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Dexter Gordon: The Squirrel
by Joel Roberts
This never-before-released live recording, taped by Danish radio during an engagement by Gordon and his quartet at Copenhagen's Jazzhaus Montmartre in the summer of 1967, captures the great tenor saxophonist at his most boisterous mid-60s peak. To hear Dexter Gordon live in this period is to hear one of the most powerful instrumentalists in jazz at ...
Bill Stewart: Telepathy
by Rick Bruner
Drummer Bill Stewart has made a name for himself with John Scofield’s band on several excellent recordings including What We Do and Hand Jive,. He has also made great contributions to sessions with Joe Lovano, Marty Ehrlich and Maceo Parker. If it sounds to you like he has great range as a drummer, ...
Lou Donaldson: Good Gracious!
by Jim Santella
The organ combo has a distinct sound, one like no other. Lou Donaldson discovered Grant Green and Big John Patton, recommended them to Blue Note (in effect, initiating their recording careers), and produced some mighty fine recordings in their company. Both Donaldson and guitarist Green have listed Charlie Parker as a prime influence, ...
Kurt Elling: The Messenger
by Jim Santella
Kurt Elling is different. He rants. In the liners, the singer defines the term to mean “improvising both the melody and lyrics simultaneously." With saxophonist Ed Peterson conversin', Elling shouts unrelated words and phrases as they pop into his mind. “Icebergs." “Viruses." “Planets." “Ice cream." Peterson is improvising, Elling is shouting, and he is also crooning ...
Us3: Broadway & 52nd
by Chris M. Slawecki
It's hard to imagine a more hallowed jazz address than broadway & 52nd , the site of the original Birdland. In 1993, British underground DJ turned hip-hop producer Geoff Wilkinson shook up the jazz world with Hand On The Torch, a collection of hip-hop and rap tunes based on samples from classic Blue Note ...
Bill Evans & Jim Hall: Undercurrent
by David Cohen
If Undercurrent, the first and superior of two piano / guitar collaborations by Bill Evans and Jim Hall, (the other being Intermodulation produced four years later), were a book and not a record, then the blurbs on the back of the dust jacket might read: “Lush...beautiful...touching" “Filled with almost fugitive nuance and ...
Horace Silver Quintet: Six Pieces of Silver
by Joel Roberts
This 1956 recording by the Silver Quintet, featuring Hank Mobley on tenor sax and Donald Byrd on trumpet, is pure hard-bop heaven created by some of the masters of the genre. After spending the previous two years playing piano on some of Miles Davis' classic Prestige and Blue Note albums, and touring with the Art Blakey ...
Paul Chambers: Bass on Top
by Joel Roberts
In July of 1957, when Paul Chambers recorded “Bass on Top," his third and final Blue Note release as a leader, he was already in his third year with the most influential jazz group of the time, the first great Miles Davis Quintet; he had just taken part in the Davis/Gil Evans Orchestra sessions ...
Us3: Hand On The Torch
by Jim Santella
Much of the talk about Us3, hip hop, and its mixture of rap with jazz has centered around the sampling of legendary jazz tunes. While rap remains the centerpiece, jazz sampling takes a back seat to the fine mainstream jazz presented by the members of Us3, including trumpeter Gerard Presencer, guitarist Tony Remy, trombonist Dennis Rollins, ...
Donald Byrd: A New Perspective
by Jim Santella
With his flair for innovation, Donald Byrd, in late 1963, put together a septet that was recorded with the Coleridge Perkinson Choir providing a capella Gospel support. Duke Pearson provided arrangements which carefully weave eight wordless voices in and out of the septet's blues-derived compositions. Byrd's father was a Methodist minister, so the trumpeter worked with ...
