Wednesday, September 29, 2010

Rob McConnell & The Boss Brass - Our 25th Year (1993)

 Although it was usually a part-time venture (working maybe 30 days a year, counting an annual recording), Rob McConnell's Boss Brass was one of the finest big bands of the '70s, '80s, and '90s. An excellent soloist, McConnell played valve trombone in Toronto (both in the studios and in jazz settings) for a long time. During 1965-1969, he was in Nimmons 'n' Nine Plus Six (led by Phil Nimmons) and in 1968 formed Boss Brass. Originally, the group was comprised entirely of brass instruments, plus a rhythm section, and emphasized pop music. Although it added a saxophone section in 1971, Boss Brass did not record much jazz until 1976. Comprised of many of Toronto's top musicians (including Sam Noto, Guido Basso, Ian McDougall, Moe Koffman, Eugene Amaro, Rick Wilkins, Ed Bickert, Don Thompson, and Terry Clarke, among others), the orchestra mostly plays McConnell's swinging but surprising charts. For a period in the late '80s, McConnell moved to Los Angeles and the group broke up, but by 1991, it was back together again. Rob McConnell, who also cut a few small-group dates for Concord, recorded with his Boss Brass for Pausa, MPS, Dark Orchid, Innovation, and Concord. He died of cancer in Toronto on May 1, 2010.

The music on this Concord CD has more than its share of surprises, such as a bar of 3/4 put in one chorus of "4 B.C.," phrases "borrowed" from Bob Florence and inserted in "Riffs I Have Known," and an inventive version of "Flying Home." Among the other high points are trumpeter Guido Basso's feature on "Imagination," Eugene Amaro's tenor on "What Am I Here For," and a driving "Broadway." This solid effort is recommended to big band fans. - Scott Yanow

Rob McConnell (valve trombone)
Arnie Chycoski, Steve McDade, John MacLeod, Guido Basso, Dave Woods (trumpet)
Alastair Kay, Bob Livingston, Jerry Johnson, Ernie Pattison (trombone)
Gary Pattison, James MacDonald (f horn)
Moe Koffman, John Johnson, Eugene Amaro, Rick Wilkins, Bob Leonard (reeds)
Don Thompson (piano)
Ed Bickert (guitar)
Steve Wallace (bass)
Terry Clarke (drums)
Brian Leonard (percussion)
  1. 4 B.C.
  2. Imagination
  3. What Am I Here For
  4. Just Tell Me Yes or No
  5. Riffs I Have Known
  6. T.O. 2
  7. Nightfall
  8. Broadway
  9. My Bells
  10. Flying Home
Recorded in Toronto, March 29-30, 1993

Ryan Kisor Quintet - Live at Smalls


Ryan Kisor Quintet - Live at Smalls

The last of my series from this great artist. I hope you enjoyed them all, and likewise will take notice of this small label CD, and support them. Just go to Amazon and search 'Live at Smalls' to see their offerings. Or go to the label's website . A nice-looking Peter Bernstein available, maybe someone will share it!

Tuesday, September 28, 2010

Pete Rugolo - 1961 Thriller + 1959 Richard Diamond




This a list of some of the players: Donald Fagerquist, Red Callender, Dick Nash, Frank Rosolino, Bud Shank, Bob Cooper, Ronny Lang, Jimmy Rowles, Joe Mondragon, Alvin Stoller, Larry Bunker, Pete Candoli, Stu Williamson, Milt Bernhart, Paul Horn, Buddy Collette, Al Viola, Shelly Manne ........



THRILLER was the most challenging of Pete Rugolo's television undertakings. Those who watched the program on many occasions can attest to the significance of the part played by his colorful and resourceful scoring.


Thriller
01 Theme From "Thriller" 1:33
02 The Hungry Glass 4:14
03 Woodoo Man 2:55
04 The Guilty Men 3:06
05 Girl With A Secret 2:24
06 The Purple Room 2:40
07 Twisted Image 1:47
08 Rose's Last Summer 2:42
09 Worse Than Murder 2:04
10 Child's Play 2:13
11 Finger Of Fear 3:31
12 The Man In The Middle 2:55

Recorded at United Recorders Studios, Hollywood, 1961




Starting out as a radio series with Dick Powell in the title role, the RICHARD DIAMOND television show revived the character with David Janssen as the lead. Early episodes were based in New York but in 1959 the scene was moved to the sunnier California and Sicilian-born Pete Rugolo’s outstanding jazz score was added, going on to rival the success of Mancini’s "Peter Gunn" theme.


Richard Diamond
13 Richard Diamond Theme 1:46
14 Diamond On The Move 2:35
15 Fancy Meeting Karen (Love Theme From Richard Diamond) 3:27
16 I'm Always Chasing Butterflies 2:16
17 Who's Sam? 2:31
18 All Star 2:37
19 The Teaser 1:32
20 Ye Olde Curiosity Shape 3:27
21 Teen Age Rock 2:09
22 The Sleeve Job 2:12
23 Does Mama Know You're Out? 2:10
24 Richard Diamond's Blues 2:50


Recorded at United Recorders Studios, Hollywood, 1959

Monday, September 27, 2010

Rene Thomas Quintet - Guitar Groove


Rene Thomas Quintet - Guitar Groove
with J.R. Monterose

Charlie Christian and Django Reinhardt are, without doubt, the two greatest names in the history of jazz guitar. The melodic richness of the Belgian gypsy and the revolutionary single-string style of the Oklahoma Negro may appear to have been miles apart, but it so often happens that strikingly dissimilar influences can be utilized to good effect by the same musician — particularly if he is strong enough not to be buried under the influences, but can instead fuse them together with his own talents and originality to produce his own music.
Such would seem to be the case with the remarkable guitarist who makes his American record debut here. A Belgian himself, RENE THOMAS was given early encouragement by Django. They became close friends, and Rene sought at first to play exactly like Reinhardt. But after his initial exposure to American jazz (through members of the band with which he played at Army special services shows in 1945), Thomas soon developed the deep affection for the music of Christian that is evident in the story told on the front cover of this album. Actually, his indoctrination into the Christian 'school' came mainly through American guitarists Jimmy Raney and Jimmy Gourley, whom he met while working in Paris between 1949 and 1951.
In Paris he played mostly with tenorman Bobby Jaspar — who was actually the first to tell us about Rene, when the guitarist first came to this country a couple of years ago and began a string of sitting-in that left such top stars as Miles Davis, Sonny Rollins and Zoot Sims confirmed Rene Thomas fans. He worked briefly with Rollins, then located in Montreal, where he has built a considerable local following.
During 1960 he worked frequently with J R MONTEROSE, an association that has grown steadily closer. Excited by the way in which they fit together, these two have begun to develop such unique concepts as the free-flowing two-way improvisation of the album's opening track, Spontaneous Effort. Monte-rose is a young veteran of the New York scene: born, like Rene, in 1927, he has been with such as Charlie Mingus, Teddy Charles and Kenny Dorham. Judging from this LP, he seems to thrive on the musical relationship with Thomas, his aggressive tenor style melding most intriguingly with the patterns of the fleet guitarist.
Thomas calls Monterose "my musical director," and three of the seven tunes here are JR'S (the opener; M.T.C.; and the loping blues called Green Street Scene in honor of the section of Albany, N.Y., where the tenor has most recently been working). In addition, there are two modern jazz classics: a rich treatment of the Thelonious Monk ballad, Ruby, My Dear, and a driving version of Miles Davis' Milestones. On the two standards, Thomas takes over the full spotlight, swinging with just the rhythm section on Like Someone in Love, and working with only bass and drums on a deeply melodic approach to How Long Has This Been Going On that is clearly a tribute to the importance of Django in Rene's life.
—Orrin Keepnews
Notes reproduced from the original album liner.

Jon Easton - Don Messina - Bill Chattin




01 - What Is This Thing Called Love
02 - Out of Nowhere
03 - Foolin' Myself
04 - It's You or No One
05 - Embraceable You
06 - You'd Be So Nice To Come Home To
07 - All of Me
08 - Sweet Georgia Brown
09 - Dreams


Cadence Jazz Records 1175


Pianist Jon Easton is a former student of Lennie Tristano and Sal Mosca, and keeps within the stylistic parameters set out by his mentors. Yet this is such an underexplored and vital tradition in jazz that the results still sound fresh. Evan Parker once remarked at a solo concert that his improvisations were in a sense “all part of the same music”: there’s a similar sense in Easton’s music of dipping into a deeper well, or resuming an ongoing conversation, as he revisits perennial Tristano-school touchstones like “You’d Be So Nice to Come Home To,” “Foolin’ Myself” and “Out of Nowhere” – tunes he’s surely played hundreds of times. This is a music where it is hardly metaphorical to refer to the improvisation as containing “lines.” When Easton goes off on a tangent it is literally that: a straight line extrapolated from the curves of the basic chord changes, pursued to the point where it completely overshoots the tune’s structure and the accompaniment. At other points (“What Is This Thing Called Love” and “All of Me”) he spins out lines in the bass that weave so closely through the changes – like a tailor’s needle darting in and out – that it’s as if they’re a celebration of the tune, or perhaps of the sheer exhilirating fact of improvisation. Sometimes – surely unconsciously? – the music reveals unexpected affinities to an entirely different jazz tradition: the emphatic, spartan, virtually themeless lines of Easton’s improvisations at times verge on Andrew Hill territory, while Messina’s superbly volatile bass solos recall Scott LaFaro or even Richard Davis (a good example being his spot on “Dreams”). And what is the Tristanoite determination to let phrases find their own shape and continuation, in despite of the surrounding harmony and metre, if not a species of harmolodics?

It looks like this is something of a banner year for Tristanophiles: Sal Mosca has after long absence from the scene due to illness just released Thing-Ah-Majig (Zinnia), a trio album also with the Messina/Chattin rhythm section. I found that a profoundly moving disc, saturated in Mosca’s sense of mortality and his memories of all the music he’s played and listened to over the years. Easton’s disc inevitably doesn’t have such resonance or originality, but it’s a lovely example of the continuing virtues of this school of piano – if you’re looking for an antidote to the shopworn variations on bebop, Bill Evans and Herbie Hancock that pass for mainstream jazz piano nowadays, it’s an excellent place to start. (Bagatellen)

Formations - Larry Bluth , Don Messina, Bill Chattin


01. A Rhyme
02. There Will Never Be Another You
03. She's Funny That Way
04. I Never Knew
05. All of Me
06. Moonlight In Vermont
07. Formations
08. Shoals
09. Everything Happens To Me
10. For Sal
11. On Time

Larry Bluth - Piano
Don Messina - Bass
Bill Chattin - Drums


 Zinnia Records 114.

Selections 1, 2, 4, 6, 7, 9, 11: 10/96 at Sette Moma, Museum of Modern Art, New York City
Selections 3, 5, 10 : 4/97 in concert fo The Friends of Music, Bloomfield, New Jersey
Selection 8 : 2/98, Pleasantville, New York

Producer: Dan Fiore
Recording: Don Messina
Technical Consultant: James Farber
Mastering: Chris Bertolotti, Inter Audio, New York City
Design: Francine Chattin
Cover Art: Jan Lipes, Recollections: Raven Rock, Jan Lipes, 28x22, Oil on Canvas, 1997

- liner notes:

THIS RECORDING, our third for Zinnia, is similar to our first CD, Live At Orfeo, being that most of the music was recorded in a club setting, capturing two nights of performances. Live At Orfeo's two nights, however, were separated by months. Seven of the eleven selections on this CD were recorded within two days at Sette Moma, a club in New York's Museum of Modern Art.
Three of the remaining four tunes, (She's Funny That Way, All of Me, and For Sal) were recorded in a intimate concert hall with exquisite acoustics, a wonderful piano, and an enthusiastic audience. In actuality, it felt more like a jazz club than an austere concert environment. The fourth tune, Shoals, our most recent recording, was taken from a warm-up before a concert.

Regarding the original tunes: A Rhyme and On Time are Larry Bluth compositions that borrow the harmonies of What Is this Time Called Love and The Best Thing For You Is Me, respectively.

Formations was created spontaneously by the trio using All the Things You Are as the framework. Don Messina's For Sal is similar to Out of Nowhere, while Bill Chattin's Shoals, outlines the chords of Indiana.

We are indebted to many for their efforts in the production of this CD. Once again we would like to express our gratitude to James Farber, Francine Chattin and Bill Hagen for giving so freely of their time and expertise. Many thanks to Dan Fiore for producing yet another CD. To Jan Lipes, whose life and art are an inspiration to us and whose painting graces our CD cover, we dedicate the music.

To Sal Mosca, we are eternally grateful.

-------------------

"This is one of the most interesting piano trio recordings to come down the pike in recent years."    Steven Loewy,  Jazz Times

 "Cohesion and elegant execution characterize the trio . . . They have, in a most eloguent way, captured the essence of jazz. . ." Chris Albertson, Stereo Review

 "Their dedication pays off handsomely on this intimate debut, a live set of heady music played from the heart.     This is music made for the love of it."
Ed Hazell, The Boston Phoenix

 "This is definitely Lennie Tristano country and these men do it right."
   Jerome Wilson,  Cadence

Cycle Logical - Jimmy Halperin, Don Messina, Bill Chattin





1. Everything Happens to Me
2. Ameoba/IotaGo
3. Cycle Logical
4. Subconscious-Lee
5. The Dean's List
6. M.F.M.
7. Sweet Georgia Brown/Sub-Atomic Dominants
8. 317 East 32nd Street


CADENCE RECORDS 1142
2002


"Jimmy Halperin has a head full of music, hands full of music, a heart full of music—his palette is cosmic.
—Sal Mosca “

This recording provides the best and most extensive example of the remarkable improvisational capacity of 
Halperin. It should be listened to by anyone that is seriously interested in the art of jazz improvisation. 
He is backed by a cohesive and telepathic rhythm section uniquely able to accompany soloists whose 
improvisations might turn other rhythm sections upside down.

Sunday, September 26, 2010

Les Spann - Gemini

Les Spann was a perfect example of a jazz artist who had an impressive list of sideman credentials but never got very far as a leader. Although he played with heavyweights like Quincy Jones, Dizzy Gillespie, Johnny Hodges, and Ben Webster, the guitarist/flutist didn't record on his own extensively -- which is regrettable because Spann was an intriguing musician. How many guitarists are equally proficient when it comes to playing the flute? Spann's two instruments get equal time on Gemini, an excellent hard bop date that was produced by the ubiquitous Orrin Keepnews. This album, which Fantasy reissued on CD on its Original Jazz Classics imprint in 2001, was recorded at two different sessions in December 1960. One finds Spann on flute, while the other finds him on guitar. Both sessions employ Julius Watkins on French horn, Tommy Flanagan on piano, and Sam Jones on upright bass, but there are two different drummers -- Al "Tootie" Heath at one session, Louis Hayes at the other. Spann gives 100 percent at both sessions. As a guitarist, he is bluesy and expressive on material that ranges from Quincy Jones' "Stockholm Sweetnin'" and Dizzy Gillespie's "Con Alma" to the standard "There Is No Greater Love." But he is equally impressive when he picks up the flute on tracks that include the melancholy "Afterthought" and a lyrical performance of the standard "It Might as Well Be Spring." One thing Spann doesn't do on this album is play both flute and guitar on the same tune; he is careful to keep them separate. And while it would have been interesting to hear him play a flute solo right after a guitar solo, Gemini is still excellent. It's too bad that Spann didn't do a lot more recording as a leader. ~ Alex Henderson


Les Spann (flute, guitar)
Julius Watkins (French horn)
Tommy Flanagan (piano)
Sam Jones (bass)
Albert "Tootie" Heath (drums)
Louis Hayes (drums)

1. Smile
2. Con Alma
3. Q's Dues Blues
4. It Might As Well Be Spring
5. Stockholm Sweetnin'
6. Blues For Gemini
7. Afterthought
8. (There Is) No Greater Love

Thursday, September 23, 2010

Martial Solal - Improvise pour France Musique


Currently unavailable, this double cd published in 1996 is a set of live recordings done between 1993 and 1994 for the French Radio and is probably not only the best solo album of Martial Solal, but one of the best piano solo albums of the last 20 years. An incredible virtuoso, Solal has an unlimited fantasy and an amazing mastery of the dazzling flow of his ideas. Like for Art Tatum, the live recording is the perfect environment to give free rein to his logic and unpredictable ideas. No showmanship here, but a digging inside the deep structure of music, improvisation, logic, humor and freedom.

Cd 1
  1. Just You, Just Me
  2. Don't Blame Me
  3. L'ami Remy est affare
  4. Ballade
  5. Cheek to Cheek
  6. Round About Midnight
  7. Ah, Non!
  8. Woodin' You
  9. Cuivre a la Mer
  10. Tout va tres bien Madame La Marquise
Cd 2
  1. Somebody Loves Me
  2. A Night in Tunisia
  3. Hommage Tex Avery
  4. Tea for Two
  5. Lover Man
  6. Cumparsita
  7. Darn that Dream
  8. Take the A Train
  9. I Can't Get Started
  10. Corcovado

Jim Gailloreto's Jazz String Quintet - American Complex

Chamber jazz or third stream—or whatever the amalgamation of western classical music and jazz is called—has had a handful of talented proponents sprinkled throughout the history of music. They have ranged from the more structured compositions of Igor Stravinsky to the looser improvisations of the Modern Jazz Quartet. Soprano saxophonist Jim Gailloreto has recently joined the ranks of these musicians.

On American Complex, Gailloreto is in the company of a traditional string quartet, a guitarist on one track, and Patricia Barber's piano and vocals on two.

The CD is made up of a long, four-movement piece and a shorter one—all by Gailloreto— as well as a few standards, including Thelonious Monk, and two compositions by Barber. Even though there is a strong improvisational component to the music the feel is very much that of Western classical with jazzy touches. This is true even with the Monk compositions. Comparing this string quintet with, for example, cellist Akua Dixon's Quartet Indigo sessions—very much blues-drenched jazz with classical accents—this set is the other way around. Barber's songs fit well within the overall structure of the record, but they bear the imprint of her unique sound and style.

The instrumental tracks are very interesting both in their intricate constructs and in the solo and group improvisations. The main soloist is Gailloreto, but on "'Round Midnight" he shares the spotlight with violinist Katherine Hughes, and on "Well You Needn't" with guitarist John McLean. This is not to say that the quartet is relegated to the background like 1940s and '50s popular jazz records, where the role of the strings was to smooth out the horn sounds and make improvised jazz palatable to a larger audience. Quite the contrary, the quartet's playing is as angular as Gailloreto—who is a master of his instrument. He is able to use repetitive ideas and concepts without making the record monotonous; in fact, he is able to infuse his themes with something new each time he improvises on them.

Even though this is not traditional jazz it is a very enjoyable and intellectually stimulating slice of improvised music from a master composer and saxophonist. - Hrayr Attarian (All About Jazz)

Jim Gailloreto (soprano sax)
Katherine Hughes (violin)
Carol Kalvonjian (violin)
Benton Wedge (viola)
Jill Kaeding (cello)
Patricia Barber (piano, vocals on 4,10)
John McLean (guitar on 2)
  1. All the Things You Are
  2. Well You Needn't
  3. Honeysuckle Rose
  4. Spring Song
  5. American Complex I - Soliloquy
  6. American Complex II - Lullaby
  7. American Complex III - Incantation
  8. American Complex IV - Sermon
  9. 'Round Midnight
  10. Wind Song
  11. Bad Clowns
Recorded March 11, 12, 2009

Wednesday, September 22, 2010

Buddy Collette - Man Of Many Parts


An important force in the Los Angeles jazz community, Buddy Collette (August 6, 1921 – September 19, 2010) was an early pioneer at playing jazz on the flute. Collette started on piano as a child and then gradually learned all of the woodwinds. He played with Les Hite in 1942; led a dance band while in the Navy during World War II; and then freelanced in the L.A. area with such bands as the Stars of Swing (1946), Edgar Hayes, Louis Jordan, Benny Carter, and Gerald Wilson (1949-1950). An early teacher of Charles Mingus, Collette became the first black musician to get a permanent spot in a West Coast studio band (1951-1955). He gained his greatest recognition as an important member of the Chico Hamilton Quintet (1955-1956), and he recorded several albums as a leader in the mid- to late '50s for Contemporary. Otherwise, he mostly stuck to the L.A. area, freelancing, working in the studios, playing in clubs, teaching, and inspiring younger musicians. Although a fine tenor player and a good clarinetist, Collette's most distinctive voice is on flute; he recorded an album with one of his former students, the great James Newton (1989). In addition, Collette participated in a reunion of the Chico Hamilton Quintet, and recorded a two-disc "talking record" for the Issues label in 1994, in which he discussed some of what he had seen and experienced through the years.

This CD reissue of a Contemporary session shows off the many parts of multi-reedist Buddy Collette. Collette is showcased on tenor, alto, clarinet, and his strongest ax, flute. He also contributed nine of the dozen selections. The cool jazz set (which sometimes uses advanced harmonies) also features among the sidemen trumpeter Gerald Wilson, guitarist Barney Kessel, and pianist Gerald Wiggins, ranking with Buddy Collette's best work of the 1950s. *Scott Yanow*

1 Cycle
2 Makin' Whoopee
3 Ruby
4 St. Andrews Place Blues
5 Cheryl Ann
6 Sunset Drive
7 Jazz City Blues
8 Slappy's Tune
9 Frenesi
10 Santa Monica
11 Jungle Pipe
12 Zan

Sunday, September 19, 2010

Monty Alexander - Impressions in Blue

From jazz-influenced classical pieces to world music rhythms and American popular song, pianist Monty Alexander seems to cover all his musical interests on Impressions in Blue. Backed by the talented rhythm section of bassist Hassan J.J. Wiggins Shakur and drummer Mark Taylor, Alexander tackles such epic compositions as Gershwin's "Rhapsody in Blue" and Rodrigo's "En Aranjuez Con Tu Amor." He also takes on Ellington's "Creole Love Call" and Mercer's "I'm an Old Cowhand" with much success. It is his original tunes, however, that hold the most revelation, with "Eleuthra," a breezy, Latin-style number influenced by the Bahamas, bringing to mind the iconic '60s sound of Michel Legrand. - Matt Collar
Monty Alexander (piano)
Hassan Shakur (bass)
Mark Taylor (drums)
John Pizzarelli (guitar on 8,9,10)

  1. Blue Rhapsody
  2. En Aranjuez Con Tu Amor
  3. Come Sunday/David Danced
  4. Creole Love Call
  5. Accompong
  6. Pointe-A-Pitre
  7. Eleuthra
  8. Jumpin' at Capitol
  9. It's Only a Paper Moon
  10. Body and Soul
  11. I'm an Old Cowhand
Recorded December 19-19, 2002

Friday, September 17, 2010

Jason Bodlovich - Blues for Dexter

Long Tall Dexter was synonymous with grace, verve and eloquence when he lifted his horn and, of course, he was also a survivor who managed to carry on and delight jazz lovers despite various setbacks throughout his career. It has been claimed that he created an authentic bebop style on the tenor, having learned from Lester Young, Illinois Jacquet and Charlie Parker along the way. And here that legacy is being kept alive by this drummer-led quintet. They have chosen tunes from different stages of his output, ranging from the 1940s with the oft-performed classic battle, 'The Duel', featuring Steve Wolfe's tenor and Jay Thomas on trumpet. These two dig into the chase and remind me of how exhilarating such trading of licks could be, especially when in this case the bass of Ray Brown is in pursuit. The spirit of some of those early recordings is definitely present here and it's welcome. Brown also makes his presence felt on Bodlovich's own homage, the only original on the album. Together with the drummer he struts through 'Blues For Dexter' with all the elan associated with a Gordon solo. And it's the bass man who propels the opening tune, 'The Panther', through its lithe and supple workout, supporting tenor and trumpet while still making his own irreducibly sturdy heart the center of the whole track. I've always been a sucker for the more tender, romantic bent that the tenorman often pursued so I'm grateful for their version of 'Guess I'll Hang My Tears Out To Dry'. Wolfe, to an extent, goes for the kind of tone Gordon captured in 1962 on the Blue Note recording 'Go!'. It's reflective but energized, nodding back towards those bebop roots whilst embracing the ballad form. 'Cheesecake' also appeared on that album and displays more bebop leanings with Thomas singing clear, shapely lines over the tireless precision of Brown and Bodlovich. Some way away from that is the measured cool of Donald Byrd's 'Tanya'. Wolfe, again, is masterful in building, from a fairly ordinary theme, a solo that is tough and tender, smooth and sinuous. Larry Fuller's piano on his solo is paired with some of Brown's fulsome bass tone, and the two are entirely suited. As a brief resume of some of Gordon's work it should be welcomed. It honestly captures some of the essence of the man and his music and it sounds as though these guys love him. I'm certain he would have approved. - Paul Donnelly

Jay Thomas (trumpet, flugelhorn, tenor sax)
Steve Wolfe (tenor sax)
Larry Fuller (piano)
Ray Brown (bass)
Jason Bodlovich (drums)
  1. The Panther
  2. Cheesecake
  3. I Was Doing All Right
  4. Blues for Dexter-Duet with Ray Brown
  5. Catalonian Nights
  6. The Duel
  7. Guess I'll Hang My Tears Out to Dry
  8. Tanya
  9. Blues Up and Down
  10. Blues for Dexter-Solo
Recorded August 2001

Dexter Gordon & Ben Webster - 1969-72 Tenor Titans




Although Dexter Gordon and Ben Webster both spent long period living in Europe, one does not usually associate the two classic tenor saxophonists with each other, since Webster was a swing stylist while Gordon emerged during the bop era. However, there was a lot of common ground between the two, and their careers overlapped on a few occasions. This 1997 CD has a couple of previously unreleased meetings between the two. Separately, Gordon is featured on his own basic tune "Sticky Wicket" with a quartet, and with an orchestra on "Do Nothing Till You Hear From Me." Webster takes "Our Love Is Here to Stay" from the same 1972 concert. But their collaborations actually are all from a 1969 set. They share a ballad medley and then jam on extended versions of "Perdido," "In a Mellotone" and "C Jam Blues." Although Gordon was meeting Webster on his own turf, Dexter has no difficulty and actually takes the longest solos. It is a rare joy hearing the two distinctive tenors playing together, making this an easily recommended disc.
Scott Yanow




You can sense the mutual respect between the saxophonists on this CD, and if these collaborations have an impromptu, casual air, they were never meant to be meticulously rehearsed, perfectionist offerings. They were made simply to be enjoyed and we should be grateful they survived as documents of a long friendship that became even more important during those expatriate years in Copenhagen. Ben never returned to the USA. By the time Dexter did move back in the autumn of 1976, his finest achievements were behind him. He seldom again played with the verve exhibited here.
www.storyvillerecords.com



01 Sticky Wicket (Gordon) 11:55
02 Do Nothing 'Till You Hear from Me (Ellington) 5:14
03 Love Is Here to Stay (Gershwin) 5:01
04 Medley: How Long Has This Been Going on/Sophisticated Lady (Gershwin/Ellington) 8:42
05 Perdido (Tizol) 15:15
06 In a Mellow Tone (Ellington) 10:51
07 C Jam Blues (Ellington) 9:32

Tracks 1-3 & 5 recorded on March 23, 1972
Tracks 4, 6 & 7 recorded on July/August, 1969


Track 1: Dexter Gordon & Thomas Clausen Trio
Dexter Gordon (Tenor Sax)
Thomas Clausen (Piano)
Bo Stief (Bass)
Alex Riel (Drums)


Track 2: Dexter Gordon With Radiojazzgruppen “Opportunity”
Dexter Gordon (Tenor Sax)
Palle Mikkelborg (Trumpet)
Erik Tschentscher (Trumpet)
Lars Togeby (Trumpet)
Niels Riskaer (Trumpet)
Peter Westh (Trombone)
Kjeld Ipsen (Trombone)
Michael Hove (Alto Sax)
Knud Bjørnø (Tenor Sax)
Jesper Nehammer (Tenor Sax)
Svend Båring (Baritone Sax)
Thomas Clausen (Piano)
Torben Munk (Guitar)
Bo Stief (Bass)
Kasper Winding (Percussion, Drums)
Alex Riel (Percussion, Drums)


Track 3: Ben Webster & Thomas Clausen Trio
Ben Webster (Tenor Sax)
Thomas Clausen (Piano)
Bo Stief (Bass)
Alex Riel (Drums)


Track 5: Dexter Gordon & Ben Webster With T. Clausen Quartet
Dexter Gordon (Tenor Sax)
Ben Webster (Tenor Sax)
Thomas Clausen (Piano)
Torben Munk (Guitar)
Bo Stief (Bass)
Alex Riel (Drums)


Tracks 4, 6 & 7: Dexter Gordon, Ben Webster With Kenny Drew Trio
Dexter Gordon (Tenor Sax)
Ben Webster (Tenor Sax)
Kenny Drew (Piano)
Niels-Henning Ørsted Pedersen (Bass)
Bjarne Rostvold (Drums)

Thursday, September 16, 2010

Dave Brubeck & Paul Desmond


This CD reissues two earlier Fantasy LPs titled Jazz at the Black Hawk and Jazz at Storyville. Pianist Dave Brubeck and altoist Paul Desmond are the two main constants while bassists Ron Crotty and Wyatt Ruther and drummers Lloyd Davis, Herb Barman and Joe Dodge are heard on some tracks. There are many high points to this interesting set including Brubeck-Desmond duets on "Over the Rainbow" and "You Go to My Head," an unaccompanied piano solo on "My Heart Stood Still" and quartet versions of "Jeepers Creepers," "Trolley Song" and "Crazy Chris".

Two greats interact here, in recordings from 1952-54, with stunning intuition. Brubeck, as always, makes a virtue of his limited fleet-fingeredness. He has no need to hurry in the company of Paul Desmond, an alto saxophonist akin to Getz--light and never imbalanced. His and Brubeck's musical rapport had been forged in Brubeck's earlier octet and would continue for many years in his sterling quartet. The program here emphasizes standards. There is light combo support on some tracks. For "On a Little Street in Singapore," Brubeck and Desmond take a thoughtful, fragile jaunt through foreign streets. In "Trolley Song," the trolley bell sounds in Desmond's ringing horn. On "My Heart Stood Still," the pianist is alone, hammering heartily in his folksy, front-parlor way. *Peter Monaghan*

01 - Jeepers Creepers
02 - On a Little Street in Singapore
03 - The Trolley Song (Rehearsal)
04 - The Trolley Song
05 - I May Be Wrong
06 - Blue Moon
07 - My Heart Stood Still
08 - Let's Fall in Love
09 - Over the Rainbow
10 - You Go to My Head
11 - Crazy Chris
12 - Give a Little Whistle / Oh, Lady Be Good
13 - Tea For Two
14 - This Can't Be Love

Wednesday, September 15, 2010

Fly - Sky & Country

Fly is a co-op trio of saxophonist Mark Turner, bassist Larry Grenadier, and drummer Jeff Ballard, who have played together off-and-on, individually with many other bands, and can easily be pegged in the vanguard of young and experienced post-to-neo-bop jazz stars of the 2000s. Turner carries the post-Michael Brecker tradition proudly in a more restrained mood, Grenadier is as solid a current day bassist as there is since working with Brad Mehldau, and Ballard's experience with Chick Corea or bassist Avishai Cohen, among many others, has seen him develop into a top five jazz drummer, in demand and via the scope of his playing. This is not a typical ECM recording, as it is more straight-ahead modern mainstream jazz, and not nearly the European classical esoteric or ethereal music the label is known for. There's real teamwork in executing this type of jazz that borrows from Blue Note label styles, John Coltrane, or Wayne Shorter, and moves the music forward without a serrated edge or overtly complex harmonic blowing. Each musician contributes a handful of compositions, with Ballard as the lead soldier in that department. "Lady B" is prototypical, rambling N.Y.C. Brecker Brothers/Steps Ahead 1980s neo-bop, his "Perla Morena" a Spanish tinged, spirited tune in 6/8 with the drummer's amazing, ever changing rhythmic patterns over Turner's even keeled tenor, and the title track is the most atmospheric ECM-like track, somewhat funky and dark via Turner's soprano sax. Clever stairstep phrases identify the even funkier "Elena Berenjena," a rocking hard bop with a contemporary side centers the spiky, modal "Dharma Days" á la Coltrane, "Anandananda" is a long free solo tenor to bass to jazz tango, and "Super Sister" moves forcefully and urgently with Grenadier's booming bass, strong but not brash jazz, all composed by Turner. "CJ" and "Transfigured" are penned by Grenadier, the former a very slow, reticent, but true to soul ballad, while the latter is free and languid, with Turner's soprano sax and bowed bass tones evoking a mood of trudging carriage and slowly evolving life. For a first go this is a very credible effort and hopefully not a one shot, from a band that is touring in support of the music, which hopefully can grow into the top drawer ensemble it can easily be. - Michael G. Nastos

Mark Turner (tenor, soprano sax)
Larry Grenadier (bass)
Jeff Ballard (drums)

  1. Lady B
  2. Sky & Country
  3. Elena Berenjena
  4. CJ
  5. Dharma Days
  6. Anandananda
  7. Perla Morena
  8. Transfigured
  9. Super Sister
Recorded February and June 2008
Avatar Studios, New York

Sunday, September 12, 2010

Dennis Gonzalez - The Great Bydgoszcz Concert

"In March of 2008, my sons and I got on board a northbound airliner that would take us first from Dallas to Minneapolis, then Amsterdam, and finally to our long-awaited destination, Warsaw. Zbigniew Szwajewski and I had worked on the possibility of our touring northeastern Poland for a few months, and it was about to happen. At the same time, in Lisbon, Portugal, saxophonist Rodrigo Amado was boarding a plane which would take him to Warsaw where he would meet us for our second tour together.

We've always had a great time playing with guest instrumentalists, but Rodrigo is more than a guest - he is like a brother to all three of us, and a fine improviser as well... stronger and stronger all the time, as you can hear in this recording. As for my sons Aaron and Stefan, I've been playing music with them for ten years now in Yells At Eels - in May of 2009 we celebrated our first decade together - and they are monsters on their instruments (as jazz musicians like to say), and a real joy to play with.

We were warmly met at Warsaw's Frederic Chopin International Airport by Jarek Polit, owner of the finest jazz and blues record store in Poland, Rubikon, and our translator/caretaker in Warsaw, Joana 'Asia' Chojnaska. From that moment on, the four of us were treated like royalty, every need met the second we mentioned it. The audiences were right with us from the first note, and they completely filled the venues where we played, cheering us on at every turn, and coming up to talk to us and congratulate us on our music. And although Zbig is a busy industrialist, he drove us everywhere, taking care of problems, checking us in and out of hotels, making sure we were awakened at the right time to make our daily treks to the different cities where our concerts were to be presented, feeding us the best food at the right time, and just generally preparing everything in advance so that we didn't have a care in the world, except for playing the best we could for our newfound (and in some cases, long-standing) fans. Our thanks to Zbig, Asia, Jarek, and our driver Jacek, as well as the presenters at the concert halls and clubs where we played in Warsaw, Poznan, Bydgoszcz (Mózg especially, where this was recorded), Gdynia, Olsztyn, and then again in Warsaw, where the legendary Tomasz Stanko was in attendance." ~ Dennis Gonzalez


Dennis Gonzalez (cornet, C-trumpet, voice)
Rodrigo Amado (tenor sax)
Aaron Gonzalez (acoustic bass)
Stefan Gonzalez (drums)

1. Crow Soul
2. Happy House
3. Joining Pleasure With Useful
4. Document For William Parker
5. Dialeto Da Desordem
6. Litania
7. Elegy For A Slaughtered Democracy
8. Oszkosz Bydgoszcz

Niels-Henning Ørsted Pedersen - Trio 2

As is common to this label, this session is one of a couple or three recorded during a single session or engagement; this being from the Club Montmartre in Copenhagen, which is, I believe, the capital of Canada. Ths outing is notable for three of the tunes being Pedersen's compositions, and the ones by Villa Lobos and Larry Coyell are probably introductions by the very fine Philip Catherine. No psychic abilities needed; Catherine was doing some nice work around this time with Coryell, including one of my favorite Mingus dates.


Niels-Henning Ørsted Pedersen (bass)
Philip Catherine (guitar)
Billy Hart (drums)



1. The Puzzle
2. Flower Dreams
3. Little Train
4. Dancing Girls
5. Larry's Tune

Bobby Watson - Gumbo


 At the time of this recording, Watson was still building his reputation, playing in a group co-led by bassist Curtis Lundy. This was an outstanding band bolstered by the booming baritone sax of Hamiett Bluiett and featuring a strong rhythm section with pianist Mulgrew Miller and drummer Marvin "Smitty" Smith alongside Lundy. Special guest trumpeter Melton Mustafa provided sparkling lines and fiery solos, interacting smoothly with Watson and Bluiett in a solid frontline. Watson has since recorded more impressively engineered and mastered dates, but few have been musically superior to this early-'80s session. Ron Wynn, All Music Guide




1 Unit Seven
2 Point the Finger
3 Luqman's Dream
4 From East to West
5 Gumbo Lundy
6 Wheel Within a Wheel
7 Premonition

Bobby Watson, as
Melton Mustafa, t
Hamiett Bluiett, bs
Mulgrew Miller, p
Curtis Lundy, b
Marvin "Smitty" Smith, d

Recorded in 1983.

Friday, September 10, 2010

Nathan Davis - 1976 If


Soul Jazz Records continues its occasional re-issuing of seriously collectable deep jazz records from the 1970s, on their subsidiary Universal Sound label, with this seminal release from saxophonist Nathan Davis. The CD comes in full slipcase with sleevenotes, interview and pics and the vinyl edition is limited to 1000 copies worldwide - so be quick!
The album ‘If’ was released on Nathan Davis’s tiny bespoke Tomorrow International record label in 1976 and only 1000 copies were ever pressed. Davis leads his super-funky group along the narrow path between jazz and funk that so many failed to navigate successfully in the second-half of the 1970s. It’s an album by an artist who is a musician’s musician. More importantly - it’s a killer!
Nathan Davis’s career has made him a connoisseur’s favourite and his records are all extremely collectable. In the 1960s Davis was drafted into the US army, and was based in Germany and France (working with everyone from Art Blakey to Donald Byrd and Ray Charles). Davis also worked as musical director of a TV and radio station, wrote film scores, studied anthropology at the Sorbonne and released a number of important records.
He returned to the US at the end of the 60s and continued to release a number of amazing jazz records – all of which have now been long out of print. His avoidance of the major record industry, working instead with various small independent labels with limited distribution has made all his releases very collectible. But have no doubt; Davis is one of the most important jazz artists of his time with a 50-year career span that continues to this day.
The early Tomorrow International releases, especially ‘If’ have become serious collector’s items, as indeed have most of Nathan Davis’s catalogue of recordings. Today, more people want these records than when they were first made and demand outstrips supply. Those who own Nathan Davis albums don’t sell them - and none more so than ‘If’.
www.soundsoftheuniverse.com


01. Stick Buddy 4:47
02. If 5:01
03. Bahia 4:34
04. African Boogie 6:26
05. Tragic Magic 5:19
06. A Thought for Cannon (Dedicated to Julian Cannonball Adderley) 6:14
07. New Orleans 3:22
08. Mr. Five By Five 5:24

Nathan Davis Saxophone [Alto, Tenor, Soprano], Clarinet, Flute
George Caldwell (2) Piano, Electric Piano
Abraham Laboriel Bass
Dave Palamar Drums
Willie Amoaku Percussion



Recorded at Jeree Studios, on June 1976
Originally released as Tomorrow International TMI 1001

Thursday, September 9, 2010

Henry Grimes Trio - Live At The Kereva Jazz Festival

In the liner notes to the new Henry Grimes Trio Live at the Kerava Jazz Festival CD on Ayler Records, William Parker likens Grimes to a Neles, a person in the world of shamans “born with intuitive powers that allow them to know the secrets of the universe, and whose lives become a series of inspired events”. Parker goes on to speak of the Neles’ power and knowledge being so infinite that only through faith in the infinite process can it be accepted. Anyone who has succumbed to the spiritual nature of improvised music knows the truth in what William Parker is saying, the feeling that the musicians are speaking together on a different and higher level and that only through faith can the listener truly experience the music being played.

The shaman analogy is also interesting when one considers the circumstances of Henry Grimes’ life and the scrutiny that was paid to it in recent years. Resurfacing after thirty years of virtual anonymity, Grimes was the subject of many articles on his early career and time away from music, and while these pieces were important for the exposure they lent to such a great talent, they tended toward the feeling that Henry Grimes was not in control of his life and needed to be saved. Let us not forget that another great bassist, Charles Mingus, had a similar if much shorter period of anonymous living in the sixties, during which he dealt with personal demons and waited for the world to catch up to his vision.

Everything about Henry Grimes’ career in the sixties points to a similar situation. After reaching artistic highs during which he could be as strong an accompanist to musicians as in or out as Sonny Rollins and Albert Ayler, where was there for him to go? Henry Grimes had his reasons for leaving and the musical world needed to catch up to him, needed to match his faith. His new live trio recording indicates that Henry Grimes didn’t go anywhere, as this set can stand up against his finest work and will fit into his series of inspired events.

David Murray, on tenor saxophone and bass clarinet, and Hamid Drake, on drums, each contribute a composition, and the leader frames it with a blues encore and a winding, expansive opener, “Spin”, that is a great vehicle for Murray’s huge tone and swirling solos. Grimes then bows a wonderfully expressive solo that merges seamlessly into pizzicato. Murray reenters and displays why comparisons to other players are fruitless, and why he will be the one mentioned in 20 and 30 years when someone is trying to describe a new talent. Hamid Drake lays it down throughout, pushing and prodding but never intruding. Where were the opportunities for such performances and recordings in the late sixties?

Hamid Drake’s “Eighty Degrees” opens with Murray on bass clarinet, accompanied by Grimes and sounding at times like a bass duo as Murray shows his mastery of this wonderful instrument and its variety of sounds. The drummer doesn’t chime in until almost four minutes have passed, and then the finest moments of the recording occur as each player hits his stride. Drake follows with a brilliantly multilayered solo that brings all three players back for a triumphant finish.

But not before Grimes plucks away with quiet help from Drake to punctuate the piece and move into Murray’s “Flowers For Albert”, and who better to pay tribute to on this night? Albert Ayler’s spirit lives on in the playing of these three masters and is anything more important to great improvisational music than spirit and energy? Perhaps faith in the process and in the players’ abilities. Well, have faith; Henry Grimes, David Murray, and Hamid Drake are here.


Henry Grimes (bass)
David Murray (tenor sax, bass clarinet)
Hamid Drake (drums)

1. Spin
2. Eighty Degrees
3. Flowers For Albert
4. Blues For Savanah

Friday, September 3, 2010

Cedar Walton - The Trio, Vol.2

From the Italian RED label.

Recorded live in Bologna, these represent a compelling mixture of originals, ...standards ... and challenging repertoire-pieces. Walton's brilliant phrasing and inbuilt harmonic awareness keep thematic material in view at all times, and his solos and accompaniments are always entirely logical and consistently developed. About Higgins there is very little more to add but that he has inherited and fully deserved the mantle of Elvin Jones..." ~ Penguin Guide

The second of three albums recorded by pianist Cedar Walton, bassist David Williams and drummer Billy Higgins during a single concert in Bologna, Italy is (like the other two) an excellent example of Walton's distinctive approach to hard bop. The trio stretches out on "Theme for Ernie," "For All We Know," Thelonious Monk's "Off Minor," Sonny Red's "Bluesville" and a couple of lesser-known Walton originals. ~ Scott Yanow


Cedar Walton (piano)
David Williams (bass)
Billy Higgins (drums)

1. Theme For Ernie
2. For All We Know
3. Ojos De Rojo
4. Off Minor
5. Bluesville
6. Jacob's Ladder

Thursday, September 2, 2010

Gilad Atzmon - In Loving Memory Of America

Dear Listener,
When I was seventeen, as I was preparing myself to join the Israeli army, the unexpected happened. On an especially cold Jerusalem night I heard Bird playing "April In Paris" on a radio program.
I was knocked down. It was by far more organic, poetic, sentimental and yet wilder than anything I had ever heard before. Bird was a fierce libidinal extravaganza of wit and energy. The morning after, I decided to skip school, I rushed to the one and only music shop in Jerusalem. I found the jazz section and bought every album they had on the shelves. It was that moment when I fell in love with jazz, it was that moment when I fell in love with America.
For many years I considered America as my promised land. As a young jazz musician I was pretty convinced that it was just a matter of time before I'd settle in NYC. My Mecca was Downtown Manhattan, my shrine was the Village Vanguard and my holy scriptures were the old Blue Note and Prestige vinyls. My priests were named Coltrane, Bird, Cannonball, Miles, Duke, Dizzy, Bill Evans and others.
I do realize that "things have changed". I do grasp that jazz is not exactly a form of resistance anymore, it is not even a revolutionary art form. America isn't my promised land either. As much as jazz has always been a call for freedom, America is not exactly a free place anymore.
This album is In Loving Memory Of America, in memory of the America I had cherished in my mind for many years. This album is a tribute to America's greatest heroes. The people who have been liberating themselves through beauty. It is about Bird and the real Swans who flew far higher above anyone else.
Enjoy Yourself
Gilad Atzmon

Various - Top Brass And Trumpets All Out (arranged and conducted by Ernie Wilkins)




'Top Brass' was a big album in 1956 -- 5 trumpeters (Ernie Royal, Idrees Sulieman, Joe Wilder, Ray Copeland, and Donald Byrd) blowing charts and soloing in various Ernie Wilkins settings backed by the Hank Jones, Wendell Marshall, Kenny Clarke rhythm team. Four of the first five tracks are swinging originals by Wilkins, and there's also an obscure Johnny Mandel blues, "Dot's What." The remaining music from the first session is a ballad medley where each trumpeter is featured in turn playing a personal favorite, all of which have become time-tested standards.
Coupled with the follow up LP 'Trumpets All Out', another Wilkins-led session from 1957. A trumpet playing feast from some top-notch players (Art Farmer, Emmett Berry, Ernie Royal, Charlie Shavers, and Harold Baker). The formula used by Savoy was the same, 5 trumpeters with Don Abney taking over on piano and Bobby Donaldson on drums. Several songs by Wilkins and another ballad medley.





Top Brass was a 1956 stellar (5-star in Down Beat) album in a modern and expanded reincarnation of many of the Keynote sessions in the ‘40s when a pride of several lions on one particular instrument was assembled to exchange ideas and styles. In this case, Savoy presented five trumpeters (Ernie Royal, Idrees Sulieman, Joe Wilder, Ray Copeland, and Donald Byrd) blowing score and solo in various Ernie Wilkins settings flawlessly backed by the famous trio made up by Hank Jones, Wendell Marshall, and Kenny Clarke. The success of this first, experimental, date allowed Savoy’s producer Ozzie Cadena to do a repeat session utilizing five different trumpet players (Art Farmer, Emmett Berry, Charlie Shavers, and Harold Baker) and a rhythm section with two changes: pianist Don Abney, and drummer Bobby Donaldson. The end result was Trumpets All Out, another excellent date with essentially mood setters. The lines are sprightly and Ernie, who arranged all, is his usual spare, swinging, estimable self.


01. 58 Market St.
02. Trick Or Treat
03. Speedway
04. Dot’s What
05. Top Brass
06. Ballad Medley (#6-10)
Willow Weep For Me
Imagination
It Might As Well Be Spring
The Nearness Of You
Taking A Chance On Love
11. Five Cats Swingin’
12. Blues In 6/4
13. Trumpets All Out
14. She’s Just My Size
15. Ballad Medley (#15-18)
Love Is Here To Stay
Time On My Hands
When Your Lover Has Gone
All Of Me
19. Low Life

All tracks recorded at Rudy Van Gelder Studios in Hackenshack, NJ. On November 8, 1955 (tracks #1-10) and on January 15, 1956 (tracks #11-19)


tracks #1-10:
Donald Byrd, Ray Copeland, Ernie Royal, Idrees Sulieman, Joe Wilder (tp)
Hank Jones (p)
Wendell Marshall (b)
Kenny Clarke (d)


tracks #11-19:
Art Farmer, Emmett Berry, Charlie Shavers, Ernie Royal, Harold “Shorty” Baker (tp)
Don Abney (p)
Wendell Marshall (b)
Bobby Donaldson (d)

Wednesday, September 1, 2010

Manny Albam - Sketches from the Book of Life


This was first posted in May of 2008 but apparently didn't make it into the JP archives. It's now been re-upped at the request of Daniel. The tracks reissued on this CD were all taken from two 1966 albums: The Soul of the City and Brass on Fire.

"Manny Albam's ambitious The Soul of the City is a suite for a large orchestra with jazz soloists that portrays his musical impressions of New York City. Albam, always an imaginative arranger and composer, is assisted by such outstanding guests as J.J. Johnson, Phil Woods, Hank Jones, Frank Wess, Ernie Royal, Joe Newman, and Freddie Hubbard. Some of the sound effects dubbed into individual pieces, such as a baby crying in "Born on Arrival" and kids playing in "The Children's Corner," may seem a bit corny and dated to some, but these progressive big band charts have held up very well over the decades since The Soul of the City was first issued by Solid State in 1966. This beautifully recorded album is well worth picking up, though it will be extremely difficult to track down." - Ken Dryden

"Manny Albam focuses on brass while omitting reeds and piano entirely from this mid-'60s big-band LP. Albam's arrangements of the dozen standards are still fresh decades later, whether alternating between the trumpet and trombone sections, or showcasing individual soloists. "Happiness Is a Thing Called Joe" centers around the separate solos of Jim Maxwell and John Frosk on open horns, with Thad Jones and Danny Stiles utilizing mutes. Joe Newman is featured in "My Heart Stood Still," "My Old Flame," and a waltz-time treatment of "I Get a Kick Out of You," while Ernie Royal is in the spotlight during "After You've Gone." Bassist Richard Davis comes to the forefront in a loping chart of "Just One of Those Things." This long unavailable Solid State LP will be difficult to acquire." - Ken Dryden