Reissue with latest 2014 remastering. Comes with liner notes. This rare set features the cool-toned clarinetist Tony Scott with a big band on five numbers, heading a ten-piece band for three others and jamming with a quartet that also features the young pianist Bill Evans on the four remaining songs. The songs range from swing standards and the tongue-in-cheek "Rock Me But Don't Roll Me" to "Aeolian Drinking Song" and an original titled "Vanilla Frosting On A Beef Pie." Musically, the performances are pretty modern for the period while never failing to swing. This LP is well worth searching for, as are most of Tony Scott's recordings of the 1950s.
As a unit, this must be one of the best piano trios ever, and certainly as instantly recognisable as any of its great predecessors. Charlap’s touch on the keyboard is light, almost stealthy, even when playing full chords, but always firm, clear and beautifully articulated. With the spirited support of bassist Peter Washington and drummer Kenny Washington (famously unrelated), the total effect is just perfect. As always, Charlap’s playing provides convincing proof that it is still possible to create fresh but pertinent treatments of well-known standard songs. The son of a songwriter and a singer, he has an instinctive feel for the idiom. His versions here of I’ll Remember April and A Sleepin’ Bee are masterly.
That's "Wild" Bill Davison, one of the mightiest trumpeters and most colorful personalities in all of Dixieland! These are 63 of his best 1943-52 tracks, and that means a lot with guitarist Eddie Condon: At the Jazz Band Ball; That's a Plenty; Baby, Won't You Please Come Home; Panama; Original Dixieland One Step; Riverboat Shuffle; Clarinet Marmalade; Squeeze Me; Fidgety Feet; Memphis Blues, and more.
A magnificent follow up to the Undercurrent album from the team of Bill Evans and Jim Hall – and like that one, a set that features amazing interplay between piano and guitar! Hall's guitar has never sounded better – and in the airy company of Evans, it takes on many of the same qualities as on his famous late 50s recordings in the Jimmy Guiffre trio. Bill's work is great too – almost more tonally focused than before, with perfectly chosen notes that resonate beautifully in this very spare space. Titles include "Jazz Samba", "All Across The City", "Angel Face", and "Turn Out The Stars".
Conventional wisdom, which in this case may be right, holds that Bill Evans' storied career peaked on June 25, 1961, a date that yielded two live records, Sunday at the Village Vanguard and Waltz for Debby, the final two documents of Evans' first, and best, trio, with bassist Scott LaFaro and drummer Paul Motian. In the two years he'd been playing with Evans, LaFaro had opened up new possibilities for the jazz bass, playing with a harmonically oblique, melodically flexible style that was, at the time, unprecedented. Ten days after this record was made he died, just 25 years old.