The reissue of keyboardist Claude Bolling's recordings of the 1960s may prompt a positive reevaluation of his contributions. Bolling has been known, at least outside France, mostly for the flute-and-piano works he composed for Jean-Pierre Rampal; his recordings with Rampal hit a certain popular groove and stuck with the formula. They were undeniably appealing in a simple way, but they became fatally overexposed. Bolling's earlier recordings reveal more imagination in his treatment of the relationship between jazz and classical music. Take for example this 1965 album, recorded in Paris. It's one of the few successful jazz treatments of Mozart, who is notoriously resistant to jazz treatment. The difficulty comes as a result of Mozart's reliance on harmonic rhythm, or the speed of the rate of change of the harmonies in the music. This feature seems impossible to capture in jazz, which heavily relies on regular chord changes, but Bolling's solutions here, making use of a classic jazz sextet, are brilliantly imaginative.
This 2012 disc gathers all known sides cut during a July 26, 1956 confab led by West Coast cool purveyors Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week – July 23 through July 31 – of sessions held at the behest of Pacific Jazz label owner and producer Dick Bock at the Forum Theater in Los Angeles. Recordings made during this week not only inform The Route, but three other long-players as well: Let's Get Lost, Chet Baker & Crew, and At the Forum Theater. These were likewise the first sides cut by Baker since returning from his triumphant and extended stay in Europe.
Lalo Schifrin turned 75 on June 21, 2007. In anticipation of that milestone, he convened the recording session for this album a little less than three months earlier, on March 30, 2007, intending to return to his first love of acoustic jazz. The sextet making up the pianist/composer's friends here includes saxophonist James Moody, James Morrison on trumpet and trombone, guitarist Dennis Budimir, bass player Brian Bromberg, and Alex Acuña on drums and percussion. It's an accomplished lineup, and Schifrin wrote and arranged material to showcase the players, beginning with the standard "Besame Mucho," on which Morrison's trumpet takes the lion's share of space.
Santana - Santana (1969). Santana’s self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader’s most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents. Indeed, separation between Carlos Santana’s fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie’s soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant color…
This CD brings the firsts LPs that the Candoli brothers recorded together. They are accompanied by an impeccable rhythm section. This is jazz which is characteristic of California, in the most joyful and spectacular side of it, interpreted by first-rate jazz musicians. Complete 1957 and 1958 Dot albums: "The Brothers Candoli" + "Bell, Book and Candoli".