Stan Getz - Quintets: The Clef & Norgran Studio Albums CD

Quintets: The Clef & Norgran Studio Albums 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 (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn. Award Winner

Quintets: The Clef & Norgran Studio Albums buy CD music The historic live Town Hall sessions by Dizzy Gillespie and Charlie Parker from 1945 have been discovered on an acetate pressing, and are transferred with digital enhancement to CD. Why this concert was not issued initially is understandable, but Ira Gitler's informative and insightful liner notes suggest they likely were misplaced. What Gitler's essential writing also reveals is that these dates were approximate by only weeks to the original studio recordings of these classics, and there was no small amount of controversy surrounding this revolutionary bebop. Clearly bop was a vehicle for intricate melodic invention followed by lengthy soloing, aspects of which Parker with Gillespie were perfectly suited for. Fact is, the situation surrounding the sonic capture and extended neglected shelf life of this performance was far from optimal. Symphony Sid Torin is the M.C., rambling as always, making repeated references to Dizzy "Jillespie" and misidentifying Max Roach as Sid Catlett on "Salt Peanuts." (Catlett does sit in on "Hot House" in a more supportive than demonstrative role.) The tracks with the brilliant Roach are on fire, particularly the super-hot "Salt Peanuts," with pianist Al Haig flying beside him. Haig is perhaps the most impressive musician. The rhythm section, especially Haig, is more present in the mix and up front, while the trumpet and alto sax are buried. As the concert progresses, it gets better, with Gillespie's muted trumpet clearer. Parker lays back on the mike, but not in spirit or bravado for "Interlude," which is now known as "A Night in Tunisia," and better balanced during "Groovin' High," which was originally titled "Whispering." There seems to be an unplanned slight key chance in the bridge of "Groovin' High." A late-arriving Parker was in part replaced by tenor saxophonist Don Byas, who sounds terrific on the opener, "Bebop," until Parker steps on-stage and ups the ante. At under 41 minutes in length, this can be looked upon as a historical document, likely appealing only to completists. But the overriding factor of previously undiscovered Diz and Bird makes the CD something all bebop fans should readily embrace, despite its audio deficiencies. ~ Michael G. Nastos This is a live concert recording of Dizzy and Bird from Town Hall not previously known to have been recorded. With audio restoration by Ted Kendell, the sound is excellent. This is a discovered recording of Dizzy and Bird at bebop's inception - the equiv Recording information: Town Hall, New York, NY (06/22/1945). Photographer: Charles B. Nadell. Personnel: Dizzy Gillespie (trumpet); Dizzy Gillespie; Curly Russell (double bass); Charlie Parker (alto saxophone); Don Byas (tenor saxophone); Al Haig (piano); Max Roach, Big Sid Catlett (drums). Liner Note Authors: Robert E. Sunenblick; Ted Kendall; Ira Gitler.

Quintets: The Clef & Norgran Studio Albums album for sale The second of these albums, Great Jazz Standards, featured a similar band with some notable differences. For one, the inclusion of soprano saxophonist Steve Lacy as a soloist and rhythm sections that included either Dennis Charles or Elvin Jones on drums, Curtis Fuller on trombone, and Budd Johnson on tenor for about half the set. The finer moments here include "Ballad of the Sad Young Men," (a newish tune at the time with a fine piano solo by Evans) John Lewis' "Django," with a truly brilliant and understated solo by Lacy, who also does a commendable job on "Straight No Chaser." Johnson wails on Gil Evans' "La Nevada (Theme)." Evans arrangement of Clifford Brown's "Joy Spring" is also a killer, with his and guitarist Ray Crawford's solos. The Complete Pacific Jazz Recordings is a fine collection issued by Blue Note, which, as part of the Connoisseur Series, is limited and will be out of print again soon. Don't wait. ~ Thom Jurek Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar. The reading of "King Porter Stomp" is the stunner here, with Adderley's solo being a prized moment. There isn't a weak cut in the whole mess though. Other standouts include Fats Waller's "Willow Tree," "Lester Leaps In," with great solos by Wayne and Adderley, the burning finale of Dizzy Gillespie's "Manteca," and Charlie Parker's "Bird Feathers" closing it out. Personnel: Gil Evans (piano); Chuck Wayne, Ray Crawford (guitars); Budd Johnson (clarinet, tenor saxophone); Steve Lacy (soprano saxophone); Cannonball Adderley (alto saxophone); Johnny Coles (trumpet); Curtis Fuller, Jimmy Cleveland (trombone); Elvin Jones, Art Blakey (drums).

Quintets: The Clef & Norgran Studio Albums CD music High quality small-group jazz from the Texas-born guitarist Herb Ellis, accompanied here by a stellar band that includes the pianist Oscar Peterson, the saxophonist Jimmy Giuffre, and trumpeter Harry "Sweets" Edison. Ellis concocts a heady swirl of bebop and blues in a set that blends a majority of originals with a couple of standards, Rodgers and Hart's "Have You Met Miss Jones," and George Gershwin's "Somebody Loves Me." Personnel: Herb Ellis (guitar); Herb Ellis; Jimmy Giuffre (tenor saxophone); Ray Brown (double bass); Charlie Mariano (alto saxophone); Harry "Sweets" Edison (trumpet); Oscar Peterson (piano); Alvin Stoller (drums). Recording information: Hollywood, CA (12/1955-01/1956).

Quintets: The Clef & Norgran Studio Albums buy CD music Arrangers: Bill Holman; Marty Paich. Personnel: Howard Roberts (guitar); Howard Roberts ; Red Mitchell (bass guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Stan Levey (drums); Marty Paich. Recording information: Los Angeles, CA (03/1959).

Quintets: The Clef & Norgran Studio Albums songs After two Blue Note LPs recorded in Europe (his adopted home since 1962), Gordon finally made it back to the States to record this mid-Sixties release. Curiously, the two previously unreleased tunes seem slightly out of place with the rest of the record, and feel more akin to the kind of work Gordon's labelmates were releasing at the time. "Flick of a Trick" is a sultry, walking eight-bar blues, while "Very Saxily Yours," distinguishes itself from the standards here by virtue of its riffing melody and use of hits during the head. Having said that, part of the appeal of Gordon's approach is the way this album is built from standards. There's a sense of getting down to basics, from the passion and depths that can come out in a ballad to the sheer joy of swinging hard on the uptempo tunes. "Le Coiffeur" now sounds a little dated (like the theme from a lost Sixties sitcom), but there's something charming about that, as there is about the loping exuberance of "Shiny Stockings" and the presence of "Manha de Carnaval," a recent movie theme at the time. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on May 28 & 29, 1965. Includes liner notes by Ira Gitler. Personnel: Dexter Gordon (tenor saxophone); Dexter Gordon; Bob Cranshaw (upright bass); Barry Harris (piano); Bobby Hutcherson (vibraphone); Billy Higgins (drums). Audio Remasterer: Rudy Van Gelder. Liner Note Author: Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (05/28/1965-05/29/1965). Personnel: Dexter Gordon (tenor saxophone); Bobby Hutcherson (vibraphone); Barry Harris (piano); Bob Cranshaw (bass); Billy Higgins (drums). Producer: Alfred Lion.