Oscar Peterson Trio • Live in Newport 1959

 

The Oscar Peterson Trio • The Oscar Peterson Trio Plays LP mono

 

Gil Melle • The Complete Blue Note Fifties Sessions

 

Review by Richard S. Ginell
Blue Note raids the back of its vaults for all four of Melle's long out of print 10" LPs, plus the 12" Patterns in Jazz, in order to place back in circulation a musician who had been nearly invisible to the jazz world for a good three decades. Though Melle's entertaining self-penned liner notes may be outrageously self-aggrandizing, this collection leaves little doubt that he was (and remains) a marvelous saxophonist and an intriguing composer who hasn't been given his due. On the early sides, Melle plays an erudite, relaxed, always musical tenor sax, and "Transition" marks his recorded debut on baritone, which he uses in a thoughtful, even quizzical manner for the remainder of the set. As a composer, Melle was very much the uncompromising cool bopper, but was also equipped with a fascinating mind of his own. His first session is also the most startling: "Four Moons" is brilliant in its Kentonian harmonic way, with vibraphone striking the chords; so is his most famous jazz composition "The Gears," with its Monica Dell scat vocal lead doubled by vibraphone. Further on in the set, Melle does away with the piano in the cool tradition, but gives the lineup an unorthodox twist by using a guitarist (Tal Farlow, Lou Mecca, or Joe Cinderella) in the keyboard role, and a trombonist (Eddie Bert or the swinging, vastly underrated Urbie Green) or even a tuba (Don Butterfield) on the front line. He also employs consistently first-class rhythm sections, with Max Roach and a young Joe Morello among the drummers. For those super-collectors who may have the extremely rare originals (now worth hundreds of dollars each), there is one unreleased track, "The Nearness of You"; the digitally remastered sound, flaws in the master tapes aside, is excellent.
https://www.allmusic.com/album/complete-blue-note-50s-sessions-mw0000045187#review

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Reseña de Richard S. Ginell
Blue Note rebusca en el fondo de sus bóvedas los cuatro LPs de 10" de Melle, agotados hace tiempo, más el 12" Patterns in Jazz, para volver a poner en circulación a un músico que había sido casi invisible para el mundo del jazz durante tres décadas. Aunque las divertidas notas de Melle, escritas por él mismo, pueden ser escandalosamente engreídas, esta colección no deja lugar a dudas de que fue (y sigue siendo) un saxofonista maravilloso y un compositor intrigante al que no se le ha dado su merecido. En las primeras partes, Melle toca un saxo tenor erudito, relajado y siempre musical, y "Transition" marca su debut grabado en barítono, que utiliza de manera reflexiva, incluso inquisitiva, durante el resto del conjunto. Como compositor, Melle era un cool bopper intransigente, pero también estaba dotado de una fascinante mente propia. Su primera sesión es también la más sorprendente: "Four Moons" es brillante en su forma armónica kentoniana, con el vibráfono marcando los acordes; también lo es su composición de jazz más famosa, "The Gears", con su voz solista de Monica Dell doblada por el vibráfono. Más adelante, Melle prescinde del piano en la tradición cool, pero da a la formación un giro poco ortodoxo utilizando un guitarrista (Tal Farlow, Lou Mecca o Joe Cinderella) en el papel de teclista, y un trombonista (Eddie Bert o el oscilante e infravalorado Urbie Green) o incluso una tuba (Don Butterfield) en primera línea. También emplea secciones rítmicas de primera clase, con Max Roach y un joven Joe Morello entre los baterías. Para los supercoleccionistas que tengan los rarísimos originales (que ahora valen cientos de dólares cada uno), hay un tema inédito, "The Nearness of You"; el sonido remasterizado digitalmente, dejando a un lado los defectos de las cintas maestras, es excelente.
https://www.allmusic.com/album/complete-blue-note-50s-sessions-mw0000045187#review

Aaron Bell Trio • After The Party's Over

Biography

Though he studied at Xavier University and played in many New Orleans bands, Aaron Bell was no traditionalist. He was rather one of the best bassists ever in the Duke Ellington band; his powerful lines and graceful, yet sturdy support provided a rich presence in the rhythm section alongside drummer Sam Woodyard and the Duke on piano. Bell was in the Navy from 1942 to 1946, then worked with Andy Kirk in 1947. He returned to his native Oklahoma and taught music before resuming his own education at New York University. Bell recorded and worked with Lucky Millinder, Teddy Wilson and Lester Young in the '50s, while leading his own trio. They recorded in 1955 and 1958. Bell backed vocalists, and played with combos and in the Broadway show "Compulsion" before joining Ellington in 1960. He remained until 1962, then did sessions and worked in theater. He became resident composer at La Mama, an experimental New Jersey theater, in 1972. Bell also taught music in Newark and earned his masters at Columbia in 1975. He continued to teach until retiring in the early-'90s; he passed away at a Bronx, NY hospital on July 28, 2003 at the age of 82. Aaron Bell can be heard on various sessions from, among others, Duke Ellington, Stan Kenton, Johnny Hodges, and Billy Holiday.

by Ron Wynn

https://www.allmusic.com/artist/aaron-bell-mn0000449439/biography

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Biografía

Aunque estudió en la Universidad de Xavier y tocó en muchas bandas de Nueva Orleans, Aaron Bell no era un tradicionalista. Era más bien uno de los mejores bajistas de la banda de Duke Ellington; sus poderosas líneas y su apoyo grácil y robusto proporcionaban una rica presencia en la sección rítmica junto al baterista Sam Woodyard y el Duque en el piano. Bell estuvo en la Marina de 1942 a 1946, y luego trabajó con Andy Kirk en 1947. Regresó a su Oklahoma natal y enseñó música antes de reanudar su propia educación en la Universidad de Nueva York. Bell grabó y trabajó con Lucky Millinder, Teddy Wilson y Lester Young en los años 50, mientras dirigía su propio trío. Grabaron en 1955 y 1958. Bell apoyó a los vocalistas y tocó con combos y en el espectáculo de Broadway "Compulsion" antes de unirse a Ellington en 1960. Permaneció hasta 1962, luego hizo sesiones y trabajó en el teatro. Se convirtió en compositor residente de La Mama, un teatro experimental de Nueva Jersey, en 1972. Bell también enseñó música en Newark y obtuvo su maestría en Columbia en 1975. Continuó enseñando hasta su jubilación a principios de los 90; falleció en un hospital del Bronx, NY, el 28 de julio de 2003 a la edad de 82 años. Aaron Bell se puede escuchar en varias sesiones de, entre otros, Duke Ellington, Stan Kenton, Johnny Hodges y Billy Holiday.

por Ron Wynn

https://www.allmusic.com/artist/aaron-bell-mn0000449439/biography

Billy Taylor • Taylor Made Jazz

Review by John Uhl

Duke Ellington had an uncanny knack for assembling smaller groups of bandmates (say, seven or eight) and scoring music for them that retained all the oomph of his full orchestra. And though this isn't one of those small Ellingtonian unit sessions, it's just about the next best thing. Having assembled several members of Duke's band and written eight definitely Duke-influenced tunes, pianist/composer Billy Taylor's Taylor Made Jazz would probably have been marketed as a "tribute album" if it had been released recently. But given the recording's vintage (1957), there are two types of people who would be most interested in it: historical completists who want their collections to include a majority of the recording catalog pertinent to a certain musician (i.e., Taylor or Ellington), or Johnny Hodges fans. "Biddy's Beat" swings; "Daddy-O"'s got a little spunk; "Cu-Bu" is (what else?) a cool blues. Clark Taylor is as mellow as ever and there's even some solo room for Harry Carney. On one hand, Taylor Made Jazz is a great example of the standard mid-'50s studio sessions highlighted by clean solos, tight ensembles, and tasteful accompaniment work from a bunch of veteran players. On the other hand, this session really seems like an opportunity Taylor had to try out some of his pretty ballad material with Hodges, Ellington's alto sax balladeer extraordinaire. Half of Taylor Made Jazz consists of slow n' syrupy solo tunes for Hodges, and despite the rest of the record's strong swinging, this gushier material becomes the center of attention. Check out the versatility of his rigid vibrato on "Day Dreaming" (different from the Billy Strayhorn-penned "Daydream," even though it sounds a lot like the work of Duke's alter ego) to hear how nearly classically perfect Hodges could be. Heck, he puts Marcel Mule to shame.

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Revisión por John Uhl
Duke Ellington tenía una extraña habilidad para reunir grupos más pequeños de compañeros de banda (por ejemplo, siete u ocho) y componer música para ellos que conservaba todo el empuje de su orquesta completa. Y aunque esta no es una de esas pequeñas sesiones de unidades de Ellington, es casi la mejor opción. Tras haber reunido a varios miembros de la banda de Duke y escrito ocho canciones definitivamente influenciadas por Duke, el Taylor Made Jazz del pianista y compositor Billy Taylor probablemente se habría comercializado como un "álbum tributo" si hubiera sido lanzado recientemente. Pero dada la antigüedad de la grabación (1957), hay dos tipos de personas que estarían más interesadas en ella: completistas históricos que desean que sus colecciones incluyan la mayoría del catálogo de grabación pertinente para un cierto músico (es decir, Taylor o Ellington), o los fanáticos de Johnny Hodges. Cambios de "Biddy's Beat"; "Daddy-O" tiene un poco de esperma; "Cu-Bu" es (¿qué más?) Un blues genial. Clark Taylor es tan melodioso como siempre y hay incluso una habitación individual para Harry Carney. Por un lado, Taylor Made Jazz es un gran ejemplo de las sesiones de estudio estándar de mediados de los '50, destacadas por solos limpios, conjuntos ajustados y un trabajo de acompañamiento de un buen número de veteranos. Por otro lado, esta sesión realmente parece una oportunidad para Taylor de probar algo de su bonito material de balada con Hodges, el bailaor de saxo alto de Ellington. La mitad de Taylor Made Jazz se compone de melodías lentas y nudistas para Hodges, y a pesar del fuerte balanceo del resto de la grabación, este material más gofrado se convierte en el centro de atención. Echa un vistazo a la versatilidad de su vibrato rígido en "Day Dreaming" (diferente de "Daydream", escrito por Billy Strayhorn, aunque suena muy parecido al trabajo del alter ego de Duke) para escuchar lo casi clásico que Hodges podría ser. Diablos, él avergüenza a Marcel Mule.

Teddy Wilson Trio • Revisits the Goodman Years

 

Review by Scott Yanow
Teddy Wilson, age 67 at the time of these trio sides, was predictably excellent throughout his long career, never recording a dull or indifferent record. In fact, more than just about any jazz musician, his style remained immune to outside influences ever since the swing era, so do not look for any McCoy Tyner or Bill Evans chord voicings on this LP. Wilson, along with bassist Jesper Lundgaard and drummer Ed Thigpen, plays a dozen songs that he had performed with Benny Goodman during the 1935-38 period. Fun and swinging music. 
https://www.allmusic.com/album/teddy-wilson-trio-revisits-the-goodman-years-mw0000311761

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Reseña de Scott Yanow
Teddy Wilson, que tenía 67 años en el momento de grabar estos temas a trío, fue, como era de esperar, excelente a lo largo de su dilatada carrera, sin grabar nunca un disco aburrido o indiferente. De hecho, más que cualquier otro músico de jazz, su estilo se mantuvo inmune a las influencias externas desde la era del swing, por lo que no hay que buscar en este LP los acordes de McCoy Tyner o Bill Evans. Wilson, junto con el bajista Jesper Lundgaard y el baterista Ed Thigpen, interpreta una docena de canciones que había tocado con Benny Goodman durante el periodo 1935-38. Música divertida y con swing. 
https://www.allmusic.com/album/teddy-wilson-trio-revisits-the-goodman-years-mw0000311761

Oscar Peterson Trio • Plays My Fair Lady

 

Howard McGhee • The Classic 1960s Albums Vol 1

 

 

Among the first bebop jazz trumpeters (along with Dizzy Gillespie, Fats Navarro and Idrees Sulieman), Howard McGhee was known for his fast fingers and very high notes, but is rarely credited for the influence he extended to younger trumpeters in an era when the instrument had come back into vogue among students of jazz. Despite a troubled life and career, Howard McGhee remains a huge inspiration for younger jazz musicians, students and fans alike. The collection here brings together eight of the very finest albums the great man ever released or played on, making it the ideal go-to- compilation for collectors and fans of this pioneering, albeit hugely underrated, musician.

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Entre los primeros trompetistas de bebop jazz (junto con Dizzy Gillespie, Fats Navarro e Idrees Sulieman), Howard McGhee era conocido por sus dedos rápidos y sus notas muy agudas, pero rara vez se le reconoce la influencia que ejerció sobre los trompetistas más jóvenes en una época en la que el instrumento había vuelto a ponerse de moda entre los estudiantes de jazz. A pesar de una vida y una carrera problemáticas, Howard McGhee sigue siendo una gran inspiración para los músicos de jazz más jóvenes, los estudiantes y los aficionados. Esta colección reúne ocho de los mejores álbumes que el gran hombre publicó o en los que tocó, lo que la convierte en la compilación ideal para los coleccionistas y aficionados a este músico pionero, aunque enormemente infravalorado.

Howard McGhee • The Classic 1960s Albums Vol 2

 

 

Howard McGhee • The Classic 1960s Albums Vol 3

 

 

Howard McGhee • The Classic 1960s Albums Vol 4

 

 

Oscar Peterson • Oscar's - Oscar Peterson Plays The Academy Awards

 

 

 

 

Kenny Burrell • Earthy

 

Gene Ammons • Angel Eyes

Frank Wess • Jazz for Playboys

 

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

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Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

Oscar Peterson Trio With Milt Jackson • Very Tall

 

Dos grandes músicos que amalgaman en forma increible piano y vibráfono, un muy buen disco de jazz.

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Two great musicians who amalgamate in an incredible piano and vibraphone, a very good jazz record.

The Oscar Peterson Trio • Like Someone In Love

 

Note: regular record.

oscarpeterson.com ...

Kenny Drew Trio + 1 • Hush-A-Bye

 

Gil Melle • Patterns In Jazz

 

Review
by Stephen Thomas Erlewine
Like the modern art that stormed the art world in the '50s, Patterns in Jazz is filled with bright, bold colors and identifiable patterns that camouflage how adventurous the work actually is. On the surface, the music is cool and laid-back, but close listening reveals the invention in Melle's compositions and arrangements of the standards "Moonlight in Vermont" and "Long Ago and Far Away." Part of the charm of Patterns in Jazz is the unusual instrumental balance of Melle's bari sax, Eddie Bert's trombone, Joe Cinderella's guitar, and Oscar Pettiford's bass. These low, throaty instruments sound surprisingly light and swinging. Compared to the two standards, Melle's original compositions are a little short on melody, but they give the musicians room to improvise, resulting in some dynamic music. Ultimately, Patterns in Jazz is cerebral music that swings -- it's entertaining, but stimulating.
https://www.allmusic.com/album/patterns-in-jazz-mw0000463220



Gil Melle - Patterns In Jazz:
Gil Melle was a 20th century renaissance man, a unique individual with wide interests and many talents. In his life he wrote over 125 film scores, was a pioneer in experimenting with electronic music, built computers and synthesizers, was a notable painter, piloted planes, restored automobiles and airplanes, and was a visual artist whose art was used on the cover of records by Miles Davis, Sonny Rollins and Thelonious Monk.

Musically he never stood still or fit easily into any category. Early on Melle was a highly skilled baritone-saxophonist with his own sound and approach, performing at the Village Vanguard before he was even old enough to have a drivers license. Patterns In Jazz from 1956 is Gil Melle's definitive straight-ahead jazz recording. The music is colorful and adventurous, laidback but eminently approachable.

Teamed in a quintet with trombonist Eddie Bert and guitarist Joe Cinderella, the emphasis is on low tones, bright colors and surprising patterns, whether on Melle's originals or inventive rearrangements of "Moonlight In Vermont" and "Long Ago And Far Away". Blue Note engineer Rudy Van Gelder seemed to have a special affinity for Melle's music since all of the Melle sessions recorded in Van Gelder's studio are sonically exceptional, including this one. The music on this rare gem is as unique, unusual and memorable as is Gil Melle himself.
https://www.musicmattersjazz.com/Gil-Melle-Patterns-in-Jazz-Blue-Note-Vinyl-Reissue-p/mmblp-1517.htm

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Reseña
por Stephen Thomas Erlewine
Al igual que el arte moderno que irrumpió en el mundo del arte en los años 50, Patterns in Jazz está lleno de colores brillantes y atrevidos y patrones identificables que camuflan lo aventurero que es el trabajo en realidad. A primera vista, la música es fresca y relajada, pero una escucha atenta revela la inventiva de las composiciones y arreglos de Melle de los estándares "Moonlight in Vermont" y "Long Ago and Far Away". Parte del encanto de Patterns in Jazz es el inusual equilibrio instrumental del saxo bari de Melle, el trombón de Eddie Bert, la guitarra de Joe Cinderella y el bajo de Oscar Pettiford. Estos instrumentos graves y guturales suenan sorprendentemente ligeros y con swing. En comparación con los dos estándares, las composiciones originales de Melle son un poco cortas en melodía, pero dan a los músicos espacio para improvisar, lo que resulta en una música dinámica. En definitiva, Patterns in Jazz es música cerebral que se balancea: es entretenida, pero estimulante.
https://www.allmusic.com/album/patterns-in-jazz-mw0000463220


Gil Melle - Patterns In Jazz:
Gil Melle fue un hombre del renacimiento del siglo XX, un individuo único con amplios intereses y muchos talentos. En su vida escribió más de 125 partituras para películas, fue pionero en la experimentación con la música electrónica, construyó ordenadores y sintetizadores, fue un pintor notable, pilotó aviones, restauró automóviles y aviones, y fue un artista visual cuyo arte se utilizó en la portada de discos de Miles Davis, Sonny Rollins y Thelonious Monk.

Musicalmente nunca se quedó quieto ni encajó fácilmente en ninguna categoría. Desde muy pronto, Melle fue un barítono-saxofonista muy hábil, con un sonido y un enfoque propios, y actuó en el Village Vanguard antes incluso de tener edad suficiente para tener carné de conducir. Patterns In Jazz, de 1956, es la grabación definitiva de jazz directo de Gil Melle. La música es colorida y aventurera, relajada pero eminentemente accesible.

Formando equipo en un quinteto con el trombonista Eddie Bert y el guitarrista Joe Cinderella, el énfasis está en los tonos bajos, los colores brillantes y los patrones sorprendentes, ya sea en los originales de Melle o en las inventivas reorganizaciones de "Moonlight In Vermont" y "Long Ago And Far Away". El ingeniero de Blue Note Rudy Van Gelder parecía tener una afinidad especial por la música de Melle, ya que todas las sesiones de Melle grabadas en el estudio de Van Gelder son sónicamente excepcionales, incluida ésta. La música de esta rara joya es tan única, inusual y memorable como el propio Gil Melle.
https://www.musicmattersjazz.com/Gil-Melle-Patterns-in-Jazz-Blue-Note-Vinyl-Reissue-p/mmblp-1517.htm

VA • Verve Jazz Club Collectionː Superdrummers!