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Music for Zen Meditation [Remaster] by Tony Scott (Jazz) (CD - 07/29/1997)
 

Music for Zen Meditation [Remaster] by Tony Scott ...

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Music for Zen Meditation [Remaster] by Tony Scott (Jazz) (CD - 07/29/1997)
"Music for Zen Meditation [Remaster]" (07/29/1997) Jazz Vocal Scott, Tony (Jazz), Verve (USA)Personnel: Tony Scott (clarinet); Shinichi Yuize (koto); Hozan Yamamoto (shakuhachi). Recorded in Japan in February 1964. All tracks have been digitally remastered. This is part of the Verve Master Editions series. Personnel: Tony Scott (clarinet); Shinichi Yuize (koto); Hazan Yamamoto (shakuhachi). Liner Note Authors: Alan Watts; Tony Scott . Recording information: Japan (02/1964); Tokyo, Japan (02/1964). Editor: Peter Pullman. Photographers: Chuck Stewart; John Henry. Unknown Contributor Role: Val Valentin. After stints at Juilliard and in the Army during the '40s, clarinetist Tony Scott rose to prominence in the '50s as a respected jazz soloist. His resum? at the time included work with Sarah Vaughan, Ben Webster, Dizzy Gillespie, Bill Evans, Billie Holiday, and Claude Thornhill, among many others. In addition to these sidemen dates, Scott also cut several solo albums. His subtle phrasing eventually found a perfect niche in the smattering of meditation and yoga dates he cut in the mid-'60s for Verve. Fueled by his burgeoning interest in Far Eastern culture, Scott hooked up with two Japanese master instrumentalists for this classic 1964 date. And while Scott, koto player Shinichi Yuize, and shakuhachi player Hozan Yamamoto produce nine cuts that sound classically Japanese and really nothing like jazz, they do actually improvise pretty much throughout the entire set. If you'd like to levitate to music with some unexpected twists, then Scott's Music for Zen Meditation is for you. ~ Stephen Cook In the late 1950s, jazz clarinetist Tony Scott traveled through Asia, settling for five years in Japan to play and teach. While his music influenced the Japanese musicians and students he encountered, the music and ambience of Japan made an even deeper impression on him. He began to use his clarinet to imitate the sounds of nature, and started a lifelong investigation into Buddhism and other Eastern philosophies. The first tangible result of this exploration is the 1964 release MUSIC FOR ZEN MEDITATION, arguably the first "new age" recording. This is very simple, uncluttered music; the minimal melodic tension draws the listener into the present moment. Scott's clarinet blends beautifully with bamboo flute and Japanese zither, creating a sound both heady and earthy, the perfect embodiment of the Zen philosophy.

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This Time It's Love [Bonus Tracks] by The Hi-Lo's (CD - 03/14/2006)
 

This Time It's Love [Bonus Tracks] by The Hi-Lo's ...

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This Time It's Love [Bonus Tracks] by The Hi-Lo's (CD - 03/14/2006)
"This Time It's Love [Bonus Tracks]" (03/14/2006) Jazz Vocal Hi-Lo's (The), Collectables RecordsRecorded between 1957 & 1961. Liner Note Author: The Hi-Lo's. Recording information: 03/31/1957-08/10/1961. The last solid Hi-Lo's LP before the quartet folded in 1964, This Time It's Love was a ballads-only album, and thus much less snappy and swinging than previous records like the Marty Paich extravaganza And All That Jazz or the Rosemary Clooney collaboration Ring Around Rosie. The gauzy harmonies of the Hi-Lo's were perfectly suited to slow-dance material, though, and the selections are perfect, arranged by Hi-Lo's associate Clare Fischer (who often played piano with the quartet). The performances are uniformly solid, great examples of close harmony abounding on "The Second Time Around," "My Foolish Heart," and "Catch a Falling Star." The liner notes make reference to one of "the unique characteristics of the Hi-Lo's [is], the fact that every word they sing can be understood." Hardly a ringing endorsement for music fans, but the Hi-Lo's were vocal masters with much more talent than artifice. Ironically, just as the Hi-Lo's were about to call it quits, a style of song they'd helped usher in was about to hit big on the pop charts (courtesy of the Sandpipers as well as myriad others), and not just with older audiences. ~ John Bush The last solid Hi-Lo's LP before the quartet folded in 1964, This Time It's Love was a ballads-only album, and thus much less snappy and swinging than previous records like the Marty Paich extravaganza And All That Jazz or the Rosemary Clooney collaboration Ring Around Rosie. The gauzy harmonies of the Hi-Lo's were perfectly suited to slow-dance material, though, and the selections are perfect, arranged by Hi-Lo's associate Clare Fischer (who often played piano with the quartet). The performances are uniformly solid, great examples of close harmony abounding on "The Second Time Around," "My Foolish Heart," and "Catch a Falling Star." The liner notes make reference to one of "the unique characteristics of the Hi-Lo's [is], the fact that every word they sing can be understood." Hardly a ringing endorsement for music fans, but the Hi-Lo's were vocal masters with much more talent than artifice. Ironically, just as the Hi-Lo's were about to call it quits, a style of song they'd helped usher in was about to hit big on the pop charts (courtesy of the Sandpipers as well as myriad others), and not just with older audiences. [A 2003 reissue of the album on Collectables more than doubled the track listing, including tracks from 1957-1960, some with a whitebread backing chorus but others closer to the original LP's material. Three are unreleased, including a tender reading of the Rodgers & Hart standard "Nobody's Heart."] ~ John Bush

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Andy Bey & the Bey Sisters by Andy & the Bey Sisters (CD - 10/10/2000)
 

Andy Bey & the Bey Sisters by Andy & the ...

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Andy Bey & the Bey Sisters by Andy & the Bey Sisters (CD - 10/10/2000)
"Andy Bey & the Bey Sisters" (10/10/2000) Jazz Vocal Bey, Andy, Prestige Records2 LP's on 1 CD: NOW! HEAR! (1964)/'ROUND MIDNIGHT/ANDY & THE BEY SISTERS (1965). Includes liner notes by Joel Dorn and Christopher Peters. Digitally remastered by Kirk Felton (2000, Fantasy Studios, Berkeley, California). NOW! HEAR!: Personnel: Andy Bey (vocals, piano); Salome Bey, Geraldine Bey (vocals); Jerome Richardson (tenor saxophone, flute); Kenny Burrell, Barry Galbraith (guitar); Richard Davis, Milt Hinton (bass); Osie Johnson, Jo Jones (drums). Recorded in New York, New York on August 17 & 20, 1964. Originally released on Prestige (7346). 'ROUND MIDNIGHT/ANDY & THE BEY SISTERS: Personnel: Andy Bey (vocals, piano); Salome Bey, Geraldine Bey (vocals); Kenny Burrell (guitar); Milt Hinton (bass); Osie Johnson (drums). Recorded in New York, New York on February 26, 1965. Originally released on Prestige (7411). Personnel: Andy Bey (vocals, piano); Geraldine Bey, Jerome Richardson, Jo Jones , Kenny Burrell, Milt Hinton, Osie Johnson, Richard Davis , Salome Bey, Barry Galbraith (vocals). Audio Remasterer: Kirk Felton. Liner Note Author: Chris Peters. Recording information: New York, NY (08/17/1964-02/26/1965). Although the vocal trio Andy Bey & the Bey Sisters lasted 11 years, it wasn't as well documented as it should have been. The trio, which consisted of Andy Bey and his sisters Geraldine and Salome, was formed in 1956 and broke up in 1967 -- and during that 11-year period, they only recorded three albums. The first was provided for RCA Victor in 1961, and the other two, Now! Hear! and 'Round Midnight, were recorded for Prestige in 1964 and 1965, respectively. In late 2000, those two Prestige dates were reissued on this excellent CD. There are some parallels between the Bey siblings and Lambert, Hendicks & Ross, but that comparison is only valid up to a point because this threesome has a bluesier, more churchy outlook. Essentially, Andy Bey & the Bey Sisters falls into the jazz category, although it isn't the work of myopic bop purists. This is jazz, but it's jazz mixed with R&B, gospel, and the blues. So a very earthy, down-home approach prevails on material that ranges from Billie Holiday's "God Bless the Child," Ray Charles' "Hallelujah I Love Her So," and Horace Silver's "Sister Sadie" to Consuelo Velazquez's "B?same Mucho" and Antonio Carlos Jobim's "Corcovado." It's regrettable that the trio didn't become better known, because it had a lot of potential. Risk-taking but quite accessible, this is a CD that both jazz and R&B enthusiasts should be aware of. ~ Alex Henderson

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Gil Evans & Ten by Gil Evans (CD - 09/30/2003)
 

Gil Evans & Ten by Gil Evans (CD - 09/30/2003)

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Gil Evans & Ten by Gil Evans (CD - 09/30/2003)
"Gil Evans & Ten" (09/30/2003) Jazz Vocal Evans, Gil, Prestige RecordsPersonnel: Gil Evans (piano); Steve Lacy (soprano saxophone); Lee Konitz (alto saxophone); Louis Mucci, John Carisi, Jake Koven (trumpet); Jimmy Cleveland (trombone); Bart Varsalona (bass trombone); Willie Ruff (French horn); Dave Kurtzer (bassoon); Paul Chambers (bass); Nick Stabulas, Jo Jones (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on September 6 & 27 and October 10, 1957. Originally released on Prestige (7120). Includes original liner notes by Ira Gitler. Digitally remastered by Phil De Lancie (Fantasy Studios, Berkeley, California). This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Gil Evans (piano); Steve Lacy (soprano saxophone); Lee Konitz (alto saxophone); Louis Mucci, John Carisi, Jake Koven (trumpet); Jimmy Cleveland (trombone); Bart Varsalona (bass trombone); Willie Ruff (French horn); Dave Kurtzer (bassoon); Paul Chambers (bass); Nick Stabulas, Jo Jones (drums). Recorded at the Van Gelder Studio, Hackensack, New Jersey on September 6 & 27 and October 10, 1957. Originally released on Prestige (7120). Includes original liner notes by Ira Gitler. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, this set was his first opportunity to record as a leader. The CD reissue features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own "Jambangle." The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. ~ Scott Yanow

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Keely Swings Basie Style...With Strings by Keely Smith (CD - 07/26/2004)
 

Keely Swings Basie Style...With Strings by Keely ...

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Keely Swings Basie Style...With Strings by Keely Smith (CD - 07/26/2004)
"Keely Swings Basie Style...With Strings" (07/26/2004) Jazz Vocal Smith, Keely, Concord JazzPersonnel includes: Keely Smith (vocals); Dennis Michaels (leader, arranger, piano); Don Menza (arranger, tenor saxophone); Frank Collet (arranger, piano); Sal Lozano, Lanny Morgan (alto saxophone); Pete Christlieb ( tenor saxophone); Bob Efford (baritone saxophone); Frank Szabo, Carl Saunders, Wayne Begeron, Pete Candoli (trumpet); Andy Martin, Chauncey Welsch (trombone); Bryant Beyers (bass trombone); Jim Self (tuba); Kirk Smith (bass); Steve Barnes (drums) Recorded at Capitol Records, Hollywood, California in July 2002. Includes liner notes by Keely Smith. The swing revival was custom made for singers like Keely Smith. Keely Swings Basie Style...With Strings follows 2000's Swing, Swing, Swing and 2001's Grammy-nominated Keely Sings Sinatra, capping off a trilogy of lovingly performed classic jazz. Smith's backward glance, however, isn't just pure nostalgia. Keely Swings Basie Style, for instance, begins with Count Basie-style arrangements and then applies them to a number of songs not necessarily associated with the bandleader. The addition of strings provides another distinctive layer. Smith begins with "April in Paris" and brings her warm vocals to bear on a number of other classics, including "Happiness Is a Thing Called Joe" and "How High the Moon." There's a particularly lovely take on "Mood Indigo" and a bouncy version of "Cherokee (Indian Love Song)." Smith balances these standards with spry contemporary fare like "How Sweet It Is (To Be Loved by You)" and "Can't Take My Eyes off of You." The closing number offers something of a surprise, beginning with "The House I Live In" and then flowing into "Star Spangled Banner," ending the album on a patriotic note. The combination of tasteful arrangements, good song choices, and Smith's pleasing vocals guarantees that fans will warmly embrace Keely Swings Basie Style. ~ Ronnie D. Lankford, Jr.

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Havin' A Good Time [2/22] *
 

Havin' A Good Time [2/22] *

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Havin' A Good Time [2/22] *
"Havin' a Good Time" (02/22/2005) Pop Vocal Williams, Joe (Vocals), Hyena RecordsPersonnel: Joe Williams (vocals); Ben Webster (tenor saxophone); Junior Mance (piano); Bob Cranshaw (double bass); Mickey Roker (drums). Liner Note Author: Joel Dorn. This CD fills an important gap in the discographies of both Joe Williams and Ben Webster. While Williams was in town for a week-long gig at Pio's in Providence, Rhode Island, he and his group (pianist Junior Mance, bassist Bob Cranshaw and drummer Mickey Roker) were surprised to find Ben Webster in the club one night, so he was invited to sit in. A tape of this performance was given to Williams afterwards, though nothing happened until after the singer's widow gave it to Hamilton College, which finally contacted Hyena about issuing it. Everyone on the date is in terrific form and it turns out that this show was recorded on the very same night as Webster's Enja album Live at Pio's. Williams is masterful throughout the evening, inserting a touch of humor to his receptive and attentive audience as he glides effortlessly through the set. Although he confesses to not knowing all of the lyrics to a request ("That's All"), he tackles it anyway. The vocalist is especially complemented by Webster's robust tenor in a sensitive ballad like "A Hundred Years From Today" or a mid-tempo swinger like "Just A-Sittin' and A-Rockin'." It's hard to pick highlights, but Williams carries off his signature tune in great fashion. Like many club recordings made in the mid-'60s, the sound quality of the rhythm section is a tad muddy, but any fan of Joe Williams will easily adjust to it and groove along with the masterful singer and his special guest. Highly recommended. ~ Ken Dryden

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The Midnight Special by Big Joe Turner (CD - 08/20/2002)
 

The Midnight Special by Big Joe Turner (CD - ...

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The Midnight Special by Big Joe Turner (CD - 08/20/2002)
"The Midnight Special" (08/20/2002) Jazz Vocal Turner, Big Joe, Original Jazz ClassicsPersonnel: Joe Turner (vocals), Sylvester Scott (piano), Cal Green (guitar), Bobby Haynes (bass), Washington Rucker (drums), Jake Porter (trumpet), Roy Brewster (baritone horn), Curtis Kirk (harmonica). Recorded in Los Angeles, May 1976. Personnel: Big Joe Turner (vocals); Cal Green (guitar); Curtis Kirk (harmonica); Curtis Peagler (alto & tenor saxophones); Jake Porter (trumpet); Roy Brewster (baritone horn); Sylvester Scott (piano); Bobby Haynes (bass); Washington Rucker (drums). Recorded at RCA Studios, Los Angeles, California on May 27, 1976. All tracks have been digitally remastered. Personnel: Big Joe Turner (vocals); Curtis Peagler (alto saxophone, tenor saxophone); Jake "Vernon" Porter (trumpet); Roy Brewster (baritone horn); Sylvester Scott (piano); Washington Rucker (drums). Audio Remasterer: Kirk Felton. Audio Remixer: David Luke. Recording information: RCA Studio, Los Angeles, CA (1976). Big Joe Turner was among the greatest jump blues shouters of all time, and he certainly helped pave the way for the rock & roll explosion of the mid-'50s. But Turner was also a fine jazz singer. When the Kansas City native recorded for Norman Granz's Pablo label in the '70s, he was often heard in jazz settings -- and The Midnight Special is among the swing-oriented dates that Turner provided for Pablo when he was in his sixties. This album, which Fantasy reissued on CD in 2002 for the Original Jazz Classics (OJC) series, was recorded in a Los Angeles studio in 1976. But The Midnight Special sounds like it could have been recorded in a small club. That's because it has the feeling of a loose jam session; Turner and his hard-swinging sidemen (who include saxophonist Curtis Peagler, trumpeter Jake Porter, and guitarist Cal Green, among others) sound delightfully spontaneous on standards that range from "I Can't Give You Anything But Love" and "You're Driving Me Crazy" to Leadbelly's "The Midnight Special." The singer also turns his attention to Woody Guthrie's "So Long" (a folk song) and "I Left My Heart in San Francisco"; although Tony Bennett recorded the definitive version of the latter, Turner's jazz interpretation isn't without its charms. To his credit, Turner doesn't even try to emulate Bennett's version -- he's wise enough to do his own thing. The Midnight Special isn't among Turner's essential releases, but it's an enjoyable outing that hardcore fans will appreciate -- and collectors will be happy to know that Fantasy has added five bonus tracks (most of them alternate takes). ~ Alex Henderson

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Rhythms & Rhymes by Fay Claassen (CD - 06/03/2003)
 

Rhythms & Rhymes by Fay Claassen (CD - ...

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Rhythms & Rhymes by Fay Claassen (CD - 06/03/2003)
"Rhythms & Rhymes" (06/03/2003) Jazz Vocal Claassen, Fay, Jazz 'N PulzPersonnel: Fay Claassen (vocals); Steve Davis (trombone); Toots Thielemans (harmonica); Joe Locke (vibraphone, marimba); Kenny Werner (piano); Mike Stern, Freddy Bryant (guitar); Joris Teepe (bass); Gilad (drums, percussion). Personnel: Fay Claassen (vocals); Freddie Bryant (guitar); Mike Stern (electric guitar); Toots Thielemans (harmonica); Steve Davis (trombone); Kenny Werner (piano); Joe Locke (vibraphone, marimba); Gilad (drums, percussion). Audio Mixers: Paul Pouwer; Marc van Roon. Recording information: Manfred Knoop, NJ; Studio LeRoy, Amsterdam, The Netherlands. Arrangers: Williem Friede; Fay Claassen; Joris Teepe; Martin Fondse; Marc van Roon. Contrary to what the more Manhattan-centric individuals in the jazz world would have us believe, European jazz vocalists don't have to record in the Big Apple to be legitimate -- a singer can find plenty of first-class improvisers to work with in places like Stockholm, Paris, Oslo, Copenhagen, and Amsterdam. So even if Fay Claassen had never crossed the Atlantic Ocean and opted to work in Europe exclusively, the Dutch singer would have a lot to be proud of. That said, Claassen did herself a nice favor when she traveled to the New York City/Northern New Jersey area in the early 2000s and recorded her second album, Rhythms and Rhymes, which was released in Holland on the Jazz 'N Pulz label. The American musicians who join Claassen on this CD include, among others, Toots Thielemans, guitarist Mike Stern, pianist Kenny Werner, trombonist Steve Davis, and vibist/marimba player Joe Locke -- an impressive cast, certainly, and one that obviously understands where Claassen is coming from as a singer. Although Claassen swings, she isn't an aggressive or forceful sort of vocalist -- her post-bop outlook is urbane, sophisticated, elegant, and refined. And thankfully, she has sympathetic accompaniment whether she is turning her attention to Jacques Brel's "If You Go Away," Michel Legrand's "Once Upon a Summertime," or Miles Davis' "Seven Steps to Heaven." Claassen sings in perfect English most of the time, although she is equally expressive when she detours into French on Sting's "La Belle Dame Sans Regrets," and Portuguese on Ivan Lins' "Comecar de Novo." Clearly, Rhythms and Rhymes is a solid and memorable document of Claassen's visit to the northeastern United States. ~ Alex Henderson

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Double Play
 

Double Play

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Double Play
"Double Play" (10/07/1996) Jazz Instrument Frishberg, Dave, ArborsPersonnel: Dave Frishberg (vocals, piano); Jim Goodwin (cornet). Liner Note Author: Richard Hadlock. Recording information: Jel Studios, Newport Beach, CA (10/03/1992/10/04/1992). Photographer: Harold Hutchinson. Dave Frishberg, best-known for his impressive abilities as a lyricist and vocalist, sticks exclusively to instrumentals on this enjoyable disc. Frishberg the pianist is teamed with cornetist Jim Goodwin on a duet set comprised of 17 trad and swing classics that mostly date from the 1920s and '30s. To their credit the duo constantly walk a musical tightrope, taking chances within the idiom and not being afraid to make mistakes; neither musician felt that the music should be edited afterward. The result is colorful classic jazz interpreted by two strong stylists who, while paying tribute to their predecessors, infuse the music with their own personalities. It is easily recommended to trad fans. ~ Scott Yanow

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Richie Kamuca Quartet by Richie Kamuca Quartet (CD - 07/07/1989)
 

Richie Kamuca Quartet by Richie Kamuca Quartet ...

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Richie Kamuca Quartet by Richie Kamuca Quartet (CD - 07/07/1989)
"Richie Kamuca Quartet" (07/07/1989) Jazz Vocal Kamuca, Richie, VSOPPersonnel: Richie Kamuca (tenor saxophone), Carl Perkins (piano), Leroy Vinnegar (bass), Stan Levey (drums). Recorded at Radio Recorders, Hollywood, California in June, 1957. Personnel: Richie Kamuca (tenor saxophone); Carl Perkins (piano); Stan Levey (drums). Liner Note Author: Joe Quinn . Recording information: Radio Recorders, Hollywood, CA (06/1957). Considering his talent, it is very surprising that tenor saxophonist Richie Kamuca led so few record dates throughout his career -- just three during 1956-58 and three for Concord in 1977. This quartet set (a MOD LP reissued by V.S.O.P. on CD) features the excellent cool-toned tenor in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey. Only the brief playing time (just over 30 minutes) keeps this set from getting a higher rating, for Kamuca is in prime form. Highlights include "Just Friends," "What's New" and "Cherokee." ~ Scott Yanow

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Music for Prancing by Warne Marsh (CD - 03/27/1995)
 

Music for Prancing by Warne Marsh (CD - ...

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Music for Prancing by Warne Marsh (CD - 03/27/1995)
"Music for Prancing" (03/27/1995) Jazz Vocal Marsh, Warne, VSOPPersonnel: Warne Marsh (tenor saxophone), Ronnie Ball (piano), Red Mitchell (bass), Stan Levey (drums). Recorded at Radio Recorders, Hollywood, California in September, 1957. Personnel: Warne Marsh (tenor, tenor saxophone); Ronnie Ball (piano); Stan Levey (drums). Liner Note Author: Joe Quinn . Recording information: Radio Recorders Hollywood, CA (09/1957). With a reputation as one of the originators of cool jazz, it's ironic that over the years tenor saxophonist Warne Marsh gained a following of musicians mainly associated with the avant-garde, spearheaded by multi-reedist Anthony Braxton. These musicians heard what this disc demonstrates: that cool didn't always mean smoothed out. Originally issued in 1957, Music for Prancing is Marsh's second session as a leader with pianist Ronnie Ball, Red Mitchell on bass, and Stan Levey on drums. The quartet performs four standards such as the usually subdued Rodgers & Hart ballad "You Are Too Beautiful," which they make swing, and two originals: Ball's "Ad Libido" and Marsh's "Playa del Ray." A strong CD reissue on the budget label VSOP. ~ Al Campbell

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Trav'lin' Light/Merely Marvelous by Jimmy Giuffre (CD - 03/14/2006)
 

Trav'lin' Light/Merely Marvelous by Jimmy Giuffre ...

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Trav'lin' Light/Merely Marvelous by Jimmy Giuffre (CD - 03/14/2006)
"Trav'lin' Light/Merely Marvelous" (03/14/2006) Jazz Vocal Giuffre, Jimmy, Collectables Records2 LPs on 1 CD: TRAV'LIN' LIGHT (1958)/MERELY MARVELOUS (1960) TRAV'LIN' LIGHT: Jimmy Giuffre 3: Jimmy Giuffre (tenor & baritone saxophones, clarinet); Bob Brookmeyer (trombone); Jim Hall (guitar). Originally released on Atlantic (1282). Includes original LP liner notes by Nat Hentoff. MERELY MARVELOUS: Personnel: Mabel Mercer (vocals); Jimmy Lyon (piano); Jimmy Raney, Joe Puma (guitar); Beverly Peer (bass); Tim Kennedy (drums). Originally released on Atlantic (1322). Includes original LP liner notes by Gary Kramer. In 1999, Collectables released Trav'lin' Light/Merely Marvelous, which contained two complete albums -- Trav'lin' Light (1958, originally released on Atlantic) and Merely Marvelous (1960, originally released on Atlantic) -- by Jimmy Giuffre on one compact disc. ~ Jason Birchmeier

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Man from Two Worlds by Chico Hamilton (CD - 05/25/1993)
 

Man from Two Worlds by Chico Hamilton (CD - ...

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Man from Two Worlds by Chico Hamilton (CD - 05/25/1993)
"Man from Two Worlds" (05/25/1993) Jazz Vocal Hamilton, Chico, Impulse!Personnel: Chico Hamilton (drums); Charles Lloyd (tenor saxophone, flute); George Bohanon (trombone); Gabor Szabo (guitar); Albert Stinson (bass). Producer: Bob Thiele. Reissue producer: Michael Cuscuna. Recorded on September 18, 1962 and December 11, 1963. Digitally remastered by Paul Elmore (MCA Music Media Studios). Although it tended to get overlooked at the time, one of drummer Chico Hamilton's finest groups was his 1962-1963 quartet/quintet. With Charles Lloyd at his most fiery on tenor and flute, and the colorful solos of the up-and-coming Hungarian guitarist Gabor Szabo, this band placed a stronger emphasis on melody and softer sounds than the more avant-garde groups of the time but still pushed away at musical boundaries. Trombonist George Bohanon is also on the final four numbers of this CD reissue, which brings back all of the music from Hamilton's Man from Two Worlds LP and four of the six numbers originally on Passin' Thru. Highlights include the original version of Lloyd's most famous song, "Forest Flower." ~ Scott Yanow This album actually combines two Chico Hamilton releases, namely MAN FROM TWO WORLDS and PASSIN' THRU. There is great compositional range on this disc, even though nine out the 10 tunes were written by a single author (saxophonist Charles Lloyd). Some of these compositions spin off on an avant-garde tangent, while others are more direct and harmonically familiar. The title track is basically an extended jam, though there is a Monk-like main theme that is used to begin and end the tune. Clearly, this piece is influenced by Indian music, and guitarist Gabor Szabo best illustrates the exotic, modal leanings of this composition through his sitar-influenced solo. On the other hand, "Forest Flower" is much more harmonious and easy to follow. Using standard jazz chords and a catchy melody, this tune is much less demanding on the ear. As the title implies, MAN FROM TWO WORLDS really does focus on two distinct "worlds" of jazz, and is the perfect listen for all those who crave musical diversity.

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Jobim: Someone to Light up My Life by Gene Bertoncini (CD - 02/11/1997)
 

Jobim: Someone to Light up My Life by Gene ...

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Jobim: Someone to Light up My Life by Gene Bertoncini (CD - 02/11/1997)
"Jobim: Someone to Light up My Life" (02/11/1997) Jazz Vocal Bertoncini, Gene, ChiaroscuroThe veteran guitarist's collection of bossa novas by the late Antonio Carlos Jobim demonstrate his gift for counterpoint and improvisation in this all-acoustic masterpiece. Accompanied only by the Latin percussion of John Arruci and Jon Bates, Bertoncini plays an astonishingly uptempo "Corcavado" that seems to have overdubbed guitar lines but doesn't. Also remarkable is his soft, understated version of "Double Rainbow." Any guitar student or jazz fan will be mesmerized by Bertoncini's crisp playing on "Zingaro." ~ Ken Dryden

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Girl Talk [ECD]
 

Girl Talk [ECD]

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Girl Talk [ECD]
"Girl Talk" (09/23/2002) Jazz General Stevens, Jodi, Sons of Sound Productions (SSP)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Jodi Stevens (vocals); Andy Parsons (saxophone); Lew Soloff (trumpet); Ted Rosenthal (piano); Jay Leonhart (bass); Akira Tana (drums). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Jodi Stevens (vocals); Andy Parsons (saxophone, tenor saxophone); Lew Soloff (trumpet); Ted Rosenthal (piano); Akira Tana (drums). Recording information: 2002. Photographer: Ebet Roberts. Jodi Stevens has a warm voice, a straightforward delivery, and a swinging style, although she does not improvise that much. For this set she is joined by an excellent jazz quintet that includes pianist Ted Rosenthal, the colorful trumpeter Lew Soloff, and Andy Parsons on tenor. Although the repertoire consists of standards, there are some offbeat choices, including "Blue Gardenia," "I'm a Woman," "He Was Too Good to Me," and the novelty "Come on a My House"; the latter did not really need to be revived! Throughout this well-paced program, Stevens sounds confident and does a fine job with the diverse material. Worth checking out. ~ Scott Yanow

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Triple Play [Box]
 

Triple Play [Box]

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Triple Play [Box]
"Triple Play [Box]" (02/28/1999) Pop Vocal Williams, Joe (Vocals), Telarc Jazz ZoneAlso available as three individual CDs: LIVE AT ORCHESTRA HALL, DETROIT, HERE'S TO LIFE, and FEEL THE SPIRIT. LIVE AT ORCHESTRA HALL, DETROIT: Personnel includes: Joe Williams (vocals); Frank Foster, The Count Basie Orchestra. Producers: John Snyder, Aaron A. Woodward III, John Levy. Engineers: Jack Renner, Michael Bishop. Recorded live at Orchestra Hall, Detroit, Michigan on November 20, 1992. Includes liner notes by Will Friedwald. HERE'S TO LIFE: Personnel includes: Joe Williams (vocals); The Robert Farnon Orchestra. Producer: John Snyder. Engineer: Jack Renner. Recorded at Studio One, CTS Studios, London, England on August 16-18, 1993. FEEL THE SPIRIT: Personnel includes: Joe Williams, Marlena Shaw (vocals); Jerry Peters (piano). Producer: John Snyder. Engineers: Jack Renner, Joseph Magee. Recorded at Conway Recording, Hollywood, California on September 20-23, 1994. Personnel: Joe Williams (vocals); Count Basie & His Orchestra, Fred White , Marlena Shaw, Robert Farnon Orchestra, Valerie Pinkston, Will Wheaton, Bunny Hull, Carmen Twillie (vocals); Louis Stewart, Phil Upchurch (guitar); Raymond Cohen (violin); Sian Davies (oboe); Roy Willox (alto saxophone); Tommy Whittle (tenor saxophone); John Pigneguy (French horn); Don Lusher (trombone); Jerry Peters (piano); Patrice Rushen (synthesizer); Abe Laboriel, Jr. (bass instrument); Harvey Mason, Sr. (drums).

starting at

$25
Songs That Won The War: Blueberry Hill
 

Songs That Won The War: Blueberry Hill

starting at

$3
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Songs That Won The War: Blueberry Hill
"Songs That Won the War: Blueberry Hill" (04/07/2005) Pop Vocal Various Artists, Reader's Digest Music

starting at

$3
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