Illinois Jacquet • Groovin' with Jacquet

 

Hank Jones-Tommy Flanagan • I'm All Smiles

 

Review by Ken Dryden
Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening. 
https://www.allmusic.com/album/im-all-smiles-mw0000188033

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Reseña de Ken Dryden
Aunque Tommy Flanagan solía considerar los conciertos a dos pianos como un mero truco publicitario, este fue sin duda el caso en este magnífico concierto de 1983 en Alemania con Hank Jones. Ambos pianistas demostraron una gran compenetración, evitando así el choque de egos y propiciando el intercambio necesario para que cada interpretación alcanzara su máximo potencial. Desde el primer momento, los dos veteranos cautivaron al público con una impresionante y enérgica improvisación sobre "Relaxin' at Camarillo" de Charlie Parker, para luego apaciguarlo con una suave y lírica interpretación de la hermosa balada "In a Sentimental Mood". Se notaba que disfrutaban enormemente durante su animado vals sobre la popular balada "Someday My Prince Will Come". El resto del concierto fue igualmente gratificante, destacando una inspirada interpretación de "Rockin' in Rhythm" como el punto culminante de una velada memorable. https://www.allmusic.com/album/im-all-smiles-mw0000188033

Ken Peplowski • Mr Gentle And Mr Cool

 

www.kenpeplowski.com ...

John Graas • Jazz Studio 1-2 Complete Sessions

 

Biography
by Scott Yanow
Along with Julius Watkins, John Graas was one of the first jazz French horn soloists. After playing some classical music, in 1942 he became a member of the Claude Thornhill Orchestra. A period in the Army (1942-1945) and stints with the Cleveland Orchestra and Tex Beneke's big band preceded Graas' first high-profile gig, playing with Stan Kenton's Innovations Orchestra (1950-1951). After leaving Kenton, he settled in Los Angeles and worked as a studio musician in addition to being used on West Coast jazz dates by Shorty Rogers and others. Graas, an excellent composer who sought to combine together jazz and classical music (predating the third stream movement), recorded fairly regularly as a leader during 1953-1958, sessions that (with the exception of one V.S.O.P. release) have not been reissued. He died of a heart attack at the age of 45.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

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Biografía
por Scott Yanow
Junto con Julius Watkins, John Graas fue uno de los primeros solistas de trompa de jazz. Tras tocar algo de música clásica, en 1942 pasó a formar parte de la Orquesta de Claude Thornhill. Tras un periodo en el ejército (1942-1945) y una serie de colaboraciones con la Orquesta de Cleveland y la big band de Tex Beneke, Graas tuvo su primera actuación destacada en la Innovations Orchestra de Stan Kenton (1950-1951). Tras dejar a Kenton, se instaló en Los Ángeles y trabajó como músico de estudio, además de ser utilizado en fechas de jazz de la Costa Oeste por Shorty Rogers y otros. Graas, un excelente compositor que buscaba combinar el jazz y la música clásica (antes del movimiento de la tercera corriente), grabó con bastante regularidad como líder durante 1953-1958, sesiones que (con la excepción de un lanzamiento de V.S.O.P.) no han sido reeditadas. Murió de un ataque al corazón a la edad de 45 años.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

George Shearing and Hank Jones • The Spirit of 176

 

Review by Scott Yanow
George Shearing and Hank Jones have always been very well-rounded pianists fully capable of playing unaccompanied solos. Their unique matchup as a two-piano duo on this Concord release works surprisingly well for the two pianists manage to stay out of each other's way and the ensembles are not overcrowded. The pianists tackle colorful material including "Angel Eyes," and Thelonious Monk's "I Mean You," an original apiece, Mary Lou Williams's "Lonely Moments," "Star Eyes" and "Confirmation," and the results are swinging and tasteful. This somewhat obscure Concord CD is worth investigating.
https://www.allmusic.com/album/the-spirit-of-176-mw0000199894

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Reseña de Scott Yanow
George Shearing y Hank Jones siempre han sido pianistas muy completos, capaces de tocar solos sin acompañamiento. Su combinación única como dúo de dos pianos en este lanzamiento de Concord funciona sorprendentemente bien porque los dos pianistas se las arreglan para mantenerse fuera del camino del otro y los conjuntos no están superpoblados. Los pianistas abordan un material colorido que incluye "Angel Eyes" y "I Mean You" de Thelonious Monk, una pieza original, "Lonely Moments", "Star Eyes" y "Confirmation" de Mary Lou Williams, y los resultados son contundentes y de buen gusto. Este CD de Concord, algo oscuro, vale la pena investigarlo.
https://www.allmusic.com/album/the-spirit-of-176-mw0000199894

Hank Jones Trio • The Trio

 

Cannonball Adderley • Somethin' Else

 

Cannonball Adderley • Somethin' Else [mono]

 

Hank Jones-Dave Holland-Billy Higgins • The Oracle

 

Review by Scott Yanow
One could excuse Hank Jones if, at the time of The Oracle, the 70-year-old pianist chose to stick to revivalist bop, but the biggest surprise of this very democratic date is how modern he plays. Jones is Monkish on "Blues for CM" and often sounds more like a contemporary of McCoy Tyner than of Bud Powell, whom Hank was actually born six years before. Bassist Dave Holland has nearly as much solo space as Jones (along with contributing three compositions), and drummer Billy Higgins gets more space than usual. If there is any fault to this otherwise flawless CD (which also has some underplayed standards such as "Beautiful Love" and "Yesterdays"), it is that there are no individual features. But the interplay between the three musicians is quite impressive. 
https://www.allmusic.com/album/the-oracle-mw0000267788

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Reseña de Scott Yanow
Se podría perdonar a Hank Jones si, en la época de The Oracle, el pianista de 70 años hubiera optado por ceñirse al bop revivalista, pero la mayor sorpresa de esta fecha tan democrática es lo moderno que suena. Jones se muestra monkiano en «Blues for CM» y, a menudo, suena más como un contemporáneo de McCoy Tyner que de Bud Powell, quien en realidad nació seis años antes que Hank. El bajista Dave Holland tiene casi tanto espacio para solos como Jones (además de contribuir con tres composiciones), y el baterista Billy Higgins tiene más espacio del habitual. Si hay algún defecto en este CD, por lo demás impecable (que también incluye algunos estándares poco interpretados, como «Beautiful Love» y «Yesterdays»), es que no hay características individuales. Pero la interacción entre los tres músicos es bastante impresionante. 
https://www.allmusic.com/album/the-oracle-mw0000267788


daveholland.com ...

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

Sonny Stitt With Hank Jones Trio • Good Life

 

John Lewis & Hank Jones • Piano Play House

 

Un disco rarísimo —es una edición limitada en Japón— de dos grandes pianistas que se encuentran cara a cara por última vez en sus respectivas carreras. El momento fue el 3 de mayo de 1979 y el disco se grabó en los estudios de Toshiba-EMI en Tokyo, y no es, como puede aparentar la portada, un disco en directo. Este álbum es un ejemplo de lo que en los años ochenta, los técnicos de sonido calificaban como «direct disc», una simulación muy real, y de enorme calidad sonora, de transmitir en estudio, la magia del sonido en directo. Si a la música que contiene el álbum, se le suma esta característica técnica, con un sonido perfecto, el resultado es asombrosamente bueno. En España este álbum se reeditó por el catalogo «Stop-Jazz» que producía y dirigía el popular Juan Claudio Cifuentes «Cifu».

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Review by Ken Dryden
John Lewis and Hank Jones recorded a handful of duo piano albums during their careers and this 1979 studio session marks their final meeting, although the cover photo gives the impression that it is a concert. Issued as a direct-to-disc LP by Toshiba-EMI in Japan, the program is dominated by Lewis' originals, with bassist George Duvivier and drummer Shelly Manne added on four of the six tracks. Lewis and Jones are heard as a duo in the elegant "P.O.V." and a relaxed interpretation of "All the Things You Are." Each pianist also has a solo feature with the rhythm section; Jones offers an easygoing take of "Oh, Look at Me Now," while Lewis includes his playful "Sacha's March." Perhaps the most unusual track is Lewis' "Marchin'," which he composed as a part of his score for a Broadway musical about Mahalia Jackson and also served as the theme song to the duo's series of concerts in Japan during their 1979 tour. Since this limited-edition LP was only issued in Japan, it will not be particularly easy to acquire. 
https://www.allmusic.com/album/piano-play-house-mw0000757541


 

Hank Jones & Frank Wess • Hank and Frank

 

Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

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Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

Hank Jones-Bill Evans-Red Mitchell • Moods Unlimited

 

Ron Carter-Hank Jones-Sadao Watanabe-Tony Williams • Carnaval

 

Ray Brown & Milt Jackson • Much In Common

 

 

Review by Michael G. Nastos
Though not partners as had been planned in the initial Modern Jazz Quartet, Ray Brown and Milt Jackson did work together in the early to mid-'60s, this double-CD set includes some fine collaborations and interesting combinations. There are 12 big-band cuts from 1962 led by Brown, primarily featuring Cannonball Adderley with Jackson on the side. From 1965 another eight tracks concentrate on small group efforts with Brown, Jackson, pianist Hank Jones, and different horn soloists, while the final 14 selections from 1964, still as small ensembles with set lineups of guitarist Kenny Burrell, drummer Al Heath, keyboardists Jones, or Wild Bill Davis, also highlight the singing of the gospel vocalist Marion Williams. This can easily be considered a valuable reissue, showcasing two jazz giants in the prime of their careers, playing music not readily identifiable aside from their work with Oscar Peterson (Brown) or MJQ (Jackson) around this time.
https://www.allmusic.com/album/much-in-common-mw0000080450

 

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Reseña de Michael G. Nastos
Aunque no fueron socios como se había planeado en el Cuarteto inicial de Jazz Moderno, Ray Brown y Milt Jackson trabajaron juntos a principios y mediados de los 60, este set de doble CD incluye algunas colaboraciones excelentes y combinaciones interesantes. Hay 12 cortes de big band de 1962 liderados por Brown, principalmente con Cannonball Adderley con Jackson a un lado. A partir de 1965, otras ocho pistas se concentran en esfuerzos de grupos pequeños con Brown, Jackson, el pianista Hank Jones y diferentes solistas de trompa, mientras que las 14 selecciones finales de 1964, aún como conjuntos pequeños con alineaciones establecidas del guitarrista Kenny Burrell, el baterista Al Heath, los tecladistas Jones o Wild Bill Davis, también destacan el canto de la vocalista de gospel Marion Williams. Esto puede considerarse fácilmente una reedición valiosa, que muestra a dos gigantes del jazz en el mejor momento de sus carreras, tocando música que no es fácilmente identificable aparte de su trabajo con Oscar Peterson (Brown) o MJQ (Jackson) en esta época.
https://www.allmusic.com/album/much-in-common-mw0000080450 

 

 

Charlie Barnet • Lonely Street

This release contains the complete Charlie Barnet LP Lonely Street plus all of the LP Dancing Party with the exception of two tracks.

Elvin Jones • Dear John C

 

Review
by Michael G. Nastos  
The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument -- the tenor sax -- that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist. Bassist Richard Davis rounds out this truly brilliant ensemble of burgeoning mid-'60s jazz stars, who play an enticing collection of standards, bop, compositions of Bob Hammer, and originals from several modern sources. A stone cold bebopper and Charlie Parker devotee at the time of this recording. Mariano is the standout performer. He swings easily but mightily on the title track paralleling Coltrane's "Milestones," stretches the Charles Mingus evergreen "Reincarnation of a Lovebird" (titled here as "Love Bird"), and pulls out all the stops with Hank Jones during an only slightly flawed (they miss two notes) version of the tricky "Anthropology." They tack a calypso beat onto Duke Ellington's "Fantazm" in a playful, modern dress, and stroll on the quirky Hammer composition "That Five-Four Bag" as an offshoot retort to Dave Brubeck's "Take Five." The three tracks sans piano include a walking version of "Everything Happens to Me"; the ballad "Smoke Rings," where the band excepting Mariano is relaxed; and Frank Sinatra's "This Love of Mine," where the emotive saxophonist dips into humor, even a bit ribald. The variety from cut to cut is engaging, and there's nothing over the top, even the drumming of Elvin Jones. With the musicality at a high level, Dear John C. needs revisiting by drumming students and jazz fans to note how teamwork, shared values, and held-in-check dynamics benefit the overall quality of music. It seems this recording is underrated when over time it should never be. Dear John C. is deserving of an excellent rating.
https://www.allmusic.com/album/dear-john-c-mw0000096993

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Reseña
por Michael G. Nastos  
El segundo álbum de Elvin Jones como único líder de los derechos del título (excluyendo el conjunto cooperativo que grabó el impresionante y esencial icono del jazz progresivo Illumination!) tiene al baterista sonando más como un músico de apoyo, ya que no reclama ningún deber de composición o espacio solista notable. De hecho, este es uno de los mejores álbumes en la carrera del saxofonista alto Charlie Mariano, que ocupa la mayor parte de las líneas principales y las responsabilidades de improvisación. Está tan al frente, y en un instrumento que no es el principal de John Coltrane, el saxo tenor, que el título es también un poco equivocado. El valor de Jones como director de banda reside en su concepto de utilizar a su compatriota Sir Roland Hanna o a su hermano Hank Jones en temas seleccionados, o en el caso de tres temas, sin pianista. El bajista Richard Davis completa este brillante conjunto de estrellas del jazz de mediados de los 60, que tocan una atractiva colección de estándares, bop, composiciones de Bob Hammer y originales de varias fuentes modernas. Un bebopper frío y devoto de Charlie Parker en el momento de esta grabación. Mariano es el intérprete más destacado. Se balancea con facilidad pero con fuerza en el tema que da título al disco, paralelo a "Milestones" de Coltrane, estira el eterno tema de Charles Mingus "Reincarnation of a Lovebird" (titulado aquí como "Love Bird"), y hace todo lo posible con Hank Jones durante una versión sólo ligeramente defectuosa (se pierden dos notas) del complicado "Anthropology". En la canción "Fantazm" de Duke Ellington, le ponen un ritmo de calipso en un vestido juguetón y moderno, y se pasean por la estrafalaria composición de Hammer "That Five-Four Bag" como réplica a "Take Five" de Dave Brubeck. Los tres temas sin piano incluyen una versión andante de "Everything Happens to Me"; la balada "Smoke Rings", en la que la banda, exceptuando a Mariano, se muestra relajada; y "This Love of Mine" de Frank Sinatra, en la que el emotivo saxofonista se sumerge en el humor, incluso un poco socarrón. La variedad de un corte a otro es atractiva, y no hay nada exagerado, ni siquiera la batería de Elvin Jones. Con la musicalidad a un alto nivel, Dear John C. necesita ser revisado por los estudiantes de batería y los aficionados al jazz para observar cómo el trabajo en equipo, los valores compartidos y las dinámicas controladas benefician la calidad general de la música. Parece que esta grabación está infravalorada cuando con el tiempo no debería estarlo. Dear John C. merece una calificación excelente.
https://www.allmusic.com/album/dear-john-c-mw0000096993

Flip Phillips • Swinging With Flip

Flip Phillips • Four Classic Albums

 

Flip Phillips albums plus including original LP liner notes on a finely re-mastered and low priced double CD.
Here we feature four albums plus from clarinettist turned tenor saxophonist Flip Phillips, a stalwart of first the Woody Herman Herd and later as one of the mainstays of the Jazz At The Philharmonic line up with Norman Granz.
“The Flip Phillips - Buddy Rich Trio”; “Flip”; “Flip Wails” and “Swinging With Flip”
We catch Flip in many different line ups across our four selections………… As a Trio with Buddy Rich and Hank Jones on piano from 1952 (also in attendance Ray Brown on bass on half the selections). With orchestra on “Swinging With Flip” where he is joined by Charlie Shavers, Oscar Peterson, Ray Brown, Barney Kessel and Buddy Rich………………not a bad line up!! Another classic line up with orchestra joins Flip for “Flip Wails”………..and wail he certainly does alongside Bill Harris, Billy Bauer, Harry Edison, Hank Jones, Ray Brown and Buddy Rich! Finally “Flip” where our hero is joined again by the orchestra with Howard McGhee and Benny Green.

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Álbumes de Flip Phillips más las notas originales del LP en un doble CD finamente remasterizado y a bajo precio.
Aquí presentamos cuatro álbumes más del clarinetista convertido en saxofonista tenor Flip Phillips, un incondicional de la manada de Woody Herman primero y más tarde como uno de los pilares de la línea de Jazz At The Philharmonic con Norman Granz.
"The Flip Phillips - Buddy Rich Trio"; "Flip"; "Flip Wails" y "Swinging With Flip"
Vemos a Flip en muchas formaciones diferentes a lo largo de nuestras cuatro selecciones............ Como trío con Buddy Rich y Hank Jones al piano desde 1952 (también asiste Ray Brown al bajo en la mitad de las selecciones). Con orquesta en "Swinging With Flip", donde le acompañan Charlie Shavers, Oscar Peterson, Ray Brown, Barney Kessel y Buddy Rich................... Otra formación clásica con orquesta se une a Flip para "Flip Wails" ........... y ciertamente grita junto a Bill Harris, Billy Bauer, Harry Edison, Hank Jones, Ray Brown y Buddy Rich. Por último, "Flip", en la que nuestro héroe vuelve a estar acompañado por la orquesta con Howard McGhee y Benny Green.