By the time Columbus Calvin Pearson Jr. arrived in New York in early 1959, he had studied piano, mellophone, baritone, trumpet, and bass. Although best known for his innovative arrangements for Blue Note, he was a pianist at heart, and Profile, recorded within the demanding context of the trio, was his first album as a leader. This is fine, mellow music that makes you feel good. "Like Someone in Love" is a bit up-tempo. "Black Coffee" is a slower composition that captures the need to shake off early-morning cobwebs. "Taboo" is mystical, with the introduction and bridge in different, yet completely complementary tempos. "I'm Glad There Is You" is soft. Mr. Pearson composed "Gate City Blues" and "Two Mile Run": the former is understated elegance; the latter is set in a minor key, with a nice exchange between piano and drums after a bass solo…

A collection of previously unreleased materials by the Kenny Drew Trio, originally recorded for Japanese labels Baystate and Alpha beween 1978 and 1992, now released to commemmorate the 20th anniversary of his passing. A rich trove of superb piano trio performances!
American pianist Kenny Drew (1928-1993) moved to Copenhagen, Denmark, in 1964. Although he may have somewhat faded from the radar of American jazz fans, he had a fantastic career in Denmark and was beloved by European and Japanese jazz fans. In the late 1970s and 1980s, Drew's popularity in Japan grew to incredible heights when he began recording for Japanese labels such as Baystate and Alpha under a partnership with Japanese producer Makoto Kimata…

For this 1997 release, the Keystone Trio focuses its refined elegance on Sonny Rollins the composer. While not principally known as a writer, but rather as a remarkable improviser and interpreter of standards and bop classics, Rollins has written dozens of originals over the decades. Other than "Airegin," none of Rollins' best known pieces, such as "Doxy," "Oleo," "St. Thomas," or "Blue Seven," are presented here. Instead, pianist John Hicks, bassist George Mraz, and drummer Idris Muhammad mainly explore items from the saxophonist's Milestone releases from the '80s and '90s, along with some from mid-'50s Prestige dates. The trio's approach is to draw out the melodic and structural substance of each piece, casting them in a light that has more in common with the grace of the Bill Evans Trio than with Rollins' often challenging and provocative soundscapes…

Alleingang (Going it Alone), Markus Becker’s second solo album is released by BERTHOLD records on October 29th 2021. In his own inimitable style, the renowned concert pianist has created a jazz and classical music mosaic. In his first solo album Freistil (Free Style) he developed structures out of largely spontaneous improvisations. “In Alleingang,” explains Becker “I most often thought out structures and themes first, and then created the music live in the Sendesaal, Radio Bremen’s concert hall, where as always they did such a great job. That suits my own ‘Alleinstellungsmerkmal’ which is a lovely German word for ‘unique selling point’.”

Portrait In Jazz (1960). The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem…

A superb selection of material here from another jazz icon: 'Back to Back' (1959) is the famous collaboration between Ellington and alto saxophonist Johnny Hodges; 'Live at The Whitney' (Recorded 1972) is a rare piano-trio date recorded at New York's Whitney School Of American Art; and 'Soul Call' (1967) is a classic big-band album recorded live at the Antibes Jazz Festival, featuring barnstorming versions of 'Caravan' and 'Skin Deep'.

Michel Petrucciani (1981). Michel Petrucciani's second recording (following the obscure Flash, put out by the French Bingow label the previous year) finds the pianist at age 18 already a powerful force. Assisted by bassist J.F. Jenny Clark and drummer Aldo Romano, Petrucciani is more heavily influenced here by Bill Evans than he would be later. The trio performs two originals apiece by the pianist and drummer Romano, plus "Days of Wine and Roses" and a romp on "Cherokee." This CD shows that Petrucciani was a brilliant player from the start…

One of the great piano masters of all time, Oscar Peterson scores on this wonderful collection of three discs. Put simply, if you are a fan, this is just what you expect from Mr. Peterson, top notch interpretations of a wide variety of classic songs. As they say, when Oscar plays it, oftentimes it's as though you've never heard it before!

Bill Evans At Town Hall (1966). This LP is a superior effort by Bill Evans and his trio in early 1966. The last recording by longtime bassist Chuck Israels (who had joined the Trio in 1962) with Evans (the tastefully supportive drummer Arnold Wise completes the group), this live set features the group mostly performing lyrical and thoughtful standards. Highlights include "I Should Care," "Who Can I Turn To," and "My Foolish Heart." The most memorable piece, however, is the 13-and-a-half-minute "Solo: In Memory of His Father," an extensive unaccompanied exploration by Evans that partly uses a theme that became "Turn Out the Stars"…

This trio date (which features pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley) is a bit unusual in that Roberts, although he is heard interpreting vintage George Gershwin songs, gives the tunes fairly modern interpretations. There is no striding or James P. Johnson licks. Instead, the talented pianist transforms such songs as "A Foggy Day," "Our Love Is Here to Stay," "It Ain't Necessarily So" and "But Not for Me" into modern hard bop. A typically excellent effort.

With this subtly provocative solo recital, Ted Rosenthal merges three very different streams of piano history, putting his personal stamp on all of them. He pays homage to Bill Evans with "I Loves You Porgy," "Turn out the Stars," and "Waltz for Debby," playing the last in 5/4 but reverting to 4/4 only on his second solo chorus. The Bud Powell portion is more extensive, consisting of "Tempus Fugit," "Wail," "I'll Keep Loving You," "Celia," "Parisian Thoroughfare," and, in another 5/4 interpretation, the closing "Tea for Two." Last but not least, Rosenthal unveils his improvisational approach to Beethoven with the latter two movements of the "Pathetique" sonata, as well as the third movement of "Opus 109," which inspires a full nine minutes of spirited invention. In Rosenthal's hands all this music sounds as though it sprang from the same muse, and that's the sign of a skilled, imaginative artist.

Pianist Harold Mabern and bassist Kieran Overs, although from Memphis and Canada, respectively, explore ten songs written by jazz musicians from Philadelphia on this CD, plus Mabern's "Edward Lee." While a few of the tunes are fairly well known in jazz (particularly Lee Morgan's "Ceora" and Benny Golson's "Whisper Not"), most of the others are obscure. Mabern and Overs work quite well together, with the bassist adding stimulating lines to the pianist's solos and having some good solo spots himself. Since Mabern, whose modern chord voicings are fresh and personal while influenced a bit by McCoy Tyner, has not recorded enough during his long career, this set is a valuable addition to his discography. A special highlight is his unaccompanied version of Cal Massey's "The Cry of My People."

This set of unaccompanied piano solos features Marcus Roberts interpreting three Jelly Roll Morton, six Duke Ellington and six Thelonious Monk songs. Morton gets a bit shortchanged, with "Jungle Blues," "New Orleans Blues" and "The Crave" emphasizing the Spanish tinge in his music, but only certain aspects of his style. However, Roberts has Ellington (best is "Shout 'Em Aunt Tillie") and Monk (mostly lesser-known songs) down quite well. Already at this early stage, Marcus Roberts had a fairly encyclopedic style, updating older idioms with his own voice, displaying an eccentric stride style and using some modern harmonies. Excellent music.