Adam Rogers

Time and the Infinite pares things back to a trio, and while there are still four Rogers compositions, the majority of the disc is focused on workouts of standards from Cole Porter, Charlie Parker, George Gershwin and others. But anyone who knows Rogers knows that even the most well-worn tune is going to be approached with invention. While Rogers never loses site of the core of tunes like "Night and Day" and "I Loves You Porgy," his re-harmonization and addition of metric complexities keep them modern and relevant.

The combination of Greg Osby with Terri Lyne Carrington is quite logical. Altoist Osby, an original innovator with the M-Base movement (which explored free-form funk) has a very original improvising style. Since Carrington has always loved funk, as has electric bassist Jimmy Haslip (of the Yellowjackets), this match-up works quite well. Osby's interplay with guitarist Adam Rogers is also a major plus. Other than a Joni Mitchell piece ("Ethiopia") that the drummer sings, the repertoire is comprised of group originals. Whether it be overt funky pieces, brooding ballads or the well-titled "Fire," the music is explorative, unpredictable and usually grooving. Well worth exploring by fans of creative funk/jazz.

A gem of a record from Shorty Rogers - a set recorded in the mid 50s for Atlantic, but never issued at the time - making it not only a hell of an album, but a great discovery too! Shorty's in wonderful form here - working with some of the best modes learned on his RCA sides, served up with the tighter focus that we love in his other Atlantic recordings of the 50s - and graced with a great group of players who include Herb Geller on alto, Jimmy Giuffre on clarinet and tenor, Bud Shank on alto and baritone, Bill Holman on tenor, Lou Levy on piano, Ralph Pena on bass, and Shelly Manne on drums. With a lineup like that, you can bet things are on the money throughout - especially since all tunes are originals by Shorty, with great arrangements that really let all the solo voices come through strongly!

Shorty Rogers & His Giants - Clickin' With Clax (1956) {2013 Japan Jazz Best Collection 1000 Series WPCR-27407}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 138 Mb | MP3 @320 -> 88 Mb
Full Artwork @ 600 dpi (png) -> 125 Mb | 5% repair rar | 24-bit remaster | Mono
© 1956, 2013 Atlantic / Warner Japan / Rhino | WPCR-27407 | Jazz Best Collection 1000 Series
Jazz / Cool / West Coast Jazz / Trumpet

Features 24 bit remastering and comes with a mini-description. A gem of a record from Shorty Rogers – a set recorded in the mid 50s for Atlantic, but never issued at the time – making it not only a hell of an album, but a great discovery too! Shorty's in wonderful form here – working with some of the best modes learned on his RCA sides, served up with the tighter focus that we love in his other Atlantic recordings of the 50s – and graced with a great group of players who include Herb Geller on alto, Jimmy Giuffre on clarinet and tenor, Bud Shank on alto and baritone, Bill Holman on tenor, Lou Levy on piano, Ralph Pena on bass, and Shelly Manne on drums.

A formidable and ultra-funky presence behind the kit, from Santana to Brecker Brothers, from George Clinton to John Scofield Dennis Chambers is everyone s choice for all-world drummer. On "PLANET EARTH" his third outing as a leader, he s supported by producer Jim Beard. The remarkably versatile drummer says This is the best one yet!
Among others this album features Kenny Garrett, Adam Rogers, Will Lee, Dean Brown, Anthony Jackson, Bob Malach, the Borneo Horns and Jim Beard.

Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin…

Chris Potter's quartet Underground should be looked upon as one of the many facets in the saxophonist's prismatic view of contemporary jazz. Certainly the band is oriented toward a progressive jazz image with the electric guitar work of the brilliant Adam Rogers and Craig Taborn's witty and pungent Fender Rhodes keyboard. Assumedly the concept of Underground harks somewhat to the fusion of Miles Davis, Herbie Hancock, and Chick Corea. But Potter's vision with this combo goes beyond those static and funkier values, entering a wilder, unabashed, and fierce aggression that cannot be corralled. In live performance at the storied Village Vanguard nightclub in Greenwich Village, you expect and receive long drawn-out compositions, extended solos especially from Potter, and new music tried out as audience experiments.