With Bechet it’s still impossible. (JN), Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). (KS), Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). (SN), John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). (KLG), John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). 1993, Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson’s blue light in 1993. Some of the charts wear better than others, but the overall feel is timeless. Rec. He expected his musicians to adhere to such views and accept whatever discipline he imposed. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. (BP), Review: Charles Mingus – Mingus Ah Um (50th Anniversary Edition) ★★★★★, Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Here Mehldau’s improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. Rec. The present album, however, was a studio venture with a specially constituted group familiar with Mingus’ working quintets. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. (KS), Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). 1962-64, A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. 1969, A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. Rec. Words make you think thoughts. The best of the later Hawk is on Verve, but this intro is nicely rounded. “I think the implications of Kind of Blue we now feel everywhere, but it wasn’t as deep as they became over time,” says saxophonist Dave Liebman. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. Rec. Coherent, vital and mind-stretching, Tracey’s eight pieces provide a remarkable insight into Thomas’ great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. The saxophonist’s meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Rec. This album became Evans’ own personal choice of what he thought best represented the trio through the spectrum of LaFaro’s prodigiously gifted bass playing. 1964, Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. 1963-4, A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. There’s no smouldering crater in the case of Kind of Blue, Miles’ melancholy, modal-jazz masterwork. Rec. Album closer, The Move, has one of the best trumpet solos of the 21st Century and showcases … Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on ‘Alone Together’. 1925-1930, If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong’s Hot Fives and Sevens reach out into the music’s future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. 1975, The first blooming of Metheny’s great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton’s group of the day. Why? This first of the series is a solo recital. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music.