Relaxin’’ features the Miles Davis Quintet in a pair of legendary recording dates — from May and October of 1956 — which would generate enough music to produce four separate long-players: Cookin’‘, elaxin’‘, Workin’‘, and Steamin’‘. Each of these is considered not only to be among the pinnacle of Davis’’ work, but of the entire bop subgenre as well. As with the other titles, Relaxin’’ contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet — who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) — to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. “If I Were a Bell” — from the play Guys and Dolls — includes some remarkable soloing via Coltrane and Garland. Davis’’ solos are additionally impressive, as they’‘re derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as “You’‘re My Everything” and “Oleo” highlight the synchronic nature of Davis and Coltrane as they carry each other’‘s melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin’’ offers something for every degree of jazz enthusiast. Likewise, the quintet’‘s recordings provide a tremendous introduction for the curious jazz consumer. >Allmusic<
13. EXPLORATIONS* - Bill Evans - Riverside 160 vbr
When this album was recorded in February of 1961, it had been more than year since the Portrait in Jazz was issued, the disc that won the critics over. By the time of this issue, Evans had released four albums in six years, a pace unheard of during that time. Most musicians were issuing two, three, and even four records a year during the same era. Many speculate on Evans’’ personal problems at the time, but the truth of the matter lies in the recordings themselves, and Explorations proves that the artist was worth waiting for no matter what else was going on out there. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most. For one thing, Evans resurrects a number of tunes that had been considered hopelessly played out, and literally reinvents them — “How Deep Is the Ocean” and “Sweet and Lovely.” His harmonic richness that extends the melodic and color palette of these numbers literally revived them from obscurity and brought them back into the canon. He also introduced “Haunted Heart” into the jazz repertoire, with a wonderfully impressionistic melodic structure, offered space, and depth by the understatement of Motian and extension by LaFaro’‘s canny use of interval. Also noteworthy is Miles Davis’’ “Nardis,” which Evans first played on a Cannonball Adderley set a couple of years before. The rhythmic workout by the Motian and LaFaro places Evans’’ own playing in a new context, with shorter lines, chopping up the meter, and a series of arpeggios that open the ground for revelatory solo in counterpoint by LaFaro. Explorations is an extraordinary example of the reach and breadth of this trio at its peak.
>Allmusic<
1. Israel
2. Haunted Heart
3. Beautiful Love (Take 2)
4. Beautiful Love (Take 1)
5. Elsa
6. Nardis
7. How Deep Is The Ocean
8. I Wish I Knew
9. Sweet & Lovely
10. The Boy Next Door
10. WEST SIDE STORY* - Oscar Peterson - Verve 160k
The Oscar Peterson Trio (comprised of pianist Peterson, bassist Ray Brown and drummer Ed Thigpen) do a fine job of interpreting six melodies from West Side Story in addition to a closing reprise of the themes. Originally recorded for Verve, this well-recorded reissue is brief on time (31 minutes) and not all that essential but it swings nicely and is quite enjoyable.
>allmusic<
31. SUNDAY AT THE VILLAGE VANGUARD* - Bill Evans - Riverside 160 k
Sunday at the Village Vanguard (and Waltz for Debby, its companion album) is one of the most important piano trio albums in history and a desert-island choice among many musicians. It marks the final appearance of bassist Scott LaFaro with Evans and drummer Paul Motian. LaFaro demonstrated a concept of jazz bass playing here that shattered traditional limits to how interactive and contrapuntal a bassline could be without totally abandoning its supportive function. He also soloed with unparalleled imagination and technical facility. The album also showed how Evans had refined an approach to solo improvisation in which the pulse was not as obvious as it had been in swing and bop approaches. And his extraordinarily high standards required that each improvised melodic idea be extensively developed, resulting in more continuity and pacing than was common to any previous modern style. The influence of what LaFaro and Evans laid out here was still being felt in the 1990s. >Allmusic<
1. Gloria’‘s Step (Take 2)
2. Gloria’‘s Step (Take 3)
3. My Man’‘s Gone Now
4. Solar
5. Alice In Wonderland (Take 2)
6. Alice In Wonderland (Take 1)
7. All Of You (Take 2)
8. All Of You (Take 3)
9. Jade Visions (Take 2)
10. Jade Visions (Take 1)
39. CANNONBALL ADDERLEY LIVE AT THE LIGHTHOUSE* - Riverside 192 k
The cool jazz that Miles Davis was forging around the same time gets more critical ink, but when a layman thinks about Jazz with a capital “J,” the music that comes to mind probably sounds a lot like this 1960 club date from the Cannonball Adderley Quintet. Throughout the set (which now includes a previously unreleased bonus track, the aptly titled “Our Delight”), the group shows off its chief assets: meaty rhythms and lively soloing with roots in both bebop and gospel. For the first time, it could also boast the presence of pianist-composer Victor Feldman. In addition to his tuneful-yet-conversational solos, Feldman contributes two of his own songs, the breezy “Azule Serape” (in his introduction, Adderley claims not to understand the title) and the antic “Exodus.” The band handles both delicate numbers (“We think this one is kind of cute,” Adderley says of “Blue Daniel”) and more propulsive material (the boss’’ own classic, “Sack O’’ Woe”) with equal parts vivacity and poise. Somethin’’ Else aside, the true brilliance of the Cannonball Adderley Quintet was best captured live in front of a small, appreciative audience. At the Lighthouse is an excellent document of soul-jazz at both its jazziest and most soulful. >allmusic<
1. Sack O’’ Woe
2. Big ‘‘P’’
3. Blue Daniel
4. Azule Serape
5. Exodus
6. What Is This Thing Called Love?
7. Our Delight
01. I Do It For Your love
02. Sno’’ Peas
03. This Is All I Ask
04. The Days Of Wine And Roses
05. Jesus’’ last Ballad
06. Tomato Kiss
07. The Other Side Of Midnight (Noelle’‘s Theme)
08. Blue And Green
09. Body & Soul
1. Blues Waltz
2. Valse Hot
3. I’‘ll Take Romance
4. Little Folks
5. Lover [Stereo Version]
6. Lover [Mono Version] - Max Roach
7. Most Beautiful Girl in the World
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At the time of its appearance, this album was considered somewhat revolutionary due to its all-waltz program. That’‘s certainly neither a positive nor a negative after all of the triple-meter jazz material that would follow—from “All Blues” to “Waltz for Debby” to “Someday My Prince Will Come.” What makes this essential listening is the masterful solo work, and not simply by Rollins.
Kenny Dorham doesn’‘t try to replace the late Clifford Brown. Instead, he makes each of his turns, as usual, an adventure in melodic and rhythmic surprises, deliberately getting himself into trouble and always finding a way out. The enigmatic pianist, Billy Wallace, who made this one auspicious appearance on record then disappeared into various urban lounge scenes, is another reason for purchase—one of the few bebop pianists who is truly ambidextrous. On the opening “Blues Waltz” his solo sounds like Monk playing counterpoint with himself; on his remaining solo spots his interdependent melodies and rapid, coordinated left hand-right hand octaves are reminiscent of a Phineas Newborn or Oscar Peterson. It’‘s the sort of playing that makes you wonder why so much of the work at this time was going to Kenny Drew and Sonny Clark, deserving as they were.
Besides the pop standards, Rollins’’ “Valse Hot” is a lovely composition, the 3/4 melodic equivalent of Clifford’‘s “Joy Spring.” He plays with fierce and ballsy, aria-like lyricism, though I would have loved to have heard at some time a tandem of Dorham and Rollins’’ predecessor, Harold Land.
Max has a couple of rather static solo spots, but there’‘s little doubt that this is the best post-Clifford, Roach-led session on record.
1. OFF THE TOP
2. ENDLESS LOVE
3. MIMOSA
4. I’‘LL DRINK TO THAT
5. THEME FROM M.A.S.H. (Suicide is Painless)
6. AIN’‘T MISBEHAVIN’’
7. JIMMY SMITH RAP
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The Cuban cigar is described by many aficionados as being the best of its class, the penultimate. Well, analogously, this disc is clearly at the top, albeit, “Off the Top”. Further, the band’‘s tempo, range, and tenacity clearly smoke! Smith stretches out on several cuts and reminds me of a revival while the band rhythmically sets the stage. The group’‘s timing is impeccable and clearly demonstrative of the legendary-like status each deserves. This disc, for whatever reason, unfortunately, was not marketed well, so a large audience of the musicians’’ respective fans are unaware of this gem! Perhaps the spontaneity of the session contributed to that, I’‘m not sure. It was a very, very rare occasion where each musician happened to be in town from either traveling to Kool Jazz Festivals or other gigs. However, I’‘m not a proponent of chance, so, I believe, very much so, there’‘s a reason these stellar musicians just “happened” to be available at the same time, and only for one day if I recall correctly! Can you imagine that? If you want first-class, top-notch form from each musician individually and collectively, you must have this piece. As well, the reality of it is, this is an historic jazz event to get these all-stars together. Time to go… I have to go get “Off the Top” from my top shelf!
“Horace-Scope” is another classic recording from arguably the greatest edition of the Horace Silver Quintet. This edition of the pianist’‘s group features Blue Mitchell on trumpet, Junior Cook on tenor sax, Gene Taylor on bass and Roy Brooks on drums, and they certainly made some amazing recordings, from 1959’‘s “Finger Poppin’’” to 1964’‘s classic “Song For My Father,” where they appeared on half of the album. “Horace-Scope” was cut on July 8, 1960 and contains six stellar Silver songs, including the brilliant “Strollin’’” and “Nica’‘s Dream” (which first appeared on Blue Mitchell’‘s “Blue Soul” ), and Don Newey’‘s “Without You.”
Horace Silver (piano)
Junior Cook (tenor saxophone)
Blue Mitchell (trumpet)
Gene Taylor (bass)
Roy Brooks (drums)
1 - Strollin’‘
2 - Where You At?
3 - Without You
4 - Horace-Scope
5 - Yeah!
6 - Me And My Baby
7. - Nica’‘s Dream
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on July 8, 1960
01 Birdland
02 A Remark You Made
03 Teen Town
04 Harlequin
05 Rumba Mama
06 Palladium
07 The Juggler
08 Havona
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Weather Report’‘s biggest-selling album is that ideal thing, a popular and artistic success—and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, “Birdland.” Indeed, “Birdland” is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band.
The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious “Teen Town” (where he also plays drums!). By now, Zawinul has become WR’‘s de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before.
Wayne Shorter’‘s saxophones are now reticent, if always eloquent, beams of light in Zawinul’‘s general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom.
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When these nine sides were cut in February 1955, trumpeter Clifford Brown was not even 25 years old, but he’‘d already emerged as jazz’‘s greatest trumpeter this side of Miles Davis. Whereas Davis made his mark through conception, composition, and cool tones, Brown was a blowing, blaring, blistering fire who navigated chord changes without a second’‘s pause. This record will give listeners plenty of chance to marvel at his fleet improvisations and sharp tone, which remarkably never lost its fullness at any speed. The m.o. of the quintet was pretty well set at this point: reinvigorated standards augmented by crafty introductions and taken at full bore; sprite originals with complex melodies; and an urgency unmatched in jazz before or since. Pianist Richie Powell and tenor Harold Land admirably keep pace with the leaders.—Marc Greilsamer
1. Cherokee
2. Jacqui
3. Swingin’’
4. Lands End
5. George’‘s Dilemma
6. Sandu
7. Gerkin For Perkin
8. If I Love Again
9. Take The A Train
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.
Format: mp3/192kbps
01 Blue Bossa
02 La Mesha
03 Homestretch
04 Recorda Me
05 Jinrikisha
06 Out Of The Night
Diana Krall is an attractive lady with a good voice who plays decent piano, but this somewhat ridiculously packaged Verve CD seems like an obvious attempt to turn her into a pop icon, and sex symbol to boot. The bland arrangements by Claus Ogerman (who conducts the London Symphony Orchetra or the Los Angeles Session Orchestra on each track) border on easy listening, while Krall and her various supporting musicians, including John Pisano, Russell Malone, Christian McBride, and Peter Erskine (among others), clearly seem stifled by their respective roles. There are plenty of strong compositions here, including standards like “I Remember You,” “The Night We Called It a Day,” and “I Get Along Without You Very Well,” but the unimaginative and often syrupy charts take their toll on the performances. What is even sillier is the label’‘s insistence on attempting to photograph the artist in various sultry poses, which she evidently wants to discourage by refusing to provide much of a smile (the rumor is that she’‘s not happy with this part of the business at all). If you are looking for unchallenging background music, this will fit the bill, but jazz fans are advised to check out Krall’‘s earlier releases instead.
Diana Krall - 01 - S’‘Wonderful
Diana Krall - 02 - Love Letters
Diana Krall - 03 - I Remember You
Diana Krall - 04 - Cry Me A River
Diana Krall - 05 - Besame Mucho
Diana Krall - 06 - The Night We Called It A Day
Diana Krall - 07 - Dancing In The Dark
Diana Krall - 08 - I Get Along Without You Very Well
Diana Krall - 09 - The Look Of Love
Diana Krall - 10 - Maybe You’‘ll Be There
The self-imposed quarantine on solo concerts over, Keith Jarrett returned to the improvisatory format that he virtually invented, mellower and more devotional than ever. Indeed, within the 38 minutes of solo improvisation captured at Paris’‘s Salle Pleyel, Jarrett pulls further away from the old rousing (and thoroughly American) gospel, blues and folk roots of earlier concerts toward a more abstract concept. Opening with a soaring, lyrical canonic melody, he rambles through his familiar obsessive hammering, grand tremolos, and the like before topping it off with an ethereal tune that turns somber. There are two encores — Russ Freeman’‘s “The Wind,” awhich begins with a brief swatch of Steve Reich-like minimalism but swiftly turns reflective the rest of the way, and “Blues,” a welcome if brief return to one of the pianist’‘s root sources. Again, Jarrett’‘s virtuosic abilities are never in doubt, and he rarely flaunts his technique for its own sake, but one senses that the inspiration level is down; one doesn’‘t come out of the CD all charged up as with many earlier solo concerts. >Allmusic<
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Florida-born alto saxophonist Julian Cannonball Adderley distinguished himself as a member of Miles Davis’‘s groups (he’‘s the sultry alto on Kind of Blue) and with the hard-bop ensembles he co-led with his cornet-playing brother Nat. This recording, produced by Orrin Keepnews in 1963 for the Riverside label, features Adderley performing bossa nova-based compositions. Anchored by Brazilian composer and pianist Sergio Mendes’‘s band (with alto saxophonist Paulo Moura), Adderley’‘s singing sax lines float over the sunny Rio rhythms, owing more to Benny Carter than Charlie Parker. The renditions of Antonio Carlos Jobim’‘s standards “Corcovado” and “Once I Loved” and Joao Donato’‘s “Minha Saudades” are comparable to Stan Getz’‘s Legendary records from the same period, showing anew that jazz and South American music have learned much from each other.—Eugene Holley Jr.
From Rhythm Magazine
In 1962, a group of young Brazilian musicians, in New York for a one-night stand, made a pilgrimage to Birdland to catch jazz legend Julian “Cannonball” Adderley. They ended up in the studio with him, with results documented on this reissue. Adderley’‘s alto-sax musings on a sunny selection of Brazilian material float above the swaying rhythms of the sextet, whose leader, pianist Sergio Mendes, sounds like a disciple of Horace Silver here. Drummer Dom Um Romao provides understated underpinning, while guitarist Durval Ferreira (who contributes five compositions) injects a subtle samba flair. Highlights include Ferreira’‘s “Clouds,” Mendes’’ “Groovy Sambas” and Antonio Carlos Jobim’‘s “Corcovado” and “O Amor Em Paz.” The bossa explorations of Stan Getz may be better known, but Adderley’‘s swinging fusion of bebop, blues and gospel-one of the most soulful, spirited and distinctive sounds in modern jazz-lends an eternal freshness to the Brazilian sound.
Product Description
This 1962 project marked the American recording debut of Brazilian masters Sergio Mendes and Dom Um Romao in a program of great jazz-inflected sambas by Antonio Carlos Jobim, Joao Donato and others. Includes two alternate takes.
1. Clouds
2. Minha Saudades
3. Corcovado
4. Batida Diferentes
5. Joyce’‘s Sambas
6. Groovy Sambas
7. O Amor Em Paz (Once I Loved)
8. Samops
9. Corcovado (Alternate Take)
10. Clouds (Single Version)
