Duke Pearson - Mosaic Select 8 [3 CD, 2003/FLAC]

 

The Mosaic Select series continues -- having released eight impressive volumes n the calendar year 2003 -- this being the last, it's a provocative set in that it compiles five Duke Pearson albums from 1968-1970, all of them centered around his "exotic period: The Phantom, Merry Ole Sole, How Insensitive, It Could Only Happen With You, and I Don't Care Who Knows It. In addition, it places all of those recording sessions in their proper chronological order and includes two completely unreleased tracks.

 

Art Taylor - Taylor's Wailers (1957/2012/FLAC)

Five of the six selections on this CD reissue feature drummer Art Taylor in an all-star sextet of mostly young players comprised of trumpeter Donald Byrd, altoist Jackie McLean, Charlie Rouse on tenor, pianist Ray Bryant, and bassist Wendell Marshall. Among the highpoints of the 1957 hard bop date are the original version of Bryant's popular "Cubano Chant" and strong renditions of two Thelonious Monk tunes ("Off Minor" and "Well, You Needn't") cut just prior to the pianist/composer's discovery by the jazz public. Bryant is the most mature of the soloists, but the three horn players were already starting to develop their own highly individual sounds. The remaining track (a version of Jimmy Heath's "C.T.A.") is played by the quartet of Taylor, tenor saxophonist John Coltrane, pianist Red Garland, and bassist Paul Chambers and is a leftover (although a good one) from another session.

• Art Taylor - drums
• Donald Byrd (#1,3-6) - trumpet
• Jackie McLean (#1,3-6) - alto saxophone
• Charlie Rouse (#1,3-6), John Coltrane (#2) - tenor saxophone
• Ray Bryant (#1,3-6), Red Garland (#2) - piano
• Wendell Marshall (#1,3-6), Paul Chambers (#2) - bass

Recorded at the Van Gelder Studios, Hackensack, NJ on February 25 (#1,3-6) and March 22 (#2), 1957.

01. Batland (Sears) - 9:53

02. C.T.A. (Heath) - 4:44

03. Exhibit A (Sears) - 6:15

04. Cubano Chant (Bryant) - 6:36

05. Off Minor (Monk) - 5:38

06. Well, You Needn't (Monk) - 8:01 

Larry Carlton - The Warner Albums (2020/FLAC)

 

A hugely successful guitarist and composer, Larry Carlton emerged from the Los Angeles studio scene of the late '60s, eventually becoming a popular contemporary jazz artist in his own right. Noted for his lithe technique, sweet-toned, blues-inflected sound, and distinctive use of volume pedals, Carlton first came to prominence as a member of crossover jazz and R&B outfit the Crusaders. From there, he developed into an in-demand session player, recording on up to 500 albums a year and appearing on over 100 gold albums. His studio credits from the '70s and early '80s include work with musicians and groups like Steely Dan, Joni Mitchell, Michael Jackson, Sammy Davis, Jr., Herb Alpert, Quincy Jones, Bobby Bland, Dolly Parton, Linda Ronstadt, and literally dozens of others. Although he recorded a number of LPs under his own name as early as 1968, he didn't land a major-label contract until 1978, when he signed with Warner Bros. and began a long stretch of releasing his own albums. Along the way he also expanded into film and television work, and picked up his first of four Grammy Awards for his work on the Hill Street Blues theme. With over 30 of his own albums and a regular touring schedule, Carlton remains a well-respected, highly sought-after performer.

A native of Torrance, California, Carlton began taking guitar lessons when he was six. His first professional gig was at a supper club in 1962. After hearing Joe Pass on the radio, he was inspired to play jazz and blues. Wes Montgomery and Barney Kessel became important influences soon after he discovered the jazz guitar stylings of Pass. B.B. King and other blues guitarists had an impact on Carlton's style as well. He honed his guitar-playing skills in the clubs and studios of greater Los Angeles while he attended a local junior college and Long Beach State College for a year until the Vietnam War ended. Carlton toured with the Fifth Dimension in 1968 and began doing studio sessions in 1970. His early session work included studio dates with pop musicians like Vikki Carr, Andy Williams, and the Partridge Family.

Carlton delivered his self-titled debut for Warner Bros. in 1978, shortly after he was recognized for his groundbreaking guitar playing on Steely Dan's Royal Scam album. (Carlton contributed the memorable guitar solo on "Kid Charlemagne.'')

He released four more albums for Warner Bros., Strikes Twice (1980), Sleepwalk (1981), Eight Times Up (1982), and the Grammy-nominated Friends (1983), before parting ways with the label. Also during this period, he branched out into writing for TV and films, composing music for Against All Odds, Who's the Boss, and the theme for Hill Street Blues. The latter won a Grammy Award in 1981 for Best Pop Instrumental Performance.

 

Jess Stacy - Chronogical Classics 1935-1956 (3 CD, 1994-2007/FLAC)

 One of the Swing Era’s piano greats who isn’t as well known today as those named above was Jess Stacy. Stacy was born in Missouri in 1904 and grew up in Cape Girardeau on the Mississippi River. At 14, Stacy was captivated by the music played on riverboats arriving from New Orleans and eventually played with Bix Beiderbecke in the 1920s and other artists and bands in the 1930s. He joined Benny Goodman in the mid-1930s, playing with the band at the famed Palomar Ballroom concert in 1935 and at Carnegie Hall in 1938. Stacy, who was influenced by Hines and Wilson, left Goodman in the early 1940s, rejoined in ’42 before leaving for Tommy Dorsey. He moved to Los Angeles in the ’50s but left the music business after being heckled by a drunk in a small club. For a time, he was married to singer Lee Wiley.

 

Jackie McLean discography [1957-1993]

 Jackie McLean (May 17, 1931 – March 31, 2006) has long had his own sound, played slightly sharp and with great intensity; he is recognizable within two notes. McLean was one of the few bop-oriented players of the early ’50s who explored free jazz in the ’60s, widening his emotional range and drawing from the new music qualities that fit his musical personality.

The son of guitarist John McLean (who played guitar with Tiny Bradshaw), Jackie started on alto when he was 15. As a teenager he was friends with such neighbors as Bud Powell, Thelonious Monk, and Sonny Rollins. He made his recording debut with Miles Davis in 1951 and the rest of the decade could be considered his apprenticeship. McLean worked with George Wallington, Charles Mingus, and Art Blakey’s Jazz Messengers (1956-1958). He also participated on a string of jam session-flavored records for Prestige and New Jazz which, due to the abysmal pay and his developing style, he later disowned. Actually they are not bad but pale in comparison to McLean’s classic series of 21 Blue Note albums (1959-1967). On sessions such as One Step Beyond and Destination Out, McLean really stretches and challenges himself; this music is quite original and intense yet logical. McLean also appeared as a sideman on some sessions for Blue Note (most notably with Tina Brooks, acted in the stage play The Connection (1959-1961), and led his own groups on a regular basis. By 1968, however, he was moving into the jazz education field and other than some SteepleChase records from 1972-1974 (including two meetings with his early idol Dexter Gordon) and an outing for RCA (1978-1979), McLean was less active as a player during the ’70s. However in the ’80s Jackie McLean returned to a more active playing schedule (sometimes with his son René McLean on tenor), recording for Triloka, Antilles, and most recently (with a renewed relationship) with Blue Note — without losing the intensity and passion of his earlier days.

Jackie McLean-(1957)- Lights Out

Jackie McLean-(1958)- McLean's Scene

Jackie McLean-(1959)- New Soil

Jackie McLean-(1959)- Swing, Swang, Swingin'

Jackie McLean-(1960)- Capuchin Swing

Jackie McLean-(1960)- Jackie's Bag

Jackie McLean-(1960)- Makin' The Changes

Jackie McLean-(1961)- A Fickle Sonance

Jackie McLean-(1961)- Bluesnik

Jackie McLean-(1962)- 4, 5 & 6

Jackie McLean-(1962)- Let Freedom Ring

Jackie McLean-(1963)- Destination Out

Jackie McLean-(1963)- One Step Beyond

Jackie McLean-(1967)- New And Old Gospel

Jackie McLean-(1968)- 'Bout Soul

Jackie McLean-(1970)- Demon's Dance (rec in 1967)

Jackie McLean-(1972)- Live at Montmartre

Jackie McLean-(1973)- A Ghetto Lullaby

Jackie McLean-(1979)- Tippin' The Scales (rec in 1962)

Jackie McLean-(1980)- Vertigo (rec in 59 & 63)

Jackie McLean-(1986)- A Long Drink Of The Blues (rec in 1957)

Jackie McLean-(1989)- Plays Fat Jazz (live 1957)

Jackie McLean-(1993)- The Complete Blue Note 1964-66 Jackie McLean Sessions

Jackie McLean-(1993)- The Jackie Mac Attack Live (rec in 1991)

The Complete OKeh And Brunswick Bix Beiderbecke, Frank Trumbauer And Jack Teagarden Sessions (1924-36) (7 CD, 2001/FLAC)

 

This seven-CD limited-edition box set from Mosaic can be evaluated two different ways. Usually Mosaic concentrates on reissuing timeless music that is rare, but that really is not true with the great majority of these 165 selections, which are readily available elsewhere. The Bix Beiderbecke selections are on Sunbeam CDs, the Frankie Trumbauer sessions have been put out by Old Masters, and Jack Teagarden's dates have been reissued by Classics. There are a few scarce alternate takes (only one not out before), two numbers from 1924 by Lanin's Arkansaw Travelers (included because of Trumbauer's solos), and a couple sessions nominally under the leadership of altoist Gil Rodin (notable for Teagarden's playing), but otherwise the music is easy to acquire elsewhere. However, that reservation aside, there are so many classics included in this deluxe set that this box deserves the highest rating anyway. Other than the Lanin numbers, the box really begins in 1927 with the Trumbauer session that resulted in "Singin' the Blues," which has the most famous recorded solos by Bix and Tram. Beiderbecke was at the peak of his powers in 1927. His cornet playing was simply beautiful and he had a very original tone, full of inner heat and thoughtful beauty. His playing on the Trumbauer dates of 1927-1928 and his own Dixieland-ish sets (Bix & His Gang) were among the top moments of 1920s jazz. These include such classics as "Clarinet Marmalade," "I'm Coming Virginia," his piano solo "In a Mist," and "Royal Garden Blues." Even his decline in 1929 (which includes occasional clams) is worth hearing. While Beiderbecke disappears completely near the beginning of the fourth disc (replaced by Andy Secrest), Trumbauer is heard on most of the selections, leading dates through 1936. A master of the soon-to-be-extinct C-melody sax, Trumbauer was one of jazz's first great saxophone soloists and an influence on both Benny Carter and Lester Young. His sessions gradually evolve from classic jazz to swing, and even with a few novelty numbers, the post-Beiderbecke dates are mostly of strong interest. Teagarden, whose arrival in New York in 1928 found him immediately being recognized as jazz's top trombone soloist in addition to being considered a fine blues-oriented vocalist, is heard with Rodin and leading dates of his own during 1930-1934, before he became a sideman in Trumbauer's later sessions (during a period when they were both regularly employed with the Paul Whiteman Orchestra). In addition to the principals, along the way such major performers as clarinetist Jimmy Dorsey, guitarist Eddie Lang, violinist Joe Venuti, bass saxophonist Adrian Rollini, clarinetist Pee Wee Russell, Bing Crosby (on his most jazz-oriented sides), Johnny Mercer, tenors Eddie Miller and Bud Freeman, pianist Fats Waller, Benny Goodman, and trumpeter Charlie Teagarden (Jack's younger brother) make significant contributions to the music. Listeners who do not already own this music and want a large slice of late-'20s/early-'30s jazz history should acquire this valuable box while they can. 

 

Sam Rivers & The Rivbea Orchestra - Trilogy : Mosaic Select 38 (3 CD, 2011/FLAC)

 

By the time Sam Rivers was able to document his orchestral writing in 1974 (on the Impulse album "Crystals") at the tender age of 51, he was best known for leading a magnificent, purely improvised trio devoid of all written music. But composition was (and is) as much a part of his incessantly fertile mind as improvisation.

His densely-layered and beautifully voiced multi-sectional orchestra pieces burn with an intensity that never forsakes the music's beauty. Rivers seamlessly integrates improvisation into the written score. Solos are distributed democratically as effective, concise statements.
In 1992, Rivers moved to Orlando, Florida where he quickly formed another powerful improvising trio and set about seeking personnel to form an orchestra for the music that he was constantly writing. After two all-star albums for RCA Records in 1998 ("Inspiration" and "Culmination"), recorded in New York, an Orlando edition of the Rivbea Orchestra started to emerge.

Drawn from teachers and students at surrounding colleges, frustrated members of various Walt Disney World aggregations and retired veterans of orchestras like Tommy Dorsey and Woody Herman, Sam Rivers crafted a first-class orchestra to realize his music. In 2005, he issued the new Rivbea Orchestra's first recording "Airora" on his own Rivbea label.

When we heard the album, we called Sam to offer our jaw-dropping praise, he told us essentially there is plenty more where that came from and set about sifting through hours of studio and live recordings to cull the three CDs of previously unreleased material contained in this set. The results are forward-thinking and electrifying.

CD1 - Offering:

01. Spice (8:52)
02. Ganymede (9:05)
03. Crux (8:13)
04. Aura (15:48)
05. Perkin (9:39)
06. Pulsar (14:13)

CD2 - Progeny:
01. Robyn (6:21)
02. Cindy (5:47)
03. Monique (6:45)
04. Traci (5:10)
05. Iisha (4:43)
06. Tamara (5:21)
07. Tiffany (5:41)
08. Jessica (7:32)
09. Destiny (6:54)

CD3 - Edge:
01. Ridge (10:28)
02. Brink (11:05)
03. Precipice (9:29)
04. Verge (10:32)
05. Point (10:13)
06. Visions (11:39)
07. Pulsar (8:25)

CD1:
Sam Rivers (soprano sax, tenor sax),
Jeff Rupert (1st alto sax)
Chris Charles (2nd alto sax)
David Pate (1st tenor sax)
George Weremchuk (2nd tenor sax)
Brian Mackie (baritone sax)
Tom Parmenter (1st trumpet),
Brian Scanlon (2nd trumpet)
Mike Iapichino (3rd trumpet)
David Jones (4th trumpet)
Keith Oshiro (1st trombone)
Tito Sanchez (2nd trombone)
Steve Smith (3rd trombone)
Josh Parsons (4th trombone, tuba)
Doug Mathews (bass)
Rion Smith (drums).
Recorded live at the Plaza Theatre, Orlando, Florida on November 12, 2008

CD2:
Sam Rivers (tenor sax),
Jeff Rupert (1st alto sax)
Chris Charles (2nd alto sax)
Charlie DeChant (1st tenor sax),
George Weremchuk (2nd tenor sax)
Brian Mackie (baritone sax)
Tom Parmenter (1st trumpet)
Brian Scanlon (2nd trumpet),
Mike Iapichino (3rd trumpet)
David Jones (4th trumpet)
Keith Oshiro (1st trombone)
David Sheffield (2nd trombone)
Claire Courchene (3rd trombone)
Josh Parsons (4th trombone, tuba)
Doug Mathews (bass)
Rion Smith (drums)
Recorded at Sonic Caldron Studios, Casselberry, Florida on February 27, 2008

CD3:
Sam Rivers (soprano sax)
Jeff Rupert (1st alto sax)
Chris Charles (2nd alto sax)
Charlie DeChant (1st tenor sax)
David Pate (2nd tenor sax)
Brian Mackie (baritone sax)
Tom Parmenter (1st trumpet)
Brian Scanlon (2nd trumpet)
Mike Iapichino (3rd trumpet)
David Jones (4th trumpet)
Keith Oshiro (1st trombone)
David Sheffield (2nd trombone),
Steve Smith (3rd trombone)
Josh Parsons (4th trombone, tuba)
Doug Mathews (bass)
Rion Smith (drums)
Recorded live at the Plaza Theatre, Orlando, Florida on April 8, 2009

Tony Williams discography [1964-2007/FLAC]

 

Tony Williams' death in 1997 of a heart attack after routine gall bladder surgery was a major shock to the jazz world. Just 51, Williams (who could be a very loud drummer) seemed so youthful, healthy, and ageless even though he had been a major drummer for nearly 35 years. The open style that he created while with the Miles Davis Quintet in the mid- to late '60s remains quite influential, and he had a long list of accomplishments during the decades that followed. Williams' father, a saxophonist, took his son out to clubs that gave him an opportunity to sit in; at 11, the youngster already showed potential. He took lessons from Alan Dawson, and at 15 was appearing at Boston-area jam sessions. During 1959-1960, Williams often played with Sam Rivers, and in December 1962 (when he was barely 17), the drummer moved to New York and played regularly with Jackie McLean. Within a few months he joined Miles Davis, where his ability to imply the beat while playing quite freely influenced and inspired the other musicians; together with Herbie Hancock and Ron Carter he was part of one of the great rhythm sections. Williams, who was 18 when he appeared on Eric Dolphy's classic Out to Lunch album, stayed with Davis into 1969, leading his own occasional sessions and becoming a household name in the jazz world.

In addition to his interest in avant-garde jazz, Tony Williams was a fan of rock music, and when he left Miles he formed the fusion band Lifetime, a trio with Larry Young and John McLaughlin. After leading other versions of Lifetime (one of them starring Allan Holdsworth), Williams stuck to freelancing for a time, studied composition, and toured with Herbie Hancock's V.S.O.P. band. By the mid-'80s, he was heading his own all-star hard bop group which featured Wallace Roney as a surrogate Miles Davis and a repertoire dominated by the drummer's originals (including the standard "Sister Cheryl"). After breaking up his longtime quintet in 1995, Williams gigged a bit with a trio, recorded a very interesting set of original music for the Ark 21 label, and seemed to have a limitless future. His premature death makes one grateful that he started his career early and that he was extensively documented. 

1964- Tony Williams - Life Time (1998)

1965- Tony Williams - Spring (2000)

1969- The Tony Williams Lifetime - Emergency!

1971- The Tony Williams Lifetime - Ego (1999)

1971- The Tony Williams Lifetime - Ego (2015)

1972- The Tony Williams Lifetime - The Old Bum's Rush

1976- The New Tony Williams Lifetime - Million Dollar Legs

1997- Tony Williams - The Joy Of Flying

2007- The Tony Williams Lifetime - Turn It Over

Ella Fitzgerald - The Singles (3 CD, 2017/FLAC)

 

This 3-CD set presents the complete 1954-62 singles by the great Ella Fitzgerald. Prior to 1956, complete sessions were devoted to singles, however, following that, only a few tunes from each date would be released as singles, and the remainder would be issued on the new LP format. The classic singles featured here were released on the Decca and Verve labels. Ella is accompanied on these tracks by all-star studio orchestras conducted by Nelson Riddle, Frank DeVol, Marty Paich, and Paul Weston, among others. The outstanding 1954 Ella duets with pianist Ellis Larkins were originally issued both as singles and on the then new LP format. 

 

Blue Note Works 4000-4100 series [4041-4050]

 

...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###



BN.4041- Tina Brooks- 1960- True Blue {RVG Remaster}
BN.4042- Horace Silver- 1960- Horace-Scope {RVG Remaster}
BN.4043- Horace Parlan- 1960- Speakin' My Piece
BN.4044- The Three Sounds- 1960- Moods
BN.4045- Freddie Redd- 1960- Shades of Redd {RVG Remaster}
BN.4046- Duke Jordan- 1960- Flight To Jordan {RVG Remaster}
BN.4047- Art Taylor- 1960- A.T.'s Delight {RVG Remaster}
BN.4048- Donald Byrd- 1960- Byrd in Flight
BN.4049- Art Blakey & The Jazz Messengers- 1960- A Night In Tunisia {RVG Remaster}
BN.4050- Jimmy Smith- 1959- Home Cookin' {RVG Remaster}