A great change of pace for Billy Taylor – and one of the most striking sessions he made in the 50s! As you'll guess from the title, the record features Taylor's piano along with four flutes – played by Frank Wess, Herbie Mann, Jerome Richardson, and Phil Bodner – working here both in group formation, and in solo mode – fluttering nicely with a cool jazzy sound that really prefaces lots of use of the instrument in the 60s! Another added bonus on the record is added congas from Chano Pozo on most tracks, making for a groovy Latinesque bounce. Titles include "Blue Shutters", "One For The Woofer", "The Song Is Ended", "Back Home", "No Parking", and "Lady Be Good".
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
Features 24 bit remastering and comes with a mini-description. On One for Fun from 1960, Earl May is back on bass, this time with Kenny Denis on drums. The set has a more contemporary feel than the earlier tracks and features three Taylor originals, including the cool, yet cooking, "A Little Southside Soul." Among the standout tracks, the Rogers and Hart classic "Blue Moon" is transformed by Taylor and company into a vehicle for some of the CD's best solo and group work.
Features 24 bit remastering and comes with a mini-description. A great return to form for vocalist Earl Coleman – a singer who'd recorded earlier in the bop years, but who makes a rare 60s appearance here on a soulful set for Atlantic Records! Coleman's got a rich voice that's somewhere between Johnny Hartman and Billy Eckstine – with a great range that really goes deep when it wants, yet still has a fluid sensibility that's definitely jazz more than anything else. Billy Taylor's on the record on piano, and leads the combo on most numbers – but the set also features some nice arrangements from Frank Foster and Tom McIntosh, both of whom really keep things interesting. Titles include "Charade", "When Did You Leave Heaven", "I Wish I Knew", "Day In the Life Of a Fool", and "I Won't Tell A Soul".
Mick Taylor's self-titled debut album is rather different than one would imagine for an ex-Rolling Stone and former Bluesbreaker. As to whether this is due to the conformist sound of the lighter numbers ("Leather Jacket," "Baby I Want You," etc.) or the fact that his singing voice is so much more average than Jagger or Mayall's is debatable. In any case, Mick Taylor is an undeniably attractive and often surprising album. The highlight and thrust of the album is Taylor's astounding guitar playing. His fusion of blues and rock styles, and, of course, his slide guitar work, is constantly impressive. "Slow Blues," "Giddy-Up," and "Spanish/A Minor" feature some particularly gob-smacking guitar solos. Lyrically, Mick Taylor is a little lightweight, but at worst competent. Similarly, some of the music is at times cheesy, attempting to blend in with the sound of the time. Nevertheless, Mick Taylor's first attempt at a solo recording is a fine effort and one that improves with time.
The biggest change for the Duke Ellington Orchestra in the relatively brief period covered by this CD is that on "Little Posey," Jimmy Blanton became the band's new bassist, taking over for Billy Taylor. While Taylor was a fine supportive player, Blanton was the first great soloist on his instrument and an innovative player who was a decade ahead of his time. This CD in Classics' extensive Duke Ellington chronological series, as usual, has all of the master takes from both Ellington's big band and the small groups led by his sidemen (trumpeter Cootie Williams and altoist Johnny Hodges), but skips over the valuable alternate takes. Among the most memorable selections are the spirited "I'm Checkin' Out, Goo'm Bye," "Black Beauty," "The Sergeant Was Shy," two versions of "Grievin'," "Little Posey," and "Tootin' Through the Roof" (which has a brief trumpet battle by Cootie Williams and Rex Stewart).
Billy Eckstine was looking back more than forward by 1960, and his second record for Roulette featured two remakes of familiar hits he'd enjoyed almost 20 years earlier. He also covered two average themes from forgottable movies, the first being the title song (from a Yul Brynner vehicle), the second being "Secret Love" (from a Doris Day film). It may read like a desultory date, and indeed it would have been if not for the presence of a solid jazz band and the surprisingly sympathetic arrangements of big-brass auteur Billy May.