I was refreshingly suprised the first time I heard this album. I had been bored with most of my music collection when I stumbled upon this "nugget of pure gold". What's even more exciting is when you find out more about the man himself. Gil Melle is a true original, still going strong. His art will surely last the test of time. I write this based on my somewhat worn vinyl copy of "Primitive Modern". I found it in a thrift store for 50 cents and have thanked the powers that be every day that I had such luck. As the quote above indicates, Gil Melle and his outfit were serious about rhythm and doing interesting things with rhythm. Listen, for instance, to "Ironworks."
Baritonist Gil Melle's recordings are usually a bit unusual and this CD reissue is no exception. Melle's nine compositions are performed by one of three sextet/septets featuring either Art Farmer, Kenny Dorham or Donald Byrd on trumpets, Hal McKusick or Phil Woods on alto, guitarist Joe Cinderella, bassist Vinnie Burke, drummer Ed Thigpen and sometimes either Julius Watkins on French horn or Don Butterfield on tuba. The charts are unpredictable and often dramatic, looking ahead toward a musical future that never occurred. Watkins takes solo honors during his three appearances.
Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar.
The story of Blue Note Records, the jazz label that was home to such greats as Miles Davis, John Coltrane, Herbie Hancock, Thelonious Monk, Art Blakey, Dexter Gordon and Sonny Rollins.
Blue Note Records was founded in the 1930s and has played a vital role in the development of jazz for more than 60 years.
Lou Mecca is one of the great jazz guitarists that came up through the late 40's and early 50's. At a time when players like Johnny Smith & Tal Farlow were setting the standards, it is a measure of Mecca's enormous guitar talent that he not only landed a recording contract with Blue Note, but also replaced Farlow in the Gil Melle Quartet. Indeed, his sensitive and insightful playing on the Melle Quartet sessions contributed much to the success of these historically important recordings. Mecca disappeared from the public eye for several years but, like Farlow, continued to play, albeit infrequently. THE LOU MECCA TRIO - BRIDGING THE GAP puts one in mind of the best of Johnny Smith & Tal Farlow recordings. Lou has it all covered. This CD confirms what a handful of enthusiast have always known, that Lou Mecca is a Jazz guitar great.
Digipak edition of this great Jazz title features the two albums recorded by trumpeter Kenny Dorham's Quintet featuring Jackie McLean on alto sax. Features the complete albums Matador (1962), which was recorded in New York and Inta Somethin' (1961), recorded live at the Jazz Workshop in San Francisco.
Gilberto Gil, recently named as Brazil's minister of culture, has always trodden a very individual path in Brazilian music. But even by his own standards, this is an unusual work. The Zumbi of the title is a Brazilian hero. He founded Palmares Quilombo, a place in Brazil where escaped and freed slaves could live as they had in Africa. Until closed by the Portuguese, Palmares Quilombo lasted almost 100 years. Z is a celebration of the man, conceived as a ballet, celebrating the 300th anniversary of Zumbi. The music here is actually a collaboration between Gil, the great songwriter and musician Carlinhos Brown, and Rodolfo Stroter, who was musical director for the project (however, the album appears under Gil's name).