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".
Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. The music of George Gershwin, but taken to some great late night territory by the trumpet of Charlie Shavers! The album's a sublime "with strings" date – one that has Charlie blowing beautifully over backdrops from Sy Oliver – charts that certainly use some string instruments, but often in a very spare, mellow way – so that once Shavers gets going, his trumpet is right out front – often with a beautifully moody tone! Titles include "I've Got A Crush On You", "Embraceable You", "Liza", "Summertime", "But Not For Me", and "It Ain't Necessarily So".
Pure and simple genius from trumpeter Charlie Shavers – a player with a sweet tone and a fluid groove – stepping out here with great accompaniment from pianist Ray Bryant! The CD brings together work from the albums Charlie Digs Paree and Charlie Digs Dixie – both originally recorded for MGM Records in the late 50s, and done in a clean, uncluttered style that really brought a strong focus to Shaver's solos, but also gave some excellent rhythmic support from Bryant – working here at the height of his early powers, in a mode that's clearly relaxed enough to get with the spirit of each different session.
As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.
One of the loosest, most relaxed albums ever from flute man Sam Most – cut with a cool quartet that also features Bob Dorough on piano, Bill Crow on bass, and Joe Morello on drums! The inventive touches of all the rhythm players are really felt strongly – creating these modern moments that really have Sam stretching out on his instrument, and moving it way past any cliches of a few years before. Most handles flute on almost all the tracks, but also throws in some great clarinet as well – with archly-crafted solos that really swing, but with kind of an arch modernist tone – in the manner of some of Jimmy Giuffre's best rhythm-bound work of the 50s. Titles include "Obvious Conclusion", "Stella By Starlight", "Two For Three", and "House Of Bread Blues".
A compelling Bethlehem set from reedman Sam Most – a date that's possibly his most sophisticated session for the label, thanks to arrangements from producer Teddy Charles! Charles sets up Most in a "with strings" format here – but one that's a bit more laidback than usual – as the tunes are somewhat long for the setting, and often feature Sam's solos snaking out wonderfully on flute, tenor, and a bit of clarinet. Jimmy Raney plays a bit of guitar on the record, but the main charm comes from the interplay between Most's reeds and the strings – which really comes off with a dark sort of sound overall, one that clearly marks Charles' presence on the record. Titles include "Lover Man", "When Your Lover Has Gone", "Alone Together", "Softly As In A Morning Sunrise", and "You Stepped Out Of A Dream".
Sam Most in two wonderful settings – a large group on half the record, then a smaller combo with David Schildkraut on tenor, Bob Dorough on piano, and Tommy Potter on bass! Sam plays clarinet throughout, but uses some of the phrasing he'd be more likely to employ with a saxophone – a practice that makes the album a great showcase for Most's really unique talents on his instrument. And although the title might make you think the whole thing's a bop rehash record, the arrangements are pretty darn inventive – and really help bring new life into tunes that include "Serpent's Tooth", "Celia", "Bluebird", "Strictly Confidential", and "In Walked Bud" – especially from Sam's solos, and the trumpet work of Doug Mettome.
Charlie Parker : Jam Session (Verve), 1952. Les fameuses Norman Granz Studio Jams avec Benny Carter, Charlie Shavers,
Johnny Hodges, Ben Webster, Barney Kessel, Oscar Peterson et Ray Brown
"I Ain't Lyin'…" is all Charlie - original tunes penned by this Grammy winning master that resonate with the South itself - rising from the Mississippi, crossing the levy, dancing through the streets and cutting to the heart of all that matters. Charlie Musselwhite’s journey through the blues was literal from his birth in Mississippi to Memphis, Chicago and California. Arriving in Chicago in the early sixties, he was just in time for the epochal blues revival. In 1966 at the age of 22 he recorded the landmark Stand Back! Here Comes Charlie Musselwhite’s Southside Band to rave reviews. A precipitous relocation to San Francisco in 1967, where his album was being played on underground radio, found him welcomed into the counterculture scene around the Fillmore West as an authentic purveyor of the real deal blues. More than 20 albums later he is at the top of his game, a revered elder statesman of the blues nowhere near ready to hang up his harp belt, his depth of expression as a singer and an instrumentalist unexcelled and only getting deeper…