Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 CD

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 songs On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson ...

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 CD music Digitally remastered using 20-bit technology by Ron McMaster. This is part of Blue Note's Limited Edition Connoisseur series. Recorded in 1957, Sonny's Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin' session, nonetheless the set produced some awesome readings of classic tunes, like the opener, "With a Song in My Heart," with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd's that is stunning in its complexity -- though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill's "Speak Low" and "News for Lulu," the latter of which has been adopted by John Zorn as his theme. On the former, Clark's rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane's solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller's next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin' Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark's colors -- which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny's Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late '50s, and one that drew deft, imaginative performances from all its players. ~ Thom Jurek Recorded at the Van Gelder Studio, Hackensack, New Jersey on September 1, 1957. Originally released on Blue Note (81576). Includes liner notes by Leonard Feather. Reissue producer: Michael Cuscuna. Personnel: Sonny Clark (piano); John Coltrane (tenor saxophone); Donald Byrd (trumpet); Curtis Fuller (trombone); Art Taylor (drums). Liner Note Authors: Leonard Feather; Michael Cuscuna. Recording information: New York, NY (10/09/1957); Van Gelder studio, Hackensack, NJ (10/09/1957). Photographer: Francis Wolff. Personnel: Sonny Clark (piano); John Coltrane (tenor saxophone); Donald Byrd (trumpet); Curtis Fuller (trombone); Paul Chambers (bass); Art Taylor (drums). Producer: Alfred Lion.

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 buy CD music Digitally remastered by Phil De Lancie (1991, Fantasy Studios, Berkeley). Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Now reissued on CD in the OJC series, Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson's "Blues March," predating Art Blakey's famous recording. ~ Scott Yanow Recorded in New York, New York on July 2 & 3, 1958. Originally released on Riverside (12-273). Personnel: Blue Mitchell (trumpet); Johnny Griffin (tenor saxophone); Curtis Fuller (trombone); Wynton Kelly (piano); Wilbur Ware (bass); Philly Joe Jones (drums).

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 album for sale Art Pepper was one of the most talented alto saxophonists of his generation, always exploring new ground within the limits of tonality. In essence, he was the photo negative to the emerging avant-garde movement of the early 1960s. Instead of seeking harsh dissonance or harmonic discord, Pepper sought to invoke greater beauty in his music. Pepper's tunes tended to revolve around exquisite melodies and lyrical solos, and INTENSITY is no exception. The saxophonist really shines on "Long Ago (And Far Away)," which is played at a break-neck speed. Conversely, his ballad rendition of "Come Rain or Come Shine" invokes the sadness of a lifetime. Only a player of Pepper's caliber could be versatile enough to enliven things so much on one track, and then reveal such heartbreak on another. This is why INTENSITY is very appropriately named. Note: This CD contains the Pepper-penned blues number "Five Points," an extra track not found on the original record. Originally released on Contemporary (7607). Recorded at Contemporary Records, Los Angeles, California on November 23 & 25, 1960. Includes liner notes by Lester Koenig. Personnel: Art Pepper (alto saxophone); Dolo Coker (piano); Jimmy Bond (bass); Frank Butler (drums).

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 CD music Digitally remastered by George Piros (Atlantic Studios, New York, New York). While Milt Jackson's vibes playing, in both his solo recordings and his work with the Modern Jazz Quartet, could be characterized as sophisticated and cool, it is also lyrical, blues-based, and fiercely swinging. These qualities are front and center on PLENTY, PLENTY SOUL, an all-star session that features arrangements by Quincy Jones, and musical contributions from Cannonball Adderley and Lucky Thompson (saxes), Horace Silver (piano), Art Blakey (drums), and Oscar Pettiford (bass). Under Jones's direction, the songs here have plenty of punch and room for improvisation, and Jones contributes two original compositions, "Boogity Boogity" and "Blues at Twilight." Aside from the Adderley-penned "Sermonette," the rest of the tunes are Jackson's, and display the recognizable complexity, grace, and--yes--soul, of the leader's best work. In addition to Jackson's trademark vibes skills, the focus and intensity of the personnel astonishes--superb rhythm backing, Silver's highly melodic piano solos, and Thompson and Adderley's sax work (by turns lyrical and remarkably athletic) all enhance this classic Blue Note album. Recorded at Coastal Studios, New York, New York on January 5, 1957 and Capitol Studios, New York, New York on January 7, 1957. Includes liner notes by Nat Hentoff. Reissue producer: Bob Porter. Personnel: Milt Jackson (vibraphone); Cannonball Adderley (alto saxophone); Frank Foster , Lucky Thompson (tenor saxophone); Sahib Shihab (baritone saxophone); Joe Newman (trumpet); Jimmy Cleveland (trombone); Horace Silver (piano); Connie Kay, Art Blakey (drums). Audio Remasterer: George Piros. Liner Note Author: Nat Hentoff. Recording information: Capitol Recording Studios, New York, NY (01/05/1957/01/07/1957); Coastal Studios, New York, NY (01/05/1957/01/07/1957). Arranger: Quincy Jones. Personnel: Milt Jackson (vibraphone); Cannonball Adderley (alto saxophone); Frank Foster, Lucky Thompson (tenor saxophone); Sahib Shihab (baritone saxophone); Joe Newman (trumpet); Jimmy Cleveland (trombone); Horace Silver (piano); Percy Heath, Oscar Pettiford (bass); Art Blakey, Connie Kay (drums). Producer: Nesuhi Ertegun.

Modern Art: The Complete Art Pepper Aladdin Recordings - Vol. 2 buy CD music Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. This collection is better than most. The first four titles team together Pepper with tenor saxophonist Warne Marsh, pianist Ronnie Ball, bassist Ben Tucker, and drummer Gary Frommer for generally intriguing explorations of four standards. One can feel the influence of Lennie Tristano (with Pepper in Lee Konitz's place), although Pepper had his own sound and a more hard-swinging style. The success of the Pepper-Marsh front line makes one wish that they had recorded together again. The other three selections are leftovers from a trio of classic Pepper albums, and all are quite worthwhile. Pepper is heard backed by three separate rhythm sections, which include pianists Red Garland, Dolo Coker, or Wynton Kelly; either Paul Chambers or Jimmy Bond on bass; and Philly Joe Jones, Frank Butler, or Jimmy Cobb on drums. Overall, this album sticks to bop standards and finds Art Pepper in top form. ~ Scott Yanow Recorded between 1956 & 1960. Originally released on Contemporary (7630). Personnel: Art Pepper (alto saxophone); Warne Marsh (tenor saxophone); Dolo Coker, Red Garland, Ronnie Ball, Wynton Kelly (piano); Frank Butler, Gary Frommer, Jimmy Cobb , Philly Joe Jones (drums). Liner Note Author: Art Pepper. Recording information: Contemporary's Studio, Los Angeles, CA (11/26/1956-11/23/1960). Unknown Contributor Roles: Dolo Coker; Frank Butler; Gary Frommer; Jimmy Bond; Jimmy Cobb ; Paul Chambers; Philly Joe Jones; Red Garland; Ronnie Ball; Warne Marsh; Wynton Kelly; Ben Tucker. Personnel: Art Pepper (alto saxophone); Wayne Marsh (tenor saxophone); Ronnie Ball, Red Garland, Dolo Coker, Wynton Kelly (piano); Ben Tucker, Paul Chambers, Jimmy Bond (bass); Gary Frommer, Philly Joe Jones, Frank Butler, Jimmy Cobb (drums).