Reissue with the latest 2015 DSD remastering. Comes with liner notes. Pianist Denny Zeitlin is sporting a beard on the cover of this fourth album for Columbia Records – and his music here definitely reflects a bit of a change from his earlier cleaner-cut image! Denny steps a bit outside at times – never to much so to make the album a session of avant jazz, but definitely showing the listener at the start that he's able to stretch out in the same way as some of the more adventurous pianists of his generation – yet really sound best as a master of lyrical understatement, as on his previous few records! Zeitlin's command of chords is wonderful – these blocks of color and subtle sound in his hands – inspired by Bill Evans, but taken in a whole new direction – and set up here in two different trios, with either Charlie Haden or Joe Halpin on bass, and Oliver Johnson or Jerry Granelli on drums. The real star of the show is always Denny.
Reissue with latest 2015 DSD remastering. Comes with liner notes. A bold little message from alto saxophonist Lenny Hambro – a very strong record that should have made him as much of a giant on his instrument as contemporary talents like Lee Konitz or Herb Geller! Hambro has some of the soulful edge of the latter, and lots of the crisp, modern chromes of the former – especially in the way he runs alongside some great guitar in the group from Dick Garcia – a player we mostly know for his work on the Dawn label at the time, but who really makes the record something special here. The rest of the combo features Wade Legge on piano, Clyde Lombardi on bass, and Mel Zelnick on rhythm – and Hambro's sax work is angular and very deft – already at the top of his game. Titles include the Legge originals "Slave Girl", "Message In Minor", "Moon Slippers", and "Hoof Beats" – plus Hambro's "Thanatopsis" and "The Lonely One".
Reissue with the latest remastering. Comes with liner notes. While the phenomenal success of George Benson’s Breezin’ (1976) album may have fattened his wallet; it led the guitarist down a path that dismayed jazz critics worldwide. Indeed, the bulk of Benson’s albums over the past 20 years have featured considerably less jazz and, unfortunately, more pop. Not so with The George Benson Cookbook (1966). This sizzling CD features the then young, hotshot string-picker on 14 swingin’ bebop/soul-jazz tracks. Benson kicks things off in rapid fashion with the aptly titled, "The Cooker." Not only does this track feature blazing licks from Benson, but baritone saxophonist Ronnie Cuber and organist Lonnie Smith also weigh in with tasty solos.
Reissue with the latest remastering. Comes with liner notes. George Benson's first LP for Columbia – a hard, heavy, soul jazz slammer that bears no resemblance to his overproduced work of the 70s! The album's a real cooker – recorded hot on the heels of Benson's classic work on Prestige with the Jack McDuff group, and sounding a lot like McDuff's hard wailing organ jazz of the same time. George is working with a group that features a young Lonnie Smith on organ, plus Blue Mitchell on trumpet, Ronnie Cuber on sax, and Charlie Persip on drums – all tightly coming together, and jamming hard on the album's short cooking tracks. Tracks include "Clockwise", "Jaguar", "Hello Birdie", and "Bullfight". Plus, the CD adds five bonus tracks, including "Sideman", "Minor Chant", and the previously unreleased "J.H. Bossa Nova" and "Clockwise (Alternate Take)".
Reissue with the latest 2015 remastering. Comes with liner notes. Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar".
Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.
An incredible tribute to German pianist Jutta Hipp – one of the few female players in the postwar European jazz scene, and one of the few who managed to make a splash on this side of the Atlantic too! Jutta's best known to American audiences for a handful of records she cut for Blue Note – and this set takes those records, and moves way way past them – to including a huge range of material that really opens up our understanding of Hipp's music in her all-too-short career! The CDs feature early German recordings – in a number of sessions with small groups that include a quintet with Emil Mangelsdorff on alto and Joki Freeund on tenor, a number of performances in the New Jazz Stars group of tenorist Hans Koller, work in a quintet with Attila Zoller on guitar, another sextet with Albert Mangelsdorff on trombone, and a group co-led with baritone saxoponist Lars Gullin.
Reissue with the latest remastering. Comes with liner notes. One of Barney Kessel's greatest albums ever – a rare Italian-only session that has a sparkly Brazilian groove! The record was recorded in Rome in 1970, and it's got Kessel's guitar fronting a combo with organ and some very tight percussion – all dancing around in a fast samba mode that's different from virtually anything else he ever recorded – very groovy, very upbeat, and very much what you might expect when the talents of a west coast guitar giant meets the best of the Italian studio scene of the time! There's loads of original tracks on the set – like "Freeway", "Lison", "BJ's Samba", and "On the Riviera" – and the whole thing has a breezy dancing feel that's really wonderful!