Bud Spencerterence Hill

Previously unissued until 1996, this trio session by pianist Bud Powell with bassist George Duvivier and drummer Art Taylor is better than his Verve recordings of the period if not quite up to the level of his earlier classic Blue Note dates. Actually it is a mystery how such excellent music could be unknown and go unreleased for so long. Powell performs 13 Charlie Parker compositions (including two versions of "Big Foot") and Dizzy Gillespie's "Salt Peanuts." Although there are some minor missteps, the music is quite enjoyable and generally hard-swinging with the more memorable performances including "Straw 'Nuff," "Yardbird Suite," "Confirmation" and "Ko Ko."

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded - done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before - but there's something about this record that really gets the whole thing right - as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. The added percussion really brings a lot to the set - and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong - caught at that clear early point in his career when he was such a fresh voice on the scene.

Altoist Bud Shank and flugelhornist Shorty Rogers worked together on a fairly regular basis after Rogers returned to active playing in 1982. While Shank had advanced as an improviser (developing a wider range of expression and playing with more intensity than previously), Rogers' cool-toned style was largely unchanged. With pianist George Cables, bassist Monty Budwig and drummer Sherman Ferguson completing the quintet, Shank and Shorty perform three of Rogers' originals plus inventive reworkings of four swing and bop standards arranged by the flugelhornist. A fine outing.

A sublime little set all the way through - an early 60s date from the west coast scene - and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax - no flute at all this time around - blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer - who plays piano in the group, and also contributed a host of original tunes to the set - fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass - and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?".

The Lenten season of 1679 was a cold, rainy, and dreary affair. The new Pope, Innocent XI, was no supporter of the increasingly permissive nature of Roman aristocracy, and he took measures to enforce edicts prohibiting staged performances before a paying public, as well as a general ban on the appearance of women on the stage. Reluctantly granted, however, was permission for private performances, and this concession led to the fortuitous circumstances that made the premiere of Scarlatti’s first opera possible—the ingenuity of the Bernini brothers who produced the work; a liberal interpretation of “private performance”; the support and attendance of Queen Christina of Sweden; and, certainly not least, the fact that Pope Innocent had left the city during the carnival, leaving the enforcement of his conservatism to some of the very cardinals who most enjoyed and supported public theatre!

On May 15, 1953, five of jazz's most influential musicians - Charlie Parker, Dizzy Gillespie, Charles Mingus, Max Roach and Bud Powell - met at Massey Hall in Toronto for their first and only known recording as a quintet. Although only a small audience had the opportunity to experience this historic evening in person, it was captured on tape. The resulting album, The Quintet: Jazz at Massey Hall, became one of the genre's most important and acclaimed releases.

With this subtly provocative solo recital, Ted Rosenthal merges three very different streams of piano history, putting his personal stamp on all of them. He pays homage to Bill Evans with "I Loves You Porgy," "Turn out the Stars," and "Waltz for Debby," playing the last in 5/4 but reverting to 4/4 only on his second solo chorus. The Bud Powell portion is more extensive, consisting of "Tempus Fugit," "Wail," "I'll Keep Loving You," "Celia," "Parisian Thoroughfare," and, in another 5/4 interpretation, the closing "Tea for Two." Last but not least, Rosenthal unveils his improvisational approach to Beethoven with the latter two movements of the "Pathetique" sonata, as well as the third movement of "Opus 109," which inspires a full nine minutes of spirited invention. In Rosenthal's hands all this music sounds as though it sprang from the same muse, and that's the sign of a skilled, imaginative artist.

Original Album Classics contains five albums by Cypress Hill: Cypress Hill (1991), Black Sunday (1993), Cypress Hill III: Temples of Boom (1995), Cypress Hill IV (1998), and Stoned Raiders (2001). That's the group's first four albums, plus its sixth – 2000's Skull & Bones was presumably left out because it's a two-disc album. For most casual fans, 2005's Greatest Hits from the Bong will be adequate, but this is a rather affordable way to obtain a major chunk of the group's catalog. The discs are presented as they were originally released, within standard jewel cases that slide inside a basic cardboard sleeve.