Harlem 1970

An often stirring 20-member ensemble whose music was better suited for devotional and inspirational material than commercial R&B or soul, the Voices of East Harlem included lead vocalists Gerri Griffin and Monica Burress. Producers Leroy Hutson and Curtis Mayfield worked with the group, whose ages ranged from 12 to 21, and cut some material on the Just Sunshine label that didn't generate any chart action. But their 1973 LP, The Voices of East Harlem, was a superbly performed release nonetheless, and the single 'Cashing In' was a cult favorite. The single 'Wanted Dead or Alive' was later reissued as a 12' remixed cut and got some international dance attention.

On his debut album, Randy Newman sounded as if he was still getting used to the notion of performing his own songs in the studio (despite years of cutting songwriting demos), but apparently he was a pretty quick study, and his second long-player, 12 Songs, was a striking step forward for Newman as a recording artist. While much of Randy Newman was heavily orchestrated, 12 Songs was cut with a small combo (Ry Cooder and Clarence White take turns on guitar), leaving a lot more room for Newman's Fats Domino-gone-cynical piano and the bluesier side of his vocal style, and Randy sounds far more confident and comfortable in this context. And Newman's second batch of songs were even stronger than his first (no small accomplishment), rocking more and grooving harder but losing none of their intelligence and careful craft in the process…

They don't make 'em like this anymore. Oliver Nelson, one of the great composer/arrangers of his generation, brings 20 or so guys with invincible swing in their DNA into a studio with some killer charts to play, and Johnny Hodges stands in front of them and does what Johnny Hodges does. The result was a classic album that's given me great pleasure…

Alto saxophonist Gary Bartz attended the Juilliard Conservatory of Music and became a member of Charles Mingus' Jazz Workshop from 1962-1964 where he worked with Eric Dolphy and encountered McCoy Tyner for the first time. He also began gigging as a sideman in the mid-'60s with Abbey Lincoln and Max Roach, and later as a member of Art Blakey & the Jazz Messengers. His recording debut was on Blakey's Soul Finger album…

Like many of Ornette Coleman's Atlantic sides, The Art of the Improvisers was recorded in numerous sessions from 1959-1961 and assembled for the purpose of creating a cohesive recorded statement. Its opening track, "The Circle with the Hole in the Middle," from 1959, with the classic quartet of Don Cherry, Ed Blackwell, and Charlie Haden, is one of Coleman's recognizable pieces of music. Essentially, the band is that quartet with two very notable exceptions: The last tracks on each side feature a different bass player. On the end of side one, the great Scott LaFaro weighs in on "The Alchemy of Scott La Faro," and Jimmy Garrison weighs in on "Harlem's Manhattan" to close the album out. These last two sessions were recorded early in 1961, in January and March respectively. As an album, The Art of the Improvisers is usually undervalued when placed next to This Is Our Music or The Shape of Jazz to Come.

Like many of Ornette Coleman's Atlantic sides, The Art of the Improvisers was recorded in numerous sessions from 1959-1961 and assembled for the purpose of creating a cohesive recorded statement. Its opening track, "The Circle with the Hole in the Middle," from 1959, with the classic quartet of Don Cherry, Ed Blackwell, and Charlie Haden, is one of Coleman's recognizable pieces of music. Essentially, the band is that quartet with two very notable exceptions: The last tracks on each side feature a different bass player. On the end of side one, the great Scott LaFaro weighs in on "The Alchemy of Scott La Faro," and Jimmy Garrison weighs in on "Harlem's Manhattan" to close the album out. These last two sessions were recorded early in 1961, in January and March respectively…