The Incomparable Artistry of Angel Romero

Stu Williamson was not yet 24 when these recordings were made. He had this quality as a trumpet player and as a musical person that allowed him to take his place alongside the half dozen other trumpet players who formed the core of what was the fairly permanent West Coast jazz scene. Judging from his work here, the authority in his musical voice was unmistakable.

Milt Jackson - The Ballad Artistry of Milt Jackson (1959) {2012 Japan Jazz Best Collection 1000 Series WPCR-27117}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 194 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 300 dpi (png) -> 28 Mb | 5% repair rar | 24bit remaster
© 1959, 2012 Atlantic / Rhino / Warner Japan / WEA | WPCR-27117 | Jazz Best Collection 1000 Series
Jazz / Bop / Hard Bop / Vibes / Strings

Features 24 bit remastering and comes with a mini-description. A sweet set of ballads from vibist Milt Jackson that we dig as much for the silky smooth orchestrations by Quincy Jones as Milt's agile and crisp approach to the vibes. The strings and horns buoy the group nicely, which also features Connie Kay and under recorded guitarist Barry Galbraith on a number of tunes. Ten mellow numbers: "The Cylinder", "Makin Whoopee", "Alone Together", "Tenderly", "Don't Worry Bout Me", "Nuages", "Deep In A Dream", "I'm A Fool To Want You", "The Midnight Will Never Set" and "Tomorrow".

Other than two numbers cut for the Progressive label in Houston a couple years earlier (and thus far never reissued), this Atlantic session (put out as a Koch CD in 1999) was the recording debut for the remarkable Phineas Newborn. The 24-year-old pianist's playing on this trio/quartet date with bassist Oscar Pettiford and drummer Kenny Clarke (and occasionally guitarist Calvin Newborn) is virtuosic to say the least, on Oscar Peterson's level if not Art Tatum's. Newborn rips through the repertoire (which is highlighted by "Barbados," "Celia," "Daahoud," and "Afternoon in Paris"); try to tap your foot to "Celia" without breaking your ankle!

Tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit – applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences.

Vibraphonist Milt Jackson's enormous capacity for invention percolates throughout the sumptuous settings on the "with strings" date, The Ballad Artistry of Milt Jackson. Jackson and the large string section, masterfully arranged and conducted by Quincy Jones, mesh beautifully. Equally critical, the rhythm section is superbly integrated in the arrangements, underpinning the billows of violins and cellos with a distinct jazz pulse. Above all, Jackson is himself, bringing his consistently flawless phrasing and subtle, but ever-present, blues feeling to his role as featured solist. Bassist Milt Hinton, drummer Connie Kay, guitarist Barry Galbraith, and pianist Jimmy Jones make up the rhythm section for this 1959 session.