Billy Ray

Composer/arranger/pianist Billy Strayhorn led surprisingly few sessions throughout his career, and this was only his second full-length album. Actually, the main star is altoist Johnny Hodges (who goes here under the pseudonym of "Cue Porter"), while Strayhorn (who plays piano on the seven songs) only co-wrote two basic tunes ("Cue's Blue Now" and "Watch Your Cue") with Hodges and played a fairly minor role. Also in the septet are three fellow Ellingtonians (trumpeter Shorty Baker, trombonist Quentin Jackson and clarinetist Russell Procope), along with bassist Al Hall and drummer Oliver Jackson. The results are a fine mainstream session (which has been reissued on this CD) with highlights including "Gone With the Wind," the ten-minute "Cue's Blue Now" and "Rose Room."

For his sixteenth recording Price teamed with guitarist/producer Kid Andersen and recorded at Andersen’s Greaseland Studio in San Jose, California. Anderson and drummer Alex Pettersen are both members of Rick Estrin and The Nighcats recently voted The Band of The Year at the 2018 Blues Music Awards. Andersen assembled the remaining cast of musicians including legendary bassist Jerry Jemmott who has worked with King Curtis, Aretha Franklin and Ray Charles; Jim Pugh former keyboard player with Robert Cray; and the horn section of Johnny Bones, saxophones, and Konstantins Jemeljanovs, trumpet. The fantastic horn arrangements are by Andersen.

This twofer combines two classic atlantic sessions from 1957 and '58, "Soul Meeting" and "Soul Brothers." In 1957, Ray Charles still had not achieved the fame that would make him an icon of soul and r-n-b. He was still appearing in a variety of contexts, including these extraordinary jazz sets with Milt Jackson. Mr. Jackson was well-known via the Modern Jazz Quartet, but here we meet him in his solo nature - a jazz man drenched in the blues. Mr. Charles was a perfect foil for these sets that swing with some great modern jazz ("Cosmic Ray", "Soul Brothers", or "Deed I Do"), but also cook with some down-n-dirty blues ("Blue Funk", "How Long Blues", and "X-Ray blues"). What comes to light is just how good Mr. Charles was on piano, and also alto sax ("How Long…"). He has a deft hand and is a brilliant improviser. This album is a great introduction to classic jazz from the '50s, but is also highly recommended for a glimpse of another side of the genius of Ray Charles, one rarely heard much today.

Arriving in New York in 1945, on his first day in town Ray Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer.,.

Billy Taylor - Where've You Been (1981) {Concord Jazz CCD-4145 rel 1996}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 249 Mb | MP3 @320 -> 101 Mb
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© 1981, 1996 Concord Jazz | CCD-4145
Jazz / Bop / Hard Bop / Piano

This Concord release is most notable for featuring the obscure but talented violinist Joe Kennedy, who spent the bulk of his career teaching music in the Richmond, VA area. Teamed with pianist Billy Taylor, bassist Victor Gaskin and drummer Keith Copeland, Kennedy is the lead voice on many of the eight straightahead Taylor originals and he plays at the peak of his powers; it is a real pity that he did not record more during his career.