"There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session -- featuring Thelonious Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. "Bags' Groove" belongs as a cornerstone of all jazz collections." (Lindsay Planer, Allmusic; 5 uit 5 sterren!!)
"In 1956, trumpeter Thad Jones was making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for some smaller labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath's bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. The musicianship being at such a lofty plateau, so intelligently selected and executed, this CD is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding. " (Michael G. Nastos, Allmusic)
`The recording of Cannonball Takes Charge was sandwiched in between two events that would help earn Cannonball Adderley a permanent place in jazz lore. Just the day before the albums first session, he participated in the completion of Miles Daviss seminal Kind of Blue. Five months after Cannonball Takes Charge was finished, he had Riverside producer Orrin Keepnews record his newly formed quintet at the Jazz Workshop in San Francisco which helped launch his career as one of the leading proponents of soul jazz. But what about the album made in between these two momentous occasions? Cannonball Takes Charge s concept was a common one: the altoist is the lone horn in a quartet performing a program made up primarily of standards. The results are anything but routine though, and show that 1959 was a very good year for Cannonball Adderley." (All About Jazz)
"The previously unreleased Modern Jazz Quartet performance from the 1963 Monterey Jazz Festival was first issued in this 1998 CD. The MJQ (vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath and drummer Connie Kay) is heard in typically fine form performing a few standards (including "Mean To Me" and "Bags' Groove"), and a couple of obscurities (Ray Brown's "Pyramid" and Lewis' "Winter Tale") before an appreciative audience. The MJQ always had a timeless sound; their 1963 program does not differ stylistically much from 1958 or 1968, but neither does it sound dated. Easily recommended to fans of the classic group." (Allmusic).
Vier albums uit 1953 en 1954 op twee CD's. Die albums zijn op zichzelf weer samengesteld uit diverse sessies uit die periode, waardoor er een woud aan legendarische muzikanten op dit album te vinden is, waartegenover staat dat er ook uiterst transparante solo- en trio-sessies op te vinden zijn. Alle vier de albums werden en worden hoog gewaardeerd door critici. Vooral "Brilliant Corners" werd een absoluut eikpunt in de jazzhistorie.
"Less heralded than their collaboration with Thelonious Monk this August 1955 session with vibraphonist Milt Jackson was Davis' last all-star collaboration before the formation of his first classic quintet. Davis was entering a new era of leadership and international stardom. Quintet/Sextet is notable for two compositions by Jackie McLean: "Dr. Jackle" and "Minor March". The former is a Charlie Parker-ish line featuring a masterful Milt Jackson symposium on the blues, Davis' typically lyric approach, a tart, spacious flight from McLean, and a soulful, dancing Ray Bryant. The latter is a mysterious minor figure with jabbing rhythm breaks and a joyous bridge that recalls "Tempus Fugit. "Changes" inspires a lovely muted statement from Davis, and illustrates Bryant's unique blend of blues, sanctified gospel, and bebop. Davis and Jackson combine for pungent voicings on the head to "Bitty Ditty," and are completely unfazed by its intricacies." (Allmusic)
"You dont have to be a hard core fan to recognize that Konitz at his best is a wonderfully inspired improviser, and these 54-55 recordings capture him in peak form. His phrasing, attack, and the beautiful flow of ideas will make believers out of any but those who just cant hear what hes after with that tone at all. The only problem I have with early Konitz is that his pianists-including demigod Lennie-often employed very predictable phrasing. Incongruously, these same pianists specialized as composers in pieces of spectacular rhythmic complexity. Much of Ronnie Balls playing here, and his excellent Ronnies Tune and Froggy Day, are offered in evidence. Lees No Splices and Ablution are also musical tongue twisters a la Tristano. Seven tracks feature Peter Ind and Jeff Morton, with Percy Heath and Al Levitt doing duty on three live tracks. Both bassists sound great, both drummers subsidiary". (Jazz Times)
"Considered Kenny Dorham's finest recording of his all-too-short career. This re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers." (Michael G. Nastos, Allmusic)
Na zijn medewerking te hebben verleend aan 'Ascenseur pour l'échafaud' van Miles Davis werd saxofonist Barney Wilen gevraagd om de soundtrack te componeren voor 'Un témoin dans la ville'. Deze verscheen oorspronkelijk op een 10-inch LP. Op de cd is de plaat gecombineerd met het meer free jazz-achtige studioalbum 'Jazz Sur Seine', waarop Wilen samenspeelt met driekwart van het originele Modern Jazz Quartet, plus de Latin-percussie van Gana M'Bow. "Wilen gets more of a chance to stretch out and reveal his swinging, warm tenor tone; Jackson is quite competent as a comping accompanist and in fairly fluent, right-handed bop flurries. A mix of Django Reinhardt tunes and Charles Trénet chansons, a few tunes by Wilen, and the concluding Monk "Epistrophy" make up much of the program, which thoroughly dispels the sinking feeling left by the preceding film music". (Richard S. Ginell, Allmusic).
"What's better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It's a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley's playing on "Waltz for Debby" is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called "Know What I Mean?" Other treats include the sprightly "Toy" and two takes of the Gershwin classic "Who Cares?" The focus here is, of course, on Adderley's excellent post-bop stylings, but it's also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It's hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording." (Rick Anderson, Allmusic)
"Clifford Brown was incredibly influential for someone who died so young. The Fats Navarro-minded trumpeter was only 25 when a car accident claimed his life in 1956, but his influence remained: Freddie Hubbard, Lee Morgan, Woody Shaw, Donald Byrd, and Carmell Jones were among the many trumpet titans who were heavily influenced by Brown. In the early to mid-'50s, Brown kept getting more and more exciting, year by year. That means that when it comes to Brown's CDs, excellent doesn't necessarily mean essential. Recorded in 1953, the material on this 18-track CD isn't quite as essential as some of Brown's work with drummer Max Roach in 1954 and 1955, but is still superb. The trumpet icon is heard at two different sessions. Brown's solos are consistently expressive; he swings unapologetically hard on up-tempo fare, but is quite lyrical on the ballads. One thing all of the performances have in common is a strong Fats Navarro influence." (Alex Henderson, Allmusic)
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