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The K?ln Concert by Keith Jarrett (CD - 11/16/1999)
 

The K?ln Concert by Keith Jarrett (CD - ...

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The K?ln Concert by Keith Jarrett (CD - 11/16/1999)
"The K?ln Concert" (11/16/1999) Jazz Instrument Jarrett, Keith, ECM Records (USA)Solo performer: Keith Jarrett (piano). Recorded live in Koln, Germany on January 24, 1975. Composer: Keith Jarrett. Personnel: Keith Jarrett (piano). Recording information: K?ln, Germany (01/24/1975); The Opera, Kolin Germany (01/24/1975). Recorded in 1975 at the K?ln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid -- and a few of the more sophisticated ones in high school -- owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that's another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program -- so ideally suited to CD -- was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett's intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection "because the chicks dug it." Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility -- if only briefly -- of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard. ~ Thom Jurek Albums that sell vast quantities are not always to be recommended. This exceptional example of solo piano is the biggest selling record in the 25 year history of the pioneering jazz label ECM. It is an almost perfect recording of the art of piano dynamics, full of emotion, and throughout the hour or so duration the listener is never bored. Jarrett has repeated his concerts of improvisation hundreds of times, many have been recorded, and presumably, many routes of his spontaneity have led to blind alleys of jazz doodling. This is the best recorded example of the art, unlikely to be bettered.

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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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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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Multiplicity [7/12]
 

Multiplicity [7/12]

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Multiplicity [7/12]
"Multiplicity *" (07/12/2005) Jazz General Weckl, Dave, Concord Records (USA)Dave Weckl: Dave Weckl; Tom Kennedy, Ric Fierabracci (bass instrument); Gary Meek, Paul Pesco, Steve Weingart, Richie Gajate Garcia. Personnel: Dave Weckl (drums, timbales, percussion, programming); Paul Pesco (guitar); Gary Meek (alto flute, bass clarinet, soprano saxophone, tenor saxophone); Steve Weingart (keyboards); Richie Gajate Garcia (congas, percussion). Audio Mixer: Dave Weckl. Recording information: Garage, Woodland Hills, CA (01/2005). Editor: Dave Weckl. Although still best known for his association with Chick Corea, drummer Dave Weckl has led an underrated group of his own for quite a few years. His core band, a quartet with keyboardist Steve Weingart, electric bassist Tom Kennedy, and saxophonist Gary Meek, is a little reminiscent of the Yellowjackets in its use of catchy melodies and appealing grooves and its ability to perform post-bop jazz with the sensibility of rock. Weckl does not dominate the music and gives Meek and Weingart plenty of solo space. His band deserves to be heard, and Multiplicity is an excellent example of the quartet at its best. ~ Scott Yanow

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Saxophone Colossus [SACD Hybrid]
 

Saxophone Colossus [SACD Hybrid]

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Saxophone Colossus [SACD Hybrid]
"Saxophone Colossus" (07/09/2002) Jazz Instrument Rollins, Sonny, APO (Analogue Production Originals)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. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. 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 their artistic integrity. By his own admission, even as a jazz tadpole, Sonny Rollins possessed a brawny sound and a powerful rhythmic drive...but other elements were missing. With SAXOPHONE COLOSSUS, Sonny Rollins created a personal vision of the tenor saxophone and modern jazz brimming over with joy and conviction. SAXOPHONE COLOSSUS was a breakthrough recording, praised for its lyrical power, thematic logic, relentless swing and spontaneous inventio

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The Best of Jimmy Smith: The Blue Note Years by Jimmy Smith (Organ) (CD - 11/01/1988)
 

The Best of Jimmy Smith: The Blue Note Years by ...

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The Best of Jimmy Smith: The Blue Note Years by Jimmy Smith (Organ) (CD - 11/01/1988)
"The Best of Jimmy Smith: The Blue Note Years" (11/01/1988) Jazz Instrument Smith, Jimmy (Organ), Blue Note Records (USA)Contains 1 mono track. One of the undisputed kings of the jazz organ, Jimmy Smith cut many of his finest recordings for the venerable Blue Note label in the late 1950s and early '60s. This collection presents six of these tracks, along with the chronologically out-of-place, but sonically in-step "Fungii Mama," a deft, Latin-tinged number from '86. "The Sermon" and "Back at the Chicken Shack," two funky originals, are highlights of the set, with Smith offering up some of his most memorable blues-tinged Hammond B3 lines. These and other tunes, such as "The Jumpin' Blues," are sterling examples of the then-nascent soul-jazz movement, a groove-centric style popularized in great part by Blue Note in the '60s and '70s. Never one to be easily pigeonholed, however, Smith also performs an undeniably nimble take on the traditional military-cadenced "When Johnny Comes Marching Home," proving that he could be an eclectic, unpredictable, and wonderfully playful performer. Although Smith is arguably best represented by his full albums of the era (see THE SERMON! and PRAYER MEETIN'), this compilation provides an excellent introduction to the jazz legend. Covering prime early recordings from 1956-1960 and one mid-'80s cut, Blue Note's The Best of Jimmy Smith offers up a fine introduction to the trailblazing jazz organist. Smith's Blue Note sessions not only introduced the world to the complex solo possibilities of the Hammond B3 organ, but simultaneously ushered in the soul-jazz era of the '60s, spawning a wealth of fine imitators in the process. Before delving into more commercial terrain on Verve in the late '60s, Smith cut a ton of jam-session dates for Blue Note, often with the help of hard bop luminaries like trumpeter Lee Morgan, alto saxophonist Lou Donaldson, tenor saxophonists Tina Brooks and Stanley Turrentine, and drummers Art Blakey and Donald Bailey. All are heard here on classic cuts like "The Sermon," "Back at the Chicken Shack," and "The Jumpin' Blues," with Smith regular Turrentine and a young Morgan availing themselves in especially fine form. For his part, Smith eats up the scenery on all the sides here, taking his solo to particularly impressive heights on a fleetly swinging rendition of "When Johnny Comes Marching Home." Rounded out by a 1986 reading of Blue Mitchell's samba groove "Fungii Mama" (marking Smith's return to Blue Note after a 23 year absence), The Best of Jimmy Smith qualifies both as an excellent first-choice disc for Smith newcomers and an appropriate entr?e into the soul-jazz catalog. ~ Stephen Cook

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All Rise
 

All Rise

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All Rise
"All Rise" (10/01/2002) Jazz Instrument Marsalis, Wynton, Sony ClassicalPersonnel: Wynton Marsalis (trumpet); The Paul Smith Singers, The Northridge Singers Of California State University At Northridge, Morgan Stated Choir, Lincloln Center Jazz Orchestra, Los Angeles Philharmonic, Esa-Pekka Salonen. Recorded at Todd A-O Scoring Stage, Los Angeles, California on September 14 & 15, 2001. Includes liner notes by Stanley Crouch and Wynton Marsalis.

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On a Misty Night: Have You Ever Seen the Rain/Use the Stairs by Stanley Turrentine (CD - 05/14/2002)
 

On a Misty Night: Have You Ever Seen the Rain/Use ...

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On a Misty Night: Have You Ever Seen the Rain/Use the Stairs by Stanley Turrentine (CD - 05/14/2002)
"On a Misty Night: Have You Ever Seen the Rain/Use the Stairs" (05/14/2002) Jazz Instrument Turrentine, Stanley, Fantasy (distributor)Contains 2 LPs on 1 CD: HAVE YOU EVER SEEN THE RAIN (1975)/USE THE STAIRS (1980). Personnel includes: Stanley Turrentine (tenor saxophone); Gene Page, Wade Marcus (arranger, conductor); Freddie Hubbard (trumpet); Cedar Walton (piano); Patrice Rushen (keyboards); Gene Bertoncini (acoustic & electric guitars); Ron Carter (bass); Jack DeJohnette, Grady Tate (drums). Producers: Gene Page, Billy Page, Stanley Turrentine. Recorded at Fantasy Studios, Berkeley, California and Aura REcording, New York, New York in July 1975 and March-April 1980. Personnel: Stanley Turrentine (tenor saxophone); Jackie Ward, Jim Gilstrap, John Lehman, Marti McCall (vocals); David T. Walker, Jay Graydon (guitar); Gene Bertoncini (acoustic guitar, electric guitar); Harvey Estrin (flute, soprano saxophone); Phil Bodner (clarinet, oboe, English horn, alto saxophone); Walter Kane (clarinet, bassoon, tenor saxophone); Henry Freeman (clarinet, tenor saxophone); Clark Terry, Freddie Hubbard, Joe Wilder, Jon Faddis (trumpet, flugelhorn); Brooks Tillotson, William Hamilton, Paul Ingraham, Vincent DeRosa, John Clark , Sharon Moe (French horn); Dave Bargeron, Keith O'Quinn (trombone); Don Butterfield (tuba); Cedar Walton (piano); Patrice Rushen (keyboards); Clark Spangler (synthesizer); Grady Tate, Jack DeJohnette (drums); Eddie "Bongo" Brown (congas); Rubens Bassini (percussion). Audio Mixer: Tony May. Audio Remasterer: Kirk Felton. Audio Remixers: Don Cody; Sy Mitchell. Recording information: Aura Recording Inc., NY (07/1975-04/1980); Fantasy Studios, Berkeley, CA (07/1975-04/1980); Whitney Studios, Glendale, CA (07/1975-04/1980). Photographer: Phil Bray. Arrangers: Gene Page; Kim Richmond; Tommy Turrentine; Wade Marcus. Two former LPs are completely reissued on this single CD. The first set, Have You Ever Seen the Rain, was recorded in 1975 shortly after tenor saxophonist Stanley Turrentine left the CTI label, and it is a rather commercial effort despite a couple appearances by trumpeter Freddie Hubbard. Mr. T. plays well, as always, but the arrangements by Gene Page for an expanded rhythm section, strings, and voices are quite forgettable and Turrentine is unable to uplift the music much. The second album, 1980's Use the Stairs, has Turrentine with a big band arranged by Wade Marcus, and is more jazz-oriented, with the highlights including "The Lamp Is Low," "On a Misty Night," and "Jordu." But one should acquire Stanley Turrentine's earlier Blue Note and CTI recordings first, for those let him cut loose much more than most of his Fantasy albums. ~ Scott Yanow

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Django by Joe Beck (Jazz) (CD - 11/04/2003)
 

Django by Joe Beck (Jazz) (CD - 11/04/2003)

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Django by Joe Beck (Jazz) (CD - 11/04/2003)
"Django" (11/04/2003) Jazz Instrument Beck, Joe (Jazz), Digital Music ProductsThis is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Joe Beck (alto guitar); Ali Ryerson (alto flute). Recorded at Ambient Recording, Stamford, Connecticut on February 8-10, 2001. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Joe Beck and Ali Ryerson have been working as a team for more than four years, playing concerts and other gigs under the name Duo. This is their second album, and, with the name Django, one would assume it is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. John Lewis' "Django" is one of the tunes on the agenda that they play within the chamber style. Ryerson's passion for Brazilian music is documented on her six albums for Concord Jazz. She gets to show her mastery of this tempo on "Carioca Blue" and "O Barquinho." Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. Their mutual comfort is evident on such tunes as the medley "Come Together"/"Alone Together" and expresses itself on a haunting rendition of "Tenderly." If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener's attention will not drift away. Recommended. ~ Dave Nathan

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Another Beginning/Hustle to Survive by Les McCann (CD - 03/14/2006)
 

Another Beginning/Hustle to Survive by Les McCann ...

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Another Beginning/Hustle to Survive by Les McCann (CD - 03/14/2006)
"Another Beginning/Hustle to Survive" (03/14/2006) Jazz Instrument McCann, Les, Collectables Records2 LPs on 1 CD: ANOTHER BEGINNING (1974)/HUSTLE TO SURVIVE (1975). Personnel includes: Les McCann (vocals, piano, electric piano, clavinet, synthesizer); Jon Faddis, Joe Wilder (trumpet); Herbie Hancock (piano); Chuck Rainey (electric bass); Cissy Houston (background vocals). Producers include: Joel Dorn, Les McCann, Jack Shaw. Originally released on Atlantic (1666) & Atlantic (1679). Following the surprising commercial success of "Compared to What" in 1969, pianist Les McCann never managed to get another hit as hard as he tried. These two sessions originally released for Atlantic found McCann struggling with that goal instead of concentrating on his talent as a jazz musician. Unfortunately, the lackluster material found McCann merely falling back on the most predictable aspects of mid-'70s soul and R&B. McCann sings on a majority of the tracks, while the synthesizer noodling and string arrangements have not dated well. Only the Peter Allen/Carole Bayer Sager-penned "Will We Ever Find Our Fathers," featuring Herbie Hancock on piano, is of note. ~ Al Campbell

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I Remember You by Philip Catherine Trio (CD - 12/01/1991)
 

I Remember You by Philip Catherine Trio (CD - ...

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I Remember You by Philip Catherine Trio (CD - 12/01/1991)
"I Remember You" (12/01/1991) Jazz Instrument Catherine, Philip, Criss Cross (Netherlands)Personnel: Philip Catherine (guitar); Tom Harrell (flugelhorn). Recording information: Studio 44; Monster (10/19/1990). A wonderfully sparse and subtle offering from guitarist Philip Catherine, featuring Tom Harrell on fl?gelhorn and Hein Van de Geyn on bass. This drumless trio pays memorial tribute to Chet Baker with a tranquil, melancholy set of standards and originals, beginning with Miles Davis' "Nardis" and continuing with an extended Catherine original titled "Twice a Week." The set also includes a swinging "I Remember You," a mid-tempo "My Funny Valentine," and a nod to hard bop with Hank Mobley's "Funk in Deepfreeze." Harrell contributes two originals, "From This Time, From That Time" and "Songflower," while Van de Geyn weighs in with a dark waltz, "Soul Role." Catherine closes the album with his own angular, altered "Blues for G.T." Catherine's bright, twangy sound and tasteful use of vibrato, harmonics, octave leaps, and volume and chorus effects distinguish him from many other straight-ahead jazz guitarists. Van de Geyn proves himself to be not only an excellent timekeeper, but also a conversational ensemble player. And this stripped-down setting especially flatters the velvety, lyrical brilliance of Tom Harrell. ~ David R. Adler

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Studio One Ska
 

Studio One Ska

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Studio One Ska
"Studio One Ska" (11/08/2004) Reggae Various Artists, Soul JazzRecording information: Jamaica Recording Studio, Kingston, Jamaica. Jamaica earned its independence in 1962, and in many ways ska was the joyous and energetic expression of that event, a music that burst past its lineage of American jazz and R&B into a kinetic area all its own, and until around 1965, when the hangover began to wear off and the slower, moodier rhythms of rocksteady began to take over, ska presented the fingerprint of Jamaica to the world. Front and center in the ska explosion was Clement Dodd's immortal Studio One, which opened its doors in 1963, and that studio's house band, the Skatalites, who are featured in one way or another on every track on this fine sampler of Studio One's ska years. Every side collected here is a classic, but Jackie Mittoo's "El Bang Bang," Tommy McCook's "Sampson" and Don Drummond's "Don Cosmic" (all three musicians were big parts of the Skatalites collective) are particular standouts, full of the ragged, loose joy that is part and parcel of early ska. ~ Steve Leggett

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Ken Burns Jazz: The Story of America's Music [Box] by Various Artists (CD - 11/14/2000)
 

Ken Burns Jazz: The Story of America's Music ...

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Ken Burns Jazz: The Story of America's Music [Box] by Various Artists (CD - 11/14/2000)
"Ken Burns Jazz: The Story of America's Music [Box]" (11/14/2000) Jazz Instrument Various Artists, Legacy RecordingsCompilation producers include: Ken Burns, Steve Berkowitz, Sarah Botstein, Michael Cuscuna, Peter Miller. Includes liner notes by Geoffrey C. Ward, Michael Cuscuna, and Loren Schoenberg. Digitally remastered by Seth Foster and Mark Wilder (Sony Studios, New York, New York) and Kevin Reeves (Universal Mastering Studios-East, Edison, New Jersey). This is part of the Columbia/Legacy Ken Burns JAZZ series. Personnel: Jimmy Garrison (vocals, chant); Mississippi Fred McDowell (vocals, guitar); Charles Gaylord (vocals, violin); Chano Pozo (vocals, congas); Ella Fitzgerald, Ray Eberie, Irene Daye, Jack Fulton, Marion Hutton, Baby Cox, Charles Mingus, Billie Holiday, Bing Crosby (vocals); "Big" Mike McKendrick (guitar, banjo); Eddie Durham (guitar, trombone); Danny Barker , Eddie Lang, Eric Gale, Ernest Ashley, Freddie Green, Will Johnson, Al Avola, Richard Fisher , Al Norris, Lawrence Lucie, Leroy Berry, Paul Chapman, Jimmy Miller , John McLaughlin , Lonnie Johnson, Ray Biondi, Pierre Ferret, Al Casey, Jimmy McLin, Bobby Johnson, Charlie Byrd (guitar); Kevin Breit (electric guitar, banjo); Charlie Christian (electric guitar); Fred Guy (banjo, tuba); Bill Johnson, Buddy Christian , Mancy Carr, Tony Gattuso, Charlie Dixon (banjo); Bronislaw Gimpel, Oscar Madera, Kurt Dieterle, Mario Perry, Carroll Dickerson, Milton Lomask, Joseph Malin, Matty Malneck, St?phane Grappelli, Harold Kohon, David Nadien, Max Hollander, Max Ellen, Harry Lookofsky (violin); Frank Brieff, Al Brown (viola); Frank Miller , Charles McCracken (cello); Wayman Carver (flute, tenor saxophone); Calvin Jones (piccolo); Don Cherry, Thomas Morris (cornemuse); Heine Beau, Eddie Barefield, Hal McLean, Garvin Bushell, Hal McIntyre, Chet Hazlett, Albert Nicholas, Charlie Holmes (clarinet, alto saxophone); Coleman Hawkins, Rube Crozier, Sam Musiker (clarinet, tenor saxophone); Ernie Caceres, Harry Carney (clarinet, baritone saxophone); Darnell Howard, Edmond Hall, Jimmy Dorsey, Joe Darensbourg, Johnny Dodds, Peanuts Hucko, Rudy Jackson, Barney Bigard, Benny Goodman, Buster Bailey (clarinet); Mitch Miller (oboe); Jes£s Hern ndez, Arturo Ayala, Antonio Gonzales (reeds); Ornette Coleman (saxophone); Otto Hardwick, Sidney Bechet (soprano saxophone); George Koenig, Lester Boone, Dan Grissom, Eustis Moore, Eric Dolphy, Howard E. Johnson , George James, Jackie Fields, Bert Curry, Hilton Jefferson, Ed Brown , Manny Gershman, Ernie Powell, Jimmy Powell , Johnny Hodges, Lee Konitz, Louis Jordan, Russell Procope, Toots Mondello, Paul Desmond, Hank Freeman, Cannonball Adderley, Charlie Parker (alto saxophone); Stanley Payne, Ronnie Perry , Dexter Gordon, Dick Clark , Kenneth Hollon, Walter Bates, Hank Mobley, Herschel Evans, Joe Gayles, Stan Getz, Teddy Hill, Teddy McRae, Tex Beneke, Tony Pastor, Vido Musso, Al Klink (tenor saxophone); Gerry Mulligan, Earl Carruthers, Phil Bodner (baritone saxophone); Louis Armstrong (trumpet, cornet, piano); Frank De Broit, Jake "Vernon" Porter (trumpet, cornet); Chet Baker , Manny Klein, Nate Kazebier, Clyde Hurley, Joe Keyes, Elmer Chambers, Dizzy Gillespie, Doc Cheatham, Ed Lewis, Leigh Knowles, Chuck Peterson, Clarence Brereton, Freddie Jenkins, Homer Hobson, Demas Dean, Jimmy Blake, John Best , Harry "Sweets" Edison, Harry James, Otis Johnson, Henry "Red" Allen, Henry Busse, Hot Lips Page, Charlie Margulis, Herbie Jones, Dale McMickle, Claude Bowen, Kenny Dorham, Marcus Belgrave, Mario Bauz , Mercer Ellington, Miles Davis, Sy Oliver, Taft Jordan, Ted Curson, William Cat Anderson, Zilner Randolph, Wendell Culley, Louis Metcalf, Wallace Jones, Bubber Miley, Buck Clayton, Bunny Berigan (trumpet); George Mitchell, King Oliver, Bix Beiderbecke, Bobby Hackett (cornet); Bill Rank, Jack Lacey, Al Mastern, Joseph Nanton, Eddie Edwards, George Arus, Russell Bowles, Herb Fleming, Honore Dutrey, Chester Burrill, Ward Andrews, Eddie Crumbley, Dave Jacobs, Amos Gillard, Boyce Cullen, J.C. Higginbotham, J.J. Johnson , Jay Kelliher, Wilbur Hall, Ted Kelly, Earl Hardy, John Mayfield, Keg Johnson, Kid Ory, Lawrence Brown , Murray McEachern, Rafael Hern ndez, Art

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$30
History of Jazz, Vol. 2: Dedications * by Michael Moore (Bass) (CD - 03/05/2002)
 

History of Jazz, Vol. 2: Dedications * by Michael ...

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$8
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History of Jazz, Vol. 2: Dedications * by Michael Moore (Bass) (CD - 03/05/2002)
"History of Jazz, Vol. 2: Dedications *" (03/05/2002) Jazz Instrument Moore, Michael (Bass), ArborsPersonnel: Michael Moore (bass, piano); Ken Peplowski (tenor saxophone, clarinet); Tom Melito (drums). Recorded at Avatar Studios, New York, New York on April 3-4, 2001. Includes liner notes by Ira Gitler. A glance at the older gentleman on the cover of The History of Jazz, Vol. 2: Dedications might convince the listener that the music within originates from some bygone era. A good guess, perhaps, but only half right. Bassist Michael Moore has had a long distinguished career and he does enjoy older styles, but he continues to make vibrant and accessible jazz. Here he is joined once again by clarinetist/tenor Ken Peplowski and drummer Tom Melito on a few classics and a few originals. The spare arrangements create a spacious sound that is loose and intimate. There's a bouncy five-minute take on Cannonball Adderley's "Wabash," with Peplowski's fluid clarinet lines circling above a busy rhythm section. A kinder, gentler approach offers a delicate rendering of Moore's "Cave for the Heart: For Bill Evans," while the boys pull out all the stops for "Cherokee." The music never feels like a nostalgia trip, partly because of the sparkling performances but also because this trio plays several contemporary pieces. There's the bizarre post-bop of "Shorter Tale: For Wayne Shorter" and a lovely version of Miles Davis' "Nardis." Moore, Peplowski, and Melito show themselves to be flexible and exciting players on The History of Jazz, Vol. 2. Fans of each of the players will enjoy this historical survey. ~ Ronnie D. Lankford Jr.

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$8
Big Band Magic: The Sound of the Fabulous Forties by Various Artists (CD) [IMPORT - UK]
 

Big Band Magic: The Sound of the Fabulous Forties ...

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$11
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Big Band Magic: The Sound of the Fabulous Forties by Various Artists (CD) [IMPORT - UK]
"Big Band Magic: The Sound of the Fabulous Forties" (02/13/2001) Jazz Instrument Various Artists, Jasmine Records (UK)Performers include: Glenn Miller, Artie Shaw, Duke Ellington, Tommy Dorsey, Harry James, Les Brown, Benny Goodman, Gene Krupa, Stan Kenton, Woody Herman, Kay Kyser. Contains 48 tracks. Liner Note Author: Don Kennedy.

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$11
My Favorite Things by John Coltrane (CD - 10/25/1990)
 

My Favorite Things by John Coltrane (CD - ...

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$1
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My Favorite Things by John Coltrane (CD - 10/25/1990)
"My Favorite Things" (10/25/1990) Jazz Instrument Coltrane, John, Atlantic (USA)Personnel: John Coltrane (soprano & tenor saxophones); McCoy Tyner (piano); Steve Davis (bass); Elvin Jones (drums). Recorded at Atlantic Studios, New York, New York on October 21, 24 & 26, 1960. Includes liner notes by Bill Coss. John Coltrane's 1961 to 1963 European tours have been available in various set configurations on numerous albums over the years, some legally licensed and some not. As a rule, these are fine shows, although the sound quality can vary tremendously depending on the source tape used. Every Coltrane fan has a couple of these "gray area" live sets in his collection. This one has sound variances from track to track, ranging from fair to poor -- sometimes you can hear the piano and sometimes you can't; sometimes the drums are fine and sometimes they are a high washout of cymbals. Trane always comes through the tape hiss and din, though, and as archival records of a jazz giant playing live, these sorts of collections have their usefulness, but only deeply obsessive Coltrane fans really need to seek them out. ~ Steve Leggett Although seemingly impossible to comprehend, this landmark jazz recording was made in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane's Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet -- which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) -- allow for tastefully executed passages ? la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio -- most notably Tyner -- gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments. ~ Lindsay Planer John Coltrane's 1961 to 1963 European tours have been available in various set configurations on numerous albums over the years, some legally licensed and some not. As a rule, these are fine shows, although the sound quality can vary tremendously depending on the source tape used. Every Coltrane fan has a couple of these "gray area" live sets in his collection. This one is drawn from the 1963 tour and features the classic quartet with Coltrane playing tenor and soprano (on "My Favorite Things") sax, Elvin Jones on drums, Jimmy Garrison on bass, and McCoy Tyner on piano. There are sound variances from track to track -- sometimes you can hear the piano and sometimes you can't; sometimes the drums are fine and sometimes they are a high washout of cymbals. As archival records of a truly classic jazz group playing live and stretching out a bit, though, these sorts of collections have their usefulness, but only deeply obsessive Coltrane fans really need to seek them out. ~ Steve Leggett John Coltrane's 1961 to 1963 European tours have been available in various set configurations on numerous albums over the years, some legally licensed and some not. As a rule, these are fine shows, although the sound quality can vary tremendously depending on the source tape used. Every Coltrane fan has a couple of these "gray area" live sets in his collection. This one is drawn from the 1963 tour and features the classic quartet with Coltrane playing tenor and soprano (on "My Favorite Things") sax, Elvin Jones on drums, Jimmy Garrison on bass, and McCoy Tyner on piano. There are sound variances from track to track

starting at

$1
Prelude [Bonus Tracks] by Jack McDuff (CD - 09/09/2003)
 

Prelude [Bonus Tracks] by Jack McDuff (CD - ...

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$5
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Prelude [Bonus Tracks] by Jack McDuff (CD - 09/09/2003)
"Prelude [Bonus Tracks]" (09/09/2003) Jazz Instrument McDuff, Jack, Prestige RecordsPersonnel includes: Jack McDuff (piano, celeste, Hammond B-3 organ); Benny Golson (arranger, conductor); Red Holloway, Harold Ousley (tenor saxophone); George Benson, Pat Martino (guitar); Richard Davis (bass); Joe Dukes, Mel Lewis (drums); Willie Rodriguez (percussion). Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey between 1963 & 1966. Personnel: Jack McDuff (piano, celesta, organ); George Benson , Pat Martino (guitar); George Marge (saxophone); Marvin Holladay (alto saxophone, tenor saxophone); Harold Ousley, Red Holloway (tenor saxophone); Jerry Kail, Danny Stiles (trumpet); Bob Northern, Don Ashworth (French horn); Tom McIntosh, Billy Byers, Burt Collins (trombone); Joe Dukes, Mel Lewis (drums); Willie Rodriguez (percussion). Audio Remasterer: Kirk Felton. Liner Note Authors: Michael Gold; Lew Futterman. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (12/24/1963-02/??/1966). Arranger: David Guion. Prelude was a successful match of McDuff's small-combo organ jazz with big band arrangements by Benny Golson. In part, that was because the blend was well-executed, never fighting with or drowning out McDuff's organ. But it was also because the mixture made it stand out amidst the scads of organ jazz records being churned out in the early '60s. While a very young George Benson was in the core quartet on guitar, a dozen others supplemented the players, including trumpets, trombones, French horns, and saxophones. McDuff wrote about half the material, and while Golson was responsible for just one number, it's the standout title track, "Prelude." That nine-minute piece moves from an opening of almost classical orchestrated grand solemnity to a slow-bopping section dwelling on McDuff's mourning organ. Nothing else on the album matches it, but the rest is pretty good, sometimes leading off with other Golson orchestrations; Benson gets a chance to steal the solo spotlight for a bit in "Dig Cousin Will." The 2003 CD reissue of the album more than doubles its length with 11 bonus tracks, all taken from 1964-1966 sessions (originally released on five different LPs) which were either arranged and conducted by Golson, or featured Benny Golson's Big Band as players. ~ Richie Unterberger Though the first nine tracks of this CD duplicate McDuff's original Prelude LP (recorded in December 1963), this expanded reissue more than doubles its length with 11 bonus tracks. All of the bonus cuts are taken from 1964-1966 sessions (originally released on five different LPs) which were either arranged and conducted by Benny Golson (who also arranged and conducted on the Prelude album), or featured the Benny Golson Quartet as players. Prelude itself was a successful match of McDuff's small-combo organ-jazz with big band arrangements by Benny Golson. In part that was because the blend was well-executed, never fighting with or drowning out McDuff's organ. But also it was because the mixture made it stand out amidst the scads of organ jazz records being churned out in the early '60s. While a very young George Benson was in the core quartet on guitar, a dozen others supplemented the players, the additional instrumentation including trumpets, trombones, French horns, and saxophones. McDuff wrote about half the material, and while Golson was responsible for just one number, it's the standout title track, "Prelude." That nine-minute piece moves from an opening of almost classical orchestrated grand solemnity,to a slow-bopping section dwelling on McDuff's mourning organ. Nothing else on the album matches it, but the rest is pretty good, sometimes leading off with other Golson orchestrations; Benson gets a chance to steal the solo spotlight for a bit in "Dig Cousin Will." The bonus material tends toward a more pop-oriented repertoire than Prelude does, with covers of soundtrack themes by Elmer Bernstein ("Theme From The Carpetbaggers") and Henry Mancini ("Theme From The Pink Panther"), and versions of "Shortnin' Bread," Bacharach-David's "Walk on By," and the Motown hit "Too Many Fish in the Sea." But this stuff is hardly the se

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$5
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