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Barney Kessel (OJC: Let's Cook!
by Douglas Payne
A lively, swinging date from 1957 that certainly lives up to its name. Guitarist Barney Kessel fits his perfect trio featuring bassist Leroy Vinnegar and drummer Shelly Manne into one quintet with pianist Hampton Hawes and vibesman Victor Feldman and a sextet with tenor man Ben Webster, pianist Jimmy Rowles and trombonist Frank Rosolino. Over the ...
McCoy Tyner (OJC: Focal Point
by Douglas Payne
Although McCoy Tyner recorded with consistent excellence beyond his brilliant and definitive work with John Coltrane, the pianist's Milestone legacy (1972-81) cemented his individual place in the jazz pantheon. Focal Point is a 1976 Milestone date now reissued on OJC that enhances Tyner's then working trio of Charles Fambrough on bass and Eric Gravatt ...
Red Norvo: Music to Listen to Red Norvo By
by AAJ Staff
In many ways it was the perfect match. Contemporary Records loved the soft sound of “chamber jazz”, and recorded it often. Woodwinds were used for a lush blanket, and many albums had an unlikely feature: a four-movement suite (Bob Cooper recorded one; Shelly Manne had two!) Red Norvo was born elsewhere, but his gentle interplay with ...
Nat Adderley: A Little New York Midtown Music
by AAJ Staff
Coming at the end of the ‘Seventies, this was a bit of a reunion. Nat and Johnny Griffin had played together on White Gardenia, Johnny’s salute to Billie Holiday. The others had played in various editions of the Cannonball band. (Victor Feldman and Ron Carter in the early ‘Sixties, Roy McCurdy later.) While the tone is ...
Bev Kelly: In Person
by AAJ Staff
Bev Kelly’s second album for Riverside is a contrast in every way. Her first, Love Locked Out, was a meticulous studio date in New York, lesser-known songs (“Lonelyville”, “Weak for the Man”) by a stellar cast (Burrell, Edison, Hinton). This was live at San Francisco’s Coffee Gallery (does thatOne other thing you notice: Bev has changed ...
Etta Jones: From the Heart
by AAJ Staff
This is a sampler, not in the anthology sense but the chocolate box sense. There are bitter tastest, a creamy voice – and there’s enough sweetness for anybody. When Etta Jones hit top 40 with 1960’s “Don’t Go to Strangers’, Prestige gave her budgets most of their artists never saw – this shows their money was ...
J. J. Johnson: Pinnacles
by AAJ Staff
From the start of a decade, this tried to blend old faces with a new sound. The electric piano starts up; the sound flits from speaker to speaker in annoying fashion. The rhythm gets behind, Billy Higgins getting a firm hand on things. And then J.J. enters: dark and rich and full of confidence. He stutters ...
Barney Kessel: Let's Cook!
by AAJ Staff
Two sessions, one taste. What makes this special is a magic ingredient – fortune. Barney was called as a sideman for a Benny Carter date, but Benny couldn’t make it. Everyone else was there, so Barney was made the leader, and the tape started rolling. This let him jam with horns of great stature – Ben ...
Helyne Stewart: Love Moods
by AAJ Staff
In some ways this resembles the Helen Humes albums Contemporary made a few years before. Both have eager voices that smile (Helen’s is a bit higher); both caress ballads and tease the blues. Teddy Edwards, a major part of the Humes discs, is on hand – in more ways than one. He was doing a club ...
Teri Thornton: Devil May Care
by AAJ Staff
“This girl has got to make it. If she doesn’t, something’s very wrong.” This was Freddie Green, speaking of Teri Thornton when this album was made. For the longest time, the prediction seemed amiss: dropped by Riverside after two albums, decades of obscurity, cancer – many things got in the way of the dream. But it ...
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