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Originally recorded in 1965, and released piecemeal on other collections (ONE FOR ONE and MOSAIC SELECT), the sessions for PAX didn't appear in their entirety until 2006. The revered pianist Andrew Hill is in superb company here, with Joe Henderson, Freddie Hubbard, Richard Davis, and Joe Chambers on board to help carve out slices of unique, knotty post-bop. Hill is a master of merging the best elements of the avant garde and the mainstream, and the too-long-shelved PAX is proof positive of that skill. Better a Blue Note gem late than never.
Photographer: Francis Wolff.
Personnel: Andrew Hill (piano); Andrew Hill; Joe Henderson (saxophone, tenor saxophone); Richard Davis (upright bass); Freddie Hubbard (cornet); Joe Chambers (drums).
Liner Note Author: Michael Cuscuna.
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Purchase Pax CD To buy, Click on price to add to cart | Bobby Hutcherson Oblique CD (1967) Remastered
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Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest). The latter is especially true on the two opening Hutcherson pieces, the sweetly lilting "'Til Then" and the innocent, childlike theme of "My Joy," which is reminiscent ...
| | Thelonious Monk At Carnegie Hall CD (2005)
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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 ...
| | Booker Ervin Tex Book Tenor CD (2005)
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Tex Book Tenor was recorded in 1968 as a follow-up to Booker Ervin's debut date for Blue Note, The In Between, which was released in January of the same year. (Ervin had made two records for Pacific Jazz, which is now owned, like Blue Note, by EMI.) The album remained unreleased until 1976, when it was issued with an also unreleased Horace Parlan date on a double LP called Back from the Gig. This is its first appearance on CD. The lineup is stellar and includes Billy Higgins, Woody Shaw, Kenny Barron, and bassist Jan Arnet from Czechoslovakia. Barron and Ervin had worked together before, and Arnet had worked with Ervin three years earlier as a touring partner in Germany. The music here includes three Ervin originals, Barron's wonderful "Gichi," and Shaw's "In a Capricornian Way." The Afro-Latin-influenced grooves of "Gichi" display Ervin playing his solo in prime snake-charmer mode. His own "Den Tex" is classic hard bop with Barron and Ervin going head to head throughout. "Lynn's Tune" is a beautiful midtempo ...
| | Andrew Hill Andrew! CD (1964) Bonus Tracks
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ANDREW! finds the avant-garde composer and pianist Andrew Hill following up his landmark 1964 LP, POINT OF DEPARTURE, with a more flowing quintet session, featuring the estimable vibraphonist Bobby Hutcherson and Sun Ra tenor saxophonist John Gilmore (in a rare appearance outside of the Arkestra). This is the Blue Note sound of the '60s at its best, cutting edge yet beautifully produced with room enough for full, exploratory improvisations by all concerned. Hutcherson in particular provides a warm, fluent foil to Hill's more abstract conceptions, and Gilmore's bright tone and energetically structured solos bring even more fire to the mix. Andrew Hill remained somewhat underrated throughout his career, but few musicians of the time possessed his special intellectual integrity, ...
| | Jackie McLean Consequence CD (1965)
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| | Paul Desmond From The Hot Afternoon CD (2000)
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Digitally remastered by Slai Chi (Universal Mastering Studios-East).
Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless -- until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, ...
| | Tavares Best Of: Revisited CD (1994) (Import) Import; Canada
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| | Essential Mahalia Jackson CDs (2004) Remastered
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Recorded between 1954 & 1968. Includes liner notes by Horance Clarence Boyer.
Mahalia Jackson rewrote the rules for singing gospel in the late '40s by bringing blues phrasing and other secular elements into sacred song, and with her powerful alto, she sang with an immediacy and conviction that are still startling when they break out of the speakers some 30 years after her death. This two-disc set collects tracks from Jackson's long stay at Columbia Records, as well as a few tracks from her previous label, Apollo Records, where she recorded from 1947 until signing with Columbia in 1954. What makes this set feel like more than a greatest-hits collection is the inspired sequencing, which doesn't move chronologically but instead is paced like a concert, helped by the placement of key live tracks, including several from her historic appearance at the 1958 Newport Jazz Festival. Highlights are almost too many to mention, but her elegant ...
| | Ella Fitzgerald Like Someone In Love CD (1957) Japan
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