Chico Hamilton - Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success CD

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success buy CD music 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 (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. ...

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success CD music Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio meeting with Ben Webster), and "What It's All About," another potent blues. Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio. Sadly, no alternate takes or unissued numbers (at least two of which exist) have been added to this long anticipated reissue. ~ Ken Dryden Recorded at United Recorders, Hollywood, California on November 17, 1959. Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Mel Lewis (drums). Liner Note Author: Nat Hentoff. Recording information: United Recorders, Hollywood, CA (11/17/1959). Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Buddy Clark (bass); Mel Lewis (drums). Digi-Pak

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success songs Lee Morgan was only a tender 19 years of age when he led this 1957 Blue Note date, but his technique surpassed most of the more seasoned trumpeters on the scene. Technically agile and possessed of a bright, clear tone (he clearly belongs to the lineage of Dizzy Gillespie), Morgan shines on CITY LIGHTS, and his sidemen--including saxophonist George Coleman, trombonist Curtis Fuller, and bassist Paul Chambers--are no slouches either. Strong writing from jazz composer Benny Golson makes this a thoroughly enjoyable hard bop session. Personnel: Lee Morgan; Curtis Fuller, George Coleman, Paul Chambers, Ray Bryant, Art Taylor.

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success album for sale Composer and arranger Gary McFarland was well-known in the 1960s for his film-scoring abilities and his charting skills with mid-sized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, all but two of which were written specifically for the album. Recorded in 1966, it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillist school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet on half the record, and with a wind trio with harp on the other half. The tracks on Side One are, in some ways, less revolutionary yet more fulfilling, because Kuhn is clearly at home with the sonorities afforded by the strings. They don't swing, even on "One I Could Have Loved," from the film 13, or "St. Tropez Shuttle," a strangely metered bossa tune (in three/four instead of four/four). Kuhn's cautious, contemplative improvising concerns itself with scalar explorations of melody, color, and harmony, rather than rhythm or modal considerations. His touch is light and airy and therefore most pronouncedly visible against the strings. The interplay between Carter and Morell is almost instinctual; they couldn't have moved any closer together on this set if the charts had been written for them -- and they were not. With the wind trio and harp, Kuhn's approach is more physical, but nonetheless, he strives to create a palette for the very instruments that are trying to create one for him. There is some tension in this approach, but it works to the record's advantage. In sum, October Suite was an experiment that worked beautifully, even if it was not acknowledged as being one of the more subtly brilliant albums of its day, though it most certainly stands the test of time that way. ~ Thom Jurek Recorded in New York, New York on October 14 & November 1, 1966. Originally released on Impulse (9136). Personnel includes: Steve Kuhn (piano); Gary McFarland (arranger, conductor) Ron Carter (bass); Marty Morell (drums). Digipak

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success CD music A founding member of the vocal quartet Manhattan Transfer and now an established solo artist as well, Janis Siegel steps out as a leader on the Telarc label for a second time with a program that couldn't be more different from her last effort. Where I Wish You Love found her delivering jazz-inflected renditions of classic pop tunes, on Friday Night Special she leads an organ/tenor quartet through a set of more obscure material. Hammond organist Joey DeFrancesco provides powerful support throughout, but is tastefully (and a bit uncharacteristically) self-effacing in his playing; tenor saxophonist Houston Person, drummer Buddy Williams, and alternating guitarists Peter Bernstein and Russell Malone round out the quartet. Siegel shines brightest on the slow ballads and the sultry torch numbers; her rendition of Eddy Arnold's "You Don't Know Me" is especially effective, as are her takes on "I Just Dropped By to Say Hello" and the Harold Arlen composition "Ill Wind." She's a bit less convincing as a straight blues vocalist, and her tepid version of "My, How the Time Goes By" threatens to derail the proceedings early on. But by the end of the program, when she kicks into a delightful and surprisingly uptempo arrangement of "Misty," she has proved all over again why she's one of America's favorite jazz singers. Recommended. ~ Rick Anderson Includes liner notes by Joel Dorn. Buddy Williams (drums). Personnel: Peter Bernstein , Russell Malone (guitar); Houston Person (tenor saxophone); Buddy Williams (drums). Audio Mixer: Gene Paul. Liner Note Author: Joel Dorn. Recording information: DBPlus (09/04/2002/09/05/2002); Sear Sound Studios, New York, NY (09/04/2002/09/05/2002). Photographer: John Abbott . Personnel: Janis Siegel (vocals); Houston Person (temor saxophone); Joey DeFrancesco (Hammond B-3 organ); Peter Bernstein, Russell Malone (guitar);

Jazz and Orchestral Themes Recorded for the Soundtrack of The Sweet Smell of Success buy CD music Although in his mid-60s, Duke Ellington proves on this program of mostly new music that he never declined nor lost his creativity. Four of the pieces comprise "The Virgin Islands Suite," and there are new versions of "Things Ain't What They Used to Be" and "Chelsea Bridge," and also a variety of miniature classics. In 1965 the Ellington orchestra had 11 very distinctive soloists; eight are heard from during this memorable set. ~ Scott Yanow Recording information: Virgin Islands (04/14/1965). Personnel: Duke Ellington (piano); Paul Gonsalves (tenor saxophone); Cat Anderson (trumpet). Liner Note Authors: Leonard Feather; Stanley Dance.