"An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions." (Dave Nathan, Allmusic)
"Nog niet eerder uitgebrachte opnamen van de Thelonious Monk-soundtrack voor de film Les liaisons dangereuses. De mensen achter deze heruitgave noemen de ontdekking van deze banden van grote historische (jazz)betekenis. Deze sessie is op 27 juli 1959 opgenomen. Op twee nummers speelt Barney Wilen mee op tenorsax. Oorspronkelijk sloot Romano een contract met Monk voor de soundtrack. Door persoonlijke omstandigheden was het twijfelachtig of die zijn verplichtingen kon nakomen. Romano regelde daarom dat Art Blakey ook een soundtrack maakte. Door de twee soundtracks hadden Vadim en Romano ruim voldoende muziek voor de film. Bij de film zijn van beide soundtracks gedeeltes gebruikt. De soundtrack van Art Blakey and the Jazz Messengers is wel eerder volledig op CD uitgebracht. De opname van het Thelonious Monk Quintet is bijzonder genoeg. Er bestaan geen andere opnamen waarop Barney Wilen met Monk speelt. Bovendien zijn opnamen met het ritme-duo Sam Jones en Art Taylor zeldzaam." (Ben IJpma, Jazzflits)
Deze 78 minuten lange compilatie bevat het meeste materiaal van de LP's "The Japanese Concerts" en "The Sextet", beide uit 1963. "Although the nine songs on this new Cannonball Adderley reissue were originally done live at concerts in Japan and San Francisco in 1963, they nevertheless make a nice tribute to departed jazz giant Dizzy Gillespie. The assembled group was among the finest Adderley ever led, with Yusef Lateef providing a dynamic, unpredictable third solo voice on flute, tenor sax, and oboe, contrasting with Cannonball's pungent alto sax and Nat Adderley's pithy cornet solos. Bassist Sam Jones and drummer Louis Hayes were a top-flight tandem, while Joe Zawinul was then playing bluesy, funky piano in his pre-synthesizer, Miles Davis/Weather Report phase. Everything is illustrative of a prime band enjoying some great nights." (Ron Wynn, Allmusic)
Uit 1958, met sterbezetting: Miles Davis speelt een paar van z'n mooiste improvisaties als wederdienst voor Cannonball's optreden op 'Kind Of Blue': eigenlijk is Davis hier de bandleider... Verder met o.a. Art Blakey.
"It's easy and perhaps unfair to take any later jazz album by a trendy, "hot" trumpeter and compare it to a classic like Have Trumpet, Will Excite!. Critics and fans have been afforded the luxury of time to weed out half-efforts. Still, even without former knowledge of who Dizzy Gillespie is, Have Trumpet, Will Excite! separates itself from the crowd pretty quickly. Gillespie and the band, seem to say, "We can play old swing tunes, but wouldn't it be cool if we turned them inside out?" This approach, along with sharp solos, gives the material an exciting edge. Gillespie's solo on "St. Louis Blues" just soars, while Les Spann, who plays both flute and guitar on the album, follows him with a bristly guitar solo. Mance offers distinctive piano work that matches Gillespie's enthusiasm on tunes like "Woody 'N' You,". Have Trumpet, Will Excite! more than measures up to its promise and stands as a cornerstone of Gillespie's '50s work."(Allmusic).
"Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones. (...) Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard "Stairway to the Stars," ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on "Sam Sack," "Blue Roz," and "S.K.J." Equally strong are hard-swinging versions of Montgomery's "Jingles" and Benny Golson's "Stablemates." (Alex Henderson, Allmusic).
Heruitgave van het album "Recuerdo" uit 1962 met twee alternatieve versies van "Solar" en "The Little Prince" als bonus tracks. "Joined by an all-star rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Louis Hayes) plus Joe Romano on tenor, flute, and alto, Mangione mostly sticks to bebop on four jazz standards (including Charlie Parker's "Big Foot") and three of his originals. Although only 21 at the time, he holds his own with the illustrious rhythm section and was starting to display his own musical personality". (Scott Yahow, Allmusic).
"This is a most atypical record for Bobby Timmons. Long thought of only as a funky piano player in the style that Ramsey Lewis would later make commercially successful, Timmons could also play prettily, as he does on this ballad-heavy set. There's a little funk here; the up-tempo "Another Live One" sounds like a potential Cannonball Adderley hit (Timmons, bassist Sam Jones, and drummer Roy McCurdy were all once and future Adderley accompanists). But for the most part, Timmons keeps his cool, showing a very strong Bud Powell influence throughout. (Actually, the two solo tracks, "Spring Can Really Hang You Up the Most" and a meditative "God Bless the Child," sound as if Timmons had been listening to Bill Evans' solo records, as the latter in particular has the same rhythmically loose, melodically free style.) The highlights are the three standards. This is an unusual record for Bobby Timmons, but a great one." (Stewart Mason, Allmusic)
"Na Meditations, een plaat met pianist Tete Montoliu, brengt Coleman in 1979 eindelijk een eigen klassieker uit: Amsterdam After Dark. Het is een plaat die barst van de energie, de grote reikwijdte van Colemans spel laat horen en precies zijn positie tussen de modernen en de traditie weergeeft. In het openende titelnummer is bijvoorbeeld een duidelijke verwantschap met A Love Supreme van John Coltrane te horen, maar hoewel Colemans spel inmiddels toch hier en daar de invloed van freejazz draagt is het qua sfeer een totaal andere plaat. Zoals Coleman breeduit lachend op de in de Nederlandse hoofdstad gekiekte hoesfoto staat, zo ademt Amsterdam After Dark rrn opvallend gemoedelijke en optimistische stemming. (...) Op Amsterdam After Dark vindt Coleman de vorm en de stijl die hem het beste past. Hij speelde het liefst met een kwartet, zei hij eens, een bezetting die ruimte biedt om datgene te ontplooien wat Coleman zijn leven lang het meest fascineert: de melodie". (Jazzism)
"One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard. He energized his solo recording career for the Riverside label in the late fifties, and obtained his nickname, The Little Giant, with that eponymously titled LP in 1959." (Allmusic) Op dit album speelt de tenorsaxofonist met o.a. trompettist Blue Mitchell en pianist Wynton Kelly.
Pianist, bekend van Miles Davis' 1955-58-groep. Album uit 1962 met Blue Mitchell (t), Pepper Adams (bt s), Sam Jones (b) en Philly Joe Jones (d). Bop met vaart: Red heeft 'n tintelende, frislichte stijl en krijgt z'n band in eenzelfde mood mee.
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