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Kelly Blue
by C. Michael Bailey
The classic Wynton Kelly Trio comprised Kelly on piano, bassist Paul Chambers, and drummer Jimmy Cobb. Besides being Kelly's most stable trio, this rhythm section provided the underpinning for several important recordings and tours for Miles Davis in the late '50s and early '60s. These include Kind of Blue (Columbia Records, 1959) and Davis' 1960 European Tours, Someday My Prince Will Come (Columbia Records, 1961), In Person, Vol. 1--Friday Night at the Blackhawk (Columbia Records, 1961), In Person, Vol. 2--Saturday ...
Continue ReadingArt Pepper: Gettin' Together
by Richard J Salvucci
Roughly about a year before Art Pepper was sentenced to 3 to 20 years in San Quentin State Prison on heroin charges, he made this recording. Miles Davis' rhythm section was briefly available in Los Angeles. So Pepper had a chance to reprise his wonderful performance in Art Pepper Meets the Rhythm Section (Original Jazz Classics, 1957), albeit with different personnel and with the addition of Conte Candoli on trumpet. The recording was a kind of coda to the first ...
Continue ReadingWes Montgomery: Maximum Swing: The Unissued 1965 Half Note Recordings
by Mario Calvitti
La Resonance Records, etichetta californiana legata a un'organizzazione non-profit dedita a preservare l'arte e l'eredità della musica jazz, prosegue instancabile la sua attività di archeologia musicale pubblicando questo doppio CD di Wes Montgomery col trio del pianista Wynton Kelly al famoso club di New York Half Note nel 1965, all'incirca nello stesso periodo delle esibizioni raccolte nell'album Smokin' at the Half Note. I brani contenuti in questa raccolta provengono da cinque diverse date comprese tra il 24 Settembre e la ...
Continue ReadingWes Montgomery: The Complete Full House Recordings
by Mark Sullivan
Wes Montgomery's original Full House album (Riverside, 1962) comprised six tracks; the 1987 CD edition had nine tracks, with alternate takes plus the addition of “Born to be Blue"; the 2007 reissue was expanded to eleven tracks. This complete edition has fourteen tracks, including all of the previously released alternate takes as well as the completely unedited master take of the title tune, with Montgomery's original guitar solo restored. That restoration is the big news for completists but, for everyone ...
Continue ReadingDorothy Ashby: With Strings Attached, 1957-1965
by John Chacona
Imagine if Sidney Bechet, Charlie Christian and Jimmy Smith were barely remembered and recordings of their music were long unavailable and known only on the geekiest corners of Discogs. That is essentially the status of harpist Dorothy Ashby. Like the three figures cited above, Ashby essentially created a language for her chosen instrument, the harp, where virtually none has existed before and established it as a legitimate and expressive vehicle for jazz improvisation at the highest level. Just how brilliantly ...
Continue ReadingMiles Davis Quintet: Live Europe 1960 Revisited
by Chris May
A high proportion of the studio albums recorded by Miles Davis from the mid 1950s until Bitches Brew (Columbia) in 1970 are landmark ones, so frequent and so momentous were the occasions on which Davis adjusted his direction. With a few exceptions, notably My Funny Valentine (Columbia, 1964), this is less true of the live albums until the early 1970s, when Davis' live performances increasingly anticipated changes later heard on studio recordings, especially as regards his choices of repertoire.
Continue ReadingJimmy Cobb: Remembering U
by Pierre Giroux
The death of Jimmy Cobb earlier in 2020 at 91 years of age marked the end of a singular era in jazz, as well as the career of one of the tastiest drummers in the field. Beginning in the 1950s, Cobb participated in numerous seminal recordings stretching from Miles Davis' Kind Of Blue (Columbia, 1959), John Coltrane's Giant Steps (Atlantic, 1960), Wes Montgomery's Full House (Riverside, 1962), through to a number of stellar trio sessions with pianist Wynton Kelly and ...
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