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

Gil Evans - Plays the Music of Jimi Hendrix (1974-1975) {Bluebird 09026-63872-2 rel 2002}
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© 1974-75 RCA Victor / Bluebird / BMG | 09026-63872-2
Jazz / Modern Big Band / Post Bop / Progressive Jazz

This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place.

Abdullah Ibrahim & Johnny Dyani - Echoes from Africa (1979) {Enja 3047 2 rel 1990}
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© 1979, 1990 Enja Records | Enja 3047 2
Jazz / African Folk / African Jazz / Bass / Piano

This is a rather emotional duet set by pianist Abdullah Ibrahim and bassist Johnny Dyani, two masterful musicians from South Africa. Their often introspective music includes three originals (with one piece dedicated to McCoy Tyner) plus a nearly 17-minute improvisation based on a folk melody that also allows one to hear the voices of the two musicians. This moody music has an almost sacred credibility and is quite personal.

Curtis Counce - Landslide (1956) {Contemporary OJCCD-606-2 rel 1991}
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© 1956, 1991 Contemporary / Fantasy | OJCCD-606-2
Jazz / Hard Bop / West Coast Jazz / Bass

During 1956-1957, bassist Curtis Counce led an excellent Los Angeles-based hard bop quintet comprised of trumpeter Jack Sheldon, tenor saxophonist Harold Land, pianist Carl Perkins, bassist Curtis Counce, and drummer Frank Butler. They recorded four albums' worth of material for Contemporary, all of which have been reissued on CD (three as part of the Original Jazz Classics series). For their debut album, the group performs selections by Land ("Landslide"), Perkins, Sheldon, and two by Gerald Wiggins (including "Sonar"), plus the lone standard "Time After Time." All of Counce's recordings (which include a slightly later album for Dootone) are well-worth getting by collectors interested in 1950s straight-ahead jazz. This disc is an excellent place to start.

Art Pepper - No Limit (1977) {Contemporary OJCCD-411-2 rel 1989}
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© 1977, 1989 Contemporary / Fantasy | OJCCD-411-2
Jazz / Post Bop / West Coast Jazz / Saxophone

A nice lost late number from Art Pepper – a freewheeling set of tracks that really show the influence of John Coltrane on Pepper's work – cut with a quartet that includes George Cables on piano, Tony Dumas on "blitz bass", and Carl Burnett on drums. The tracks are long, and two numbers have a really nice Latiny flair – with Art spinning out some aggressive solos on top of fast-running grooves, in a way you'd be surprised to hear on one of his albums from the time!

Cecil Taylor - Jazz Advance (1956) {Blue Note CDP 7 84462 2 rel 1991}
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© 1956, 1991 Transition / Blue Note / Capitol | CDP 7 84462 2
Jazz / Avant-Garde Jazz / Piano

One of the best pre-1960 sessions by Cecil Taylor, recorded in Boston in 1956, and originally issued on the totally rare Transition label in a very small pressing! Taylor's playing here with the great bassist Buell Neidlinger, one of his prime compaitriots in the early days, and the trio (with Dennis Charles) is joined by Steve Lacy on a few tracks. The session's a great way to hear Taylor's development at the beginning, as it includes a number of jazz standards – like "Azure", "Sweet & Lovely", and "Bemsha Swing" – all given an off-kilter twist by Taylor and group. This is probably best heard on one of the album's highlights – a 9 minute solo reading of Cole Porter's "You'd Be So Nice To Come Home To"!

Gary Burton Quartet - Green Apple (1969) {Moon Records MCD 013-2 rel 1989}
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© 1969, 1989 Moon Records | MCD 013-2
Jazz / Post Bop / Vibes

Terrific import only CD from Jazz legend. Recorded Live in Nice, 1969.

Jimmy Heath Sextet - The Thumper (1959) {Riverside OJCCD-1828-2 rel 1994}
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© 1959, 1994 Riverside / Fantasy | OJCCD-1828-2
Jazz / Bop / Hard Bop / Saxophone

Jimmy Heath at age 33 made his recording debut as a leader on this Riverside session which has been reissued on CD in the OJC series. The hard bop tenor-saxophonist is in superior form, contributing five originals (of which "For Minors Only" is best known), jamming with an all-star sextet (including cornetist Nat Adderley, trombonist Curtis Fuller, pianist Wynton Kelly, bassist Paul Chambers and drummer Albert "Tootie" Heath) and taking two standards as ballad features. The excellent session of late '50s straightahead jazz is uplifted above the normal level by Heath's writing.

Paul Quinichette - For Basie (1957) {Prestige OJCCD-978-2 rel 1998}
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© 1957, 1998 Prestige / Fantasy | OJCCD-978-2
Jazz / Bop / Hard Bop / Saxophone

Tenor-saxophonist Paul Quinichette, who had played with the Count Basie Orchestra in the early 1950's, was a virtual soundalike of Lester Young in the 1950's. On the first of two Prestige sets that pay tribute to Basie, Quinichette is teamed up with four fellow Basie alumni (trumpeter Shad Collins, guitarist Freddie Green, bassist Walter Page and drummer Jo Jones) plus pianist Nat Pierce who comes as close as anyone to sounding like Count.