Saxophone instrumental music in Jazz Instrumental Music

"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

"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.

"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

"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.

"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

"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