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Pat Martino: Remember: A Tribute to Wes Montgomery
by John Barron
The last thing jazz needs is more tribute projects that merely perpetuate the ever-increasing stagnation of an industry trying to make a fast buck off the legacy of fallen giants. At first glance it would appear that this is exactly what Remember is all about. But fortunately, the artist paying tribute here is Philadelphian Pat Martino, ...
Lee Morgan: Tom Cat
by Samuel Chell
As a cat owner, I've learned the hard way that the outdoor variety of felines quickly exhaust their nine lives. Lee Morgan's Tom Cat must be the exception. Recorded in 1964, the session was first released in 1981 (too late, even, to count as “posthumous"), before its most recent reincarnation as an RVG remaster. Blue Note's ...
Joe Williams: Music for Lovers
by Chris M. Slawecki
Joe Williams' Music for Lovers comes closer to the cocktail sophistication of Nat King Cole or Billy Eckstine than to any blues jump or shout to which Williams gave joyous voice as vocalist with the Count Basie Band. Perhaps the best part of this material, drawn from Williams' 1959-63 ballad albums for Roulette Records, ...
Steve Kuhn Trio: Live at Birdland
by J Hunter
You have to crank the volume hard to hear Bill Evans' whisper-soft intro to Miles' “So What" on Kind of Blue (Columbia, 1959). When you hear it, though, you know something special this way comes. Steve Kuhn comes from the same school of subtlety as Evans, and Kuhn's one-finger opening to his trio's Blue Note debut, ...
Dinah Washington: Music for Lovers
by Chris M. Slawecki
Dinah Washington's biting, blues-smoked phrasing is often cited as the primordial ground from which singers such as Esther Phillips and Nancy Wilson blossomed, and through them, more contemporary vocalists like Chaka Khan and Patti Labelle subsequently bloomed. This new collection of ballads draws from Washington's 1962-63 recording prime, a fertile period when she released several albums ...
Lee Morgan: City Lights
by Samuel Chell
This album may not enjoy the same status as Charlie Chaplin's revered movie of the same title, but it's a session that evokes similar feelings. Like the beloved Tramp, Lee Morgan wins our respect with a performance of exceptional warmth and dignity, grace and beauty, sprinkled with moments of gentle humor. His playing on this session ...
Horace Silver Quintet: Silver's Serenade
by Samuel Chell
What's with the producers at Blue Note/EMI? Or is it engineer Rudy Van Gelder who decides what gets reissued? Silver's Serenade is vintage, nicely representative music by the pianist-composer's best known ensemble, but it was never out of print. By contrast, one of the few Silver sessions for which the term “inspired" might apply--Further Explorations by ...
Lee Morgan: The Cooker
by Samuel Chell
Although Lee Morgan had already made a handful of albums at the age of 19, The Cooker (1957) represents his throwing down the gauntlet as successor to Clifford Brown's vacated throne. It's close to being a pure bebop session, suggestive of a date like For Musicians Only (Verve, 1956), on which Gillespie, Stitt and Getz set ...
Lee Morgan: City Lights
by AAJ Italy Staff
È benvenuta la ristampa di uno tra i dischi meno conosciuti di Lee Morgan, per l’occasione spalleggiato da una fantastica front-line: George Coleman al sax tenore e Curtis Fuller al trombone. Con una ritmica tanto vigorosa quanto fluida, che vede impegnati Ray Bryant al pianoforte, Paul Chambers al contrabbasso ed Art Taylor alla batteria. Due sono ...
Jackie McLean: Demon's Dance
by Hrayr Attarian
Sometimes a work of art is best known because it ends a period in its creator's career. If, in addition to its historic importance, it has immense artistic value, then it becomes a masterpiece. Such is the case of Demon's Dance, the last recording from Jackie McLean's Blue Note period, during which he discovered his unique ...
