This is a particularly interesting hard bop-oriented set led by drummer Philly Joe Jones. Most unusual is "Gwen," a Jones ballad that has the leader on both piano and (via overdubbing) drums in a trio with bassist Jimmy Garrison. Otherwise, trumpeter Blue Mitchell, trombonist Julian Priester, tenor saxophonist Bill Barron, baritone saxophonist Pepper Adams, either Dolo Coker or Sonny Clark on piano, Garrison, and Jones form a septet that performs modern tunes by Barron, Priester, and Jones, in addition to "I'll Never Be the Same" and Philly Joe's feature on "Gone" (based on the Miles Davis/Gil Evans interpretation of "Porgy and Bess"). A well-conceived, diverse, and recommended CD reissue.
This Mosaic compilation draws from material that comprised five separate RCA Victor LPs of the 1950: Al Cohn's The Natural Seven and The Jazz Workshop: Four Brass, One Tenor, Freddie Green's Mr. Rhythm, plus two Joe Newman records, All I Wanna Do Is Swing and I'm Still Swinging. Cohn, Green, and Newman are the common element to all of the recording sessions, leading bands ranging from septets to nonets.The Natural Seven was inspired by the Kansas City Seven drawn from the Count Basie band of the 1930s, and while the arrangements by Cohn and Manny Albam swing lightly in the style of Basie's septet, the focus is more on originals written for the session rather than simply recreating earlier recordings.
Some of Count Basie's finest recordings were cut for the Roulette label during 1957-1962, and all of his studio performances are included on this massive Mosaic ten-CD boxed set. Among the classic former LPs that are reissued here are The Atomic Mr. Basie, Basie Plays Hefti, Chairman of the Board, Everyday I Have the Blues, and Kansas City Suite. With such soloists as trumpeters Thad Jones and Joe Newman, the tenors of Frank Foster and Eddie Lockjaw Davis, Frank Wess on alto and flute, vocals by Joe Williams, and the timeless arrangements of Neal Hefti, Thad Jones, Frank Foster, Ernie Wilkins, and Frank Wess among others, this essential (but unfortunately limited-edition) set features the second Count Basie Orchestra at its very best.
Frank Butler's second and last recording as a leader followed his first by just under one year. He retains the same rhythm section as on The Stepper (Dolo Coker and Monty Budwig, while featuring two tenor saxophonists, Joe Farrell and Teddy Edwards, this time around. Missing are the longer drum solos of the earlier album; instead the focus is primarily on the two saxes. Edwards wrote the opening up-tempo blues "Wheelin' and Dealin'," which turns into an old-fashioned tenor battle, with both men coming out victorious. The ballad medley is split, with Farrell taking "I Got It Bad (And That Ain't Good") and Edwards playing "Tenderly," though the latter's solo gets the nod. Butler is showcased briefly in a snappy treatment of ‘Four" and more extensively in Coker's "Mr. October."
"That'll Flat… Git It!" is one of the best compilations of the 1950's rockabilly. Each volume contains nearly 30 songs, mostly rockabilly classics and unknown great artists. In spite the tracks were remastered, you can hear some noise, especially in the end of the tracks. This is because many songs were taken from original vinyl singles.
Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie.