Bob Russell

George Russell - Jazz In The Space Age (1960) {Decca–GRP GRD-826 rel 1998} (featuring Bill Evans)
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© 1960, 1998 Decca / GRP / Universal | GRD-826
Jazz / Post Bop / Modal Jazz

George Russell's third release as a leader combines two adventurous sessions. The first features two pianists, Bill Evans and Paul Bley, and a large ensemble including Ernie Royal, Dave Baker, Walt Levinsky, Barry Galbraith, Milt Hinton, and Don Lamond, among others. The three-part suite "Chromatic Universe" is an ambitious work which mixes free improvisation with written passages that have not only stood the test of time but still sound very fresh. "The Lydiot" focuses on the soloists, while incorporating elements from "Chromatic Universe" and other Russell compositions.

The Manchester Craftsman's Guild in Pittsburgh offers another rousing live concert date in this varied program led by the eclectic saxophonist who is best known as one of the Yellowjackets – but whose early résumé also boasts everyone from Tito Puente to Thad Jones and the Mel Lewis Big Band. A dash here and a dollop there of each of these influences make this a varied date whose appeal extends beyond big-band fans and embraces those who love bebop, a touch of the avant-garde, the progressive spirit of the Yellowjackets (most notably Russell Ferrante, who contributes stunning percussive solos on pieces like the crazed, polyrhythmic "Mofongo"), and the great contemporary vocalist Kurt Elling.

Yellowjackets reedman Bob Mintzer, best-known outside that group for his big band recordings, steps out in a more straight-ahead jazz direction with Quality Time. Several of the tracks have a feel similar to the Yellowjackets acoustic work, while "All Is Quiet" sounds like a Coltrane ballad from the mid-'60s. On eight of the album's ten tracks, Mintzer's supporting cast includes pianist Phil Markowitz, bassman Jay Anderson and drummer Peter Erskine. The remaining two cuts are probably outtakes from recent Yellowjackets' recording sessions, with Mintzer playing bass clarinet beside Russell Ferrante's clavinet on the group-written "Emit A1," and the quartet showing its acoustic chops on "Family."

Pee Wee Russell - New Groove & The College Concert (2013) {Columbia–Impulse!–Solar 4569938 rec 1961-1966}
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© 1961-66, 2013 Columbia / Impulse! / Solar Records | 4569938
Jazz / Bop / Clarinet

This edition contains two amazing original albums by the great Pee Wee Russell. New Groove (Columbia CS-8785) presents him fronting his own quartet accompanied by trombone, and a piano-less rhythm section of bass and drums. The second LP, The College Concert of Pee Wee Russell and Henry Red Allen (Impulse AS-9137), appears here for the first time ever on CD. It features the clarinettist in a quintet format co-led by Allen, backed by an impressive modern rhythm section composed of Steve Kuhn on piano, Charlie Haden on bass, and Marty Morell on drums. As a bonus, “Mariooch”, which marks the only quartet song featuring Russell from the larger group album Jazz Reunion.

Leon Russell never quite hit all the right notes the way he did on his eponymous debut. He never again seemed as convincing in his grasp of Americana music and themes, never again seemed as individual, and never again did his limited, slurred bluesy voice seem as ingratiating…

George Russell - The African Game (1983) {Blue Note CDP 7463352 rel 1997}
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© 1983, 1997 Blue Note | CDP 7 46335 2
Jazz / Contemporary Jazz / Experimental Big Band / Progressive Jazz

George Russell's The African Game is a major statement, a highly eclectic, nine-part, 45-minute suite for augmented big band that attempts to depict no less than the evolution of the species from the beginning of time to the present from an African perspective. Well, yes, this theme has been taken on by many an ambitious artist in every field, but Russell's work is remarkably successful because it tries to embrace a massive world of sound in open, colorful, young-thinking terms, with degrees of timbral unity and emotion to keep the idioms from flying out of control.