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	Jimmy Smith - The Sermon!
	"Smith with something to say!"	2007-05-05
On the back cover of this Rudy Van Gelder edition of "The Sermon" is a picture of Smith hammering it out on the organ with energetic emotion written on his face. The epical title track makes it clear Jimmy Smith had a lot to say on this date, a sermon that lasts just over 20 minutes time. This is a bluesy blowing session for the history books on par with another Blue Note release from Smith, 1960's "Back at the Chicken Shack". The legendary Art Blakey keeps his reputably upbeat shuffle beats throughout the tracks he appears on, and Lee Morgan equally gives his all on trumpet. Lou Donaldson and Jimmy Smith formed a solid fit whenever they performed together, because musically they could feel the other's direction and style in a way that is rare musically. The remastering this album received, as is the case with all the albums reissued by Blue Note in the Rudy Van Gelder series, has been remastered at a 24-bit resolution by Van Gelder himself. The sound quality and clarity is perfect on these tracks, and the music is topnotch, to boot! Buy "The Sermon" today. Personnel: Lee Morgan (trumpet) Lou Donaldson, George Coleman (alto saxophone) Tina Brooks (tenor saxophone) Kenny Burrell, Eddie McFadden (guitars) Jimmy Smith (organ) Art Blakey, Donald Bailey (drums) Producer: Alfred Lion Label: Blue Note Dates: August 25, 1957 & February 25, 1958 Remaster: 2000; 24-bit
	Count Basie - April in Paris
	"a milestone"	2007-05-05
"April in Paris", a landmark album worthy of its acclaim, is a benchmark recording in the Count Basie catalog for a number of reasons. The album marks the return of Count Basie to the big band scene, with some new players and tunes that knocked the socks off of audiences everywhere. The elegantly robust opener on this 1956 release for Verve is a forever famous one, a standard that continues being played even today. "Corner Pocket" is almost as celebrated as the previous title track, with sections of musicality that are so sweeping listeners will find themselves pleasantly lost for a few moments. "Didn't You?" is an impressive number chased by the whole gang, sure to get everyone swinging and tapping them toes. Basie opens things up for us with a saunter on "Sweetie Cakes", with horns and strings in hot pursuit of his lead. Skip ahead to "Shiny Stockings" to invoke that feeling of yesterday, where cats like Basie reigned supreme on stage. This 20-bit digital transfer from the Verve master edition, complete with bonus alternate takes and new liner notes, is a must own for the serious jazz collector. Personnel: Count Basie (piano), Joe Newman (trumpet, arrangements), Wendell Culley, Reunald Jones, Thad Jones (trumpets), Henry Coker, Bill Hughes, Benny Powell (trombone), Marshall Royal (clarinet, alto sax), Bill Graham (alto sax), Frank Wess (flute, clarinet, alto sax, tenor sax, arrangements), Frank Foster (tenor sax, clarinet, arrangements), Charlie Fowlkes (baritone sax), Freddie Green (guitar, arrangements), Eddie Jones (bass), Sonny Payne (drums), Jose Mangual and Ubaldo Bieto (percussions). Original Producer: Norman Granz Total Time: 68:06 Date: July 1955 and January 1956 20-bit high resolution digital transfer
	Lee Morgan - Sidewinder
	"this will blow you away"	2007-05-02
Lee Morgan was one of the most gifted hard bop trumpeters of his or any generation since, and "The Sidewinder" has long been regarded as his magnum opus. The album's title track has become a significant jazz standard, with generations of budding artists since interpreting it both live and on record. This being one of the premium titles in Blue Note's long list of albums to date, Lee Morgan's "The Sidewinder" is one of the top-selling jazz albums of all time. Joe Henderson is admirably fantastic on this 1963 recording as is the legendary pianist Barry Harris, both of whom exhibit on here uncanny swinging improvisational backdrops and solos. Henderson underscores here how great an impact and influence John Coltrane was having on artists like himself by this point. But truly it is Lee Morgan, most of all, who stands out far and ahead of the pack on these tracks. "Totem Poll" is an absolute delight, opening to a wonderful piano-intro from Barry Harris with Lee stepping in shortly. This Rudy Van Gelder Edition comes with 24-bit remastering done by Rudy himself, and the sound quality and clarity is just right throughout. This is one of the most celebrated jazz albums for as long as anyone can remember, a must have for everyone establishing a jazz collection for themselves. You also get an alternate take of "Totem Pole", so buy "The Sidewinder" today! A five-star album if ever there was one. Personnel: Lee Morgan (trumpet) Joe Henderson (tenor sax) Barry Harris (piano) Bob Cranshaw (bass) Billy Higgins (drums) Producer: Alfred Lion Label: Blue Note Recorded: December 21, 1963 Location: Rudy Van Gelder Studio, Englewood Cliffs, New Jersey Edition: The Rudy Van Gelder Edition series Remastering: 24-bit
	Gene Ammons with Sonny Stitt - Boss Tenors: Straight Ahead from Chicago 1961
	"a toe tapping ride"	2007-04-30
Early in 1950, Gene Ammons and Sonny Stitt co-led a two tenor septet together and frequently interlocked horns during live jazz settings. It is befitting that the two tenors came together in Chicago then for this August 1961 date to play, this time in a quintet formation. The rhythm section here is a solid one, featuring John Houston on piano, Buster Williams on bass and George Brown on drums. "There Is No Greater Love" is an up-tempo ballad featuring some magnificent interactions between Ammons and Simmons in 8 bar increments. "The One Before This" is a romping melody with Sonny and Gene blowing out choruses in turn. Originally produced by Creed Taylor for Verve, this album was digitally remastered by Tom Ruff at PolyGram Studios. The sound quality and caliber of musicianship are excellent on this release, so I recommend this one without hesitation to the jazz collector in you. Personnel: Gene Ammons (tenor sax) Sonny Stitt (tenor and alto sax) John Houston (piano) Buster Williams (bass) George Brown (drums)
	Art Blakey & The Jazz Messengers - Moanin' [Blue Note]
	"definitive"	2007-04-29
From the mid-1950s until the famous drummer's death in 1990, Art Blakey's "Jazz Messengers" was the trade name of various groups of musicians that worked and recorded under Blakey's leadership. Two tracks on this 1958 recording went on to become classic Blakey anthems, "Moanin'" and "Blues March". Each incarnation of the Jazz Messengers has played these two tunes, and countless jazz musicians consider them to be standards. Several artists appear in this Jazz Messenger group, including Benny Golson (ts), Lee Morgan (t), Bobby Timmons (p) and Jymie Merritt (b). Of these four Lee Morgan easily shines the brightest, with amazing solos throughout and in particular on "Moanin'". Blakey was the ultimate mentor throughout his career; a man filled with such life-force and vigor that he attracted the best talent, bringing out the very best in them. This particular reissue is part of the Blue Note Rudy Van Gelder Edition series, treated to 24-bit digital remastering that offers listener's big sound. Simply put "Moanin'" is easily the single most significant album recorded by Art Blakey and his Jazz Messengers, so dragging your feet will not be tolerated. Buy it today.
	Branford Marsalis - Requiem
	"one of his best"	2007-04-29
"Requiem" has the last studio recordings done by the late piano legend Kenny Kirkland. Kirkland, having died in November of 1998, recorded these with Branford Marsalis in August of that year but never got to return that next fall to complete the session. Marsalis, in the spirit of both veneration and celebration, decided to not complete the album and let the music remain unfinished. It seemed to many of us fans as if Kirkland's very life remained unfinished. Kirkland always brought the musical best, so it would seem, out of Branford when looking at the works Marsalis has done with and without him. Paul Motian's "Trieste" is interpreted nicely, and the rest of the recordings are Marsalis originals. "Cassandra" is a sentimental ballad with Branford attaining almost flute-like sounds on sax, and Kirkland soloing at about the 2-minute mark. This is the sort of outfit Marsalis excels in, and it's too bad Kenny isn't around to contribute to the Branford Marsalis legacy further. Personnel: Branford Marsalis (saxophones) Kenny Kirkland (piano) Jeff "Tain" Watts (drums) Eric Revis (bass)
	Robert Cray Band - Don't Be Afraid of the Dark
	"classic Cray"	2007-04-29
Great set from the Georgia-born bluesman and his band, despite the criticisms that the album was too pop oriented and that Cray had sold out. While this album certainly does not top its predecessor "Strong Persuader", it does manage to deliver some great blues from one of the music's finest performers. Cray needs no introduction to fans of the blues, playing to sold-out concerts and working the blues circuit loyally. "Don't Be Afraid of the Dark" is a solid release from the veteran Cray, though he has made better albums since. As is always the case with Robert Cray releases, I listen intently to the dazzling guitar work to remember why Cray gets paid to do this. The band does not often get the credit they so duly deserve, as Richard Cousins (bass), Peter Boe (keyboards) and David Olson (drums) do an excellent job of accompanying Cray on these tunes. The horns on here are supplied by The Memphis Horns and Wayne Jackson, and David Sanborn appeared courtesy of Warner Brothers playing saxophone on "Acting This Way". "At Last", track 9, is a 50s feeling blues ballad with Cray singing backed by the horns. Overall this is a high quality outing by the old hand of blues vocals and guitar, deserving a spot in your music collections today! Personnel: Robert Cray (guitar & vocals) Richard Cousins (bass) Peter Boe (keyboards) David Olson (drums) The Memphis Horns (horn section) Wayne Jackson (trumpet & trombone) David Sanborn (alto sax on "Acting This Way")
	Eumir Diodato - Bossa Nova: Original Motion Picture Soundtrack (1999 Film)
	"silky"	2007-04-28
Great set of bossa nova tunes on this soundtrack for the film "Bossa Nova", which features a gripping mixture of top selections penned by Tom Jobim performed by musicians of yesterday and today. Performers contributing to this collection include the Brazilian phenomenon Djavan, Sting, Stan Getz, Astrud Gilberto, Carol Rogers, Eumir Deodato, Barbara Mendes, Claudia Acuna, and Tom Jobim himself. Some of these song choices you're probably already familiar with, such as the Getz/Gilberto version of "Girl From Ipanema" and "Quiet Nights of Quiet Stars (Corcovado)". "Suddenly", as performed by Claudia Acuna, is an elegant and sexy tune that belongs in a James Bond flick. Sting and Tom Jobim collaborated together on "How Insensitive", a coming together that is both gratifying and pleasurable. Carol Rogers also has a version of "Suddenly" featured on here, which is as pleasant as Claudia Acuna's adaptation. "Wave" by Jobim is such a smooth and roomy tune, with supreme piano-work throughout. A magnificent album sure to introduce you to both new and old artists alike, this soundtrack will surely become music to your ears.
	Eric Dolphy - Out to Lunch
	"last great studio album"	2007-04-21
This was the last great studio album Dolphy was to record before his early death months later in Berlin in June of 1964. Some of his best works on bass clarinet and flute are found on here, including "Hat and Beard" and "Gazzelloni". Dolphy's bass clarinet skills are typically in the middle range and his phrasing and tonality are just amazing. Freddie Hubbard (t), who played on Dolphy's 1960 "Outward Bound" album returns on here to add his expertise. Richard Davis (b), who played on the 1961 "At the Five Spot" and 1963's "Music Matador", is also present on this date. Bobby Hutcherson (vibes) and Anthony Williams (d) were both new to Blue Note, and their presence on this album assured their longevity with the label. Considered by many fans and critics as the highpoint of Dolphy's career, "Out to Lunch" is certain to bring more fans flocking to Dolphy's work for years to come.
	Wayne Shorter - Speak No Evil
	"the Miles effect"	2007-04-20
Along with key sidemen Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d), Wayne Shorter produced this classic in 1964 and it was released that following year by Blue Note. Known for both the compositional ingenuity that went into this record as well as for the improvisational nature of the music at hand, this seminal recording has influenced countless musicians that followed. This particular reissue is part of the Rudy Van Gelder Edition series, and as such has received 24-bit digital remastering that improves upon the integrity of the sound here greatly. This is music that followed Shorter having joined Miles Davis in the summer of 1964, and as such shows Wayne becoming more innovative and daring as a composer. I cannot recommend this album enough to everyone. If you enjoy the music of `Speak No Evil' then you will also thoroughly enjoy the albums `Juju', `Soothsayer' and `Adam's Apple'. Out of all the Wayne Shorter projects produced during his Blue Note years, `Speak No Evil' is the definitely the best place to start.
	Chet Baker - Chet (20 Bit Mastering)
	"one of the best I own"	2007-04-19
Chet Baker is still such a much loved trumpeter from days past for his seamless skillfulness concerning the ballad. This 1959 recording for Riverside comes from Baker's peak years, fresh and backed by all-star sidemen of the day. This is one of the most breathtaking jazz albums I own in my collection, because I can always count on Chet to set the mood. There was something in Chet's delivery that was so lonesome and sad, but at the same time so uplifting and invigorating. Considering myself a diehard fan, I've always preferred his trumpeting to his singing. On this album you are treated to nothing but the trumpet, which happens to be my favorite instrument, also. Be good to yourself and buy this album as soon as possible! It will immediately become one of a handful of albums in life that finally says something to you, without uttering a single word. The one and only Bill Evans, the genius jazz pianist / composer, sat in with Baker on the album. Paul Chambers is also present; probably the hardest working bassist in the business of his day, and flutist Herbie Mann plays on these tracks, also. Guitarist Kenny Burrell, baritone saxophonist Pepper Adams, drummers Philly Joe Jones and Connie Kay also back Chet up on these ballads.
	Chet Baker - Chet
	"one of the best I own"	2007-04-19
Chet Baker is still such a much loved trumpeter from days past for his seamless skillfulness concerning the ballad. This 1959 recording for Riverside comes from Baker's peak years, fresh and backed by all-star sidemen of the day. This is one of the most breathtaking jazz albums I own in my collection, because I can always count on Chet to set the mood. There was something in Chet's delivery that was so lonesome and sad, but at the same time so uplifting and invigorating. Considering myself a diehard fan, I've always preferred his trumpeting to his singing. On this album you are treated to nothing but the trumpet, which happens to be my favorite instrument, also. Be good to yourself and buy this album as soon as possible! It will immediately become one of a handful of albums in life that finally says something to you, without uttering a single word. The one and only Bill Evans, the genius jazz pianist / composer, sat in with Baker on the album. Paul Chambers is also present; probably the hardest working bassist in the business of his day, and flutist Herbie Mann plays on these tracks, also. Guitarist Kenny Burrell, baritone saxophonist Pepper Adams, drummers Philly Joe Jones and Connie Kay also back Chet up on these ballads.
	John Coltrane - Giant Steps [Deluxe Edition]
	"the album that leaps"	2007-04-18
The 1960 release of Atlantic's `Giant Steps' was the first album featuring Coltrane performing all original compositions. Listeners become absorbed into the marvelous sheets of sound he belted out with such professional ease. Speedy execution and marksman-like precision brought Coltrane the envy of both his peers and fans. Sweeping solos spout from Coltrane's horn on here, accomplishing what a lesser musician plainly could not. `Giant Steps' races to the borders of harmony while the ballad `Naima' slows the mood down and heats things up. This CD version includes bonus alternate takes which Coltrane had rejected in favor of those featuring Tommy Flanagan. Personnel for the tracks `Giant Steps', `Cousin Mary', `Countdown', "Spiral', `Syeeda's Song Flue' and `Mr. P.C.' on the original LP: John Coltrane (ts), Tommy Flanagan (p), Paul Chambers (b), Art Taylor (d). Personnel for the track `Naima' on the original LP: John Coltrane (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d). Many of the alternate takes that never made their way on the album feature Cedar Walton on piano and Lex Humphries on drums.
	John Coltrane - Giant Steps
	"the album that leaps"	2007-04-18
The 1960 release of Atlantic's `Giant Steps' was the first album featuring Coltrane performing all original compositions. Listeners become absorbed into the marvelous sheets of sound he belted out with such professional ease. Speedy execution and marksman-like precision brought Coltrane the envy of both his peers and fans. Sweeping solos spout from Coltrane's horn on here, accomplishing what a lesser musician plainly could not. `Giant Steps' races to the borders of harmony while the ballad `Naima' slows the mood down and heats things up. This CD version includes bonus alternate takes which Coltrane had rejected in favor of those featuring Tommy Flanagan. Personnel for the tracks `Giant Steps', `Cousin Mary', `Countdown', "Spiral', `Syeeda's Song Flue' and `Mr. P.C.' on the original LP: John Coltrane (ts), Tommy Flanagan (p), Paul Chambers (b), Art Taylor (d). Personnel for the track `Naima' on the original LP: John Coltrane (ts), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (d). Many of the alternate takes that never made their way on the album feature Cedar Walton on piano and Lex Humphries on drums.
	Arturo Sandoval - Trumpet Evolution
	"wonderful"	2007-03-01
Cuban born Floridian Arturo Sandoval is one of the most nimble jazz trumpeters to be playing in the modern day. In the 1970s Sandoval befriended the legendary Dizzy Gillespie and toured Cuba and Europe with him. In the 1980s Sandoval sought political asylum from Castro's Cuba at the United Stated Embassy in Rome. This album of tributes is a wonderful bargain, featuring a wide spectrum of styles and standards played by a real master. I love Sandoval's version of "Round' Midnight" to Miles Davis, inflecting that bluesy Davis sound with ghostlike precision. Nineteen tracks make this disc an unusually generous one, with superb sound quality and musical execution. A nice CD to own, to be sure.
	Birdy
	"PTSD is real"	2007-02-26
Main characters: Al: Nicolas Cage Birdy: Matthew Modine SPOILER-FREE REVIEW "Birdy" tackles the complex issue of post traumatic stress following wartime, telling the story of two childhood friends damaged by the ills of war in Vietnam. Raised in the slums of Philadelphia, Birdy and Al were very close friends as teenagers before the war. The film begins with Al returning stateside in facial bandages, headed for a military hospital at the behest of a psychiatrist who believes Al may find a way to coax Birdy from a catatonic state. The storyline drifts back and forth between the pair's childhood and the mental hospital, interspersed with flashbacks of the war. As the movie unfolds, we learn that Al just may need Birdy as much as or more than Birdy needs him. The movie takes an agonizing look at the emotional and physical trauma war can inflict on soldiers, and manages to portray the tragedy of PTSD with a silver-lining. A five-star movie with very good acting, directing and an ending which is sure to ask questions, "Birdy" is a wonderful addition to everyone's movie library.
	Ornette Coleman - Shape of Jazz to Come
	"A defining moment"	2007-02-22
This album signified a defining moment in jazz music upon its release in 1959, the sound unpredictable and free to come and go as it pleases. What came to be commonly referred to as free jazz or avant-garde was viewed by some as an affront to the integrity of jazz music at large. For some critics, it was easier to dismiss Coleman as an unskilled technician rather than face the possibility that he just may be brilliant. Coleman became so influential in the scene and movement of his day that even John Coltrane was exploring freer compositions as a result. The sound quality on this disc is superb. Coleman uses silence in a haunting way, shaping his music around its backdrop and occasionally using it as a centerpiece. This album is fresh and new every time you listen to it, the emotional effect being a soothing and calming one. Sure to become an instant favorite in anyone's collection, Ornette Coleman's "The Shape of Jazz to Come" will seldom find itself outside of your turntables. Personnel: Ornette Coleman (alto saxophone), Don Cherry (cornet), Charlie Haden (bass) and Billy Higgins (drums).
	Charlie Parker - Boss Bird
	"Great Box!"	2007-02-21
Proper Records has drawn together an impressive array of tracks from most of Parker's studio recordings from 1944 to 1951, when Bird was working for the Savoy, Dial and Verve labels. This set contains a 48 page illustrated booklet with information on the present recordings, as well as generous biographical material. Each disc comes packaged in an individual cardboard sleeve, nestled in the box with the booklet. The sound quality is sufficient while the material is extensive, making this a great boxed set at a great price. DISC ONE TRACKS 1 to 4: "The Grimes Quintette" recorded on September 15, 1944 with the following personnel: Charlie Parker (alto saxophone), Clyde Hart (piano), Tiny Grimes (guitar, vocals), Jimmy Butts (bass, vocals), and Harold "Doc" West (drums). TRACKS 5 to 9: "Charlie Parker's Reboppers" recorded on November 26, 1945 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Dizzy Gillespie (trumpet, piano), Argonne Thornton (piano), Curley Russell (bass) and Max Roach (drums). TRACKS 10 to 13: "Charlie Parker Septet" recorded on March 28, 1946 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Lucky Thompson (tenor sax), Dodo Marmarosa (piano), Arvin Garrison (guitar), Vic McMillan (bass) and Roy Porter (drums). TRACKS 14 to 17: "Charlie Parker Quartet" recorded on July 29, 1946 date with the following personnel: Charlie Parker (alto sax), Howard McGhee (trumpet), Jimmy Bunn (piano), Bob Kesterton (bass) and Roy Porter (drums). TRACKS 18 to 22: "Charlie Parker Quartet" recorded on February 19, 1947 with the following personnel: Charlie Parker (alto sax), Erroll Garner (piano), Red Callender (bass), Harold "Doc" West (drums), Earl Coleman (vocals). TRACKS 23 to 26: "Charlie Parker's New Stars" recorded on February 26, 1947 with the following personnel: Charlie Parker (alto sax), Howard McGhee (trumpet), Wardell Gray (tenor sax), Dodo Marmarosa (piano), Barney Kessel (guitar), Red Callender (bass) and Don Lamond (drums). DISC TWO TRACKS 1 to 4: "Charlie Parker's All Stars" recorded on May 8, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Bud Powell (piano), Tommy Potter (bass) and Max Roach (drums). TRACKS 5 to 10: "Charlie Parker Quintet" recorded on October 28, 1947 with the following personnel: Charlie Parker (alto sax), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums). TRACKS 11 to 16: "Charlie Parker Quintet" recorded on November 4, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums). TRACKS 17 to 22: "Charlie Parker Sextet" recorded on December 17, 1947 with the following personnel: Charlie Parker (alto sax), Jay Jay Johnson (trombone), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums). TRACKS 23 to 26: "Charlie Parker's All Stars" recorded on December 21, 1947 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Duke Jordan (piano), Tommy Potter (bass) and Max Roach (drums). DISC THREE TRACKS 1 to 3: "Charlie Parker's All Stars" recorded on September 18, 1948 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curley Russell (bass) and Max Roach (drums). TRACK 4: Miles Davis sits out for this one, same session. TRACKS 5 to 8: "Charlie Parker's All Stars" recorded on September 24, 1948 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), John Lewis (piano), Curley Russell (bass) and Max Roach (drums). TRACK 9: "Charlie Parker Quartet" recorded on December 1 and 2, 1948 with the following personnel: Charlie Parker (alto sax), Hank Jones (piano), Ray Brown (bass) and Shelly Manne (drums). TRACK 10: "Charlie Parker with Neal Hefti Orchestra" recorded on December 1 and 2, 1948 with the following musicians: Charlie Parker - Murray Williams - Sonny Salad (alto sax), Al Porcino - Doug Mettome - Ray Wetzel (trumpets), Bill Harris (trombone), Bart Varsalona (bass trombone), Vinnie Jacobs (French horn), John La Porta (clarinet), Pete Mondello - Flip Phillips (tenor sax), Manny Albam (baritone sax), Gene Orloff (concert master), Sam Caplan - Manny Fidler - Sid Harris - Harry Katzman - Zelly Smirnoff (violin), Nat Nathanson - Fred Ruzilla (viola), Joe Benaventi (cello), Tony Aless (piano), Curley Russell (bass), Shelly Manne (drums), Diego Iborra (percussion) and Neal Hefti (arranger and conductor). TRACKS 11 to 14: "Charlie Parker with Machito and His Orchestra" recorded on December 20, 1948 with the following personnel: "Charlie Parker (alto sax), Mario Bauza - Paquito Cavilla - Bob Woodlen (trumpets), Gene Johnson - Freddie Skerritt (alto sax), Jose Madera - Flip Phillips (tenor sax), Leslie Johnakins (baritone sax), Rene Hernandez (piano), Roberto Rodriguez (bass), Jose Manguel (bongos), Luis Miranda (conga), Umbaldo Nieto (timbales), and Machito (maracas). TRACKS 15 and 19: "Charlie Parker and His Orchestra" recorded in March of 1949 with the following personnel: Charlie Parker (alto sax), Renny Dorham (trumpet), Tommy Turk (trombone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums) and Carlos Vidal (conga). TRACKS 20 to 25: "Charlie Parker with Strings" recorded November 30, 1949 with the following personnel: Charlie Parker (alto sax), Mitch Miller (oboe, maybe English horn), Bronislaw Gimpel - Max Hollander - Milt Lomask (violin), Frank Brieff (viola), Frank Miller (cello), Myor Rosen (harp), Stan Freeman (piano), Ray Brown (bass), Buddy Rich (drums) and Jimmy Carroll (arranger and conductor). TRACK 26: "Charlie Parker Quartet" recorded in March or April of 1950 with the following personnel: Charlie Parker (alto sax), Hank Jones (piano), Ray Brown (bass) and Buddy Rich (drums). DISC FOUR TRACKS 1 and 2 are the same as the ending personnel on DISC THREE. TRACKS 2 to 10: "Charlie Parker with Strings" recorded in the summer of 1950 with the following personnel: Charlie Parker (alto sax), Joseph Singer ( French horn), Eddie Brown (oboe), Sam Caplan (violin, concert master), Howard Kay - Harry Melnikoff - Sam Rand - Zelly Smirnoff (violin), Isadore Zir (viola), Maurice Brown (cello), Verley Mills (harp), Bernie Leighton (piano), Ray Brown (bass), Buddy Rich (drums) and Joe Lipman (arranger and conductor). TRACKS 11 to 14: "Charlie Parker and His Orchestra" recorded on January 17, 1951 with the following personnel: Charlie Parker (alto sax), Miles Davis (trumpet), Walter Bishop (piano), Teddy Kotick (bass) and Max Roach (drums). TRACKS 15 to 19: "Charlie Parker's Jazzers" recorded on March 12, 1951 with the following personnel: Charlie Parker (alto sax), Walter Bishop (piano), Teddy Kotick (bass), Roy Haynes (drums), Luis Miranda (conga) and Jose Manguel (bongo). TRACKS 20 to 24: "Charlie Parker Quintet" recorded on August 8, 1951 with the following personnel: Charlie Parker (alto sax), Red Rodney (trumpet), John Lewis (piano), Ray Brown (bass) and Kenny Clarke (drums).
	Dizzy Gillespie - Dizzy Gillespie Story 1939-50
	"Superb material w/ ample sound"	2007-02-19
Proper Records is doing a wonderful job at offering affordable box sets of the early legends of jazz music, and "The Dizzy Gillespie Story 1939-1950" is certainly no exception. While I understand how a previous reviewer came to surmise the sound quality is not what it could be, I have to say personally I find the sound ample and likewise rewarding. You'll spend oodles more in cash trying to obtain what you can get on this one set, only to find you wasted precious time and money in doing so. For casual fans of Gillespie, the most influential of early bebop trumpeters, this collection might be all you ever buy. The insert provides listeners with a wealth of material both on the specific recordings present as well as critical artist biographical info. Unless you really know what you are doing, remastering work like this can often ruin and not enhance the material in question. I am completely satisfied with the quality and am thankful they did not harm the integrity of recordings, while admittedly they appear to have done little if anything to enhance it. Five stars for showcasing a great musician with wonderful packaging and sufficient sound, this box set is an absolute treat. Bravo to Proper Records, for knowing what fans want and delivering. So toss this one in your cart or place it on your to-buy list and prepare to be delighted!
	Vanguard Collector's Edition
	"Varied and rewarding"	2007-02-18
The music you'll find on this 4CD box set consists of some quite diverse selections, sampling choices ranging from the late 50s up into the late 90s. While it is unlikely that listeners will embrace every single song selection on here, it is likely that they will find enough to make them happy. If you are a jazz fan, you are treated to such artists as Larry Coryell, Count Basie or Elvin Jones. If folk music happens to be your thing, you will enjoy the tracks featuring Joan Baez, Pete Seeger, The Kingston Trio, or Ian and Sylvia. Prefer the blues? If so, you'll enjoy the contributions of Buddy Guy, Junior Wells, Charlie Musselwhite or Mississippi John Hurt (to name a few). Still not quite up your alley? Maybe you prefer bluegrass, in which case you'll enjoy The Stanley Brothers, Flatt and Scruggs or The Greenbriar Boys. You even get a little modern country thrown into the mix, featuring such artists as John Jennings, Michael Johnson and Peter Case. Overall you are bound to find something on these 4 discs that you'll enjoy, and you may happen to like it all. While there is no true core theme apart from these being Vanguard recordings, all of the selections do strangely compliment one another very well; much better than comparable compilations of various artists. The sound quality on these recordings is excellent, and the offerings are likely to lead listeners to artists they have yet to discover and enjoy. A nice compilation at an even nicer price, make sure you toss this into your shopping cart sometime and give it a listen.
	Horace Silver - Song for My Father
	"everyone was doing it...but not like this"	2007-02-11
Horace Silver (b. 1928) is a skillful jazz pianist with a knack for composition, and this album highlights his genius for simplicity that has since become his trademark. The title track pays homage to Horace's Portuguese father from Cape Verde, John Silver. On "Song for My Father", Horace mixes up his own F-minor jazz piece with traditional Cape Verde and Brazilian carnival music. The result sounds a bit like bossa nova/jazz samba, which was popularized a year before on the Stan Getz/Joao Gilberto album of 1963. Everyone was doing it at this time. Personnel for tracks 1-6: Carmell Jones (trumpet), Joe Henderson (tenor sax), Horace Silver (piano), Teddy Smith (bass) and Roger Humphries (drums). Personnel for tracks 7-10 (not on original LP configuration): Blue Mitchell (trumpet), Junior Cook (tenor sax), Horace Silver (piano), Gene Taylor (bass) and Roy Brooks (drums). Much of the flavor on this album works its way out from the influence of the title track, while "The Kicker" is a Joe Henderson composition. This Rudy Van Gelder 24-bit remaster sounds wonderful, though it is not necessary to upgrade from the 1990 edition if you are considering it. There aren't any extra materials, aside from new liner notes. The sound is great, but is comparable to the 1990 release. All in all I would purchase this edition only if you do not have the earlier reissue.
	Eartha Kitt - Eartha Kitt In Person at the Plaza
	"Cabaret diva"	2007-02-08
Eartha Kitt was one of the premier jazz cabaret singers of the 20th century. Despite this recording containing little to no information on the recording and musicians at hand, the disc still deserves five stars due to superb sound quality and a great price. Kitt is in peak form on this live set with plenty of sexy phraseology, wit, and charm. Nina Simone had the same kind of flare with audiences as Kitt. The sound quality on this album is outstanding. Recorded live in 1965 at The Plaza, the musical director on this recording is David Saxon. I wish I knew who the sidemen were on these tracks, as they interact well with her on these sets. With vocals as rich and sultry as this, I find myself revisiting "Eartha Kitt in Person at the Plaza" regularly. So sample some of the tracks, read some of these reviews, and see how she suits you. I doubt Eartha will disappoint you.
	Jimmy Smith - Back at the Chicken Shack
	"Down home jazz"	2007-02-07
Jimmy Smith (1925-2005) recorded this classic for Blue Note on April 25, 1960, popularizing the Hammond B-3 electric organ in the process. This is soul-jazz funk music, with its strong relationship to the blues and gospel music. The sidemen on this recording are: Stanley Turrentine (tenor sax), Kenny Burrell (guitar) and Donald Bailey (drums). "Back at the Chicken Shack" was recorded during the same session that the famous "Midnight Special" came out of. The title track on this release is immersed heavily in the blues, made clear by the accent on Jimmy's organ. Track two, "When I Grow Too Old to Dream", showcases Stanley Turrentine reworking a classic Romberg and Hammerstein II title. Track three, "Minor Chant", is an original composition by Turrentine that swings really hard. The track first appeared on Turrentine's album "Look Out" recorded earlier for Blue Note. Smith gets plenty of solo time to share with Stanley's heated solos. Track four, "Messy Bessie", is another heavily blues influenced excursion, this one showcasing Turrentine, Smith and Burrell with respective solos. And track five, the standard "On the Sunny Side of the Street", Smith & Co. execute this one with precision and finesse. This is a well produced, well executed, incredibly enjoyable album from Smith's extensive career. Not owning this album leaves a giant whole in your jazz collections. Digitally transferred by Ron McMaster, this session is crisp and alive. Jimmy Smith's ""Back at the Chicken Shack" easily earns itself five stars in my opinion.
	Bill Frisell, Elvin Jones, Dave Holland - Bill Frisell with Dave Holland and Elvin Jones
	"Beautiful music by Bill Frisell"	2007-02-06
Bill Frisell definitely had a vision when assembling this project, as the entire set possesses a thematic quality not typical of modern jazz innovators. I must admit I had never heard of Frisell prior to the purchase of this album, and it was the sidemen Dave Holland and Elvin Jones that prodded the acquisition. This music is easily accessible by fans outside of the jazz genre, having a bluesy-country-ambient-"swingish" jazz guitar trio thing going on for it. I cannot think of any better way to put it in words. The trio pulls this musical excursion off like the pros that they are, making me a new fan to Frisell's music. Incidentally the album artwork on here is very striking. I'd love to have some back-story to the artwork, as it is very unique. Slow and deceptively melancholy, this classic will surely come to be revisited in the years to come. This album is well worth the price of admission. Enjoy it.
	Joao Gilberto - Amoroso & Brasil
	"Beauty"	2007-02-06
Joao Gilberto (b. 1931) first came on to the scene with his debut album of 1958 titled "Chega de Saudade", introducing a new style of jazz samba called bossa nova. Gilberto is credited as the innovator of the bossa nova sound that sprung to life out of Brazil. We all likely own the 1965 classic Getz/Gilberto album, featuring his then wife Astrud on vocals along with Stan Getz and Antonio Carlos Jobim. This album is good to own because you get two albums for the price of one, Gilberto's "Amoroso" (1976) and "Brasil" (1981). These albums showcase Joao in his prime, vibrant and full of life. "Brasil" is a much more accessible album to listen to than the previous selection, and showcases fellow Brazilian musicians Gilberto Gil and Caetano Veloso. What an album to relax to and forget about life.
	Ornette Coleman Trio - At the "Golden Circle" in Stockholm, Vol. 2
	"Not for everyone"	2007-02-06
Ornette Coleman possesses a sound and approach that is not easily appreciated by all listeners. This album is extremely experimental, defying convention and sometimes even sounding schizophrenic. Such criticism has always been par for the course in the case of Coleman, who developed his own approach to jazz music which he calls "harmolodics". Boiled down, "harmolodics" are the result of an improvisational relationship between artists, where melody and harmony becomes one cohesive unit. The Ornette Coleman Trio at the "Golden Circle" Stockholm, Volume II carries on this tradition of Coleman's avant-garde technique. Prior to this recording, Coleman undertook studying the violin and trumpet in addition to the alto saxophone. Recorded on December 3 & 4th of 1965, Coleman showcases his newly acquired trumpeting and violin skills in Stockholm, Sweden on this album. Accompanied by David Izenzon on bass and Charles Moffett on drums, the music on here reminds one of three impressionist painters contributing to one piece of art. The result is agreeable, though I'll readily admit Ornette Coleman is not for everyone. Please listen to the track previews before buying this album, as they always say more than a review can to you. I recommend this album to Coleman fans and lovers of the early avant-garde, as this work was forward thinking in it's delivery and concept. I hope you enjoy it. The four stars are kind of warning shot for the unsuspecting, though I suspect if you've made it this far you already can dig where Coleman was coming from.
	Taj Mahal - Blues With Feeling * [9/23]
	"Excellent....with a catch"	2007-01-18
Everything about this album is very high quality. Pleasing song choices, a top rate artist, phenomenal sound quality, and the twenty tracks. However, I must rate it at 4 stars because it claims to be "The Very Best of Taj Mahal". This is, better stated, the very best of Taj Mahal throughout the 1990s. Everyone who appreciates fine blues music will easily appreciate this fine sampling of his later works. Despite this not being a sampling of all his works throughout his musical career, this album is a fine selection to own. Many of these tracks highlight Mahal the eclectic, a genius who in later years combined strong elements of jazz, Zydeco, Calypso, reggae and tribal music fusion with his blues. Take the first track, "Senor Blues". This song begins with a bossa nova kind of feeling, with Mahal singing the song with a Latin inflection. Track two, "Don't Call Us", has almost a pop feeling to it, with elements of gospel music somewhere within. Tracks three and four have a much more down-home blues feeling to them. Track five, Betty and Dupree, has strong country blues qualities. The mixture is unique throughout on this album, showing a side of Taj Mahal fans who had not steadfastly followed him throughout his career might not easily recognize. Often I have played these tracks for friends who do not believe me when I tell them it is Taj Mahal. Excellent album for your collection!
	Chick Corea - Now He Sings, Now He Sobs [Bonus Tracks]
	"Masterpiece"	2007-01-15
Ron McMaster did a wonderful remaster job on this 1968 album for Blue Note Records, treating it to a 24-bit resolution transfer and providing a sound quality that is unrivaled by previous releases. If you enjoy great improvised jazz piano in a trio format, you'll be sure to welcome this one as a new addition to your jazz library. With Corea on this occasion are two excellent lifelong sidemen of his, Miroslav Vitous on bass and Roy Haynes on drums. While Corea was not unknown to the world of jazz in 1968, this album did bring him more notoriety and showcased him as a somewhat radical pianist. This album likely played no small role in Miles Davis having brought Corea onboard later that same year to join his quintet. Many of the pieces on this album may seem too abstract for some, perhaps appearing too loose or unstructured. If you do come to such a conclusion, you will at least come to appreciate "Matrix" (now a standard) for its cohesiveness. Personally, I enjoy immensely the free interaction between each artist on this album. The original release of "Now He Sings, Now He Sobs" had five tracks, but this wonderful reissue has 8 bonus tracks making this purchase an obvious win. Outstanding piano improvisation from one of the genre's finest pianists, this album is a must own as much for it's beauty as for its radicalism.
	Jr. Grover Washington - Aria
	"when Jazz met Opera"	2007-01-14
"Aria" is the last album Grover was to make, unexpectedly dying at the young age of 56 in 1999. The Italian term "aria" is most commonly associated with the opera, and what listeners get here are classical compositions with the saxophone doing the storytelling instead of an opera singer. Such explorations are not uncommon in music today, though the devotion of an entire album to this concept is somewhat unusual. For Grover, the classically trained musician that he was, this kind of jazz fusion album was right up his alley. Bob Freedman, of the Orchestra of St. Luke's, arranged and composed all of the selections on this album for Washington, Jr., bringing to the project an expert knowledge of the operatic and classical form. Pianist Billy Childs and bassist Ron Carter accompany Grover as ambassadors from the jazz world on this release. The musicality of the members of the orchestra was particularly professional and emotionally evocative on these dates. The sound quality and clarity is unimpeachable on here, and the album overall is a delight to own.
	João Gilberto - In Tokyo
	"Easygoing performance"	2007-01-14
This is one of the better live recordings of Joao Gilberto, and is a nice companion to the Live in Montreux album released in 1987. He may just be one man with a guitar, but his performances recorded live here at Tokyo International Forum Hall in September 2003 demonstrate Gilberto's vibrancy and easygoing approach toward music. The acoustic nature of the performances can become monotonous at times, but taken in proper doses this is an excellent album. Joao Gilberto in Tokyo belongs on the shelf of bossa nova enthusiasts everywhere.