Rather than provide our usual detailed reviews of these never-before-released and/or reissued jazz recordings, we will instead provide a summary of each in alphabetical order by artist. While we see some of the usual suspects such as Bill Evans, Wes Montgomery, Charles Mingus, and Oscar Peterson, we also see Les McCann, Cal Tjader, and Gil Evans among the group. Yes, it is heavy on pianists, but all are legendary. Most of these sets have terrific liner notes, historic photos, and remembrances from those who played with or admired the musicians. Expect special 180-gram and colorful vinyl on most of these releases for Record Store Day on 11-24.
NEW DISCOVERIES
Artist – Dave Brubeck Quartet
Album – The Dave Brubeck Quartet Live from the Northwest, 1959
Label – Brubeck Editions
Overview – This was recorded a year before the Quartet had their landmark Time Out album. They were innovative at the time for their rhythmic invention, spontaneous counterpoint, and telepathic group interplay. Desmond is one of the all-time great alto players in terms of tone and melody. Morello is famed for his brushwork. Brubeck is renowned for his block chord style and Wright for his innovative bass playing. You will hear all those attributes from all four here. Wally Heider who did so many famous rock recordings at Fillmore West and Winterland is the engineer, and the sound is pristine.
Location and Date Recorded – Multnomah Hotel, Portland, Oregon April 4, 1959, and nearby Clark College on April 5.
Personnel – Dave Brubeck (piano), Paul Desmond (alto saxophone), Eugene Wright (bass), Joe Morello (drums)
Must Hear Tracks – Favoring the originals – “Multnomah Blues” and “Two Part Contention” but the arrangement of “When the Saints Go Marching In’ is also dazzling.
Available Formats and Dates – CD 11/3, – LP – !!/24, Digital – 11/24
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Artist – Steve Davis and Hank Jones
Album – Steve Davis Meets Hank Jones, Volume 1
Label – Smoke Sessions
Overview – This release, with pressings limited to 500 worldwide did not appear on the official RSD list but the date coincides as does the limited number of copies. At the time Hank Jones was a month shy of 90 and had just recovered from quadruple bypass heart surgery at the end of 2006, yet none of that is discernible in his elegant performance here, in one of his last performances. Jones, a brother of Elvin and Thad, of course, embodies the history of the jazz piano. Peter Washington is best known as the bassist in the long-running Bill Charlap Trio and trombonist Davis, formerly a member of Art Blakey’s Jazz Messengers has issued over 20 albums as a leader. The set list is split into trios and duos with trio renditions of “Interface,” “Isn’t It Romantic,” and “Cry Me a River” with Davis/Jones duos on “Polka Dots and Moonbeams,” “We’ll Be Together Again,” and “But Beautiful” – all exquisite standard fare played with precision, class, and joy.
Location and Date Recorded – JLP Studio, South Orange NJ -June 17, 2008
Personnel – Steve Davis (trombone), Hank Jones (piano), Peter Washington (bass)
Must Hear Tracks – It is terrific throughout and Washington has a stellar bass solo in “Interface,” the bluesy take on “Cry Me a River” is the best trio track and it would be nigh impossible to render a ballad more beautifully than in the duo “But Beautiful.”
Available Formats and Dates – LP – !!/24, Digital – 11/24
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Artist – Bill Evans Trio
Album – Tales – Live in Copenhagen (1964)
Label – Elemental Music (Zev Feldman)
Overview – One may well ask how deep is the well because this is Zev Feldman’s eleventh unearthed Bill Evans trio recording. An Evans’ recording now seems practically a given on RSD. This is special because it is the first European tour and provides an insightful listen to Evans’ lesser-known trio mates (see below). Like most Evans packages the liner notes are extensive with contributions from Evans scholar Marc Meyers and interviews with Israels and Bunker’s widow Brandyn Bunker.
Location and Date Recorded – Danish radio studio in Copenhagen on August 10 and 25, 1964.
Personnel – Bill Evans (piano), Chuck Israels (bass), Larry Bunker (drums) with Eddie Gomez (bass) and Marty Morell (drums) on Bonus Track “Round Midnight”
Must Hear Tracks – “Waltz for Debbie,” “My Foolish Heart” (2 versions) and “I Didn’t Know What Time It Was” (the only known Evans trio recording of this piece.)
Available Formats and Dates – LP – 11/24, CD -12/1
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Artist – Ahmad Jamal
Album – Emerald City Nights Live at the Penthouse 1966-1968
Label – Jazz Detective (Zev Feldman)
Overview – This is the final 2-LP set of previously unreleased performances by the legendary pianist. Three or four things you’ll notice right away are Jamal’s fluid touch, his command of dynamics where he can go from a hush to an explosion in just seconds, and his use of space. He never seems hurried. Just the length of these selections indicates a high level of improvisation and ample room for the musicians to solo. It comes across classy during a time when most people’s visual image of a jazz club had men and women, like the performers, dressed to the nines. This package has reflections from Jamal himself and interviews with fellow pianists Les McCann, Emmet Cohen, Monty Alexander, and Joe Alterman with essays from Zev Feldman, journalist Eugene Holley Jr., and rare photos by Don Bronstein and Chuck Stewart. The entire package was supervised by Jamal shortly before his passing.
Location and Date Recorded – September 29, 1966, August 24, 1967, August 31, 1967, April 26, 1968, at The Penthouse in Seattle, Washington
Personnel – Ahmad Jamal (piano), Jamil Nasser (bass), Frank Gant (drums)
Must Hear Tracks – Like the previous double sets Emerald City Nights: Live at the Penthouse (1963-64) and (1965-66) these offer amazing improvisation from the pianist on several stretched-out tracks. Disc One picks – “Misty” and “Mr. Lucky” – great solos from all trio members on both Disc Two picks – “Corcovado” “Dance to the Lady.”
Available Formats and Dates– 2-LP 11-24, 2-CD 11-24, Digital 11-24
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Artist – Norah Jones
Album –Playing Along
Label -Blue Note
Overview –There are a dozen collaborations of conversations and impromptu performances taken from her podcast Norah Jones Is Playing Along in a similar spirit to Marian McPartland’s Piano Jazz program from NPR. Given Jones’ genre-crossing style, the guests represent a diverse array of musical styles.
Location and Date Recorded – Various Dates
Personnel – Jeff Tweedy, Tarriona “Tank” Ball, Mavis Staples, Marc Rebillet, Chris Thile, Valerie June, Logic, Brian Blade, Rodrigo Amarante, Sasha Dobson, Lukas Nelson, Bedouine (six of each side on the LP)
Must Hear Tracks – Pick your favorite artist from the list above.
Available Formats and Dates – LP – 11-24
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Artist – Les McCann
Album(s) – Never a Dull Moment Live from Coast to Coast 1966 -1967
Label – Resonance (Zev Feldman)
Overview – For many this is the crown jewel of this year’s RSD crop, two hours, and twenty minutes of one of the iconic soul-jazz legends, all in a trio format. The sound is superb, and the title is apropos. Your feet will be tapping throughout the entire listen as McCann and his trio work their way through mostly originals with a few standards, a couple of Dizzy tunes, and soul covers as well. McCann is one of the most accessible and infectious jazz pianists who ever played as he incorporated so much blues and soul into his approach. He could even be bawdy on occasion. The only quibble is that the Penthouse recordings are taken from a radio show Jazz After Hours, so you hear host Jim Wilke a bit too often but that’s a small price to pay for the wonderful music. McCann holds the admiration of so many artists that appropriately included in the booklet for remembrances are Quincy Jones, Roberta Flack, Bonnie Raitt, Monty Alexander, Roger Kellaway, Emmet Cohen, Nathan East, Joe Alterman, and more. There are unpublished photos and essays by A. Scott Galloway and Pat Thomas.
Location and Date Recorded – A & B – Penthouse Jazz Club, Seattle January 27, 1966, C – Penthouse February 3, 1966, D -Penthouse February 10, 1966, E &F Village Vanguard NYC July 16, 1967
Personnel – Sides A, B, C, trio with Stanley Gilbert (bass) and Paul Humphrey (drums), Side D Gilbert with Tony Bazley (drums) Sides E and F Leroy Vinegar (bass) and Frank Severino (drums)
Must Hear Tracks – Penthouse – “The Grabber, “The Shampoo,” “Out in the Outhouse,” “Lavande,” Village Vanguard – “Doin’ That Thing,” “Sunny”
Available Formats and Dates– 3-LP – 11-24
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Artist – Wes Montgomery/Wynton Kelly Trio
Album – Maximum Swing: The Unissued 1965 Half Note Recordings
Label – Resonance (Zev Feldman)
Overview – This is the sixth Wes Montgomery release for Feldman. What makes this special is that Montgomery is stretching out and improvising here. His Smokin’ at the Half Note is a jazz classic but about half of it is studio recordings whereas this is 100% live. The music is drawn from radio broadcasts hosted by Alan Grant for his WABC-FM show Portraits in Jazz so you will hear a fair number of announcer spots. The band is on fire throughout and Montgomery’s technique of double-octave playing is on full display and Kelly’s comping is also special. Besides, it’s a lineup of legends considering the likes of Chambers, Cobb, Carter, and Kelly. Four of the seventeen tracks extend beyond ten minutes. Every solo is craftily built and yes, these cats, true to the title, swing their collective butts off. Yet, relative to the other Feldman-produced material here, the sound quality is not quite at his usual pristine levels. Included in the booklet is an essay from Bill Milkowski, and remembrances from Ron Carter, Herbie Hancock, Bill Frisell, Mike Stern, and Marcus Miller (who is Wynton Kelly’s cousin)
Location and Date Recorded – All recordings at Half Note, NYC September 24, November 5, November 12, November 19, and late 1965.
Personnel – Wes Montgomery (guitar), Wynton Kelly (piano) Paul Chambers (bass), Jimmy Cobb (drums) with these bassists replacing Chambers on certain dates – Ron Carter, Larry Ridley, and Herman Wright
Must Hear Tracks – “Impressions,” “Four on Six, (both versions),” “All the Things You Are, “Star Eyes”
Available Formats and Dates – 3-LP 11-24, 2-CD 12-1, Digital 12-1
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Artist – The Oscar Peterson Trio
Album – Con Alma: Oscar Peterson Trio – Live in Lugano, 1964
Label – Two Lions/Mack Avenue
Overview – This was the final performance of an extended European tour just before the trio departed for Japan for another lengthy string of concerts and is a fine representation of this trio who played together for more than six years. The program features two jazz classics, three from the Great American Songbook and one Peterson original, played to a totally enraptured and enthusiastic audience. Peterson is on the tip of anyone’s tongue when jazz piano is mentioned, and he was dubbed The Maharajah of the Keyboard by Duke Ellington. Exquisite, sublime playing from all three members of this trio with animated, swinging solos. This is the fourth unissued recording in collaboration with Kelly Peterson, Oscar’s wife, and keeper of the estate (and the flame). The liners include notes from Kelly Peterson, Celine Peterson, Jeff Hamilton, Christian McBride, and an excerpt from Oscar Peterson as well that is a ‘must read’ as he describes in great detail the talents and approach of Brown and Thigpen.
Location and Date Recorded – Teatro Apollo, Lugano, Switzerland on May 26, 1964
Personnel – Oscar Peterson (piano), Ray Brown (bass), and Ed Thigpen (drums)
Must Hear Tracks – It’s just uncanny how Peterson infuses everything he plays with blues and swing, putting his own stamp on Bill Evans’ “Waltz for Debbie” for example which features an outstanding bass line from Brown. The extensive original “Blues for My Landlady” is an even stronger example. The interplay is especially striking in the finale, Gershwin’s “It Ain’t Necessarily So.”
Available Formats and Dates – LP, CD, and digital all on 11-24
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Artist – Cal Tjader
Album – Catch the Groove: Live at the Penthouse 1963-1967
Label – Jazz Detective (Zev Feldman)
Overview – These are the first unissued recordings of vibraphonist and unlikely Latin Jazz innovator Cal Tjader in 20 years. These recordings coincide with Tjader’s Verve period during which he achieved his greatest commercial success with producer Creed Taylor pairing him with NYC jazz musicians. Here, instead, we hear Tjader with his regular working bands. Consider for example on Side A where a band comprised of no Latin members plays Afro-Cuban music. There is a wealth of music here and it is especially intriguing how Tjader’s quintets transformed standards in a Latin-jazz way. The booklet includes reflections from Feldman and Brent Fischer (son of pianist Clare Fischer) liner notes from journalist Greg Casseus, as well as interviews with Poncho Sanchez, Eddie Palmieri, Joe Locke, Gary Burton, Carl Burnett, and a statement by Tjader’s son and daughter Rob and Liz Tjader.
Location and Date Recorded – All at Penthouse, Seattle February 2, 1963, May 6, 1965, May 13, 1965, June 9, 1966, June 16, 1966, June 8, 1967
bgo) Side– A variety of quintets -Side A – Cal Tjader (vib), Clare Fischer (p), Fred Schreiber (b), Johnny Rae (dru, tim), Bill Fitch (cga, perc) Sides B & C – Cal Tjader (vib), Lonnie Hewitt (p), Terry Hilliard (b), Johnny Rae (dru, tim), Armando Peraza (cga, bgo) Sides D & E – Cal Tjader (vib), Al Zulaica (p), Monk Montgomery (b), Carl Burnett (dru, tim), Armando Peraza (cga, bgo) Side F – Cal Tjader (vib), Al Zulaica (p), Stan Gilbert (b), Carl Burnett (dru, tim), Armando Peraza (cga, bgo)
Most Impressive Accompanist(s) – The contrasting styles of the pianists – Fischer, the bluesy Hewitt, and the ever-versatile Zulaica. Schrieber’s bass solos especially on the Black Orpheus piece and the locked in rhythm tandem of Burnett and Peraza.
Must Hear Tracks – “Manha de Carnaval’’ from the film Black Orpheus, the funky original “Insight,” cult classics “Davito,” “Pantano”, and “Leyte,”” Half and Half,” “Reza, “and jazz classics “On Green Dolphin Street,” “Take the A Train,” and “I Can’t Get Started,” and “Lush Life.”
Available Formats and Dates – 3-LP, 2-CD, and Digital – all on 11-24
REISSUES/COLLECTIONS
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Artist – Gil Evans
Album – Gil Evans and Ten
Label – Prestige/Craft
When Recorded – 1957
Overview – This is renowned orchestrator and arranger Gil Evans’ first album where he played piano. In in one sense, this was a breakthrough that set the stage for Evans/Miles Davis classics such as Sketches in Spain, Miles Ahead, and others as clued by instrumentation that includes bassoon, French horn, soprano sax, and bass trombone for example. Pieces range from Leonard Bernstein to Leadbelly to Rodgers and Hat to Tadd Dameron to Evans’ original “Jambangle” for example – seven tracks that marry melody, harmony, and swing, through beautiful ensemble playing.
Personnel – Gil Evans (piano), Steve Lacy (soprano sax), Jimmy Cleveland (trombone), Louis Mucci (1st trumpet, replaced by John Carisi on “Remember”), Jake Koven – 2nd trumpet, Bart Varsalona (bass trombone), Willie Ruff (French horn), “Zeke Tolin” (alto sax), Dave Kurtzer (bassoon), Paul Chambers (bass) Nick Stabulas (drums) and Jo Jones on “Remember.”
Most Impressive Supporting Musicians – The nod goes to the two major soloists, Lacy who was one of the first to make soprano sax a major instrument, and trombonist Cleveland who’s velvet tone is a marvel, let alone his creative solos.
Must Hear Tracks – “Ella Speed,” “Big Stuff,” “Just One of Those Things,” “If You Could See Me Now,” “Jambangle”
Available Formats and Dates – LP -11-24
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Artist – Chico Hamilton
Album – The Master
Label – Enterprise (Stax)/Craft
When Recorded – 1973
Overview – This is the 50th Anniversary edition merging Hamilton’s melodic drumming with funk infused R&B southern tinge on post-bop jazz. It’s a heavy sound steeped in organ and guitar with Lowell Geroge’s slide featured. The extended jams between Lowell and Chico are especially notable.
Personnel – Chico Hamilton (drums), and from Little Feat vocalist/guitarist Lowell George, keyboardist Bill Payne, bassist Kenny Gradney, guitarist/vocalist Paul Barrere and percussionist Sam Clayton. Also, organists Jerry Aiello and Stu Gardner, and percussionist Simon Nava
Most Impressive Supporting Musicians – As per the above, the nod goes to Lowell George, but considering that Billy Payne is still active, it’s worth hearing him five decades ago too.
Must Hear Tracks – “Conquistadores 74″, “Stu”, “Feels Good”, “Fancy”, “Stacy”, “Gengis ” and “I Can Hear The Grass Grow”
Available Formats and Dates – LP – 11-24
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Artist – Charles Mingus
Album – Incarnations
Label – Candid
Location and Date Recorded – November 11, 1960, and “All the Things You Are (all) on October 20, 1960 – both in NYC.
Overview – This is a hybrid of new discovery and reissue with alternate takes of pieces that appeared on the Candid album Reincarnation of a Love Bird (which was not released until 1988) and the 2-LP compilation from Solar Records, The Complete 1960 Nat Hentoff Sessions with one previously unreleased track “All the Things You Are (All).” You’ll note below that there are 12 musicians in addition to Mingus. Without a physical copy in hand, it is difficult to assign the musicians to specific tracks. However, half of the tracks are with a Mingus led sextet that expanded into an octet on two tracks (there are only five in all) and there is another unit, a collective that assembled in opposition to George Wein’s Newport Jazz Festival that past July dubbed The Jazz Artist Guild who released an album on Candid in 1961, entitled Newport Rebels. All but the unreleased track trace to the November session produced by Nat Hentoff. The unreleased track as many know has its roots in Art Tatum’s “All the Things You Are” which Mingus had recorded in various sessions. Liner notes are from Hank Shteamer. Mingus collectors that own his previous four Candid releases from the same year will find little new here but there are completists out there. For folks seeking high quality Mingus audio, this is nonetheless a great find.
Personnel – Charles Mingus (bass), Eric Dolphy (alto sax, bass clarinet), Booker Ervin (tenor sax), Charles McPherson (alto sax), trumpeters Ted Curson, Lonnie Hillyer, and Roy Eldridge, trombonists Jimmy Knepper and Britt Woodman, pianists Tommy Flanagan and Paul Bley and drummers Dannie Richmond and Jo Jones.
Most Impressive Supporting Musicians– Dolphy, Ervin, Curson, and McPherson
Must Hear Tracks – Dolphy and Curson blow with abandon on the bebop “Bugs” and R&R lets us hear inspired turns from McPherson and Knepper. The octet harmonies on “All the Things You Are (All)” are stunning, and sharply contrast with the blues of “R&R” Dolphy is incandescent in “Body and Soul”
Available Formats and Dates – LP, CD, and Digital all on 11-24
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Artist – Various Artists
Album – Black Jazz Records – The Complete Singles
Label – Real Gone
Overview – This set includes the extraordinarily rare singles that were cut for the label, including several unique single edits. As you glean the artists below, they are lesser-known artists to most folks, Chester Thompson, due his long tenure with Santana may be the best known. Most tracks are a melding of jazz, funk, and soul jazz heavy on Fender Rhodes, wah wah guitars, and clavinets but there are exceptions. Walter Bishop Jr. is a straight-ahead player, Doug Carn’s single has a large ensemble and Rudolph Johnson may well be the most aggressive, Coltrane-like tenor player you’ve never heard. You may notice that the Jazz is Dead series featured both Doug and Jean Carn in the past couple of years, so it is interesting to hear their early recordings. Calvin Keys is a guitarist, Kelle Patterson a vocalist, and Cleveland Eaton a bassist that few would know, given the late Henry Franklin’s stature with the label. The gatefold jacket features liner notes by Pat Thomas.
Location and Date Recorded – Various dates in the early ‘70s.
Artists – The set features selections from Gene Russell (4), Walter Bishop Jr., Doug Carn, Rudolph Johnson (2), Jean and Doug Carn (2), Calvin Keys, Chester Thompson, Kellee Patterson (2), and Cleveland Eaton
Must Hear Tracks – Doug Carn “Moonchild,” Gene Russell “Me and Mrs. Jones,” Rudolph Johnson “Mr. TJ” Jean and Doug Carn “Peace,” and Calvin Keys “Gee-Gee”
Available Formats and Dates – 2-LP -11-24
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Artist – Various Artists
Album – Jazz Dispensary- At the Movies
Label – Craft
Overview – This barely qualifies as a jazz release given the prevalence of soul and R&B with its selections of songs from midnight movies. The gospel-inspired “Saturday Night” by Melvin Van Peebles, featured in the famed actor/filmmaker/composer’s musical film Don’t Play Us kicks off followed by the oft-covered Booker T. & the M.G.’s “Time Is Tight,” originally recorded for their soundtrack to the 1968 film UpTight. A standout but lesser-known “The Riot” is a soul-jazz tune from Ed Bogas and Ray Shanklin for the score to the 1972 film Fritz the Cat (an adult animated comedy based on the comic strip by R. Crumb). Side B also begins with Peebles joining a then-unknown Earth, Wind & Fire for “Sweetback’s Theme” – a lengthy instrumental from Peebles’ 1971 feature film Sweet Sweetback’s Baadasssss Song, widely credited with creating the blaxploitation genre, which also yields Ed Bogas and Ray Shanklin’s “B.J.’s Step” and B3 great Charles Earland’s “Incense of Essence.” The iconic Isaac Hayes is represented by “Joe Bell” from the 1974 crime-action film Three Tough Guys, and “Pursuit of the Pimpmobile” from Truck Turner (a 1974 blaxploitation film starring Hayes himself as a former professional football player turned bounty hunter). This is the epitome of the kind of collection only available on RSD, meant for the most ardent of collectors. There’s no viable comparison to in this writer’s opinion to the previously listed reissues of Gil Evans, Chico Hamilton, and Charles Mingus but there is clearly a niche audience for this fare.
Location and Date Recorded – Various Dates from the ‘60s and ‘70s.
Artists – Melvin Van Peebles (2), Booker T. and the MG’s, Isaac Hayes (2), Ed Bogas & Ray Shanklin (2), Charles Earland, The Blackbyrds, Steve Krantz’s Animation, Inc.
Must Hear Tracks – As in the Overview.
Available Formats and Dates – LP -11-24
