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6009
Bill Evans - My Bells
Chet Baker - Walkin' Shoes
Rosemary Clooney - Route 66
Rather than rely solely upon its back catalog as usual, Concord has gone the extra mile to make this Clooney career survey a must-buy, raiding the archives of various labels and the singer's own collection for a really valuable two-CD retrospective. Virtually all of the early stuff, where she emerges as a major pop hitmaker from Mitch Miller's Columbia stable, is on the first disc, while the second wraps up her latter-day resurrection as a jazz-tinged diva. Obviously, disc one carries the most fascination; besides being loaded with naive mid-century charm, it shows just how big Clooney was in the 1950s. There are duets with Bing Crosby, Bob Hope, and Frank Sinatra, and appearances with the orchestras of Duke Ellington (singing a vocalise on "Blue Rose"), Nelson Riddle, and Percy Faith. Yes, there is also the totally atypical 1951 "Come on-a My House" set against Stan Freeman's jangly harpsichord that broke Clooney into stardom. Concord picks up the thread in 1977-1980, surrounding her with jazz musicians; her voice gets a bit richer, losing some of the hard brassiness of youth, picking up some jazz inflections, yet she never quite becomes a "jazz" singer per se. When the set leaps into the '90s (skipping the '80s almost entirely), her timbre darkens more and develops an affecting quaver. The choice of material from this period, though, has strong autobiographical content (the set was released in conjunction with her 1999 autobiography); hence, the probable reason for giving short shrift to the '80s -- the material may not have been there. And after hearing a final, affectionately sung capsule of philosophy, "Secret of Life," at the end of disc two, you realize you've been through a remarkable emotional journey. — allmusic.com
Teddy Edwards - Indian Summer
Although veteran tenor saxophonist Teddy Edwards was having serious health problems by 2001, he is in excellent form throughout this set, showing no signs of decline or age. Playing in New York with a top-notch quartet that includes pianist Richard Wyands, Edwards caresses some of the melodies (his long tones are impressive), he swings hard in spots, and he shows great affection for the material. Although it was not planned that way, quite a few of the songs could be considered tributes to past tenor saxophonists, including Ben Webster ("All Too Soon"), Hank Mobley ("Hank's Tune"), the still active Illinois Jacquet ("Robbin's Nest"), Coleman Hawkins ("It's the Talk of the Town"), Arnett Cobb("Smooth Sailing"), and Lester Young ("Polka Dots and Moonbeams"). Throughout, Teddy Edwardsshows that in 2001 he was still in his musical prime. — allmusic.com
0057. 57. OJC October 10 2015 (00:59:40)
6009
Bill Evans - My Bells
Chet Baker - Walkin' Shoes
Rosemary Clooney - Route 66
Rather than rely solely upon its back catalog as usual, Concord has gone the extra mile to make this Clooney career survey a must-buy, raiding the archives of various labels and the singer's own collection for a really valuable two-CD retrospective. Virtually all of the early stuff, where she emerges as a major pop hitmaker from Mitch Miller's Columbia stable, is on the first disc, while the second wraps up her latter-day resurrection as a jazz-tinged diva. Obviously, disc one carries the most fascination; besides being loaded with naive mid-century charm, it shows just how big Clooney was in the 1950s. There are duets with Bing Crosby, Bob Hope, and Frank Sinatra, and appearances with the orchestras of Duke Ellington (singing a vocalise on "Blue Rose"), Nelson Riddle, and Percy Faith. Yes, there is also the totally atypical 1951 "Come on-a My House" set against Stan Freeman's jangly harpsichord that broke Clooney into stardom. Concord picks up the thread in 1977-1980, surrounding her with jazz musicians; her voice gets a bit richer, losing some of the hard brassiness of youth, picking up some jazz inflections, yet she never quite becomes a "jazz" singer per se. When the set leaps into the '90s (skipping the '80s almost entirely), her timbre darkens more and develops an affecting quaver. The choice of material from this period, though, has strong autobiographical content (the set was released in conjunction with her 1999 autobiography); hence, the probable reason for giving short shrift to the '80s -- the material may not have been there. And after hearing a final, affectionately sung capsule of philosophy, "Secret of Life," at the end of disc two, you realize you've been through a remarkable emotional journey. — allmusic.com
Teddy Edwards - Indian Summer
Although veteran tenor saxophonist Teddy Edwards was having serious health problems by 2001, he is in excellent form throughout this set, showing no signs of decline or age. Playing in New York with a top-notch quartet that includes pianist Richard Wyands, Edwards caresses some of the melodies (his long tones are impressive), he swings hard in spots, and he shows great affection for the material. Although it was not planned that way, quite a few of the songs could be considered tributes to past tenor saxophonists, including Ben Webster ("All Too Soon"), Hank Mobley ("Hank's Tune"), the still active Illinois Jacquet ("Robbin's Nest"), Coleman Hawkins ("It's the Talk of the Town"), Arnett Cobb("Smooth Sailing"), and Lester Young ("Polka Dots and Moonbeams"). Throughout, Teddy Edwardsshows that in 2001 he was still in his musical prime. — allmusic.com
Lalo Schifrin - Down Here on the Ground
Breaking the long-standing curse of sequels, the second installment of Schifrin's Jazz Meets the Symphony series is even better than the first. For one thing, Schifrin was able to place his own distinctive orchestral stamp more firmly upon these arrangements, sometimes reaching into his bag of tricks familiar to us from his film cues. For another, he has three expert, often fiery solo horns on tap here -- Jon Faddis, James Morrison and Paquito D'Rivera -- to go along with Ray Brown and Grady Tate, and Schifrin remains a superb jazz pianist despite his infrequent current public appearances in that role. The repertoire remains a mixture of standards, medleys for the departed and Schifrin originals; his attempts to create a genuine fusion of a jazz combo and the London Philharmonic come closer and closer to the goal. Without leaving the Schifrin orchestral idiom for a minute, "Sketches of Miles" perfectly captures the brooding Miles Davis aura in a medley of some of his most winning records of the 1950s; "Begin the Beguine" is a combination of Hollywood flash and genuine jazz intrigue. Obviously Schifrin is into this concept for the long haul, refining and sharpening his fusion of two worlds. — allmusic.com
Larry Goldings Trio - Lookout
Larry Goldings conceived much of the music on Sweet Science on the Korg CX3 and recorded it on a modified C2 Hammond Organ. The funk, blues, and jazz master performs ten excellent songs with his longtime trio members Peter Bernstein on guitar and Bill Stewart on drums. This fourth CD for the Palmetto label finds the trio stretching the boundaries of the organ trio format. On the title track, "Sweet Science," at the head Goldings states the theme by creating imaginative block chord passages and changes that he inserts between adjacent sections for Stewart's drums and Bernstein's guitar. Bernstein then performs a very melodic guitar solo that can be described as beautifully uncommon with other guitar players of his generation. His great articulation segues into Goldings' awesome organ solo -- one that is complete with harmonic schemes, fresh chord progressions, and the rhythmic formulae that have been known to make up Goldings' prized signature licks. "Solid Jack" epitomizes Goldings' accomplished and imaginative sonic organ mastery. This song creates an attractive synthesis of melodic appeal and compositional ingenuity. The mystical "Chorale" and "Come in and Pray" find the trio at peace with a very special spiritual vibe. These are two beautiful pieces that you can just kick back and meditate to. Overall, the CD is a refreshing dose of straight-ahead jazz, blues, and funk. More varied in both artistic scope and musical technique than his previous effort, Sweet Science surpasses the standards of Goldings' unique compositional instincts heard on As One. A brilliant effort. — allmusic.com
Bobby Darin - Bill Bailey, Won't You Please Come Home
At the time of its release in 1988, The Ultimate Bobby Darin was arguably the most thorough single-disc compilation available. And for range and selection it remains the most thorough single-disc retrospective of the legendary singer, effectively capturing the stunning range of his unique musical vision. Each of its 17 songs is a gem. Included are "Splish Splash," "Dream Lover," "Mack the Knife," and "Beyond the Sea," as well as "Somebody to Love" and "I'll Be There," which don't appear on The Hit Singles Collection. For sound quality, however, both this release and the early-'90s retrospectives Splish Splash: The Best of Bobby Darin, Vol. 1 and Mack the Knife: The Best of Bobby Darin, Vol. 2have been supplanted by the more recent Hit Singles Collection and other post-2000 releases of his Atlantic catalog. — allmusic.com
Louis Armstrong - C Jam Blues
Carlos Garnett - The Shadow of Your Smile
Tenor saxophonist Carlos Garnett is in fine form on this set, which is more accessible than expected considering his roots in the avant-garde. Although Garnett is the main soloist, there are spots for pianist Carlton Holmes (who deserves to be better known), trumpeter Derrick Gardner, and trombonist Robert Trowers. The music includes a Latinized version of "Giant Steps," a credible remake of "My Favorite Things," a lyrical "Delilah," and the up-tempo modal blues "McCoy Next Block" and "Softly as in a Morning Sunrise" among the highlights. Garnett's tone may take a little getting used to, and though there are quite a few familiar tunes on this album, these versions are fresh, creative, and often full of subtle surprises. — allmusic.com
Breaking the long-standing curse of sequels, the second installment of Schifrin's Jazz Meets the Symphony series is even better than the first. For one thing, Schifrin was able to place his own distinctive orchestral stamp more firmly upon these arrangements, sometimes reaching into his bag of tricks familiar to us from his film cues. For another, he has three expert, often fiery solo horns on tap here -- Jon Faddis, James Morrison and Paquito D'Rivera -- to go along with Ray Brown and Grady Tate, and Schifrin remains a superb jazz pianist despite his infrequent current public appearances in that role. The repertoire remains a mixture of standards, medleys for the departed and Schifrin originals; his attempts to create a genuine fusion of a jazz combo and the London Philharmonic come closer and closer to the goal. Without leaving the Schifrin orchestral idiom for a minute, "Sketches of Miles" perfectly captures the brooding Miles Davis aura in a medley of some of his most winning records of the 1950s; "Begin the Beguine" is a combination of Hollywood flash and genuine jazz intrigue. Obviously Schifrin is into this concept for the long haul, refining and sharpening his fusion of two worlds. — allmusic.com
Larry Goldings Trio - Lookout
Larry Goldings conceived much of the music on Sweet Science on the Korg CX3 and recorded it on a modified C2 Hammond Organ. The funk, blues, and jazz master performs ten excellent songs with his longtime trio members Peter Bernstein on guitar and Bill Stewart on drums. This fourth CD for the Palmetto label finds the trio stretching the boundaries of the organ trio format. On the title track, "Sweet Science," at the head Goldings states the theme by creating imaginative block chord passages and changes that he inserts between adjacent sections for Stewart's drums and Bernstein's guitar. Bernstein then performs a very melodic guitar solo that can be described as beautifully uncommon with other guitar players of his generation. His great articulation segues into Goldings' awesome organ solo -- one that is complete with harmonic schemes, fresh chord progressions, and the rhythmic formulae that have been known to make up Goldings' prized signature licks. "Solid Jack" epitomizes Goldings' accomplished and imaginative sonic organ mastery. This song creates an attractive synthesis of melodic appeal and compositional ingenuity. The mystical "Chorale" and "Come in and Pray" find the trio at peace with a very special spiritual vibe. These are two beautiful pieces that you can just kick back and meditate to. Overall, the CD is a refreshing dose of straight-ahead jazz, blues, and funk. More varied in both artistic scope and musical technique than his previous effort, Sweet Science surpasses the standards of Goldings' unique compositional instincts heard on As One. A brilliant effort. — allmusic.com
Bobby Darin - Bill Bailey, Won't You Please Come Home
At the time of its release in 1988, The Ultimate Bobby Darin was arguably the most thorough single-disc compilation available. And for range and selection it remains the most thorough single-disc retrospective of the legendary singer, effectively capturing the stunning range of his unique musical vision. Each of its 17 songs is a gem. Included are "Splish Splash," "Dream Lover," "Mack the Knife," and "Beyond the Sea," as well as "Somebody to Love" and "I'll Be There," which don't appear on The Hit Singles Collection. For sound quality, however, both this release and the early-'90s retrospectives Splish Splash: The Best of Bobby Darin, Vol. 1 and Mack the Knife: The Best of Bobby Darin, Vol. 2have been supplanted by the more recent Hit Singles Collection and other post-2000 releases of his Atlantic catalog. — allmusic.com
Louis Armstrong - C Jam Blues
Carlos Garnett - The Shadow of Your Smile
Tenor saxophonist Carlos Garnett is in fine form on this set, which is more accessible than expected considering his roots in the avant-garde. Although Garnett is the main soloist, there are spots for pianist Carlton Holmes (who deserves to be better known), trumpeter Derrick Gardner, and trombonist Robert Trowers. The music includes a Latinized version of "Giant Steps," a credible remake of "My Favorite Things," a lyrical "Delilah," and the up-tempo modal blues "McCoy Next Block" and "Softly as in a Morning Sunrise" among the highlights. Garnett's tone may take a little getting used to, and though there are quite a few familiar tunes on this album, these versions are fresh, creative, and often full of subtle surprises. — allmusic.com
Pucho & His Latin Soul Brothers - Candied Yam
This is an entirely different set than the British import compilation on Ace called The Best of Pucho & the Latin Soul Brothers; only six tracks are found on both CDs. Which one you prefer totally depends upon your individual taste. Soul and rock fans will be far better off with the Ace collection, which concentrates far more heavily on his soul-jazz, R&B, and psychedelic-influenced numbers. The Prestige set focuses on his more sedate, straight jazz side, with tracks taken from his 1967-1970 albums (there's nothing from his first two Prestige records, which have been combined onto one CD on the Tough!reissue). This is nicely atmospheric stuff with a Latin lilt, but not Pucho at his funkiest and most adventurous. It's also wholly instrumental, with none of the un-honed but energetic vocals that occasionally adorned his material on cuts like "Shuckin' and Jivin’.” — allmusic.com
This is an entirely different set than the British import compilation on Ace called The Best of Pucho & the Latin Soul Brothers; only six tracks are found on both CDs. Which one you prefer totally depends upon your individual taste. Soul and rock fans will be far better off with the Ace collection, which concentrates far more heavily on his soul-jazz, R&B, and psychedelic-influenced numbers. The Prestige set focuses on his more sedate, straight jazz side, with tracks taken from his 1967-1970 albums (there's nothing from his first two Prestige records, which have been combined onto one CD on the Tough!reissue). This is nicely atmospheric stuff with a Latin lilt, but not Pucho at his funkiest and most adventurous. It's also wholly instrumental, with none of the un-honed but energetic vocals that occasionally adorned his material on cuts like "Shuckin' and Jivin’.” — allmusic.com
Chris Parker - Up One Side
Richard 'Groove' Holmes - Groovin' for Mr. G
KZSO
KZSO
Oregon Jazz Central
Sisters Oregon USA
0057. 57. OJC October 10 2015 (00:59:40)
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Sisters Oregon USA
0057. 57. OJC October 10 2015 (00:59:40)
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