This double-CD set gave bassist Milt Hinton an opportunity to engage in reunions with many of his old friends from the 1930s. The seven sessions were compiled during a 12-month period and the results are often delightful. The opening "Old Man Time" is sung by Hinton himself, and it is both insightful and humorous. The other highlights include Joe Williams singing "Four or Five Times" (which features some very rare Flip Phillips clarinet), three bass guitar duets with Danny Barker, appearances by Dizzy Gillespie, Lionel Hampton, Clark Terry, Al Grey, Ralph Sutton, and the formation of a group called "The Survivors" that has guitarist Al Casey at age 75 being the youngest member; the latter band also includes 85-year-old trumpeter Doc Cheatham, Eddie Barefield, Buddy Tate and even Cab Calloway. A lot of storytelling takes place during the songs and, in addition to the 92½ minutes of music, there are two "Jazzspeaks." The 13-minute one features Hinton, Calloway, Cheatham and Barefield reminiscing about their experiences in the early days, while a marvelous 45-minute monologue by the bassist covers most of his long and productive life and is consistently fascinating. Highly recommended.
While most of his earlier albums are in the smooth jazz genre, Kim decided to change his lead instrument from piano to trumpet and to concentrate on jazz, what was his original intention and musical education. Places I've Been is settled in contemporary jazz, while At The Moment was the final step to jazz. When Katie Smiles (2008) is Kim's return to contemporary jazz and to the piano. Pensyl’s piano and keyboards are supported by the bass (Andy Woodson), drums (Reggie Jackson), electric and acoustic guitars (Kevin Turner) and percussion (Jim Ed Cobbs). The title song When Katie Smiles showcases Kim Pensyl in full swing. The accentuated piano melody is answered by Kevin's guitar.
A versatile acoustic bassist with an adventurous spirit, Ben Allison has often excelled in avant-garde settings but has proven himself to be equally capable of playing hard bop. The East Coast native was only nine when he began studying music, and he was 22 when, in 1989, he graduated from New York University with a B.A. in jazz performance. In 1992, Allison founded the Jazz Composers Collective, a musician-run, nonprofit organization that encouraged artists to take risks and didn't shy away from the avant-garde when presenting many concerts in New York. It was in 1994 that the Collective launched the Herbie Nichols Project, which Allison co-directed with pianist Frank Kimbrough; it used concerts and CDs (including Love Is Proximity on Soul Note) to celebrate the music of the great but underexposed bebop pianist Herbie Nichols.
These tracks are from the split albums (with Träd, Gräs och Stenar and Kinski) for their Japan tour with Acid Mothers.
The widely heralded recordings made of Duke Ellington & His Orchestra during a 1940 concert in Fargo, ND, have been justifiably praised for their historic value as well as for the surprisingly good sound obtained by a pair of young amateur engineers with a portable disc cutter. Both the soloists and Ellington's unique-sounding blend of reeds and brass are very distinct. Some of these tracks previously appeared on the Jazz Society label, followed by a Book-of-the Month Club set, and all of them appeared on the now-defunct Vintage Jazz Classics, but this latest version tops them all for sound quality.
The 1938-1939 Duke Ellington Orchestra, even before bassist Jimmy Blanton and tenor saxophonist Ben Webster became members, was quite a strong band, having at least eight major soloists. With Ellington providing constant new material plus rearrangements of older tunes, there was a limitless amount of high quality music flowing from this band. On this CD, there are eight numbers from the small group of Cootie Williams, four from Johnny Hodges, and three by Rex Stewart in addition to eight big-band performances. Among the many gems are "Old King Dooji," Rex Stewart's famous feature on "Boy Meets Horn," "Slap Happy," "Dooji Wooji," "Pussy Willow," "Subtle Lament," and a pair of Duke Ellington piano solos.
This collection of Ellington's Thirties recordings is generous in that it offers 95 selections and meagre in that there is no discographical information at all (no recording dates, no personel, no matrix numbers). The liner notes give some information but leave one pining for more too. There the criticism ends. Audio restoration by Dutchman Harry Coster (who is attached to the Dutch Jazz Archive and has an outstanding reputation for painstaking restoration of old material) is beyond reproach and the recordings never sounded so good before. And of course there is the music itself, which is formidable, both in musical content and in execution by that peerless group of proud individuals that constituted the Duke Ellington orchestra…