Reissue features the latest digital remastering and the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. Possibly the strongest album ever recorded by mellow-voiced jazz vocalist Earl Coleman – a singer with a deeper style that's very much in the classic Billy Eckstine mode, but which swings a bit more freely in a small combo! The set's got a nicely open style – with longer tracks than usual for a jazz vocal date, and lots of room for jazz soloists that include Art Farmer on trumpet, Gigi Gryce on alto, and Hank Jones on piano.
The very complementary tenors Al Cohn and Zoot Sims (whose similar styles often made them sound almost identical) teamed up many times through the years; this reissue brings back their first joint recording. Joined by either Dave McKenna or Hank Jones on piano, bassist Milt Hinton, drummer Osie Johnson, and (on some selections) the forgotten trumpeter Dick Sherman, Al and Zoot avoid obvious material ("Somebody Loves Me" and "East of the Sun" are the only standards) in favor of swinging "modern" originals by Cohn, Sherman, Osie Johnson, Ralph Burns, Manny Albam, Ernie Wilkins, and Milty Gold. Zoot contributed "Tenor for Two Please, Jack," his answer to the song "Dinner for One Please, James." [Some releases add four alternate takes to the original 12-song program, giving one a good example of the occasional Cohn-Sims musical partnership.]
Today we take high fidelity sound quality for granted, but how did it start? When was the moment when compressed and scratchy sound gave way to natural, realistic sound that captured the whole picture of a performance?
Decca Sound ‘Mono Years’ seeks to answer that question and shows how, 70 years ago, amidst war-time privations, a small team at Decca made technological breakthroughs that brought hi-fi to the world. This latest cube explores Decca’s earliest high-fidelity history, and restores some restores critically acclaimed albums from ensembles such as the Trio di Trieste, Quintetto Chigiano and Griller Quartet which have not been available since their original LP release more than sixty years ago. An equally impressive array of soloists includes pianists Clifford Curzon, Julius Katchen, Friedrich Gulda and Moura Lypmany and violinists Ruggiero Ricci and Alfredo Campoli. Several generations of cellists are represented with recordings by Pierre Fournier, Maurice Gendron and Zara Nelsova.
Kenny Clarke was a jazz drummer and an early innovator of the BeBop style of drumming. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after hours jams that led to the birth of modern jazz. He is credited with creating the modern role of the ride cymbal as the primary timekeeper. Before, drummers kept time on the snare drum ("digging coal", Clarke called it) with heavy support from the bass drum. With Clarke time was played on the cymbal and the bass and snare were used more for punctuation. For this, "every drummer" Ed Thigpen said, "owes him a debt of gratitude." Clarke was nicknamed "Klook" or "Klook-mop" for the style he innovated.
This magnificent 12-CD set contains all of Bill Evans' Riverside recordings as a leader, an extremely important period in the influential pianist's development. The first session predates Evans' period with the Miles Davis Sextet and other significant sessions include his sets with bassist Scott LaFaro and drummer Paul Motian (highlighted by the marathon Village Vanguard session of June 25, 1961), Evans' return nearly a year after LaFaro's death in a car accident with a new trio (consisting of Motian and bassist Chuck Israels), a sideman set with altoist Cannonball Adderley, the Interplay sessions with either trumpeter Freddie Hubbard or tenor saxophonist Zoot Sims, an extensive and rather somber solo set, and a 1963 appearance at Shelly's Manne Hole with bassist Israels and drummer Larry Bunker.