Ted Nash – Rauschenberg In Jazz: Nine Details.

The effects of the bebop revolution in jazz music are still being felt and explored. Of the half dozen true pioneers of the movement, pianist Bud Powell has remained somewhat in the shadows, although his work has become a major touchstone for true devotees of the music and a principal influence for most of jazz’s most explorative pianists.

There have been a number of famous jazz artists whose offspring have followed their father's footsteps into music, think only of Ellis Marsalis and his sons, Dewey and Joshua Redman, Papa John and Joey DeFrancesco, Bucky and John Pizzarelli, Walter and Nicholas Payton and Harry Connick Senior & Junior.

Ted Curson - Ted Curson plays Fire Down Below (1962) {Prestige OJCCD-1744-2 rel 1990}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 183 Mb | MP3 @320 -> 76 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1962, 1990 Prestige Records / Fantasy | OJCCD-1744-2
Jazz / Hard Bop / Post Bop / Trumpet

The main fault of this otherwise superior CD reissue is that there are only 31 minutes of music. Trumpeter Ted Curson, who by the early '60s had his own distinctive sound and an advanced yet accessible style, performs two standards ("Show Me" and "Falling in Love With Love") and four obscurities, with pianist Gildo Mahones, bassist George Tucker, drummer Roy Haynes, and (on four numbers) Montego Joe on conga. Curson, 27 at the time, is heard in top form on one of the very few of his sessions to be reissued on CD.

The over-used, well-worn phrase "inimitable style" has real meaning when used to describe Peggy Lee's vocalizing. As one of those few artists whose voice is immediately recognizable, she has a recorded legacy of immense proportions. Capitol captures a bit of this legacy on a reissue of two of Lee's 1964 albums for that label…

The names of Johann Sebastian Bach, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff do not necessarily conjure images and sounds of jazz in one's mind, that is until one has listened to recordings by the Classical Jazz Quartet. Although these musicians utilize the same instruments as the Modern Jazz Quartet, they are in no way clones or copycats of that groundbreaking group. They have very much their own sound and style. This is not surprising given the huge talent of the musicians involved; all four are virtuosos on their respective instruments. The themes, although composed in a different time and place, become excellent vehicles for complex, sometimes, bluesy, often swinging and always fresh improvisations in the hands of these musicians.