{"title":"Sahib Shihab","description":null,"products":[{"product_id":"summer-dawn","title":"Summer Dawn","description":"\u003cp\u003eIt is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed \"Mainstream\", \"Bop\", \"Cool\", \"Westcoast\", \"Eastcoast\", \"Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of \"Please Don't Leave Me\", or the climaxing piano solo in the same piece—the bass solo in \"Waltz For Seth\" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to \"Campi's Idea\", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo \"Herr Fixit\", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.\u003c\/p\u003e","brand":"Schema Rearward","offers":[{"title":"Black LP","offer_id":50421944156491,"sku":"2223097","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_85fc1bd3_thumbnail_4096.jpg?v=1726761591"},{"product_id":"oktav-1965","title":"Oktav - 1965","description":"\u003cp\u003eRe-mastered from the original stereo master tapes, 180g vinyl pressed in Marciac, France by Garcia \u0026amp; Co. Deluxe flipback album jacket. Facsimile reissue using the original artwork. Double insert using an original photo by Jan Persson. Each record has been visually checked to prevent defects.     Recorded August, 1965, Copenhagen, Denmark. \u003c\/p\u003e\u003cp\u003eSahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.  In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.  In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.  This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!\u003c\/p\u003e","brand":"Sam Records","offers":[{"title":"Black LP","offer_id":50465603780939,"sku":"2179855","price":42.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_d52c872d_thumbnail_4096.png?v=1727293328"},{"product_id":"and-all-those-cats","title":"And All Those Cats","description":"\u003cp\u003eSahib Shihab was, in many ways, the Thelonious Monk of the baritone saxophone. Like Monk, he was an uncompromising individualist with an idiosyncratic, often quirky, approach to improvisation. And, in fact, Shihab and Monk had a strong mutual affinity. They worked together in the late forties and early fifties and became good friends. Shihab admired Monk for his oblique approach to jazz and his resolute non-con- formity and he shared much of Monk's musical philosphy.\u003c\/p\u003e\u003cp\u003eHe joined Luther Henderson's band before he was 16 but left soon afterwards to enrol for a year at Boston Conservatory. He then had a two year spell with Fletcher Henderson and later worked with Roy Eldridge. It was after he heard Charlie Parker that Shihab's music became strongly bop orientated.\u003c\/p\u003e\u003cp\u003eHe did his first record date with Thelonious Monk in November 1947 and later he worked with Art Blakey, Tadd Dameron, Dizzy Gillespie, Oscar Pettiford, John Coltrane and Illinois Jacquet. It was in 1951 that he added baritone saxophone to his range of instruments.\u003c\/p\u003e\u003cp\u003eWhen the opportunity came, in 1959, to join the band of Quincy Jones for a tour of Europe with the musical Free And Easy, Shihab accepted it with alacrity because he had become disullusioned with the politics and racism of the United States. And when the tour ended, Shihab decided to remain in Europe, settling in Copenhagen, where he taught at the Polytechnic High School and also composed music for the cinema, television and the theatre.\u003c\/p\u003e\u003cp\u003eShihab joined the Clarke-Boland Big Band in 1961 and remained a regular member of the ensemble untii it broke up in April 1972. He returned to the United States for a three-year spell in 1973, basing himself in Los Angeles, then moved back to Europe for a further period. In 1986 he went back once ag ain to America. He died in Tennessee on October 24, 1989.\u003c\/p\u003e\u003cp\u003eThe small group dates here were recorded between 1964 and 1970 and showcase the delighyfully eccentric, unorthodox improvisational style of Shihab on baritone saxophone and flute.\u003c\/p\u003e","brand":"Schema","offers":[{"title":"Black | LP | x2","offer_id":50489100206411,"sku":"1103518","price":27.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"sahibs-jazz-party-after-hours-2","title":"Sahib's Jazz Party and After Hours - US Black Friday 2024","description":"\u003cp\u003eThis product is a Black Friday Record Store Day title and not available to pre-order. \u003c\/p\u003e\u003cp\u003eSahib's Jazz Party is an album by saxophonist\/flautist Sahib Shihab, recorded live at the Jazzhus Montmartre in Copenhagen, around the same time that he relocated there in 1963. Shihab is joined by flugelhornist Allan Botchinsky, guitarist Ole Molin, drummer Alex Riel, and 17-year old bass prodigy Niels Henning Orsted Pederson. The recordings showcase Sahib’s diversity and dexterity as a player, including his openness to the avant-garde style, expanding on the bop era playing he is known for. The album is presented here in a gatefold jacket with a bonus LP, including three tracks not available on previously vinyl releases — what we’re referring to as the “After Hours”. The audio has been remastered by Dave Gardner and pressed on audiophile-grade vinyl at Pallas Group in Germany.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"LPx2","offer_id":50922593124683,"sku":"2234892","price":49.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/418467282675-800_52295694_thumbnail_4096_1cf133f1_thumbnail_4096.webp?v=1733221774"}],"url":"https:\/\/shop.roughtrade.com\/de\/collections\/sahib-shihab.oembed","provider":"Rough Trade","version":"1.0","type":"link"}