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

Gerry Mulligan & Chet Baker - Carnegie Hall Concert (1974) {Epic EPC 450554 2 rel 1987}
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© 1974, 1987 CTI / Epic / CBS | EPC 450554 2
Jazz / Cool / West Coast Jazz / Saxophone / Trumpet

At this 1974 concert baritonist Gerry Mulligan and trumpeter Chet Baker had one of their very rare reunions; it would be only the second and final time that they recorded together after Mulligan's original quartet broke up in 1953. Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine."

Les McCann - Les McCann Ltd. In New York (1961) {Pacific Jazz CDP 7 92929 2 rel 1989}
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© 1960-61, 1989 Pacific Jazz / Capitol Records | CDP 7 92929 2
Jazz / Hard Bop / Soul Jazz / Piano

A killer live set by Les McCann – and one that actually him playing with some horns! The record was cut early in McCann's career, with his Ltd trio that had Herbie Lewis on bass and Ron Jefferson on drums – plus some great guest work by Blue Mitchell on trumpet, Stanley Turrentine on tenor, and Frank Haines on tenor. We can't stress how much these players add a groove to Les' group – as we always enjoy his piano playing, but find most of his trio sets a bit sleepy. Instead, this one grooves like a rare Blue Note – and the tracks are long with plenty of great solo interplay.

Michel Camilo - Suntan (1986) {Evidence ECD22030-2 rel 1992}
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© 1986, 1992 Evidence Music / KIng Records Japan | ECD22030-2
Jazz / Hard Bop / Latin Jazz / Piano Trio

Pianist Michel Camilo did some intensive recording for the Japanese Suntan label over a two-day period in 1986. These five selections were in a trio format with Dave Weckl and Joel Rosenblatt alternating on drums and Anthony Jackson on bass throughout. Camilo displayed the Afro-Latin and Latin jazz side of his keyboard personality with slashing, attacking rhythms and phrases. He sacrificed some of his celebrated speed and thought more about ideas, pace, melodies, and harmonic creativity. Camilo's playing emerged as dominant as Jackson was content to work off his leads, and both drummers were equally willing to interact rather than try to influence the music's direction. As a result, Camilo got the chance to demonstrate his full range and did so in a workmanlike, effective manner.

Zoot Sims Quintet - Zoot! (1956) {Riverside OJCCD-228-2 rel 1992}
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© 1956, 1992 Riverside / Fantasy | OJCCD-228-2
Jazz / Bop / Cool / Saxophone

Simple and elegant genius from Zoot Sims – an overlooked quartet session recorded with George Handy on piano, Wilbur Ware on bass, and Osie Johnson on drums. Handy was the famous arranger for the Boyd Rayburn group in the 40s, and here he arranges the whole set – and also contributes a number of original tunes – making for a very fresh session that gets Zoot far past the usual bag of well-worn standards. And with Ware on bass, there's an extra depth to the set in the rhythm department that opens things up nicely – not dramatically, but enough to allow for some more emphatic playing on the part of Sims!

Art Blakey - Paris Jam Session (1959) {Gitanes Jazz Productions 832 692-2 rel 2000}
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© 1959, 2000 EmArcy / Gitanes Jazz Productions / Univeral Music France | 832 692-2
Jazz / Hard Bop / Drums

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.

Merle Haggard - Same Train, A Different Time (1969) {KOCH KOC 3-4051-2 rel 1995}
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© 1969, 1995 Capitol Records / KOCH KOC 3-4051-2
Country / Bakersfield Sound / Traditional Country / Country Blues

Same Train, Different Time is Merle Haggard's affectionate tribute to Jimmie Rodgers. Haggard provides narration between the songs, offering tales of Rodgers' life and music. While the album is rooted in the past, the key to its success is how Haggard updates these traditional songs without losing sight of their roots. There are contemporary folk, country and blues influences scattered throughout the record, adding depth to the music and proving that Rodgers' music is indeed timeless.

Milt Jackson Orchestra - Big Bags (1962) {Riverside OJCCD-366-2 rel 1989}
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© 1962, 1989 Riverside / Fantasy / OJC | OJCCD-366-2
Jazz / Hard Bop / Modern Big Band / Vibes

A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others.

Tal Farlow - This Is Tal Farlow (1958) {Verve Elite Edition 314537746-2 rel 2007}
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© 1958, 2007 Verve / PolyGram | 314 537 746-2
Jazz / Bebop / Cool / Guitar

The one thing I love about this album is the alternate takes….Tal has an incredible sense of harmony and each take sounds completely fresh with different chords and ideas. A great look into the mind of genius!

Larry Polansky (b.1954) - The Theory of Impossible Melody (1989) {New World Records 80684-2 rel 2009}
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© 1989, 2009 Artifact Recordings / New World Records | 80684-2
Classical / Modern Classical / Avant-Garde / Guitar / Computer / Process-Generated

Composed in 1989, this electro-acoustic composition contains fascinating formal (transformational) logic programs that generate electronic and acoustic pieces; all of these programs were developed using the HMSL (Hierarchical Music Specification Language) designed by composers Phil Burk, Larry Polansky, and David Rosenboom. This piece is imbued throughout with the feeling of mysteries in the Cabalistic tradition.