The Most Important Jazz Album of 1964/65 was the first album trumpeter/vocalist Chet Baker recorded upon returning to the United States in 1964. Jazz had undergone a radical development post-1963 with artists such as John Coltrane and Wayne Shorter beginning to focus on complex harmonic explorations over pretty melody. Having spent the prior three years in Europe, falling deeper into heroin addiction, Baker found himself a pleasant, if somewhat forgotten, anachronism of the previous decade. Consequently, the icon of '50s cool attempted to reinvigorate his career and showcase his musical growth by enlisting the sensitive piano chops of Hal Galper and old collaborator tenor saxophonist Phil Urso. The new sideman, combined with a heavy dose of Tadd Dameron's compositions, gave Baker a more muscular edge that rubbed nicely with his trademark lyricism updating his sound for the hard bop '60s – a decade that would end, however, with Baker losing his teeth and falling into obscurity.
Free for All is a 1964 jazz album by Art Blakey & the Jazz Messengers released on Blue Note in 1964. Freddie Hubbard's composition "The Core" is dedicated to the CORE (Congress of Racial Equality) and expresses "Hubbard's admiration of that organization persistence and resourcefulness in its work for total, meaningful equality." "They're getting", he explains, "at the core, at the center of the kinds of change that have to take place before this society is really open to everyone. And more than any other group, CORE is getting to youth, and that's where the center of change is." The piece was called that way also because Hubbard thought that the musicians "got at some of the core of jazz - the basic feelings and rhythms that are at the foundation of music."
The Most Important Jazz Album of 1964/65 was the first album trumpeter/vocalist Chet Baker recorded upon returning to the United States in 1964. Jazz had undergone a radical development post-1963 with artists such as John Coltrane and Wayne Shorter beginning to focus on complex harmonic explorations over pretty melody. ~ AllMusic
Trompeta Toccata is a 1964 jazz album by trumpeter Kenny Dorham. It was released on Blue Note label in 1964 as BST 84181. It was remastered by Rudy Van Gelder in 2006. Trompeta Toccata, as the previous Una Mas, features only four pieces, three of which were written by Dorham himself. They are mostly fast bop pieces featuring long trumpet and saxophones solos. Like many Dorham compositions, they incorporate elements of Latin music and blues.
By the time Oliver Nelson and his big band had recorded Fantabulous in March of 1964 for Argo, the great composer, saxophonist, conductor, and arranger was a man about town in New York. He had released some truly classic dates of his own as a leader in smaller group forms – Blues and the Abstract Truth and Full Nelson among them – and had done arrangement work for everyone from Eddie "Lockjaw" Davis and Johnny Hodges, Nancy Wilson, Frank Wess, King Curtis, Etta Jones, Jimmy Smith, Jack Teagarden, Betty Carter, Billy Taylor, and Gene Ammons, to name more than a few. For Fantabulous, he took his working big band to Chicago for a gig sponsored by Daddy-O-Daylie, a famous local disc jockey.
This is a reissue (first time on CD) of the seminal album by legendary German clarinetist/composer Rolf Kuhn (born 1929), recorded with a quintet, which also included his younger brother pianist/composer Joachim Kuhn (born 1944), bassist Klaus Koch and two Polish Jazz legends: saxophonist Michał Urbaniak and drummer Czesław Bartkowski. The album presents six pieces: three original compositions by Rolf Kuhn, two original compositions by Joachim Kuhn and one arrangement of a folk tune. Over the years this album achieved a legendary status and became a highly sought after collector's item, because of its political implications, as well as being one of the earliest East European Jazz recordings and an important cornerstone of European Jazz in general.