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Arnett Cobb - Smooth Sailing (1959) {Prestige OJCCD-323-2 rel 1995}
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© 1959, 1995 Prestige / Fantasy | OJCCD-323-2
Jazz / Bop / Soul Jazz / Jazz Blues / Saxophone

This CD reissue brings back a typically swinging date by tenor saxophonist Arnett Cobb. The colorful trombonist Buster Cooper (who was not featured in enough small group sessions through the years) seems to inspire Cobb; the rhythm section (organist Austin Mitchell, bassist George Duvivier and drummer Osie Johnson) proves a strong asset for this music. Four standards (three from the swing era plus Cobb's "Smooth Sailing") alternate with a blues and a couple of up-tempo riff numbers. Arnett Cobb's solos are typically emotional and generally exciting during the fine set.

Herbie Mann - Great Ideas Of Western Mann (1957) {Riverside OJCCD-1065-2 rel 2001}
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© 1957, 2001 Riverside | OJCCD-1065-2
Jazz / Bop / Hard Bop / Bass Clarinet

The immodest title of this one carries a double connotation; it was probably the first album of jazz in which the leader recorded entirely on bass clarinet and, less significantly, the first Riverside album recorded on the West Coast. The first achievement – which Mann and producer Orrin Keepnews thought of three years before Eric Dolphy broke out his bass clarinet on records – ought to be more widely known, but the usual prejudices among critics regarding Mann's subsequent popularity among record buyers have decreed otherwise.

Dave Pike - It's Time For Dave Pike (1961) {Riverside OJCCD-1951-2 rel 2001}
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© 1961, 2001 Riverside | OJCCD-1951-2
Jazz / Soul Jazz / Hard Bop / Groove / Vibes

Dave Pike was never an innovator, but his best albums are definitely solid. A perfect example is 1961's It's Time for Dave Pike, which was recorded when the vibist was only 22. By 1961 standards, this album isn't experimental or forward-thinking – certainly not compared to some of the adventurous, challenging sounds that were coming from modal and avant-garde improvisers in the early '60s. But it's easy to enjoy if you appreciate swinging, inspired bop along the lines of Milt Jackson, who is one of Pike's primary influences.

Ken McIntyre - Stone Blues (1960) {Prestige New Jazz OJCCD-1818-2 rel 1993}
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© 1960, 1993 Prestige New Jazz | OJCCD-1818-2
Jazz / Post Bop / Avant-Garde Jazz / Saxophone / Flute

This early effort by Ken McIntyre (who doubles here on alto and flute) grows in interest with each listen. On a couple of his six originals (including a song called "Cornballs"), McIntyre slide humorously between notes but other selections are much more serious. McIntyre's sidemen are now somewhat obscure (trombonist John Mancebo Lewis, pianist Dizzy Sal, bassist Paul Morrison and drummer Bobby Ward) but they fit well into his conception which at this early stage was essentially advanced bop slightly influenced by the "new thing" music of Ornette Coleman. This interesting set has been reissued on CD.

Sun Ra - Sound Sun Pleasure (1959) {Evidence ECD 22014-2 rel 1991}
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© 1953-60, 1991 Evidence Music | ECD 22014-2
Jazz / Avant-Garde Jazz / Progressive Jazz / Experimental Big Band

Tracks One thru Six were originally issued as the LP Sound Sun Pleasure (Saturn 512). It is thought to be recorded between 1958 and 1960 in Chicago. Tracks Seven thru Thirteen are Sun Ra's earliest known recordings. They were first released in 1973 on an LP entitled Deep Purple (El Saturn 485). The recording dates and personnel on these tracks are the subject of much controversy and can only be surmised. Track Seven , Deep Purple, feature famous jazz violinist Stuff Smith, and is thought to be recorded between 1953 and 1954. Tracks Eight thru Thirteen are thought to be recorded in 1955.

The Modern Jazz Quartet - Plays George Gershwin's Porgy & Bess (1966) {Atlantic Jazz Masters–Rhino 8122-75445-2 rel 2004}
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© 1964-65, 2004 Atlantic / Rhino / Warner | 8122-75445-2
Jazz / Cool / Bop / Third Stream

The Modern Jazz Quartet, a group legendary for it's feats during their heyday in the cool bop period of jazz music, shares with the listener a brilliant effort encompassing their impression of composer George Gershwin's "Porgy and Bess." Acclaimed by Encyclopedia Britannica as "the greatest American musical drama ever written," The Modern Jazz Quartet perform it at the highest level of creative flair to pay homage to a marvel of composition with the utmost degree of sincerity and respect. This is a piece that Gershwin took a full 11 months to compose and nine months to orchestrate, all based on the initial inspiration from a drama written by playwright Dorothy Heyward. Opening up the score is Gershwin's dazzling and seductive tune "Summertime," a landslide mark of musical brilliance.

Stan Getz - Award Winner (1957) {Verve Master Edition 543 320-2 rel 2000}
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© 1957, 2000 Verve Music / UMG | Verve Master Edition | 543 320-2
Jazz / Cool / West Coast Jazz / Bop / Saxophone

A great little follow-up to the classic West Coast Jazz album recorded by Stan Getz – and like that one, a set to feature some great rhythm accompaniment from the trio of Lou Levy on piano, Stan Levey on drums, and Leroy Vinnegar on bass! The tracks are nice and open – with plenty of room for Stan to roam around – and although you might expect a tightly-arranged kind of sound from the west coast setting, the album's actually surprisingly more relaxed – a fair bit like some of the more open-ended jazz that Shelly Manne started to record on his own at the start of the 60s.

Gene Krupa, Buddy Rich - Krupa and Rich (1955) {Verve 521 643-2 rel 1994}
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© 1955, 1994 Verve / PolyGram Records | 521 643-2
Jazz / Bop / Swing / Mainstream Jazz / Drums

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential.

George Benson - Weekend In L.A. (1977) {Warner Bros. 3139-2 rel 1999}
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© 1977, 1999 Warner Bros. Records Inc. | 3139-2
Jazz / Contemporary Jazz / Crossover Jazz / Quiet Storm / Guitar

Recording live at Los Angeles' Roxy club – then a showcase for many of the hottest acts in pop – was just the tonic that George Benson and his Breezin' band needed on this often jumping album. With unusually lively crowds (for a record-industry watering hole) shouting encouragement, the band gets deep into the four-on-the-floor funk and Benson digs in hard, his rhythmic instincts on guitar sharp as ever. The balance between vocals and instrumentals is about even – George's voice sounds more throaty and soul-oriented than before – and amid the new material, there is a revisit to a favored CTI-era instrumental, the lovely "Ode to a Kudu."