This CD from the Bluebird reissue series fills a lot of gaps in Sonny Rollins' discography. The 13 selections are taken from six different sessions from 1964. The personnel changes from date to date, with either Ron Carter or Bob Cranshaw on bass and Roy McCurdy or Mickey Roker on drums, along with pianist Herbie Hancock on five songs and guitarist Jim Hall on three others. Some of the music is actually alternate takes, and in contrast to a rambling 16-minute version of "Now's the Time," a few of the briefer songs (seven are under 31 minutes) shut down prematurely. However, the great tenor's improvisations are consistently fascinating, as he reconciles his avant-garde flights to the standards he is performing; "Autumn Nocturne" is a high point.
After years of experience in trio, quartet or septet, this time Eve Beuvens presents the compositions of her album “Inner Geography” in solo: eight tracks somewhere between impressionism and introspection.
That's quite an unusual cover for a jazz vocal album – but then again, Cecile McLorin Salvant is quite an unusual singer – and one who may well be out to change the future of her genre with records like this! The songs are this fantastic blend of original compositions, jazz standards, and other classics – but woven together in this tapestry by Cecile and the group, almost as if they're part of this larger patchwork commentary on the history of vocal jazz – all updated and taken to very personal territory.
The film's opening alternates clips of Mulligan smiling, playing his baritone sax and speaking. That brief documentary sequence establishes the good feeling that prevails in this 1981 performance at Eric's, a New York club. From there on, it's all music. Mulligan's rhythm section—pianist Harold Danko, bassist Frank Luther, drummer Billy Hart—are locked into the spirit, one another and their leader. It's a flawless set of Mulligan tunes of the period, including “North Atlantic Run," “Song for Strayhorn" and “K-4 Pacific." Gary Keys' cinematography has the intimacy of tight closeups, just enough camera movement and no cute tricks. The sound by Jim Anderson is excellent.
The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist. Mulligan started on the piano before learning clarinet and the various saxophones.
Buddy Rich, the most remarkable drummer to ever play jazz, can easily have his career divided into three. During 1937-1945 he was a notable sideman with big bands including those of Bunny Berigan, Artie Shaw, and Tommy Dorsey. In 1966 he formed his own successful orchestra that capitulated him to his greatest fame. During the 20 years in between, Rich led short-lived bebop big bands, a variety of combos, toured with Jazz at the Philharmonic, recorded with all-star groups, and had stints with the orchestras of Dorsey and Harry James. This seven-CD set draws its material from Rich's second period and it can also be divided into two. The first half has Rich recording for producer Norman Granz in a variety of combos.
These 24-carat gold CD, characterized by exceptionally clear record. This is the result of the use and NoNOISE "SASS" (Sound Analysis and Synthesis System).
Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. The CD reissue of Whistle Stop features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the '90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had recorded with previously along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set.