Aeromodeller 1956 12

Charles Mingus' three albums for Bethlehem have the misfortune of being sandwiched between albums like New Tijuana Moods and Mingus Ah Um. The music on these three discs, recorded in the mid-to-late '50s, is quieter and less volatile when compared to these other albums. Bill Evans' appearance on East Coasting gives the listener a chance to sample his style a few months before he went to work for Miles Davis. His non-bluesy tone and mellow approach would seemingly be the antithesis of Mingus' modus operandi, but it works well here. He kicks off "East Coasting" with his distinct touch before giving way to the heavy percussion of the ever-explosive Dannie Richmond. One of the things that separates even a conservative (relatively speaking) Mingus effort from its peers is the babble of instrumental voices on a tune like "West Coast Ghost," with horns bursting from one speaker while the drums and bass thump madly from the other…

Like a modern day rock star, Holiday's troubles with drugs, the law, and abusive men were almost considered part of what made her art work so well. It's an insulting idea, of course - and one that puts the audience in the position of voyeurs, or worse. The inclusion of Holiday's own tunes like "Don't Explain" and signature pieces like "Ain't Nobody's Business," combined with readings from her recent autobiography during the course of this concert, play to the more maudlin aspects of the singer's life. Holiday is painted as a woman who put up with hard times and abuse for sake of the shreds of love her men would hand her. Yet her exuberance on the uptempo, swinging material is full of attitude and charm. The life and vitality she brings to those tunes is just as real as her much remarked-upon gloomy side. Ultimately, it's up to the listener to decide what to hear as journalism and what to take as artistic interpretation.

Jazz critic Will Friedwald has stated that Julie London's records were so popular in the 1950s mainly because she looked so drop-dead gorgeous on the album covers. The marketing hook behind Calendar Girl may just be the main example for those critical of London's musical career, since its sleeve has made it a prized collector's item. The famous wraparound cover depicts cheesecake shots of London posed for every month of the year, while original issues of the album included a more-than-suggestive insert photo of the singer stretched out in bed. While Friedwald's correct about London's physical beauty, he's wrong in suggesting that the vocalist didn't have the talent to go along with her looks. Like Chet Baker, Julie London had an extremely limited vocal range but she did the most with what she had, possessing a special knack for torch songs that cast her in the role of a woman constantly being destroyed by love in general and by men in particular…

Mid 50s genius from Sonny Rollins - 5 albums in a single set, all presented in LP-styled sleeves. Includes 'Worktime' (1956), 'With The Modern Jazz Quartet' (1956), 'Tenor Madness' (1956), 'Moving Out' (1956) and 'Saxaphone Colossus' (1957).
Worktime is a record that perfectly illustrates why Rollins was one of the greatest players on his horn for many decades running! There's a depth of tone on the record that rivals Coleman Hawkins or Lester Young - but a quickness of pace and imagination that shows a clear influence from Charlie Parker, and a deftness that few were bringing to the tenor at the time. The rhythm section here is super tight - and features Ray Bryant on piano, George Morrow on bass, and Max Roach on drums…

The Go-Go-Goraguer sessions are a rare opportunity to discover what a potent jazz pianist Alain Goraguer was before he embarked on a new career as an arranger and a composer that would take him away from the realm of jazz. He would have been part of a great generation of French jazz pianists that includes fine stylists such as René Urtreger, Martial Solal, or Georges Arvanitas. The program is comprised of standards, songs from the French repertoire, and two originals. Classically trained, Goraguer's technique is beyond reproach, and his quite marvelous touch can be enjoyed on a wide range of material - from his tender version of "Darn That Dream" to a percussive reworking of "What Is This Thing Called Love?." Regardless of the tempo, his playing has a sparkling quality that does not fail to draw the listener in…

"I play the trumpet, my name is Clifford Brown." With these simple and unpretentious words, Brownie introduced himself to the audience of the Cotton Club in Cleveland, Ohio, on May 28, 1956. And indeed he played the trumpet, with a fire and excellence that has earned him renown worldwide. May 28 was the opening night of a week-long engagement for the Max Roach-Clifford Brown Quintet, featuring Sonny Rollins on tenor sax, Richie Powell (Bud Powell's younger brother) on piano, and George Morrow on bass. Despite the exceptional talent of the individual band members, the quintet proved to be more than the sum of its parts. The Cleveland Cotton Club performances contained on this package were recorded on amateur equipment and include sets played by the quintet on May 28, May 29 and June 1, 1956. As a bonus to these amazing performances, we present another previously unissued set: a radio broadcast by the same quintet…