Charlie Mariano Bangalore

In the 1950s, Charlie Mariano was one of the most promising of the bop-oriented altoists. His personnel here is consistent, with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino, and the cool-toned trumpeter Stu Williamson. The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the '50s.

Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged "The Shout", the Sebesky title tune of the album, and Rolf Ericson's delightful jazz waltz, "Pretty Little Nieda", coupled with the standards, make for above average programming, something of a novelty in a business.

On these 1955 quartet sessions, whether on alto or tenor saxophone, we hear Charlie Mariano play some of the strongest and most impressive sides he had recorded until then. He was backed by a solid rhythm section, featuring the stabbing and leanly imaginative pianist John Williams, the striding beat of Max Bennett, and the always tasteful drumming of Mel Lewis. All the tracks are marked by a pulse and a flow and deftness which demand satisfactory attention.

Altoist Charlie Mariano plays very much in a Charlie Parker style on these early recordings from Boston (eight from 1951 and six from 1953), but his arrangements for the octet (six of the pieces from the former session) are quite original and unpredictable; only trumpeter Joe Gordon among the otherwise obscure personnel ever gained much recognition. The later six selections match Mariano with trumpeter Herb Pomeroy and the brilliant pianist Dick Twardzik in a quintet; Twardzik, with his odd mixture of Bud Powell and Lennie Tristano, consistently steals the show. A historical and generally enjoyable set, it's recommended for bop fans.

Live at Birdand by the Toshiko - Mariano Quartet is a jazz album made from recordings taken at the Birdland Club in New York City on two separate occasions in 1960 and 1961. Toshiko Akiyoshi (piano), Charlie Mariano (alto saxophone), Eddie Marshall (drums), Gene Cherico (bass). It was released on CD in 1991 by the European Fresh Sound label.

Charlie Mariano - Charlie Mariano Quartet (1955) {Bethlehem Japan CDSOL-6063 rel 2013}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 150 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1955, 2013 Bethlehem / Solid Records Japan | CDSOL-6063
Jazz / Bop / Saxophone

Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. Bethlehem released The Charlie Mariano Quartet in 1954 when altoist Charlie Mariano was at the prime of his bebop period. Mariano, whose alto tone mixes together Benny Carter and Charlie Parker, is accompanied by a quiet and supportive rhythm section comprised of pianist John Williams, bassist Max Bennett, and drummer Mel Lewis. Switching to tenor on four of the dozen selections, Mariano sounds in excellent form on ten standards, a blues, and his own "Floormat." A swinging cool bop date.

Charlie Mariano & Jerry Dodgion - Beauties Of 1918 (1957) {2011 Japan Jazz Masterpiece Best & More 999 Series TOCJ-50186}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 310 Mb | MP3 @320 -> 113 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar | 24bit remaster
© 1957, 2011 World Pacific / EMI Music Japan | TOCJ-50186 | Jazz Masterpiece Best & More 999 Series
Jazz / Bop / Cool / West Coast Jazz / Saxophone

Pianist Russ Freeman, who produced this record, related it this way : “The last time we were (with Shelly Manne’s quintet) in San Francisco, we went to blow at some motel on the outskirts of town one afternoon. There were some other musicians there; we took turns playing. Jerry (Dodgion) was there. The afternoon wound up with Charlie and Jerry playing the blues with a rhythm section for about twenty minutes. It was one of the most memorable experiences I have ever had, and I wasn’t even playing!