Jazz Saxophone Score

Cannonball Adderley - Fiddler On The Roof (1964) {Capitol Jazz 724354230929 rel 2003}
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© 1964, 2003 Capitol Jazz / Blue Note | 7243 5 42309 2 9
Jazz / Hard Bop / Soul Jazz / Saxophone

It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire for the altoist is quite inspired throughout this surprising set. With strong assists from cornetist Nat Adderley, Charles Lloyd on tenor and flute, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes, Cannonball plays near his peak; this is certainly the finest album by this particular sextet.

In 1964 John Coltrane recorded A Love Supreme with McCoy Tyner, Jimmy Garrison, and Elvin Jones. It's one of most influential and imposing jazz suites ever written, and on this debut CD for the Palmetto label, The Lincoln Center Jazz Orchestra, featuring Wynton Marsalis, adapts Coltrane's immortal composition to the big band. Not to be outdone by his brother Branford's quartet version of this material recorded live on DVD, Wynton and company skillfully extend and elaborate on the Coltrane's work, and preserve the soul-searching spirit of the four-part suite, which deals with the blues, 4/4 swing, Afro-Latin rhythms, and ballads. Pulsed by Carlos Henriquez's sure-footed basslines, Herlin Riley's spiritual syncopations and Earl Lewis's profound pianisms, saxophonist Wess "Warmdaddy" Anderson's Tranish cries, and the leader's triumphant trumpet tones are as fluent and fierce as ever. Collectively, this brilliant orchestra goes where no large ensemble has gone before.

Score is the debut album by American jazz trumpeter Randy Brecker recorded in 1969 and originally released on the Solid State label. Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years.

Lalo Schifrin - The Cincinnati Kid (1965) {Aleph Records 025 rel 2002}
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© 1965, 2002 MGM / Aleph Records 025
Jazz / Film Score / Modern Arrangement / Melodic Orchestral

One of future legend Lalo Schifrin's first Hollywood film scores, now with crisp digital sound! The soundtrack to this taut gambling drama starring Steve McQueen begins with the title song sung by Ray Charles; this reissue has cues released on record for the first time and cues extended from the film versions. An exciting release for film-score collectors and Schifrin admirers!

George Wallington - Trios and Septet (1951) {Savoy Jazz ‎SV-0136 rel 1991}
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© 1949-51, 1991 Savoy Jazz / Nippon Columbia Japan | ‎SV-0136
Jazz / Bop / Piano

George Wallington's technique was huge. When he played, especially with a trio, he filled the space around him with tons of piano. He and his instrument were front and center. But over and above the sheer virtuosity was Wallington's profound joy in playing. Across the ten trio tracks on this Savoy CD, Wallington shares that joy with the listener, not only with his playing but with writing that brims over with melody and invention. Best known as the writer of Godchild, immortalized on Miles Davis's Birth of the Cool, on these tracks he contributes eight top-flight originals in a more purely bop vein.

Lalo Schifrin - The Liquidator (1965) {Film Score Monthly ‎FSM Vol. 9 No. 16 rel 2006}
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© 1965, 2006 Film Score Monthly / TCM Turner Classic Movies Music ‎| ‎FSM Vol. 9 No. 16
Jazz / Classical / Soundtrack / Stage & Screen

The Liquidator (1966) was an MGM spy spoof starring Rod Taylor as "Boysie" Oakes, a cowardly assassin who takes orders from Trevor Howard and falls for Howard's secretary, future "Bond girl" Jill St. John. The film was a black-comic look at the secret agent milieu popularized by the James Bond series, filmed in England and on the French Riviera, directed by noted cinematographer Jack Cardiff, and based on the novel by John Gardner. Scoring The Liquidator soundtrack was Lalo Schifrin - the composer who would become iconic for another '60s spy franchise, Mission: Impossible. The Liquidator was one of Schifrin's first feature-film assignments, which he tackled with his characteristic jazz/symphonic panache, combining eclectic, tuneful source cues with dramatic, avant-garde score - all with a gloriously '60s flair. Schifrin did not attempt to emulate the James Bond scores, but provided his own sense of danger and excitement, making use of many of England's finest jazz players.

Art Blakey & The Jazz Messengers - Second Edition (1957) {RCA–Bluebird 66661-2 rel 1995}
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© 1957, 1995 RCA / Bluebird / BMG | 07863 66661-2
Jazz / Hard Bop / Straight-ahead jazz / Drums

1957's Second Edition is rare material from the second version of Art Blakey's Jazz Messengers. The first six selections are the full contents of a long out of print Vik LP that find the Messengers (with tenor saxophonist Johnny Griffin, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest, and the drummer/leader) playing six songs by Lerner & Loewe including "Almost Like Being in Love," "On the Street Where You Live," and "I Could Have Danced All Night." In addition, the same group is heard on two previously unreleased alternate takes with altoist Jackie McLean (who was actually Griffin's predecessor) making the band a sextet, and there are three numbers (including two "new" takes) from an expanded unit (called "The Jazz Messengers Plus Two") which features such players as a very young Lee Morgan (making his debut with Blakey a year before he joined the group), Hardman, trombonist Melba Liston, Griffin, and pianist Wynton Kelly. But rarity aside, the performances should please straight-ahead jazz fans.

Hal McKusick - The Jazz Workshop (1956) {RCA Victor–BMG Music rel 2001}
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© 1956, 2001 RCA Victor / BMG Music | 74321913522
Jazz / Cool / Saxophone

The cool-toned altoist Hal McKusick was a flexible, if not all that distinctive soloist. He is heard in four settings on this British LP, ranging from a pianoless quartet to a quintet and an octet. Among the supporting cast are trumpeter Art Farmer, guitarist Barry Galbraith, and trombonist Jimmy Cleveland. George Russell (who plays drums on one number) contributed three songs, and the other composers are a who's who of the era: Johnny Mandel, Gil Evans (a version of "Blues for Pablo" that predates Miles Davis' from Miles Ahead), Jimmy Giuffre, Manny Albam, and Al Cohn. Fine modern mainstream music from the mid-'50s, although this album may be difficult to find.

Trumpeter Terence Blanchard continues to grow and develop with each year. He wrote the score for Malcolm X and this set finds him exploring 11 of his themes from the movie with his quintet (which also includes Sam Newsome on tenor, pianist Bruce Bath, bassist Tarus Matten and drummer Troy Davis). Many moods are explored and the fresh material really invigorates the quintet. Newsome's Trane-isms blend well with Blanchard (whose range has become quite impressive) and the performances (which easily stand apart from the film) are quite memorable. It's one of Terence Blachard's finest recordings.

The Jazztet and John Lewis ft. Art Farmer and Benny Golson (1961) {2013 Japan Jazz The Best Series 24-bit Remaster UCCU-9749}
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© 1961, 2013 Argo / Verve / Universal Japan | UCCU-9749
Jazz / Bop / Hard Bop / Cool

Features 24 bit remastering and limited edition. Release Date: December 04, 2013. The idea of the Jazztet playing arrangements by John Lewis written especially for them is intriguing. According to Gene Lees' liner notes, Art Farmer first approached Lewis about writing something for the sextet, to which the composer replied that he'd rather score an entire record. Even though the Jazztet and Lewis' own group, the Modern Jazz Quartet, are dissimilar in many ways, the marriage is a successful one.