Anthony Ortega

Looking for great lost legends of the jazz world? Look no further. Anthony Ortega may be the best unknown jazzman out there. Possessed of a startling, almost entirely self-taught alto jazz sax style that is virtuoso yet accessible, simple yet sophisticated, earthy yet spiritual, subtle yet declamatory, Ortega easily falls into the category of the criminally neglected…

Clifford Brown - The Complete Paris Collection (1953) {3CD Set Vogue Japan, K30Y-6184~6, Early Press rel 1987}
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© 1953, 1987 Disques Vogue / King Records Japan | K30Y-6184~6
Jazz / Bop / Hard Bop / Trumpet

In a way, Brown was the Wynton Marsalis of his time; like Marsalis, Brown came on the jazz scene following a period of significant stylistic change. However, unlike Marsalis (who rejected the free jazz made famous by the generation just preceding his own), Brown chose to embrace the innovations of his immediate elders. In the process, Brown became one of the great post-Gillespie trumpeters, developing a voice that spoke the language of bebop with a distinct, personal inflection. In September 1953 – having just recorded his first dates as a leader for Blue Note – Brown went to Europe with Lionel Hampton.

Lucky Thompson & Gigi Gryce - Street Scenes (1993) {RCA–Vogue 74321154672 rec 1953-1956}
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© 1953-56, 1993 RCA / Vogue / Disques Vogue | 74321154672 | American Jazz In Paris Series
Jazz / Bebop / Straight-ahead jazz / Saxophone

Tenor saxophonist Lucky Thompson recorded enough material as a leader during the first half of 1956 (mostly in Paris) to fill up 12 LPs. This CD has music from two of his rarer sessions, featuring Thompson playing 12 songs (ten of which are his originals) with a French octet that includes pianist Martial Solal and some fine sidemen; these sessions were last available as the Xanadu LP Brown Rose. Thompson's warm tenor is well showcased at a variety of tempoes during the high-quality music.

Sonny Stitt - The Complete Roost Sonny Stitt Studio Sessions (1952-65) {9CD Box Set Mosaic MD9-208 rel 2001}
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© 1952-65, 2001 Mosaic Records / Capitol / EMI | MD9-208 | 24-bit remaster
Jazz / Bop / Saxophone

Under the watchful eye of famed producer Michael Cuscuna, this nine-CD set serves as a compilation of Stitt's 1950s and 1960s Roost LPs. This release also features a 28-page booklet consisting of comprehensively annotated liners. Moreover, the record label does its best to convey the artistic element via a series of black-and-white photos of Stitt and his sidemen amid anecdotes by many of the late saxophonist's affiliates. Interestingly enough, seven of the original LPs did not list personnel. In some instances, guesses were made, although most of these tracks are well-documented, thanks to the producer's diligence and painstaking research. Artists such as drummer Roy Haynes, bassist/composer Charles Mingus, and pianist Harold Maber represent but a few of Stitt's accompanists.

The Three Sounds and The Oliver Nelson Orchestra - Coldwater Flat (1968) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
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© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81083
Jazz / Hard Bop / Post Bop / Soul Jazz / Modern Big Band / Piano Trio

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliant pairing of the Three Sounds trio with the larger arrangements of reedman Oliver Nelson – easily one of the most soulful bandleaders of the 60s, and a talent who really helps open up the trio's groove! The piano of Gene Harris is nice and sharp – played with a soulful sock on both sides of the keyboard – and soaring out over these full charts from Nelson that really sparkle with great touches from players like Plas Johnson on tenor, Lou Blackburn on trombone, Bobby Bryant on trumpet, and both Anthony Ortega and Frank Strozier on alto.

Richard "Groove" Holmes - Workin' On A Groovy Thing (1968) {Pacific Jazz-Universal Japan UCCU-90032 rel 2014}
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© 1968, 2014 Pacific Jazz / Universal Japan | UCCU-90032
Jazz / Soul Jazz / Groove / Organ

Groove Holmes and Gerald Wilson – a wonderful combination on this late 60s session – in a style that's everything great about mainstream LA jazz at the time! Wilson really has a way with the charts on the session – and although the group is large, they've got a lean, clean sound that bounces along nicely – slightly funky at times, always soulful at others – a perfect backdrop for the well-played Hammond lines that Groove brings to the set! The album's not as much of an all-out organ wailer as some of Holmes' albums for Prestige – but that's a-ok with us, because Wilson's group features some other great players too – including Dennis Budimir on guitar, Tony Ortega and Arnie Watts on saxes, and Paul Humphrey on drums!

Clifford Brown - The Complete Paris Sessions (1953) {3CD Set, Vogue 668 001 rel 1991}
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© 1953, 1991 Vogue | 668 001
Jazz / Bop / Hard Bop / Trumpet

While in Paris, Brown recorded a series of sides with mostly French rhythm sections for the Vogue label, several of which are reissued here. Half the cuts feature Brown as a featured soloist with a big band comprised of Hampton's bandmembers and led by alto saxophonist Gigi Gryce. Gryce's tunes are solid, but the date would be unmemorable without Brown, whose flair for spontaneous invention elevates the banality of the context.

Pat Moran - The Pat Moran Quartet (1957) {2CD Set, Bethlehem 20-50022 rel 1992}
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© 1956-57, 1992 Bethlehem Music | 20-50022
Jazz / Bop / Standards / Piano

This double-CD reissues two Bethlehem albums by pianist/vocalist Pat Moran, plus a couple of "mystery" cuts not listed on the set. The music is certainly diverse, including boppish instrumentals by Moran and her trio (bassist John Doling and drummer John Whited), features for singer Beverly Kelly, and group vocals with singing by all four of the participants. The latter is the most dated, sounding a bit like the Four Freshmen style-wise, and is certainly an acquired taste. But since Moran only recorded three albums as a leader (the other was for Audio Fidelity) and there is some excellent straight-ahead playing on this set, the two-fer is of interest to jazz collectors.