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Chat Room
 

Chat Room

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Chat Room
"Chat Room" (10/21/2003) Jazz Instrument Nabatov, Simon, Leo Records (Jazz) - (Import)On paper, this duo should not work out. The soft bopping romanticism of pianist Simon Nabatov should have been blown to smithereens by the runaway train that is Han Bennink. Well, lo and behold, Chat Room turns out to be both civilized and exciting. It would be too easy to say that Nabatov has managed to tame the wild horse (come on, even Misha Mengelberg is not able to do that even after trying for four decades). No, the reason why it works is simply because each improviser meets the other halfway. Nabatov loosens up and pumps childlike energy in tracks like "Foaming" and "Es L?uft!," which are miles away from his previous Leo outing, the piano solo set Perpetuum Immobile. And he can swing. And Bennink loves to swing. The drummer will not be cooling down because of age any time soon. And he is not doing that here either. More disciplined, yes; leaving more space to the other player, yes; but cooling down? Hardly. His hands are as busy as ever, they simply hit quieter, using more brushes than sticks. In fact, Bennink sounds happy to follow Nabatov's lead. And in such beautiful instant pieces as "The Lost One" and "Sorrow," who wouldn't? Chat Room is a surprise session, quickly breaking down your expectations and building them back up as the freshness of the music wins you over. Recommended. ~ Fran?ois Couture

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Smooth Jazz Essentials
 

Smooth Jazz Essentials

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Smooth Jazz Essentials
"Smooth Jazz Essentials" (01/27/2004) Jazz Instrument Various Artists, Native Language MusicIn the early days of smooth jazz, labels would regularly release samplers to introduce listeners to their artists, which worked both artistically, and as a marketing tool. The practice is a bit less common in these times, but the success of this all-star collection proves that it's still an effective way to promote artists. Most of the artists here are or have been on the Native Language roster, and a good handful of the tunes have been huge radio hits, including Jeff Kashiwa's instant classic "Hyde Park (The 'ah ooh' Song)," Steve Oliver's infectious "High Noon," and Everette Harp and Brian Bromberg's likeable cover of "Rock With You." It was good logic to lead with a great cut from Dan Siegel's just-released label debut. Juan Carlos Quintero's samba "Jobim" shows that the label isn't afraid to take risks outside the mainstream of the genre. The real joys here, however, are three stellar tracks that we haven't heard before -- keyboardist Theo Bishop's lush "Tonight's the Night" (from a forthcoming album), bassist Jennifer York's brass-splashed funkfest "405 Jam," and the urban intensive "Big City," Marc Antoine's track with label owner Joe Sherbanee. These tracks have all been, or will at some point, be essential to the smooth jazz format. ~ Jonathan Widran

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The Definitive Collection [1/24] *
 

The Definitive Collection [1/24] *

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The Definitive Collection [1/24] *
"The Definitive Collection" (01/24/2006) Jazz Instrument Armstrong, Louis, Hip-O RecordsPersonnel: Louis Armstrong (vocals, trumpet); Ella Fitzgerald (vocals); Perry Botkin, Bud Scott (guitar); Kid Ory, Tyree Glenn (trombone); Billy Kyle (piano); Red Callender, Arvell Shaw (bass instrument); Barrett Deems (drums). This extensive compilation of vocal tracks from the latter part of Louis Armstrong's career features many of his most popular performances, including the 1960s hits "Hello Dolly" and "What a Wonderful World," and his wonderfully relaxed duet with Bing Crosby on "Gone Fishin'." However, even on these more commercially slanted songs, the trumpeter's legendary musical skill is apparent--his soaring solo on "Dolly" effortlessly cruises the instrument's upper registers, and his vocal interpretation of "Mack the Knife" is a masterpiece of jazz singing.

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Wired [Remaster] by Jeff Beck (CD - 03/27/2001)
 

Wired [Remaster] by Jeff Beck (CD - 03/2...

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Wired [Remaster] by Jeff Beck (CD - 03/27/2001)
"Wired [Remaster]" (03/27/2001) Jazz Instrument Beck, Jeff, Epic (USA)Personnel: Jeff Beck (guitar); Max Middleton (Clavinet, Fender Rhodes); Jan Hammer (synthesizer, drums); Wilbur Bascombe (bass); Narada Michael Walden, Ed Green, Richard Bailey (drums). Recorded at Air Studios, Trident Studios, London, England; Cherokee Studios, Hollywood, California. Personnel: Jeff Beck (guitar, acoustic guitar); Narada Michael Walden (piano, drums); Max Middleton (Fender Rhodes piano, Clavinet, keyboards); Jan Hammer (synthesizer, drums); Ed Green , Ed Greene, Richard Bailey (drums). Audio Mixers: John H.R. Mills; Geoff Emerick; John Mills . Audio Remixer: Jan Hammer. Recording information: Air Studios & Trident Studios, London, England; Cherokee REcording Studios, Hollywood, CA; Cherokee Studios, Hollywood, CA; Trident Studios, London, England. Photographer: Lock Huey. Powerful jazz-rock fusion with a touch of funk, WIRED is Beck's follow-up to the popular BLOW BY BLOW. Extending on the blues breakthroughs he made with the Yardbirds, Beck's style had by this time crystalized into something lyric and soaring, showing the influence of John McLaughlin and The Mahavishnu Orchestra, while retaining the slightly manic edge that has remained his trademark.

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Sax Dreams *
 

Sax Dreams *

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Sax Dreams *
"Sax Dreams *" (04/06/1999) Jazz Instrument Castenell, Amadee, NYNO RecordsPersonnel: Amadee Castenell, Jr. (tenor saxophone); Amadee Castenell, Jr.; Lawrence Sieberth, Larry Sieberth (keyboards); Chris Severin (bass instrument); Scott Goudeau, Sean Tauzier (guitar); Allen Toussaint (piano, synthesizer); Herman Jackson, Bernard "Bunchy" Johnson (drums). Audio Mixer: Clarence Reggie Toussaint. Liner Note Author: Jeff Muller. Recording information: Sea-Saint Studios, New Orleans, LA (02/12/1998-06/19/1998). Photographer: Joanne Savio. Though this blistering tenor saxman is best known for his lengthy stint playing with the legendary Allen Toussaint Orchestra down New Orleans way, only a few tracks here feel distinctly Bayou. But how gloriously bluesy they are! "I Wouldn't Mind," written by Toussaint, rolls along like an instrumental Dr. John tune with Castenell's low toned, seductive melody gliding over Scott Goudeau's punchy steel guitar harmony. "Mumbo Gumbo" is a playful, free-for-all jam of a honking sax, bubbling B-3, and fiery electric guitar riffs over a jittery bass-driven funk groove. "No Clue" centers around a slow drawling conversation between Castenell's dreamy cool and a distant, distorted steel guitar response. The rest of the time, Castenell -- who varies his tenor approach from the lighthearted soulful style of Richard Elliot and the romantic sizzle of Gato Barbieri -- plays things closer to the smooth jazz vest, simmering tenderly over easy bouncing midtempo grooves. On occasion, he'll jump out with a percussive high squeal in the middle of one of these tunes ("Night Vision," for instance) just to see if we're paying attention. Toussaint proves to be a great producer for his prot?g?, his multi-faceted keyboard contributions typified by jumpy "Catch Me," where synth strings embrace Castenell's hypnotic improvisations before giving way to Toussaint's spirited piano solo. While the saxman could have put even more of a regional stamp on the material, his playing is strong enough to warrant an album title and front cover that are less generic and reveal more of his personality. ~ Jonathan Widran

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Land of the Midnight Sun by Al di Meola (CD - 07/01/1986)
 

Land of the Midnight Sun by Al di Meola ...

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Land of the Midnight Sun by Al di Meola (CD - 07/01/1986)
"Land of the Midnight Sun" (07/01/1986) Jazz Instrument DiMeola, Al, Columbia (USA)One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career. ~ Scott Yanow

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Ethiopiques by Getatchew Mekurya (CD) [IMPORT - (not USA)]
 

Ethiopiques by Getatchew Mekurya (CD) [I...

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Ethiopiques by Getatchew Mekurya (CD) [IMPORT - (not USA)]
"Ethiopiques" (05/06/2003) Jazz Instrument Mekurya, Getatchew, Buda RecordsThe Ethiopiques series of world music keeps slowly widening its arc, and this time around it's come up with some very interesting vintage (circa 1972) material. Ethiopiques, Vol. 14: Negus of Ethiopian Sax features Getatchew Mekurya, a sax player whose inspiration comes from traditional warrior music: the kind meant to whip soldiers into a frenzy before battle. And frenzied his playing truly is, with several shades of free jazz at its most abandoned (which, curiously, he claims never to have heard). It's wild stuff -- but wild only on the sax. The band behind him exists strictly for melodic and rhythmic function. While they perform admirably, they add little to the music itself, while the sax takes off on weird and wonderful paths. It's stirring, and demands a lot of a Western listener unfamiliar with the tradition. But it's perhaps best ingested in small doses. And while it's interesting, certainly, it's not on a par with the rest of the series. ~ Chris Nickson

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The Grand Wazoo by Frank Zappa (CD - 05/16/1995)
 

The Grand Wazoo by Frank Zappa (CD - 05/...

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The Grand Wazoo by Frank Zappa (CD - 05/16/1995)
"The Grand Wazoo" (05/16/1995) Jazz Instrument Zappa, Frank, Ryko DistributionPersonnel: Frank Zappa (vocals, guitar, percussion); Sal Marquez (vocals, trumpet, brass); George Duke (vocals, keyboards); Janet Neville-Ferguson (vocals); Tony Duran (guitar); Mike Altschul, Earl Dumler, Tony "Bat Man" Ortega, Joanne Caldwell McNabb, Johnny Rotella, Fred Jackson, Joel Peskin (woodwinds); Ernie Watts (saxophone); Bill Byers, Ken Shroyer (trombone); Malcolm McNabb, Ernie Tack (brass); Don Preston (Mini-Moog synthesizer); Erroneous (bass); Aynsley Dunbar (drums); Bob Zimmitti, Alan Estes, Lee Clement (percussion). Recorded at Paramount Studios, Hollywood, California. All tracks have been digitally remastered. This album appeared within the same year as WAKA/JAWAKA and continued Zappa's exploration of the possibilities for composing and arranging material for a big band with a hefty brass and reed section. Both albums were produced during the period in which he was recuperating from injuries sustained when he was thrown from the stage during a London concert the year before. THE GRAND WAZOO still sounds like a fresh and equal marriage of Zappa's already developed and apparent musical sensibilities with large ensemble jazz writing. The couple vocal numbers utilize the singing as another melodic line, and are knitted into the whole fabric rather than laying on top. Unfortunately, after this pair of 1972 albums, Zappa never revisited this particular approach again--his touring bands were never on this scale and his large-scale writing was directed towards orchestras.

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

Ah Via Musicom by Eric Johnson (Guitar 1...

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

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Virtuoso in New York by Joe Pass (CD - 08/31/2004)
 

Virtuoso in New York by Joe Pass (CD - 0...

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Virtuoso in New York by Joe Pass (CD - 08/31/2004)
"Virtuoso in New York" (08/31/2004) Jazz Instrument Pass, Joe, Pablo RecordsPersonnel: Joe Pass (guitar). Liner Note Author: Scott Yanow. The saying that "life begins at 40" is certainly open to debate -- especially if you live in a youth-obsessed culture like the United States. But for jazz artists, there can be some truth in that saying; the history of jazz is full of artists who did some of their best work after 40. Joe Pass is a perfect example; Pass turned 40 in 1969, and the '70s were an amazingly productive time for the late guitar icon (who recorded frequently during that decade thanks to Pablo founder Norman Granz). In fact, Pass did so much recording during the '70s that albums of previously unreleased material were still coming out long after his death from cancer in 1994. Virtuoso in New York, for example, is an album of recordings that went unreleased for 29 years; recorded in 1975, these Granz-produced performances didn't see the light of day until 2004. And for serious Pass collectors, the arrival of Virtuoso in New York is very good news; performing unaccompanied -- no bass, no drums, no piano -- Pass is in fine form on familiar standards like "The Way You Look Tonight" and "We'll Be Together Again." The solo guitar format is one that Pass was quite fond of, and it serves him enjoyably well whether he is turning his attention to George Gershwin's "How Long Has This Been Going On" or Kurt Weill's "Mack the Knife" (also known as "Moritat" or "Threepenny Opera"). As much as Virtuoso in New York has going for it, this 49-minute CD falls short of essential -- there are no compelling reasons why someone with a more casual interest in Pass' legacy would choose this release over, say, 1973's stunning, absolutely essential Virtuoso. Nonetheless, Virtuoso in New York is a pleasing disc that the guitarist's hardcore fans will easily enjoy. ~ Alex Henderson

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

Pete Fountain Presents the Best of Dixie...

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

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Getz/Gilberto [Bonus Tracks] [Remaster] by Joao Gilberto/Stan Getz (CD - 05/20/1997)
 

Getz/Gilberto [Bonus Tracks] [Remaster] ...

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Getz/Gilberto [Bonus Tracks] [Remaster] by Joao Gilberto/Stan Getz (CD - 05/20/1997)
"Getz/Gilberto [Bonus Tracks] [Remaster]" (05/20/1997) Jazz Instrument Gilberto, Joao, Polygram (Japan)Personnel: Joao Gilberto (vocals, guitar); Stan Getz (tenor saxophone); Astrud Gilberto (vocals); Antonio Carlos Jobim (guitar, piano); Milton Banana (drums). Recording information: New York, NY (03/18/1963/03/19/1973). The record that started the bossa nova craze of the mid-'60s, GETZ-GILBERTO is a justly recognized classic. The disc's success is attributable to its spectacular personnel: the man who basically invented bossa nova, Antonio Carlos Jobim; the man who defined and perfected the genre, Joao Gilberto; his charmingly waifish-sounding wife, Astrud Gilberto; and American tenor saxophonist extraordinaire Stan Getz. Jobim plays guitar and piano; Getz provides remarkably lyrical, complementary lead lines, and Joao Gilberto plays and sings in Portuguese with the most understated, romantic, and artful vocal delivery imaginable. It's a hard combination to beat. Opening track "The Girl From Ipanema," a breezy, infectious Jobim composition with vocals by both Joao and Astrud, became one of the biggest (and most recognizable) hits of the era, and the single most popular Brazilian tune in America. The exquisite shuffle "Desafinado," the Joao-Astrud duet "Corcovado," and the eminently grooving "So Danco Samba" have gone on to become standards of both bossa nova and jazz, and the versions here are definitive. Getz's sensitive playing blends seamlessly with the deceptively casual rhythmic sophistication of Jobim, Gilberto, and percussionist Milton Banana. The material, the musicianship, and the gentle, minimal arrangements and production ensure that GETZ/GILBERTO will never date, age, or tire. It's a perfect album. One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer Joao Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history -- "The Girl from Ipanema," a Jobim classic sung by Joao's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Dan?o Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. [The CD was also released with bonus tracks.] ~ Steve Huey

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Golden Slumbers: A Father's Lullaby by Various Artists (CD - 09/24/2002)
 

Golden Slumbers: A Father's Lullaby by V...

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Golden Slumbers: A Father's Lullaby by Various Artists (CD - 09/24/2002)
"Golden Slumbers: A Father's Lullaby" (09/24/2002) Jazz Instrument Various Artists, Warner Bros. Records (Record Label)"Blackbird" (Dave & Jeff Koz) was nominated for the 2003 Grammy Awards for Best Pop Instrumental Performance. Take that, snobby straight-ahead jazz purists! Finally, the elite of smooth jazz have put together a project where it would be a compliment to hear that it put you to sleep -- or rather, your children. The mastermind of saxman Dave Koz and his brother, Jeff Koz, and the first release from Koz's Rendezvous Entertainment, this beautifully conceived and crafted recording has two modes: slow and slower. But that's intentional, as many of the genre's new dads (Peter White, Rick Braun, David Benoit) find quietly eloquent ways to lull their babes to sleep via their primary instruments. Some, like Benoit ("When You Wish Upon a Star") and Braun ("Somewhere Over the Rainbow"), pick the tried and true, while others, like White, write their own classic (the graceful, mystical "Charlotte's Song"). The Koz boys also contribute a new piece and bookend the project with soft-hearted soprano sax-driven takes on Beatles classics, including the title track. Perhaps the most unexpected treat is the fairy dusty take on Phil Collins' "You'll Be in My Heart" by flutist Steve Kujala and acoustic guitarist Grant Geissman. Others participating in the brigade of happy dads (and those who play music for and like dads) are Norman Brown, Brian Culbertson, Bruce Watson, and Brad Cole. Parents will be dreaming sweet long after the child is off to slumberland. ~ Jonathan Widran

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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 M...

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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, Ar

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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). 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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Priceless Jazz Sampler, Vol. 3 by Various Artists (CD - 06/16/1998)
 

Priceless Jazz Sampler, Vol. 3 by Variou...

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Priceless Jazz Sampler, Vol. 3 by Various Artists (CD - 06/16/1998)
"Priceless Jazz Sampler, Vol. 3" (06/16/1998) Jazz Instrument Various Artists, GRP Records (USA)This is part of GRP Records' Priceless Jazz series. Personnel: Billie Holiday (vocals); Everett Barksdale, Carl Kress (guitar); Alice Coltrane (harp, piano); Joe Henderson, Pharoah Sanders (alto flute); Barney Bigard (clarinet); John Coltrane (soprano saxophone); Rudy Powell, George Dorsey, Hymie Schertzer, Milt Yaner (alto saxophone); Thomas Parshley, Joe Thomas , Lester Young, Lucky Thompson, Art Drellinger (tenor saxophone); Sol Moore, Dave McRae (baritone saxophone); Carl Poole, Doc Cheatham, Yank Lawson, Billy Butterfield, Jimmy Nottingham, Buck Clayton (trumpet); Dicky Wells, Jack Teagarden, Vic Dickenson, Will Bradley, George Matthews , Trummy Young (trombone); Don Abney, Eddie Heywood, Horace Henderson, McCoy Tyner, Bernie Leighton, Billy Kyle , Earl Hines (piano); Cozy Cole, Elvin Jones, Larry Bunker, Rashied Ali , Shadow Wilson, Big Sid Catlett, Barrett Deems, Ben Riley, Johnny Blowers (drums); Chuck Stewart (bells). Recording information: Coltrane Studios, Dix Hills, NY (04/01/1944-01/26/1970); Los Angeles, CA (04/01/1944-01/26/1970); New York, NY (04/01/1944-01/26/1970); WOR STudios, New York, NY (04/01/1944-01/26/1970). Photographers: Jack Bradley; Don Peterson; Raymond Ross; Chuck Stewart. Arrangers: Bruce Harding; Eddie Heywood; Gordon Jenkins; Sy Oliver.

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Work Done by Sonny Stitt (CD - 04/26/2005)
 

Work Done by Sonny Stitt (CD - 04/26/200...

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Work Done by Sonny Stitt (CD - 04/26/2005)
"Work Done" (04/26/2005) Jazz Instrument Stitt, Sonny, Highnote Records, Inc.Personnel: Sonny Stitt (tenor saxophone); Sonny Stitt; Ray Drummond (double bass); "Smiley" Winters, Smiley Winters (drums); Ed Kelly (piano). Liner Note Author: Bob Porter. Editor: Jon Rosenberg.

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$5
More Never Recorded Arrangements for Benny Goodman by Bob Wilber (CD - 11/04/2003)
 

More Never Recorded Arrangements for Ben...

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$8
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More Never Recorded Arrangements for Benny Goodman by Bob Wilber (CD - 11/04/2003)
"More Never Recorded Arrangements for Benny Goodman" (11/04/2003) Jazz Instrument Wilber, Bob, ArborsBob Wilber & The Tuxedo Big Band: Bob Wilber (soprano saxophone, clarinet); Paul Cheron's Tuxedo Big Band. Recorded at Casa Studio, Toulouse, France on October 29-30, 2002. Personnel: Bob Wilber (clarinet); Guy Robert (flute, clarinet, bass clarinet, saxophone, baritone saxophone); Philippe Laudet (trumpet); Michel Chalot (trombone). Audio Mixer: Jacques Hermet. Liner Note Author: Ross Firestone. Recording information: Casa Studios, Toulouse, France (10/29/2002-10/30/2002). Arrangers: Eddie Sauter; Edgar Sampson; Fletcher Henderson; Joe Lipman; Gordon Jenkins; Alex Hill & His Sepians ; Jimmy Mundy; Alec Templeton; Mary Lou Williams; Oliver Nelson; Ralph Burns; Skip Martin ; Spud Murphy ; Benny Carter ; Mel Powell; Bob Wilber; Buck Clayton. Bob Wilber and these French people should have gotten some sort of humanitarian award from the United Nations for giving the world Vol. 1, which was devoted to the many arrangements devised by Fletcher Henderson for Benny Goodman's bands. The sequel is just as well conceived and carefully executed, with the added benefit of 16 additional arrangers! Again these are almost all hitherto unrecorded charts, excavated onsite at Yale's mammoth Goodman archive. Wilber composed the exception, "Tuxedo Stomp," written specifically for this band. The other pieces arranged by their composers are "Blue Interlude" by Benny Carter; "Conversation" by Mary Lou Williams; "Ballad for Benny" by Oliver Nelson; "Song of the Plow" by Alex Hill; "Clarinetta," composed and arranged by Mel Powell when he was only 18 years old; and Alec Templeton's "Mendelssohn Mowed Down." Also included here is one additional arrangement by Fletcher Henderson, "I'm Coming Virginia." The rest of the arrangers are Eddie Sauter, Buck Clayton, Jimmy Mundy, Edgar Sampson, Gordon Jenkins, Joe Lipman, Spud Murphy, Ralph Burns, and Skip Martin. Besides being a great choice for casual listening, this album may serve as a lesson in how to appreciate the art of creating swing arrangements for big bands. ~ arwulf arwulf

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$8
At Carnegie Hall [9/27]
 

At Carnegie Hall [9/27]

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$6
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At Carnegie Hall [9/27]
"Thelonious Monk Quartet with John Coltrane - At Carnegie Hall" (09/27/2005) Jazz General Monk, Thelonious, Blue Note Records (USA)Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn. Recording information: Carnegie Hall, New York, NY (11/29/1957). On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis.

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$6
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