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Saxophone Colossus [3/21]
 

Saxophone Colossus [3/21]

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Saxophone Colossus [3/21]
"Saxophone Colossus [Remaster]" (03/21/2006) Jazz Instrument Rollins, Sonny, Fantasy (distributor)Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC Studios). Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler and Martin Williams. DCC Gold Discs are mastered from original master tapes played back on a reconstructed vintage tube reproducer. The discs are custom-manufactured and plated with 24-karat gold, and housed in a lift-lock jewel box. The 2002 edition of this CD (JVC catalog #XRC 221) is a sonically improved version which replaces JVC catalog #XRCD 60158. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Digitally remastered using 20-bit K2 Super Coding System technology. This is part of the Prestige Records 50th Anniversary Commemorative Special Edition series. This is a Super Audio Hybrid CD playable on Super Audio CD players and regular CD players. Personnel: Sonny Rollins (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Max Roach (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on June 22, 1956. Originally released on Prestige (7079). Includes liner notes by Ira Gitler. Personnel: Sonny Rollins (tenor saxophone); Sonny Rollins; Doug Watkins (upright bass); Tommy Flanagan (piano); Max Roach (drums). Audio Remasterers: Rudy Van Gelder; Phil DeLancie. Liner Note Authors: Rudy Van Gelder; Ira Gitler; Martin Williams ; Ralph J. Gleason. Recording information: Hackensack, NJ (03/22/1956-10/05/1956); New Jersey (03/22/1956-10/05/1956); Van Gelder Studios, Hackensack, NJ (03/22/1956-10/05/1956). Author: Rudy Van Gelder. Photographer: Hannan. Unknown Contributor Roles: Tommy Flanagan; Doug Watkins; Max Roach. Sonny Rollins: Saxophone Colossus is a documentary from 1986 about the life and work of legendary jazz tenor saxophonist Sonny Rollins. This disc from Fox Lorber Home Video presents the film with a full screen standard aspect ratio and a Dolby Digital 2.0 stereo audio track. Extra features include production notes, Sonny Rollins discography, and musician listing. ~ Andrea LeVasseur Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed. ~ Scott Yanow The year 1956 marked a turning point for Sonny Rollins. Out of the ashes of what had been a talented but troubled young tenor saxophonist, came a new Sonny Rollins, his purpose clarified and strengthened, his muse razor sharp and brimming with new visions. As a new member of the Clifford Brown/Max Roach Organization, he was inspired as much by their spiritual consistency as

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The Most Romantic Jazz Music in the Universe by Various Artists (CD - 10/01/2005)
 

The Most Romantic Jazz Music in the Universe by ...

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The Most Romantic Jazz Music in the Universe by Various Artists (CD - 10/01/2005)
"The Most Romantic Jazz Music in the Universe" (10/01/2005) Jazz Instrument Various Artists, SavoyCompeting well with similar compilations, The Most Romantic Jazz Music in the Universe is a solid and steady two-disc collection of mellow, romance-ready jazz featuring more recent artists such as pianist Eliane Elias alongside legends including alto saxophonist Cannonball Adderley. Okay, perhaps not the most romantic jazz in the universe, more like the most romantic jazz on Denon. Nonetheless, when you've got guitarists Pat Martino and Kenny Burrell on your album you know things are gonna be right for the afterglow. ~ Matt Collar

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The Definitive Jimmy Smith by Jimmy Smith (Organ) (CD - 09/24/2002)
 

The Definitive Jimmy Smith by Jimmy Smith (Organ) ...

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The Definitive Jimmy Smith by Jimmy Smith (Organ) (CD - 09/24/2002)
"The Definitive Jimmy Smith" (09/24/2002) Jazz Instrument Smith, Jimmy (Organ), Blue Note Records (USA)Personnel includes: Jimmy Smith (vocals, organ); Oliver Nelson, Lalo Schifrin (arranger, conductor); Lou Donaldson, Phil Woods, Jerry Dodgion (alto saxophone); Tina Brooks, Bob Ashton, Romeo Babe Clark (tenor saxophone); George Barrow, Jerome Richardson (baritone saxophone); Lee Morgan, Joe Newman, Ernie Royal, Doc Severinsen, Joe Wilder, Bernie Glow, Thad Jones, Clark Terry, Marky Markowitz, Jimmy Maxwell, Snooky Young (trumpet); Ray Alonge, Jimmy Buffington, Earl Chapin, Bill Correa (French horn); Jimmy Cleveland, Melba Liston, Urbie Green, Britt Woodman, Tom Mitchell, Tony Studd (trombone); Bob Ashton, Jerome Richardson, Phil Woods (reeds); Wes Montygomery, Kenny Burrell (guitar); Richard Davis (bass); Art Blakey, Grady Tate (drums). Producers: Creed Taylor, Alfred Lion. Compilation producers: Richard Seidel, Michael Cuscuna, Mantis Evar, Bryan Koniarz. Recorded between March 1956 & September 1966. Includes liner notes by Donald Elfman. All tracks have been digitally remastered. This is part of Blue Note Records "The Defenitive" series. Personnel: Jimmy Smith (vocals, organ); Kenny Burrell, Barry Galbraith, Wes Montgomery, Thornel Schwartz (guitar); Phil Woods (reeds, alto saxophone); Bob Ashton (reeds, tenor saxophone); Jerome Richardson (reeds, baritone saxophone); Danny Bank (reeds); Lou Donaldson (alto saxophone); Babe Clark, Stanley Turrentine, Tina Brooks, Romeo Penque (tenor saxophone); George Barrow (baritone saxophone); Clark Terry, Doc Severinsen, Ernie Royal, Irwin "Marky" Markowitz, Joe Newman , Joe Wilder, Lee Morgan, Snooky Young, Bernie Glow, Thad Jones, Jimmy Maxwell (trumpet); Bill Correa, James Buffington, Earl Chapin, Ray Alonge (French horn); Jimmy Cleveland, Melba Liston, Quentin Jackson, Urbie Green, Britt Woodman (trombone); Tom Mitchell , Tony Studd (bass trombone); Don Butterfield (tuba); Donald Bailey , Grady Tate, Art Blakey, Ed Shaughnessy (drums); Phil Kraus (percussion). Liner Note Author: Donald Elfman. Recording information: Englewood Cliffs, NJ (03/27/1956-09/23/1966); Hackensack, NJ (03/27/1956-09/23/1966); New York, NY (03/27/1956-09/23/1966). Photographer: Francis Wolff. Arrangers: Lalo Schifrin; Oliver Nelson. This sampler draws from organist Jimmy Smith's Blue Note and Verve recordings, picking out seven highlights from the 1956-1966 period. Included are such gems from Smith's Blue Note years as the fiery up-tempo blues "The Champ" that helped launch his career," the 20-minute all-star jam "The Sermon" (with trumpeter Lee Morgan, altoist Lou Donaldson, tenor saxophonist Tina Brooks, guitarist Kenny Burrell, and drummer Art Blakey) and "Midnight Special" with tenorman Stanley Turrentine. The four Verve selections team the organist with big bands arranged by either Oliver Nelson or Lalo Schifrin, and, although spirited, are generally of lesser interest. An exception is "Night Train," which has Smith sharing the spotlight with guitarist Wes Montgomery. Overall, this CD does give listeners an idea of what Jimmy Smith's first decade on record sounded like. ~ Scott Yanow

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Ah Via Musicom by Eric Johnson (Guitar 1) (CD - 03/20/1990)
 

Ah Via Musicom by Eric Johnson (Guitar 1) (CD - ...

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Ah Via Musicom by Eric Johnson (Guitar 1) (CD - 03/20/1990)
"Ah Via Musicom" (03/20/1990) Jazz Instrument Johnson, Eric (Guitar 1), Capitol/EMI RecordsPersonnel: Eric Johnson (vocals, guitar, lap steel guitar, electric sitar, piano); Steven Hennig (guitar); Wee Willie (harmonica); Steve Barber (synthesizer); Roscoe Beck, Kyle Brock, Reggie Witty (bass); Tommy Taylor (drums); Paul Bissell, James Fenner (percussion); Jody Lazo (background vocals). Recorded between March 1988 and June 1989. After being overlooked on his debut, Tones, guitarist Eric Johnson burst onto the airwaves with the surprising hit "Cliffs of Dover." Armed with excellent chops and a clear tone, Johnson took a tired formula and made it sound fresh again. Despite his talents on the fret board, he plays with great restraint and chose to explore a variety of styles, including rock, pop, blues, country, and jazz. While his singing is not quite as interesting as his guitar playing, it is not obtrusive and is at times quite pleasing. This recording has reached near-classic proportions within the guitar community. ~ Robert Taylor

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When I Fall in Love by Chris Botti (CD - 09/28/2004)
 

When I Fall in Love by Chris Botti (CD - ...

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When I Fall in Love by Chris Botti (CD - 09/28/2004)
"When I Fall in Love" (09/28/2004) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (vocals, trumpet); Chris Botti; Jill Zadeh (vocals); Mitch Dalton (acoustic guitar); Fiona Hibbert (harp); Julian Leaper, Dave Woodcock, Deborah Widdup, Jonathan Evans Jones, Maciej Rakowski, Tom Bowes, Paul Willey, Rolf Wilson, Steve Morris, Roger Garland, Patrick Kiernan, Boguslaw Kostecki, Rita Manning, Kenneth Sillito, Cathy Thompson, Jackie Shave (violin); Ivo Jan Vanderwerff, Vicci Wardman, Edward Vanderspar, George Robertson, Peter Lale, Bruce White (viola); Frank Schaefer, David Daniels , Caroline Dearney, Paul Kegg, Anthony Lewis , Anthony Pleeth (cello); Karen Jones, Helen Keen, Stan Sulzmann, Philip Todd (flute, alto flute); Andy Panayi (bass flute); Nick Rodwell, Anthony Pike (clarinet); Jamie Talbot (bass clarinet, tenor saxophone); David Theodore (oboe); Bob Sheppard (saxophone); Nigel Hitchcock (alto saxophone); John Barclay, Guy Barker, Derek Watkins (trumpet, flugelhorn); Mike Thompson , Richard Bissill, David Pyatt (French horn); Pete Beachill, Mark Nightingale, Richard Edwards (trombone, tenor trombone); Dave Stewart (bass trombone, euphonium); Billy Childs Trio (piano, Fender Rhodes piano); Greg Phillinganes (piano, keyboards); Federico Gonzalez Pe?a, Billy Childs (piano); Brian Bromberg (bass instrument); Patrick Lannigan, Alec Dankworth, Chris Laurence, Mary Scully (double bass); Ralph Salmins (drums); Paula Cole, Sting (vocals); Dean Parks, Dominic Miller, Shane Fontayne (guitar); Gil Goldstein (accordion); Jeff Lorber (keyboards); Billy Kilson, Vinnie Colaiuta (drums); Paulinho Da Costa (percussion). Audio Mixer: Al Schmitt. Recording information: Air Lyndhurst Hall, London, England; Avatar Studio, New York, NY; Capitol studios, Los Angeles, CA; JHL Sound, Los Angeles, CA. Photographer: Fabrizio Ferri. Arrangers: Bobby Colomby; Jeff Lorber; Brian Bromberg; Jeremy Lubbock; Mark Schulman. Trumpeter Chris Botti drops the synthesizers and drum loops of his previous effort, Thousand Kisses Deep, for a more elegant and traditional sound on When I Fall in Love. While Thousand Kisses Deep maximized Botti's penchant for mixing perfect pop songs with his Miles Davis-influenced jazz style, it nonetheless featured many of the electronic and processed sounds predictable on modern smooth jazz releases. By eschewing such "go to" pop-jazz production techniques as drum machines and synthesized strings in favor of the real instruments here, Botti ironically sounds utterly groundbreaking on what is ultimately a straight-ahead orchestral jazz album. While nowhere near as improvisationally adventurous as its predecessors, When I Fall in Love is still a revelation in the tradition of Sketches of Spain, Clifford Brown With Strings, and Wynton Marsalis' Hot House Flowers. Mixing standards and contemporary pop tunes all in a straight-ahead style, Botti gives his minimalist Miles-ian horn sound a chance to breath and be enjoyed on its own. Boldly, Botti swings here with a big band on "Let's Fall in Love," and after years of guessing that he would sound great on a standard ballad, you get to enjoy the proof as he sighs and coos his way through "My Romance" with a plaintive tone perfectly counterbalanced by full string orchestra. But it's not just the standards that impress; he turns the Sade classic "No Ordinary Love" into a moody and atmospheric paean that wouldn't sound out of place on Kind of Blue. Similarly, Sting's "La Belle Dame Sans Regrets" -- featuring the ex-Police frontman -- brilliantly combines hardcore jazz improvisation on a radio-friendly modern Latin ballad. Botti should also be commended for choosing a stellar group of backing musicians including the underappreciated pianist Billy Childs, who adds his stylish touch on both acoustic piano and Fender Rhodes. While Botti has broken new ground in the smooth jazz genre in the past, his rediscovery of his jazz roots makes When I Fall in Love the album he has been threatening to make his whole career. ~ Matt Collar Although the most popular contemporary jazz tends to fall into the "lite" category, trumpeter Chris Botti avoids painting himse

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Time Out [4/11]
 

Time Out [4/11]

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Time Out [4/11]
"Time Out" (04/11/2006) Jazz Instrument Brubeck, Dave, Legacy RecordingsDave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race. Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon. The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on TIME OUT, an album everyone should own. Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo ? la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as it's become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. ~ Steve Huey

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Pete Fountain Presents the Best of Dixieland by Pete Fountain (CD - 01/23/2001)
 

Pete Fountain Presents the Best of Dixieland by ...

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Pete Fountain Presents the Best of Dixieland by Pete Fountain (CD - 01/23/2001)
"Pete Fountain Presents the Best of Dixieland" (01/23/2001) Jazz Instrument Fountain, Pete, Verve (USA)Personnel includes: Pete Fountain (clarinet); Bud Dant (conductor); Eddie Miller (tenor saxophone); Charlie Teagarden, George Girard, Jackie Coon (trumpet); Santo Pecora (trombone, drums); Joe Rotis, Moe Schneider (trombone); George Roberts (bass trombone); Phil Stephens (tuba); Armand Hug, Roy Zimmerman, Stan Wrightsman (piano); Bobby Gibbons (guitar, banjo); Morty Corb, Bunny Franks, John Sinac (bass); Jack Sperling (drums, cymbals, percussion); Charlie Duke (drums); Godfrey Hirsch (field drum, percussion); Paul Barbarin (bass drum, percussion). Producers include: Bud Dant, Norman Granz. Compilation producer: Bryan Koniarz. Recorded between 1950 and 1968. Includes liner notes by Pete Fountain and Will Friedwald. Digitally remastered by Kevin Reeves (Universal Music Studios-East). There are relatively few of Pete Fountain's early-'60s Coral recordings available on CD, which is a pity because those rank with the finest work of the New Orleans clarinetist's career. This sampler in a series presented by Fountain has 20 selections in all. A dozen cuts comprise the complete reissue of the 1963 album South Rampart Street Parade, an unusual date in which Fountain, trumpeter Jackie Coon, trombonist Moe Schneider, tuba, banjo, and bass are joined by four drummers who each focus on specific parts of a drum set in order to sound like a New Orleans parade band. The results are naturally quite rhythmic and fun. In addition, Fountain is featured on seven earlier tracks, including three numbers with trumpeter George Girard and four in an octet with trumpeter Charlie Teagarden and tenor saxophonist Eddie Miller. The only weak number is the final selection, a 1968 version of "Walking Through New Orleans," in which Fountain is backed by insipid background singers, but that is the only minus to this rewarding set of high-quality Dixieland. ~ Scott Yanow

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California Dreaming by Wes Montgomery (CD)
 

California Dreaming by Wes Montgomery (CD)

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California Dreaming by Wes Montgomery (CD)
"California Dreaming" (n/a) Jazz Instrument Montgomery, Wes, Verve (USA)Personnel includes: Wes Montgomery (guitar); Don Sebesky (arranger, conductor); Jack Jennings (vibraphone, percussion); Herbie Hancock (piano); Al Casamenti, Buck Pizzarelli (guitar); Richard Davis (bass); Grady Tate (drums); Ray Baretto (percussion). Recorded at Van Gelder Studios, Englewood Cliffs, New Jeresy on Sepetmber 14-16, 1966. Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith) is a so-so orchestral date featuring arrangements by Don Sebesky. The material (which includes "Sunny" and "California Dreaming") is strictly pop fluff of the era and the great guitarist has little opportunity to do much other than state the melody in his trademark octaves. This record was perfect for AM radio of the period. ~ Scott Yanow As Wes Montgomery sailed into ever-poppier waters towards the end of his career, two things remained constant: he kept writing and including original tunes on his albums, and he kept playing and including the blues in one shade or another. Thus, on CALIFORNIA DREAMING, another big band-orchestrated Verve album, we get "Sun Down," a six-minute original blues, cut for the most part with just the first-call rhythm section of Herbie Hancock, Richard Davis, Grady Tate and Ray Baretto. The other original, "Mr. Walker," is just as cooking, and dates from Montgomery's second Riverside album, the aptly titled INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY. CALIFORNIA DREAMING, unlike BUMPIN', emphasizes groove tunes over ballads, and keeps the pop challenges to a minimum. It's not the relentless cooking of SMOKIN' AT THE HALF NOTE, or the aforementioned INCREDIBLE JAZZ GUITAR, but it's solid Montgomery nonetheless.

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Kirkatron/Boogie Woogie String... [4/12]
 

Kirkatron/Boogie Woogie String... [4/12]

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Kirkatron/Boogie Woogie String... [4/12]
"Kirkatron/Boogie-Woogie String Along for Real" (03/14/2006) Jazz Instrument Kirk, Rahsaan Roland, Collectables Records2 LPs on 1 CD: KIRKATRON (1977)/BOOGIE WOOGIE STRING ALONG FOR REAL (1978). Personnel: Rahsaan Roland Kirk (flute, harmonica, clarinet, manzello, tenor saxophone, lyricon, kalimba); Cornell Dupree, Tiny Grimes, Billy Butler (guitar); Percy Heath, Kermit Moore (cello); Steve Turre (trombone); Howard Johnson (tuba); Sammy Price (piano); William S. Fischer (electric piano, synthesizer); Trudy Pitts (organ); Hilton Ruiz, Richard Tee (keyboards); Phil Bowler, Arvell Shaw, Milton Suggs, Mattathias Pearson (bass instrument); Sonny Brown, Walter Perkins (drums); Tony Waters (percussion). This issue combines two late-period Rahsaan Roland Kirk albums: Kirkatron, begun shortly before the major stroke that debilitated him and shortened his life, and Boogie-Woogie String Along for Real, his first attempt at a comeback and his final recording. Kirkatron hosts three tunes recorded for it, and nine more that were outtakes from the preceding 5000 Lb. Man sessions, and a few from the Live at the Montreux Jazz Festival concert. As such it does contain a number of tunes that define the man at the height of his powers including a cover of Leon Russell's "This Masquerade," the live "Serenade to a Cuckoo," and a fine "Bright Moments." His bandmates on the date include a young Hilton Ruiz on piano and Steve Turre. Boogie-Woogie String Along for Real does stand in contrast to Kirkatron. The intensity and intention is there, but it's more subtle, informed no doubt by the fact that Kirk had taught himself to play with only his left hand because his right had been rendered unusable by the accident. He also employed a full string section, taking his music into a new direction. But there are beautiful and deeply soulful moments here, as well, including "Summertime," the wonderfully up "Dorthaan's Walk," the deep blues of "Make Me a Pallet on Your Floor," and the barrelhouse title track which opens the set. ~ Thom Jurek

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A Thousand Kisses Deep by Chris Botti (CD - 09/30/2003)
 

A Thousand Kisses Deep by Chris Botti (CD - ...

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A Thousand Kisses Deep by Chris Botti (CD - 09/30/2003)
"A Thousand Kisses Deep" (09/30/2003) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Chantal Kreviazuk, Bridget Benanate (vocals); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer piano, keyboards, shaker); Keefus Ciancia (piano, keyboards, Moog synthesizer); Jim Cox (organ, keyboards); Mark Goldenberg (keyboards, programming); Printz Board (synthesizer, programming); Dean Parks (acoustic & electric guitars); Smokey Hormel (electric guitar); Doyle Bramhall (guitar); Chuck Berghofer, Mike Elizondo (bass); Joey Waronker, Abe Laboriel, Jr. (drums); Lenny Castro (bongos, percussion). Personnel: Bridget Benenate, Chantal Kreviazuk (vocals); Dean Parks (guitar, acoustic guitar); Doyle Bramhall (guitar); Matthew Gerrard (electric guitar, keyboards, bass synthesizer, drum programming); Smokey Harmel (electric guitar); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer organ, keyboards, shaker); Keith Ciancia (piano, keyboards, bass synthesizer, Moog synthesizer); Billy Childs Trio (piano); Jim Cox (Fender Rhodes piano, organ, keyboards); Mark Goldenberg (keyboards, drum programming); Chuck Berghofer (acoustic bass); Abe Laboriel, Jr. (drums, hi-hat); Joey Waronker (drums); Lenny Castro (bongos, percussion). Audio Mixer: Dave Way. Recording information: Bill Schnee Studios, N. Hollywood, CA; Capitol Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Sunset Sound Studios, Los Angeles, CA; The Green Room, Los Feliz, CA; The Lab, Santa Monica, CA; World Famous Flamingo Studios, Los Angeles, CA. Photographer: Fabrizio Ferri. Chris Botti's sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a jazz and pop musician. Botti's phrasing is very keen, uncanny in the way it works with simple rhythmic structures, and his tone is rich and warm. His use of keyboards and drum loops is pretty much up to the minute in terms of its hip factor, and his arrangements appeal to serious jazz fans and are something akin to blessed-out ecstasy to smooth jazz aficionados. Therein also lies the problem. Botti hasn't significantly developed his sense of artifice since his debut album and, if anything, has delved deeper into its oh-so-cool bachelor pad faux elegance than ever on A Thousand Kisses Deep. The title track, a very moving song written by Leonard Cohen, is the finest moment on the disc. A spare guitar backdrop is adorned simply; Botti plays the melody in short, clipped staccato phrases for an entire full verse before the rhythm section enters. The effect is haunting, lushly romantic, and full of a sensual warmth that is as spooky as it is silky. The spare keyboards and brushed drums offer the song as something slightly Latin (thanks to the gorgeous guitar playing by Dean Parks). It could have been the love theme in Robert Rodriguez's Once Upon a Time in Mexico -- yes, it really does feel slightly mariachi! Burt Bacharach's "The Look of Love," despite a marvelous vocal by Chantal Kreviazuk, suffers from cute syndrome -- as does "The Last Three Minutes," another Bacharach tune. The straight pop stuff, such as "Ever Since We Met" with Bridget Benenate's breathy vocals, work very well. Botti's solo entwines the refrain and carries the singer's voice along into the ether. A duet with pianist Billy Childs on "My Funny Valentine" feels a tad stilted, but there is great tension resolution in the third chorus. "If I Could," another original, with the great Smokey Hormel on guitar in addition to Parks, is a true mood-setter. Smoky, slightly steamy with just a hint of a funk backdrop and Botti whispering through the pastel keyboard sounds with his own shade of deep blue and gauzy elegance, it's the babymaker on the album. In all, as with each of Botti's recordings, there is nothing inherently wrong here, and the formula is successful; it's one of the better mood records out there, but it's still formula, contrived and calculated to establish and keep the listener paying some degree of attention, but not too much. ~ Thom Jurek

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Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2 by Sonny Stitt (CD - 01/26/1999)
 

Legends of Acid Jazz: Sonny Stitt/Don Patterson, ...

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Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2 by Sonny Stitt (CD - 01/26/1999)
"Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2" (01/26/1999) Jazz Instrument Stitt, Sonny, Prestige RecordsOriginally released as two separate albums, Sonny Stitt's SOUL ELECTRICITY! and Don Patterson's FUNK YOU! Personnel includes: Sonny Stitt (saxophone); Don Patterson (organ); Charles McPherson (saxophone). Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Pat Martino, Billy Butler (guitar); Charles McPherson (alto saxophone, tenor saxophone); Don Patterson (organ); Billy James (drums). Liner Note Author: Joe Segal. Recording information: Englewood Cliffs, NJ (09/23/1968-09/24/1968); New York, NY (09/23/1968-09/24/1968). Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package -- Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category -- but for fans of either artist, the material is worth hearing. ~ Richie Unterberger

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Sarah Vaughan with Clifford Brown [Remaster] by Sarah Vaughan (CD - 02/29/2000)
 

Sarah Vaughan with Clifford Brown [Remaster] by ...

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Sarah Vaughan with Clifford Brown [Remaster] by Sarah Vaughan (CD - 02/29/2000)
"Sarah Vaughan with Clifford Brown [Remaster]" (02/29/2000) Jazz Instrument Vaughan, Sarah, Verve (USA)Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Digitally remastered by Kiyoshi Tokiwa. Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Personnel: Clifford Brown (trumpet); Sarah Vaughan (vocals); Herbie Mann (flute); Paul Quinichette (tenor saxophone); Jimmy Jones (piano); Roy Haynes (drums, snare drum). Audio Remixer: Kiyoshi Tokiwa. Liner Note Authors: Michael Ullman; Michael Bourne. Recording information: Fine Sound, New York, NY (12/16/1954/12/18/1954); New York, NY (12/16/1954/12/18/1954). Photographer: William Claxton. Arranger: Ernie Wilkins. This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices. Quinichette's solos are magnificent as well, his feathery tone nearly a perfect match for Vaughan's voice. Ironically though, neither Brown nor Quinichette or Mann appear on the album's highlight, "Embraceable You," which Vaughan performs with close accompaniment from the rhythm section: Jimmy Jones on piano, Joe Benjamin on bass, and Roy Haynes on drums. Vaughan rounds the notes with a smile and even when she's steeping to reach a few low notes, she never loses the tremendous feeling conveyed by her voice. In whichever incarnation it's reissued, Sarah Vaughan With Clifford Brown is one of the most important jazz-meets-vocal sessions ever recorded. ~ John Bush This album joined the talents of legendary jazz singer Sarah Vaughan with those of 24-year-old wonder-trumpeter Clifford Brown for a December, 1954 released on Mercury Records subsidiary EmArcy. A warm and welcoming hiss washes over this album, giving it a graceful, familiar patina. One feels like a privileged listener let in on an intimate closed session. Brown's playing is sharp and confident throughout, and at times even bears a bit of a racy, histrionic edge. But it is clearly Vaughan who steals the show in this set. The opening and closing strains of "Jim" demonstrate her peerless intonation, as her voice blends with the rest of the instruments to create a mellifluous whole. On "Lullaby of Birdland," Vaughan wallows around her soupy lower register only seconds before breaking into some bebop maneuvering. It is interesting to listen to what kind of interpretive character her tight vibrato and winsome pitch-modulation bring to standards like "September Song," and the Gershwins' "Embraceable You." This is a thoroughly representative collection from one of jazz's all-time greats.

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The Best Smooth Jazz Ever [3/1]
 

The Best Smooth Jazz Ever [3/1]

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The Best Smooth Jazz Ever [3/1]
"The Best Smooth Jazz...Ever! [2 CD Blue Note]" (03/01/2005) Jazz Instrument Various Artists, Liberty (USA)Performers include: Dave Koz, Al Jarreau, Bobby McFerrin, Casandra Wilson, Earl Klugh. Richard Elliott, Bob James, Donald Byrd, Medeski, Martin & Wood and many more. This incredibly light, fun, and surprisingly hip two-CD collection from Blue Note uses the term "smooth jazz" in an unexpected way. Rather than referring to the genre, "smooth" refers to the temperament and feel of these sometimes funky/sometimes poppy tracks that are selected from six decades of jazz. Dave Koz, Richard Elliot, and a couple other names could be filed in the smooth jazz section, but Adderley, Baker, and Byrd are too classic for that, and it's easy to imagine the legions of funky Medeski, Martin & Wood fans recoiling in horror over the title's Kenny G. insinuation. In actuality the disc is a whole lot of fun. Most of it is very hip fun and very little of it is wallpaper. The Bobby McFerrin, Ramsey Lewis, and Chet Baker cuts are obvious choices, but the inclusion of Charlie Hunter's smoky version of Roxy Music's "More Than This" is a very pleasant surprise and having such divergent sounds as St. Germain's "Latin Note" and Elza Soares' "Mas Que Nada" in the same collection is crafty cool. Perhaps Sauve Jazz would be a better title for this pleasing collection of refined and relaxing tunes. ~ David Jeffries

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