Herb

Many improvisers would agree that having the feeling of the blues is a crucial part of jazz expression; however, the jazz and blues worlds don't interact nearly as often as they should. There are jazz musicians who will play Miles Davis' "All Blues" or Charlie Parker's "Parker's Mood" on a regular basis but wouldn't know John Lee Hooker from Little Milton; there are blues artists who are much more likely to work with a rock musician than a jazz musician. So it is a rare treat to hear a blues-oriented guitarist and a jazz-oriented guitarist co-leading a session, which is exactly what happens on More Conversations in Swing Guitar. This 2003 release is a sequel to bluesman Duke Robillard and jazzman Herb Ellis' 1999 encounter Conversations in Swing Guitar, and the CD proves that good things can happen when jazz and blues players interact. More Conversations in Swing Guitar is an album of very blues-minded instrumental jazz – it's hardly a carbon copy of Robillard's work with the Fabulous Thunderbirds, but the bluesman has no problem appearing in a jazz-oriented setting.

Herb Alpert / Hugh Masekela is collaborative studio album by Herb Alpert and Hugh Masekela. It was recorded in Hollywood, California, and released in 1978 via A&M Records and Horizon Records labels.

Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. Trumpeter Frank Assunto may not be a common garden-variety name to most, but he asserts himself quite well during this session. Twin bass underpinnings from Israel Crosby and Jimmy Rowser add heft to the rhythm section, while always reliable drummer Gus Johnson shows his mettle as a solidly swinging timekeeper. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge, and "Things Ain't What They Used to Be" as everyone joins in and Assunto takes a fine, distinctive solo…

With this album, Herb Alpert and the Tijuana Brass settle into their hitmaking groove, the once strikingly eclectic elements of Dixieland, pop, rock, and mariachi becoming more smoothly integrated within Alpert's infectious "Ameriachi" blend. They sound more like a band; along with Alpert's now-indelibly stamped trumpet sound, you can recognize jazzman John Pisano's distinctive rhythm guitar, Lou Pagani's piano, the droll Bob Edmondson's dulcet trombone, etc…

These four segments are really one continuous free style improvisation between trumpeter Herb Robertson and drummer Phil Haynes, conveniently divided between pauses for listening purposes. There are extremes in dynamics and tempos, all of which are realistically captured by CIMP's unique engineering technique of recording unadulterated sound…

This is another special West Coast Jazz gem. The album is from 1955 and the line up is Herb alto sax, his wife Lorraine Geller piano, the exceptional Conte Candoli on trumpet, Red Mitchell and Leroy Vinnegar bass (alternatively), Ziggy Vines tenor sax, Bruz Freeman drums. The music is on the medium tempo side for the most part, a nice relaxed West Coast mood emerges from the notes of this sessions through a solid swing. The program consists in a nice mix of Herb originals and standards by Cole Porter and Hoagy Carmichael plus more. Herb as you may know already, is a Parkerian player with a nice bop melodic sense, exceptional technique, a shining sound and perfect timing. Conte Candoli did a special job here, playing fabulous solos…