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These are no mere reperatory renditions though.Heres an amg review of discs one and two,(though this post includes the entire 2 concerts,4 sets)Threeand a half months before Thelonious Monk died, two memorable tributeconcerts took place at Columbia University. The lineup of musicians wasperfect: soprano saxophonist Steve Lacy (long an expert on Monk'smusic), Thelonious' longtime tenor saxophonist Charlie Rouse,trombonist Roswell Rudd, trumpeter Don Cherry, bassist Richard Davis,either Ben Riley or Ed Blackwell on drums, and four different pianists.This legendary event was fortunately recorded, and the afternoonconcert has been released in full on this 1997 double-CD set. PianistMuhal Richard Abrams is on the first CD, while Barry Harris takes hisplace on the second half. Both of the pianists have a brief solo pieceas a feature; Lacy takes 'Gallop's Gallop' unaccompanied, and the fullgroup jams on 11 of Monk's more difficult pieces. The uniqueopportunity to hear this combination of musicians and the many inspiredmoments make the double-CD a highly recommended acquisition for anyoneinterested in the music of Thelonious Monk. Worktimehas bassist George Morrow, drummer Max Roach and pianist Ray Bryantaccompanying a revitalized Rollins. Although much has been made ofRoach's playing in this recording - and rightly so - both Bryant andMorrow hold their own in fine fashion too.

Cole Porter's 'It's AllRight With Me' becomes a swift hard-bop medium for Bryant, Rollins andRoach's superbly timed, executed and conceived soli. The leader,however, evidences a superior sound, technique, and attack unimpeded byits velocity. Roach's cymbal ride is infectious nonetheless. The date,with the exception of 'There Are Such Things', is cooking. Indeed, theaforementioned is truly exceptional. In the most extended cut, Rollinssounds larger than life infusing romance with sensual tonal andharmonious rhythmic strength as he expounds on the melody. He couldhave played this one all by himself and probably attain similarresults.

Bryant and Morrow, however, also get a few bars of their ownwhereupon they complement the leader's outstanding performance. AsRollins says at its outset: 'Okay fellows'.

Reviewby Scott YanowThisis one of the finest small-group sessions of cornetist Thad Jones'career. With strong and very alert assistance from drummer Mel Lewis(his co-leader in their celebrated big band), pianist Harold Danko, andbassist Rufus Reid, Jones plays at his peak on six standards, two ofwhich were issued for the initial time on this CD reissue. Four of thesongs are at least nine minutes long (two are over 15 minutes), yetJones never loses his momentum. The musicians constantly surprise eachother and there are many spontaneous moments during this oftenbrilliant outing. Poinciana. Just a Baby's Prayer at Twilight.

Hurry, Hurry. Love for Sale.

I Can't Escape from You. I'm Lost. I Can't Get Started. I Surrender Dear. Malibu.

Cuttin' Time. Prelude to a Kiss. Just You, Just Me. Juice Head Baby.

Salt Lake City Bounce. House of Joy. When My Baby Left Me. Everything But You. Stingy Blues. Echoes of Harlem.

That's the Lick. Wrong Neighborhood. I May Be Easy But I'm No Fool. Let's Do the Whole Thing or Nothing at All. Ain't Got No Blues Today.

Bring 'Em Down Front. JohnCornelius Hodges began working with Duke Ellington in 1928 and soonbecame one of the prime voices in the Ellington orchestra. Hodges beganleading his own recording ensembles - actually scaled-down versions ofDuke's band - in 1937. Occasionally sitting in with other leaders likeLionel Hampton, Hodges also led groups of his own, including a quartetat New York's Apollo Club during the summer of 1948 and five of the sixbands heard on this first volume of his complete recordings inchronological order. (All records issued under Hodges' name prior to1947 have been included in the massive Classics chronology of DukeEllington.) Sandy Williams' Big Eight was one of many ensemblesrecording for the Hot Record Society - and one of the very best ofthem. 'Mountain Air' and 'After Hours on Dream Street' are slow,smooth, languid, and lovely, with Hodges playing pretty for the people.'

Sumpin' Jumpin' Round Here' is a smart strut with a hint of LatinAmerican rhythm built into its caboose. Harry Carney, who fortunatelyappears on fully half of the recordings reissued here, does somefriendly nudging with his horn on this pleasantly stimulating dancetune. 'Chili con Carney' is a light bounce honoring the baritonesaxophonist without granting him any more solo space than a couple ofbrief breaks. The next four selections appeared on the small andephemeral Wax label in 1947.

Carney is roundly featured on JeromeKern's moody existential opus 'Why Was I Born?,' and Hodges softlyinterprets Walter Donaldson's 'You're Driving Me Crazy' in what must beone of the slowest and most gentle versions of this song ever recorded.' Key Largo' carries a whiff of the Caribbean in its dulcet tones andlapping rhythm. Billy Strayhorn's 'Triple Play' is marvelously coolmood music, elegantly rendered by a quintet with the composer at thepiano. When Hodges recorded for the Mercer and Sunrise labels, heincluded longtime Ellington trombonist Lawrence Brown, Chick Webb'sstar trumpeter Taft Jordan, up-and-coming tenor saxophonist Al Sears,and a rhythm section of Billy Strayhorn, Oscar Pettiford, andtrombonist Wilbur DeParis sitting in on the drums! Each performance isa delight. 'A Flower Is a Lovesome Thing' is the classicStrayhorn/Hodges still life.

'Longhorn Blues' and 'Faraway Blues' bothfeel like close cousins to 'Jeep's Blues.' On the second Mercer sessionHarry Carney replaces Brown, Harold 'Shorty' Baker is the trumpeter,and Sonny Greer does wonderful things with the drums. Anyone who wantsto hear Strayhorn cook a little on the piano should check out thegroove track 'Searsy's Blues,' which is somewhat of an advancedapproach to a boogie. Its tempo reappears exactly on 'Let the ZoomersDrool' - a 'zoomer' being hip vernacular for a mooch.

Years later,Dave Frishberg liked 'A Little Taste' so much that he composed some ofhis funniest lyrics based on its nonchalant contours. This satisfyingCD ends with the first of Hodges' Parisian sessions from 1950, withRaymond Fol sitting in with a pack of Ellingtonians when Duke declinedto participate for contractual reasons. These tracks are notable forthe presence of trombone ace Quentin 'Butter' Jackson and voluntaryexpatriate tenor saxophonist Don Byas, who blows a splintering runduring the crackling strut 'We Fooled You.' arwulf arwulf. This1957 release marked Abbey's first early peak.

It's a wonderful andconfident set with a stunning ensemble: Sonny Rollins on tenor sax andKenny Dorham on trumpet, Wynton Kelly on piano, and a rhythm section ofPaul Chambers on bass and Max Roach on drums. Lincoln opens with OscarBrown Jr.' S 'Strong Man'-Lincoln was one of the performers whoregularly recorded his songs prior to his own debut as a recordingartist in the early '60s. Kelly in particular is a wonderfullysupportive accompanist, dancing around her with grace and style. Thegorgeous and dramatic 'Tender as a Rose' is presented acapella.Throughout, Lincoln's singing easily mingles jazz, blues and folkinfluences and phrasings. This strong album pointed the way to herABBEY IS BLUE, her essential work recorded two years later.ThisCD reissue brings back singer Abbey Lincoln's second recording andfirst for Riverside, adding alternate takes of 'I Must Have That Man!' And 'Porgy' to the original LP program.

Lincoln is accompanied by quitean all-star roster (tenor saxophonist Sonny Rollins, trumpeter KennyDorham, pianist Wynton Kelly, bassist Paul Chambers, and drummer MaxRoach) and, even this early, she was already a major jazz singer with astyle of her own. Lincoln was careful from this point on to onlyinterpret lyrics that she believed in. Her repertoire has a fewsuperior standards (including several songs such as 'I Must Have ThatMan!' And 'Don't Explain' that are closely associated with BillieHoliday) plus Oscar Brown, Jr.' S 'Strong Man' and Phil Moore's 'Tenderas a Rose'; she takes the latter unaccompanied. 'Don't Explain' isslightly unusual in that Paul Chambers is absent and Wynton Kelly makesan extremely rare appearance on bass.

All three of Abbey Lincoln'sRiverside albums (each of which have been reissued through the OJCimprint) are well worth several listens. Scott Yanow. A re-issue of two Golson albums; Free (Argo 716) from 1960, and Take A Number From One To Ten (Argo 681) from 1962. Discussing them in his review of the Mosaic set, C. Andrew Hovan says:'On his own, Golson cut three more albums that are included here. The 1960 session Take a Number From 1 to 10is an oddity in that its theme sports Golson playing solo on the firsttrack and then adding a musician on each additional track so that bythe end of the record he’s part of a ten-piece band. Despite thenovelty factor, there’s some great Golson to be heard here and this onehas only been briefly sampled in the past by a compilation disc thatincluded only a few of these tracks.

The other two projects dating from1962 are Turning Point and Free, both being quartet dates of the blowing variety. The latter with Tommy Flanagan, Ron Carter, and Arthur Taylor. It is on Freethat Golson really opens up and steps forward for some of his best solowork on record, this neglected set worthy of significant rediscovery.'

Thisis also nice opportunity to compare Rudy Van Gelder with Tommy Nola,who I think was a great and under-appreciated recording engineer. 1-6Benny Golson (tenor sax)Tommy Flanagan (piano)Ron Carter (bass)Art Taylor (drums)Van Gelder Studio, Englewood Cliffs, New Jersey on December 26, 19627-13 (note there's only 7 of the 10 tracks)Benny Golson (tenor sax)Sahib Shihab (baritone sax)Freddie Hubbard (trumpet)Cedar Walton (piano)Curtis Fuller (trombone)Tommy Williams (bass)Albert 'Tootie' Heath (drums)Recorded at Nola's Penthouse, New York, New York on December 13-14, 19601. Mad About The Boy3. Just By Myself4. Shades of Stein5.

Just In Time7. You're My Thrill8.

My Heart Belongs to Daddy9. Best Thing for You Is Me10. Little Karin12. I Fall in Love Too Easily. JohnnyGriffin was rightfully known for his speed and dexterity on the tenorsax, and his work on this 1958 sextet session is no exception.Griffin's full-bodied, bluesy tone and vigorous, lightning-fingeredlines scintillate on each of the five tracks here. What makes thisRiverside date particularly notable, however, is the instrumentationand quality of the personnel. The rhythm section of piano (Kenny Drew),bass (Wilbur Ware), and drums (Philly Joe Jones) is fronted by Griffin,Donald Byrd on trumpet, and Pepper Adams on baritone sax.Thetriple-horn lineup gives the ensemble a heavy, solid sound thatgestures toward big band on the more swinging cuts, while providingbeautiful contrast and texture on down-tempo numbers.

Among theprogram's highlights are a Griffin original ('Catharsis'), a brisk takeon Dizzy Gillespie's 'Woody'n You,' and the lovely ballad 'What's New?' There is plenty of stretching out from all involved, but with atastefulness and sensitivity in the group chemistry that keeps theproceedings from veering into unstructured jams.

Besidesbeing one of the first jazz musicians to convert to Islam and changehis name (1947), Sahib Shihab was also one of the earliest boppers touse the flute. But he was also a fluent soloist on the alto, as well asthe baritone sax, the latter being the instrument with which he becamemost frequently associated. Shihab first worked professionally with theLuther Henderson band at the age of 13 while still studying with ElmerSnowden. At 16, he attended the Boston Conservatory (1941-1942) andlater worked as the lead alto in the 1944-1945 Fletcher Henderson band,billed as Eddie Gregory. After his religious conversion, he fell inwith the early bop movement, recording several now-famous sides on altowith Thelonious Monk for Blue Note in 1947 and 1951, and playing withArt Blakey in 1949-1950 and the Tadd Dameron band in 1949.

Followingsome empty patches where he had to work odd jobs for a living, Shihabplayed with Dizzy Gillespie in 1951-1952, Illinois Jacquet in1952-1955, and the Oscar Pettiford big band in 1957. After arriving inEurope with Quincy Jones' big band in 1959-1960, he remained thereuntil 1986 (mostly in Copenhagen), except for a long Los Angelesinterlude (1973-1976). While on the Continent, he played in theClarke-Boland big band for nearly a decade (1963-1972); he can be heardapplying advanced vocal effects to his attractive flute work on thesuperb Clarke-Boland Big Band LP (Atlantic, 1963). He recorded only ahandful of albums as a leader over the decades for Savoy, Argo,Atlantic, and Chess; a 1963 live date in Copenhagen is available onBlack Lion. Inanswer to Brewboy's question at another time and place - this might bethe first album I ever bought. And I bought almost every one since. Ieven bought a private box at Carnegie Hall to see him when he playedthere - wayyyyy back.

This is one of the greatest records of all time.You could look it up.' With the 1969 release of 6-AND 12STRING GUITAR, Leo Kottke established his pre-eminence as a guitarvirtuoso and composer of quirky, pop-inflected pieces. Harmonicallyadventurous and technically dazzling, this album showcases Kottke'spenchant for infusing traditional elements of folk guitar with moremodern, even impressionistic harmony and tonality.

Kottke inspired arevolution in acoustic guitar playing, and this record provided theopening volley.' The Driving of the Year Nail' starts things offwith a relentless fingerpicked chug, featuring splashes of openharmonics executed with the delicacy of a ballerina. Kottke proceeds tocombine the familiar with the strange-each of these brief pieces(around three minutes and under) has the effect of being simultaneouslycharming, and a little twisted. For example, 'Vaseline Machine Gun'starts with 'Taps' played with a bottleneck slide, then morphs into athumb-and-slide frenzy. Bach's 'Jesu, Joy of Man's Desiring' is theexception, given a straight and loving reading on six-string guitar.This is pure steel-string joy, with liberal doses of irony and ecstasy.' Lem's Beat because he was a musician who made his living from being a policeman, get it?Hegrew up in Wilmington, Delaware, and was said to have been in the HighSchool band with Clifford Brown, but I see no reference to him inCatalano's bio of Brownie. He made his living as a cop and played vibesafter hours, and had his first break when Leonard Feather invited himto play at the 1958 Newport Festival.

Things went well for him, and heworked with Ramsay Lewis, Benny Golson, and Oliver Nelson. The linernotes to this release express his feeling that he was about to breakout of the local scene, when he died from an accident related to a guntrick he was demonstrating. Another, albeit lesser, tragedy was thatWinchester was just on the verge of a stylistic breakthrough: he wasjust learning how to slip chord shapes into interval cracks. Trivianote: Wendell Marshall, the bass player, was an Ellington alumnus, anda cousin of Jimmy Blanton. Once again from the original vinyl to flac with the listed players on the lp in some combination or another.allen toussaintlifelove and faith- with vincent toussaint, leo nocentelli, george plummer,george porter, walter payton, joseph modeliste, joe lambert, alfredroberts, squirrel, gary brown, alvin thomas, red tyler, clyde kerr, andfrancis rousselle. Pretty good material here.

Not as good as southernnights or from a whisper to a scream but you can here them both comingand that is one hell of a good look he has going on the cover.motion-with jeff porcaro, robert popwell, chuck rainey, larry carlton, richardtee, victor feldman, paulinho da costa, etta james, bonnie raitt,rosemary butler. Again not quite as ferociously perfect as southern andwhisper, but definitely the same guy contented and a little furtherdown the line. This is from a sealed record played for the first time.i find that arousing. The wild sound of new orleans by tousan- no creditspetefountain- this guy wails. Some of my earliest memories have petefountain soundtracks. Sinatralandshows another side of Patrick Williams - that as a big band arranger. Ibelieve this CD is now out of print and is becoming difficult to findso grab it while you can!'

Frank Sinatra has been a magnet forsome of the finest popular music written in the last century.Throughout his entire career, he realized the importance of the uniquecollaboration between himself as an artist, the song, the songwriter,and the arranger.Sinatra basically chose songs because he likedthem. He understood that there existed a 'repertoire' of great songs,not just those currently popular. Many of his recordings, in fact,helped elevate these songs into the 'standard' category and hisversions became hits years after the songs were initially published.' -Patrick WilliamsAs tributes to Old Blue Eyes go, Patrick Williams' Sinatralandranks among the most enjoyable. Williams, the composer and arranger ofcountless television and movie soundtracks, has gathered together someof the most gifted musicians available to form an orchestra thatbrilliantly sparkles on his arrangements of 12 Frank Sinatra classics.Clarinetist Eddie Daniels, saxophonists David Sanborn, Phil Woods, andTom Scott, trombonist Bill Watrous, and flautist Hubert Laws turn inspectacular performances that pay tribute to one of the most celebratedvoices of popular music.What this band does best, of course, isswing with a capital 'S.' Driven by a stunning rhythm section thatincludes drummer Peter Erskine, the horns lay out that famous Sinatraswagger just like in days of old. Williams' lush arrangements exuderich harmonies and striking shout choruses that swing and sway theirway through standout cuts like 'All or Nothing at All,' 'I've Got YouUnder My Skin,' 'All the Way,' and 'Just One of Those Things.'

'In theStill of the Night' was nominated for the 1999 Grammy Award for BestInstrumental Arrangement. OliverNelson would gain his greatest fame later in his short life as anarranger/composer but this superior session puts the emphasis on hisdistinctive tenor and alto playing. In a slightly unusual group (withvibraphonist Lem Winchester, organist Johnny 'Hammond' Smith, bassistGeorge Tucker and drummer Roy Haynes), Nelson improvises a variety ofwell-constructed but spontaneous solos; his unaccompanied spots on 'Allthe Way' and his hard-charging playing on the medium-tempo blues'Groove' are two of the many highpoints. Nelson remains a vastlyunderrated saxophonist and all six performances on this recommended CDreissue (four of them his originals) are excellent. Scott YanowOliverNelson was a distinctive soloist on alto, tenor, and even soprano, buthis writing eventually overshadowed his playing skills. He became aprofessional early on in 1947, playing with the Jeter-Pillars Orchestraand with St. Louis big bands headed by George Hudson and Nat Towles.

In1951, he arranged and played second alto for Louis Jordan's big band,and followed with a period in the Navy and four years at a university.After moving to New York, Nelson worked briefly with Erskine Hawkins,Wild Bill Davis, and Louie Bellson (the latter on the West Coast). Inaddition to playing with Quincy Jones' orchestra (1960-1961), between1959-1961 Nelson recorded six small-group albums and a big band date;those gave him a lot of recognition and respect in the jazz world.Blues and the Abstract Truth (from 1961) is considered a classic andhelped to popularize a song that Nelson had included on a slightlyearlier Eddie 'Lockjaw' Davis session, 'Stolen Moments.' He alsofearlessly matched wits effectively with the explosive Eric Dolphy on apair of quintet sessions. But good as his playing was, Nelson was ingreater demand as an arranger, writing for big band dates of JimmySmith, Wes Montgomery, and Billy Taylor, among others. By 1967, when hemoved to Los Angeles, Nelson was working hard in the studios, writingfor television and movies. He occasionally appeared with a big band,wrote a few ambitious works, and recorded jazz on an infrequent basis,but Oliver Nelson was largely lost to jazz a few years before hisunexpected death at age 43 from a heart attack.

Scott Yanow. Iam grateful to Ramson for pointing out that the channels were reversedon this one so I have uploaded the corrected files. I will put the newlinks in 'comments' and in a short while delete the first set. LikeRamson, some may be satisfied with the sound of the first set but I'msure the new ones are better.Ramson's better cover picture is now also included.Apologies to all those who have downloaded the erroneous files.(January 30 2008)Thisone is for the doc.

I didn't wait for your reply on 'Requests' because,having listened to a bit, I decided it was good enough to put upanyway. Hope you find it acceptable - I certainly have many CD's whichdo not sound as good. Very little editing was necessary.Vinyl rip - no scansEdited to remove imperfections.Larger cover picture thanks to ramsonReview by Scott YanowBaritonistGerry Mulligan has had few opportunities to record with a big bandsince his Concert Jazz Band broke up in 1963, a real pity consideringhow talented a composer and arranger he has been. Adouble LP released in 1976 of his first 2 albums for Roulette. The 2ndalbum from 1960 will follow shortly. I'll just say that I really amdigging this a lot.

A rare chance to hear John using tenor as his lady.AltoistJohn Handy's debut as a leader (which was originally part of the two-LPset of the same name) was recorded when he was still a member ofCharles Mingus' group. Teamed with trumpeter Richard Williams, pianistRoland Hanna, bassist George Tucker and drummer Roy Haynes, Handy (whodoubles on tenor) shows the influence of John Coltrane in spots andalso the fury and heat of playing with Mingus. He performs sixoriginals (the best-known is 'Dance to the Lady'), 'I'll Close MyEyes,' and a lyrical rendition of 'I'll Never Smile Again.' Excellentadvanced hard bop music.Scott Yanow.

Twovinyl albums of Maybelle's Savoy recordings on one compact disc makesfor a nice 28-track retrospective of her prime work. First up is thealbum originally issued as Blues, Candy and Big Maybelle,a chunk of session work from 1956-1957, with a three-song date from1959 to round things up. Her takes on 'Rockhouse,' 'Ramblin' Blues,'and the title track are the big tickets here. The second anthology,titled simply Big Maybelle,features her recordings from 1956-1959, with the balance of it leaningtoward her later output for the label. A 1957 session with KennyBurrell on guitar yields interesting stabs at 'White Christmas' and'Silent Night,' while a 1959 session finds her big voice framed with astring section on a great read of 'Until the Real Thing Comes Along.' Avery underrated singer, Big Maybelle is a total delight and deserves amuch wider hearing.

Big Maybelle (vocal)Sahib Shihab (alto sax)Gigi Gryce (alto sax)Hank Jones (piano)Kenny Burrell (guitar)Mickey Baker (guitar)Frank Rehak (ttrombone)Jerome Richardson (tenor sax)George Barrow (baritone sax)Dave McRae (alto sax)Others1. Ring Dang Dilly3. Blues Early, Early4. A Little Bird Told Me5.

That's A Pretty Good Love7. Tell Me Who8. Ramblin' Blues9.

I Don't Want To Cry11. A Good Man Is Hard To Find13.

How It Lies14. Goin' Home Baby15. Say It Isn't So17.

Article includes a list of natively supported ThunderBolt 3 chassis models, graphics cards and supported Macs. (Does not include the late 2013 Mac Pro, which has Thunderbolt 2 ports.

If I Could Be With You18. Goodnight Wherever You Are19. That's A Pretty Good Love20.

White Christmas21. Silent Night22. How It Lies23. Goin' Home Baby24.

I Ain't Got Nobody25. I Understand26. I Got It Bad27. Some Of These Days28. Until The Real Thing Comes Along.

SFJazz Collective for Nonesuch from 2005.Anythingwith Bobby Hutcherson on it has to be worth a punt so this wentstraight in the shopping bag on it's release.But did I mention the restof this mighty ensemble?Renee Rosnes,Nicholas Payton,Brian Blade,BobHurst,Josh Roseman,Gil Goldstein,Joshua Redman and MiguelZenon.wheeeew!I pinched this from Amazon as it's a pretty good summary of their endeavours:TheSF Jazz Collective is a group assembled under the auspices ofsaxophonist Joshua Redman during his tenure as the artistic director ofthe Bay Area, non-profit organisation SFJAZZ. With funding from SFJAZZ,Redman put together an octet of younger, high-profile players includinghimself, alto saxophonist/flutist Miguel Zenon, pianist Renee Rosnes,trumpeter Nicolas Payton, trombonist Josh Roseman, drummer BrianBlades, and bassist Robert Hurst.

The kicker here is the inclusion oflegendary vibraphonist Bobby Hutcherson, one of the most adventurousand distinctive voices on the instrument since the 1960s. While theresults of all-star group endeavorscan sometimes be dicey, that is notthe case here, as this magnificent live recording proves.Theprogram features several originals, including Rosnes'srhythmically-free, mid-tempo exploration 'Of This Day's Journey',Redman's shape-shifting 'Rise and Fall', and Hutcherson's sprightlyfree bopworkout 'March Madness'.

The ensemble's penchant foradventurous phrasing and rhythmic and harmonic freedom is mirroredintheir choice of three Ornette Coleman compositions: the gorgeous,off-kilter 'Peace', the uptempo swing of 'When Will the Blues Leave',and the whimsically expressionistic 'Una Muy Bonita'. Superbarrangements by Gil Goldstein put the crowning touch on this first ratesession. In short, everything works together-the writing, the playing,the group chemistry-to equal an exceptional modern jazz recording. Thetitle suggests that this is a live set but was actually recorded at thehome studio of producer Gerry Macdonald.

It's all harmonica for Tootson this date for Choice Records with strong support from Cecil McBee onbass, Freddie Waits on drums, and a talented pianist who hasn't hadmuch exposure here - Joanne Brackeen. A nice mix of standards, balladsand originals, the interplay between Toots and Brackeen, especially onthe duet 'Giant Steps', is amazing.This was reissued by Polygram in 1997 as Images that included two more tracks from this session. Althoughit would have been interesting to hear Nat Cole play some piano andperhaps accompany a vocal by George Shearing instead of exclusively theother way around, this session was a big success. Cole is in prime formon such songs as 'September Song,' 'Pick Yourself Up,' and 'Serenata.'

Shearing's accompaniment is tasteful and lightly swinging, and thestring arrangements help to accentuate the romantic moods. This CD addsthree 'new' selections from the same sessions to the original program. Scott YanowThis 1961recording is a wonderful collaboration between two jazz titans. Infact, it's a shame singer Nat 'King' Cole and pianist George Shearingdidn't make more albums together.

Inviting Shearing to play on thisrecord is an example of Cole's musical selflessness. (A noted pianisthimself, Cole might have been insulted by Capitol's suggestion to workwith Shearing. Thankfully, history proved otherwise.)Comprisedof 12 tracks plus three bonus takes, NAT 'KING' COLE SINGS/GEORGESHEARING PLAYS combines the intimacy of a piano quartet with theimmense sound of a string orchestra. A gentle, swaying 'September Song'and a surprisingly subdued 'I Got It Bad (And That Ain't Good)' are twofine examples of the record's relaxed mood. Cole and Shearing'sinterpretation of 'Fly Me to the Moon' is especially stirring;performed as a slow ballad, Bart Howard's melody is captured in all itsnatural beauty on this rendition like never before. For fans of Coleand/or Shearing, this is a must-have disc. Nat Cole (vocals)George Shearing (piano)Emil Richards (vibraphone)Al McKibbon (bass)Shelly Manne (drums)Carlos Vidal (congas)Nick Martinez, Luis Miranda (percussion)Ralph Carmichael (conductor)Al Hendrickson (guitar)Paul Horn, Wilbur Schwartz, Justin Gordon (flute, piccolo)Lloyd Ulyate (trombone)1.

September Song2. Pick Yourself Up3. I Got It Bad (And That Ain't Good)4. Let There Be Love5. A Beautiful Friendship8. Fly Me To The Moon9.

There's A Lull In My Life12. Everything Happens To Me14. The Game Of Love15. Guess I'll Go Back HomeRecorded at Capitol Studios, Los Angeles, California from December 19-22, 1961.

Byrd,one of the early young migrants from Detroit, and ex-CalifornianFarmer, already a New York fixture by the time Byrd got there in 1955,are joined in the front line by Jackie McLean who had worked withDonald in George Wallington's group. Barry Harris, who had left Detroitfor a minute with the Max Roach quintet, makes his New York recordingdebut here before returning to Detroit until 1960 when he departed forgood as a member of Cannonball Adderley's group. The trumpeters'exchanges on 'Dig' are especially exhilarating. Thisre-up is by request; originally a Crabbit&Daft post. All credits goto the original uploader, Rab. I've only added images of the originalLP cover, taken from lpcoverlover.com. The format is OGG.WalterBishop, Jr left the music business for a while to be a tailor.

ArtDavis became a practicing psychologist, and Pete Sims, aka Pete LaRocabecame an attorney.He started his career playing timbales inLatin bands, changing his name to Pete La Roca at the time. He playeddrums with Sonny Rollins (1957- early 1959) and had associations withJackie McLean, Slide Hampton, the John Coltrane Quartet (where he wasthe original drummer in 1960) and Marian McPartland. La Roca led hisown group (1961-62), was the house drummer at the Jazz Workshop inBoston (1963-64) and worked with Art Farmer (1964-65), Freddie Hubbard,Mose Allison, Charles Lloyd (1966), Paul Bley and Steve Kuhn amongothers.

La Roca started playing jazz again in 1979 and has performed onan occasional basis up to the present time. Idon't remember who requested this but it caused me to give it a spinfor the first time in some years and wonder why I haven't listened toit more often.In my opinion, this is one of the most successfulforays into the world of classical/jazz fusion, commonly known as'third stream'. I am not alone as An American Concerto, writtenin 1976 for symphony orchestra and jazz quartet, was nominated for aPulitzer Prize and the album was nominated for a Grammy in 1980.Curiously, this album has never been reissued on CD.Along with Patrick Williams' Stravinsky-inspired writing and the London Symphony Orchestra's flawless execution, An American Concertois a tour-de-force for altoist Phil Woods and there is ample solo spacefor Dave Grusin on keyboards, Chuck Domanico on bass, and the masterfuldrummer Grady Tate. BillyHarper for Strata East from 1973.This great group of players are joinedby a quintet of voices including Eugene McDaniels on a couple of trackswho sing behind the jazz players in an uplifting spiritual mode thatcries out with the new soul jazz freedom of the 70s.More info on this here from:Texas-bornsaxophonist Billy Harper had played with many of the greats (Gil Evans,Art Blakey, Elvin Jones) before recording this first album as a leaderin 1973. Influenced heavily by Coltrane, Harper was part of the “blackconsciousness” movement in jazz, which fueled such artist-owned labelsas Strata-East in New York, Tribe Records in Detroit, and Black Jazz inChicago. This session for Strata-East features an all-star cast,including George Cables (piano), Reggie Workman (bass), Julian Priester(trombone), Billy Cobham (drums), and more, including a specialappearance by drummer Elvin Jones on the track “Sir Galahad.” One ofthe quintessential traits of this strain of jazz, the vocal chorus, isfeatured prominently on the two tracks from Side Black, linking themusic to its roots in gospel.

The equally-important blues influenceshines through clearly, as well; just check out the track “New Breed”for evidence of that. All in all, an impressive debut from Mr. Harper.Interesting bit of trivia: Harper’s next album release was BLACK SAINT,inaugurating the label of the same name, which is still active today.320 rip from the long deleted Strata East cd issue. Of the dozen or two Braxton albums I have, this is the one I listen to most.Onthis double CD the innovative altoist Anthony Braxton (who also plays abit of his sopranino and the remarkable contrabass clarinet) interprets13 bebop songs (two taken twice), 11 of which were composed by CharlieParker. However, do not mistake these performances (which are comprisedof both a studio session and a club set) with the type of music oftenplayed by the Young Lions.

In fact, those listeners who considerthemselves bop purists are advised to look elsewhere. Performing withan adventurous sextet that also includes Ari Brown on tenor andsoprano, trumpeter Paul Smoker, pianist Misha Mengelberg (the mostconsistently impressive of the supporting cast), bassist Joe Fonda, andeither Han Bennink or Pheeroan AkLaff on drums, Braxton uses themelodies and some of the original structures of such tunes as 'HotHouse,' 'Night in Tunisia,' 'Bebop,' and 'Ko Ko' as the basis forcolorful and often-stunning improvisations. He does not feel restrictedto the old boundaries of the 1940s and '50s, preferring to pay tributeto the spirit and chance-taking of Charlie Parker rather than to merelyrecreate the past. The passionate and unpredictable results are quitestimulating and full of surprises, fresh ideas and wit. It's highlyrecommended to those jazz followers who have very open ears.

Whole generations of musicians and listeners experienced a dramatic and irrevocable awakening in the years after Albert Ayler's Spiritual Unitycame out in 1964, and the record has a certain timeless quality thatmakes it just as important today. The piercing emotional emphasis andstartlingly voice- like qualities of Ayler's saxophone playing turnchildishly simple melodies into expanded voyages of personal discoveryand spontaneous invention. Bassist Gary Peacock and drummer SunnyMurray share an abstract, ethereal connection where norms of meter andharmony seem quite naturally irrelevant.But Spiritual Unityremains enigmatic even now, nearly 35 years after Ayler's body wasmysteriously found in the Hudson River. Youknow this is going to be a solid, swinging affair. Buddy Collette isalways worth checking out, as are the others here. Kessel also releasedan album called Music To Listen To Barney Kessel By.Don't recall which was first. If you get a chance, check out Collette'sautobiography.

It tells more about him than the facts presented. Seemslike a real nice man.Although vibraphonist Red Norvo is theleader of this sextet date, clarinetist Bill Smith (who contributed the20-minute four-movement 'Divertimento') often sets the tone for themusic. His work has classical elements to it, but the five shorterpieces (by Jack Montrose, Barney Kessel, Lennie Niehaus, Duane Tatro,and Norvo) are much more jazz oriented. Norvo's light-toned sextet(which consists of his vibes, flutist Buddy Collette, clarinetist BillSmith, guitarist Barney Kessel, bassist Red Mitchell, and drummerShelly Manne) was not a regularly working unit, but it soundswell-integrated and tight during the complex, but generally swinging,music.

ThisCD reissue brings back one of Lennie Niehaus' finest recordings of the1950s. His alto is featured throughout the dozen selections and thevaried settings (Niehaus is backed by a string quartet, a standardrhythm section, and sometimes two other saxophonists in addition toperforming four numbers with a standard quintet) give him anopportunity to show off his writing abilities.

Niehaus varies tempos alot (the strings are often heard on faster material), there is solospace for the tenor of Bill Perkins, baritonist Bob Gordon, and StuWilliamson on trumpet and valve trombone, and the leader's boppish altois heard at the peak of his playing powers. Bop collectors can considerthis disc to be essential.