The music of Rodgers & Hammerstein gets a very groovy twist here – thanks to the mighty talents of the Australian Jazz Quintet! The group have a great mix of instruments – both the vibes of Jack Brokensha and piano of Bryce Rhodes, and the intertwining reeds of Erroll Buddle and Dick Healey – both players who've learned a lot from the west coast scene of the early 50s, and really know how to get creative with their phrasing and solos! The vibes often give the tunes a nicely moody feel – one that's underscored even more by the reeds on some of the more exotic tunes – and titles include "The Gentleman Is A Dope", "Do I Love You", "Wonderful Guy", "Hello Young Lovers", and "March Of The Siamese Children".
The style's never too free here – not in an avant jazz way – but the group's definitely opening up a bit more than before, and making even more magic with their music! The lineup has changed a bit from earlier albums from this combo – but key Australian players are still very much on hand – the great Bryce Rhode on piano, Jack Brokensha on vibes, and Errol Buddle on reeds! Rhode is one of the best pianists of the time – sadly overlooked upon his 60s return to Australian (where he made some wonderful records) – and his careful sense of tone really starts things off wonderfully – and brings more out of the vibes than we've ever heard on Brokensha's later records. Titles include the long "Take Three Parts Jazz" suite – plus "Detour Ahead", "I'll Remember April", "Bewitched", and "Swingin Goatsherd Blues".
Really wonderful work from pianist Bobby Scott – a perfect showcase not just for his young talents as a composer and arranger, but also for a host of key solo performers as well! This full album brings together two previous 10" LP sessions – both of them brilliant, and graced by some of the most modern talents Bethlehem Records had to offer – which makes for extremely fresh sounds from Scott's wonderful music – jazz that's at a level that's really hard to peg – neither west coast cool, nor east coast arranged – but a really special space of its own!
Features the latest remastering. Includes a Japanese description, lyrics, and bonus track(s). Features original cover artwork. One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks.
An excellent budget compilation of the wonderful Bethlehem Records label - what a roster of artists they had. Very good sound too. The Bethlehem label focused on jazz releases, and this set collects some great examples of jazz–vocally and instrumentally–between the years 1958-62. One look at the artists on this 60 track 2 CD set shows how many fine artists released music on the label. Like other collections from One Day Music, there's no booklet, only a short paragraph about the label and a few of the featured artists. The digitally remastered sound is good overall within the limits of recording styles of the era.
Wonderfully sweet work from trumpeter Charlie Shavers – a set that has Shavers blowing on ballads over larger orchestrations – in a style that's really our favorite side of his music! Charlie's horn already has a long legacy by the time of this record – a slightly mature style that sounds wonderfully as he drifts magically over string-heavy backings from Sy Oliver – in a mode that's warm and lush, yet also beautifully soulful, and manages to really personalize the familiar tunes in the set. Titles include "Stella By Starlight", "Ill Wind", "Stormy Weather", "Out Of Nowhere", "Stardust", and "I Cover The Waterfront".
One of the coolest records ever from this unique Australian 50s group featuring the extended "Jazz In D Minor" suite. This '50s and '60s band was modeled on The Modern Jazz Quartet, and featured vibraphonist Jack Brokensha. I discovered these guys way back in the late 50's. I thought they were at least 50 years ahead of their time. The blend of of these instruments Bassoon and flute just blow my mind as they did the first time I heard them way back then. The amazing fact is that those sounds are still the coolest and up to date today. Like I said before, 50 years ahead of their time. They deserve 10 stars.
Weird winds make this a mighty nice record – a blend of the tenor and bassoon of Errol Buddle and alto and flute of Dick Healy – all set to piano from Bryce Rhode, and vibes from the great Jack Brokensha! All players have a very strong sense of tone and color – and move together at a level that might be influence by the experiments of the Modern Jazz Quartet, but which also takes on a much more expressive feel with the presence of the reeds. Tracks are short and tightly arranged – and tunes include "So Nice", "Few Get It", "That Old Feeling", "Koala", and "Lover Man".
The Manhattan Jazz Quintet have been an on-again, off-again collective of New York City-based musicians who primarily record for the Japanese market. Co-founding members David Matthews (piano and arranger) and trumpeter Lew Soloff are still on hand, though the remainder of the group on this occasion consists of tenor saxophonist Andy Snitzer, bassist Charnett Moffett, and drummer Victor Lewis.