Features 24 bit remastering and comes with a mini-description. A really unique little chapter in the career of Shorty Rogers – and a near-lost record that's one of his best from the 60s! As you might guess from the title, the set was recorded as a sort of "stereo dynamics" album – post-bachelor pad, but in a mode that was very concerned with the overall sound qualities as much as the actual music. But the setting turned out to be a really great thing for Shorty, as it encouraged him to open up with his arrangements, and push the group into territory that you wouldn't hear on his 50s albums!
Features 24 bit remastering and comes with a mini-description. Don't think "waltz music", think "modal jazz" – because the version of jazz waltz that Shorty Rogers serves up here is a great precursor to the great grooves to come on the European scene – especially the work from the artists at MPS Records! Tunes all have this great rhythmic pulse – a way of leaping into a groove that has the piano and bass dancing together wonderfully – often with some cool vibes from Emil Richards, and loads of great reed lines from Bud Shank and Paul Horn! Some tracks feature a small combo, some feature a larger group – and the whole thing is wonderful – with energy that almost rivals the Clarke Boland Big Band with Gigi Campi. Titles include "Be As Children", "Walk On The Wild Side", "Jazz Waltz", "Terrence's Farewell", and "A Taste Of Honey".
Features 24 bit remastering and comes with a mini-description. Shorty Rogers is definitely way up there with this classic album for Atlantic Records – hitting heights that even go beyond his more famous sides for RCA! The groove here is sharp, but also has room for lots of individual flavors too – thanks to different groupings of west coast players who include Bud Shank on alto, Jimmy Giuffre on baritone and tenor, Lou Levy on piano, Shelly Manne on drums, Barney Kessel on guitar, and Pete Candoli, Conte Candoli, Harry Edison, and Don Fagerquist on trumpets! Shorty himself wrote nearly all the tracks on the set – at a point at which he was really hitting his stride as a composer, doing an incredible job of mixing modern ideas and swinging jazz – as you'll hear on cuts that include "Pixieland", "Solarization", "Baklava Bridge", "March Of The Martians", "Moten Swing", and "Wail Of Two Cities".
Features 24 bit remastering and comes with a mini-description. Mavis Rivers meets Shorty Rogers – and the result is a hell of a swinging session that may well be the greatest record ever from this overlooked vocalist! Shorty brings a groove into play right from the start – one that pushes Rivers past her sometimes-trilling style, and into a mode that's rock-solid and soulful all the way through – very much in the same spirit that Marty Paich or Oliver Nelson might bring to their own great arrangements for a singer.
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
Features 24 bit digital remastering. Comes with a description. Originally released on Atlantic in 1957, the short-lived bop quintet les Jazz Modes performed excerpts from Frank Loesser's third Broadway musical The Most Happy Fella. This tasteful date features Julius Watkins on French horn (and pre-Thelonious Monk) and tenor saxophonist Charlie Rouse, accompanied by pianist Gildo Mahones, bassist, Martin Rivera, drummer Ron Jefferson, and, for this date only, vocalist Eileen Gilbert was added on "My Heart Is So Full of You."
A great album recorded in 1963 for Atlantic – one of our favorite ever! Jack Wilson's one of our favorite piano players, and we rave about him all the time on these pages – and one of the reasons why we love him so much is that he was often accompanied by Roy Ayers, who started out his career playing vibes in his group! The pair together are a dream, and this album is arguably their best effort – filled with moody modal cuts, and lots of lyrical interplay that hits these beautiful high points, then dives into pits of darkness. Titles include "Harbor Freeway", "De Critifeux", "Corcovado", "Jackleg", and "Nirvana & Dana".
Features 24 bit remastering and comes with a mini-description. Somethin' Sanctified is an album by American jazz trombonist, composer and arranger Slide Hampton which was released on the Atlantic label in 1961. In 1959, trombonist Slide Hampton was known mainly for the excellent arrangements he did for the Maynard Ferguson Band, so it was no surprise that he formed his octet band and began making a serious bid for recognition as a top jazz artist and arranger, recording his first album for the small label Strand. His impact was immediate and in 1960 Slide signed for Atlantic resulting in two studio albums, Sister Salvation and Somethin Sanctified, which were the octets first for the label.
Features 24 bit remastering and comes with a mini-description. Clare Fischer's big-band release was only briefly available as an Atlantic LP but it has finally reappeared in the CD era after a brief appearance under another title on LP some ten years after its first release. Fischer's potent originals and first-rate arrangements bring out the best in his musicians, which include Warne Marsh and Conte Candoli (featured on "Miles Behind"), Bill Perkins on a work trumpeter Stewart Fischer specially composed for the baritone saxophonist ("Calamus"), and alto saxophonist Gary Foster featured with Marsh on Lennie Tristano's "Lennie's Pennies."
Features 24 bit remastering and comes with a mini-description. Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s.