Fresh Cream represents so many different firsts, it's difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock…
The Fresh Sound label is one of the major reissue record companies, also releasing new music on their Fresh Sound New Talent subsidiary. Fresh Sound, under the direction of the tireless Jordi Pujol, has repackaged and reissued a great deal of very valuable jazz from the 1950s and early 1960s. In addition to the major names, some of their most intriguing sets focus on obscure figures from jazz history whose music has been out-of-print for decades.
Les McCann Ltd. in San Francisco: Recorded Live at the Jazz Workshop was recorded in December of 1960 and released in 1961 on the Pacific Jazz label. Backing his piano were bassist Herbie Flowers and drummer Ron Jefferson. The original LP of this date featured seven selections – only about half of the entire gig. This Fresh Sound reissue contains four more tracks, bringing the total to 11.
In the summer of 1955, Chet Baker decided to go on a concert tour of Europe for a few weeks. He ended up staying there for more than six months, and his work and experiences during that time, which was mostly spent in Paris, should be crucial for his career and his life.
Gaël Horellou is a French jazz saxophonist and composer. Saxophonist with a classical and jazz background, his career started in 1992. Album "Time After Time" was released in 2013 and it belongs to Jazz genres.
French saxophonist Horellou also goes under the name Dual Snake, and seems equally at home working in a variety of musical genres as he does with jazz. Brooklyn is a pretty mainstream quartet outing, full of enjoyable compositions that Horellou has penned himself, and seven originals plus Tadd Damerons If You Could See Me Now makes up a solid set for the 70 minutes duration.
The work of the Catalan pianist Sergi Sirvent, despite the organizational complexity that entails such a wide formation, is a real delight from beginning to end. Inferències and the group that develops it, is an octet conformed by a cast of musicians coming from diverse musical areas of the Barcelona scene. A project to publicize the compositional concerns in large format of one of the most interesting musicians and creators that currently exist in the national jazz scene.
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.
Pianist Ethan Iverson, bassist Reid Anderson, and Minneapolis-based drummer David King are the Bad Plus, and they bill themselves as "the loudest piano trio ever." Upon hearing them play, one is not inclined to quibble. In any case, they're certainly the only jazz group to cover ABBA's "Knowing Me, Knowing You," Nirvana's "Smells Like Teen Spirit," and Rodgers & Hart's "Blue Moon" on the same disc. Iverson and Anderson each contribute two previously unrecorded originals. King, for his part, penned the persistently grooving "1972 Bronze Medalist."
50th Anniversary Commemoration Edition of the TORMÉ-PAICH legendary sessions. A milestone in the history of vocal jazz, with fully illustrated booklet (rare & unpublished photos). The definitive edition. Fascinated by the sound of the 1953 Gerry Mulligan Ten-tette, Mel Tormé had always felt that these same patterns, re-worked for the proper vocalist, could blend voice and instrument to the mutual satisfaction of both. In 1956, this idea became a reality. The task of selecting musicians who could produce this sound was given to the versatile pianist-arranger Marty Paich who, in fact, co-featured with Mel on these recordings.