Read more of our interview with Greg Osby at
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Check out Osby's newest, "Invisible Hand," at
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NEW AND NOTABLE
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"Beyond"
Joshua Redman
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Too often those who hit the top at a young age crash and
burn--or, worse, slowly wither. Joshua Redman defies that
rule. "Beyond" catches him with a new quartet and dazzling,
magnetic melodies. Ambitious time signatures dance rather
than stall, and Redman's ballads show a maturity beyond his
age.
"Too Much Coffee, Man"
Bob Dorough
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Bob Dorough comes from the old school of hipsters, an ironic
beat poet who's put his words to music. His voice shows his
age in an appealing way, giving these tunes a mood that
speaks of experience and a still-wry hipness enhanced by
Dorough's band, which includes Phil Woods on alto sax,
drummer Billy Hart, and bassist Ray Drummond.
"Tonic"
Medeski Martin & Wood
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With "Tonic," Medeski Martin & Wood present their acoustic
side in an inspired, live performance recorded at John
Zorn's club in New York. John Medeski plays the piano with a
gusto that verges on fury. Chris Wood and Billy Martin lock
into soaring grooves as they always have. More than anything
else, "Tonic" recalls MMW's fantastic debut, "Notes from the
Underground." It's a killer.
"Collective Force"
3rd Force
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Call it pop, call it smooth, call it whatever you want: 3rd
Force manages to tie together many genres at once, invoking
a meditative mood with their bright, rhythmic sound. This
collection covers their previous four CDs and includes two
new tracks, the entirety proving they've succeeded in
bringing ambient vibes to smooth grooves.
"Perceptual"
Brian Blade Fellowship
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The Brian Blade Fellowship is so democratic a band that they
almost hide the fact this is, after all, a drummer's
group. On "Perceptual," the members explore grooves and
melodies, most of which play like near-pop platforms with
interesting textures and restrained solos. Joni Mitchell
stops by to sing a couple of tunes (by the way, she also has
a new swing-oriented album, "Both Sides Now," that's well
worth a listen). Saxophonists Melvin Butler and Myron Walden
do a fine job of setting an enticing mood.
"Kisses in the Rain"
John Pizzarelli
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Working with a lineup that mirrors those of Nat "King" Cole
and occasionally Oscar Peterson's, guitarist John Pizzarelli
does a spectacular job of creating lighthearted swing.
"Kisses in the Rain" features an array of standards that
prove Pizzarelli knows his past but also show how
effectively he writes in the same playful vein, bringing
traditional swing into the present.
COLTRANE, COLTRANE, COLTRANE
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"The Complete Columbia Recordings"
Miles Davis and John Coltrane
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In a word, this six-CD box set is magisterial. Miles Davis's
various bands with John Coltrane defined jazz greatness,
from the fire-stoking bop of "Two Bass Hit" to the sublime
"Straight, No Chaser." It's all here, beautifully packaged,
elaborately notated, and pristinely produced. Remember this
one at the 2000 Grammys; it'll be the toast of the jazz
realm.
"The Bethlehem Years"
John Coltrane
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John Coltrane recorded the tunes on this two-CD set when he
was a sideman in a rare big band led by drummer Art Blakey.
Besides Coltrane, whose solos foreshadow his later genius,
you get a roll call of hard-bop greats, from Donald Byrd to
Walter Bishop Jr. It's a burning 1957 date that also
includes alternate takes.
"Octet Plays Trane"
David Murray
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Of all the tenor saxophonists who've followed in John
Coltrane's wake, David Murray ranks among the most
distinctive and creative. Murray's tribute to Trane features
his acclaimed octet playing "Giant Steps," "India," and
"Naima," among other tunes. The session is sonorous,
adventurous, and memorable--the best Trane tribute since
Kenny Garrett's "Pursuance."
RECOMMENDED REISSUES
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"Last Savoy Sessions"
Yusef Lateef
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Even in the late 1950s, Yusef Lateef was pushing hard bop
toward world music, well before his colleagues began
integrating African and Indian elements into their
work. Here are Lateef's inventive takes on "A Night in
Tunisia" (played with a distinct North African feel),
"Stella by Starlight," and his own aptly named "Oboe
Blues"--creative jazz from a time when the music was on the
verge of new expansion.
"Laughin' to Keep from Cryin'"
Lester Young
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From the unforgettable cover photograph of Lester Young and
Roy Eldridge sharing a laugh to the irrepressible swing that
spreads throughout the session, "Laughin' to Keep from
Cryin'" is a work of casual genius. Young's sound is supple,
while the trumpets of Eldridge and Harry "Sweets" Edison are
full of exuberance. Plus, you get Verve's lovely,
mini-gatefold digipack cover art.
"Duets, Volume Two"
Ruby Braff and Ellis Larkins
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As swing enthusiasts coming of age in the bop era, Ruby
Braff and Ellis Larkins were potentially fish out of
water. This collection gathers material from their three
1950s duet albums for Vanguard. While none of the material
is revolutionary, it is great for those who love music that
swings sweetly and without reserve.
SMOOTH GROOVES
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"Tune It In"
Tom Grant
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You might know Tom Grant as a radio personality in the
American Pacific Northwest, but you really ought to know him
for his keyboard playing. He writes tunes that feed from
both straight-up smooth jazz and 1970s-era fusion. The music
is instrumentally exciting without losing touch with its
comfy, mellow melodies.
"My Book of Love"
Phil Perry
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Phil Perry's vocals can stretch from heart-grabbing lows to
ceiling highs, and on "My Book of Love," he both maximizes
his pipes and keeps their extremes in check. The music is
romantic--hence the CD title--but not schmaltzy. Pianist
Roger Smith adds some jazzy luster to the package, making
Perry's latest offering rich with variation and intimately
magnetic.
"The Definitive Collection"
Jeff Lorber
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The Jeff Lorber Fusion phenomenon brought the world at least
two lasting things: the keyboardist's new merger of fusion
and funk and a young saxophonist named Kenny Gorelick. Once
Gorelick became Kenny G, he was on the road to unparalleled
smooth-jazz success. As part of Lorber's mix, Kenny G helps
make this collection of tunes released between 1979 and 1985
sprightly, lively, and funky. Lorber has never sounded as
distinct as he does here, making this an important and fun
set.
Had he lived to be 100, Duke Ellington might well have spent
his birthday--April 29th--celebrating the lavish treatment
he's been given in 1999. The multiple box sets, numerous
reissues, and myriad tributes abundantly showcase
Ellington's peerless genius. Even from the bandstand in the
sky, Duke is the jazz artist of 1999:
Check it out!
TOP 10 JAZZ REISSUES OF THE YEAR
Amazon.com Jazz editors S. Duda and Andrew Bartlett have dug
through stacks of CDs searching for the 10 best jazz
reissues of the year. From exhilarating live dates featuring
Jimmy Smith, Duke Ellington, and the Art Ensemble of Chicago
to a rare Thelonious Monk session, these classic reissues
are perfect additions to any library. Read more at
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Jazz titles among our 100 Best CDs of 1999 include:
"Inspiration"
Sam Rivers
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Having earned his chops playing with everyone from Miles
Davis to Cecil Taylor, Sam Rivers in the 1960s was both a
consummate explorer and a creator of spectacular
melodies. Here, he goes full tilt in the explorative
direction, with a stellar orchestra of guiding jazz lights
navigating his heated, improvisationally energetic
compositions--each of them bristling with intensity.
"Nine to Get Ready"
Roscoe Mitchell and the Note Factory
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An album of graceful intimacy fleshed out by the understated
power of jazz's most profound, resourceful innovators, "Nine
to Get Ready" is not just a showcase for Art Ensemble
veteran Mitchell, it's a tour de grace from a brilliant
ensemble pushed to create beauty on a restrained, delicate
scale. A challengingly modern yet exquisitely refined set of
modern jazz.
"The Art of the Trio, Vol. 4 - Back at the Vanguard"
Brad Mehldau
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Brad Mehldau is surely one of the most hailed pianists jazz
has seen in the 1990s. But his string of trio recordings
presents a long, studied meditation on the piano trio. He
plays with hair-raising energy, cascading over the keys and
still finding endless space to slow down and count off each
chord as if it were a lone haiku.
Jazz selections from the list of customer favorites include:
"Buena Vista Social Club"
Ry Cooder, et al
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The recording that brought Cuban jazz music back into the
international spotlight, "Buena Vista Social Club," features
Cuba's finest players in full swing. Lively and spirited,
this recording has quickly become a modern classic.
"When I Look in Your Eyes"
Diana Krall
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The reigning diva of jazz returns for a set of classy
standards and gorgeous new numbers. Featuring Krall's
impressive piano playing and smoldering voice, Krall is
setting the standard for jazz vocals. A romantic, eminently
listenable set.
"Kind of Blue"
Miles Davis
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Perhaps the most famous recording in the jazz cannon, "Kind
of Blue" is the album with which to begin a jazz collection.
It is timeless, the working definition of classic jazz. It
features John Coltrane and Julian "Cannonball" Adderley on
saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton
Kelly) on piano, and the crack rhythm unit of Paul Chambers
on bass and Jimmy Cobb on drums.
Jazz DIVAS ~ MILES DAVIS 101! ~ Ornette Coleman 101
1. "Nine to Get Ready"
Roscoe Mitchell
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An album of graceful intimacy fleshed out by the understated
power of jazz's most profound, resourceful innovators, "Nine
to Get Ready" is not just a showcase for Art Ensemble
veteran Mitchell, it's a tour de grace from a brilliant
ensemble pushed to create beauty on a fragile scale. A
challengingly modern yet exquisitely refined set of modern
jazz.
2. "Inspiration"
Sam Rivers
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Avant jazz stalwart Sam Rivers collected a blistering gang
of performers (Steve Coleman, Greg Osby, Chico Freeman, Gary
Thomas, Hamiet Bluiett, Ray Anderson, and Baikida Carroll)
for "Inspiration," an unpredictably rollicking yet
thoughtfully modern big-band adventure.
3. "EBIOTO"
Odean Pope Trio
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Hearing the interplay between bassist Tyrone Brown and tenor
saxophonist Odean Pope on "EBIOTO," it's clear why a drummer
as solid as Max Roach has enlisted the pair for his own
bands since the late 1960s. Pope plays with a tonal
thickness that viscerally recalls John Coltrane, and Brown
tugs and shoves with the force and detail of Mingus. With
drummer Craig McIver, Pope's "EBIOTO" is at once stripped
down and jubilant in its pounce, close in spirit to the
great trios of Sonny Rollins but still wholly distinct.
4. "The Art of the Trio, Vol. 4--Back at the Vanguard"
Brad Mehldau
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Brad Mehldau is surely one of the most hailed pianists jazz
has seen in the 1990s. His string of trio recordings,
beginning in 1997 with "The Art of the Trio, Vol. 1" and
peaking in 1999 with "The Art of the Trio, Vol. 4--Back at
the Vanguard," presents a long, studied meditation on the
piano trio. He plays with hair-raising energy, cascading
over the keys, yet still finds space to slow down and count
off each chord as if it were a lone haiku.
5. "Moonbird"
Larry Golding Trio
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In a year that saw a number of hot new and reissued Hammond
B3 organ albums, Larry Golding's stood out for its
rambunctious momentum and infectious, swinging groove.
Looking for something inventive, fun, and challenging? Slap
this on and the world becomes a much funkier place.
6. "Live at the Glen Miller Cafe"
AALY Trio with Ken Vandermark
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MacArthur "genius" award winner Ken Vandermark again teams
with fellow iron-lung saxophonist Mats Gustafsson for a
session featuring tunes by Albert Ayler, Joe Harriott, and
Vandermark. While this is certainly hard-charging "energy"
jazz with plenty of sparks flying, Vandermark and company
touch on melody and rhythm enough to keep the whole
dangerous mess all moving forward.
7. "Conversations"
Archie Shepp Meets Kahil El'Zabar's Ritual Trio
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The spirits of exploratory mischief and soulful commitment
meet on this wonderful recording that pairs sax veteran
Archie Shepp with Chicago's Ritual Trio. Featuring songs
that are lit by the musician's joyful curiosity,
"Conversations" is a document able to contain Shepp's
blazing horn runs while also accommodating the band's
intricate rhythmic conversations.
8. "Buck Jump"
Dirty Dozen Brass Band
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With "Buck Jump," the Dirty Dozen Brass Band have found
their way back to the driving, horn-heavy sound that marks
their best work. Producer John Medeski abets Gregory Davis &
Co. in giving the music a raw edge, lit by trumpets and
propelled by hard-swatted drums and incessant, party-ready
marching rhythms supplied by tuba and bass drum.
9. "The Illinois Concert"
Eric Dolphy
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This never-before-released gem brought the legend (and
astonishing music) of Eric Dolphy back into sharp focus.
Featuring the expansive piano thinking of a young Herbie
Hancock, "The Illinois Concert" is striking not only in its
amazing playing but also in the level of engagement shown by
the entire ensemble. This is a special session.
10. "Romance with the Unseen"
Don Byron
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Throughout this recording, Byron's range, tone, and
precision are nothing short of jaw dropping. Factor in Jack
DeJohnette's restrained drumming and Bill Frisell's
tasteful, everywhere-at-once guitar, and you have the
makings of a remarkably coherent modern jazz album. Frisell
is all over this gig, playing backward, forward, chords,
solos, or comps, generating shimmering tone washes, all
designed, it seems, to push Byron. Scrappy as always, Byron
responds to the challenge by blowing pure, gorgeous jazz.
11. "Songs That You Can Trust"
Rob Reddy's Honor System
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Alto saxophonist Rob Reddy has assembled a tremendous band
for his newest album, "Songs That You Can Trust." He plays
with a wry economy, phrasing solos so that they proceed with
drama rather than flash. Trumpeter Eddie Allen and
trombonist Josh Roseman make Reddy's band vibrantly jazzy,
allowing bassist Dom Richards, guitarist Jef Lee Johnson,
and drum phenomenon Pheeroan AkLaff to push the band's
funkier side. It's an adventure that benefits fans of any
jazz era.
"Smile"
Matt Wilson Quartet
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Drummer Matt Wilson's new effort, "Smile," is a solid and
gritty outing that shows Wilson's maturity as a bandleader
without betraying an infectious playfulness. With an
impressive horn section consisting of Andrew D'Angelo (alto,
bass clarinet) and Joel Frahm (tenor and soprano sax),
Wilson dives into this set of tunes (including Coltrane's
"Grand Central" and Monk's "Boo Boo's Birthday") with relish.
"The Rent"
Steve Lacy
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According to jazz legend, it was Steve Lacy's brief tenure
in the Thelonious Monk sextet that inspired John Coltrane to
pick up the soprano sax. Almost 40 years later, Lacy is
still at it. His sensational new recording, "The Rent," is
an unexpurgated, two-set show with amazing, you-are-there
sound; dynamic, in-the-moment interplay; and an enthusiastic
Portland, Oregon, crowd that senses and reacts to the jazz
magic taking wing all around them.
"Manhattan Melodies"
Eric Reed
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Eric Reed had a pair of rather sizable shoes to fill when he
accepted the gig as Wynton Marsalis's piano player. Marcus
Roberts, who had previously occupied the bench, was a player
of impeccable chops and with a well-respected discography to
his credit. On "Manhattan Melodies," Reed's third outing as
a leader, his playing manages to find a middle ground
between flawless technique and invention. His engine room,
Reginald Veal (bass) and Gregory Hutchinson (drums),
supplies plenty of horsepower, allowing Reed the luxury of
taking jaunts down roads less traveled. And with Reed at the
helm, you will journey in style and comfort.
"From Spirituals to Swing"
Various artists
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These 1938 and 1939 Carnegie Hall concerts ushered in an
exciting period of black music for the American public.
While great bandleaders like Benny Goodman had been blurring
the color line for years, "From Spirituals to Swing" was the
first prominent Carnegie Hall production to present African
American performers to an integrated audience. Besides the
racial and political implications of John Hammond's
controversial shows, the producer was able to bring together
some of the era's finest talent in jazz, blues, and gospel
music. Recorded straight onto lacquer discs and first
released in 1959, this three-CD set includes two dozen
previously unreleased performances by the likes of the Count
Basie Orchestra, bluesman Sonny Terry, the Golden Gate
Quartet, and James P. Johnson.
"Left Hook, Right Cross"
Rahsaan Roland Kirk
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Magnificently talented, Rahsaan Roland Kirk fought hard to
be considered something more than a jazz novelty act.
Playing multiple horns simultaneously, Kirk was certainly a
dramatic presence, yet he was uniquely able to take a song
anywhere, as "Left Hook, Right Cross" attests. Combining
"Blacknuss" and "Volunteered Slavery" in a two-CD set, the
collection features Bill Withers's "Ain't No Sunshine" and
Burt Bacharach's "I Say a Little Prayer" played with respect
and funk-jazz humor.
The most adaptable and evocative jazz pianist of his
generation, Brad Mehldau can make his own songs and
interpret ones by Thelonious Monk, the Beatles, and
Radiohead. His recent solo album, "Elegiac Cycle," is
gorgeously introspective, while his new trio recording,
"Art of the Trio 4: Back at the Vanguard," shows off his
finger-popping virtuosity.
You can find "Elegiac Cycle" at
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and "Art of the Trio 4" at
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Since his early days with the great Thelonious Monk, Steve Lacy has been charting a singular course through the jazz world. His playing has come to define the sound of the soprano sax. His recent live album, "The Rent," offers listeners a chance to experience Lacy in a setting that, while intimate, crackles with electricity.
You can find "The Rent" at
Check it out!