Me" (Ann Ronell) 	6:04
4. 	"Caravan" (Juan Tizol, Duke Ellington) 	6:24
5. 	"That Tired Routine Called Love" (Matt Dennis) 	6:49
6. 	"Glad To Be Unhappy" (Lorenz Hart, Richard Rodgers) 	4:47
7. 	"St. Louis Blues" (W. C. Handy) 	6:35
8. 	"Mean Streets" (Anthony, Flanagan, Roth, Van Halen, Van Halen) 	4:13
9. 	"I'm Old Fashioned" (Jerome Kern) 	5:43
10.  "Voce Abuso" (Ivan Lins) 	4:51

Tommy Flanagan - Piano
George Mraz – Bass
Kenny Washington - Drums

By the time of this recording, pianist Tommy Flanagan had been performing for decades -- mostly as a sideman -- for a who's who of jazz: players such as Miles Davis, J.J. Johnson, and Sonny Rollins, to name a few. His perfect, yet unassuming style made him the pianist of choice for dozens of musicians. While he has recorded as a leader from time to time, this album may be the best representation of his work available. He performs a set of great tunes ("Caravan," "Willow Weep for Me," "St. Louis Blues," "Lament," and others) in a topflight trio, with George Mraz on bass and Kenny Washington on drums. Flanagan is at the peak of his powers. Never flashy, never showy, this is just outstanding music performed by a true master who is one of the great bop pianists of the 20th century. --- Steve Loewy, Rovi

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Tommy Flanagan - Live At Jazz Baltica (1999)

2014-03-11T16:43:14Z

Tommy Flanagan - Live At Jazz Baltica (1999)


1.Thad Rack
2.Beyond The Bluebird
3.Liza
4.Sunset And The Mockingbird
5.The Balanced Scales/The Cup Bearers
6.Solar
7.If I Should Lose You
8.Lets

Tommy Flanagan-piano
Peter Washington-bass
Lewis Nash-drums
+
Bobby Hutcherson-vibraphone(7,8)
Johnny Griffin-tenor sax(6,8)

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961). Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist. However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm. ---Scott Yanow, Rovi

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Tommy Flanagan - Lonely Town (1959)

2014-02-27T16:44:45Z

Tommy Flanagan - Lonely Town (1959)


1.America (5:55)
2.Lonely Town (7:28)
3.Tonight (3:44)
4.It's Love (3:45)
5.Lucky To Be Me (4:15)
6.Glitter And Be Gay (4:13)
7.Make Our Garden Grow (3:10)

Recorded In New York City
March 10, 1959. Blue Note

Tommy Flanagan - piano
Joe Benjamin - bass
Elvin Jones - drums

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Tommy Flanagan Trio – Overwseas (1957/2012)

2016-08-07T11:47:10Z

Tommy Flanagan Trio – Overwseas (1957/2012)


01. Relaxin' At Camarillo (3:21)
02. Chelsea Bridge (3:45)
03. Eclypso (6:00)
04. Beat's Up (4:21)
05. Skal Brothers (2:33)
06. Little Rock (7:07)
07. Verdandi (2:15)
08. Delarna (4:44)
09. Willow Weep For Me (6:26)

Tommy Flanagan, piano
Wilbur Little, bass
Elvin Jones, drums

This studio session represents one of Tommy Flanagan's earliest dates as a leader, recorded while he was in Stockholm, Sweden. Bassist Wilbur Little and a young Elvin Jones on drums provide strong support, but the focus is on Flanagan's brilliant piano. The brilliant opener is a potent brisk run through Charlie Parker's "Relaxin' at Camarillo," followed by a faster than typical "Chelsea Bridge," which the leader playfully detours into another Billy Strayhorn composition ("Raincheck") for a moment, while also featuring Jones' brushwork in a pair of breaks. Flanagan's approach to the venerable standard "Willow Weep for Me" is steeped in blues, backed by Little's imaginative accompaniment. The bulk of this date is devoted to Flanagan's compositions, though only one, "Eclypso," remained in his repertoire for long. This engaging piece alternates between calypso and bop, with Jones switching between sticks and brushes. "Beat's Up" has the obvious influence of Bud Powell, while the extended blues "Little Rock" opens with a sauntering bass solo. This album has been released under various titles on several labels, including DIW, Dragon, Met, and Prestige, though Fantasy reissued it with three alternate takes in 1999. ---Ken Dryden, Rovi

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