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Abbey Lincoln: That's Him
by C. Andrew Hovan
An intriguing byproduct of the current vinyl renaissance, Record Store Day has become a proving ground for labels looking to balance archival reverence with commercial opportunity. Craft Recordings has carved out a particularly compelling niche, frequently issuing mono editions of classic titles from its catalog. Following previous releases featuring Gerry Mulligan, Bill Evans, Max Roach, and Chet Baker, the label now turns its attention to Abbey Lincoln's second Riverside outing, That's Him. Cut all-analog by Kevin Gray and pressed at ...
Continue ReadingThelonious Monk, Sonny Rollins: Thelonious Monk with Sonny Rollins 1953 to 1957 Revisited
by Stefano Merighi
Negli anni Cinquanta il jazz era assai potente e si rafforzava anche in virtù di un'attrazione magnetica che ne avvicinava i protagonisti, individualisti sì ma anche sedotti dalle possibilità di avventure comuni. Tale magnetismo si è spesso concretizzato tra le figure torreggianti di Thelonious Monk e di Sonny Rollins. Questo CD della ezz-thetics ricostruisce la loro frequentazione nel periodo di un lustro, da quando Monk era ancora una sorta di reietto per il music business, e Rollins un ...
Continue ReadingRed Garland Revisited!
by C. Michael Bailey
Prestige Records released Red Garland Revisited in 1969. However, Rudy Van Gelder recorded the eight selections comprising the album 12 years earlier at his Hackensack, New Jersey studio. Using bassist Paul Chambers and drummer Art Taylor as his rhythm section, adding guitarist Kenny Burrell on two pieces--Miles Davis's “Four" and “Walkin.'" Recorded May 24, 1957, this session took place during a busy period for Garland, between a date for trombonist Curtis Fuller on May 14 resulting in Curtis Fuller with ...
Continue ReadingKenny Drew: Kenny Drew Trio
by C. Andrew Hovan
One of many American jazz musicians who made Europe home beginning in the early 1960s, pianist Kenny Drew is best remembered as the pianist on John Coltrane's seminal Blue Train--when he is remembered at all. Over the course of his career, Drew forged notable associations with Dexter Gordon and Jackie McLean, and recorded nearly 50 albums as a leader, most prominently Undercurrent (Blue Note, 1961) and Dark Beauty (SteepleChase, 1974). Passing away at the relatively young age of sixty-four, one ...
Continue ReadingMiles Davis: Miles '55: The Prestige Recordings
by Richard J Salvucci
It is hard to imagine any casual jazz fan failing a blindfold test on the vinyls on offer here. It is a game people play: how quickly can you identify the performer. A lot of horn players make it into the competition, because horns are boisterous and mimic the human voice and persona. Clark Terry, some say, requires one note. And for much of his career, starting in the mid-1950s, a compatriot and mentee of Terry's: Miles Davis was equally ...
Continue ReadingKelly Blue
by C. Michael Bailey
The classic Wynton Kelly Trio comprised Kelly on piano, bassist Paul Chambers, and drummer Jimmy Cobb. Besides being Kelly's most stable trio, this rhythm section provided the underpinning for several important recordings and tours for Miles Davis in the late '50s and early '60s. These include Kind of Blue (Columbia Records, 1959) and Davis' 1960 European Tours, Someday My Prince Will Come (Columbia Records, 1961), In Person, Vol. 1--Friday Night at the Blackhawk (Columbia Records, 1961), In Person, Vol. 2--Saturday ...
Continue ReadingLee Morgan: Here's Lee Morgan
by C. Andrew Hovan
While Craft Recordings' new OJC reissue series has largely drawn from its treasure trove of Prestige and Riverside titles, the label recently expanded its scope to include two standout jazz albums from Chicago's historic Vee-Jay Records. Founded in 1953 by husband-and-wife team James Bracken and Vivian Carter, Vee-Jay was not only one of the earliest Black-owned and woman-owned labels but also a remarkably eclectic imprint. Known for its blues releases--and even some early Beatles records--Vee-Jay also documented top-tier ...
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