The Complete Hot Five and Hot Seven Recordings - COLUMBIA/LEGACY
Artist: Louis Armstrong
Released: 2000

This four-CD set brings together all the recordings made during the period of the Hot Five and Hot Sevens along with all the attendant recordings that Armstrong was involved in during this breakthrough period. Although this material has been around the block several times before -- and continues to be available in packages greatly varying in... [+] Read More

This four-CD set brings together all the recordings made during the period of the Hot Five and Hot Sevens along with all the attendant recordings that Armstrong was involved in during this breakthrough period. Although this material has been around the block several times before -- and continues to be available in packages greatly varying in transfer quality -- this is truly the way to go, and certainly the most deluxe packaging this material has ever received with the greatest sound retrieval yet employed. In addition to sounding better than the competition, it also sensibly lays out all the recordings Satchmo made during this period, grouping all the original Hot Five recordings from 1925 to 1927 (and all attendant material) together on the first two discs, all of the Hot Sevens on disc three, with the final disc devoted to the second coming of the Hot Five in 1928 along with the attendant material from the following year. There are also several categories of "bonus tracks" aboard this deluxe set, including the "Lil's Hot Shots" 1926 Hot Five Vocalion recordings, a 1927 Johnny Dodds session that became the prototype for the Hot Seven recordings that soon followed, and the only known alternate take of "I Can't Give You Anything but Love." You can't have a Louis Armstrong collection without this historic set. Come to think of it, you can't have any kind of respectable jazz collection without it, either. Beyond indispensable. ~ Cub Koda, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Walkin'
Artist: Miles Davis
Released: 1954

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke... [+] Read More

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson -- who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. ~ Lindsay Planer, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Speak No Evil
Artist: Wayne Shorter
Released: 1964

On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on... [+] Read More

On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect "Fee-Fi-Fo-Fum," with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful "Wild Flower," a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer. [The CD reissue adds a fine alternate take of "Dance Cadaverous."] ~ Thom Jurek, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Shape of Jazz to Come
Artist: Ornette Coleman
Released: 1959

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole... [+] Read More

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Page One
Artist: Joe Henderson
Released: 1963

Tenor saxophonist Joe Henderson's debut as a leader is a particularly strong and historic effort. With major contributions made by trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca, Henderson (who already had a strikingly original sound and a viable inside/outside style) performs six generally memorable... [+] Read More

Tenor saxophonist Joe Henderson's debut as a leader is a particularly strong and historic effort. With major contributions made by trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca, Henderson (who already had a strikingly original sound and a viable inside/outside style) performs six generally memorable compositions on this CD reissue. Highlights include the original versions of Dorham's "Blue Bossa" and Henderson's "Recorda Me." It's highly recommended. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Blues and the Abstract Truth
Artist: Oliver Nelson
Released: 1961

This was Oliver Nelson's finest recording and one of the top jazz albums of 1961, a true classic. The lineup is an inspired one: Nelson on tenor and alto, Eric Dolphy doubling on alto and flute, a young trumpeter named Freddie Hubbard, baritonist George Barrow for section parts, pianist Bill Evans, bassist Paul Chambers, and drummer Roy Haynes.... [+] Read More

This was Oliver Nelson's finest recording and one of the top jazz albums of 1961, a true classic. The lineup is an inspired one: Nelson on tenor and alto, Eric Dolphy doubling on alto and flute, a young trumpeter named Freddie Hubbard, baritonist George Barrow for section parts, pianist Bill Evans, bassist Paul Chambers, and drummer Roy Haynes. The contrasting voices of the soloists really uplift these superior compositions, which are highlighted by "Stolen Moments" (a future standard), the fun "Hoe Down," and "Yearnin'." Dolphy cuts everyone, but Nelson and Hubbard are also in top form. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Original Misty
Artist: Erroll Garner
Released: 1954

Erroll Garner's first album for Mercury Records, The Original "Misty" from the Piano Virtuoso, is a lovely, swinging record that spotlights his light, sophisticated style. Supported by bassist Wyatt Ruther, drummer Eugene "Fats" Heard and conga player Candido Camero, Garner swings a number of standards -- "You Are My Sunshine," "I've Got the... [+] Read More

Erroll Garner's first album for Mercury Records, The Original "Misty" from the Piano Virtuoso, is a lovely, swinging record that spotlights his light, sophisticated style. Supported by bassist Wyatt Ruther, drummer Eugene "Fats" Heard and conga player Candido Camero, Garner swings a number of standards -- "You Are My Sunshine," "I've Got the World on a String," "Misty" -- performing all of them in true style. It's a wonderful record from the pianist's prime. [The CD reissue includes the 45 take of "Exactly Like You."] ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Chasin' the Bird
Artist: Barry Harris
Released: 1962

Barry Harris has long been one of the top interpreters of the piano styles of Bud Powell and Thelonious Monk. This CD reissue of a trio session with bassist Bob Cranshaw and drummer Clifford Jarvis finds him performing near the top of his form. Highlights include "Chasin' the Bird" (during the theme, Harris plays both countermelodies... [+] Read More

Barry Harris has long been one of the top interpreters of the piano styles of Bud Powell and Thelonious Monk. This CD reissue of a trio session with bassist Bob Cranshaw and drummer Clifford Jarvis finds him performing near the top of his form. Highlights include "Chasin' the Bird" (during the theme, Harris plays both countermelodies simultaneously), "'Round Midnight," "The Way You Look Tonight" and three fine originals. This is excellent music that should please bop collectors. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Time Out
Artist: Dave Brubeck Quartet
Released: 1959

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him... [+] Read More

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as it's become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Blues on Parade - GRP
Artist: Woody Herman
Released: 1937

This single CD gives a definitive look at Woody Herman's first orchestra, the Decca ensemble he led during 1936-1942 billed "the Band That Plays the Blues." Although he also recorded many vocal ballads during this era, the emphasis here is on hot swing with such highlights as the original version of "Woodchopper's Ball," "Blue Prelude," "Blue... [+] Read More

This single CD gives a definitive look at Woody Herman's first orchestra, the Decca ensemble he led during 1936-1942 billed "the Band That Plays the Blues." Although he also recorded many vocal ballads during this era, the emphasis here is on hot swing with such highlights as the original version of "Woodchopper's Ball," "Blue Prelude," "Blue Flame," the humorous "Fan It," and two takes of "Blues on Parade." Also heard are performances by Herman's early small combos (the Woodchoppers and the Four Chips) along with a Dizzy Gillespie composition/arrangement ("Down Under") that hints at Woody Herman's future. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Dizzy's Diamonds: The Best of Verve Years
Artist: Dizzy Gillespie
Released: 1950

Many of trumpeter Dizzy Gillespie's recordings for the Verve label in the '50s and early '60s show him at the peak of his powers. This three-CD set is a sampler of his legacy, with the discs subtitled "Big Band," "Small Groups & Guests" and "In an Afro Cuban, Bossa Nova, Calypso Groove." The programming jumps all over the place and makes little... [+] Read More

Many of trumpeter Dizzy Gillespie's recordings for the Verve label in the '50s and early '60s show him at the peak of his powers. This three-CD set is a sampler of his legacy, with the discs subtitled "Big Band," "Small Groups & Guests" and "In an Afro Cuban, Bossa Nova, Calypso Groove." The programming jumps all over the place and makes little sense but this set serves as a good excuse to acquire 40 performances by the great Gillespie and the many all-stars who recorded with him. Few but the most fanatical veteran Gillespie fans will have all of these selections. This collection filled a void until Verve got around to doing a much more comprehensive Dizzy Gillespie reissue program. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Genius of Modern Music, Vol. 1 - 2001 BONUS TRACKS
Artist: Thelonious Monk
Released: 1947

Volume 1 of the two-volume Genius of Modern Music set comprises the first sessions Thelonious Monk recorded as a leader, on October 15 and 24 and November 21 of 1947. It's impossible to overstate the importance of these sessions. They include some of the earliest recordings of Monk compositions that would become standards, despite their... [+] Read More

Volume 1 of the two-volume Genius of Modern Music set comprises the first sessions Thelonious Monk recorded as a leader, on October 15 and 24 and November 21 of 1947. It's impossible to overstate the importance of these sessions. They include some of the earliest recordings of Monk compositions that would become standards, despite their angularity and technical difficulty: the strange, sideways chord progression of "Thelonious"; the bouncy and cheerful but melodically cockeyed "Well, You Needn't"; the post-bop Bud Powell tribute "In Walked Bud"; and, of course, "'Round Midnight," which is now one of the most frequently recorded jazz compositions ever. There are kinks to be worked out: Art Blakey's drumming is fine, but he obviously hasn't quite taken the measure of Monk's compositional genius, and on the November session, alto saxophonist Sahib Shihab employs a fat, warbly tone that sounds out of place. But the excitement of discovery permeates every measure, and Monk himself is in top form, his solos jagged and strange, yet utterly beautiful. This first volume of Genius of Modern Music, along with the second, belongs in every jazz collection. ~ Rick Anderson, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Kind of Blue
Artist: Miles Davis
Released: 1959

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in... [+] Read More

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing In Paris - ARPEGGIO JAZZ
Artist: Miles Davis
Released: 2001

[-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Waltz for Debby
Artist: Bill Evans Trio
Released: 1961

Recorded at the Village Vanguard in 1961, shortly before Scott LaFaro's death, Waltz for Debby is the second album issued from that historic session, and the final one from that legendary trio that also contained drummer Paul Motian. While the Sunday at the Village Vanguard album focused on material where LaFaro soloed prominently, this is far... [+] Read More

Recorded at the Village Vanguard in 1961, shortly before Scott LaFaro's death, Waltz for Debby is the second album issued from that historic session, and the final one from that legendary trio that also contained drummer Paul Motian. While the Sunday at the Village Vanguard album focused on material where LaFaro soloed prominently, this is far more a portrait of the trio on those dates. Evans chose the material here, and, possibly, in some unconscious way, revealed on these sessions -- and the two following LaFaro's death (Moonbeams and How My Heart Sings) -- a different side of his musical personality that had never been displayed on his earlier solo recordings or during his tenures with Miles Davis and George Russell: Evans was an intensely romantic player, flagrantly emotional, and that is revealed here in spades on tunes such as "My Foolish Heart" and "Detour Ahead." There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in "Milestones," with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio's most impressive interplay is in "My Romance," after Evans' opening moments introducing the changes. Here Motian's brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans' deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio. ~ Thom Jurek, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Ken Burns Jazz
Artist: Lester Young
Released: 2000

With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. This disc highlights tenor saxophonist Lester Young, beginning with his membership in the Count Basie band... [+] Read More

With cooperation from the Verve and Columbia Legacy catalogs, the Ken Burns Jazz series on CD individually spotlights the musical excellence of 22 jazz originators whose careers and influence are explored in Burns' PBS documentary Jazz. This disc highlights tenor saxophonist Lester Young, beginning with his membership in the Count Basie band during its historic prime from 1937 to 1939. In addition, Young's late-'30s participation in the Billie Holiday and Teddy Wilson orchestras is represented, and the CD also includes mid-'40s sides for Aladdin such as "D.B Blues" and "Jumpin' With Symphony Sid" (which proved wrong many critics who insisted that Young's abilities had deteriorated after his release from the military). Although Young initially left Basie in 1940, he occasionally rejoined the band, as evidenced by "Polka Dots and Moonbeams," this disc's concluding track from 1957. While it's impossible to sum up the history of Lester Young on a single disc, the highlights presented on Ken Burns Jazz should be enough to keep the novice jazz listener interested in searching out more material. There is nothing new for true Lester Young aficionados on this disc, however. ~ Al Campbell, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Whistle Stop
Artist: Kenny Dorham
Released: 1961

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. This CD reissue features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the 1990s despite their high quality and the many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had... [+] Read More

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. This CD reissue features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the 1990s despite their high quality and the many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had recorded with previously with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers and drummer Philly Joe Jones for a set of lively, fresh and consistently swinging music. This is a generally overlooked near-classic set. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Sidewinder
Artist: Lee Morgan
Released: 1963

Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the... [+] Read More

Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw, and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow. ~ Stacia Proefrock, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Way Out West - JVC
Artist: Sonny Rollins
Released: 1957

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater... [+] Read More

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [A release on JVC offered three bonus tracks, alternate takes of "I'm an Old Cowhand (From the Rio Grande)," "Come, Gone," and "Way out West."] ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Highlights from the Duke Ellington Centennial Edition, 1927-1973
Artist: Duke Ellington
Released: 2000

It's hardly surprising that RCA's 24-disc set The Complete Duke Ellington on RCA was only affordable to the scholars and the fanatical, so the appearance of a compilation of consolidated highlights was inevitable. The thing is, a three-disc set of highlights would still be considered a box set by most standards; after all, Columbia/Legacy's... [+] Read More

It's hardly surprising that RCA's 24-disc set The Complete Duke Ellington on RCA was only affordable to the scholars and the fanatical, so the appearance of a compilation of consolidated highlights was inevitable. The thing is, a three-disc set of highlights would still be considered a box set by most standards; after all, Columbia/Legacy's centennial Ellington set was a three-disc set of the highlights of his time at Columbia and OKeh. That said, the three-disc Highlights From the Centennial Edition (1927-1973) is still a great bargain for anyone that can't sink two month's salary into the full set. Trainspotters and fanatics alike will spot missing recordings among these 49 tracks, but nearly all of the essentials from his stint at RCA are here, making it a good alternative for the budget-conscious. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Turn on the Heat: The Fats Waller Piano Solos
Artist: Fats Waller
Released: 1927

With the exception of a third take of "I've Got a Feeling I'm Falling" and his two earliest records from 1922, all of Fats Waller's recorded piano solos are on this superior double-CD set. Over half of these recordings are from 1929, but fortunately he also cut three sessions of piano solos after he became much more famous as a comedy... [+] Read More

With the exception of a third take of "I've Got a Feeling I'm Falling" and his two earliest records from 1922, all of Fats Waller's recorded piano solos are on this superior double-CD set. Over half of these recordings are from 1929, but fortunately he also cut three sessions of piano solos after he became much more famous as a comedy personality with his Rhythm sides. Highlights include the virtuosic "Handful of Keys," the earliest version of "Ain't Misbehavin'," "Clothes Line Ballet," "I Ain't Got Nobody," and "Honeysuckle Rose." A special bonus is a pair of piano duets with Bennie Payne ("St. Louis Blues" and "After You've Gone"). Classic music. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Just About Everything
Artist: Bob Dorough
Released: 1966

This CD reissue brings back Bob Dorough's definitive album. The vocalist-pianist -- who is joined by guitarist Al Schackman, bassist Ben Tucker, and drummer Percy Brice -- was in top creative form for the set. His renditions of "Baltimore Oriole" and "Lazy Afternoon" are haunting, while his versions of "I've Got Just About Everything," "Better... [+] Read More

This CD reissue brings back Bob Dorough's definitive album. The vocalist-pianist -- who is joined by guitarist Al Schackman, bassist Ben Tucker, and drummer Percy Brice -- was in top creative form for the set. His renditions of "Baltimore Oriole" and "Lazy Afternoon" are haunting, while his versions of "I've Got Just About Everything," "Better Than Anything," and "'Tis Autumn" are quite memorable. Dorough even manages to do a credible job on Bob Dylan's "Don't Think Twice," and in 1966 must have been one of the few jazzmen to cover a rock tune. Dorough's unusual voice and swinging piano are heard at their best throughout the highly recommended release. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Complete Decca Recordings
Artist: Count Basie
Released: 1937

This magnificent three-disc set has the first 63 recordings by Count Basie's Orchestra, all of his Deccas. The consistency is remarkable (with not more than two or three turkeys) and the music is the epitome of swing. With such soloists as Lester Young and Herschel Evans on tenors, trumpeters Buck Clayton and Harry "Sweets" Edison, the great... [+] Read More

This magnificent three-disc set has the first 63 recordings by Count Basie's Orchestra, all of his Deccas. The consistency is remarkable (with not more than two or three turkeys) and the music is the epitome of swing. With such soloists as Lester Young and Herschel Evans on tenors, trumpeters Buck Clayton and Harry "Sweets" Edison, the great blues singer Jimmy Rushing, and that brilliant rhythm section of Basie, guitarist Freddie Green, bassist Walter Page, and drummer Jo Jones, the music is timeless. It's all here: "One O'Clock Jump," "Sent for You Yesterday," "Blue and Sentimental," "Jumpin' at the Woodside," "Jive at Five," and many others. This is the first Count Basie collection to acquire and should be in every jazz collection. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Meet the Jazztet
Artist: Art Farmer
Released: 1960

Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist... [+] Read More

Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Inflated Tear
Artist: Rahsaan Roland Kirk
Released: 1967

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from... [+] Read More

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them, the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November Kirk decided to take his quartet of pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps and lead them through a deeply introspective, slightly melancholy program based in the blues and in the groove traditions of the mid-'60s. Kirk himself used the flutes, the strich, the Manzello, whistle, clarinet, saxophones, and more -- the very instruments that had created his individual sound, especially when some of them were played together, and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well, after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunning rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting in the wind lyricism of "Fly by Night," they were convinced -- and rightfully so. Roland Kirk won over the masses with this one too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it. ~ Thom Jurek, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Yardbird Suite: The Ultimate Collection
Artist: Charlie Parker
Released: 1997

This nicely priced and packaged two-disc set is a convenient, introductory primer compilation to Parker's music for the average listener. What we have here are 38 tracks spread over two discs that touch on Parker's greatest musical achievements; the sides that are considered -- in most cases -- his groundbreaking work; his greatest compositions... [+] Read More

This nicely priced and packaged two-disc set is a convenient, introductory primer compilation to Parker's music for the average listener. What we have here are 38 tracks spread over two discs that touch on Parker's greatest musical achievements; the sides that are considered -- in most cases -- his groundbreaking work; his greatest compositions and arrangements in what are generally considered the best-known or most representative versions. What is very important about this box set is that it's the first multi-label best-of view retrospective. Up until this, any such compilations were single-label-driven affairs, but with this, the average listener -- indeed, the novice coming to Parker's music for the first time, having heard the legend but not the message -- has all the important stop-off points. The first disc features all the Guild and Musicraft sides with Dizzy Gillespie collected here, followed by the groundbreaking Dial and Savoy singles. The second disc continues Bird's seminal recordings for Dial and Savoy, plus a brace of important sides cut for Granz' Clef label are here. Following those are the inclusion of three performances from Summit Meeting At Birdland, taken from a live radio broadcast of an all-star lineup featuring Bird, Dizzy Gillespie and Bud Powell. While the Bird-with-strings sessions are Parker's all-time best-selling recordings, it's no small surprise that these tracks were also the licensing glitch that keeps this project from being truly complete. But certainly the next best thing are the live recordings of Bird's quintet with strings and oboe from the Legendary Rockland Palace Concert, selections of which close out the second disc and this compilation. While naysayers will carp about what isn't here, the fact remains that this is simply the best introduction to Bird's music. ~ Cub Koda, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Moanin' - BLUE NOTE BONUS TRACKS
Artist: Art Blakey & the Jazz Messengers
Released: 1958

The third version of Art Blakey's Jazz Messengers debuted with this stunning album. Tenor saxophonist Benny Golson helped give the quintet its own personality with his compositions and arrangements (contributing "Blues March," "Along Came Betty," "Are You Real," and "The Drum Thunder Suite" to this set), 20-year-old trumpeter Lee Morgan quickly... [+] Read More

The third version of Art Blakey's Jazz Messengers debuted with this stunning album. Tenor saxophonist Benny Golson helped give the quintet its own personality with his compositions and arrangements (contributing "Blues March," "Along Came Betty," "Are You Real," and "The Drum Thunder Suite" to this set), 20-year-old trumpeter Lee Morgan quickly emerged as a powerful soloist and the funky pianist Bobby Timmons' "Moanin'" became the Messengers' first real hit. This classic album, a major influence on hard bop, is highly recommended. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Getz/Gilberto
Artist: Stan Getz
Released: 1963

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the... [+] Read More

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history -- "The Girl From Ipanema," a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Danço Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Essential Glenn Miller
Artist: Glenn Miller
Released: 1939

Glenn Miller's 1939-1942 Victor recordings have been reissued a countless number of times in many different ways through the years. This two-CD set does an excellent job of repackaging all of his hits plus a variety of vocal numbers in chronological order. The 47 selections sum up Miller's legacy quite well, making this a definitive set for... [+] Read More

Glenn Miller's 1939-1942 Victor recordings have been reissued a countless number of times in many different ways through the years. This two-CD set does an excellent job of repackaging all of his hits plus a variety of vocal numbers in chronological order. The 47 selections sum up Miller's legacy quite well, making this a definitive set for listeners who do not desire everything that Glenn Miller recorded. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Early Artistry in Rhythm
Artist: Stan Kenton
Released: 1998

[-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Verve Jazz Masters 38
Artist: Django Reinhardt
Released: 1994

[-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Mercy, Mercy, Mercy! Live at 'The Club'
Artist: Cannonball Adderley Quintet
Released: 1966

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free... [+] Read More

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections -- the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire) -- are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Giant Steps
Artist: John Coltrane
Released: 1959

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and... [+] Read More

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty. Both Giant Steps [Deluxe Edition] and the seven-disc Heavyweight Champion: The Complete Atlantic Recordings offer more comprehensive presentations of these sessions. ~ Lindsay Planer, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Are You Hep to the Jive?
Artist: Cab Calloway
Released: 1935

An excellent one-disc overview of Calloway's 1940s Okeh, Columbia, and Vocalion recordings. Beyond the showmanship and humor, Calloway had an amazingly swinging big band that was home to emerging jazz stars like Jonah Jones, Chu Berry, Cozy Cole, and (briefly) Dizzy Gillespie. Calloway's riotous vocals and scatting are always a delight, and were... [+] Read More

An excellent one-disc overview of Calloway's 1940s Okeh, Columbia, and Vocalion recordings. Beyond the showmanship and humor, Calloway had an amazingly swinging big band that was home to emerging jazz stars like Jonah Jones, Chu Berry, Cozy Cole, and (briefly) Dizzy Gillespie. Calloway's riotous vocals and scatting are always a delight, and were an important precursor to bebop. The poet laureate of hip. ~ Joel Roberts, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Best of Chet Baker Sings
Artist: Chet Baker
Released: 1953

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

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Hamp: The Legendary Decca Recordings
Artist: Lionel Hampton
Released: 1996

A very nice two-disc set indeed, with a wonderful cross section of Hampton's career, with the focus rightfully on the pre-1950 stage, with the final few cuts taking Hampton as far as a 1963 club date with trumpeter Charlie Teagarden. The music here is often delicate, spun from silver, and it's doubtful you'll find a better compilation of jazz... [+] Read More

A very nice two-disc set indeed, with a wonderful cross section of Hampton's career, with the focus rightfully on the pre-1950 stage, with the final few cuts taking Hampton as far as a 1963 club date with trumpeter Charlie Teagarden. The music here is often delicate, spun from silver, and it's doubtful you'll find a better compilation of jazz vibraphone work. One fascinating highlight: Hampton's 15-minute version of "Stardust." ~ Steven McDonald, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Body and Soul - RCA
Artist: Coleman Hawkins
Released: 1939

Ignoring past reissues (including a definitive two-CD set from 1995 that had 40 recordings), RCA came out with this 19-selection single CD in 1996; all of the performances were in the previous reissue. If found at a budget price, this CD can act as a fine introduction to the great tenor Coleman Hawkins. Among its high points are two very... [+] Read More

Ignoring past reissues (including a definitive two-CD set from 1995 that had 40 recordings), RCA came out with this 19-selection single CD in 1996; all of the performances were in the previous reissue. If found at a budget price, this CD can act as a fine introduction to the great tenor Coleman Hawkins. Among its high points are two very different versions of "Body and Soul" and classic renditions of "When Day Is Done," "The Sheik of Araby," and the modernistic "Half Step Down, Please," an appealing "I Love Paris," and a few numbers with strings and woodwinds. The music dates from 1939-1940, 1946-1947, and 1956 and is generally beyond criticism. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Sing, Sing, Sing - BLUEBIRD
Artist: Benny Goodman
Released: 1935

A fine all-around single CD, it sums up Benny Goodman's 1935-1939 period on Victor. During this time BG became jazz's and popular music's number one attraction, achieving this impressive feat without watering down his music or emphasizing novelties. All Goodman did was play the music he loved and the audience magically responded and started... [+] Read More

A fine all-around single CD, it sums up Benny Goodman's 1935-1939 period on Victor. During this time BG became jazz's and popular music's number one attraction, achieving this impressive feat without watering down his music or emphasizing novelties. All Goodman did was play the music he loved and the audience magically responded and started dancing. This set has most of BG's better-known recordings from the era, including "King Porter Stomp," "Goody Goody," "Roll 'Em," "Don't Be That Way," "One O'Clock Jump," and, of course, the memorable "Sing, Sing, Sing"; it serves as a good beginning for those listeners just beginning to explore Benny Goodman's music. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Artist's Choice: The Eddie Harris Anthology
Artist: Eddie Harris
Released: 1961

Eddie Harris' tenure at Atlantic in the 1960s and '70s was his most productive, but previously it was represented only by a pair of single-album collections. Now a fine two-disc anthology containing selections chosen by Harris and his comments fully covers his Atlantic years. The discs include his huge singles "Exodus" and "Love Theme From the... [+] Read More

Eddie Harris' tenure at Atlantic in the 1960s and '70s was his most productive, but previously it was represented only by a pair of single-album collections. Now a fine two-disc anthology containing selections chosen by Harris and his comments fully covers his Atlantic years. The discs include his huge singles "Exodus" and "Love Theme From the Sandpiper (Shadow of Your Smile)," plus soul-jazz numbers like "Get on Down," "Funkaroma," and "1974 Blues"; his most famous single composition, "Freedom Jazz Dance"; and his remakes of "Giant Steps" and "Love for Sale." Harris has creatively utilized the varitone attachment on his saxophone and the reed trumpet while constructing and playing his blues, soul, and funk solos with zest and a minimum of gimmickry. ~ Ron Wynn, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Jimmy Giuffre 3
Artist: Jimmy Giuffre 3
Released: 1957

The only one of Jimmy Giuffre's valuable Atlantic recordings to thus far be reissued on CD, this disc features the first version of Giuffre's 3. With guitarist Jim Hall and either Ralph Pena or Jim Atlas on bass, Giuffre is heard on clarinet, tenor and baritone. The generally introverted music is wistful, has a fair amount of variety, and is... [+] Read More

The only one of Jimmy Giuffre's valuable Atlantic recordings to thus far be reissued on CD, this disc features the first version of Giuffre's 3. With guitarist Jim Hall and either Ralph Pena or Jim Atlas on bass, Giuffre is heard on clarinet, tenor and baritone. The generally introverted music is wistful, has a fair amount of variety, and is melodic while still sounding advanced. In addition to the nine original songs (including the earliest recording of Giuffre's classic folk song "The Train and the River"), two previously unreleased tunes (including "Forty-Second Street") were added to the CD reissue. An excellent introduction to Jimmy Giuffre's unique (if not particularly influential) music. ~ Scott Yanow, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Mingus, Mingus, Mingus, Mingus, Mingus
Artist: Charles Mingus
Released: 1963

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his... [+] Read More

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well -- "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke." There's also a cover of Duke Ellington's "Mood Indigo," leaving just one new composition, "Celia." Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals -- which is, of course, no small feat. This was Mingus' last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Song for My Father
Artist: Horace Silver
Released: 1964

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most... [+] Read More

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas -- the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands (and, on the CD reissue with bonus tracks, three different sessions). Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song for My Father. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing