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EXTENDED ANALYSIS

Buddy Collette: Four Classic Albums

Read "Buddy Collette: Four Classic Albums" reviewed by David Rickert

Like many of his fellow West Coast musicians, Buddy Collette was proficient on multiple instruments. He could play alto and tenor sax, but tended toward the clarinet and the flute for most of his recording career. His solo records were as light and effortless as most jam form the West Coast tended to be at the time, and they are very pleasant, if a bit toothless at times. There's no doubt that Collette was a main figure of the West ...

EXTENDED ANALYSIS

Bob Cooper: Four Classic Albums

Read "Bob Cooper: Four Classic Albums" reviewed by David Rickert

Bob Cooper was one of the greats of the fifties West Coast scene. He was a formidable improviser whose proficiency on multiple instruments made him highly sought after for studio work, and was also a talented arranger whose had plenty of work in the studio on both big band and small group recordings. However, he seldom recorded as a leader, and most of the sessions he did record have been out of print for a long time or never released ...

ALBUM REVIEWS

Teddy Edwards: Four Classic Albums

Read "Four Classic Albums" reviewed by David Rickert

Teddy Edwards was a formidable tenor player on the '50s and '60s West Coast scene with a warm and congenial tone reflected the laid-back thoughtfulness of the West Coast scene with enough soul to indicate he was listening some Coleman Hawkins in the midst of the Lester Young platters. His own recordings were a typical mix of originals and standards, many of which were brief enough to fit comfortably on a 78. After being sidelined for a few years with ...

EXTENDED ANALYSIS

Red Norvo: Four Classic Albums

Read "Red Norvo: Four Classic Albums" reviewed by David Rickert

Red Norvo played the vibes while leading his own band during the swing era and grew into smaller groups in the forties and fifites once the practicality of leading a large ensemble became too much. He was one of the first to specialize of what has always been somewhat of an unusual instrument for jazz, but his nimble soloing and chords provided a template for others like Milt Jackson to follow. The four sessions collected here are from his fifties ...

EXTENDED ANALYSIS

Roland Kirk: Four Classic Albums

Read "Roland Kirk: Four Classic Albums" reviewed by David Rickert

Roland Kirk was arguably the most exciting soloist the jazz world has ever seen. Blind since childhood, Kirk developed a unique sensitivity to sound that he parlayed into all sorts of interesting ideas, most notably the ability to play two or three instruments simultaneously. For a while the vaudeville nature of this trick overshadowed his prodigious talents as a soloist. He was capable of great tenderness as well as bursts of aggressive lines and knew how to construct a solo ...

EXTENDED ANALYSIS

Dave Pell: Four Classic Albums

Read "Dave Pell: Four Classic Albums" reviewed by David Rickert

If you were to wander up and down the West Coast in the fifties you were more likely to find Dave Pell playing dances on college campuses than in clubs. Despite filling his octet with seasoned musicians who could really cut loose when given the chance, Pell's studio recordings always have a hint of crepe and balloons about them. They represent the extremely well-mannered style of West Coast jazz,and are pleasant almost to a fault.The first ...

EXTENDED ANALYSIS

Lee Konitz: Four Classic Albums

Read "Lee Konitz: Four Classic Albums" reviewed by David Rickert

Besides being one of the few altoists that emerged in the 1950s that doesn't sound like Charlie Parker, Lee Konitz was a true musical adventurer whose explorations in free jazz, electronic instruments, and just all around anything goes sessions resulted in some of the most exciting music that came out of the fifties and beyond. His playing, which is marked by a detachment and intellectualism that can sound rehearsed, isn't for everyone, but there's no doubt that Konitz has, and ...


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