C.& e European Legal Mater. Sup.2 Rel.4

Art Farmer - On The Road (1976) {Contemporary OJCCD-478-2 rel 1990}
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© 1976, 1990 Contemporary / Fantasy | OJCCD-478-2
Jazz / Bop / Cool / Hard Bop / Flugelhorn

On the Road features a logical but only one-time collaboration between flügelhornist Art Farmer and altoist Art Pepper. With pianist Hampton Hawes, bassist Ray Brown, and either Steve Ellington or Shelly Manne on drums completing the quintet, the five standards and Hawes' original "Downwind" were certainly in good hands. A special highlight is a duet version of "My Funny Valentine," featuring Farmer and Hawes. Everyone plays up to par on this spirited straight-ahead set.

Eddie Daniels - First Prize! (1966) {Prestige OJCCD-771-2 rel 1993}
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© 1966, 1993 Prestige / Fantasy | OJCCD-771-2
Jazz / Hard Bop / Saxophone / Clarinet

When one hears this early Eddie Daniels CD (a straight reissue of the original LP), it is surprising to realize that he would remain in relative obscurity for almost another 20 years. As shown on the three of the eight selections on which he plays clarinet, Daniels (even at this early stage) ranked near the top, while his tenor playing on the remaining numbers was already personal and virtuosic. With the assistance of the Thad Jones/Mel Lewis rhythm section of the time (pianist Roland Hanna, bassist Richard Davis and drummer Mel Lewis), Daniels is in top form on three standards, four originals and the pop tune "Spanish Flea."

Nels Cline - Angelica (1987) {Enja ENJ-9577-2 rel 2011}
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© 1987, 2011 Enja Records | ENJ-9577-2
Jazz / Avant-Garde Jazz / Modern Creative / Post Bop / Guitar

Released in semi-obscurity 25 years ago (2012), Angelica was American guitarist Nels Cline’s first date as leader and shows a remarkable maturity. Cline is better known these days as guitarist with Chicago hipsters Wilco, and there are few modern musicians who can run with the jazz hare and hunt with the rock hounds with such ease. This well-deserved reissue is a chance to hear where the young guitarist’s head was at and is notable also for an unusually consonant contribution from saxophonist Tim Berne – now undisputed heavyweight champion of New York’s downtown scene, then barely out of his 30s.

Max Roach and Cecil Taylor - Historic Concerts (1979) {Soul Note 121 100/1 -2 rel 1984}
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© 1979, 1984 Soul Note | 121 100/1 -2
Jazz / Post-Bop / Avant-Garde Jazz / Piano / Drums

Drummer Max Roach met up with the intense avant-garde pianist Cecil Taylor for a 1979 concert that resulted in this double CD. After Roach and Taylor play separate five-minute solos (Taylor's is surprisingly melodic and bluesy), they interact during a two-part 78-minute encounter that finds Roach not shy of occasionally taking control. The passionate music is quite atonal but coherent, with Taylor displaying an impressive amount of energy and the two masters (who had not rehearsed or ever played together before) communicating pretty well. This set is weakened a bit by a 17-minute radio interview that includes excerpts from the concert one just heard, although some of the anecdotes are interesting. No revelations really occur in the music, but it certainly holds one's interest.

Bobby Timmons Trio - Easy Does It (1961) {Riverside OJCCD-722-2 rel 1992}
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© 1961, 1992 Riverside / Fantasy | OJCCD-722-2
Jazz / Hard Bop / Piano

Pianist Bobby Timmons, who became famous for his funky originals and soulful playing, mostly sticks to more bop-oriented jazz on this trio set with bassist Sam Jones and drummer Jimmy Cobb. He provides three originals (none of which really caught on) and is in excellent form on five standards, with highlights including "Old Devil Moon," "I Thought About You," and "Groovin' High." The Riverside CD reissue shows that Timmons was a bit more versatile than his stereotype; in any case, the music is excellent.

Lee Morgan Quintet - Take Twelve (1962) {Jazzland OJCCD-310-2 rel 1989}
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© 1962, 1989 Jazzland Records / Fantasy | OJCCD-310-2
Jazz / Hard Bop / Post Bop / Trumpet

Take Twelve was trumpeter Lee Morgan's only recording during an off-period that lasted from mid-1961 to late 1963. Morgan (who sounds in fine form) leads a quintet with tenor saxophonist Clifford Jordan, pianist Barry Harris, bassist Bob Cranshaw and drummer Louis Hayes through four of his originals, Jordan's "Little Spain," and the title cut, an Elmo Hope composition. The superior material uplifts the set from being a mere "blowing" date but it generally has the spontaneity of a jam session. It's one of Lee Morgan's lesser-known dates.

Billy Taylor - Warming Up! (1961) {Milestone MCD 47103-2 rel 2004}
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© 1960-61, 2004 Milestone Records / Fantasy | MCD 47103-2
Jazz / Bop / Hard Bop / Piano

Warming Up! collects two trio albums recorded by pianist Billy Taylor in 1960-1961, the first under the same title, the second Interlude. On the first 12 pieces he's joined by bassist Henry Grimes and drummer Ray Mosca, on the later 11, Doug Watkins takes Grimes' place. The similar setup and personnel mean that both albums flow together as a piece, though each carries a separate mood owing to the albums' different conceptions.

Nat Adderley - Naturally! (1961) {Jazzland OJCCD-1088-2 rel 2003}
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© 1961, 2003 Jazzland Records / Fantasy | OJCCD-1088-2
Jazz / Hard Bop / Soul Jazz / Cornet

Most of the albums that Nat Adderley recorded in the '60s employed a saxophonist; Yusef Lateef, Joe Henderson and Charlie Rouse were among the tenor heavyweights he featured. But Naturally! is an exception to that rule. Produced by Orrin Keepnews for Jazzland in 1961, Naturally! was the cornetist's first album of quartet performances. Adderley uses two different rhythm sections on this date. One consists of three players he knew from brother Cannonball's group: bassist Sam Jones, drummer Louis Hayes, and pianist Joe Zawinul (nine years before Weather Report).

Don Pullen & Sam Rivers - Capricorn Rising (1975) {Black Saint 120004-2 rel 1993}
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© 1975, 1993 Black Saint | 120004-2
Jazz / Post Bop / Avant-Garde Jazz / Piano / Saxophone

Sam Rivers is on exuberant form throughout and Don Pullen plays some marvellous piano. The effect is rather like some of the thrilling work Pullen did with the quartet he had with George Adams, slightly more advanced perhaps, but with the same combination of of excitement and complexity.

Bobby Jaspar - Phenil Isopropil Amine (1958) {EmArcy 837 207-2 rel 1988}
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© 1958, 1988 EmArcy / Barclay / Polygram France | 837 207-2
Jazz / Bop / Straight-ahead Jazz / Flute

Bobby Jaspar recorded this album December 19 and 20, 1958 at the Hoche studio, Paris. While this was recorded in Paris, Bobby had been living in the US for two years. What makes the album special to me is the laid back feel that reminds me more of the Modern Jazz Quartet. Jaspar did a collaboration with Milt Jackson the year before ( Bags & Flutes ), which may account for the way this session was produced. It also features Bobby exclusively on flute, further giving it that MJQ feel. Contrast this album with his saxophone playing on Cool Jazz Sounds (a great compilation by the way) and you will hear what I am talking about.