Bill Evans The Solo Sessions

Art Tatum - The Complete Pablo Solo Masterpieces (1991) {7CD Set Pablo Records 7PACD-4404-2 rec 1953-1956}
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© 1953-56, 1991 Pablo / Fantasy | PACD 4404-2
Jazz / Mainstream Jazz / Swing / Stride / Boogie-Woogie / Piano

During four marathon recording sessions in 1953-55, Norman Granz recorded Art Tatum playing 119 standards, enough music for a dozen LPs. The results have been recently reissued separately on eight CDs and on this very full seven-CD box set. Frankly, Tatum did no real advance preparation for this massive project, sticking mosty to concise melodic variations of standards, some of them virtual set pieces formed over the past two decades. Since there are few uptempo performances, the music in this series has a certain sameness after awhile but, heard in small doses, it is quite enjoyable. A special bonus on this box (and not on the individual volumes) are four numbers taken from a 1956 Hollywood Bowl concert.

Bud Powell - The Genius of Bud Powell (1951) {Verve 827 901-2 rel 1988}
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© 1950-51, 1988 Verve / PolyGram | 827 901-2
Jazz / Bop / Piano

In 1951, Bud Powell was still at the height of his considerable powers. Included here are two sessions from that year: a trio with Ray Brown and Buddy Rich (three takes of "Tea for Two" and a super-fast "Hallelujah") and eight solo piano tunes from a different date. On "Tea for Two," Rich's drumming brings out the charming show-off in Powell, and on "Hallelujah," Powell plays with a hysterical clarity. "Oblivion" and "Hallucinations" are the most masterful of the eight solo cuts. Here Powell swings effortlessly and seems to be speaking his own, true language. The elegance of another era pervades the Gershwin-esque "Parisian Thoroughfare" and "Dusk in Sandi." And one can imagine a young Bill Evans listening to "A Nightingale Sang in Berkeley Square" and taking note of the rich, logical voicings coupled with a wonderful singing tone.

The great alto sax player Julian "Cannonball" Adderley and his cornet player brother Nat first recorded together for Savoy in 1955. And it is those "Summer of '55" sessions that form the basis of this double cd collection.
The Adderley Brothers went on to produce the massively popular jazz hits "Mercy Mery" and "World Song" plus classic albums such as "Nippon Soul". "Cannonball" Adderley developed a considerable career as an alto player in his own right, and his abilities as a player are quite clearly demonstrated on this double cd of mid-fifties recordings. He later went on to record albums under his own name with the pianist Bill Evans and of course "Kind of Blue". This Miles Davis album now ranks as the best selling jazz album of all time, and "Cannonball's" contribution to its success is legendary…

Resonance Records is proud to announce the first official release of Wes Montgomery – In Paris: The Definitive ORTF Recording which captures the jazz guitar legend in concert during his only tour of Europe on the night of March 27, 1965 at the Théâtre des Champs-Élysées in Paris, France. Considered perhaps the greatest live Wes Montgomery performance ever, In Paris is being released in partnership with the Institut national de l’audiovisuel (INA) with remastered high-resolution audio transferred directly from the original tapes, and will mark the first time the Montgomery Estate will be paid for this recording, which has been available as various bootlegs since the 1970s. This is also Resonance’s second album released in partnership with INA in a series of ORTF recordings, following 2016’s critically acclaimed Larry Young – In Paris: The ORTF Recordings.

Oliver Nelson had recorded several sessions for Prestige when the fledgling Impulse! label gave him the opportunity to make this septet date in 1961. The result was a rare marriage between an arranger-composer's conception and the ideal collection of musicians to execute it. The material is all based somehow on the blues, but Nelson's structural and harmonic extensions make it highly varied, suggesting ballads, hoedowns, and swing. The band is one of those groupings that seem only to have been possible around 1960, a roster so strong that the leader's name was actually listed fourth on the cover. Nelson shares the solo space with trumpeter Freddie Hubbard, alto saxophonist and flutist Eric Dolphy, and pianist Bill Evans, while bassist Paul Chambers and drummer Roy Haynes contribute support and baritone saxophonist George Barrow adds depth. In stark contrast to Dolphy's brilliant, convulsive explosions, Nelson's tenor solos are intriguingly minimalist, emphasizing a tight vibrato and unusual note choices. It's not quite Kind of Blue (nothing is), but Blues and the Abstract Truth is an essential recording, one that helped define the shape of jazz in the '60s. ~ Amazon

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward…