The 1960 version of Art Blakey's Jazz Messengers (which consisted of the drummer/leader, trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, and bassist Jymie Meritt) was very well documented. One can argue that these performances of "It's Only a Paper Moon," "'Round Midnight," Wayne Shorter's "The Summit," "A Night in Tunisia" and Timmons' "This Here" do not add that much to the Messengers' vast legacy, but the music is really too good for hard bop fans to pass up.
As a rule, record companies don't give artists the chance to pick the songs when a boxed set is assembled. They might ask the person who writes the liner notes to interview the artist, or they might even have the artist write the liner notes. But the label, not the artist, usually chooses the material. Self Portrait is an exception; when this five-CD, 95-track boxed set was assembled in 2001, a 91-year-old Artie Shaw was given a rare chance to make the selections himself and comment on them. And for those who are seriously into the clarinetist, it is fascinating to see what he chooses. Self Portrait, which spans 1936-1954, contains most of his essential swing, era hits, including "Stardust," "Begin the Beguine," "Frenesi," and his ominous signature tune, "Nightmare."
The 11th volume in Mosaic's Select series is one of its finest. Devoted to the Blue Note recordings of Jamaican-born trumpeter Dizzy Reece, it offers a particular portrait of one of hard bop's most capable practitioners. There are five sessions compiled here, issued on four albums – the legendary debut Blues in Trinity (1958), Star Bright (1959), Soundin' Off (1960), and Comin' On! (1960). These sides were the introductions American audiences had to the hot licks trumpeter who offered a wealth of influences and styles in his solos and compositions.
The 11th volume in Mosaic's Select series is one of its finest. Devoted to the Blue Note recordings of Jamaican-born trumpeter Dizzy Reece, it offers a particular portrait of one of hard bop's most capable practitioners. There are five sessions compiled here, issued on four albums – the legendary debut Blues in Trinity (1958), Star Bright (1959), Soundin' Off (1960), and Comin' On! (1960). These sides were the introductions American audiences had to the hot licks trumpeter who offered a wealth of influences and styles in his solos and compositions.
Distinct from traditional brass quintets, High Bridge Brass performs on instruments usually associated with brass bands-cornets, alto (tenor) horn, euphonium, and tuba. The homogenous timbre created across five octaves enables High Bridge Brass to create a seamless sound that richly bridges the ensemble together.