This double-CD set is not only the best of Bill Chase's output but – comprising all three of their albums – virtually their complete finished studio work, before the plane crash that killed Chase and much of the group. The mastering on this Wounded Bird reissue is excellent, with a full solid bass sound topped by soaring highs on the brass and no compression to speak of. It's not as though this catalog has been overused, in terms of its master tape library – apart from the hit "Get It On" – but it's still good to know that the stuff has been well handled in terms of being digitalized. Additionally, the producers have reprinted Nat Hentoff's original essay about the group from their first album (and oh, for a time when college audiences could resonate to the writings of someone like Hentoff, who is now as much of a legend as a writer as the jazz people he wrote about are as musicians….); and they've also reproduced the beautifully designed back covers of each album, as well as their front cover art.
A really lyrical set from trumpeter Marcus Printup – done in close collaboration with harpist (and wife) Riza Printup – a player who gives the record a really unique sort of sound! Riza doesn't pluck her instrument as much as other jazz harpists – such as Dorothy Ashby – and instead, she often uses the harp to bring these rich waves of sound to the album – augmenting sounds from Printup's trumpet, and the bass of Ben Williams and drums of EJ Strickland – creating a quality that's really fresh, and which seems to suit all the warm tones of Marcus' horn in a really great way. Things are never cheesy at all, but hit this evocative sound that really goes beyond any expectations you might have.
Most of us know Lalo Schifrin for his jazz music and scores to Dirty Harry and Bullitt. That's how I first became aware of him and found other scores of his over the years that are completely different. THX 1138 is definitely one of those scores. Sure there are some jazz cues in here but mostly this score is more laid back, in a sense that is underscores the forbidden romance and mystery of the world this movie projects.
The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie "Lockjaw" Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie…
Bartók’s ‘The Miraculous Mandarin’ (published as ‘A Pantomime in One Act’) was composed at a time of violent unrest in Hungary. The Soviet Hungarian Republic had collapsed in 1919 and was replaced by an ultra-nationalist regime which persecuted communists, Jews and leftists and left over 1,500 dead and thousands imprisoned without trial.
Mulligan Meets Monk is a studio album by American jazz pianist Thelonious Monk and baritone saxophonist Gerry Mulligan, originally released on Riverside Records in 1957. Includes alternate takes and one new bonus track - Now's The Time recorded at Newport Jazz Festival, Freebody Park, Newport July 17, 1955.
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.