014. Bill Evans, Portrait In Jazz

The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.” Other than introducing Evans’’ “Peri’‘s Scope,” the music is comprised of standards but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as “Come Rain or Come Shine,” “When I Fall in Love” and “Someday My Prince Will Come” (which preceded Miles Davis’’ famous recording by a couple years) are full of subtle and surprising creativity. A gem.

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1. Come Rain Or Come Shine
2. Autumn Leaves
3. Autumn Leaves (Mono)
4. Witchcraft
5. When I Fall In Love
6. Peri’‘s Scope
7. What Is This Thing Called Love
8. Spring Is Here
9. Someday My Prince Will Come
10. Blue In Green (take 3)
11. Blue In Green (take 2)

Format: FLAC/Lossless

Format: MP3/320kbps

168. Larry Carlton, Last Nite

This live set is one of Larry Carlton’‘s best recordings because the guitarist stretches himself. Joined by keyboardist Terry Trotter, bassist Abraham Laboriel, drummer John Robinson and percussionist Alex Acuna (and an occasional three-piece horn section), Carlton plays five- to eight-minute versions of four originals (including “The B.P. Blues”), plus Miles Davis’‘s “So What” and “All Blues.” Recorded at the Baked Potato in North Hollywood in California, Carlton is heard throughout at his very best, making one wonder why he has recorded so few albums of a similar spontaneous nature in his career.

01 So What
02 Don’‘t Give it Up
03 The B.P. Blues
04 All Blues
05 Last Nite
06 Emotions Wounds Us So

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176. John Coltrane, Giant Steps

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’‘s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’‘s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed “sheets of sound.” Coltrane’‘s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre — turning it into the equivalent of easy listening. He wastes no time as the disc’‘s title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of “Countdown” does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral “Naima” was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty. Both Giant Steps [Deluxe Edition] and the seven-disc Heavyweight Champion: The Complete Atlantic Recordings offer more comprehensive presentations of these sessions.

01 - Giant Steps
02 - Cousin Mary
03 - Countdown
04 - Spiral
05 - Syeeda’‘s Song Flute
06 - Naima
07 - Mr. P.C.
08 - Giant Steps [Alternate Take]
09 - Naima [Alternate Take]
10 - Cousin Mary [Alternate Take]
11 - Countdown [Alternate Take]
12 - Syeeda’‘s Song Flute [Alternate Take]

Format:FLAC/Lossless

199. Oscar Peterson, Night Train (Remaster)

Verve’‘s Master Edition of the Oscar Peterson Trio date released as Night Train includes stately covers of blues and R&B standards like “The Honeydripper,” “C-Jam Blues,” “Georgia on My Mind,” “Bags’’ Groove,” “Moten Swing,” and “Things Ain’‘t What They Used to Be.” Ray Brown and Ed Thigpen provide tight accompaniment, and there are six previously unavailable tracks recorded the same day, including “My Heart Belongs to Daddy” and “Volare,” as well as alternate takes of “Happy-Go-Lucky Local” and “Moten Swing.”

NOTE Track 16 is supposed to be incomplete

01 - Happy-Go-Lucky Local
02 - C-Jam Blues
03 - Georgia On My Mind
04 - Bag’‘s Groove
05 - Moten Swing
06 - Easy Does It
07 - The Honeydripper
08 - Things Ain’‘t What They Used To Be
09 - I Got It Bad (And That Ain’‘t Good)
10 - Band Call
11 - Hymn To Freedom
12 - Happy-Go-Lucky Local (Alternative Take)
13 - Volare
14 - My Heart Belongs To Daddy
15 - Moten Swing (Rehearsal Take)
16 - Now’‘s The Time
17 - This Could Be The Start Of Something

Format:MP3/Variable (240kbps avg.)

212. Oscar Peterson With Milt Jackson, Very Tall

This first matchup on records between pianist Oscar Peterson and vibraphonist Milt Jackson was so logical that it is surprising it did not occur five years earlier. Originally recorded for Verve and three decades later reissued on this audiophile CD by Mobile Fidelity, the quartet set (which also includes bassist Ray Brown and drummer Ed Thigpen) swings as hard as one might expect. Highlights include “On Green Dolphin Street,” “The Work Song,” “John Brown’‘s Body” (a jam on “Battle Hymn of the Republic”) and “Reunion Blues.” Fortunately O.P. and Bags would meet up on records many times in the future (particularly during their Pablo years) but this first effort is a particularly strong set.

01 - On Green Dolphin Street
02 - Heartstrings
03 - Work Song
04 - John Brown’‘s Body
05 - A Wonderful Guy
06 - Reunion Blues

Format:MP3/160kbps

213. Oscar Peterson, A Jazz Portrait of Frank Sinatra

Recorded in ‘‘59 and just reissued on CD, this homage is described by pianist Oscar Peterson as “not only a tribute to Frank Sinatra but also my emotional interpretation of the feeling I get when I hear him.” The album was part of a popular five album songbook set of the music of various songwriters and singers, all recorded in the same year.
Smartly and very concisely arranged by Peterson, all the tunes on A Jazz Portrait of Frank Sinatra are associated with the vocalist widely considered to be the best male interpreter of the American popular song. And like Sinatra, they all swing and show a deep love of rich melody and intelligent lyrics. On “Come Dance With Me” and “Witchcraft,” for example, Peterson and his trio mates hold the famous melodies very tightly to their chests, allowing the listener to practically sing along as they play chorus after chorus. On “Just in Time” and “You Make Me Feel So Young,” the master pianist demonstrates his exquisite timing.

Peterson’‘s renditions, however, are generally a little too faithful to the originals. And like Sinatra’‘s singing style, he takes no risks. It is only on “All of Me” and “How About You?” that Peterson begins to employ his considerable chops and improvise, but only for a very brief period. The solos end before they have barely begun.

A Jazz Portrait of Frank Sinatra is an easy-listening jazz album perfect for candlelit dinners. Expertly remastered in 24-bit digital transfer, the sound quality is very good. While it’‘s a highly listenable album, I only wish that Peterson, bassist Ray Brown and drummer Ed Thigpen had chosen to push the envelope on these classic tunes with more improvisational embellishment.

Track listing:
You Make Me Feel So Young
Come Dance With Me
Learnin’’ the Blues
Witchcraft
The Tender Trap
Saturday Night
Just in Time
It Happened in Monterrey
I Get a Kick Out of You
All of Me
Birth of the Blues
How About You?

Personnel: Oscar Peterson: piano; Ray Brown: bass; Ed Thigpen: drums. Published: December 26, 2004

Format:MP3/160kbps

027. Bill Evans And Jim Hall, Intermodulation

The second of two recorded duets by pianist Bill Evans and guitarist Jim Hall has been reissued as a 31-minute CD; its brevity may be considered a shortcoming by some. Actually, the quality generally makes up for the lack of quantity, for Evans and Hall often thought alike musically and these six lyrical performances (only “The Jazz Samba” is taken at a medium tempo) are generally quite haunting. Most memorable is “My Man’‘s Gone Now” and “Turn Out the Stars.”

01-I’‘ve Got You Under My Skin
02-My Man’‘s Gone Now
03-Turn Out The Stars
04-Angel Face
05-Jazz Samba
06-All Across The City

Format: FLAC/Lossless
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042. Keith Jarrett, My Song

In addition to his solo piano concerts and the American group he led that featured tenor saxophonist Dewey Redman, Keith Jarrett was also busy in the mid-’‘70s with his European band, a quartet comprised of Jan Garbarek on tenor and soprano, bassist Palle Danielsson, and drummer Jon Christensen. Due to the popularity of the haunting “My Song,” this album is the best known of the Jarrett-Garbarek collaborations and it actually is their most rewarding meeting on record. Jarrett contributed all six compositions and the results are relaxed and introspective yet full of inner tension.

01 - Questar
02 - My Song
03 - Tabarka
04 - Country
05 - Mandala
06 - The Journey Home

Format: MP3/192kbps
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058. Shelly Manne And His Friends, My Fair Lady

This trio set by Shelly Manne & His Friends (consisting of the drummer/leader, pianist André Previn, and bassist Leroy Vinnegar) was a surprise best-seller and is now considered a classic. Previn (who is really the main voice) leads the group through eight themes from the famous play, including “Get Me to the Church on Time,” “I’‘ve Grown Accustomed to Her Face,” “I Could Have Danced All Night,” and “On the Street Where You Live.” A very appealing set that is easily recommended; an audiophile version has also been released on CD by DCC Jazz.

01 - Get Me to the Church on Time
02 - On the Street Where You Live.
03 - I’‘ve Grown Accustomed to Her Face.
04 - Would’‘t it Be Loverly
05 - Ascot Gavotte
06 - Show Me
07 - With a Little Bit of Luck
08 - I Could Have Danced All Night

Format: MP3/Variable (192 avg)\
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074. Herbie Hancock, Maiden Voyage

Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it’‘s arguably his finest record of the ‘‘60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it’‘s clear that Miles’’ subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group’‘s provocative, unpredictable solos, tonal textures, and harmonies. While the quintet takes risks, the music is lovely and accessible, thanks to Hancock’‘s understated, melodic compositions and the tasteful group interplay. All of the elements blend together to make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist, and composer.

01 - Maiden Voyage
02 - The Eye Of The Hurricane
03 - Little One
04 - Survival Of The Fittest
05 - Dolphin Dance

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248. Shelly Manne & His Men, At The Blackhawk Vol.1-5

Shelly Manne’‘s Quintet was recorded extensively at San Francisco’‘s Black Hawk club for three nights in 1959. Although not the most significant group that the drummer led, this edition (with trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Victor Feldman, and bassist Monty Budwig) was certainly capable of playing high-quality bebop. Originally their output was released on four LPs; the reissue expanded the music to five CDs. The first volume adds an alternate take of Frank Rosolino’‘s “Blue Daniel” to a set that includes swinging versions of “Blue Daniel,” “Poinciana,” “Our Delight,” and “Summertime.” The extended performances are easily recommended to straight-ahead jazz fans.

...

Unlike the first four volumes of this series, which included three or four selections previously released plus a “new” alternate take, the final CD of the extensive documentation of the Shelly Manne Quintet’‘s stint at the Black Hawk club consists entirely of previously unreleased material. Fortunately, the performances by trumpeter Joe Gordon, tenor saxophonist Richie Kamuca, pianist Russ Freeman, bassist Monty Budwig, and the drummer/leader are the same high level as on the more familiar material. They perform obscure songs by Horace Silver (has anyone else ever recorded his “How Deep Are the Roots?”) and Victor Feldman in addition to a trio feature on “Wonder Why,” the ballad “This Is Always,” and a new version of the band’‘s theme song, “A Gem From Tiffany.”

Format: MP3/320kbps (680mb)
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257. Jim Hall, Commitment

There is lots of variety on this CD reissue, which features guitarist Jim Hall in several different settings. He has separate duets with pianist Don Thompson (Hoagy Carmichael’‘s delightful “One Morning In May”), his wife Jane Hall (who sings “When I Fall In Love”), pianist Tommy Flanagan, and drummer Terry Clarke. He also overdubs acoustic and electric guitars on his solo “Down the Line,” teams up with pianist Flanagan and flugelhornist Art Farmer on two duets, and uses a slightly larger group on “Lament for a Fallen Matador,” a Don Sebesky adaptation of a classical piece that has the haunting voice of Joan LaBarbara. Overall, there is plenty of intriguing music on this recommended set.

01 - Walk Soft
02 - One Morning In May
03 - Lament For A Fallen Matador
04 - Down The Line
05 - When I Fall In Love
06 - My One And Only Love
07 - Bermuda Bye Bye
08 - Indian Summer

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345. Keith Jarrett, Standards Vol.1

In January of 1983, Keith Jarrett returned to the trio format and his collaboration with bassist Gary Peacock and drummer Jack DeJohnette resulted in three albums. The first release finds the trio digging into five standards with “God Bless the Child” being dragged out (although not unmercifully) for 15 minutes. The performances, which usually do not swing in a conventional sense, do have a momentum of their own. Jarrett is generous in allocating solo space to Peacock and it is obvious that the three musicians were listening very closely to each other.

01 - Meaning Of The Blues
02 - All The Things You Are
03 - It Never Entered My Mind
04 - The Masquerade Is Over
05 - God Bless The Child

Format:MP3/256kbps
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028. Bill Evans, Conversations With Myself

A classic of its kind. For this Verve project, Conversations With Myself, Bill Evans recorded three piano parts via overdubbing. Aptly titled, the music on this CD reissue has a surprising amount of spontaneity, with Evans constantly reacting to what he had just recorded, and the results are sometimes haunting. The highlights include “How About You,” “The Love Theme From ‘‘Spartacus,” “Blue Monk,” and “Just You, Just Me.”

Format: Lossless
Files:
CDImage.cue
CDImage.flac

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049. Gary Burton, Duster

This CD reissue is quite important and in some ways can be considered one of the first fusion records. Vibraphonist Gary Burton had just added the young rock/blues guitarist Larry Coryell to his quartet (which also included bassist Steve Swallow and drummer Roy Haynes), and Coryell’‘s influence can be felt throughout the performances. Highlights include Michael Gibbs’’ “Sweet Rain,” Swallow’‘s “General Mojo’‘s Well Laid Plan,” Coryell’‘s exploratory and speedy “One, Two, 1-2-3-4” and Carla Bley’‘s “Sing Me Softly of the Blues.” Although Burton’‘s basic sound had not changed during from the previous year, his openness toward other styles made his Quartet one of the most significant jazz groups of the period. This was the first of the four Burton-Coryell recordings. This important set was reissued on a 1997 Koch CD.

Format:MP3/320kbps

01 - Ballet
02 - Sweet Rain
03 - Portsmouth Figurations
04 - General Mojo’‘s Well Laid Plan
05 - One, Two, 1-2-3-4
06 - Sing Me Softly Of The Blues
07 - Liturgy
08 - Response

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