Reissue with 24-bit digital remastering. Comes with a mini-description. Sweet electric grooving from David Newman – a great little album cut with Roy Ayers on vibes and Pat Rebillot on electric piano – both of whom bring a very different feel to the set than Newman's work of the 60s! The style is warm and tight, but never too smooth – as there's these sharp edges and a slightly sinister undercurrent that you don't really find in some of David's other records of the period. Rhythm is by Ron Carter on bass and Andrew Smith or Roy Brooks on drums – plus added percussion from Armen Halburian, who kicks in a slight Latin essence on some numbers – which adds to the hipness of the grooves. Titles include nice versions of Roy Ayers' tracks "Foxy Brown" and "Sweet Tears", plus the cuts "Brandy", "Song For The New Man", "Baby Rae", and "Let Me Know".
Features 24 bit remastering and comes with a mini-description. Pianist Jay McShann has spent much of his career being classified as a blues pianist when in fact he is a flexible swing stylist. On this excellent release, McShann appears with two groups of all-stars. His original "Crazy Legs and Friday Strut" and "Georgia on My Mind" find him joined by Herbie Mann (on flute and tenor), baritonist Gerry Mulligan and a rhythm section that includes guitarist John Scofield. The other selections (two standards, Duke Ellington's "Blue Feeling" and McShann's own "Jumpin' the Blues") are performed by an octet also featuring Mann, altoist Earle Warren, trumpeter Doc Cheatham, trombonist Dicky Wells and Scofield. The unusual grouping of swing, bop and modern stylists is successful (the material is pretty basic) and Janis Siegel's guest appearance for a vocal duet with McShann on "Ain't Misbehavin'" works.
Features 24 bit remastering and comes with a mini-description. Although drummer Shelly Manne was closely associated with the Contemporary label for many years, he also recorded for other companies after Contemporary slowed down operations. This particular Koch CD reissues a set that was cut for Atlantic. The 1966 version of Shelly Manne's Men (altoist Frank Strozier, trumpeter Conte Candoli, pianist Russ Freeman, and bassist Monty Budwig) played in a similar style to his 1950s groups. Only Strozier hints (and only slightly in spots) at the avant-garde explorations then going on elsewhere. The quintet performs three group originals, an obscurity, "The Breeze and I," and "Margie" (which was arranged by Jimmy Rowles). Fine hard bop music.
Features 24 bit remastering and comes with a mini-description. Although Joe first came to big fame in the US as a funky vamper and soloist behind Cannonball Adderley's big group of the 60s, this early album as a leader has a much more mature sound than Joe's funky work with Cannon – and it rightly earns the "third stream" tag in the title through the use of an enlarged ensemble that includes cello and viola, in addition to the core group of soulful players like Jimmy Owens, Richard Davis, and Freddie Waits. William Fischer's also on the record on tenor, and many of the tracks are his own compositions, with that kind of weird off-kilter, slightly serious approach he used on other Atlantic/Vortex sessions at the time. The mix of soul and serious scoring is actually a pretty darn compelling blend – as you'll hear on tracks like "Lord, Lord, Lord", "Soul Of A Village", and "The 5th Canto".
Features 24 bit remastering and comes with a mini-description. Few musicians have gotten as much continued recognition from one sideman appearance as Curson has from his participation on the stupendous Mingus Presents Mingus record. Even as the weak link in that superhuman quartet, he played some great jazz. His post-Mingus career was on a more mortal level, but the recordings he made in groups featuring tenorman Bill Barron are well worth checking out.
Features 24 bit remastering and comes with a mini-description. A beautiful fusion of Joe Zawinul's roots in the groups of Miles Davis and Cannonball Adderley – a set with some of the far-reaching jazz ideas of the former, and much of the soulful subtleties of the latter! The album features Joe on electric piano throughout, playing alongside Herbie Hancock in a twin-piano style that's quite spacious, and filled with slow-building, long-flowing lines! Other players include Woody Shaw on trumpet, Earl Turbington on soprano sax, George Davis on flute, Miroslav Vitous and Walter Booker on drums, and Joe Chambers, Billy Hart, and David Lee on a range of percussion.
Features 24 bit remastering and comes with a mini-description. The late, great Joe Zawinul is most fondly remembered for Weather Report and for his later leadership of one of the best world-jazz fusion bands, the Zawinul Syndicate. Money in the Pocket, however, represents the Zawinul story earlier on, in 1965, after he had been playing in Cannonball Adderley's band for four years.
Features 24 bit remastering and comes with a mini-description. Trumpeter Conte Candoli and pianist Lou Levy had only occasional opportunities to work as leaders before this 1955 session they recorded together for Atlantic Records. Both made the most of the chance, fronting a quintet that also included tenor saxophonist Bill Holman, bassist Leroy Vinnegar, and drummer Lawrence Marable. The group got out of the gate quickly (following a contemplative piano intro, that is) on a quickstep bop reading of the Sigmund Romberg operetta tune "Lover Come Back to Me," which quickly established that a commonplace of jazz ensembles would hold – no matter whose name is in large print on the cover, it's the group that's performing, and other people will get their chance to shine, too.
This LP features altoist Sonny Stitt accompanied by a nonet playing arrangements by either Tadd Dameron or Jimmy Mundy. The charts give this Stitt album more variety than usual, and the superior material (which includes "On a Misty Night," "Poinciana" and Stitt's "Hey Pam") challenges the saxophonist to play at his best; trumpeter Blue Mitchell also has a couple of spots.
More material from the famous Last Concert record from the MJQ – not really the last concert ever from the Modern Jazz Quartet – but a set that seemed so at the time, given that the group went their separate ways for a number of years! The record's got the combo in really top form – very much back to the basics of their early time on Atlantic Records, with a sublime focus on that unique sound that no other group like this could match.