Benny Golson

The Quintessence is perhaps the most accurate title ever given to a Quincy Jones & His Orchestra recording. Issued in 1961 for Impulse!, this is the sound of the modern, progressive big band at its pinnacle. Recorded in three sessions, the core of the band consists of Melba Liston, Phil Woods, Julius Watkins, and bassist Milt Hinton and pianist Patricia Brown on two sessions, with bassist Buddy Catlett and pianist Bobby Scott on another. The trumpet chairs are held alternately by players like Freddie Hubbard, Clark Terry, Thad Jones, and Snooky Young, to name a few. Oliver Nelson is here, as are Frank Wess and Curtis Fuller. Despite its brevity – a scant 31 minutes – The Quintessence is essential to any appreciation of Jones and his artistry. The deep swing and blues in his originals such as the title track, "Robot Portrait," and "For Lena and Lennie" create staggering blends.

Esta recopilación, con casi cinco horas de música en total, es un adecuado testimonio a uno de los héroes no reconocidos del jazz y se espera que ayudará a mantener el nombre de Wynton Kelly vivo, para llegar a las nuevas generaciones de aficionados en los años venideros. Kelly actuó con una amplia gama de grandes del jazz a lo largo de los años, incluyendo a Charles Mingus, Benny Golson, Art Blakey y Lee Morgan, así como con las bandas de Washington y Gillespie, incluso tocó el bajo en una pista del cantante Abbey Lincoln. En enero de 1959, Kelly se unió a la banda de Miles Davis. Su trabajo con Davis finalmente llegaría a ser el más conocido, e incluyó una intepretación excepcional en la canción 'Freddy Freeloader' de Kind Of Blue, el disco de jazz más vendido de todos los tiempos.

Art Farmer - The Complete Remastered Recordings On Black Saint & Soul Note (2013) {6CD Set, Cam London BXS1025 rec 1981-1987}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.57 Gb | MP3 @320 -> 590 Mb | Full Artwork | 5% repair rar
© 1981-87, 2013 CAM London / Black Saint / Soul Note | BXS 1025
Jazz / Bop / Cool / Hard Bop / Flugelhorn

In an illustrious recording that spanned 50 years (1948-98), art Farmer seldom failed to impress. Whereas his contemporaries were obsessed with speed, having heard Freddie Webster, Farmer decided to concentrate on perfecting his already warm and melodic sound which would became even more personalized when switching to flugelhorn in the early 1960s. From 1966, farmer divided his time between New York and Wien. So high was his profile in Europe that from 1981 until 1987 he recorded five albums for BlackSaint/Soul Note (including one with the reassembled Jazztet) plus a duo with pianist Enrico Pieranunzi.

With a lyricism and warmth to his sound that was without equal, Arthur Stewart Art Farmer will always be remembered as one of the finest trumpet and flugelhorn players in jazz. Continually evolving in style and approach throughout his career, his playing was noted for its distinctive phrasing, letting the beat run ahead of him rather in the manner of Billie Holiday's vocals". Farmer produced a number records that remain among the most defining of the jazz genre, and which often featured him performing alongside other legendary musicians, including Benny Golson, Gigi Gryce, Horace Silver, Jim Hall and Sonny Rollins. 1961 saw one of the most important shifts in Art Farmer s career. Having played primarily trumpet up until that point, Farmer switched to the softer tone of the flugelhorn, and for the rest of his life it would remain his instrument of choice.

Art Blakey And The Jazz Messengers - Moanin' (1958) {Blue Note Japan SHM-CD TYCJ-81005 rel 2013} (24-192 remaster)
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© 1958, 2013 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81005
Jazz / Hard Bop

Reissue from Art Blakey & The Jazz Messengers features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blues March" for the first time in the world. Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band.

Art Blakey - 1958 Paris Olympia (2001) {Fontana–Gitanes Jazz 832 659-2}
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© 1958, 2001 Fontana / EmArcy / Universal / Gitanes Jazz Productions | 832 659-2
Jazz / Hard Bop / Drums

The 1958 version of the Jazz Messengers were widely recorded during their stay in Paris, but this LP does not duplicate any of the other recordings previously released. This band (with trumpeter Lee Morgan, Benny Golson on tenor, and pianist Bobby Timmons) was particularly strong, and it is quite enjoyable to hear them stretch out on such songs as "I Remember Clifford," "Moanin'," "Blues March," and "Whisper Not." Hard bop at its best, all of it propelled by the powerful drumming of Art Blakey.