Herbie Hancock, “Watermelon Man” from Takin’ Off (Blue Note, 1962). Soul jazz from Herbie’s debut record.
James Farm with Joshua Redman (Nonesuch, 2011), “Plliwog”.
Steve Lacy, “Bye-a” from Reflections: Steve Lacy Plays Thelonious Monk (Prestige, 1959). Soprano saxophonist along with Mal Waldron on piano and Elvin Jones on drums. The first recording to feature Monk compositions throughout.
Stanton Moore, “Green Chimney’s” from All Kooked Out (1998), the former Galactic drummer’s debut recording as a leader. Great New Orleans back-beat funk-jazz, with Charlie Hunter on 8-string guitar and Sherik on sax.
Stanton Moore, “Stanton Hits the Bottle”. Make it a double.
Chico Hamilton, “Lady Gabor” from Passin’ Through (Impluse, 1962). The 7 O’Clock stretch at Pete’s featuring a long jazz jam. Charles Lloyd on flute and Gabor Szabo on guitar.
Charlie Hunter, “Let’s Get Medieval” from Ready, Set, Shango (Blue Note, 1996). More 8-string guitar grooves.
Arthur Blythe, “Bush Baby” from Illusions (Columbia, 1980). The California alto sax player’s band with tuba, cello, and chunk guitar (Blood Ulmer).
Rahsaan Roland Kirk, “Prelude Back Home” from Natural Black Inventions: Roots Strata (Atlantic, 1971). Kirk playing multiple reeds simultaneously, with thundersheet back ground reminding of us the May 2009 “inland hurricane” in Carbondale.
Ursula Dudsiak, “Shenkansen” from Future Talk (Inner City, 1979). Wordless vocals. Weird. But cool.
Bennie Wallace, “All Night Dance” from Twilight Time (Blue Note, 1980). New Orleans tenor sax player with Stevie Ray Vaughn on guitar.
Robert Mazurek, “Blow Up” from Playground (Delmark, 1998). Cornet/trumpet player leads band of Chicago musicians on the local Chicago jazz label. Song composed by Herbie Hancock to close up Pete’s for the week.
(archived playlists at peteplace.wordpress.com)