RAHSAAN ROLAND KIRK — Aces Back To Back (1998) 4CD BOX-SET | APE (image+.cue), lossless

Whether or not the four individual albums packaged with in Aces Back to Back are among Rahsaan Roland Kirk's finest is of no consequence. The fact that they have been assembled in a package that offers the listener a sense of Kirk's development and continuity is the issue here. And in this way, Aces Back to Back is a supreme collection. The four albums included -- Left & Right, Rahsaan Rahsaan, Prepare Thyself to Deal With a Miracle, and Other Folks Music -- date from 1969 to 1976 and chart dimensional growth of Kirk's completely original music. There's the outsider wizardry of Left & Right that melds the innovations of John Coltrane and Scott Joplin across an entire range of highly experimental yet wonderfully human music. Guests included Roy Haynes, Alice Coltrane, Julius Watkins, and many others in a band that ranged from a quartet to a full orchestra. Then there are the nine musicians who appear on Rahsaan Rahsaan, among them avant violinist Leroy Jenkins. Here, from the margins comes Kirk's preaching and poetry and also yielded the classics "The Seeker" and "Baby Let Me Shake Your Tree." The fact that they open and close the album, respectively, reveals not only Kirk's diversity, but also his commitment to a universal black music. Prepare Thyself to Deal With a Miracle is Kirk's meditation on orchestral music juxtaposed against folk and R&B forms. Form the opening "Salvation and Reminiscing," where the string section carries a monadic theme into microtonal territory, Kirk uses the "ugliness" to achieve great beauty which is fully realized when he combines a revved-up version of "Balm in Gilead" with a section of Ralph Vaughn Williams' Pastoral Symphony on "Seasons." Finally, with the issue of Others Folks Music, Kirk contributes only one composition, a beautiful meditation entitled "Water for Robeson and Williams." The rest is made up of the music of Charlie Parker ("Donna Lee"), Kirk's then pianist Hilton Ruiz ("Arrival"), Frank Foster ("Simone"), and others. This is a loose, roughneck record where Kirk uses the harmonics of others to transform his own into something that would make the music itself larger than any of its individual parts. In all for the price tag, this is a solid buy, revealing the most misunderstood innovator in the history of jazz.
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All Tracks & Credits :

ROY HAYNES — The Roy Haynes Trio ft. Danilo Perez & John Patitucci (2000) FLAC (image+.cue), lossless

Roy Haynes has had a long career, and the generically titled The Roy Haynes Trio featuring Danilo Perez and John Patitucci is a long CD, approaching 70 minutes, that attempts to recap that career in the form of new performances and, to a surprising extent, succeeds. The drummer had just turned 74 when this album was released, and had been recording since the 1940s. He took the opportunity of this collection with a new trio, which contained both studio and live recordings, to look back over that period by choosing tunes associated with many of the musicians he had worked with over the years. His tenure in Bud Powell's Modernists septet was recalled in the opening number, Powell's "Wail," which also served the purpose of establishing right off the bat that Haynes was still drumming with his usual power and aggressiveness. Then, Pat Metheny's Spanish-tinged "Question and Answer" harked back only to the late '80s and early '90s and his work with the guitarist. And so it went: Haynes' five-year tenure behind Sarah Vaughan was referenced on "Shulie a Bop," one of her scat numbers, while Miles Davis' "Sippin' at the Bells" and Thelonious Monk's "Bright Mississippi" and "Green Chimneys" reminded listeners of his periods with each. All of this made for a varied collection, but the trio format allowed plenty of room for the individual musicians to play extensively and put their marks on the disparate material. In fact, the effect was to suggest that the history of jazz since World War II, which has been perceived as a series of conflicting trends, actually coheres well. At least, it does when Roy Haynes is behind the drums. William Ruhlmann  
Tracklist :
1     Wail 3:19
Bud Powell
2     Questions and Answers 7:08
Pat Metheny
3     Shulie a Bop 3:34
George Treadwell / Sarah Vaughan
4     Dear Old Stockholm 6:05
Traditional   
5     It's Easy to Remember 6:40
Lorenz Hart / Richard Rodgers
6     Folk Song 5:33
Chick Corea
7     Sippin' at Bells 7:07
Miles Davis
8     Bright Mississippi 9:39
Thelonious Monk
9     Prelude to a Kiss 7:58
Duke Ellington / Irving Gordon / Irving Mills
10     Green Chimneys 12:27
Thelonious Monk
Credits :
Arranged By – Danilo Perez (faixas: 1, 3, 6, 8), Roy Haynes (faixas: 10), The Roy Haynes Trio (faixas: 2, 4, 5)
Bass – John Patitucci
Drums – Roy Haynes
Piano – Danilo Perez

LARRY CORYELL — Barefoot Boy (1971-2000) WV (image+.cue), lossless

Produced by Bob Thiele and recorded at Electric Lady studios with engineer Eddie Kramer, Barefoot Boy is one of Larry Coryell's finest recordings as a leader. "Gypsy Queen" was recorded prior to bassist Mervin Bronson's arrival at the studio, and features the percussion section locking into a groove over which Coryell lays down a riff and Steve Marcus cuts loose with a fiery soprano sax solo. When it's his turn to solo on this opening number, Coryell turns up the heat, sounding like a cross between Jimi Hendrix and Sonny Sharrock. (Coryell played with Sharrock on Herbie Mann's Memphis Underground.) "The Great Escape" finds Coryell cooking over a bass and percussion groove, with Marcus on tenor sax. "Call to the Higher Consciousness" is a side-long 20-minute jam in which all the players take a ride, with Marcus once again cooking on the soprano sax. Roy Haynes is superb throughout, working in tandem with the percussionists to keep the music moving. This recording is a noteworthy example of the possibilities inherent in the early days of fusion, blending the electrifying energy of rock with the improvisational excitement of jazz.  Jim Newsom
Tracklist :
1    Gypsy Queen 11:50
Congas – Lawrence Killian
Drums – Roy Haynes
Guitar – Larry Coryell
Percussion – Harry Wilkinson
Soprano Saxophone – Steve Marcus
Written-By – Gabor Szabo
2    The Great Escape 8:39
Bass – Mervin Bronson
Congas – Lawrence Killian
Drums – Roy Haynes
Guitar – Larry Coryell
Percussion – Harry Wilkinson
Soprano Saxophone – Steve Marcus
Written-By – Coryell
3    Call To The Higher Consciousness 20:00
Bass – Mervin Bronson
Congas – Lawrence Killian
Drums – Roy Haynes
Guitar – Larry Coryell
Percussion – Harry Wilkinson
Piano – Mike Mandel
Tenor Saxophone – Steve Marcus
Written-By – Coryell

OLIVER NELSON — Takin' Care of Business (1960-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Oliver Nelson would gain his greatest fame later in his short life as an arranger/composer, but this superior session puts the emphasis on his distinctive tenor and alto playing. In a slightly unusual group (with vibraphonist Lem Winchester, organist Johnny "Hammond" Smith, bassist George Tucker, and drummer Roy Haynes), Nelson improvises a variety of well-constructed but spontaneous solos; his unaccompanied spots on "All the Way" and his hard-charging playing on the medium-tempo blues "Groove" are two of the many highpoints. Nelson remains a vastly underrated saxophonist and all six performances (four of them his originals) are excellent. Scott Yanow
Tracklist & Credits :

OLIVER NELSON SEXTET ft. ERIC DOLPHY | RICHARD WILLIAMS — Screamin' the Blues (1960) Two Version | 1991, RM | Original Jazz Classics – OJCCD-080-2 + 2018, SACD | The Prestige Stereo Series | FLAC (tracks+.image+.cue), lossless

Oliver Nelson (on tenor and alto sax) meets Eric Dolphy (alto, bass clarinet and flute) on this frequently exciting sextet session with trumpeter Richard Williams, pianist Richard Wyands, bassist George Duvivier, and drummer Roy Haynes. Although Dolphy is too unique and skilled to be overshadowed in a setting such as this, Nelson holds his own. He contributed five of the six compositions (including "Screamin' the Blues," "The Meetin'," and "Alto-Itis") and effectively matches wits and creative ideas with Dolphy. Scott Yanow
Tracklist :
1 Screamin' the Blues 10:59
Oliver Nelson
2 March on, March On 4:59
Esmond Edwards
3 The Drive 5:48
Oliver Nelson
4 The Meetin' 6:43
Oliver Nelson
5 Three Seconds 6:25
Oliver Nelson
6 Alto-Itis 4:58
Oliver Nelson
Credits:
Alto Saxophone, Bass Clarinet – Eric Dolphy
Bass – George Duvivier
Drums – Roy Haynes
Piano – Richard Wyands
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone, Alto Saxophone – Oliver Nelson
Trumpet – Richard Williams

OLIVER NELSON WITH LEM WINCHESTER — Nocturne (1960-1991) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

This relaxed set (originally on the Prestige subsidiary Moodsville) puts the emphasis on ballads and slower material. Nelson (switching between alto and tenor) is joined by vibraphonist Lem Winchester, pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes for four standards and three of his originals (including the swinging "Bob's Blues"). Everyone plays well but the intentional lack of mood variation keeps this release from being all that essential. Scott Yanow   Tracklist & Credits :

OLIVER NELSON | KING CURTIS | JIMMY FORREST — Soul Battle (1962) RM | Serie Original Jazz Classics, 20 Bit Remastered | FLAC (tracks+.cue), lossless

This intriguing session matches three powerful tenor players: Oliver Nelson, King Curtis (in a rare jazz outing), and Jimmy Forrest. With fine backup work by pianist Gene Casey, bassist George Duvivier, and drummer Roy Haynes, the tenors battle to a draw on a set of blues and basic material (including a fine version of "Perdido"). Easily recommended to fans of big-toned tenors and straight-ahead swinging. Scott Yanow   Tracklist & Credits :  

OLIVER NELSON WITH ERIC DOLPHY — Straight Ahead (1961-1989) FLAC (tracks+.cue), lossless

A very interesting quintet set, Straight Ahead matches together Oliver Nelson (on alto and tenor) and Eric Dolphy (tripling on alto, flute, and bass clarinet). With the assistance of pianist Richard Wyands, bassist George Duvivier, and drummer Roy Haynes, the two reedmen battle it out on six compositions (five of Nelson's originals plus Milt Jackson's "Ralph's New Blues." Although none of Nelson's tunes caught on, this is a pretty memorable date. It certainly took a lot of courage for Oliver Nelson to share the front line with the colorful Eric Dolphy, but his own strong musical personality holds its own on this straight-ahead date. Scott Yanow    Tracklist & Credits :

OLIVER NELSON — Black, Brown and Beautiful (1970-2017) RM | Serie Flying Dutchman 1000 Master Collection | FLAC (tracks+.cue), lossless

Black, Brown and Beautiful features several Oliver Nelson performances and much of Johnny Hodge's last album, Three Shades of Blue (arranged by Oliver Nelson). Only the Hodges material is of interest. But it is glorious music, with Nelson scoring several outstanding Ellington themes and, unfortunately, some silly Leon Thomas material for Hodges' well-known and ever-emotional alto. Hodges' last recording. Douglas Payne   Tracklist & Credits :

ANDREW HILL — Black Fire (1964) Two Version | 1994, The BN Works 4100 Series + 2004, RM | BONUS TRACK | RVG Edition | FLAC (image+tracks.cue), lossless

Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise, along with the nimble, unpredictable rhythm section, help make Black Fire a modern jazz classic. Stephen Thomas Erlewine
Tracklist :
1 Pumpkin 5:24
Andrew Hill  
2 Subterfuge 8:04
Andrew Hill  
3 Black Fire 6:56
Andrew Hill  
4 Cantarnos 5:42
Andrew Hill  
5 Tired Trade 5:51
Andrew Hill  
6 McNeil Island 2:58
Andrew Hill  
7 Land of Nod 5:48
Andrew Hill  
– BONUS TRACKS –
8 Pumpkin 5:17
(Alternate Take)
9 Black Fire 5:47
(Alternate Take)
Credits :
Bass – Richard Davis
Drums – Roy Haynes
Piano – Andrew Hill
Tenor Saxophone – Joe Henderson

DOROTHY ASHBY — In a Minor Groove (1995) RM | FLAC (tracks+.cue), lossless

While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden's bands, Adele Girard performing with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashby adeptly plucked and strummed the harp like nobody else, as evidenced on a single reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 -- Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen. Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby's sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine "Moonlight in Vermont," the dramatic, slow "Yesterdays," or the sad "Alone Together." In a more Baroque or chamber setting, "Charmain" and "It's a Minor Thing" have Wess and Ashby thinking on a regal or Grecian platform. The variety on this collection is impressive, as you hear cinematic bluesy proclamations on "Autumn in Rome," striking mystery in "Taboo," mischievous and sly winks during "Rascallity," and a sexy calypso-to-swing beat as "You'd Be So Nice to Come Home To" unfolds. Two originals of Ashby's stand out -- the well swung, blues based yet exotic "Pawky" with the singularly unique flute of Wess, and the delicate but decisive "Jollity" that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky "Bohemia After Dark" and "Dancing in the Dark," where Ashby's harp acts like a rhythm guitar. In fact, it is this aspect of Ashby's performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages. Michael G. Nastos
Notes
Remastered compilation of two LP's "Hip Harp" (Tracks 1-7) (Dorothy Ashby With Frank Wess - Hip Harp) & "In A Minor Groove" (Dorothy Ashby And Frank Wess - In A Minor Groove) (Tracks 8-15) released in 1992.
Track 5 listed here as "Charmain", but listed on most other releases as "Charmaine", including on the original "Hip Harp" release (Dorothy Ashby With Frank Wess - Hip Harp) that this release comes from.
Tracklist & Credits  

CLIFFORD JORDAN — Clifford Jordan In The World (1972-2006) RM | FLAC (tracks+.cue), lossless

Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath, and trumpeter Don Cherry. Jordan's pensive "Vienna" is given an extended workout, with Cherry's somewhat abstract playing fitting in rather well. The second piece, Jordan's "Doug's Prelude," is also a bit brooding, showcasing the leader, Priester, and Kelly. Ken Dryden
Tracklist :
1 Vienna 17:10
Clifford Jordan
2 Doug's Prelude 4:47
Clifford Jordan
3 Ouagoudougou 11:00
Clifford Jordan
4 872 7:14
Clifford Jordan
Credits :
Bass – Richard Davis, Wilbur Ware
Drums – Al Heath (tracks: 1, 2), Ed Blackwell (tracks: 3, 4), Roy Haynes (tracks: 3, 4)
Piano – Wynton Kelly
Tenor Saxophone – Clifford Jordan
Trombone – Julian Preister
Trumpet – Don Cherry (tracks: 1, 2), Kenny Dorham (tracks: 3, 4)

GARY BURTON — Times Square (1978) FLAC (tracks+.cue), lossless

After a decade of leading quartets that matched his vibes with a variety of top young guitarists, Gary Burton decided that it was time for a change. While he is joined by a pair of longtime associates (bassist Steve Swallow and drummer Roy Haynes), the fourth member of the group on this set is the young trumpeter Tiger Okoshi. Since Burton has never been a major composer, there are five Swallow originals, two from Keith Jarrett, and Jim Hall's "Careful." Okoshi's presence adds more fire to this session than was typical of most of Burton's previous records. A fine outing. Scott Yanow
Tracklist  :
1 Semblence 4:00
 Keith Jarrett
2 Coral 5:47
 Keith Jarrett
3 Careful   4:42
 Jim Hall
4 Peau Douce 4:55
 Steve Swallow
5 Midnight 4:20
 Steve Swallow
6 Radio 4:41
 Steve Swallow
7 True Or False 2:20
 Roy Haynes, Steve Swallow
8 Como En Vietnam 6:43
 Steve Swallow
Credits
Bass – Steve Swallow
Drums – Roy Haynes
Producer – Manfred Eicher
Trumpet – Tiger Okoshi
Vibraphone [Vibes] – Gary Burton

OLIVER NELSON — The Blues and the Abstract Truth (1961-2010) RM | SACD, Hybrid | FLAC (tracks+.cue), lossless

As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. A must buy for all jazz fans, and a Top Ten or Top Fifty favorite for many. Michael G. Nastos  
Tracklist :
1 Stolen Moments 8:47
Oliver Nelson 
2 Hoe-Down 4:44
Oliver Nelson 
3 Cascades 5:32
Oliver Nelson 
4 Yearnin' 6:24
Oliver Nelson 
5 Butch and Butch 4:37
Oliver Nelson 
6 Teenie's Blues 6:34
Oliver Nelson 
Credits :
Alto Saxophone, Flute – Eric Dolphy
Alto Saxophone, Tenor Saxophone, Written-By – Oliver Nelson
Baritone Saxophone – George Barrow
Bass – Paul Chambers
Drums – Roy Haynes
Piano – Bill Evans
Producer – Creed Taylor
Trumpet – Freddie Hubbard

STAN GETZ – 1946-1949 | The Classics Chronological Series – 1126 (2000) FLAC (image+.cue), lossless

These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax. The same rhythm section backs trumpeter Norman Faye and a tenor sax quartet of Getz, Zoot Sims, Allen Eager, and Al Epstein. Garnished with a bit of primitive vibrato, this record has a strange but not unpleasant quality. The Stan Getz Tenor All Stars put down four sides for the New Jazz label in April 1949, lining up Al Cohn, Allen Eager, Brew Moore, and Zoot Sims in a smooth bop experiment landing somewhere between Woody Herman's Herd and Coleman Hawkins' Keynote Sax Ensemble. Walter Bishop laid a lot of block chords while sax after sax took a shot at running the changes, and Getz even blew baritone on "Five Brothers." A Savoy session from just a few weeks later placed trombonist Earl Swope amid Getz, Cohn, and Sims, with Duke Jordan on piano. Both of these octets came across as cool and well-organized. The Stan Getz Quartet, with Al Haig, Gene Ramey, and Stan Levey, made five excellent sides for the Prestige and New Jazz labels on June 21, 1949. Their rendition of Victor Herbert's "Indian Summer" is superbly mellow. It is easy to draw a line directly from this whimsical record directly to the cool bossa novas that would make Stan Getz so famous years later, even among a record-buying public who never heard any of these marvelous early recordings by this suede-toned tenor man. arwulf arwulf     Tracklist + Credits :

STAN GETZ – 1950 | The Classics Chronological Series – 1172 (2001) FLAC (tracks), lossless

After a pair of taffy ballads sung in imitation Billy Eckstine baby talk by Junior Parker -- not the Memphis blues singer but a pseudonym for Arthur Daniels -- the 21 tracks that follow demonstrate exactly why Stan Getz went over so well with the listening public. His soft tone and gently inventive phraseology, a direct outgrowth of the Lester Young archetype, make each of these performances an ideal choice for relaxation. Getz regularly recorded with exceptional musicians. The rhythm sections of Al Haig, Tommy Potter, and Roy Haynes or Tony Aless, Percy Heath, and Don Lamond were perfectly suited to his softly searching essays in cool improvisation. On December 10, 1950, Horace Silver, Joe Calloway, and Walter Bolden kindled a hotter fire under the saxophonist, resulting in music of elevated intensity. At this point in his career, Getz sometimes engaged in bubbly noodling, which in its wilder moments sounds like a premonition of Lee Konitz as heard on his fabulous Motion sessions of 1961. This equation would also lead to Warne Marsh and Anthony Braxton, if you want to go there. As for material choices, the 1950 Getz repertoire is full of delightful surprises, from an almost calypso "The Lady in Red" to "Sweetie Pie," a cheerful number barbecued by Fats Waller & His Rhythm back in 1934. Anyone familiar with Waller's version will most likely thrill at hearing this brisk modern expansion of the old Tin Pan Alley come-on. Excellent music, good for the nerves and stimulating for the imagination. arwulf arwulf         Tracklist + Credits :

STAN GETZ – 1951 | The Classics Chronological Series – 1299 (2003) FLAC (tracks), lossless

1951 was a very busy year for Stan Getz. After leaving Woody Herman's band in 1949 and spending the greater part of a year on his own, he found his first great rhythm section at a club in Hartford and recorded with them, lived in Sweden for several months and recorded there, then formed a quintet with guitarist Jimmy Raney and recorded several sides (including a live date). The Classics label's wrap-up of a year in the life of jazz's most innovative tenor of the time finds him in great company, first at the March 1951 session spawned by a Hartford jam session where he found Horace Silver. Silver appears on the first four sides, contributing his sublime original "Split Kick" that Getz is able to weave a spell around. Barely three weeks later Getz was in Stockholm, recording eight sides -- which ranged from Porter's "Night and Day" to the traditional "Ack, Värmeland du Sköna" -- in two days with a tasteful all-star group featuring a light-fingered young pianist named Bengt Hallberg. Back in New York by August of 1951, Getz worked with a quintet for the rest of the year, initially including both Silver and Raney. The group, with drummer Roy Haynes and bassist Leonard Gaskin, really cooked on "Melody Express" and "Yvette," a pair of Gigi Gryce songs. 1951 closes with four tracks recorded in October at a Boston club named Storyville, where Raney's nimble solos do much to keep Getz focused (and challenged). A note for the Getz completist: With the exception of the eight titles from Sweden (which appeared on a Metronome LP), all of these tracks also appear on Getz's The Complete Roost Recordings, though the Proper box set The Sound does the same work at a cheaper price. John Bush      Tracklist :

CHARLIE PARKER – 1950 | The Chronogical Classics – 1222 (2002) FLAC (tracks+.cue), lossless

Here in the 21st century, listeners are fortunate to be able to digest Charlie Parker's complete studio master takes in chronological order. Unlike most previous compilations, this series is not limited by original label licensing. The exact sequential evolution of Bird's turbulent career is neatly laid out regardless of the crossover from Dial to Savoy to Mercury and so forth. It just so happens that the fourth installment in the Classics Charlie Parker chronology documents a portion of a period in Bird's life when he was able (or chose) to stick with one record company. Stretching out in Norman Granz territory, this segment of history opens with three meaty selections recorded in March of 1950. Backed by Hank Jones, Ray Brown, and Buddy Rich, Bird blows an exquisite couple of ballads and a brisk modern expansion on the "Blues." This set a precedent for John Coltrane's later excursions (i.e., "Bessie's Blues"), similarly modern adventures that were nevertheless directly connected to the very taproots of the jazz tradition. Heard in direct succession, the opening tracks feel like a warm-up for a Bird and Diz reunion session recorded three months later with Thelonious Monk, Curly Russell, and Buddy Rich. For all of the excitement inherent in this rowdy bopped-out blowing session, the real gem is their comparatively relaxed and brilliantly executed rendering of "My Melancholy Baby." Tracks ten through 22 feature Charlie Parker with Strings, a lovely artistic experiment that allowed Bird to sail at will over some very pretty chamber ensemble accompaniment. Anyone who experiences a knee-jerk reaction to the string ensemble needs to cool off and simply focus on the saxophone and jazz rhythm section. This is not Muzak; the formula was never merely Bird with Squares. Over the course of two different "Strings" sessions, the real jazz players behind Bird were Bernie Leighton, Ray Brown, Buddy Rich, Al Haig, Tommy Potter, and Roy Haynes. arwulf arwulf          Tracklist + Credits :

CHARLIE PARKER – 1952-1954 | The Chronogical Classics – 1408 (2005) FLAC (tracks), lossless

Sadly, this is the sixth and last volume in the Classics Charlie Parker chronology. It assembles all of his studio recordings made between March 25, 1952 and December 10, 1954, only three months before his death at the age of 35. On the session that opens the compilation, producer Norman Granz placed Bird in front of a brassy big band, using punchy arrangements by Joe Lippman. The quartet session of December 30, 1952 resulted in four beautiful tracks that are greatly enhanced by the rhythm section of Hank Jones, Teddy Kotick and Max Roach. Bird's highly evolved musicality, coupled with the fact that he was beginning to come up with titles like "Cosmic Rays" might invite speculation as to where he would have been at had he lived through the late '50s and into the '60s. Jazz purists have been bitching about the Gil Evans-arranged "chamber jazz" session of May 22, 1953 ever since the records first came out on Granz's Clef label. But Charlie Parker sounded marvelous in any company. He transformed everything he came into contact with, even these stylized vocals by Dave Lambert & His Singers, a carefully collared mini-choir that included Lambert's future partner in crime Annie Ross. Having Charles Mingus and Max Roach in the band didn't hurt, either. Roach was also on hand for a superb quartet date on August 4, 1953 with Al Haig and Percy Heath. (For a good time, chase Bird's rendition of "I Remember You" with all five takes of the same piece recorded in 1961 by Lee Konitz. Finish with the version presented live at Yoshi's in 1994 by the Anthony Braxton Piano Quartet, rinse, and repeat.) Charlie Parker's final two studio recording sessions took place in the early spring and winter of 1954 with quintets featuring Walter Bishop, Jr. at the piano, and first Roy Haynes then Art Taylor behind the drums. The material was entirely derived from the Cole Porter songbook; Bird's studio swan song, "I Love Paris" has an ominous quality that haunts the listener long after the five-minute record has ended. arwulf arwulf      Tracklist + Credits :

LUIS RUSSELL AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1066 (1999) FLAC (image+.cue), lossless

As different as can be from the Luis Russell recordings of the 1920s and early '30s, most of this material is heavily larded with male vocalists who use up lots of oxygen emulating Billy Eckstine. This was a stylistic trend during the years immediately following World War II, as entire big bands were yoked into subservience behind the all-important Big-Named Singer. As this development made Frank Sinatra and Perry Como into household words -- and caused Nat Cole to practically abandon the piano -- it paved the way for a morbid emphasis on the pop vocalist as cash cow core of the music business. This is a malady from which the industry has yet to recover. None of the singers heard on these Manor and Apollo sides enjoyed popular success, and neither did Russell's short-lived modernized big band. The young musicians who diligently back the singers are able to assert themselves wonderfully on three smoking instrumental tracks, which are as exciting as the vocal selections are soporific. Most noteworthy is the presence of 20-year-old percussionist Roy Haynes, who lathers up the ensemble on "Boogie in the Basement," "1280 Jive," and a bopping "Luke the Spook." The band also sings in unison during a novelty bounce called "I've Got a Gal." On these sides the orchestra sounds something like the rowdy big band being led during this same time period by Roy Eldridge. Additional excitement is generated by pianist Howard Biggs, trombonist Charles Stovall, and a very interesting tenor player by the name of Esmond Samuels. Confronted with only three or four hot jams surrounded by 18 syrupy vocals, the listener is left wishing that Luis Russell's last big band had been given the chance to record at least a dozen more of those tasty upbeat numbers with the instrumental talent out in front. Instead, this chronological package is swamped by gooey vocals without even the quirkiness of an Al Hibbler to relieve the sentimental congestion. arwulf arwulf
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