Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During... [+] Read More

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~ Scott Yanow, All Music Guide [-] Hide

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945)... [+] Read More

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners). After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow, All Music Guide [-] Hide

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an... [+] Read More

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist.

Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948.

Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars.

A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans.

During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play.

Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Utter Chaos," "Soft Shoe," "Bernie's Tune," "Blueport," "Song for Strayhorn," "Song for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP. ~ Scott Yanow, All Music Guide [-] Hide

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet -- so much so that, in the usual jazz tradition of distrusting popular success, he tends to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of... [+] Read More

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet -- so much so that, in the usual jazz tradition of distrusting popular success, he tends to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday.

The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the 1950s. Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo and Armando Peraza. As a composer, Shearing is best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflects the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum and Bud Powell -- and fellow pianists have long admired his light, refined touch. He has also been known to play accordion and sing in a modest voice on occasion.

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late 1930s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stephane Grappelli's London-based groups of the early 1940s, winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-55) and Capitol (1955-69), the latter for which he made albums with Nancy Wilson, Peggy Lee and Nat Cole. He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras.

After leaving Capitol, Shearing began to phase out his by-now-predictable quintet, finally breaking it up in 1978. He started his own label Sheba -- which lasted for a few years into the early '70s -- and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Torme, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences come into play. He continued to play beautifully in several formats after signing with Telarc in 1992, extending what had become one of the longest, most prolific recording careers in jazz history. ~ Richard S. Ginell, All Music Guide [-] Hide

The musical director of the Modern Jazz Quartet for its entire history, John Lewis found the perfect outlet for his interest in bop, blues and Bach. Possessor of a "cool" piano style that (like Count Basie's) makes every note count, Lewis with the MJQ has long helpled make jazz look respectable to the classical music community without watering... [+] Read More

The musical director of the Modern Jazz Quartet for its entire history, John Lewis found the perfect outlet for his interest in bop, blues and Bach. Possessor of a "cool" piano style that (like Count Basie's) makes every note count, Lewis with the MJQ has long helpled make jazz look respectable to the classical music community without watering down his performances.

After serving in the military, Lewis was in the Dizzy Gillespie big band (1946-48). He recorded with Charlie Parker during 1947-48 (including "Parker's Mood") and played with Miles Davis's Birth of the Cool Nonet, arranging "Move" and "Rouge." He worked with Illinois Jacquet (1948-49) and Lester Young (1950-51) and appeared on many recordings during the era. In 1951 Lewis recorded with the Milt Jackson Quartet which by 1952 became the Modern Jazz Quartet. Lewis's musical vision was fulfilled with the MJQ and he composed many pieces with "Django" being the best-known. In addition to constantly touring with the MJQ during 1952-74, Lewis wrote the film scores to Odds Against Tomorrow, No Sun in Venice and A Milanese Story, recorded as a leader (including the 1956 cool classic "Two Degrees East, Three Degrees West," collaborations with Gunther Schuller and records with Svend Asmussen and Albert Mangelsdorff) and worked with Orchestra U.S.A. in the mid-'60s. When the MJQ broke up in 1974, Lewis worked as an educator and occasionally recorded as a leader. With the MJQ's rebirth in 1981, he has resumed his former role as its guiding spirit. Most of John Lewis's own projects were recorded for Atlantic. ~ Scott Yanow, All Music Guide [-] Hide

Until it was reissued on CD, this was one of the rarer Gerry Mulligan albums. The original program consisted of seven Mulligan compositions played by a five-sax octet (including the leader on baritone, altoist Lee Konitz, Allen Eager and Zoot Sims doubling on tenor and alto, Al Cohn on tenor and baritone and a rhythm section consisting of... [+] Read More

Until it was reissued on CD, this was one of the rarer Gerry Mulligan albums. The original program consisted of seven Mulligan compositions played by a five-sax octet (including the leader on baritone, altoist Lee Konitz, Allen Eager and Zoot Sims doubling on tenor and alto, Al Cohn on tenor and baritone and a rhythm section consisting of guitarist Freddie Green, bassist Henry Grimes, and drummer Dave Bailey). The session has a few surprise touches, giving listeners the rare opportunity to hear Eager and Sims soloing on alto and Cohn doubling on baritone. This was Allen Eager's first recording in several years and would be the last one of his prime (Eager's next album would be for Uptown in 1982); he had other interests outside of music. Perhaps the biggest surprise of the date is that the clever, witty and swinging arrangements are not by Mulligan but by Bill Holman. The CD reissue is rounded off by four selections from a largely unissued ("The Preacher" came out as an edited sampler) session featuring Mulligan with drummer Dave Bailey and a string quartet led by bassist Vinnie Burke. The performances are not chamber music but fairly conventional if spirited bop. Cellist Calo Scott trades off a bit with Jeru and guitarist Remo Palmieri makes one wonder what ever happened to him. Highly recommended for Gerry Mulligan fans. ~ Scott Yanow, All Music Guide [-] Hide

Formerly available in piecemeal fashion, this CD (and Vol. 2) has all of the music recorded at baritonist Gerry Mulligan's Paris concerts of June 1954. This particular unit (with valve trombonist Bob Brookmeyer, bassist Red Mitchell and drummer Frank Isola) was one of Jeru's finest for his own wit, swing and cool-toned creativity were matched by... [+] Read More

Formerly available in piecemeal fashion, this CD (and Vol. 2) has all of the music recorded at baritonist Gerry Mulligan's Paris concerts of June 1954. This particular unit (with valve trombonist Bob Brookmeyer, bassist Red Mitchell and drummer Frank Isola) was one of Jeru's finest for his own wit, swing and cool-toned creativity were matched by Brookmeyer. Highpoints include "Walkin' Shoes," "Love Me or Leave Me," "My Funny Valentine" and "Five Brothers" but every selection is quite enjoyable. The audience is rightfully enthusiastic. ~ Scott Yanow, All Music Guide [-] Hide

June Christy's classic Something Cool has been expanded from 11 songs to 24 on this essential CD with two unreleased cuts and six songs only previously out as singles. Christy's attractive "cool" tone was a trademark of jazz in the 1950s, her version of "Something Cool" remains a classic, and many of the other numbers are nearly as memorable.... [+] Read More

June Christy's classic Something Cool has been expanded from 11 songs to 24 on this essential CD with two unreleased cuts and six songs only previously out as singles. Christy's attractive "cool" tone was a trademark of jazz in the 1950s, her version of "Something Cool" remains a classic, and many of the other numbers are nearly as memorable. Accompanied by Pete Rugolo's Orchestra, Christy is heard at her best on such numbers as "Whee Baby," "You're Making Me Crazy," "Midnight Sun," "A Stranger Called the Blues," "Softly As in a Morning Sunrise," "This Time the Dream's on Me," and "The Night We Called It a Day." ~ Scott Yanow, All Music Guide [-] Hide

This CD reissue features the great tenor-saxophonist Zoot Sims (who was then 25) leading his first American recording dates. He is heard with two quartets, the team of pianist John Lewis, bassist Curly Russell and drummer Don Lamond and with pianist Harry Biss, bassist Clyde Lombardi and drummer Art Blakey. All but two numbers clock in around... [+] Read More

This CD reissue features the great tenor-saxophonist Zoot Sims (who was then 25) leading his first American recording dates. He is heard with two quartets, the team of pianist John Lewis, bassist Curly Russell and drummer Don Lamond and with pianist Harry Biss, bassist Clyde Lombardi and drummer Art Blakey. All but two numbers clock in around the three-minute mark: an over eight-minute alternate version of "Zoot Swings the Blues" and an 11-minute "East of the Sun." Sims is in fine form throughout these cool-toned but hard-swinging sets. ~ Scott Yanow, All Music Guide [-] Hide

To much of the pop (as opposed to the jazz) audience, Chet Baker was known not as an able cool jazz trumpeter, but as a romantic balladeer. The two classifications were not mutually exclusive; Baker's vocal numbers would also feature his trumpet playing, as well as fine instrumental support from West Coast cool jazzers. For those who prefer the... [+] Read More

To much of the pop (as opposed to the jazz) audience, Chet Baker was known not as an able cool jazz trumpeter, but as a romantic balladeer. The two classifications were not mutually exclusive; Baker's vocal numbers would also feature his trumpet playing, as well as fine instrumental support from West Coast cool jazzers. For those who prefer the vocal side of the Baker canon, this is an excellent compilation of his best vintage material in that mode. The 20 tracks draw from sessions covering the era when he was generally conceded to be at his vocal peak (1953-1956), and are dominated by standards from the likes of Rodgers & Hart, Carmichael, Gershwin, and Kern. Baker's singing was white and naïve in the best senses, with a quavering, uncertain earnestness that embodied a certain (safe) strain of mid-'50s bohemianism. That's the Baker heard on this collection, which contains some his most famous interpretations, including "My Funny Valentine," "Time After Time," "There Will Never Be Another You," and "Let's Get Lost." ~ Richie Unterberger, All Music Guide [-] Hide