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Herbie Mann/Bobby Jaspar: Flute Flight
by David Rickert
Flautists are the 98 pound weaklings in the jazz musician crowd, constantly working hard to prove that their chosen instrument has serious jazz credentials. Herbie Mann and Bobby Jaspar were two of the few who made the flute their primary instrument, and both had their moments, Mann as a leader and Jaspar with JJ Johnson. However, ...
John Lee Hooker: Live at Sugar Hill, Volume 2
by Derek Taylor
What gives a man justification to sing the blues? There have never been a staid set of credentials for such a pursuit, but if any one man had the proper pedigree custom plugged into his persona, it was John Lee Hooker. His voice could sway from gravel-grained bark to plaintive croon amidst lyrics of the most ...
Dave Brubeck: Jazz at the College of the Pacific, Vol. 2
by David Rickert
Before he took a predilection with odd time signatures to the bank, Dave Brubeck worked the college circuit, playing to packed audiences at places such as The College of the Pacific. Even at this early stage Brubeck showed a fascination with rhythmic invention which, when coupled with Paul Desmond’s feathery alto, produced an entirely listenable sound. ...
Roy Haynes: Cymbalism
by Derek Taylor
Well into his septuagenarian years, Roy Haynes is still going strong as a leader behind his venerable drum kit. His sticks and brushes have stoked the fires on countless sessions from early work with Lester Young to later stints with likes of Charlie Parker and John Coltrane. Only a handful of living drummers can claim such ...
Herbie Mann/ Bobby Jaspar: Flute Flight
by Derek Taylor
Concept albums were all the rage back in the late Fifties, and jazz music was no exception among genres. Popular within this certain niche was the notion of featuring instruments uncommonly featured in lead roles. The result was a flood of records fielded by everything from French horns to accordions to harps. One album cut for ...
Charlie Earland: Black Drops
by David Rickert
Charlie Earland was one of the few jazz artists able to make a living once rock’n’roll took hold over popular taste. Many musicians tried to court the new rock audience to earn a living, but Earland was one of the few truly successful ones, finding a common ground between his soul jazz roots and rock ‘n’ ...
Eric Dolphy: Far Cry
by David Rickert
In the early sixties, Eric Dolphy was one of the young rebels responsible for moving jazz forward in giant strides, advancements that led some to call his music “anti-jazz”. Although not quite as deliberately bizarre as Out to Lunch, Far Cry is still exactly that: a far cry from what virtually everyone considered jazz to be. ...
Ronnie Mathews/Roland Alexander/Freddie Hubbard: Ronnie Mathews/Roland Alexander/Freddie Hubbard
by David Rickert
The early sixties were filled with musicians who gigged constantly at clubs, enjoyed infrequent work as sidemen, and managed to put out an album or two on a major label. This two-fer from Fantasy highlights Ronnie Mathews and Roland Alexander, two obscure musicians who nevertheless were afforded the opportunity to record as leaders in a market ...
John Coltrane: Lush Life
by David Rickert
Coltrane’s records for Atlantic and Impulse are such towering landmarks that now his work for Prestige is all but ignored. However, there are many excellent albums in the Prestige catalog, and Lush Life, recently reissued in 20-bit, is as good a place as any to start exploring the early days of Trane. The brooding cover doesn’t ...
Oscar Peterson: Solo
by C. Michael Bailey
Canada's (and our) treasure... It is gratifying when previously unreleased material from a consistently fine artist like Oscar Peterson reaches the digital impression of the compact disc. Impresario Norman Granz was fortunate to have the talent of Mr. Peterson on his Clef, Verve, and Pablo labels over the period of 1950 to 1986. Having appeared on ...
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