Cdp 7 46641 2

The Manhattan Project - The Manhattan Project (1990) {Blue Note CDP 7 94204 2 rec 1989} {Shorter, White, Clarke, Petrucciani}
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© 1990 Blue Note | CDP 7 94204 2
Jazz / Post Bop / Contemporary Jazz / Hard Bop

Nice combination of jazz legends Stanley Clarke (b), Wayne Shorter (sax), and L. White (d) on this debut recording that includes several standards.

Chet Baker & Art Pepper - The Route (1956) {Pacific Jazz CDP 7 92931 2 rel 1989}
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© 1956, 1989 Pacific Jazz / Capitol Records | CDP 7 92931 2
Jazz / Cool / West Coast Jazz / Trumpet / Saxophone

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week – July 23 through July 31 – of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only inform The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre.

No Age - Minimal Kidds (1989) {Capitol–Intuition CDP 7 46879 2}
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© 1989 Capitol / Intuition | CDP 7 46879 2
Jazz / Contemporary Jazz / Chamber Jazz / Modern Creative

Although this is technically a group effort, it has the stamp of the precocious Gebhard Ullmann, who wrote and arranged all the pieces and is featured extensively on reeds and flutes. At the heart of the recording is the trio of Ullmann; Andreas Willers on guitars; and Nikolaus Schäuble on percussion, supplemented by others including Glen Moore on bass and Trilok Gurtu on percussion, and samples from a children's choir. Recorded early in Ullmann's career, the talented composer, improviser, and organizer focused his efforts on so-called world music, and the album is less radical and adventurous than his later works.

Mose Allison - Ever Since The World Ended (1987) {Blue Note CDP 7 48015 2}
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© 1987 Blue Note | CDP 7 48015 2
Jazz / Jazz Blues / Piano / Vocal Jazz

Mose Allison, who was a musical institution long before 1987, had not run out of creative juices after 30 years of major league performances. This set finds him introducing such ironically truthful songs as "Ever Since The World Ended," "Top Forty," "I Looked In The Mirror" and "What's Your Movie." The many guest artists (including altoist Arthur Blythe, tenor-saxophonist Bennie Wallace, Bob Malach on both alto and tenor and guitarist Kenny Burrell) are unnecessary frivolities but Allison's trio (with bassist Dennis Irwin and drummer Tom Whaley) is tight and ably backs the unique singer-pianist.

Lou Rawls with Les McCann Ltd. - Stormy Monday (1962) {Blue Note Records CDP 7 91441 2 rel 1990}
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© 1962, 1990 Blue Note Records | CDP 7 91441 2
Jazz / Vocal Jazz / R&B / Soul Jazz

Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas.

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.

Bennie Wallace - Bordertown (1987) {Blue Note CDP 7 48014-2}
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© 1988 Blue Note / EMI-Manhattan Records | CDP 7 48014-2
Jazz / Post Bop / Tenor Saxophone

On a strong follow-up to his classic Twilight Time, tenor-saxophonist Bennie Wallace continues in the same New Orleans r&bish vein. The music includes funky originals and a few traditional numbers ("Stormy Weather" and "Carolina Moon") and features Wallace with trombonist Ray Anderson (on four of the eight tunes), pianist Dr. John, guitarist John Scofield, bassist Eddie Gomez and drummer Herlin Riley; guests include guitarist Mitch Watkins on two numbers. Although not quite reaching the heights of the earlier set, there is plenty of spirit displayed on this unusual and easily recommended set.

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"!