Cookin' is the first of four albums derived from the Miles Davis Quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band's live sets - as well as the overwhelming conviction in the quintet's studio sides - would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band - consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) - to work so efficiently both on the stage and the studio…

Anita O'Day recorded many rewarding albums in the 1950s when her voice was at its strongest, and this collaboration with the Oscar Peterson Quartet (comprised of pianist Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer John Poole) may very well be her best. Not only is the backup swinging, giving a Jazz at the Philharmonic feel to some of the songs, but O'Day proves that she could keep up with Peterson. "Them There Eyes" is taken successfully at a ridiculously fast tempo, yet the singer displays a great deal of warmth on such ballads as "We'll Be Together Again" and "Bewitched, Bothered and Bewildered." While Peterson and Ellis have some solos, O'Day is never overshadowed (which is saying a lot) and is clearly inspired by their presence. The very brief playing time (just 34 minutes) is unfortunate on this set, but the high quality definitely makes up for the lack of quantity. A gem.

This recording brings back an obscure session from the long defunct Andex label that was probably recorded around 1956. The emphasis is on Latin jazz with altoist Art Pepper, trumpeter Conte Candoli, tenor saxophonist Bill Perkins, pianist Russ Freeman, bassist Ben Tucker, and drummer Chuck Flores interacting with the percussion of Jack Costanza and Mike Pacheko. With arrangements by Bill Holman, Johnny Mandel, Benny Carter, and Pepper, the music is quite jazz-oriented if a touch lightweight. Worth investigating by fans of the idiom.

Sal Salvador pays tributes to the jazz greats of his time - Charlie Parker, Dave Brubeck, Duke Ellington, and others - but also serves things up at a level that's very much his own bag too! The album's got a spare, stripped-down groove that really suits Salvador's guitar well - giving Sal plenty of room to craft these round, warm lines that are full of color and tonal depth - often with a sense of rhythm that makes things groove, even when moving slowly. The group has just the right sort of balance to fit the mood that Sal's going for - with Eddie Costa on piano and vibes, Frank Dallas on bass, and Ronnie Free on drums. Titles include "Manteca", "Ruby My Dear", "Yardbird Suite", "Cool Eyes", "Taps Miller", and "Solos For Guitar".

This rare December 1953 session was unusual for Terry in that his guitar accompanist was not Brownie McGhee, but Alec Seward, who had previously recorded as Guitar Slim in a duo with "Fat Boy" Hayes" (aka Jelly Belly). It's unusual only in the personnel, however. It sounds like typical Sonny Terry, as he works his way through original material, including standards like "John Henry" and other blues tunes like "In the Evening" (the song that would provide much of the basis for Robert Johnson's "Love in Vain"). You'd have to say that it's usually more interesting to hear Terry with his longtime partner McGhee than it is to hear him with Seward, but it's not terribly different. The trademark vocal and harmonica whoops, and hollers are in gear and running throughout the album, sometimes to exhilarating effect, as on the rapid "The Fox Chase (aka "Hound Dog Holler")"…

A versatile guitarist and onetime head of the guitar department at the University of Bridgeport, Sal Salvador was a capable soloist and accompanist whose single-string style, shaped by his early interest in the music of Charlie Christian, was augmented by extensive studies of guitar technique. Salvador's years of research, playing, and analysis eventually led to his writing guitar methodology books, among them Sal Salvador's Chord Method for Guitar and Sal Salvador's Single String Studies for Guitar in the '50s and '60s. He became interested in jazz during his teens, and began playing professionally in Springfield, MA, in 1945. He worked with Terry Gibbs and Mundell Lowe in New York at the end of the '40s, then joined Stan Kenton's orchestra in 1952. Salvador worked with Kenton until the end of 1953, and appeared on the New Concepts of Artistry in Rhythm album…

Avid Jazz continues with its Four Classic Albums series with a re-mastered 2CD release from Mal Waldon, complete with original artwork, liner notes and personnel details. “Mal 2”; “Left Alone”; “Mal 1” and “Mal 4”.
Although possibly best known as a fine composer and arranger, Mal Waldron, born New York City in 1925 started his musical career playing alto sax until he ran into a guy they called “Bird” and smartly changed over to the piano! Incredibly Mal had over 100 albums released under his own name during his long career and featured in countless more as composer, arranger and pianist. His name has probably appeared on more albums in the extensive Avid Jazz catalogue than any other musician! It would probably take less time and space to name the musicians Mal hasn’t played with than has! In 1956 he was recommended by Jackie McLean to take the chair as house pianist for the famed Prestige label…

Drummer Kenny Clarke became a fixture on the Paris jazz scene after moving there in 1956. One of his best records from his early days abroad, originally released by Phillips, is finally available on CD as a part of Verve's Jazz in Paris reissue series. With superb arrangements by Andre Hodeir, and a rotating cast of musicians over three separate recording sessions, the drummer sticks to providing brushwork behind the scenes. "Bemsha Swing," jointly written by Clarke with Thelonious Monk, centers around Martial Solal's playful solo, while the brass and reeds seem to be coming at each other from all angles in Monk's "Eronel." Hodeir's composition "Oblique" sounds like something that would have fit in perfectly as part of the repertoire of the Miles Davis Birth of the Cool sessions, a period which Hodeir explores with his chart of Gerry Mulligan's "Jeru," in which the improvisations are actually written out…

The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards - "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" - two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show…

Avid Jazz continues with its Four Classic Album series with a re-mastered 2CD second set release from Kenny Burrell, complete with original artwork, liner notes and personnel details. “Earthy” (with The Prestige All Stars); “Kenny Burrell”; “On View At The Five Spot Café” (with Art Blakey) and “A Night At The Vanguard”.
For our second exploration of the work of Kenny Burrell we have divided this 2CD set into a studio side and a live side in order to contrast the many styles and nuances of the playing of this great Detroit guitarist. We begin with “Earthy” an album Kenny led for The Prestige All Stars (an ever evolving group of jazz musicians who would come together for a recording date and then split to do their own thing). On this occasion Kenny leads a fine set of musicians in a fiery five set recording…

Trumpeter Jonah Jones was a hot property in late 1957 due to his hit rendition of "On the Street Where You Live." This follow-up LP had an equally big hit in "Baubles, Bangles and Beads," making Jones a household name for a decade. With shuffling support from pianist George Rhodes, bassist John Brown and drummer Harold Austin, Jones was able to make a lucrative living playing and singing music that did not differ much from what he would have been performing anyway. Other highlights of the LP (which consists of 12 songs from plays) include "The Surrey With the Fringe On Top," "Just In Time" and "I Could Have Danced All Night."

This 1957 LP features the great singer Dinah Washington on a variety of "greatest hits" dating back to 1943. The blues-oriented material includes "Evil Gal Blues," "Trouble in Mind," "TV Is the Thing This Year," and "New Blowtop Blues," and was taken from five different sessions spanning a decade. This accessible effort serves as a fine introduction to the spirited early style of Washington.