In 1977 Art came back from the dead. Or so it seemed to those who followed him, followed his music. And then in 1979, the Japanese came calling in the guise of a small record label, Yupiteru, later Atlas. They wanted Art to record for them. By then, Art was under exclusive contract to Fantasy/Galaxy records and couldn’t record as a leader. However, and I think I deserve credit for this sneaky idea, he could be a “sideman.” And he could choose the “leaders.” He did six albums for Atlas with six terrific “leaders.” And they are classics, now. —Laurie Pepper
During 1956-1957, bassist Curtis Counce led an excellent Los Angeles-based hard bop quintet comprised of trumpeter Jack Sheldon, tenor saxophonist Harold Land, pianist Carl Perkins, bassist Curtis Counce, and drummer Frank Butler. They recorded four albums' worth of material for Contemporary, all of which have been reissued on CD (three as part of the Original Jazz Classics series). For their debut album, the group performs selections by Land ("Landslide"), Perkins, Sheldon, and two by Gerald Wiggins (including "Sonar"), plus the lone standard "Time After Time." All of Counce's recordings (which include a slightly later album for Dootone) are well-worth getting by collectors interested in 1950s straight-ahead jazz. This disc is an excellent place to start.
Individually, Rosemary Clooney’s albums giving tribute to the great American song-writers of approximately the middle of the twentieth century seemed interesting, and even illuminating, as she subtly evoked the intentions of those writers by her straightforward delivery of their tunes. Little did the listeners of the six CD’s in Rosemary Clooney: The Songbook Collection realize at the time of their release in 1979 and throughout the 1980’s that a larger perspective enveloped the incremental growth of Clooney’s discography focused on a single theme.
The Dave Pell Octet was one of the great cool jazz bands of the mid- to late '50s. This fairly rare LP found Pell altering the personnel greatly, with Pell and pianist/arranger Marty Paich being the only holdovers. In addition, the arrangements of Paich, Bill Holman, Paul Moer (who, like trombonist Ray Sims, is a substitute on three songs), and Jack Montrose are opened up, and the musicians take much longer solos than on Pell's earlier albums.