“The Swede Magnus Granberg has rapidly become a key member of the Another Timbre family, this being his fifth album on the label in under four years, with four of those being his own compositions. Those familiar with Granberg's past AT releases will be delighted to hear that How Deep is the Ocean, How High is the Sky? follows the familiar pattern of the others. As before, it employs material derived from another song—in this instance, Irving Berlin's "How Deep is the Ocean"—but there are few, if any, traces of the original in evidence. Instead, the piece establishes a pleasantly melancholy mood that typifies Granberg compositions.
This collection contains 349 songs recorded at 91 separate recording sessions between October 11, 1942 and March 23, 1961. Two-thirds of the selection on this 18-disc anthology have either been out out of print since the 1940s, or have never been released in any form. Cole's 1956 album, AFTER MIDNIGHT, is included here in its entirety, along with all of the trio's more familiar songs. Included in this set are 104 tracks previously unavailable on US LPs. Sixty-six of the tracks were previously unavailable anywhere. Fifty-six rare Capitol radio transcriptions appear commercially for the first time. Dozens of the tracks appear at the correct speed for the first time ever.
“This double disc reissue on Blue Note contains the three releases that alto saxophonist Sonny Criss did for Imperial: Jazz U.S.A., Go Man!, and Plays Cole Porter. These sessions were all recorded in 1956 at a time when Criss had honed his amazing bebop alto precision. These 34 performances contain only five of his originals and are surrounded by mainly standards. The bands consisted of solid lineups with Sonny Clark or Kenny Drew on piano; Barney Kessel on guitar; Leroy Vinnegar, Buddy Clark or Bill Woodson on bass; Larry Bunker on vibes; and Larance Marable or Chuck Thompson taking care of drumming duties. While Criss had a career that erratically spanned the '70s, these Imperial sessions (reissued in glorious mono) contained highly regarded performances of passionate blues, moving ballads, and energetic up- tempo pieces.” AMG
This limited-edition three-CD set will be hard to acquire but it is a gem. Tenor saxophonist Stan Getz and guitarist Jimmy Raney had very complementary cool-toned but hard-swinging styles. Their gig at Storyville in Boston resulted in some classic music that, along with five studio sessions, is included in this box. The supporting cast includes pianists Al Haig, Horace Silver, Duke Jordan, and Hall Overton; the music was originally recorded for Roost, Clef, Norgran, and Prestige. This essential set is filled with exciting performances from Stan Getz when he was first becoming a highly influential force in jazz.
This collection of Artie Shaw big band recordings comes from his brief association with the Musicraft label. Having assembled and broken up several earlier units, this edition, heard in recordings made between 1945 and 1946, is more of an arranger's band than one that features many soloists, other than the leader. During this period of Shaw's career, he was constantly changing the instrumentation of his band and making personnel substitutions. Fellow Musicraft artist Mel Tormé and his group the Mel-Tones are added on some tracks, though this was a studio relationship exclusively and they were not a part of Shaw's organization. The innovative blend of strings, voices and brass in the swinging arrangement of "What Is This Thing Called Love" is the highlight of the vocal selections, along with an updated instrumental version of the clarinetist's earlier hit, "Begin the Beguine." The only reservation about this compilation is that several tracks are abruptly faded or even truncated.