Mile Davis Xrcd

Tom Coster's more commercial albums (such as Gotcha!!) were far from bad, and certainly had more soul and integrity than so much of the homogenized drivel labeled smooth jazz. But even so, they failed to adequately demonstrate just how adventurous and commanding a soloist and composer he can be. Like Let's Set the Record Straight and The Forbidden Zone, From the Street is a gutsy, hard-edged and uncompromising fusion date defined by its passion, complexity and spontaneity. Instead of avoiding the cerebral, Coster thrives on it. The Santana graduate has plenty of room to let loose and blow, as do such inspired sidemen as tenorist Michael Brecker and his disciple Bob Malach. And Dennis Chambers' intense drumming is superb throughout this fine and often abstract jazz/rock/funk CD.

On each of his first three recordings for Riverside, Thelonious Monk included a solo piano presentation, and for many listeners, these were the highlights of each recital. And so it was decided that Monk's fourth Riverside recording, Thelonious Himself, would be composed entirely of solo interpretations; well, almost. Like a great actor finding heretofore obscure layers of meaning in a familiar soliloquy, Monk takes familiar themes such as "April in Paris," "I Should Care," and "Almost Alone" and distills them down to a single essence. Where most pianists would simply expand upon the tune (or employ the chord changes as a showcase for their own variations), Monk keeps everything focused on thematic materials. For his final selection, "Monk's Mood," the pianist insisted on adding bassist Wilbur Ware and an up-and-coming tenor saxophonist named John Coltrane…

The acknowledged king of adult contemporary offers up a CD that is chock-full of feel-good ballads. Whether he's covering Sting or Santana, Iglesias manages to deliver the material with the perfect combination of sentiment and showmanship. Some songs, such as "Crazy," the ballad originally made famous by Patsy Cline, are a little bit too gooey, but others, such as a beautifully arranged version of "Mammy Blue," are just gooey enough. The album is not short on guest stars; Dolly Parton's vocals soar on the duet "When You Tell Me That You Love Me." For the contemporary version of Beethoven's "Ode to Joy," the entire London Symphony Orchestra along with the Ambrosian Singers provide a rousing, festive counterpoint to Iglesias' laid-back lead vocals.

In the liner notes of Quiet Kenny, former Downbeat magazine publisher Jack Maher states that trumpeter Kenny Dorham's music is not necessarily the demure, balladic, rapturous jazz one might associate as romantic or tranquil. Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career. Surrounded by an excellent rhythm team of the equally sensitive pianist Tommy Flanagan, emerging bassist Paul Chambers, and the always-beneficial drummer Art Taylor, Dorham and his mates are not prone to missteps or overt exaggerations. One of Dorham's all-time best tunes "Lotus Blossom" kicks off the set with its bop to Latin hummable melody, fluid dynamics, and Dorham's immaculate, unpretentious tone…

This is a classic Riverside set that has been reissued on CD in the Original Jazz Classics series. Pianist Bobby Timmons by early 1960 had already had successful stints with Art Blakey (where he contributed "Moanin'") and Canonball Adderley (writing "This Here" and "Date Dere"). For his first recording as a leader, Timmons (whose "funky" style was beginning to become very influential) performs those three hits along with his own "Joy Ride" and five standards in a trio with bassist Sam Jones and drummer Jimmy Cobb. Always more than just a soul-jazz pianist, Timmons (who effectively takes "Lush Life" unaccompanied) became a bit stereotyped later in his career but at this early stage was at the peak of his creativity. Essential music. ~ Scott Yanow

Of trumpeter Blue Mitchell's seven Riverside recordings (all of which have been reissued as CDs in the Original Jazz Classics series), only this set (along with three numbers on Blue Soul) feature Mitchell as the only horn. Joined by pianist Wynton Kelly, bassist Sam Jones, and drummer Roy Brooks, the trumpeter is typically distinctive, swinging and inventive within the hard bop genre. He performs four standards, Ronnell Bright's "Sweet Pumpkin," and the obscure "Avars," and a pair of originals in fine fashion. ~ Scott Yanow

Thelonious Monk & Gerry Mulligan - Mulligan meets Monk
EAC+LOG+CUE | WV: 298 MB | Full Artwork | 5% Recovery Info
Label/Cat#: JVC # JVCXR-0032 | Country/Year: Japan 1997, 1957
Genre: Jazz | Style: West Coast, Post Bop

In the late 1950s/early '60s, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians whom he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware, and drummer Shadow Wilson on a surprisingly successful date…

Duke Ellington Quartet - Duke's Big Four
EAC+LOG+CUE | WV: 198 MB | Full Artwork | 5% Recovery Info
Label/Cat#: JVC # JVCXR-0022 | Country/Year: Japan 1997, 1973
Genre: Jazz | Style: Piano, Swing

One of Duke Ellington's finest small group sessions from his final decade was this frequently exciting quartet date with guitarist Joe Pass, bassist Ray Brown and drummer Louie Bellson. Ellington's percussive style always sounded modern and he comes up with consistently strong solos on such numbers as "Love You Madly," "The Hawk Talks" and especially "Cotton Tail," easily keeping up with his younger sidemen. Highly recommended.