Not that this artist isn't pretty cool; far from it. Credited either as Bob Hardaway or Robert Hardaway, he spent much of the 20th century at the top of the studio musician scene in Los Angeles, playing a bewildering array of woodwind instruments — even bass clarinet, English horn, and alto flute — on a tall stack of records that stylistically give the impression of having been snatched at random out of a burning used record store, the Partridge Family, Dinah Washington, Bonnie Raitt, and his efforts with the Eddie Shu/Bob Hardaway Jazz Practitioners among them.
This album was recorded for Bethlehem in Cincinnati on November 26, 1962 and March 5, 1963. Milt is backed by Gene Redd on vibraphone, Bill Willis on bass and Phillip Paul on drums. The music positively cooks!…
Really wonderful work from pianist Bobby Scott – a perfect showcase not just for his young talents as a composer and arranger, but also for a host of key solo performers as well! This full album brings together two previous 10" LP sessions – both of them brilliant, and graced by some of the most modern talents Bethlehem Records had to offer – which makes for extremely fresh sounds from Scott's wonderful music – jazz that's at a level that's really hard to peg – neither west coast cool, nor east coast arranged – but a really special space of its own!
Features the latest remastering. Includes a Japanese description, lyrics, and bonus track(s). Features original cover artwork. One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks.
Reissue with the latest remastering. Features original cover artwork. A set of folk songs, but handled in a way that isn't folksy at all – thanks to the lyrical genius of Spanish pianist Tete Montoliu! The music here has sources in older tunes from Catalonia – as you'd guess from the title – but Tete's handling of the material is all jazz, all the way through – with a rich amount of solo introspection that really moves the tunes past their simple melodies, in ways that are even more expansive than some of the Scandinavian 60s experiments with folk and jazz! The album's also perhaps one of Montoliu's best-remembered of the 70s – a date that circulated strongly, thanks to Tete's incomparable solo performance throughout – very expressive, but never overdone.
They're not lying with the title of this great little set — as Don Elliott blows his unique horn with a very mellow tone ! The instrument is kind of a bigger version of a flugelhorn — and is used by Don in a laidback combo that also features trombone from Billy Byers, trumpet from Howie Reich, and baritone sax from Danny Bank — all deep sounds that set up a bank of color for Elliott to work with in his most vivid way. Other players include Hal McKusick on alto and flute — but working without as much of the sharper, cutting tones of other 50s albums — and rhythm is from Barry Galbraith on guitar, Milt Hinton on bass, and Mel Zelnick on drums.
This fascinating date features pianist Ahmad Jamal at the beginning of his recording career. With guitarist Ray Crawford and either Eddie Calhoun or Israel Crosby on bass, Jamal showcases a style that would be a major influence on Miles Davis' music. Jamal's use of space and dynamics was very different than the style of any other jazz pianist of the era. His versions of "Old Devil Moon," "Will You Still Be Mine?," "The Surrey with the Fringe on Top," and "A Gal in Calico" inspired Miles to record the songs in a similar fashion, and his "Billy Boy" became the basis of a performance by the Red Garland Trio. Most fascinating is Jamal's inventive interpretation of "Pavanne," for it has a section very reminiscent of "So What" (which was not "composed" by Davis until over two years later) and a melody statement that is exactly the same as John Coltrane's "Impressions."