Jimmy Giuffre 3 Graz Live 1961

Jimmy Giuffre's 1962 recording for Columbia with his trio is one of the most revolutionary recordings to come out of the 1960s. While Coltrane and Coleman and Taylor were trying to tear music down from the inside out to discover what it really counted for, Giuffre was quietly creating his own microtonal revolution that was being overlooked by other avant-gardists in jazz. ~ AllMusic

Lee Konitz - Lee Konitz Meets Jimmy Giuffre (1951-1959) {2CD Set Verve 527 780-2 rel 1996}
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© 1951-59, 1996 Verve / PolyGram | 527 780-2
Jazz / Cool / Bop / Saxophone

This unusual two-CD set not only reissues the original LP of the same name but three other rare Verve LP's from the 1950's. Altoist Lee Konitz (on "An Image") is showcased during a set of adventurous Bill Russo arrangements for an orchestra and strings in 1958, pops up on half of Ralph Burns' underrated 1951 classic Free Forms (the most enjoyable of the four sets) and meets up with baritonist Jimmy Giuffre, whose arrangements for five saxes (including the great tenor Warne Marsh) and a trio led by pianist Bill Evans are sometimes equally influenced by classical music and bop.

This album finds Anita O'Day's swinging singing backed by cool-toned arrangements from Jimmy Giuffre. Although the orchestra is surprisingly anonymous, the ensembles fit O'Day's voice well on tunes such as "Mack the Knife," "Gone with the Wind," "Come Rain or Come Shine," "The Way You Look Tonight" and even "Hooray for Hollywood." All of O'Day's recordings for Verve in the 1950s are recommended, and this set is no exception.

Jimmy Giuffre - The Four Brothers Sound (1958) {2013 Japan Jazz Best Collection 1000 Series 24bit WPCR-27267}
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© 1958, 2013 Warner Japan / Atlantic / Rhino | WPCR-27267 | Jazz Best Collection 1000 Series
Jazz / Cool / Tenor Saxophone

Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.

The Jimmy Giuffre 4 - Quasar (1985) {Soul Note 121108-2 rel 1993}
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© 1985 Soul Note | 121108-2
Jazz / Cool / Post Bop / Progressive Jazz

After returning to more active playing in the mid-'70s, Jimmy Giuffre recorded on an occasional basis, generally once every two years. On several of his albums, he featured the keyboards and synthesizers of Pete Levin. With bassist Bob Nieske and drummer Randy Kaye completing the quartet (which was together several years), Giuffre is heard on clarinet, tenor, soprano, flute and bass flute on eight obscure pieces, including four of his originals. Although often electronic, the music has the typical thoughtfulness of Giuffre's relaxed approach and some picturesque moments.

Jimmy Giuffre - Dragonfly (1983) {Soul Note 121058-2 rel 1987}
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© 1983, 1987 Soul Note | 121058-2
Jazz / Cool / Post Bop / Progressive Jazz

Giuffre continued his lifelong musical experimentation here–this time with jazz fusion (a two word combination that scares me as much as it does most real jazz fans). But rest assured that there is plenty of honest, if non-traditional, jazz packed onto this album. Though a bit dated by the electric bass, electric piano and Moog synthesizer, Giuffre's artistry rescues what could have been a leg-warmers and fluorescent shoelaces period piece into an interesting foray into new soundscapes and atmospheres. It even actually swings at times. I would advise trying to give it a listen before purchasing because it might take a few listens to get into it but my guess is that you will enjoy it if you have an open mind. And if you already dig fusion then this is a must-have.