Improvvisare su ogni tipo di repertorio. Liberarsi dalla gabbia degli accordi per arrivare alla forma libera, alla melodia pura. È la nuova sfida di Danilo Rea, che qui si confronta con i grandi compositori classici: "L'improvvisazione nasce in Europa, loro ne erano maestri. Il jazz ha riscoperto questa attitudine, smarrita da chi oggi interpreta rigidamente le loro partiture". Rea ha scelto il piano solo, per avere massima libertà interpretativa, ma in alcuni brani spicca la voce di sua figlia Oona. "Canta tre brani originali e poi The Man I Love di Gershwin, trait d'union tra la classica e il jazz, nonché doverosa dedica al suo papà". Romantico.
Among the dozens of sessions Django Reinhardt cut with various groups from 1934 to 1953, he would only rarely make trio recordings. This set compiles all of this existing instrumental trios, including a variety of different formations. As a bonus, a rare session by singer Nitta Rette backed by a trio of Django, Stéphane Grappelli and pianist Emil Stern (with plenty of solos by the three instrumentalists), as well as a series of quartet sides which feature Django as a prominent soloist.
Violinists Stéphane Grappelli and Stuff Smith performed together on a few occasions, but this 1965 studio session, first issued by Barclay, was one of the more difficult dates to acquire until Universal Music reissued it on CD in 2002, as a part of their extensive Jazz in Paris series. With a solid rhythm section (pianist René Urtreger, bassist Michel Gaudry, and drummer Michel Delaporte) that pretty much sticks to a supporting role, it is clear that Smith's gritty tone rubs off on Grappelli as the session progresses.
For his third Criss Cross release, guitarist Peter Bernstein leads an all-star organ combo that also includes tenor saxophonist Eric Alexander, trombonist Steve Davis, organist Larry Goldings, and drummer Billy Drummond. Some of the music that the quintet performs is typical for this type of hard bop/soul-jazz group, including a hot minor-toned blues, "Means and Ends," and Percy Mayfield's blues ballad "Danger Zone." However, a few of the other selections (particularly Bernstein's four originals) are more complex and serve as evidence that the music was being performed in 1996, not 1966. The musicians all play up to their capabilities and Goldings shows that he was one of the most inventive organists of the decade.