They're not lying with the title of this great little set — as Don Elliott blows his unique horn with a very mellow tone ! The instrument is kind of a bigger version of a flugelhorn — and is used by Don in a laidback combo that also features trombone from Billy Byers, trumpet from Howie Reich, and baritone sax from Danny Bank — all deep sounds that set up a bank of color for Elliott to work with in his most vivid way. Other players include Hal McKusick on alto and flute — but working without as much of the sharper, cutting tones of other 50s albums — and rhythm is from Barry Galbraith on guitar, Milt Hinton on bass, and Mel Zelnick on drums.
Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.
The 1957 Brandeis Jazz Festival featured the work of 6 of the finest composers from the jazz and 20th Century Classical avant-garde. George Russell, Charles Mingus and Jimmy Giuffre represented the jazz contingency. These outstanding concerts featured the finest musicians of the day performing some extremely difficult and highly rewarding charts that tested theirs mettle as both improvisers and sight readers. Among the brightest stars of the concerts was pianist Bill Evans, whose considerable talents were tested in a variety of styles to great results. His excellent performances here gained him a reputation as a top-notch pianist which would directly lead to an invitation to join Miles Davis' legendary sextet. The 3 rare bonus tracks of Bill Evans with Don Elliott at the 1957 Newport Jazz Festival showcase the pianist's fluid versatility in an unusual quartet setting featuring Elliot alternating between the mellophone and vibraphone.
Live in Birdland! This is a good recording of a great show! (may actually be a complilation of several shows) It's really fun to hear the announcments of the next number that are apparently for radio audience. The sound quality is quite good considering the year (1952-3) and the band really swings during classics like 'Lullaby of Birdland', 'Stella by Starlight' and 'How High the Moon'.