Essential Jazz Archive

Celebrating Jazz & Global Music

Essential Jazz Archive

CD Reviews Archive

In the Spotlight...

Ahmad Jamal: Big Byrd
Joe Hargrove: Crisol Band

The releases by legendary pianist Ahmad Jamal and legend in the making Joe Hargrove, feature piano and brass artists extraordinaire. Jamal's swinging, breezy playing is complemented by guest luminary and master trumpet virtuoso Dr. Donald Byrd. Both of these statesmen of jazz have influenced young artists...and have contributed significantly to the creative growth of this American art form. Joe Hargrove's trumpet virtuosity is presented in an Afro Cubano context and is complemented by the sizzling hot, driving pianissimo sounds of Cuban jazz great Chucho Valdez. And, together these four stellar artists provide some highly creative and oh so pleasing music...for your listening and dancing pleasure.

Ahmad Jamal's release Big Byrd, The Essence-Part II, presents the quintessential, suave Mr. Jamal at his very best. On six extended length cuts, Ahmad accompanied by a tight unit and a perfect union of players consisting of the inimitable, super talent, Donald Byrd (trumpet), renowned Idris Muhammad (drums), the hot and versatile Manolo Badrena (percussion)...and rounding out the ensemble are two special guest artists Joe Kennedy (violin) and James Cammack (bass).

At 66 years of age composer and creative and iconoclastic Jamal is on an ever quest of exploration--is creating imaginative, exuberant, daring and dazzlingly wonderful music. The latest release is a masterful work, a suite of selections that include some sparkling new originals...and some standard tunes that pack surprising powerful versatile gusto and swing a new.

The opening cut "Lament," which sound far from anything sad, which features Ahmad's flawless, effortless-sounding artistry, is a joyful, soft, delicate, free and carefree, waltz time sounding composition...an abstract and realistic canvas upon which bold strokes, light sound touches are painted...and accented throughout with some very fine drum accompaniment.

"There's A Lull In My Life"--if there is you wouldn't know from this piece. This selection which features a quiet solo intro is a, reflective, sentimental composition with a perfect soft brass complement, dynamic finger wizardry...and a nice, bluesy tinge around the edges. "Manhattan Reflections has a rich, Latin lilt and features the percussion driven sounds of Manola Badreana that are blended marvelously with Joe Kennedy, Jr.'s dynamic violin work and a soulful bass bottom provided by James Carmmack. The result is fancy piece that swings into gear...and gallop and prances in high style.

"Big Byrd" spotlights the muted magnificent sounds of Dr. Donald Byrd reverential solo intro which adds another movement to this stately suite. This composition showcases the Doctor's multitudinal multi-talents...his preeminence and continuing quest/attainment of excellence--rather of two masters/deans of music...musicologists emeritus...two consummate artists that have created a work resplendid with spirit, verve, elan, passion, elegance and grace.

"Crisol--a crucible or melting pot, a vessel used
for melting precious metals at high temperatures."

Roy Hargrove, a member of the eXceptionally talented generation, is not only a very popular young artist who is creating and making cutting-edge of contributions to the body of jazz. He is also a highly respected by his peers and is much sought after to perform with many of them. His latest release Roy Hargrove's Crisol Band's Habana, resulted from such a meeting with Afro Cuban icon Chucho Valdez, leader of the premiere Latin group Irakere, who invited him to go to Caribbean island nation to perform. And, the historic reunion which the album resulted from, was nothing short of powerful and magical.

In addition to Chucho (piano), the other renowned creative artists on the date were David Sanchez (tenor and soprano saxes), Frank Lacy (trombone), Horacio "El Negro" Hernandez (drums), Jose Luis "Chanquito Quintana (timbales), Miguel "Anga Diaz (congas), John Benitez (bass), Gary Bartz (also and soprano saxes), and Russell Malone (guitar).

The album is filled with dynamite, hot, hot, hot tunes that can be listened and danced to all day....and night. Straight out of the gate, the opening cut, Frank Lacy's "O My Seh Yeh," is hot. This mover features Russell Malone's adept, virtuoso bolero style guitar interplay with Hargrove's enchanting, rich percussive backing, gutsy, rotund bass and funky rhythm bass complement. The rhythmic chanting on the piece gives it an ancient African/Afro Cuban ritualistic sound. Kenny Dorham's "Una Mas" (his composition "Afrodesia" is also on the album), a drum driven rendering which features Horacio "El Negro" Hernandez on drums, glistens with energy, vigor and pizzazz.

Although the album was recorded in Italy where there was snow all around, the hot percussive Afro Cuban jazz sounds captured on the release were mucho, mucho caliente--hot, hot, hot. Chucho's smoking Rhumba-esque composition the timbales laced "Mr. Bruce" features Valdez on piano playing faster than the speed of light...and Hargrove accompanying and complementing him nicely on the meteoric voyage through the galaxy of sound...it makes you wanna dance.

Roy, Chucho, John Benitez, "El Negro" and "Anga" change the pace on the beautiful, sensitive composition "Ballad For The Children." Then the band segueways into the super salsa hot "Mambo For Roy"...a dance, dance and dance some more on the floor...scorching, sizzling hot piece--a definite dance-until-you-drop winner.

Roy Hargrove's Crisol Band's Habana is a magnificent collaborative work between a fine group of world class creative artists of the highest caliber. It marvelously maintains and enhances the relationship that was contributed to by high icon Dizzy Gillespie, and portends that will continue to flourish and grow thanks to the efforts and contribution of extremely talented musicians such as those that make up the Crisol Band.

©L'cinda Scott-McCall

Verve, 1997

In the Spotlight...

Brass & Roots Summit
Doc Cheatham & Nicholas Payton
Steve Turre

Doc Cheatham is the 91 years young, reigning trumpet grand master. Nicholas Payton, 23 years of age, is a youthful, gifted trumpet player who embodies the spirit of Louis Armstrong. Steve Turre is a fine trombone talent, master shell virtuoso and fabulous interpreter and weaver of Latin, jazz, samba/bossa and ancient African instruments and rhythms. And, these outstanding artists--from Congo Square in New Orleans, to Brasil and Cuba...connect, reflect, pay homage to and expand upon the rhythms and harmonies that are African in origin.

The release Doc Cheatham & Nicholas Payton which was recorded in New Orleans, the fountainhead, the birthplace of jazz, is a collaboration, complementation between Doc Cheatham, of one of the highest ranking trumpet players and oral/ style/vocal/instrumental jazz tradition bearers. New Orleans born and breed Nicholas Payton, about whom Doc Cheatham said "is the closest to Louis," is one of the most authentic standard bearers of America's indigenous music form.

Doc and Nicholas--backed by some of the Big Easy's best brassmen-- bring the spirit and flavor of Bourbon Street, Mardi Gras, Congo Square, and brass bands to life on a host of nostalgic tunes. And, in addition to his excellent trumpet work, Doc lends his, soft, charming and very highly capable vocal styling to such upbeat swingers as "Do You Believe In Love At First Sight," "Jeepers Creepers,"and "Dinah."

The dynamic trumpet duo lay down some jazzy/bluesy sounds on such selections as "I Got A Right To Sing The Blues," and "Say It Pretty Mama." And, they round out the date with some memorable, sentimental gems like "Stardust," "Jada," "I Cover The Waterfront," and "She's Funny That Way." Doc Cheatham & Nicholas Payton is a rare and wonderful meeting of the creative minds and talents of two stellar stars who demonstrate artistic genius is timeless--and that it transcends age and time.

Steve Turre, a native of the San Francisco Bay Area, steeped in the tradition of jazz, is an exceptional talent who has worked with such legendary artists as Art Blakey, Cedar Walton, Woody Shaw, Dizzy Gillespie, McCoy Tyner, Thad Jones and Mel Lewis, Elvin Jones, and Rahsaan Roland Kirk--who introduced him to the shells. Steve, leader of the Shell Choir, found out that playing the shells was spiritually and historically connected to his ancestral Aztecan heritage.

On his latest self-titled release, Steve Turre, he is joined by a fine group of stellar players that include J. J. Johnson--one of Steve's main inspirations; Alfredo "Chocolate" Armenteros; John Faddis and Randy Brecker (flugelhorns, trumpets); Willie Rodriguez, Stephen Scott (piano); Stephon Harris (vibes, marimba, balifone); Andy Gonzalez (bass); Akua Dixon (cello); Regina Carter (violin); Portinho, Victor Lewis, Horacio "Negro" Hernandez (drums); Manny O'Quendo, Milton Cardona, Kimati, Dinzulu, Herculano Frederici (hand drums/percussion); Romero Lubambo (guitar); Cassandra Wilson, Graciela Perez (vocals).

Steve uses his artistic freedom and expression to explore the sounds and textures--uses instruments and voices to paint bold, magnificent multi-hued, multi-flavored masterful sounds. The opening piece, Duke Ellington's "Sentimental Mood,"which open with a shell intro and accents throughout. This composition which sparkles anew...is a fresh, potent, Latin backed, composition featuring the beautiful, lush, lusty, sultry vocal stylings of Miss Cassandra Wilson. Steve on trombone, leading the horn section punctuates and defines the piece nicely--gorgeously.

The album features the mighty, majestic piece "The Emperor" with trumpets, shells and an outstanding African drum solo by Kimiti Dimzulu, and fine conga (Milton Cardona) and African balifone (Stephon Harris) accents. The spacial, samba-esque piece "Let It Go;" legendary vocalist Graciela excels on the haunting, sentimental Latin "Ayer Lo Vi Llorar." J. J. Johnson, trombone grandissimo/icon, graces the piece "Steve's Blues" with a tasty solo intro. "Mongo 'N McCoy," is a rhythm mover that boasts the marvelous, million-fingered congo playing of legendary Mongo Santamaria, the wonderful piano work of Willie Rodriguez, and very fine brass backing.

On this self-titled release Steve Turre a unique, one-of-a-kind talent reaches into the depths of his artistic spirit and explores the outer realms of his creative soul.

©L'cinda Scott-McCall

Verve, 1997

In the Spotlight...

Abbey Lincoln
Who Used To Dance

....Who used to dance
With spreaded wings
And wore a bangle, an earring
Who used to dance.

Who used to dance
And do a show
And tell a story of long ago....

Who used to dance...
And calculate the river's flow
And build a chariot to go;
The ones who carried staffs and rods
And wrote some stories of the gods....

To say Abbey Lincoln is a fine singer...is indeed an understatement. Abbey is a singer...and so much more. Anna Marie Woolridge...aka Abbey Lincoln...aka Aminata Moseka, is a rare and singular artist who words and categories cannot define, confine or regiment.

She is a star of the dramatic stage and the musical stage. She is an original, an oral style tradition storyteller...spinning and weaving magical, imagination-rich stories in lyrical form. Abbey's stories are about life, love, joy and sometimes sadness, adversities...but love and hope always triumph in the matters of the heart, in her deep, heartfelt songs.

Abbey's latest release Who Used To Dance is a testament to her highly powerful capabilities, and to her ability to use her vocal and writing instrument. She arranged the album and wrote five of the compositions it contains. It is obvious that Abbey feels free to express, explore and create works that are poignant, fresh, and definitely are very unique. She sings dramatic songs and songs that are light and uplifting...but all of the selections those she created and re-created seem to touch her spirit, soul and imagination. And, they appear to have been chosen to share these qualities with others who listen to them.

Abbey Lincoln has a one-of-a-kind voice--a flexible, versatile, multivirtouso, multi-range voice that can hit low notes and high ones too. But what really sets her apart as a singer is that she can sing songs of all genres, especially blues and jazz, and do her very original take on them.

Abbey has the respect and camaraderie of her peers as well. And, she always attracts the finest talent to work with her on recording dates. This time around the super stellar line up includes, Frank Morgan, Steve Coleman, Oliver Lake, Riley T. Bandy III, Justin Robinson, alto sax; Julien Lourau, tenor sax; Rodney Kendrick and Marc Cary, piano; Michael Bowie and John Ormond, bass; Aaron Walker drums and percussion; Alvester Garnett and Turu Alexander, drums; Graham Haynes, coronet; Savion Glover, tap dance; Bazzi Bartholomew Gray and Arthur Green, background vocal comments.

Who Used To Dance is packed full of original tunes--those Abbey created, and some others that she refreshed and fashioned in her own vocal likeness. She struts her vocal stuff--from the first selection to the last. The opening cut, "Love Has Gone Away, which Abbey wrote the words and music for, and that features the outstanding talents of tenor sax player Steve Coleman, is a sentimental, melancholy, bluesy piece which brings to mind the style of Lady Day, Billy Holiday. "Autumn Sings," with Frank Morgan on tenor sax, swirls and swings in brilliant technicolor hues to a dance in waltz time.

"Love What You're Doing," is a bittersweet love refrain that has shades of the blues tune "Careless Love"--minus the tears--on which tenor saxmen Riley T. Bandy and Steve Coleman provide some tasty, bluesy, playing. "The River" is a a Sci Fi type commentary that finds Abbey sent to earth to report on the goings oh here. Of course her space ship lands on a freeway, which that is a race hour, noisy jam of traffic. Abbey aided by Bazzi Bartholomew Gray and Arthur Green vocally authenticate and recreate a scene that would cause an alien to take to his or her space ship and leave this planet immediately in sheer consternation.

Abbey and the ensemble swing Bob Dylan's "Mr. Tambourine Man" tune wonderfully. They give it a hip, upbeat jazzy take that could be conjure up in the mind vision a street musician dancing, singing and playing a tambourine that resounds rhythmically as it is tapped against the hands, knees and elbows.

However, it is showtime when Abbey, joined by hoofer extraordinaire, Savion Glover, take center stage and perform the title cut, "Who Used To Dance." This tune which brings to mind such great hoofers as Mr. Bill Robinson and Sammy Davis, Jr., is magically brought to life when Abbey draws upon her fine dramatic talents, and tap dancer Savion Glover using his talents to deliver a fine solo performance...and together these two performers --accompanied by the great cast of musical players backing them-- bring this fantastic, beautiful, marvelous composition to life. Abbey, Savion and the ensemble...take a much deserved bow. This creation is really rich.

Who Used To Dance spotlights perfectly the vocal, poetic, dramatic--and all of artistic talents of a gifted, impeccable luminary, who with every release is more potent, more powerful, expressive...and marvelous. This release also leaves no doubt as to why Abbey Lincoln, Aminata Moseka...is a very high ranking jazz diva.

©L'cinda Scott-McCall

Verve, 1997

In the Spotlight...

Jimmy Smith
Angel Eyes

Jimmy Smith, foremost organ master...is a multi-talented artist for all seasons. Jimmy can play high energy, red hot fire cracker, funky get down to the ground sounds...straight ahead jazz...and lush, beautiful mood-setting, mood-pleasing classic jazz...nostalgic standards that put you in nice, mellow frame of mind.

Many of the young musicians, the eXceptionally brilliant of the neXt generation, who have honed and polished their skills working as sidemen on recording dates are now moving out front in their own right...and are now working side by side on the bandstand and in the studio with legendary peers like Jimmy Smith. They are engaging in a musical meeting of the minds that transcends age, space and time.

Jimmy's latest release, Angel Eyes, subtitled "Ballads And Slow Jams," finds Jimmy Smith teamed up with a veritable jazz Dream Team of fine young artists that deliver some one-on-one and some great ensemble performances. The MVP line up includes Roy Hargrove (trumpet and flugel horn), Nicholas Payton (trumpet), Mark Whitfield (guitar), Christian McBride (bass), and Gregory Hutchinson (drums). And, the album doesn't just swing...it down right jams...from the very first note until the last.

The release opens with a very laid-back, grooving version of the classic "Stolen Moments..." and segues smoothly into the title cut "Angel Eyes" which features tasty guitar virtuoso work from Mark Whitfield. In an organ/guitar duet with Mark, Jimmy lends lush organ runs and a nice syncopated accent to this very pretty piece.

"Bess Oh Bess," From Porgy And Bess, is rendered delicately and prettily. "Slow Freight" is given a bluesy, gospel-tinged take...and driving organ rhythms that bring to mind Jimmy Smith's ever popular "Walk On The Wild Side." The piece is highlighted by a fine flugel horn solo by Roy Hargrove. Jimmy and Christian serve up a highly complementary organ/bass duet on "Tenderly."

Angel Eyes is a great creative collaborative work that allows artists' talents to be showcased wonderfully. Members of the ensemble are highlighted in solos...and in twosomes, where each has a turn at conversing musically with Jimmy Smith. Nicholas and Jimmy create a rich slow, luscious, live version of Neal Hefti's "Little Darling"...and Gregory and Smith pick and play so sweet...it will make you say "My, My, My"...and Gregory would make Wes Montgomery proud. Jimmy rounds out the date with a solo on "What A Beautiful World" where he lets his fingers do some rhythmic walking as he creates some marvelous finger-snapping, head-bopping sounds.

Angel Eyes is a magnificent demonstration of how some of the finest young creative artists on the scene today, can team up with an ultra talent extraordinaire like Jimmy Smith...and create some wonderfully gorgeous music. Uh, uh, uh Jimmy...you all sure can jam.

©L'cinda Scott-McCall

Verve, 1997

In the Spotlight...

Shirley Horn
Loving You

There are some very precious, well-kept secrets. But even the best kept secrets often come to the light. There are also stately, sophisticated, creative gems, like fine, polished rare diamonds, that are in our presence for a number of years...and when they are showcased in the right light, are so brilliant, so dazzlingly talented, they are proclaimed newly discovered. Not realizing that these one-of- a-kind artists have been working for many years to shape, hone, perfect their craft until, to their satisfaction it is their best, it pleases them....and to audiences' delight...it is sheer perfection.

Singer-pianist extraordinaire Shirley Horn is one of those extraordinary talents who seems to have attained, have achieved a level of creative and personal growth, artistic excellence and a very high level of comfort with her work...of doing music she likes and wants to do...that one can feel it in her music...in every word she sings...every note she plays.

Loving You Shirley's latest release is one of those works that splendidly showcases not only her vocal and musical mastery and versatility, it also displays an intimate, relaxed ambiance...with a sensuous and highly sophisticated el�n...spirit, style, flair. But then only a grand diva such as she could do it.

As a member of the ensemble on this date that includes such superb talents as Steve Novosel (bass), Steve Williams (drums), Alex Acuna (percussion), and George Mesterhazy (keyboards)...Shirley takes songs that perhaps we have heard many times and magically weaves and spins them into total new creations...voila...before our very ears. Bringing them down slowly, patiently to a level where the listener can take the time to become totally immersed in the meaning, the feeling, the beauty, the nowness of each selection.

Shirley has taken...has picked individually beautiful flowers and created a wonderfully harmonious, aromatic, soft, delicate, romantic bouquet. From first cut to last, each selection enrapts, enriches, enchants...sets one's heart swirling and turning in metric time to...and in anticipation of each word and note.

At times on tunes like the title cut "Loving You," "Man You Were" and "Kiss And Run" she sets a reflective, mood of one reminiscing about a lover who is away, or about a very beautiful relationship that is has ended. Then others songs such as Errol Garner's "Dreamy," Antonio Carlos Jobim's "Someone To Light Up My Life" and Harold Rome's beautiful composition ("All Of A Sudden") "My Heart Sings," are sung so poignantly, passionately, so deeply one can feel the essence and the presence of that person she is singing to/about. And Shirley's take on the cool, sexy blues guitar-backed "Blues In The Dark," is nothing short of par excellence.

The twin piec� de resistance pieces on the album are her renderings of Ivan Lins' marvelous classic creations, "Love Wants To Dance" and "The Island." Shirley vividly paints a tender mood of a lights-down-low, cheek-to-cheek, gentle, heartfelt, take-your-time, enjoy and savor this slow dance/love dance on one...and on the other creates a wondrous mind/visionscape of a secret, seductive, paradise just for two...her take on these beauteous pieces...is magnificent.

Loving You is an invitation to visit Shirley Horn's sensuous, sumptuous garden of enticing, alluring, musical delights...if you Dare to.

©L'cinda Scott-McCall

Verve, 1997

In the Spotlight...

Joe Henderson
Big Band

"There isn't a jazz musician extant with more integrity than
Henderson, and that quality comes in his music."

--Bill Kirchner--July, 1996

Integrity is defined as conforming to a standard of value, honesty, independence, unity, soundness. Joe Henderson's music exemplifies all of this. Joe epitomizes the sheer quintessence of excellence in jazz. His work is designed like fine sculpture. It is patiently, masterfully and exquisitely shaped into singularly fine masterpieces.

Big Band, which was 30 years in the making, was recorded between 1992 and 1996. This release not only demonstrates Henderson's multi-virtuostic creative talents, it also displays the respect, camaraderie and the stature he has among peers, fellow stellar artists who joined him on the date...such super talents as trumpeters Joe Faddis, Freddie Hubbard, Nicholas Payton, pianist Chick Corea, drummers Al Foster, Joe Chambers and Lewis Nash, and bassist Christian McBride.

The recording grew out a dream Joe had for many years. And as patiently and methodically as he plays, he took his time in composing, arranging, over the years bringing and keeping together members of the big band, rehearsing, and recording a superb album.

As a soloist Joe Henderson projects a very relaxed, easy going comfortable style...and delivers a rich, robust, full- bodied, mellow, sound that is deliberate and delicate...with a vibrant energetic underpinning. On Big Band Joe's playing is nicely juxtaposed against a powerful brass section of players whose playing ranges from highly rhythmic staccato riffs to muted, melodic, subtle sounds. The work is nicely enhanced by some tasty, complementary drum and bass accents.

Although the compositions on the album are performed by a big band, Henderson and the fabulous cast of players create a feeling reminiscent of the sound and feel of a small club setting. And the selections which run the multi-mood-setting, mood-pleasing gamut...range from the sentimental upbeat Henderson arrangement of "Without A Song"...to Joe's very delicate, very pretty composition "Black Narcissus"...to his delectable, upbeat, smooth piece "Serenity...to the reflective, introspective Henderson creation "Recordame."

Triple Grammy award-winner Joe Henderson, a truly impeccable artist, an ultra original, highly individual achiever, joins forces with some of the crem� de la crem� of jazz...and collectively they take their creative artistry to another dimension in sound...in excellence...in the jazz sphere.

©L'cinda Scott-McCall

Verve, 1996

In the Spotlight...

Ornette Coleman
Sound Museum

Hidden Man | Three Women

"...Sound in the form of music is not required to change itself to become equal to an existing sound regardless of who the sound is being made by. This proves that music expression is equal to all. Music is not a style. Music is an expression. There are not styles based on repetition as free will."

Ornette Coleman, Sound Museum

For over three decades Ornette Coleman, jazz icon, has reigned supreme as creative genius, innovator and trend setter whose being and artistic excellence have attracted, inspired and influenced many fellow musical artists. Ornette has earned their respect as an standard bearer of classic jazz...and as a highly gifted, individual to whom the freedom for himself and others who work with him, to be able to be, to express oneself...to move and have one's being...seems to be of the utmost importance. Ornette has persevered...sometime in the face of controversy...has continued to explore, create and chart his course...to create, mandate a way of making, of playing music, of harmolodics, where, as Ornette explains, "The pattern will be forgotten and the tune itself will be the pattern....The sound of this music is made from the way it's played not by a given sound played in a set sequence."

Sound Museum, a two-CD set that contains the same thirteen compositions and one vocal, on which the ensemble play variations on a theme...if you will...interpret them, express them differently...and marvelously so on each disk. Returning to playing as a member of a quartet, Ornette (sax, violin, trumpet) has joined forces with some artists who have outstanding credentials: Geri Allen (piano), Charnette Moffett (bass) whose father Charles worked with Ornette, and who was named after the two; Ornette's son Denardo Coleman (drums), Lauren Kinham and Chris Walker (vocals).

Sound Museum(dedicated to the memory of Don Cherry and Ed Blackwell) is a superb melodic tour de force, a rich odyssey into a beautifully crafted, created universe of sounds. The opening title cut, trumpets perfectly...introduces and announces what is to follow: a work filled with spirit, ethos, passion and grace. It reveals the excellent improvisational talents, the artistic expression of each member of the quartet...and their imagination that takes wings and soars to wonderful creative heights.

"City Living" (brings to mind the spirit of Stevie Wonder's "Living For The City") is a piece that recreates in the mind the helter skelter, fast paced rush hour scene...one which lessens the time individuals have to stop--to take the time to appreciate, enjoy and express/reflect the beauty in, near and around them. "Home Grown" has the feel of a jubilant gathering, a celebration. "What Reason" is sentimental composition that evokes in sound the image of introspective/reflective feelings of a relationship.

The traditional gospel song, "What A Friend We Have In Jesus," is given an upbeat, bluesy/jazzy take...is performed in a dignified way, but with warm, feeling...and great artistic expression. "Don't You Know," from the CD "Three Women," a precious jewel that seems to be homage to tender love...to a very special relationship...a love affair, is a composition through which the two vocal artists, Lauren Kinham and Chris Walker, complement each other beautifully as they take this masterful creation to another dimension in sound. The two give each other room, space, freedom to express themselves. And, "Don't You Know" is a very infectious, hum-mable piece.

Ornette Coleman is always millennia ahead in creating the finest in the universe of sound. With Sound Museum he has taken a quantum leap...at warp speed into the cosmic realm of harmolodic artistry...through sound, freedom and expression of the highest caliber.

You can check out...experience and keep up-to-date on all of the harmolodic happenings by email at info@harmolodic.com.

©L'cinda Scott-McCall

Harmolodics/Verve, 1996

In the Spotlight...

Betty Carter
I'm Yours, You're Mine

Each one of Betty Carter's performances and recordings are fresh, new, daring, outstanding and artistically excellent. Betty doesn't backtrack...doesn't rest on her laurels or become complacent about past success, she forges straight ahead, charting new career milestones.

Betty is is constantly reaching, growing, exploring. She is an innovator, creator who defines her music on her on terms and refines classic jazz in the grandest tradition. Betty Carter, a Grammy award winner who has worked with many jazz icons, including Lionel Hampton whom she started with, Ray Charles, Dizzy Gillespie, Charlie Parker, and Max Roach. Betty Carter also has a fine eye for spotting and working with exceptional young talent, such as Jacky Terrasson, Mulgrew Miller, Benny Green, Cyrus Chestnut, Michael Bowie, and Lewis Nash.

On her latest release, I'm Yours, You're Mine, Betty...working with a fine ensemble of artists made up of Mark Shim (tenor sax), Curtis Lundy and Matt Hughes (bass), Xavier Davis, Gregory Hutchinson (drums), and Andre Hayward (trombone)...turns out another masterful work of art. She sings and swings some finely crafted, marvelous, smooth, easy going pieces...but not to be fooled. Although Betty makes the songs sound easy and effortless...Betty never does anything easy. Betty Carter's voice is like a finely tuned instrument and she uses the astounding vocal range she possesses to accent, punctuate, finesse...and caress every syllable of each word of the lyrics she sings. Each tune is rendered a precision work, an impeccable piece sculptured by a singularly expert songsmith. And Betty talents as the reigning scat master extraordinaire...are grandly demonstrated on the title cut, "I'm Yours, You're Mine." Like Ella Fitzgerald, Betty uses her vocal instrumentality to create sounds of instruments--of saxes and trumpets, to name a few.

The release contains seven compositions, six of which are extended length. Each tune stands out as an individual production piece. There are unique takes on favored standards and an original, the title cut that Betty co-wrote. The opener, "This Time," which has a rousing drum intro, is dressed up and swings lightly, delicately and prettily. "Close Your Eyes," that features a nicely accented sax solo by Mark Shim, is nice and jazzy...and an oh so sultry a tune.

On Antonio Carlos Jobim's haunting, sensitive tune, "Useless Landscape," Betty pays tribute to Jobim by excellently capturing and rendering the essence of this beautiful creation. "East Of The Sun" is given a unique, upbeat, breezy, dreamy, stylish take...oh my, it is so very cool, Betty. And, on the closing selection, "September Song" Betty renders a highly creative and inventive 360 degree custom designed take on this classic.

I'm Yours, You're Mine, adds another chapter to the book that chronicles a continuing outstanding stellar career...and makes it very clear that Betty Carter is definitely reigning jazz royalty.

©L'cinda Scott-McCall

Verve, 1996

In the Spotlight...

Kenny Garrett
Pursuance
The Music of John Coltrane

"No other alto player on the scene today has a bigger sound. Few have the inner strength it takes to tackle such an imposing project as the music of John Coltrane. Fewer still have the imagination and depth to put their own stamp on such powerful music as Kenny Garrett does so brilliantly on Pursuance."

Bill Milkowski, JazzTimes, June, 1996

Kenny Garrett is a very advanced, very developed innovative, highly creative sax player. Yes, the challenge of performing an album of John Coltrane's music was ambitious... was a challenge, a monumental task that Kenny met well. But then Kenny Garrett is a talented artist...who is highly capable of doing the exceptional.

In a PBS (Public Broadcasting System) television broadcast of the Miles Davis band at Montreux, which aired in 1993, Miles shared the stage with a young alto sax player who was just phenomenal. The super talented reedsman was Kenny Garrett who brought the audience to its feet on several occasions, and elicited smiles and an invitation from Miles to take a bow after an intense, passionate, rhythmic, melodic solo that seemed to last twenty minutes or so.

From the opening selection on Pursuance, "Countdown," Kenny blasts off into high gear on a high energy run that quickly reveals his capabilities...the listener is in for a rare treat...and this excellent hornsman from Detroit makes it clear that he is a force to be reckoned with. Kenny, spent five years with the Miles Davis group, toured with the legendary Duke Ellington Band under the leadership of Mercer Ellington, and worked with the Mel Lewis Orchestra, Freddie Hubbard, Woody Shaw, and Art Blakey. Kenny has established his own highly capable credentials on his own albums...which include Prisoner of Love, Black Hope, Trilogy and African Exchange Student. He is definitely making a fine name for himself...is carving out an impressive niche.

There are exceptional and refreshing musicians on Pursuance . And, there is a very distinct difference in the make up of the players in Trane's group and in those Kenny has assembled to work with him on this album...Trane utilized the magnanimous talents of Mccoy Tyner on piano...Kenny doesn't have a pianist on this session. However, his masterful ensemble includes Pat Metheny on guitar, who does a remarkably fine job of, in essence, performing the duties of a piano and at times other instruments as well. Pat complements and supports Kenny very well. The other fine players are Rodney Whitaker on bass, a very versatile artist, and drummer Brian Blade who is quickly making a name for himself...brushes the drums lightly and fantastically. Rather than play like Trane, Kenny Garrett plays the way Trane's music makes him feel... and the way he feels the music. It is as if he is saying "This is what your music does for me and how it makes me feel. Or, as Kenny explained it, he had "to go in and get inside his music." One can feel the essence of John Coltrane's music... which is very spiritual, transcendental, peaceful, meditative, pure, cosmic...in Kenny's playing.

The bopish track "Liberia," is a straight ahead rhythmic union of sax and bass. "Eternal Equinox" and "Dear Lord" bring to mind's vision quiet, serene hours spent listening to these spiritually elevating compositions. On "After The Rain," that is set against the backdrop of Pat Metheny's guitar, which has the sound and flavor of Middle Eastern and Asian instruments, Kenny does a very sweet, flowing, moving take on this gorgeous tune that gracefully lends itself to peaceful spirit/mind traveling. The timeless masterpiece "Giant Steps" that swings melodically and is performed masterfully and skillfully, embodies the exuberant feeling of Trane's uplifting, inspiring, high energy creation.

On the closing track, "Latifa," which was written by Kenny Garrett and has ebullient, ethereal feeling, Metheny's guitar playing sounds at times like another horn that is complementing and engaging in sound dueling with Garrett. The juxtaposing of horn and guitar rises to a fever pitch and mellows out nicely in a rich, melodic finish.

With Pursuance: The Music of John Coltrane, Kenny Garrett, an artist who possesses a natural talent of the highest caliber, and highly developed technical skills...adeptly, embraces and honors the legend, the legacy, the monumental legacy of beauty and spiritual excellence of Trane...the transcendental creative genius.

©L'cinda Scott-McCall

Warner Brothers Records, 1996

In the Spotlight...

Verve: The Next Generation

This release, which is a tasty treat, could be called the gathering of the young jazz masters (lions too) because it showcases some of the most happening, hottest and talented musicians on the jazz scene today. The lengthy cuts this sampler offers, enable the seven artists to stretch out and jam. If you haven't done so already, it is also a great way to sample the creative wares of Charlie McBride (bass), Nicholas Payton (trumpet), Stephen Scott (piano), Bheki Mseleku (saxophone), Mark Whitfield (guitar), Rodney Kendrick (piano), and Roy Hargrove (trumpet).

Christian McBride, an incredibly, amazingly gifted and seasoned bassist who, at the age of 22 has recorded over 70 albums as a sideman. His portfolio includes work with Etta Jones, Betty Carter, Benny Green, Wynton Marsalis, Bruce Hornsby, Pat Methany, Roy Hargrove, Cyrus Chestnut, Joshua Redman, Freddie Hubbard, and Joey DeFrancesco.

Christian is being touted as the greatest your bass player in the last 25 years...and the most promising and versatile new bassist since Charles Mingus. But the proof is in the pudding...and it is as tasty as they say. On this release, which features the title cut from the album Gettin' To It, his very fine talents as a composer, arranger and bandleader are showcased. Christian has a full, rotund, comfortable, confident, expressive...and oh such a cool style. And it fittingly features some of the fabulous, talented legends in the making...and a few gifted giants as well that he has worked with, including Roy Hargrove, Joshua Redman (tenor sax), Steve Turre (trombone), Cyrus Chestnut (piano), Lewis Nash (drums), Milton Hinton (bass) and Ray Brown (bass). There's no doubt about it...Christian McBride has definitely gotten to it...and has gotten it down to an art.

Nicholas Payton could be called the young-old man of jazz, since he has been in the eyes and ears of the jazz community since he was in his teens. And, he's been in good company since he's grown up too. He has recorded with the venerable drummer Elvin Jones, pianist par excellence Marcus Roberts and Mr. Mumbles himself, the inimitable trumpeter Clark Terry.

"You Stepped Out Of A Dream," from the release From This Moment, is a dreamy masterpiece of fantastic, lush, full sounding, swinging trumpet gymnastic virtuosities. He also gets a little help from some friends who just happen to be incredible talents themselves...Mark Whitfield, Monte Croft (vibes), Mulgrew Miller (piano), Reginald Veal (bass), and Lewis Nash (drums). Nicholas Payton jazz standard bearer who is quickly becoming a legend in his own time.

As a pianist Stephen Scott has some fine credentials...and a great reference from a former employer, none other than the high priestess of jazz, Betty Carter...who calls him a genius--not shabby at all. Stephen's versatile, individual, inventive, sweet and beautiful playing is heard on his cover of Herbie Hancock's classic composition, "Maiden Voyage" from his album Renaissance. Stephen adds his stylistic flavoring to the piece and offers a fine, delicate serving of Herbie's tune. This fine release also includes such fine standards as "Poinciana," "Solitude," "Tenderly," and "Just Friends"....and features Michael Bowie (bass), Clarence Penn ((drums) and Karriem Higgins (drums). Stephen Scott is a marvelously gifted talent who has hitched his wagon to a bright shining star.

The three superb musicians who make up the middle of Verve: The Next Generation are Bheki Mseleku, Mark Whitfield and Rodney Kendrick.

South African born, London based alto sax and pianist Bheki Mseleku, a remarkably talented, self-taught creative artist who often astounds audiences by playing both instruments together, has an upbeat, uplifting ebullient sound...a unique, multi-virtuostic sound. On his American debut albumTimeless, from which he offers "Homeboyz," he is joined by a few musicians who just happen to be card carrying, bona fide jazz legends themselves...and includes "Michael Bowie (bass), Marvin "Smitty" Smith (drums), Abbey Lincoln (vocals), Kent Jordan (flute), Pharaoh Sanders (tenor sax), and Elvin Jones (drums). Bheki Mseleku has the right stuff...and he travels in the right circles.

Guitarist Mark Whitfield's contribution to the release is "Blues For Alexander" from his CD True Blue. Now this young artist was taken aside by guitar legend George Benson who suggested he play with Brother Jack McDuff...and as they say the rest is history. Mark's playing is fresh, versatile, diversified...a highly original bluesy style--shades of Wes Montgomery and George Benson...his sound is very refreshing. Joined by the likes of Nicholas Payton, Branford Marsalis (tenor sax), Kenny Kirkland (piano), Rodney Whitaker (bass) and Jeff "Tain" Watts (drums), he serves up a generous portion of original tunes as well as some by artists such as John Coltrane, Thelonious Monk and Randy Weston. Mark Whitfield is great proof of the sort of good things that can happen to a talented, young artist who listens to his elders.

Rodney Kendrick's piece, "Cogent," from his second release, Dance World Dance, spotlights this uniquely talented living/play jazz cultural historian whose playing on one hand embodies the essence of Thelonious Monk and Sun Ra, and on the other the influences of former employers James Brown and George Clinton. Along with a fine group that includes Bheki Mseleku (tenor sax) and Arthur Blythe (alto sax) Kendricks spins and weaves all of these rhythmic/cosmic strands into a tapestry of wonderfully cohesive musical magic.

Roy Hargrove rounds out this set with a tasty, delicious piece entitled, "Soppin' The Biscuit." And, if you don't know how good this edible ritual is...just listen to Roy play it...and you can almost taste it--its essence that is. This selection from the album Tenors of Our Time brings Roy Hargrove, who has been called the hottest young trumpet player in the world, together with some of the most sizzling jazz legends in the universe, including guest saxmen Joe Henderson, Stanley Turrentine, Joshua Redman and Branford Marsalis...along with Cyrus Chestnut (piano) Ron Blake (sax) and Rodney Whitaker (bass). Enough said..this is a very special treat.

Verve: The Next Generation is a fine, listenable release to check out. It's also an excellent introduction to some of the brilliant young jazz musicians who are exploring and reaching new creative heights...while at the same time are admirably embracing and honoring classic jazz and its creators...those of yesterday and those in our midst today.

©L'cinda Scott-McCall

Verve, 1996

In the Spotlight...

Pharaoh Sanders
Message From Home

"...Pharaoh Sanders transcends all methods by being in tune with the earth, absorbing its ancient celestial rhythms and, through the exploration of the myriad tonalities of his horn, creating a music awash in flowing, fractal ../images, indigo moods and memories, and seraphic things to come."

Bill Murphy, NYC, 1995

From Trane to Upper and Lower Egypt to Alice Coltrane (Turiya) to Karma...Pharaoh Sanders has and is a very transcendental, creative genius of the highest cosmic, universal order. Pharaoh, the venerable genius is timeless, ageless, wise, spiritual, philosophical, earthy, global. As learner/seeker, mentor/teacher...he is always exploring, synthesizing, growing, learning, reflecting/imparting, creating a multiplicity of soundscapes.

On his latest release, Message From Home, Pharaoh creates spiritual, transcendental music that courses, flows through one's being as a necessary aesthetic life force. He takes us on an ancestral pilgrimage through his creative/spiritual mind/sound vision and allows us to catch a glimpse of the homeland via the polyrhythmic sounds he create, the sound/landscapes that he paints. He visits ancient African kingdoms through a time warp and return to the present and share these gems with us.

Pharaoh is joined on this date by a most esteemed, talented group of musicians that includes Foday Musa Suso (kora, dousongonni, vocals), Salie and Miriama Suso, Fanta Mangasuba, Fatoumata Saka (background vocals), Michael White (violin), Hamid Drake (drums, tablas, frame drums, vocals), Aiyb Bieng (chatan, congas, bells, gongs, vocals), William Henderson, Bernie Worrell, Jeff Bova (electric and acoustic piano, vocals), Dominic Kanza (guitar), Charnette Moffett (acoustic bass), and Steve Neil (acoustic and electric bass). And, Pharaoh who is featured on tenor and soprano saxophones, flutes, bells, bowels, and vocals...uses all of his instrumentality to create textural, variations, qualities on the notes he plays and the music he makes. The opening piece "Our Roots" (Began In Africa) is a moving, melodic, rhythmic affirmation...that proudly echoes again and again...the message from the land whence Pharaoh and millions of African Americans came..where their roots are. It is a spirited happy home going/coming...a wonderful realization that he was able to go home spiritually and physically. Pharaoh brings a righteous message back...in music, sounds and words--a variety of moods, sound textures... a message that he shares willingly, marvelously and abundantly. On "Nozipho," he shares his interpretation of a special, peaceful, reflective/retrospective feeling. "Tomoki," with its rich, vocal accents (shades of Leon Thomas) is an infectious tune that readily lends itself to humming, dancing, singing, and hand clapping... and Pharaoh's righteous blowing sounds like he is giving an "amen" to do so.

The jewel of a composition, "Ocean Song," allows one to experience the meditative quietude that can be felt in a walk along the shore, a dip in an ocean or river...in uplifting, renewing waters where one can become immersed in a sea of spiritual sounds. It speaks beautifully to the spirit, the essence of the soul. "Kumba" and "Country Mile" create a mood set of master musicians traveling down roads from neighboring villages to come together, to join singers, dancers, villagers...to joyously play, sing, dance, celebrate, elevate the spirits and...yes to jam too.

On Message From Home Pharaoh the imminent, impeccable quintessential creator creates and brings us rare and precious gems...and a priceless spirit reaffirming message.

©L'cinda Scott-McCall

Verve/Polygram Classics and Jazz , 1996

In the Spotlight...

Wynton Marsalis
Marsalis Standard Time

"...By taking on selections from the standard repertoire that has inspired a good number of classic jazz performances, Marsalis and his men are placing themselves in a situation where their work has to be judged against the best of the best of the entire tradition. Here they are challenged to assert their imaginations in contexts that are neither mysterious nor exotic....(and) we observe fresh things happening to these pieces and spaces found for new footprints..."

- Stanley Crouch -

Wynton Marsalis is a highly gifted, quintessential "renaissance man" of the arts, a creative genius of the highest order...a consummate musician...a scholar, educator, mentor, jazz historian. Before the age of thirty, Wynton had garnered many prestigious awards, numerous honors and great accolades.

Wynton is excellence personified. As a member of the First Family of Jazz headed by Ellis Marsalis, he is rooted, grounded in music...especially in jazz culture and tradition which he has been immersed in straight from the source...New Orleans, the fountainhead, the home of this now universal art form.

Marsalis, who has won much acclaim, including eight classical Grammy Awards, is also the co-artistic director of New York City's Lincoln Center. Wynton, is also an exceptionally superb classical jazz artist and a veritable treasure trove of talent who is equally adept at creating high caliber classic jazz, classical music, dance and film compositions.

Wynton has a respect, a sense of responsibility to perform, to contribute imaginatively and creatively to the most honorable institution of jazz, as well as incorporating blues, swing and popular songs in his repertoire. Marsalis is also an improvisational artist par excellence, and on the release Marsalis Standard Time, Volume 1, he performs, captures the essence of these compositions, these beloved standards with great skill, artistry...and pays special attention to maintaining and delivering them with absolute historical integrity and authenticity.

Marsalis pays homage and expresses his gratitude to such jazz icons as Lester Young, Thelonious Sphere Monk, Louis Armstrong, Art Blakey, and Ron Carter. Wynton is joined on this date by such venerable musical artists as Marcus Roberts (piano), Robert Leslie Hurst (bass), and Jeff "Tain" Watts (drums).

The ensemble performs tightly syncopated, rhythmic, swinging renditions of such classy pieces as "Caravan", "April In Paris" and "Cherokee." On "Goodbye" and "New Orleans" the group skillfully complement each other as they deliver stellar performances on these two beautiful, sentimental pieces. Wynton swings and tastefully improvises on "Soon All Will Know" and his take on "A Foggy Day" is the epitome of excellence. On the upbeat, rhythmic, moving tune "The Song is You," the men stretch out, swing, stride....and perform some great solos...beautifully, grandly...take a bow gentlemen.

Marcus Roberts' arrangement and solo piano playing (which brings to mind Tatum and Waller), on his pensive, quiet version of "Memories of You," is truly outstanding. Wynton's composition "In The Afterglow is a simply elegant, gracious piece written and delivered with precision and class. On his arrangement of "Autumn Leaves," drummer on the date, Jeff "Tain"Watts, swings the ensemble swings into high gear on this timely favorite and moves boldly, wonderfully, rhythmically, spiritedly...and paints an exquisite soundscape.

Marsalis Standard Time, Volume 1 is an excellent way of setting, of swinging your classic jazz listening and enjoyment timepiece to. It is marvelous....and nothing short of magnificent.

In the Spotlight...

Art Ensemble of Chicago
The Third Decade

"The kaleidoscopic soundscape creates its own essence. Great Black Music dancing ( a little bit out of step, by choice) prancing (by choice). "Jazz, Blues, Rock, Funky" Art Ensemble of Chicago...."

- Art Ensemble of Chicago -

The rich rhythmic textures of the music of the Art Ensemble of Chicago demonstrates their ability to artistically weave into their music jazz creations that defy categorization, regimentation. Their music is freedom in sound--free flowing, global, universal, cosmic, masterfully rendered, multi-mood, multi-modal.

In the tradition of John Coltrane, Pharaoh Sanders, Ornette Coleman, Sun Ra, and The World Saxophone Quartet, The Art Ensemble of Chicago, Lester Bowie, Joseph Jarman, Roscoe E. Mitchell, Malachi Favors Maghostus and Famoudou Don Moye, has been in the forefront of creating innovative, rhythmic, mystical music, or what the AEC terms "an operational format to circulate consciousness, pivoting through all forms of the sound," for over thirty years.

The AEC's The Third Decade release opens with a commemorative piece "Prayer for Jimbo Kwesi," which was dedicated to all black men who served and died for their country, and specifically to the first black Army officer (William Appleby) who enlisted in 1776 and was killed by fellow militiamen who had mistaken him for the enemy. The AEC follows this moving piece with the continuation of its exploration and celebration of the spirit through sound with the syncopated, high swinging "AECO," a piece that starts off slow, picks up rhythmic momentum and takes off on a mind/vision quest.

"Walking in the Moonlight" is a bouncy tune, a love tune, reminiscent of the light hearted/headed feeling one in love has. "The Bell Piece" is a meditative composition that tunes us in to the timeless "visions of the ancient chime and bell (which) remind us of the lyrical power that remains at the heart of mankind's quest for fulfillment." The upbeat, hip piece "Zero" conjures up ../images of the urban scene where one swings "into the streets of Harlem...uptown where folks don't ask questions 'cept 'Can You Dance?" The title cut, "The Third Decade," creates percussive bongo/conga rhythms with fast paced melodic interchanges that slow, gain in tempo again and then come to a climatic finish.

The Art Ensemble of Chicago creates a highly challenging, consciousness circulating music. The Third Decade exemplifies the legendary AEC's ever growing, ever searching/exploring/reaching for consciousness expansion through rhythmic sound.

In the Spotlight...

Abbey Lincoln
A Turtle's Dream

Often I think
when I'm alone
and no one can see me but me
what I am
and how it came to be...

The name Abbey Lincoln (Aminata Moseka), is synonymous with class, style, rare creative genius, excellence. Abbey is a warm, folksy, earthy, joyful, philosophical...experienced, innovative trendsetter.

Her latest release, A Turtle's Dream, is a precious pearl. And the personnel on the date reads like a Who's Who of jazz: Kenny Barron (piano), Christian McBride (bass), Charlie Haden (bass), Roy Hargrove (trumpet), Pat Methany (guitar), Lucky Peterson (guitar), Michael Bowie (bass), Victor Lewis (drums), and Julien Lourau (soprano and tenor sax).

As master vocalist, composer and storyteller, Abbey weaves a magical spell on such selections as the title cut "A Turtle's Dream" and "Storywise." She is philosopher extraordinaire on "Being Me" and "Throw It Away." "Hey, Lordy Mama," a hot bluesy number that she wrote, evokes down home "Stagger Lee," "Lover Man Oh Where Can You Be," and "Mama He Treats Your Daughter Mean" mind visions...but with a positive spin and end. Abbey's rendition of "Nature Boy," which was popularized by Nat King Cole, is nothing short of superb.

A Turtle's Dream beautifully showcases the rich talents of Abbey Lincoln, a consummate artist...and jazz diva par excellence. >

In the Spotlight...

Jacky Terrasson
Reach How can you describe Jacky Terrasson's music?

It's creative, nimble, million-fingered keyboard artistry

performed by a creative, astute, accomplished pianist.

It's refreshing, whimsical, lyrical, magical,

bright, spiritual, spirited.

Jacky's sound is versatile, mystical,

acoustically magnificent.

It's mood-setting/fulfilling...

it's bopish...bop, do bop, shoobop.

His music is danceable and romanceable.

Need I say more?

Jacky, is a fine standard bearer and

contributor to the legacy of the jazz tradition.

Essentially...The Best

Piano

Kenny Barron: Wanton Spirit (Verve)
Bud Powell: Tempus Fugue-It (Verve)
Duke Ellington: This is Duke Ellington (RCA)
Monk's Greatest Hits (Columbia)
Monk: Monk Misterioso (Columbia)
Oscar Peterson Plays Broadway (Verve Jazz Masters)
Sun Ra: The Futuristic Sounds of Sun Ra (Savoy)
Eric Reed: The Swing and I (Mojazz)
Stephen Scott: Renaissance (Verve)
McCoy Tyner: Big Band (Milestone)
Mary Lou Williams Quartet Featuring Don Byas (GNP Crescendo)

Saxophone

Gary Bartz: Harlem Bush Music (Milestone)
Ornette Coleman and Prime Time: Tone Dialing (Verve)
John Coltrane: A Love Supreme (MCA)
John Coltrane: Live At Birdland (Impulse)
Eric Dolphy in Europe, Volume 1 (Prestige)
Dexter Gordon (Blue Note Re-Issue Series)
Roy Hargrove Quintet With the Tenors of Our Time (Verve)
Coleman Hawkins: Sirius (Pablo)
Joe Henderson: Double Rainbow (Verve)
Rahsaan Roland Kirk & The Vibration Society (Atlantic)
Yusef Lateef: Pyschicemototus (Impulse)
Charlie Parker: Jazz at Massey Hall,Volume 4
(Saga Records, London)
The Essential Charlie Parker (Verve)
Joshua Redman: Moodswing (Warner Brothers)
Joshua Redman Quartet: Spirit of the Moment:
Live at the Village Vanguard (Warner Brothers)
Sonny Rollins: First Recordings (Prestige)
Sonny Rollins: Sonny Rollins Plus 3 (Milestone)
Sonny Rollins: The Essential Sonny Rollins (Riverside)
Pharaoh Sanders: Tauhid (Impulse)
Pharaoh Sanders: Karma (Impulse)
Wayne Shorter: Super Nova (Blue Note)
World Saxophone Quartet: Steppin' (Black Saint)
Lester Young: Pres is Blue (CP Parker Records)

Trumpet

Clifford Brown: Jazz Immortal (Jazz Milestones Series)
Miles Davis: The Complete Live At the Plugged Nickel:1965 (Re-Issue CD:1995)
The Essential Miles Davis, Special Edition,
Produced in Paris (CBS)
Dizzy Gillespie: (Verve Jazz Masters)
Freddie Hubbard: Monk, Miles, Trane & Cannon (Music Masters)
Charles Lloyd: Forest Flower: Charles Lloyd At Monterey (Atlantic)
Lee Morgan: DelighfulLee Morgan (Blue Note)
Marcus Printup: Songs for the Beautiful Woman (Blue Note)

Bass

James Carter: The Real Quiet Storm (DIW/Columbia)
Ron Carter: Uptown Conversation
Christian McBride: Gettin' To It (Verve)
Charles Mingus Presents the Charles Mingus Quartet
Featuring Eric Dolphy (Barnaby)
Charles Mingus: Town Hall Concert (Jazz Workshop/Fantasy)
Charles Mingus: Mingus Ah Um (Columbia)

Drums

Jack DeJohnette: Special Edition (ECM)
Jack DeJohnette (and Foday Musa Suso): Music From The Hearts of Masters (Kindred Rhythm)
Billy Higgins: Soweto (Red)
Elvin Jones: Heavy Sounds (Impulse)
Tony Williams: Emergency Polydor
Leon Parker (drums): Above and Below (Epicure)

Guitar

Django Reinhardt At the Hot Club of France (RCA Victor)
Wes Montgomery: Compact Jazz (Verve)
Kenny Burrell: Kenny Burrell & the Boys Choir of Harlem, Love is the Answer (Concord Jazz)

Collaborations/Commemoration/Celebration
Gene Ammons: Goodbye (Prestige)
Kenny Burrell Quintet With John Coltrane (Prestige)
John Coltrane and Johnny Hartman (Impulse)
Duke Ellington and John Coltrane (Impulse)
Rahsaan Roland Kirk & Al Hibbler: A Meeting of the Times (Atlantic)
Charlie Hayden and Hank Jones: Steal Away (Verve)
John Lewis and the Modern Jazz Quartet: Collaborations (Atlantic)
John Lewis and the Modern Jazz Quartet: The Last Concert (Atlantic)
VSOP-The Quintet (Columbia)

Vocals

Lorez Alexandria: More of the Great Lorez Alexandria (Impulse)
Betty Carter: Round Midnight (Roulette)
Nat King Cole: Forever Yours (Capitol)
Ella Fitzgerald: The Best of the Songbooks-The Ballads (Verve)
Ella Fitzgerald: The Rogers & Hart Song Book (Verve)
Ella Fitzgerald: Mack the Knife: Ella in Berlin (Verve)
Ella Fitzgerald Sings The Irvin Berlin Song Book (Verve)
Billy Holiday: Billy's Best (Verve)
Lena Horne: We'll Be Together Again (Blue Note)
Lena Horne: Live On Broadway-The Lady and Her Music (Warner Brothers/QWest)
Lena Horne: Stormy Weather-The Legendary Lena (1941-1958) (RCA)
Etta James: Mystery Lady: Songs of Billy Holiday (Private Music)
Abbey Lincoln: Turtle's Dream (Verve)
Carmen McRae: Yesterdays (Harmony)
Lou Rawls: For My Love (Blue Note)
Nina Simone At Town Hall (Colpix Records)
Nina Simone: Wild is the Wind (Phillips)
Nina Simone: Live at Berkeley (Stroud)
Leon Thomas: Spirits Known and Unknown (Flying Dutchman)
Sarah Vaughan: The Jazz Sides (Verve Jazz Masters)
Dinah Washington: (Verve Jazz Masters)

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