Tommy Flanagan Comu

It's easy to understand why Tommy Flanagan has been one of the most praised pianists over the '80s and '90s while listening to an excellent trio date such as this CD. With bassist Peter Washington and drummer Lewis Nash, he features a number of songs with oceanic themes, including a tantalizing "How Deep Is the Ocean?," "I Cover the Waterfront," and his own snappy title track. Flanagan also delivers a thunderous take of "Relaxin' at Camarillo" and the smoldering, savory blues "C.C. Rider."

Avid Jazz here presents four classic and some hard to find or expensive Tommy Flanagan albums including original LP liner notes on a finely re-mastered and low priced double CD.
Never the most high profile or highly regarded jazz pianist, possibly because of his undynamic approach, self effacement and modesty, Tommy Flanagan is however highly regarded amongst his fellow musicians. He has been the pianist of choice for many classic jazz albums including Coltranes “Giant Steps” and Sonny Rollins’ “Saxophone Colossus”.
“For Jazz… It’s Magic”, recorded in 1957 when Tommy was just 27 years old he is joined by a fine group of up and coming musicians. Curtis Fuller on trombone, Sonny Redd on alto, George Tucker on bass and Louis Hayes on drums…

2 complete albums ("The Master Trio" and (Blues In The Closet") on 1 CD. Only previously available on 2 separate limited Japanese editions.
On June 16 & 17, 1983, three legendary instrumentalists recorded what would be their only collaboration as a unit. While the group's instrumentation consisted of a standard piano trio, the combination of Flanagan together with Carter and Williams was anything but standard. The studio sessions produced 14 tracks of superlative music - mostly modern jazz standards (including Rollins' "St.Thomas", Monk's "Misterioso", Davis' "Milestones", Dameron's "Good Bait" and many more great choices). The date also featured three classic standards as well as an original by each member of the trio.

This CD reissue (put out in 1990) may be hard to find, now that Savoy has been sold to the Japanese Denon label. Originally issued under flugelhornist Wilbur Harden's name, the 1958 quartet (which also includes pianist Tommy Flanagan, bassist George Duvivier and drummer Granville T. Hogan) performs nine Rodgers & Hammerstein songs mostly taken from The King and I, plus a reprise and an alternate take of "Hello Young Lovers." The interpretations are tasteful yet swinging, and include such familiar tunes as "Getting to Know You" and "We Kiss In a Shadow," along with some obscurities. Enjoyable music.

Since this set was originally recorded for the Prestige subsidiary Moodsville, most of the selections are taken at slow tempoes. With bassist Tommy Potter and drummer Roy Haynes giving the pianist fine support, the trio cooks a bit on Flanagan's "Jes' Fine" but otherwise plays such songs as "You Go to My Head," "Come Sunday" (which is taken as a solo piano feature) and "Born to Be Blue" quietly and with taste.

This CD reissues a session that teams together three "super" players: pianist Tommy Flanagan, bassist Red Mitchell and drummer Elvin Jones. On two of Flanagan's better originals ("Minor Perhaps" and "Rachel's Rondo") and four jazz standards (including "Django" and "Things Ain't What They Used to Be"), the musicians communicate quite well (Flanagan and Jones had played together back in the mid-'50s in Detroit) and often think as one. Fine straight-ahead music.

Pianist Tommy Flanagan and bassist George Mraz do not really stick to the plot of the title, playing a few bop standards that are neither blues nor ballads (such as "Scrapple from the Apple," "Star Eyes" and "How High the Moon"), in addition to some blues and ballads (most notably Tom McIntosh's haunting "With Malice Toward None"). The intimate and mostly lightly swinging music is fine, but one does miss the momentum that would have been provided by a drummer.

Piano duets have the potential danger of getting overcrowded and a bit incoherent, but neither happens on this rather delightful set. Hank Jones and Tommy Flanagan, two of the four great jazz pianists (along with Barry Harris and Roland Hanna) to emerge from Detroit in the '40s and '50s, have similar styles and their mutual respect is obvious. Their renditions of seven superior bop standards (including "Jordu," "Confirmation" and Thad Jones' "A Child Is Born") are tasteful, consistently swinging and inventive within the tradition.