Miles Davis Someday My Prince Will Come (1961)

Wynton Kelly Trio - Complete Vee Jay Studio Recordings (2007) {2CD Set, Lone Hill Jazz LHJ10296 rec 1959-1961}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 808 Mb | MP3 @320 -> 346 Mb
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© 1959-61, 2007 Vee-Jay / Lone Hill Jazz | LHJ 10296
Jazz / Hard Bop / Piano

This release contains the complete Vee-Jay studio recordings by the Wynton Kelly trio for the first time ever on one edition. The Wynton Kelly heard here (from the period 1959-1961), as the original liner notes clearly state, was at the peak of his fruitful collaboration with Miles Davis, with Paul Chambers, Jimmy Cobb and the inimitable John Coltrane filling out the celebrated quintet. So it is truly interesting to hear Kelly as the main performer, displaying his own personality and even playing some of his own compositions.

Portrait In Jazz (1960). The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem…

Esta recopilación, con casi cinco horas de música en total, es un adecuado testimonio a uno de los héroes no reconocidos del jazz y se espera que ayudará a mantener el nombre de Wynton Kelly vivo, para llegar a las nuevas generaciones de aficionados en los años venideros. Kelly actuó con una amplia gama de grandes del jazz a lo largo de los años, incluyendo a Charles Mingus, Benny Golson, Art Blakey y Lee Morgan, así como con las bandas de Washington y Gillespie, incluso tocó el bajo en una pista del cantante Abbey Lincoln. En enero de 1959, Kelly se unió a la banda de Miles Davis. Su trabajo con Davis finalmente llegaría a ser el más conocido, e incluyó una intepretación excepcional en la canción 'Freddy Freeloader' de Kind Of Blue, el disco de jazz más vendido de todos los tiempos.

Bill Evans refused producer Orrin Keepnews' invitation to record a follow up album to his 1956 debut "New Jazz Conceptions" for over two years, stating that he had nothing new to say. He joined the Miles Davis quintet, participating in "Kind Of Blue", and took his time to plan his re-emergence as a leader in his own right. "Everyone Digs Bill Evans" marked that return in 1958 but it was "Portrait In Jazz", released a year later, that claimed his place at the forefront of jazz.