For over two decades, the Hi-Hat Club occupied a choice location among the jazz clubs of Boston’s South End district, at the corner of Columbus and Massachusetts Avenue. After the end of World War II, lesser luminaries took over the band-stand, and after a while entertainment practically stopped altogether. Dave Coleman, a jazz promoter, had taken over management of the club in 1949. Through Coleman’s personal initiative, the Hi-Hat enjoyed its most successful years, and by 1951 it was the only club featuring a consistent policy of presenting modern jazz.
Japan Mini LP reissue with the latest 24bit/96kHz remastering. Recordings by brothers who play the identical instrument are fairly rarein jazz, but trumpeters Conte and Pete Candoli made several valuable records together without sibling rivalry. The ten selections on this album draw favorites from swing, bop, cool, and hard bop, with an excellent rhythm section (pianist Jimmy Rowles, guitarist Howard Roberts, bassist Max Bennett, and drummer Frank Capp) complementing the brothers.
It was a sad day for cool jazz when Lennie Niehaus made film music – not jazz – his primary focus. From a jazz standpoint, the Los Angeles resident had so much going for him. Niehaus had an attractive tone along the lines of Lee Konitz and early Bud Shank, and he was a talented arranger to boot. Produced by Lester Koenig in L.A. in 1956, Lennie Niehaus, Vol. 5: The Sextet is quite representative of Niehaus' Contemporary output of the 1950s. This album finds Niehaus leading a sextet that boasts Bill Perkins on tenor sax and flute, Jimmy Giuffre on baritone sax, Stu Williamson on trumpet and valve trombone, Buddy Clark on upright bass, and Shelly Manne on drums – in other words, the cream of the southern California crop.
Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Paco de Lucía’s El Sexteto (The Sextet) have been travelling the world for more than twenty years taking the latest Flamenco into the furthest corners of the world. Thanks to them Spanish music and the most avant-garde Flamenco is known, respected and admired as a product of the individual work of artists such as those playing here, putting everything into the service of the art.
In a perfect world, Frank Strozier would have built a large catalog at Jazzland. But regrettably, the alto saxman's association with Jazzland was brief. Strozier only recorded two albums for the label – Long Night in 1961 and March of the Siamese Children in 1962 – and both were produced by Orrin Keepnews. In 2002, Fantasy reissued the two albums back to back on this 78-minute Milestone CD. Long Night (which features tenor saxman George Coleman and tends to favor a pensive, reflective approach) is the more essential of the two, but March of the Siamese Children is certainly solid and enjoyable.
This recently-discovered release is certainly the jazz find of the year so far in 2007. In much the way that John Coltrane/Thelonious Monk Live at Carnegie Hall and, to some extent, the live Coltrane document One Up, One Down, Cornell 1964 brings a major piece of jazz history into focus in the best way possible–with an actual recording that documents it.
Following their internationally acclaimed recording of Steve Reich's masterpiece Music For 18 Musicians, Ensemble Signal and Brad Lubman present two recent pieces by the composer: Double Sextet from 2007 and Radio Rewrite from 2012. Double Sextet is scored for two sextets of flute, clarinet, violin, cello, vibraphone and piano. It won the 2009 Pulitzer Prize for Music - the first for the composer. Radio Rewrite is a work for instrumental ensemble inspired by two songs by the British rock band Radiohead - ''Jigsaw Falling into Place'' and ''Everything in Its Right Place.'' The piece represents the first time that Reich has reworked material from western pop/rock music. These strong, tuneful, energetic, tightly made works receive impassioned performances from Ensemble Signal, who The New York Times has called 'one of the most vital groups of its kind.'