I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger. — Rudy Van Gelder
Don't Go to Strangers was Etta Jones' first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts.
Guitarist Ivan Joseph Jones, better known as Boogaloo Joe Jones, was a soul-jazz artist whose brand of cool, funky music can be heard on Prestige releases from the late 1960s and early `70s. The newly reissued RIGHT ON BROTHER (1970) will give contemporary listeners a healthy dose of Jones's groovy brew. And fans of Grant Green, Kenny Burrell, and Wes Montgomery will know what to expect from Jones's blend of hard bop and R&B. Support from saxophonist Rusty Bryant and drummer Bernard Purdie keeps the groove solid, while Jones demonstrates his feel-good bluesy skills on the fretboard.
Along with tenor saxophonist Harold Land, altoist Sonny Criss qualifies as one of the most overlooked giants of West Coast jazz. His sound – like most alto players of the bebop and hard bop days – was heavily influenced by Charlie Parker, but Criss still managed to forge an original style featuring a very original melodic bent with loads of bluesy underpinnings. The goods can be optimally previewed on this great Prestige date from 1966. Backed by a trio consisting of pianist Walter Davis, bassist Paul Chambers, and drummer Alan Dawson, Criss makes fine work of such rare-bird covers as "Sunrise, Sunset" and "When Sunny Gets Blue." There are also some fine originals here, including Criss' own "Steve's Blues" and Davis' classic "Greasy." A perfect start to your Criss collection.
In the spring of 1957, John Coltrane had gone through two years of artistic growth so concentrated it was astonishing even in the jazz world, where compressed musical development is far from unknown. As the other horn in the Miles Davis Quintet, Coltrane had moved from virtual obscurity to acclaim as the tenor saxophone innovator of the decade. Although major stylistic departures were to come, Coltrane was at a peak of the probing lyricism and strength of his middle period. With the interestingly contrasted baritone saxophonists Cecil Payne and Pepper Adams, and a rhythm section of great smoothness and swing, Dakar is a gem in the Coltrane discography.
“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.” Rudy Van Gelder
Andy Bey remains what he was back when this album first took shape—the most recognized, and perhaps the most recognizable, member of the Bey family. A fearsomely gifted singer, he boasts spectacular range all but disguised by the warmth and immediacy of his vocal instrument…Because of his prominence in the trio, Andy and the Bey Sisters often falls into the category of origin bands—the trio that launched Andy Bey’s career…
“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.” —Rudy Van Gelder
Tenor saxophonist Eddie "Lockjaw" Davis and his quartet (which includes organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill) welcome three immortal tenors (Coleman Hawkins, Arnett Cobb and Buddy Tate) to what became a historic and hard-swinging jam session. On three blues, an original based on the chord changes of "Sweet Georgia Brown" and "Lester Leaps In," the four tenors battle it out and the results are quite exciting. The spirited music on this memorable LP will hopefully be reissued on CD eventually, for the performances live up to their great potential.
“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.” — Rudy Van Gelder.