Although he never seems to win any popularity polls, Bill Holman is among the most respected and unique arrangers of the last 40 years of the 20th century. This CD features his band of the mid-'90s, an outfit that includes many of the top Los Angeles-based musicians. Holman's writing is often colorfully overcrowded (rewarding repeated listenings) yet logical, with the charts progressing and developing from beginning to end rather than repeating the same basic ideas continuously.
By 1964, when Soul Call was recorded, Kenny Burrell had established himself as one of the most admired guitarists in jazz. A guitarist of rare taste and musicality, Burrell shines in this small group with rhythm and blues leanings.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on December 14, 1956 and May 24 & August 9, 1957. Originally released on Prestige (7133). Includes liner notes by Ira Gitler. Digitally remastered using 20-bit K2 Super Coding System technology. This is part of the Prestige Records 50th Anniversary Special Commemorative Edition series.
This is a very under-rated album. The complaints are that the strings are too syrupy, yet one of Chet's most critically successful albums was Chet With Strings. This album is just as good as that one or Grey December, which also has strings. In fact, while all the songs are very good, it's worth buying just for Sammy Cahn's "I Should Care", Chet playing the BEST version of that song I have ever heard, with a GREAT string arrangement!! If you like Chet, even casually, you can't go wrong with this charming album.
This is a fantastic example to the 60's Soul Jazz movement. Cox, an accomplished musician, didn't want to be a basketball coach. When he was growing up in Cincinnati, he wanted to be a great baseball player, another Jackie Robinson. And he wanted to be a great jazz saxophone player, another Charlie Parker. After graduating from Kentucky State, Cox came to Chicago with classmate Joe Henderson, the famed tenor sax player. They were en route to California to become professional musicians. But Cox never left. He found a home – and another occupation – on the South Side.
It was a sad day for cool jazz when Lennie Niehaus made film music – not jazz – his primary focus. From a jazz standpoint, the Los Angeles resident had so much going for him. Niehaus had an attractive tone along the lines of Lee Konitz and early Bud Shank, and he was a talented arranger to boot. Produced by Lester Koenig in L.A. in 1956, Lennie Niehaus, Vol. 5: The Sextet is quite representative of Niehaus' Contemporary output of the 1950s. This album finds Niehaus leading a sextet that boasts Bill Perkins on tenor sax and flute, Jimmy Giuffre on baritone sax, Stu Williamson on trumpet and valve trombone, Buddy Clark on upright bass, and Shelly Manne on drums – in other words, the cream of the southern California crop.
A strong early winner from Blue – recorded with an all-star group that includes Curtis Fuller, Jimmy Heath, Wynton Kelly, Sam Jones, and Philly Joe Jones. Mitchell's not necessarily the leader – Benny Golson and Jimmy Heath handled the arrangements – but the group overall is great, and the set has a nice mix of lyricality and hard bop groove. 9 numbers in all, including "Minor Vamp", "The Head", "Top Shelf", "Blue Soul", "The Way You Look Tonight", "Park Avenue Petite", "Polka Dots & Moonbeams", "Nica's Dream", and "Waverly Street".