Saxophone instrumental music in Jazz Instrumental Music

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"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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"Baritone Sax: Lars Gullin/Lars Gullin Swings" (03/14/2006) Jazz Instrument Gullin, Lars, Collectables Records2 LPs on 1 CD: BARITONE SAX (1956)/LARS GULLIN SWINGS (1978). Includes liner notes by Leonard Feather and Bengt-Axel Fungo. BARITONE SAX: Personnel: Lars Gullin (baritone saxophone); Arne Domnerus (alto saxophone); Rolf Blomquist, Carl-Henrik Norin (tenor saxophone); Rune Falk (baritone saxophone); Weine Behnliden, Bengt-Arne Wallin, Jan Allan, Nils Skoog (trumpet); Ake Persson, George Vernon, Gordon Olsson (trombone); Rune Ofwerman (piano); George Riedel, Bengt Carlsson (bass); Nils-Bertil Dahlander (drums). Recorded in Stockholm, Sweden. Originally released on Atlantic (1246). LARS GULLIN SWINGS: Personnel: Lars Gullin (baritone saxophone); Arne Domnerus (alto saxophone); Rolf Blomquist, Carl-Henrik Norin (tenor saxophone); Rune Falk (baritone saxophone); Weine Rehnliden, Bengt-Arne Wallin, Jan Allan, Nils Skoog (trumpet); Ake Persson, George Vernon, Gordon Olsson (trombone); Rune Ofwerman (piano); Bengt Carlsson, George Riedel (bass); Nils-Bertil Dahlander (drums). Recorded in Stockholm, Sweden. Originally released on East-West (4003). Personnel: Lars Gullin (baritone saxophone); Arne Domn?rus (alto saxophone); Carl-Henrik Norin, Rolf Blomqvist (tenor saxophone); Rune Falk (baritone saxophone); Jan Allan, Bengt-Arne Wallin (trumpet); Ake Persson (trombone); Rune Ofwerman (piano). Liner Note Author: Leonard Feather. Recording information: Stockholm, Sweden (04/25/1956-??/??/1958). Arranger: Gosta Theselius. This is a good introduction to the remarkable Lars Gullin, a masterful baritone sax player, writer, arranger, and a key figure in Sweden's jazz scene. The CD, which combines the LPs Baritone Sax from 1956 and Lars Gullin Swings from 1958, presents Gullin as a complete musician and provides insight into the small but dynamic Swedish jazz community of the 1950s and '60s. The performances show that Gullin and his gifted colleagues had thoroughly absorbed bop, Basie-style swing, and the West Coast sound, transforming these influences into a style of their own. Throughout, Gullin's playing is the equal of any of his contemporaries. His light sound and touch, and occasionally discursive phrasing, suggest Gerry Mulligan as an obvious reference point, but Gullin's technical command and improvising power make him an original. The settings range from quartets to big bands, the same players combining and recombining to form the various groups. Gosta Theselius's big band arrangements are thoughtful, fluid structures that shift and develop seamlessly between ensemble passages and solo space. Gullin's own arrangements for the smaller groups are also impressive, and his three originals are high points. While Gullin is the featured player, there are excellent solos from pianist Rune Ofwerman, trombonist Ake Persson, and alto player Arne Domnerus. Ofwerman, drummer Nils-Bertil Dahlander and bassist George Riedel (except three tracks where Bengt Carlsson is the bassist) form the terrifically cohesive rhythm section that ignites and animates these performances. ~ Jim Todd

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"Profile" (07/27/1993) Jazz Instrument Cole, Richie (Sax), Heads Up RecordsPersonnel: Richie Cole (alto saxophone), Dick Hindman (piano), Rich Kuhns (piano, synthesizer), Henry Johnson (guitar), Seward McCain, Frank Passantino (bass), Scott Morris (drums, percussion). Recorded at Mobius Music, San Francisco, California on April 5-7, 1993. Includes liner notes by Zan Stewart and Richie Cole. Profile was Cole's first recording in four years, and it found the altoist's sound and style virtually unchanged from the earlier days. Joined by a superior rhythm section that includes pianist Dick Hindman and guitarist Henry Johnson, Cole is in top form on diverse material ranging from his original "Presidential Sax" and the lyrical "Street of Dreams" to three Carroll Coates originals and the pop tune "Volare." It's a particularly uplifting bop session. ~ Scott Yanow

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"The Milwaukee Tapes, Vol. 1" (05/09/2000) Jazz Instrument Anderson, Fred (Sax), Atavistic RecordsPersonnel: Fred Anderson (tenor saxophone); Billy Brimfield (trumpet); Larry Hayrod (bass); Hamid Drake (drums, tablas). Recorded live in Milwaukee, Wisconsin in 1980. Includes liner notes by John Corbett. Digitally remastered by Mike Hagler (January 2000, King Size Sound Labs). This is part of Atavistic's Unheard Music Series. Personnel: Fred Anderson (tenor saxophone); Billy Brimfield (trumpet); Hamid Drake (drums, tabla). Audio Mixers: Fred Anderson ; Hamid Drake; Mike Hagler. Liner Note Author: John Corbett . Recording information: Milwaukee (1980). Photographer: Jimmy Jones Jr. . A vitally important release in Atavistic's Unheard Music Series of reissues and new releases, the Fred Anderson Quartet's The Milwaukee Tapes, Vol. 1, catches the tenor saxophonist working in his familiar quartet setting on a beautifully recorded (on an eight track mobile studio at a Milwaukee nightclub in early 1980) live set made right before Anderson stopped recording entirely and severely curtailed his live gigs for a good decade and a half. Anderson and compatriots (longtime trumpeter Billy Brimfield, bassist Larry Hayrod, and drummer Hamid Drake) are at the top of their game singly and collectively. Drake and Hayrod provide a solid, occasionally tempestuous underpinning for Anderson and Brimfield's lyrical solos on the opening "A Ballad for Rita"; Brimfield in particular sounds like he's simultaneously channeling both the moody Miles Davis of Sketches of Spain and the don't-mess-with-me antagonism of the Agharta era. "Black Women" and "The Bull" sound like they were influenced by Charles Mingus' days with Roland Kirk in his front line, while "Bombay (Children of Cambodia)" -- complete with a very ESP-Disk tabla part by Drake -- and the Albert Ayler-esque "Planet E" recall the glory days of the birth of the AACM. ~ Stewart Mason Tenor saxophonist Fred Anderson has long been a fixture of Chicago's cutting-edge jazz scene. He's a founding member of that city's hugely influential Association for the Advancement of Creative Musicians. Anderson is something of a rarity. Though he absorbed the advances of Ornette Coleman and Albert Ayler, he has always been firmly grounded in the mainstream, blues-rich sounds of Sonny Rollins and especially Gene Ammons. Anderson doesn't have many recordings, and that makes THE MILWAUKEE TAPES doubly valuable. Recorded live in 1980, this stark but well-recorded set finds Anderson and company stretching out on five lengthy pieces that balance wild yet focused improvisation with engaging rhythmic and melodic ideas. Highlights are the pensive, Indian-tinged "Bombay" and the punchy, Rollins-esque "Planet E." On the later, trumpet player Billy Brimfield shines, his solo combining the bristling crackle of Freddie Hubbard and the questing, wide-open quality of Don Cherry. Anderson's hearty tenor swings and shouts mightily throughout.

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"As Was" (03/20/2001) Jazz Instrument Rova, Atavistic RecordsRova Sax Quartet: Jon Raskin, Larry Ochs, Andrew Voigt, Bruce Ackley. Producers: Larry Ochs, Henry Kaiser. Reissue producer: John Corbett. Recorded at 1750 Arch Street Studios, Berkeley, California in April 1981. Originally released on Metalanguage Records (ML 119). Includes liner notes by Michael Palmer & Larry Ochs. All tracks have been digitally remastered. Personnel: Andrew Voigt (flute, soprano saxophone, alto saxophone); Jon Raskin (clarinet, soprano saxophone, alto saxophone, baritone saxophone); Bruce Ackley (clarinet, soprano saxophone); Larry Ochs (soprano saxophone, alto saxophone, tenor saxophone). Audio Remasterer: Paul Stubblebine. Liner Note Author: Larry Ochs. Recording information: Berkeley, CA (04/1981). Photographer: Luigi Zanon. An early release by San Francisco's free jazz-meets-modern classical Rova Saxophone Quartet, As Was finds the group branching into a variety of stylistic areas but keeping their free jazz roots firmly at the base of their music. (Imagine four Anthony Braxtons in a frisky and experimental mood.) The set starts with the brief "Daredevils," a playful blast of honk-blat-phwee that co-founder Larry Ochs describes in the liner notes as "a little hit of the circus." The mood turns superficially more serious on "Quill," an exploration for soprano saxophone with an intriguing call-and-response structure. "Under the Street Where You Live" returns to the cacophony of the opener, with a few Albert Ayler-style solos unspooling over a main theme that honestly resembles a herd of angry geese at times. The expansive 20-minute closer, "Paint Another Take of the Shootpop," is dedicated to Olivier Messiaen and Otis Redding, and impressively enough, elements of both can be heard in the way passages of musique concrete alternate with R&B-inspired improvisations that almost sound, dare we say it, funky. Engaging, at times abrasive, yet accessible, As Was is one of the Rova Saxophone Quartet's strongest early releases. ~ Stewart Mason

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"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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"Presenting Chris Potter" (04/06/1994) Jazz Instrument Potter, Chris (Saxophone), Criss Cross (Netherlands)Personnel: Chris Potter (soprano, alto & tenor saxophones); John Swana (trumpet, flugelhorn); Kevin Hays (piano); Christian McBride (bass); Lewis Nash (drums). Recorded in New York, New York on December 29, 1992. Personnel: Chris Potter (alto saxophone, tenor saxophone); John Swana (trumpet, flugelhorn); Kevin Hays (piano); Lewis Nash (drums). Recording information: RPM Studio, New York, NY (12/29/1992). Photographer: Ron Schwerin.

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"Soulful Sax" (12/2005) Jazz Instrument Washington, Grover, Jr., BMG Special ProductsPersonnel: Grover Washington, Jr. (saxophone); Jean Carne (vocals). Photographer: Kwaku Alston. Sony Special Products' compilation Soulful Sax is a ten-track, budget-priced set highlighting Grover Washington, Jr.'s Columbia recordings, including "Soulful Strut," "Strawberry Moon," "E Preciso Perdoar (One Must Forgive)," and "Monte Carlo Nights." As budget-line collections go, Soulful Sax isn't bad, but better compilations are available for not much more money. ~ Al Campbell

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"Lift: Live at the Village Vanguard" (05/25/2004) Jazz Instrument Potter, Chris (Saxophone), SunnysidePersonnel: Chris Potter (tenor saxophone); Chris Potter ; Scott Colley (double bass); Bill Stewart (drums); Kevin Hays (piano, Fender Rhodes piano). Audio Mixer: David Oakes. Recording information: Village Vanguard, New York, NY (12/13/2002-12/14/2002). Photographer: Jimmy Katz. Chris Potter's new Live at the Village Vanguard album starts jarringly enough. There is a particular knotty, unaccompanied solo saxophone intro to drummer Bill Stewart's "7.5" played via tape delay by Potter on seemingly three saxophones. He is joined by a series of freaky tones on Kevin Hays' Fender Rhodes playing what sounds like the keys on a telephone keypad to truly disorienting effect. Soon enough, however, the ensemble kicks in to fill out the rhythm, Hays switches to piano, and Potter brings the tune's melodic body into focus, swinging half-in-half-out, tightrope walking around a series of scalar figures that translate it into a wonderfully energetic ride. And this is merely the statement of purpose for the entire gig. On the original material, Potter's now truly unique voice on the tenor may have been influenced in equal parts by Dewey Redman, John Coltrane, and even Sonny Rollins, but his manner of phrasing and his distinct tone make him an original on the horn. Potter is a harmonic whiz kid. On "What You Wish," he and the quartet -- which also includes the amazing Scott Colley on bass -- move through augmented phases and interludes, evolving a melody into a modal concern in the breaks, and turning it out multidimensionally. Hays piano solo moves from modal groove exploration to Latin vamps to Bill Evans-styled harmonic extrapolation. Potter enunciates the Latin tinge, and takes it all the way over into streamlined post-bop with beautiful choruses. But then, as if the entire gig was going to lift right off, Potter slows it down beautifully, once again using his delay to introduce a spacey yet moving rendition of "Stella by Starlight." For those offended by the use of a piece of electronic gear in a live setting, this artifact that is part of the saxophonist's arsenal will dispel some of those irritations because he uses it so naturally and unaffectedly. When the band reaches back into its own bag of tricks for the title track, the transformation is complete: Potter and his quartet are taking the gift of post-bop jazz and moving into new territories tonally, harmonically, and yes, thankfully, lyrically. This is forward-thinking music that is full of emotion, swing, and sophistication. It is readily accessible for anyone willing to encounter it either historically or on its own terms. Lift is a sharp, tough, and streetwise record of a fine gig played in a jazz temple with aplomb and sass. It points in new directions and offers a solid portrait of the artist as not only a strident voice, but as a visionary as well. ~ Thom Jurek

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"Ask Me Now" (07/05/1995) Jazz Instrument Gordon, Jon (Alto Sax), Criss Cross (Netherlands)Personnel: Jon Gordon (alto saxophone); Tim Hagans (trumpet); Bill Charlap (piano); Larry Grenadier (bass); Billy Drummond (drums). Recorded at RPM Studio, New York, New York on December 29, 1994. Includes liner notes by Joe Lovano.

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"Collectables Classics [Box Set]" (04/25/2006) Jazz Instrument Newman, David "Fathead" (Sax), Collectables RecordsPersonnel: David "Fathead" Newman (flute, soprano saxophone, alto saxophone, tenor saxophone); Cornell Dupree (guitar); Hank Crawford (alto saxophone, piano); Stanley Turrentine (tenor saxophone); Bennie Hank Crawford (baritone saxophone); Marcus Belgrave (trumpet); Roy Ayers (piano, organ, vibraphone, percussion); Charles "Bags" Costello (piano, organ); Norris Austin, Kirk Lightsey, Ray Charles (piano); Pat Rebillot (electric piano); Steve Nelson Quartet (vibraphone); Ron Carter (electric bass); Marvin "Smitty" Smith, Andrew Smith, Ray Lucas, Roy Brooks, Milt Turner, Bruno Carr, Charlie Persip (drums); Ralph MacDonald, Armen Halburian (percussion). Audio Remixer: Bob Liftin. Liner Note Authors: B. Kym Taylor; Gary Kramer; Mort Fega; Bob Porter. Recording information: Atlantic Recording Studios, New York, NY (12/22/1988-12/23/1988); The Village Vanguard, New York, NY (12/22/1988-12/23/1988). Illustrator: Peter Lloyd. Photographer: David Gahr. Arranger: David "Fathead" Newman . Collectables Classics is simply a packaging idea from those label heads who feel that there reissues need a new face. Hence, this "box set" that is simply a wooden box containing individual albums either already issued by the label as reissues, or recently licensed by them. Here are five albums on four discs. David "Fathead" Newman fans will already have these, so it is difficult to discern who exactly these are being marketed to in the MP3 player era. In any case, there are some very fine sides here. They include Fathead: Ray Charles Presents David Fathead Newman (his solo debut after leaving the Charles band) that features trumpeter Marcus Belgrave, Charles, Hank Crawford (here called "Bennie"), Edgar Willis, and Milt Turner. It was released on Atlantic in 1958. Next up the amazing Fathead Comes On from 1962 with Belgrave, Charlie Persip, and others, as well as the main album lineup that seats Crawford at the piano!. The double-CD in the box includes the 1979 recordings produced by Joel Dorn and they include Lonely Avenue and Newmanism; from a period when the great saxophonist was trying to hold his own in the slick world of fusion and the earliest groove jazz. Finally there is a 1988 date issued as Fire! Live at the Village Vanguard, with guest saxophonists Stanley Turrentine and Crawford. The rhythm section includes the great Kirk Lightsey and Marvin "Smitty" Smith. This Collectables Classics is an OK introduction to Newman, but a better one would be the individual CDs themselves, which can be purchased separately. ~ Thom Jurek

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"You Must Believe in Spring" (01/04/2005) Jazz Instrument Evans, Bill (Piano), Warner Music Benelux (Australia)Personnel: Bill Evans (piano, electric piano); Eddie Gomez (bass); Eliot Zigmund (drums). Recorded at Capitol Studios, Hollywood, California on August 23-25, 1977. Originally released on Warner (3504). Includes liner notes by Richard Seidel and Francis Davis. This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry. ~ Scott Yanow Pianist Bill Evans's first album for Warner Brothers (after more than five years with Fantasy Records) features a title track by Michel Legrand, a French musician and songwriter who influenced Evans with his use of strong melody and sentiment. Evans turns both to his advantage on YOU MUST BELIEVE IN SPRING, managing as usual to avoid all but the merest hint of sentimentality. Evans's original songs, "We Will Meet Again," and "B Minor Waltz," are both subtly influenced by Legrand's ease with melody, and on both tracks Evans comes close to perfecting his ability to connect instantly with his listener. Included as well is an unusually sedate version of a perennial Evans favorite, the theme from M*A*S*H, which he often included in live performances. This final recording with long-time collaborator, bassist Eddie Gomez, was released in 1981, a year after Evans's death.

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"Smooth Jazz: Sax at Midnight" (07/08/2003) Jazz Instrument Various Artists, Shanachie RecordsPersonnel: Eric Sanders (vocals); Chuck Loeb (guitar, keyboards, drum programming, percussion programming); Evan Marks, David Beagle, Wayne Bruce (guitar); Kim Waters (saxophone, keyboards, drum programming); Hollis Gentry III, Mark Johnson, Nelson Rangell (saxophone); Marion Meadows, Walter Beasley (soprano saxophone); Kirk Whalum (tenor saxophone); Greg Radford (keyboards, programming); Jonathan Tedeschi, Mike Ricchiuti, Taylor Mesple, Carl Evans, Jr. (keyboards); Dave Samuels (vibraphone); Ronald Jenkins (electric bass); Kevin Koch, Brian Dunne (drums); David Charles, Tom Aros (percussion); John Arthur Lee (programming); Maysa (background vocals). Recording information: AlleyCat Studio; Bear Tracks Recording Studios; Blackwell's Studio; Brook Sound; Coupe Studios, Boulder, CO; Inner Circle Studio; Side 3 Studio; Subterranean Sounds; The Midi Inn Engineers; Waterfall Studios. Photographer: Anthony Barboza. Arranger: Mark Johnson. Considering the title and cover artwork, you don't need to be Freud to figure out that Smooth Jazz: Sax at Midnight offers a collection of slow grooves aimed at the bedroom. The selections are mostly surprise-free and sweetly romantic, and the collection could have gotten away with a less sensual title. Shanachie has managed to acquire more than its fair share of smooth jazz's big names, but, for the most part, the performances here are forgettable. Flat readings and unimaginative production are the norm, with only Mark Johnson's pleasing take on Earth, Wind & Fire's "Devotion" warranting much attention. The collection is at least cohesive and there's no threat that carnal activities will be disrupted, but, at 42 minutes, couples might want to get the party started posthaste. ~ David Jeffries

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Deals on Saxophone instrumental music in Jazz Instrumental Music. Visit BizRate to find the best deals on Jazz Instrumental Music. See which Music stores have the Saxophone instrumental music that you want. Read reviews on Music merchants and buy with confidence. Find savings on Saxophone Colossus [3/21] - Baritone Sax: Lars Gullin/Lars Gullin Swings by Lars Gullin (CD - 03/14/2006).