Postcritica Mariano Croce

Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged "The Shout", the Sebesky title tune of the album, and Rolf Ericson's delightful jazz waltz, "Pretty Little Nieda", coupled with the standards, make for above average programming, something of a novelty in a business.

In the 1950s, Charlie Mariano was one of the most promising of the bop-oriented altoists. His personnel here is consistent, with Mariano joined by pianist Claude Williamson, bassist Max Bennett, drummer Stan Levey, trombonist Frank Rosolino, and the cool-toned trumpeter Stu Williamson. The repertoire mixes together fairly basic group originals and swinging standards with many fine solos by the horns. An excellent example of Charlie Mariano's playing in the '50s.

James Joseph Croc was an American folk and rock singer-songwriter. Between 1966 and 1973, he released five studio albums and numerous singles. During this period, Croce took a series of odd jobs to pay bills while he continued to write, record, and perform concerts. After he formed a partnership with songwriter and guitarist Maury Muehleisen, his fortunes turned in the early 1970s. His breakthrough came in 1972; his third album, You Don't Mess Around with Jim, produced three charting singles, including "Time in a Bottle", which reached No. 1 after his death. The follow-up album, Life and Times, included the song "Bad, Bad Leroy Brown", which was the only No. 1 hit he had during his lifetime.

On these 1955 quartet sessions, whether on alto or tenor saxophone, we hear Charlie Mariano play some of the strongest and most impressive sides he had recorded until then. He was backed by a solid rhythm section, featuring the stabbing and leanly imaginative pianist John Williams, the striding beat of Max Bennett, and the always tasteful drumming of Mel Lewis. All the tracks are marked by a pulse and a flow and deftness which demand satisfactory attention.

Live at Birdand by the Toshiko - Mariano Quartet is a jazz album made from recordings taken at the Birdland Club in New York City on two separate occasions in 1960 and 1961. Toshiko Akiyoshi (piano), Charlie Mariano (alto saxophone), Eddie Marshall (drums), Gene Cherico (bass). It was released on CD in 1991 by the European Fresh Sound label.