Nancy Wilson – Something Wonderful
Posted by dOk | Filed under 1960, Jazz
Nancy Wilson was only 23 years old when this superb album was recorded, yet her soulful, distinctive alto voice sounds as seasoned and sensitive to nuance as a singer twice her age. Overshadowed by the simultaneous release of The Swingin’s Mutual (one of Wilson’s most popular jazz recordings), and overlooked in her subsequent move to the pop and R&B markets, Something Wonderful is a quintessential slice of Wilson’s early–and arguably most significant–work. There is a laid-back, subtle swing to the orchestral work here (courtesy of celebrated big-band arranger Billy May), and Wilson’s readings of the tunes are never overpowered by bombastic playing. Even better is the inclusion of several small-ensemble cuts–like the gently grooving “I Wish You Love,” and the heartbreaking story-song “Guess Who I Saw Today”–which feature Ben Webster on tenor and Jack Marshall on guitar. Through all of this, of course, Wilson’s charming, seemingly off-handed delivery and blues-steeped timbre make each tune float and shimmy with grace. (cduniverse)
Tracklist
01. Teach Me Tonight
02. This Time The Dream’s On Me
03. I’m Gonna Laugh You Right Out My Life
04. I Wish You Love
05. Guess Who I Saw Today
06. If Dreams Come True
07. What A Little Moonlight Can Do
08. The Great City
09. He’s My Guy
10. Something Happens To Me
11. (They Call It) Stormy Monday
12. Something Wonderful Happens
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Donald Byrd – Byrd in Flight
Posted by dOk | Filed under 1960, Jazz
By the time of this fourth Blue Note album by trumpeter Donald Byrd, it became clear that his playing was becoming stronger with the passing of time. This album features separate studio sessions from January and July of 1960 with constants Duke Pearson on piano and drummer Lex Humphries. Bassists Doug Watkins and Reggie Workman split duties six tracks to three, as do tenor saxophonist Hank Mobley and alto saxophonist Jackie McLean, making for some interesting sonic combinations, although Byrd is the dominant voice. Several of these selections are penned by Byrd, but it is pianist Pearson who contributes four of the most potent compositions on Byrd in Flight, supplying the wings for these quintet recordings to take off with.
Personnel: Donald Byrd (trumpet); Jackie McLean (alto saxophone); Hank Mobley (tenor saxophone); Duke Pearson (piano); Reggie Workman, Doug Watkins (bass); Lex Humphries (drums).
Tracklist
01. Ghana
02. Little Boy Blue
03. Gate city
04. Lex
05. Bo
06. My Girl Shirl
07. Child’s Play
08. Carol
09. Soulful Kiddy
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Sonny Red – Out Of The Blue
Posted by dOk | Filed under 1960, Jazz
Sonny Red, a fine altoist inspired by Charlie Parker and Jackie McLean, never really made it in jazz, and some of his recordings are rather uninspired. However, that does not hold true for his Blue Note album, which has been reissued on this 1996 CD along with five previously unissued selections. Red, who is joined by pianist Wynton Kelly, either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums, never sounded better on records. He performs mostly little-known standards (along with six of his originals) and displays a fair amount of originality and a great deal of potential that was never really fulfilled. Recommended. (allmusic)
Personnel: Sonny Red (alto saxophone); Paul Chambers (bass); Sam Jones (bass); Jimmy Cobb (drums); Roy Brooks (drums); Wynton Kelly (piano).
Tracklist
01. Bluesville
02. Stay As Sweet As You Are
03. I’ve Been In Love Before
04. Nadia
05. Blues In The Pocket
06. Alone Too Long
07. The Lope
08. Stairway To The Stars
09. Crystal
10. Lost April
11. You’re Sensational
12. Blues For Kokee
13. You’re Driving Me Crazy
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Tina Brooks – Back To The Tracks
Posted by dOk | Filed under 1960, Jazz
Back to the Tracks is an album by hard-bop tenor Tina Brooks recorded in 1960 and released posthumously. The tracks first appeared on a Mosaic 12″ LP (MR4-106) entitled The Complete Blue Note Recordings of The Tina Brooks Quintets. The album was originally intended as BLP 4052, but, for some reason, it was shelved at the time. Only on January 27, 1998, Rudy Van Gelder decided to release the session in its entirety on a remastered Blue Note CD (purple cover, Blue Note 21737), then reissued in 2006 (green cover, BST 84052). Both editions are now out-of-print. A song recorded during the session, “David the King”, was rejected since it “never made it to releasable quality”. Said piece, however, made it to Brooks’ final recording for Blue Note, The Waiting Game.
Personnel: Tina Brooks (tenor saxophones); Kenny Drew (piano); Paul Chambers (bass); Art Taylor (drums); Blue Mitchell (trumpet); Jackie MCLean (alto saxophone).
Tracklist
01. Back To The Tracks
02. Street Singer
03. The Blues and I
04. For Heaven’s Sake
05. The Ruby And The Pearl
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The Incredible Jimmy Smith – Crazy! Baby
Posted by dOk | Filed under 1960, Jazz
Unlike most of the Jimmy Smith recordings from the era, this CD reissue (which adds “If I Should Lose You” and “When Lights Are Low” to the original LP program) features organist Jimmy Smith’s regular group (rather than an all-star band). With guitarist Quentin Warren and drummer Donald Bailey completing the trio, Smith is heard in peak form on swinging and soulful versions of such tunes as “When Johnny Comes Marching Home,” “Makin’ Whoopee,” “Sonnymoon for Two,” and “Mack the Knife.” Despite claims and some strong challenges by others, there has never been a jazz organist on the level of Jimmy Smith.
Personnel: Jimmy Smith (organ); Quentin Warren (guitar); Donald Bailey (drums).
Tracklist
01. When Johnny Comes Marching Home
02. Makin’ Whoopee
03. A Night In Tunisia
04. Sonnymoon For Two
05. Mack The Knife
06. What’s New
07. Alfredo
08. If I Should Lose You
09. When Lights Are Low
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Tina Brooks – True Blue
Posted by dOk | Filed under 1960, Jazz
With a strong, smooth tone and an amazing flow of fresh ideas every time he soloed, tenor saxophonist Tina Brooks should have been a major jazz artist, but his legacy is confined to a series of dates that he did for Blue Note as a sideman and leader. “True Blue” is the only album under his own name to come out in his lifetime. He and Freddie Hubbard had recorded Hubbard’s “Open Sesame” a week earlier. Based on these two albums alone, Brooks should have been recognized as an important new voice in jazz. This CD adds to two alternate takes to the original LP.
Personnel: Tina Brooks (tenor saxophone); Tina Brooks; Sam Jones (double bass); Freddie Hubbard (trumpet); Duke Jordan (piano); Art Taylor (drums).
Tracklist
01. Good Old Soul
02. Up Tight’s Creek
03. Theme For Doris
04. True Blue
05. Miss Hazel
06. Nothing Ever Changes My Love For You
07. True Blue (Alternate Take)
08. Good Old Soul (Alternate Take)
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The Three Sounds – Moods
Posted by dOk | Filed under 1960, Jazz
The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter’s “Love for Sale” to Harris’ original “Tammy’s Breeze.” Like its predecessor, Feelin’ Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on “On Green Dolphin Street,” the hep swing of “Loose Walk,” and the infectious cover of Ellington’s “I’m Beginning to See the Light.” Occasionally, the Three Sounds play it a little too cool — while the slow, relaxed “Things Ain’t What They Used to Be” manages to be engaging, “Li’l Darlin’” slows down to a crawl — but on the whole, Moods is an endearing collection of appealing mainstream jazz.
Tracklist
01. Love For Sale
02. Things Ain’t What They Used To Be
03. On Green Dolphin Street
04. Loose Walk
05. Li’l Darlin’
06. I’m Beginning To See The Light
07. Tammy’s Breeze
08. Sandu
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John Coltrane – Coltrane Jazz
Posted by dOk | Filed under 1960, Jazz
John Coltrane’s work on Atlantic Records marked both his ascent as a leader and the refinement of his trademarked “sheets of sound” improvisational style. This 1961 release features Trane with a variety of celebrated bandmates: pianists Sonny Rollins, Wynton Kelly, and McCoy Tyner, bassists Steve Davis and Paul Chambers, and drummers Lex Humphries, Jimmy Cobb, and Elvin Jones. Stylistically, Trane spans some diverse musical territory. There’s his down-home and hypnotic takes on the blues, “Village Blues” and the Thelonius Monk-like “Harmonique.” Coltrane and his crew poetically and rhythmically remake the standard “My Shining Hour,” and “Like Sonny,” a shout-out to Sonny Rollins, is a dancing Afro-Latin excursion. This date offers a preview of the important music that Coltrane, Tyner, and Jones would unleash in a few years before the saxophonist’s death in 1967.
Personnel: John Coltrane (tenor saxophone); Wynton Kelly, McCoy Tyner, Cedar Walton (piano); Paul Chambers, Steve Davis (bass); Jimmy Cobb, Lex Humphries, Elvin Jones (drums).
Tracklist
01. Little Old Lad
02. Village Bluesy
03. My Shining Hour
04. Fifth House
05. Harmonique
06. Like Sonny
07. I’ll Wait And Pray
08. Some Other Blues
09. Like Sonny (Alternate Take)
10. I’ll Wait And Pray (Alternate Take)
11. Like Sonny (Alternate Take 5)
12. Village Blues (Alternate Take)
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Stanley Turrentine with The Three Sounds – Blue Hour: The Complete Sessions
Posted by dOk | Filed under 1960, Jazz
Stanley Turrentine & the Three Sounds were initially featured together on an album called Blue Hour, which was a very relaxed and bluesy release. The spaciousness of “I Want a Little Girl” makes the listener savor every note, while “Gee Baby, Ain’t I Good to You” is played with an almost identical tempo and feeling. Gene Harris’ “Blue Riff” picks up the pace a good bit, before “Since I Fell for You” and “Willow Weep for Me” once again slow the proceedings back to a late-night feeling. Turrentine’s tenor sax is in top form, while Harris is the consummate blues pianist in his supporting role. After the first CD reissue of Blue Hour went out of print, it was expanded into a two-CD set by Blue Note, with eight new unissued or alternate takes added on the second disc. It is apparent right away that the original producer Alfred Lion was correct in withholding most of these recordings from release. As well as Turrentine plays during “Blues in the Closet,” the rhythm section seems a bit stiff. Harris’ piano is too much in the background on “Just in Time,” while the pianist’s composition “Blue Hour” doesn’t seem to be fully formed as a blues vehicle. “Strike Up the Band” is the one truly up-tempo recording present on this release, but probably wasn’t issued previously because it is faded prematurely and it was so different from the producer’s concept for the originally conceived release. Regardless, since both Stanley Turrentine and Gene Harris passed away within a year of each other in 2000, having additional music made available featuring these two fine musicians is most welcome.
Personnel: Stanley Turrentine (tenor saxophone); Gene Harris (piano); Andrew Simpkins (bass); Bill Dowdy (drums).
Tracklist
CD1
01. I Want a Little Girl
02. Gee Baby, Ain’t I Good To You
03. Blue Riff
04. Since I Fell For You
05. Willow Weep For Me
CD2
01. Blues In The Closet
02. Just In Time
03. Gee Baby, Ain’t I Good To You
04. Where or When
05. Blue Hour
06. There Is No Greater Love
07. Alone Together
08. Strike Up The Band
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Eric Dolphy – Far Cry
Posted by dOk | Filed under 1960, Jazz
The complete original album Far Cry (Prestige/New Jazz 8270), featuring Eric Dolphy in a quintet format with another star who passed away before his time, trumpeter Booker Little. Among the many highlights are an outstanding version of the Billie Holiday-Mal Waldron ballad “Left Alone” and Dolphy’s unaccompanied alto sax reading of “Tenderly”. As a bonus, two tunes originally issued under the name the Jazz Artists Guild, both of which were recorded on the same date on November 1, 1960, and each featuring one of the stars of Far Cry: Dolphy on “T’Ain’t Nobody’s Business if I Do”, and Little on “Cliff Walk”.
Personnel: Eric Dolphy (alto saxophone, flute, bass clarinet); Booker Little (trumpet); Jaki Byard (piano); Ron Carter (bass); Roy Haynes (drums).
Tracklist
01. Mrs. Parker Of K.C. (Bird’s Mother)
02. Ode To Charlie Parker
03. Far Cry
04. Miss Ann
05. Left Alone
06. Tenderly
07. It’s Magic
08. Serene
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Art Taylor – A.T.’s Delight
Posted by dOk | Filed under 1960, Jazz
Despite being a mainstay on many a Prestige and Blue Note session in the 1950s and ’60s, jazz drummer Art Taylor didn’t get much of the spotlight. That makes albums like Delight all the more valuable for lovers of the hard-bop drumming style (i.e., Philly Joe Jones, Max Roach). With the soulful tenor sax of Stanley Turrentine and the clean, spare swing of pianist Wynton Kelly coloring the ride, this disc more than lives up to its title.
Personnel: Art Taylor (drums); Stanley Turrentine (tenor saxophone); Dave Burns (trumpet); Wynton Kelly (piano); Paul Chambers (bass instrument); Carlos “Patato” Valdes (congas).
Tracklist
01. Syeeda’s Song Flute
02. Epistrophy
03. Move
04. High Seas
05. Cookoo and Fungi
06. Blue Interlude
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Stanley Turrentine – Look Out!
Posted by dOk | Filed under 1960, Jazz
Although he is best known for his bluesy soul-jazz outings, tenor saxophonist Stanley Turrentine’s first Blue Note session as a leader was a much more traditional bop affair, and the resulting album, Look Out!, featuring a rhythm section of Horace Parlan on piano, George Tucker on bass, and Al Harewood on drums, shows as much artful restraint as it does groove. Not that this is a bad thing, since it allows Turrentine’s big, clear tone to shine through in all its muscular sweetness, giving Look Out! a wonderful and flowing coherence. Among the highlights here are the pretty ballad “Journey Into Melody” and the gently funky “Little Sheri.”
Personnel: Stanley Turrentine (tenor saxophone); Stanley Turrentine; George Tucker (bass instrument); Horace Parlan (piano); Al Harewood (drums).
Tracklist
01. Look Out
02. Journey Into Melody
03. Return Engagement
04. Little Sheri
05. Tiny Capers
06. Minor Chant
07. Tin Tin Deo
08. Yesterdays
09. Little Sheri (45 Version)
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Sam Jones – The Soul Society
Posted by dOk | Filed under 1960, Jazz
Bassist Sam Jones’ debut as a leader resulted in one of his finest recordings, Jones is well featured on bass while the other four numbers find him playing very effective cello. The uncredited arrangements for the groups are uniformly excellent and there is solo space for cornetist Nat Adderley, trumpeter Blue Mitchell, Jimmy Heath on tenor, baritonist Charles Davis, and pianist Bobby Timmons. The repertoire is superior, too, with highlights including the debut of Adderley’s “The Old Country,” a fine jam on “Just Friends,” Keter Betts’ “Some Kinda Mean,” Jones’ bowing on “Home,” and Bobby Timmons’ “So Tired.” Actually all eight selections are memorable on this highly recommended disc.
Personnel: Sam Jones (cello, bass); Jimmy Heath (tenor saxophone); Charles Davis (baritone saxophone); Nat Adderley (cornet); Blue Mitchell (trumpet); Bobby Timmons (piano); Keter Betts (bass); Louis Hayes (drums).
Tracklist
01. Some Kinda Mean
02. All Members
03. The Old Country
04. Just Friends
05. Home
06. Deep Blue Cello
07. There Is No Greater Love
08. So Tired
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Horace Parlan – Speakin’ My Piece
Posted by dOk | Filed under 1960, Jazz
Another fine jazz pianist from Pittsburgh, Horace Parlan has excelled in styles both straight-ahead (Stanley Turrentine) and edgy (Charles Mingus). He’s a swinging, melodious hard bop player with subtle shades of blues in his approach, which perfectly suits 1960′s Speakin’ My Piece. Piece is a mellow blues-tinged bop quartet session featuring the soulful, agile, massive-toned tenor sound of fellow Pittsburgh expatriate Turrentine. There’s nothing too rambunctious here, just some dandy earthy jazz to relax and unwind to.
Tracklist
01. Wadin’
02. Up In Cynthia’s Room
03. Borderline
04. Rastus
05. Oh So Blue
06. Speakin’ My Piece
07. Rastus (Alternate Take)
08. Oh So Blue (Alternate Take)
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Wayne Shorter Albums!
Posted by dOk | Filed under 1959, 1960, 1962, 1964, 1965, 1966, 1967, 1969, 1970, 1974, 1985, 1986, 1988, 1995, 2002, 2003, 2005, Discography, Jazz
Though some will argue about whether Wayne Shorter’s primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz’s leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-’50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter’s influence as a player, stemming mainly from his achievements in the 1960s and ’70s, has been tremendous upon the neo-bop brigade who emerged in the early ’80s, most notably Branford Marsalis. As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.
for more info and buy check: vervemusicgroup.com/wayneshorter
1959 – Introducing Wayne Shorter
Tracklist
01. Blues A La Carte
02. Harry’s Last Land
03. Down In The Depths
04. Pug Nose
05. Black Diamond
06. Mack The Knife
07. Blues A La Carte (Alternate Take)
08. Harry’s Last Stand (Alternate Take)
09. Down In The Depths (Alternate Take)
10. Black Diamond (Alternate Take)
1960 – Second Genesis
Tracklist
01. Ruby & The Pearl
02. Pay As You Go
03. Second Genesis
04. Mr.Chariman
05. Tenderfoot
06. The Albatross
07. Getting To Know You
08. I Didn’t Know What Time It Was
1962 – Wayning Moments
Tracklist
01. Black Orpheus (Take 4)
02. Devil’s Island (Take 8 )
03. Moon Of Manakoor (Take 2)
04. Dead-End (Take 8 )
05. Wayning MOments (Take 2)
06. Powder Keg (Take 5)
07. All Or Nothing At All (Take 3)
08. Callaway Went That A Way (Take 3)
09. Black Orpheus (Take 3)
10. Devil’s Island (Take 7)
11. Moon Manakoor (Take 1)
12. Dead End (Take 7)
13. Wayning Moments (Take 3)
14. Powder Keg (Take 1)
15. Callaway Wen That A Way (Take 1)
1964 – Juju
Tracklist
01. Juju
02. Deluge
03. House Of Jade
04. Mahjong
05. Yes Or No
06. Twelve More Bars To Go
07. Juju (Alternate Take)
08. House Of Jade (Alternate Take)
1964 – Night Dreamer
Tracklist
01. Night Dreamer
02. Oriental Folk Song
03. Virgo
04. Black Nile
05. Charcoal Blues
06. Armageddon
07. Virgo (Alternate Take)
1964 – Speak No Evil
Tracklist
01. Witch Hunt
02. Fee-Fi-Fo-Fum
03. Dance Cadaverous
04. Speak No Evil
05. Infant Eyes
06. Wild Flower
07. Dance Cadaverous (Alternate Take)
1965 – Etcetera
Tracklist
01. Etceter
02. Penelope
03. Toy Tune
04. Barracudas (General Assembly)
05. Indian Song
1965 – The All Seeing Eye
Tracklist
01. The All Seeing Eye
02. Genesis
03. Chaos
04. Face Of The Deep
05. Mephistopheles
1965 – The Soothsayer
Tracklist
01. Lost
02. Angola
03. The Big Push
04. The Soothsayer
05. Lady Day
06. Valse Triste
07. Angola (Alternate Take)
1966 – Adam’s Apple
Tracklist
01. Adam’s Apple
02. 502 Blues
03. El Goucho
04. Footprints
05. Teru
06. Chief Crazy Horse
07. The Collector
1967 – Schizophrenia
Tracklist
01. Tom Thumb
02. Go
03. Schizophrenia
04. Kryptonite
05. Miyako
06. Playground
1969 – Super Nova
Tracklist
01. Super Nova
02. Sweet Pea
03. Dindi
04. Water Babies
05. Capricorn
06. More Than Human
1970 – Moto Grosso Feio
Tracklist
01. Moto Grosso Feio
02. Montezuma
03. Antigua
04. Vera Cruza
05. Iska
1970 – Odyssey of Iska
Tracklist
01. Wind
02. Storm
03. Calm
04. De Pois Do Amor o Vazio
05. Joy
1974 – Native Dancer
Tracklist
01. Ponta De Areia
02. Beauty And The Beast
03. Tarde
04. Miracle Of The Fishes
05. Diana
06. From The Lonely Afternoons
07. Ana Maria
08. Lilia
09. Joanna’s The Theme
1985 – Atlantis
Tracklist
01. Endangared Species
02. The Three Marias
03. The Last Silk Hat
04. When You Dream
05. Who Goes There!
06. Atlantis
07. Shere Khan, The Tiger
08. Criancas
09. On The Eve Of Departure
1986 – Phantom Navigator
Tracklist
01. Condition Rend
02. Mahogany Bird
03. Remote Control
04. Yamanjia
05. Forbidden, Plan-It!
06. Flagships
1988 – Joy Ryder
Tracklist
01. Joy Rider
02. Cathay
03. Over Shadow Hill Way
04. Anthem
05. Causeways
06. Daredevil
07. Someplace Called Where
1995 – High Life
Tracklist
01. Children Of The Night
02. At The Fair
03. Maya
04. On The Milky Way Express
05. Pandora Awakened
06. Virgo Rising
07. High Life
08. Midnight In California
09. Black Swan (In Memory Of Susan Portlynn Rome)
2002 – Footprints Live!
Tracklist
01. Santuary
02. Masequelero
03. Valse Trist
04. Go
05. Aung San Suu Kyi
06. Footsprints
07. Atlantis
08. Juju
2003 – Alegria
Tracklist
01. Sacajawea
02. Serenata
03. Vendiendo Alegria
04. Bachianas Brasileras No.5
05. Angola
06. Interlude
07. She Moves Through The Fair
08. Orbits
09. 12Th Century Carol
10. Capricorn II
2005 – Beyond the Sound Barrier
Tracklist
01. Smilin’ Through (Arthur Penn)
02. As Far As The Eye Can See
03. On Wings Of Song
04. Tinker Bell
05. Joy Ryrder
06. Over Shadow Hill Way
07. Adventures Aboard The Golden Mean
08. Beyond The Sound Barrier
Wayne Shorter – Second Genesis
Posted by dOk | Filed under 1960, Jazz
The second of tenor saxophonist Wayne Shorter’s three Vee Jay LPs, Second Genesis has five of Shorter’s quirky originals plus the obscure “The Ruby and the Pearl” (from a ’50s movie) and a pair of standards. Joined by a particularly strong rhythm section (pianist Cedar Walton, bassist Bob Cranshaw and drummer Art Blakey), Shorter sounds quite distinctive on the advanced hard bop material.
Personnel: Wayne Shorter (tenor saxophone); Cedar Walton (piano); Bob Cranshaw (bass); Art Blakey (drums).
Tracklist
01. Ruby & The Pearl
02. Pay As You Go
03. Second Genesis
04. Mr.Chariman
05. Tenderfoot
06. The Albatross
07. Getting To Know You
08. I Didn’t Know What Time It Was
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Ornette Coleman – This Is Our Music
Posted by dOk | Filed under 1960, Jazz
This landmark 1960 album from the Ornette Colemen Quartet, continued to hint at the dimension to which Coleman was headed. “This Is Our Music” featured a line-up of Coleman on sax, Don Cherry on trumpet, Charlie Haden on bass, and Ed Blackwell on drums.
With two landmark albums already under its belt, the Ornette Coleman Quartet spent nearly a year out of the studio before reconvening for This Is Our Music. This time, Billy Higgins is replaced on drums by Ed Blackwell, who has a similar knack for anticipating the ensemble’s direction, and proves a more fiery presence on tracks like “Kaleidoscope” and “Folk Tale.” The session is also notable for containing the only standard (or, for that matter, the only non-original) Coleman recorded during his tenure with Atlantic — Gershwin’s “Embraceable You,” which is given a lyrical interpretation and even a rather old-time, sentimental intro (which may or may not be sarcastic, but really is pretty). In general, though, Coleman disapproved of giving up his own voice and viewed standards as concessions to popular taste; as the unapologetic title of the album makes clear, he wanted to be taken (or left) on his own terms. And that word “our” also makes clear just how important the concept of group improvisation was to Coleman’s goals. Anyone can improvise whenever he feels like it, and the players share such empathy that each knows how to add to the feeling of the ensemble without undermining its egalitarian sense of give and take. Their stark, thin textures were highly distinctive, and both Coleman and Cherry chose instruments (respectively, an alto made of plastic rather than brass and a pocket trumpet or cornet instead of a standard trumpet) to accentuate that quality. It’s all showcased to best effect here on the hard-swinging “Blues Connotation” and the haunting “Beauty Is a Rare Thing,” though pretty much every composition has something to recommend it. All in all, This Is Our Music keeps one of the hottest creative streaks in jazz history going strong.
Tracklist
01. Blues Connotation
02. Beauty Is a Rare Thing
03. Kaleidoscope
04. Embraceable You
05. Poise
06. Humpty Dumpty
07. Folk Tale
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Dizzy Reece – Comin’ On!
Posted by dOk | Filed under 1960, Jazz
With less than a dozen recordings available on which Dizzy Reece was a leader, the appearance of this previously unreleased album by the talented trumpeter is cause for celebration. A Jamaican who came to New York via London, Reece released several albums in England during the mid-1950s that led to his 1958 Blue Note debut on Blues in Trinity. He followed with Star Bright in 1959, played congas on Art Blakey’s Africaine, and in April 1960 laid down the first five tracks of this CD using the Jazz Messenger’s rhythm section. The session is notable not only for marking the Blue Note debut of tenor saxophonist Stanley Turrentine, but also for including “Achmet”–an unusual, percussive tune Reece based on an Algerian theme–and “The Case of the Frightened Lover,” which showcases his skill as a composer of catchy melodies. The four remaining tracks, from a July 1960 session, have as their highlight a sublime Reece solo on a subdued quartet’s reading of the standard “The Things We Did Last Summer.”
Tracklist
01. Ye Olde Blues
02. The Case Of The Frightened
03. Tenderly
04. Achmet
05. The Story Of Love
06. Sands
07. Comin’ On
08. Goose Dance
09. The Things We Did Last Summer
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Kenny Drew – Undercurrent
Posted by dOk | Filed under 1960, Jazz
The only Blue Note recording under Kenny Drew’s leadership and the last to be released under his name for a thirteen-year period, during which time the pianist would relocate to Europe, “Undercurrent” is a strong outing by the gifted pianist, composer and session leader. In the latter capacity, his job is made especially easy by a frontline of Hank Mobley and Freddie Hubbard, whose instant compatibility had been established just weeks earlier on Mobley’s sterling “Roll Call” (Blue Note, 1960). Moreover, the rhythm team of bassist Sam Jones and drummer Louis Hayes had become one of the more efficient power plants in jazz as regular members of Cannonball Adderley’s Quintet at the peak of its popularity.
“Undercurrent” has nothing as viscerally infectious as the Adderley’s “Sack O’ Woe” from the same year but is an admirable program of Drew originals, ranging from the modal, streaming title piece to the self-descriptive “Funk-Cosity” to “Lion’s Den,” a welcome change of mood and pace, to the beboppish “The Pot’s On,” an elliptical melody that yields to the reassuringly warm inventiveness at which Mobley has few if any peers.
If none of the tunes is strikingly original or memorable, the same might be said of Drew’s otherwise superlative post-Powell piano work. Certainly among the highlights is the opening title tune. Drums and bass walk off eight bars at a flaming tempo, Drew adds a running baroque figure for the next eight, tenor and trumpet harmonize in thirds for the next sixteen then play in unison over a pedal tone for eight more, finally re- harmonizing in thirds for the last eight before Mobley’s tenor is suddenly ejected into the jet stream for the first solo. The latter player is simply masterful on this and each of his solo turns, clearly at the very top of his game during the same year that produced his masterpiece, “Soul Station.” Hubbard, the comparative newcomer, isn’t as fluent as Mobley but complements his frontline companion with a more aggressive, even puckish, approach, alternating between repeated percussive motifs and a soaring, passionate lyricism.
Given the size of the ensemble, the quality of the musicians, and the blowing room for each of the soloists, it’s perhaps small wonder that “Undercurrent” falls just short of a personal triumph for the leader (though arguably essential to any Mobley completist). But as a democratic and exemplary Blue Note session, with strong hands vigorously played by five proven winners, this latest RVG remaster deserves a place alongside more heralded recordings during a truly golden age in the music.
Tracklist
01. Undrecurrent
02. Funk-Cosity
03. Lion’s Den
04. The Pot’s On
05. Groovin’ The Blues
06. Ballade
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Eric Dolphy – Out There
Posted by dOk | Filed under 1960, Jazz
By the time of this 1960 recording, only his second as a leader, Dolphy has already dispensed with the “traditional” jazz instrumentation. With bassist George Duvivier and drummer Roy Haynes holding down the rhythm, Ron Carter moves to the frontline armed with a cello, joining Dolphy as he switches from alto to bass clarinet to regular clarinet to flute. Out There catches Dolphy at a significant crossroads: The music is more ambitious and more jagged than on its predecessor Outward Bound, but more cohesive and less aurally challenging than on his 1964 master work, Out to Lunch. Dolphy’s improvisations—on each instrument–are bursting with creative, far-reaching ideas, expressive wails, and frenetic flurries while Carter’s eerie arco (bowed) cello ambles quietly, sometimes melancholy, sometimes menacing. Dolphy’s four originals show his absorption of Mingus—especially on the blues distortion of “Serene”—and provide perfect blueprints for his bizarre constructions. The quartet also handles one tune from Mingus himself (the ruminating “Eclipse”) plus Randy Weston’s fragile “Sketch of Melba.”
Tracklist
01. Out There
02. Serene
03. The Baron
04. Eclipse
05. 17 West
06. Sketch Of Melba
07. Feathers
