Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm…
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.
By 1952, pianist Lennie Tristano was starting to withdraw from public performances, spending most of his time teaching. This formerly unknown recording matches him with four of his best students: altoist Lee Konitz, tenor-saxophonist Warne Marsh, bassist Peter Ind and drummer Al Levitt. Together they explore six common chord changes, five of them given new titles. Although not essential, this music is quite enjoyable and a good example of Lennie Tristano's unique approach to jazz improvisation.
Features 24 bit remastering and comes with a mini-description. A standout set from Shorty – tightly arranged numbers performed by a quartet that includes Jimmy Giuffre, Pete Jolly, Curtis Counce, and Shelly Manne – all working with Shorty in perfect west coast form! Despite the length of the tunes, the overall feel is similar to Rogers' excellent Wherever The Five Winds Blow album for RCA – and makes the record a great set, done without any gimmicks or tricks – and enough of the modern touch still left from Rogers' first few years on record. Titles include "Martians Go Home", "Trickleydidlier", "Not Really The Blues", and "Michele's Meditation".