Reissue with latest 2014 remastering. Comes with liner notes. The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.
This long-out-of-print CD has finally been reissued and it's a must-have for Phil Woods fans, or for anyone interested in an excellent example of post-Parker be-bop saxophone. The sound quality is excellent, the rhythm section is very competent and Phil is at the top of his game on a nice mix of standards and originals. It's easy to see why he has been the benchmark for jazz alto for decades. His swing and inventiveness are nicely showcased as he eases his way through the list of tunes. If one were to buy one or two CD's that best show Phil Woods' ability to create meaningful jazz, this one would have to be high on the list for consideration. Don't miss it!
Reissue with the latest DSD remastering. Comes with liner notes. One of the few albums as a leader from pianist Jimmy Jones – a musician who was best known for his backing work for a few famous singers – but a player who really shines on this rare French session from the 50s! Jimmy's got a really great command of the keys – still that rhythmic vamp that made him nice and soulful when working with a vocalist – but also a really open, lyrical groove on the melody – one that has some surprisingly deep touches at times, this level of sophistication that we might never have expected otherwise. The trio features Joe Benjamin on bass and the great Roy Haynes on drums – and titles include "Lush Life", "Squeeze Me", "Good Heartache", "Easy To Love", and "Little Girl Blue".
Reissue with the latest DSD remastering. Comes with liner notes. A record as evocative as its title – part of a great flowering of talent from Japanese reedman Sadao Watanabe at the end of the 60s! Sadao started his career out as a hell of a bopper, then moved into some sweet Brazilian modes in the 60s – but by the time of this record, he was really emerging with a great vision of his own – a way of opening up in these longer, more lyrical ways on alto, soprano sax, and flute – with styles that were very different than any American or European players of the time!
Reissue with the latest remastering. Comes with liner notes. A wonderful record – one in which Phil Woods blows alto solos over the arrangements of Michel Legrand – handled in the masterful style of Legrand's best jazzy soundtrack work, and in a way that lets Woods hit some of his best solos of the 70s! Legrand's always been great at this sort of album for any jazzman – and here, he unlocks a romantic tone in Woods' style that is a nice counterpart to some of the hippy-dippiness that he'd been showing in other sides from the 70s.
Reissue with the latest DSD remastering. Comes with liner notes. During the years 1935-1939 pianist Teddy Wilson led a series of small recording bands peppered with some of the world's most accomplished and influential jazz musicians. That's why "Teddy Wilson & His All-Stars" is an accurate heading for this collection of 16 tunes recorded between July 31, 1935 and November 1, 1939. Wilson's ability to summon many of the best improvisers of his generation yielded results that continue to delight and entertain those who take the time to savor the solos and marvel at the integrity of the ensembles. Collectively, Wilson's players as heard here included trumpeters Irving "Mouse" Randolph, Cootie Williams, Roy Eldridge, Buck Clayton and Jonah Jones, as well as trombonist Benny Morton.
Reissue with the latest remastering. Comes with liner notes. A double-length, ultra-cool set from saxophonist Phil Woods – yet another aspect of his great body of work from the 70s, and a live date that features Woods at the head of a sextet! The group here features acoustic piano, electric guitar, bass, drums, and percussion – all used in ways that are often a bit more organically building and spacious than some of Phil's more intense Rhythm Machine albums – showing a new sensitivity in Woods' music, but one that still has plenty of room for searing, searching solo moments! Titles include "Django's Castle", "A Little Peace", "Brazilian Affair", "I'm Late", "Superwoman", "High Clouds", "How's Your Mama", and "Rain Danse".
Reissue with the latest remastering. Comes with liner notes. Strictly Bud Powell, in the best sense of the word – as the album's a sharp batch of trio tracks recorded for RCA in the 50s, and a great showcase for Bud's firey talents on the piano! The rhythm combo features bold work on drums from Art Taylor, alongside the bass of George Duvivier – but Powell's definitely the leading light here, as the album features some of his tremendously deft work on the keys throughout. There's a nice tension to the material – played with a strength that matches most of Bud's other work from the time – but a bit different than some of his other recordings for Verve and Blue Note. The set features 11 tracks in all – and titles include "Time Was", "Jump City", "Elegy", "Coscrane", and "Topsy Turvy".
Reissue with latest DSD remastering. Comes with liner notes. With the cheers and huzzahs from their 1976 one-off reunion still resounding, the reconstituted Miles Davis Quintet minus Miles went on the road in 1977, spreading their 1965-vintage gospel according to the Prince of Darkness to audiences in Berkeley and San Diego, CA. In doing so, Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams, plus interloper Freddie Hubbard seem to pick up where they left off, with a repertoire mostly new to the five collectively and developed from there.
Reissue with latest 2014 DSD remastering. Comes with liner notes. Charlie Rouse? Wasn't he the one that played with Theloniious Monk ? Well, yes. And certainly there's an argument that his recordings with Monk are his best work - probably the combination of intriguing compositions with the opportunity to work them over and over to find something new and equally satisfying in the each time - but Rouse was also a leader in his own right. Take, for example, his work with Julius Watkins (french horn) in Les Jazz Modes, the "Takin' Care of Business" album (issued on CD by OJC) and as co-leader of Sphere (not the Monk-tribute band it seems to have gone down in history as being).