Calvin Jackson Jazz Variations

Stunning 100 CD set containing a plethora of classic Bebop Jazz. Bebop marked the beginning of Modern Jazz, a musical and technical revolution and the first example of Jazz as an art. New harmonic structures coupled with improvising at a fast tempo together with hip outfits.

Buddy Collette - Nice Day With Buddy Collette (1957) {Contemporary OJCCD-747-2 rel 1992}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 192 Mb | MP3 @320 -> 104 Mb
Full Artwork @ 300 dpi (png) -> 17 Mb | 5% repair rar
© 1956-57, 1992 Contemporary / Fantasy | OJCCD-747-2
Jazz / Cool / West Coast Jazz / Saxophone / Clarinet / Flute

A Nice Day is a nice recording for multireedist Buddy Collette who plays alto, clarinet, flute and tenor during the three sessions heard on the CD reissue. Five of the ten selection's are Collette's originals and, although the title cut and "Fall Winds" (which was renamed "Desert Sands") are both better-known for the versions he recorded with the Chico Hamilton Quintet than for these renditions, the original runthroughs are also excellent. Collette is the main voice throughout this set of lightly swinging music although he gets support from the fine rhythm sections (which include either Don Friedman, Dick Shreve or Calvin Jackson on piano). Overall this set serves as a good all-around showcase for Buddy Collette's playing and writing talents.

For his debut recording, Australian pianist Calvin Abdiel presents three technically complex piano works by three Romantic composers. All works are based on the theme/variation form. For Schumann's fiendishly challenging Etudes symphoniques, Calvin adds his own interpolated sequence of the posthumous variations. The equally demanding Liszt showpiece based around three melodies from Mozart's Don Giovanni, and the recital concludes with the near 'unplayable' Paganini Variations of Brahms, which Clara Schumann referred as the 'Witch's Variations'.

For his debut recording, Australian pianist Calvin Abdiel presents three technically complex piano works by three Romantic composers. All works are based on the theme/variation form. For Schumann's fiendishly challenging Etudes symphoniques, Calvin adds his own interpolated sequence of the posthumous variations. The equally demanding Liszt showpiece based around three melodies from Mozart's Don Giovanni, and the recital concludes with the near 'unplayable' Paganini Variations of Brahms, which Clara Schumann referred as the 'Witch's Variations'.

For his debut recording, Australian pianist Calvin Abdiel presents three technically complex piano works by three Romantic composers. All works are based on the theme/variation form. For Schumann's fiendishly challenging Etudes symphoniques, Calvin adds his own interpolated sequence of the posthumous variations. The equally demanding Liszt showpiece based around three melodies from Mozart's Don Giovanni, and the recital concludes with the near 'unplayable' Paganini Variations of Brahms, which Clara Schumann referred as the 'Witch's Variations'.

For his debut recording, Australian pianist Calvin Abdiel presents three technically complex piano works by three Romantic composers. All works are based on the theme/variation form. For Schumann's fiendishly challenging Etudes symphoniques, Calvin adds his own interpolated sequence of the posthumous variations. The equally demanding Liszt showpiece based around three melodies from Mozart's Don Giovanni, and the recital concludes with the near 'unplayable' Paganini Variations of Brahms, which Clara Schumann referred as the 'Witch's Variations'.