Emarcy 814 645 2

Dinah Washington - Dinah Jams (1954) {EmArcy 814 639-2 rel 2009
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© 1954, 2009 EmArcy / PolyGram | 814 639-2 | US Remaster
Jazz / Vocal Jazz / Bebop / Jazz Blues

Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show.

Clifford Brown & Max Roach - More Study In Brown (1956) {EmArcy ‎814 637-2}
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© 1965 EmArcy / PolyGram | 814 637-2
Jazz / Bop / Hard Bop / Trumpet / Drums

Comprised mostly of alternate takes with a few previously unissued items, these tracks feature the classic Clifford Brown/Max Roach Quintet of 1954-1956. Best is a "new" version of "I'll Remember April," which also features tenor saxophonist Sonny Rollins, and a fully restored "Jordu."

Laurent Cugny Big Band Lumiere - Santander (1991) {EmArcy 838 266-2}
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© 1991 EmArcy / Phonogram / PolyGram | 838 266-2
Jazz / Modern Big Band / Contemporary Jazz / Progressive Jazz

This is a sensational album that seemlessly merges big band conceptions with progressive electric instrumentation, without sacrificing any of the artistic values that can be found in either when in the right hands. This is absolutely a must own for anyone who appreciates sublimely crafted intelligently played music, and especially for anyone who appreciates jazz in the least, though pegging the project as jazz misses the point.

Christian Escoude Octet - Gipsy Waltz (1989) {EmArcy 838 772-2}
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© 1989 EmArcy / Phonogram France | 838 772-2
Jazz / Modern Creative / Gipsy Jazz / Guitar

Christian Escoude combines elements of gypsy jazz, bop, and a contemporary flavor during these 1989 sessions that also include fellow guitarists Paul Challin Ferret, Jimmy Gourley, Frederic Sylvestre, accordion player Marcel Azzla, cellist Vincent Courtois, bassist Alby Cullaz, and either Billy Hart or Philippe Combelle on drums. The presence of so many players sometimes muddies the sound, especially when Azzla is too prominent in the mix. Several of the works were written by Escoude's late uncle, the popular accordion player/composer Gus Viseur, who had worked with Django Reinhardt and Stéphane Grappelli in the Quintet of the Hot Club of France, though the switch to electric guitars and addition of percussion indicates this is not your father's gypsy music.

Art Blakey & The Jazz Messengers - Buttercorn Lady (1966) {EmArcy 822 471-2 rel 1986} (ft. Keith Jarrett)
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© 1966, 1986 EmArcy / Polygram | 822 471-2
Jazz / Bop / Hard Bop

Few jazz followers would think of trumpeter Chuck Mangione and pianist Keith Jarrett as former members of Art Blakey's Jazz Messengers, but in 1966, they both worked in the drummer's classic hard bop unit and the stint gave them needed exposure and helped the pair to develop their own individual voices. With tenor saxophonist Frank Mitchell and bassist Reggie Workman completing the quintet, this particular version of The Jazz Messengers only had the opportunity to record this one excellent live LP (which is currently out of print) but proved to be a worthy successor to their more acclaimed predecessors.

Bobby Jaspar - Phenil Isopropil Amine (1958) {EmArcy 837 207-2 rel 1988}
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© 1958, 1988 EmArcy / Barclay / Polygram France | 837 207-2
Jazz / Bop / Straight-ahead Jazz / Flute

Bobby Jaspar recorded this album December 19 and 20, 1958 at the Hoche studio, Paris. While this was recorded in Paris, Bobby had been living in the US for two years. What makes the album special to me is the laid back feel that reminds me more of the Modern Jazz Quartet. Jaspar did a collaboration with Milt Jackson the year before ( Bags & Flutes ), which may account for the way this session was produced. It also features Bobby exclusively on flute, further giving it that MJQ feel. Contrast this album with his saxophone playing on Cool Jazz Sounds (a great compilation by the way) and you will hear what I am talking about.

Baden Powell & Vinicius de Moraes - Os Afro-Sambas (1966) {EmArcy 558 191-2}
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© 1966 EmArcy / Universal Music Brasil | 558 191-2}
Jazz / Latin Jazz / Samba / Bossa Nova / Música popular brasileira

Baden Powell de Aquino, widely known as Baden Powell and born in the city of Varre-Sai in Rio de Janeiro, is immensely revered as a premier acoustic guitarist in Brazil. Baden created a guitar style that is unmatched – a classical guitar technique with popular music harmony and phrasing. Baden became known for his Bossa Nova tunes, samba, and Brazilian instrumental songs, a Brazilian style of Jazz, and MPB. His father liked scouting therefore naming his son Baden Powell after the founder of the Boys Scouts Robert Baden Powell.

Aldo Romano - Because of Bechet (2002) {EmArcy 017 275-2}
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© 2002 EmArcy / Universal | 017 275-2
Jazz / Post Bop / Acid Jazz / Contemporary Jazz / Drums

Italian-born drummer Aldo Romano is a respected European jazz musician who has played with many avant-garde and contemporary jazz stars. Living in France from his early teens, his music usually is a mix of Italian emotionalism and French sentimentality, influenced by world leading avant-garde jazz artists of the 60s and 70s. "Because Of Bechet" is quite a radical step in his musical career - this album is a tribute to American jazz sax/clarinet star Sidney Bechet. Full of tunes and straightforward jazz compositions, this album isn't just a nostalgic retrospective. Aldo also uses sampling and electronic rhythms plus organ as well as more traditional instruments to give this music, which is deeply rooted in jazz from the 20-30s, a new interpretation. With French charm and almost dance-able beats this album is an easily accessible and modern reading of a traditional jazz legacy.

Frank Wright - Uhuru Na Umoja (1970) {EmArcy–Universal 067940-2 rel 2004}
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© 1970, 2004 EmArcy / Universal Music France | 067940-2
Jazz / Avant-Garde Jazz / Saxophone

Brilliant work – one of the rare French-only sessions by avant legend Frank Wright – and a beautifully soulful record that sparkles with the best aspects of the generation of Coltrane, Shepp, and Sanders! Wright's tone is amazing on the record – more spiritual than on some of his other records – searching out at the start of the tunes to find a heavenly sort of space, then moving into a freely collective spirit with players that include Noah Howard on alto, Bobby Few on piano, and Art Taylor on drums. Wright works with the players to carve out sheer, raw, slices of sound – in a manner that recalls the best ESP sides of the mid 60s. Few's piano is cacophonously joyous – and Wright and Howard duke it out with unflappable energy in the frontline.

Stan Getz - Anniversary (1987) {EmArcy ‎838 769-2 rel 1989}
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© 1989 EmArcy / Phonogram France ‎| 838 769-2
Jazz / Cool / Post Bop / West Coast Jazz / Saxophone

Stan Getz’s great talent was universally acclaimed by music fans and fellow musicians alike. His playing always showed the early influences of Lester Young and it was not without flavours of Charlie Parker. On ballads his tone, melody and flowing lines were often executed with the sensuality of Ben Webster. ‘Anniversary’ was recorded live in Copenhagen in 1987 – four years before he died. One of his finest partnerships came at this time and here the ‘mature’ Getz is joined by Kenny Barron, piano – Rufus Reid, bass and Victor Lewis, drums. Not only were these three of the most popular accompanists around they were chosen by Getz because he admired their work, they could work off each other and he fell easily into their ideas and new directions.