George Russell - New York, N.Y. (1959)

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others. In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD.

by Ken Dryden in All Music Guide

Styles:
Post-Bop

Tracks:
01 - Manhattan (10:34)
02 - Big City Blues (11:40)
03 - Manhattan: "Rico" (10:12)
04 - East Side Medley: Autumn in New York / How About You? (8:01)
05 - A Helluva Town (5:01)

Line-up:
George Russell - arranger, conductor
Art Farmer - trumpet
Doc Severinson - trumpet
Ernie Royal - trumpet
Bob Brookmeyer - trombone
Frank Rehak - alto saxophone
Tom Mitchell - alto saxophone
Hal McKusick - alto saxophone
John Coltrane - tenor saxophone
Sol Schlinger - baritone saxophone
Bill Evans - piano
Barry Galbraith - guitar
Milt Hinton - bass
Charlie Persip - drums
Jon Hendricks - vocals, narration

Oliver Nelson - The Blues and the Abstract Truth (1961)

As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. This CD is a must buy for all jazz collectors, and a Top Ten-Fifty favorite for many.

by Michael G. Nastos at All Music Guide.

Styles:
Post-Bop
Hard Bop
Progressive Jazz

Tracks:
01 Stolen Moments
02 Hoe-Down
03 Cascades
04 Yearin'
05 Butch and Butch
06 Teenie's Blues

Line-up:
George Barrow - baritone saxophone
Paul Chambers - bass
Eric Dolphy - flute / alto saxophone
Bill Evans - piano
Roy Haynes - drums
Freddie Hubbard - trumpet
Oliver Nelson - alto and tenor saxophone

Miles Davis - Kind of Blue (1959)

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.
by Stephen Thomas Erlewine at All Music Guide.

Styles:
Post-Bop
Modal Music
Hard Bop

Tracks:
01 So What
02 Freddie Freeloader
03 Blue in Green
04 All Blues
05 Flamenco Sketches
06 Flamenco Sketches (alternate take)

Line-up:
Miles Davis - trumpet
Julian "Cannonball" Adderley - alto saxophone
Paul Chambers - bass
Jimmy Cobb - drums
John Coltrane - tenor saxophone
Bill Evans - piano
Wynton Kelly - piano (on Freddie Freeloader)