mjzee

There’s also a vol. 5.

That's a great set. Superb liner notes, great sound quality, and very innovative packaging, with an often surprising mix of recordings.

But the era would be wrong. The Black and White box covers the years 1942-1947 (with one 1949 session at the end). Other good comparisons would be the Mosaic Commodore boxes or the (non-Mosaic) Keynote box. What makes this B&W box especially interesting (at least to me) is its focus on L.A. musicians, as opposed to N.Y.

Try The Complete H.R.S. Sessions:

After my last post, I stumbled upon a really decently-priced copy of the Nesuhi box set. Wow, what a beautiful presentation, including a gorgeous hardcover book with many reminiscences. This page by Cuscuna answers your question nicely: Years ago I got tired of people asking me what kind of muslc l Iiked. My standard answer became "Atlantic 45s and Blue Note LPs." It's concise, it's been true since I was 12 years old, and it stops small talk dead in its tracks. Of course, the music that resonates with me goes well beyond those records, but Ahmet Ertegun's Atlantic R&B singles and Alfred Lion's Blue Note jazz albums had some amazing things in common: They were incredibly consistent in taste and quality and used a repertory group of recurring artists and sidemen that helped create a sound. Nesuhi Ertegun, brought to Atlantic in 1955 to create a line of LPs from the label's catalog of singles and to revive its jazz activities, couldn't have been more different in his approach to making records. Nesuhi was hooked on, to usurp Whitney Balliett's phrase, the sound of surprise. His talent was identifying and signing artists with a singular sound and giving them the opportunity to develop in the studio. And his ear was sharp and eclectic. Just consider the fact that he was instrumental in coaxing Kid Ory out of retirement in 1944 and became Ornette Coleman's greatest champion 15 years later. Along the way, he made some of the greatest records that Lennie Tristano, Lee Konitz, Charles Mingus, The Modern Jazz Quartet, Shorty Rogers, Milt Jackson, Jimmy Giuffre, David "Fathead" Newman, Hank Crawford, John Coltrane, and Coleman ever produced. Although other duties eventually took him away from hands-on producing, he remained an astute A&R man for the rest of his life, overseeing a jazz roster that would include Eddie Harris, Charles Lloyd, Keith Jarrett, Rahsaan Roland Kirk, Yusef Lateef, and The Art Ensemble Of Chicago. Nesuhi was intensely loyal to those he befriended, especially artists. People like Mingus, Tristano, and Max Roach could make a record for Atlantic whenever they wanted--no long-term contracts, no obligations, no budgets. In 1973 a couple of friends of mine were planning a Charles Mingus concert at Carnegie Hall and wanted to record it, but they told me Mingus was talking to Mercury Records about a less-than-favorable deal that would probably rule that out. When I told Nesuhi he became angry. "Mercury! That's absolutely ridiculous. Charles knows better. Whenever he wants to make a record, he knows all he has to do is call me. We'll record the concert. We'll record whatever he wants." The deal was made, the concert was recorded, and Mingus spent the rest of his recording career at Atlantic. -Michael Cuscuna Hey, Jim, I saw The Insect Trust at the Fillmore East, opening for Seatrain and the Mothers. Hope that scores brownie points!

Dunno about that. My card was charged when I placed the order (April 11). Maybe it's different because I used PayPal.

Don't know if people should get their hopes up about extra tracks...there aren't track listings on the Amazon page: https://www.amazon.com/Legacies-Our-Grandchildren-Live-Hollywood/dp/B09ZYNBTL5/ref=sr_1_4?crid=36BU2ESY9CW3R&keywords=Horace+tapscott&qid=1652634840&s=music&sprefix=horace+tapscott%2Cpopular%2C116&sr=1-4

Nesuhi Ertegun was a huge jazz fan. After his death, Atlantic put out this 5-CD box set to honor him:

In Kathy Sloane's book "Keystone Korner: Portrait of a Jazz Club," there's a moving chapter on Rahsaan. Rahsaan inspired Todd Barkan to open Keystone Korner. This is Barkan's oral history: I met Rahsaan on a bus going to a Columbus Jets game in Columbus, Ohio. He was on his way to see his girlfriend by himself, just with his little stick and his roller at the end of the stick and the horn attached to it. I was about eleven years old. And he became my mentor in the music. It turned out that he lived very close to where I lived in Columbus; the area of town that he lived in, near East High School, was very close to Bexley, Ohio, which is a suburb where my folks lived. My neighborhood was mostly Methodist and Jewish, and he lived in a black neighborhood very close by. His dad owned a candy store. Rahsaan went to the Ohio School for the Blind. Rahsaan became a mentor to me, and then later on I was able to hire him at Keystone Korner and make the recording of "Bright Moments," which I played keyboards and percussion on. We had a wonderful, life- long relationship. I toured Australia and Europe with Rahsaan during the time that Keystone was open. We toured in '74 and '75, right before he had his stroke. He passed away in 1977.

Release date July 1: Horace Tapscott Quintet - Legacies for Our Grandchildren - Live in Hollywood, 1995 - Horace Tapscott (piano), Michael Session (soprano, alto, tenor saxophones), Thurman Green (trombone), Roberto Miranda (double bass), Fritz Wise (drums)

Release date May 20:

Reissue release date May 27: An essential piece of spiritual jazz history featuring Herbie Hancock and Don Cherry. 40th anniversary edition

Release date July 15: From the liner notes, written by the artist: <P> I've known Cory Weeds for many years and have always admired him as an artist and label owner. Last year, I had the idea for a new recording that would be more traditional than my other albums which often placed the organ in a more unconventional role with electronics and wind ensembles. I wanted to write some pretty, swinging, bebop tunes with a classic approach that would give a nod to all my biggest influences; Jack McDuff, Melvin Rhyne, Don Patterson, Larry Young, and Jimmy Smith. Cellar Music's esthetic seemed like a perfect fit for the concept, as did Cory's musicianship which is evidenced in the tracks here. Ed Cherry on guitar was an obvious choice. He's lyrical, funky, and a brilliant accompanist. We've also worked together for many years and know each other's style very well. Cory had worked with Bill Stewart before and suggested him as drummer for the group. I was naturally very excited to play with one of my heros. Bill's hard swinging and masterful control were perfect for the date. With Jackpot, we've tried to deliver a super swinging session with memorable tunes and super soulful blowing. I hope you enjoy.<P>Brian Charette

Release date June 3: With Swing On This, the all-star quintet Opus 5 presents its fifth Criss Cross album, and first since 2015, when Criss-Cross released Tickle [Criss 1383), which itself was preceded - in backwards chronology - by Progression [Criss 1369], Pentasonic [Criss 1351], and Introducing Opus 5 [Criss 1339], each recorded a year apart. The 'all star' sobriquet is not an exaggeration - the collective discographies of trumpeter Alex Sipiagin, tenor saxophonist Seamus Blake, pianist David Kikoski, bassist Boris Kozlov, and drummer Donald Edwards, all international first-callers, total more than 30 Criss Cross leader dates. The Album was recorded September 7, 2021 at the Samurai Hotel Recording Studio in NY. Recording engineer Mike Marciano who also did the editing, mixing and mastering at Systems Two in NY. Tracks: 1. Swing On This [4:39] 2. Pythagoras [7:41] 3. Moonbay [7:17] 4. Fermata [10:58] 5. Finger Painted Swing [8:44] 6. Sight Vision [6:19] 7. The Great Divide [5:49] 8. In Case You Missed It [8:34]

Release date May 20: The sky is well within reach when trumpet player extraordinaire Alex Sipiagin sets his sights on the summit and heads off upward in an Ascent to the Blues for his second release on Posi-Tone Records. The session features the focused wizardry of Sipiagin’s incisive technique, gripping tonality and hard hitting melodicism are countered cleverly against the curvature of contributions from Diego Rivera on tenor saxophone, the cool complexities of Art Hirahara on piano, the steady underpinnings of Boris Kozlov on bass, and the bombastic metrics of Rudy Royston on drums and percussion. While the album program remains decidedly straight forward and rooted in the blues throughout, the music is also elegantly lyrical and brilliantly evocative of a truly modern jazz sensibility. With a flawless combination of effortless mastery and brilliant performances, Sipiagin's “Ascent to the Blues" reaches steadily upward toward new heights and provides a clear pathway of inspirational bright moments for jazz fans everywhere to joyfully ascend again and again. About the Artist Born in Yaroslavl, Russia, Alex Sipiagin began studying the trumpet when he was twelve at the Moscow Music Institute, then at the Gnessin Conservatory in Moscow where he received his Baccalaureate. In 1990, Sipiagin participated in the International Louis Armstrong Competition sponsored by the Thelonious Monk Institute in Washington DC, winning top honors. After relocating to New York City, Sipiagin became a favored player for various bands including the Gil Evans Orchestra, Gil Goldstein's Zebra Coast Orchestra, the George Gruntz Concert Jazz Band, drummer Bob Moses' band Mozamba, the Mingus Big Band, Dynasty and Orchestra, and the Dave Holland Big Band, Sextet and Octet groups. Sipiagin has recorded almost twenty albums as a leader and his latest album is titled Ascent To The Blues (Posi-Tone 2022). After making his Posi-Tone debut in 2021 with Upstream, his band again features another stellar performance from members Art Hirahara, Boris Kozlov, and Rudy Royston, along with the welcome addition of Diego Rivera on the tenor saxophone. In his career, Sipiagin has worked with legendary artists like Eric Clapton, Dr. John, Aaron Neville, Elvis Costello, Michael Franks, David Sanborn, Dave Holland, Deborah Cox, Phil Ramone, Gonzalo Rubalcaba, Mulgrew Miller and Chris Potter. He is part of the Grammy award-winning albums by the Dave Holland Big Band, “What Goes Around” and “Overtime,” Michael Brecker Quindectet’s “Wide Angles,” and most recently the Dafnis Prieto Big Band’s “Into the Sunset”. Sipiagin holds a professorship at New York University, and has residencies at the Amsterdam Conservatory and Academy of Music in Basel, Switzerland.

Release date June 15: No other info given. Release date June 24: No other info given.

Release date May 27: David Murray is a giant of modern jazz. His saxophone fuses all thegreat things that black music has produced: Gospel sounds, freejazz, Afro-Caribbean, blues and soul as well as the beautiful standardsof classic jazz. Murray's colorful tone, unsurpassed intonation,flair for swing, melancholy tones, and improvisational power andingenuity make him one of the most important voices in music today.The newly formed Brave New World Trio congregates style-settingjazz greats with bassist Brad Jones and drummer Hamid Drake.Together they draw from the African-American tradition as well asfrom other cultures and with Seriana Promethea they present animpressive musical statement. "The result shows the intuitive level ofunderstanding achieved. Having reached in his mid-60s a level oftechnical mastery where a musician 'can play every note that hehears,' Murray saw this pianoless trio as not just a way to keep thenotes flowing, but a catalyst for total freedom: that rare configurationthat allows him to deliver, through the saxophone, "my most freeexpression of myself", writes Derek Schilling in the liner notes.

Release date July 1: From the liner notes, written by the leader: Just The Contrafacts was a project borne of the 2020 lockdown. I was stuck at home and unable to play with other human beings. As the months dragged on, I needed some kind of musical outlet. I started giving myself the exercise of writing contrafacts; that is writing new melodies over the chord structure of standard tunes from the Great American Songbook. It was something to keep my mind occupied and my creativity active in the absence of gigs. After writing a fair number of melodies, I thought it would be fun to write sextet arrangements and as I started doing this, I thought why not make this into an album? Being a mental escape of sorts from the tedium and anxiety of the early lockdown period, I gravitated towards humor and whimsy in these pieces. The world for me was heavy enough and I was using music as a way to sooth myself by playing around and having fun. A lot of the titles of the tunes reflect this attitude. The title and cover also point to escapism to a different time and a tongue-in-cheek nod to film-noir. I hope, dear listener, that some of this fun and light-hearted-ness comes through and can serve as a balm for your soul in these strange times Release date July 15: Jazz vocal legend Sheila Jordan's new album 'Live at Mezzrow' is the debut recording in the newly launched SmallsLIVE Living Master's Series. During the COVID pandemic that shut down Smalls and Mezzrow in NYC from March of 2020 through April of 2021, they relied exclusively on funds raised by their not-for-profit, The SmallsLIVE Foundation. It was short of miraculous, but a world-wide support network of jazz fans and musicians came together and kept them alive with donations and support. They raised more than what was needed, and these extra funds became the budget for their "SmallsLIVE Living Masters Series". This is part life-time achievement award and part recording document. The idea is to document the work of older artists that have had a lifetime in jazz music and a connection to their clubs. Sheila Jordan, along with her bandmates Alan Broadbent and Harvie S, is not just short of miraculous but actually miraculous. At age 93, she delivers a vociferous performance of standards and bebop. She literally glows with the resonant age of her accomplishments and associations. She prides herself on her friendship with Charlie Parker and speaks often of him. She has the core vibration of the true Detroit sound and hails from the very greatest period of that music. Her fellow Detroiters, such as Barry Harris, Hank Jones, Tommy Flannagan and others have all but left us but she is still here and still vibrant. Sheila still has that vibe and that deep warmth that only a mature spirits can communicate and share. People respond to Sheila with love and gratitude and bask in her modest yet authoritative demeanor. It is a great privilege for Cellar Music Group to present Sheila Jordan - Live Mezzrow - in partnership with the SmallsLIVE Living Masters Series. She's in an element that she knows best (a crowded and intimate club) and is with musicians she trusts the most. We hope this document can provide you an insight into her work and her depth. Sheila Jordan is the debut of our SmallsLIVE Living Master's Series and we can't think of a better representative. Track Listing: Bird Alone The Touch of Your Lips What Is This Thing Called Love The Bird & Confirmation Look For the Silver Lining Falling in Love With Love Baltimore Oriole Blue and Green Autumn In New York Lucky To Be Me

Release date May 27: Scott Hamilton and a swinging rhythm section deliver a delightful and creative programme of well-known themes from the classical repertoire - reimagined and repurposed for jazz quartet. Scott Hamilton needs no introduction. The celebrated American tenor icon is instantly recognisable with his timeless sound, impeccable taste and flawless decision making. Hamilton's sound - equal parts breathy fog and meaty girth - harkens back to another era while remaining relevant and refreshing. He's calmed and collected in his musical choices, like Ben Webster or Zoot Sims at the height of their prowess. His warm, lush tonal language breathes new creative life into themes most people have only heard in their original classical contexts. The classical material the group has selected for this session has been so tastefully renovated (and cleverly retitled) that it might fool even advanced jazz listeners into thinking they've somehow missed a couple of timeless standards. Some are easy to 'decode' (My Reveries, based on Claude Debussy's Rverie), while others are delightfully playful in their rebranding: Moon Love (based on Tchaikovsky's 5th Symphony) and Homoresque (Antonin Dvorak). He and his rhythm group - made up here of Jan Lundgren on piano, Hans Backenroth on bass and Kristian Leth on drums - forge ahead in tandem, with a masterful demonstration of space and dynamics. The vision they all share is clear, the playing is clean, the production is both warm and crisp and the whole concept is wonderfully creative.

Release date June 24:

Release date May 20: Acclaimed vibraphonist and composer Joel Ross returns with his third Blue Note album, The Parable of the Poet, an expansive album-length suite comprised of seven evocative movements. The suite is performed by a dynamic 8-piece ensemble with Ross joined by Immanuel Wilkins on alto saxophone, Maria Grand on tenor saxophone, Marquis Hill on trumpet, Kalia Vandever on trombone, Sean Mason on piano, Rick Rosato on bass, and Craig Weinrib on drums. Release date May 27: South African pianist & composer Nduduzo Makhathini follows his acclaimed Blue Note debut Modes of Communication, which was named one of the Best Jazz Albums of 2020 by The New York Times, with another profound artistic statement: In The Spirit of Ntu. The album features some of South Africa's most exciting young musicians including saxophonist Linda Sikhakhane, trumpeter Robin Fassie Kock, vibraphonist Dylan Tabisher, bassist Stephen de Souza, drummer Dane Paris, & other special guests.

Release date July 1: On his second release for ECM, New York-based saxophonist Oded Tzur introduces a heightened sense of urgency and a conceptually augmented approach to his distinctive voice, weaving one underlying musical idea through a series of elaborate and impassioned designs. Throughout Isabela, Oded and his collaborators apply their subtle dialect in a more intense space, exploring the nuances and colors of his self-fashioned raga in a suite-like sequence of quiet meditations and powerful exclamations.

Release date May 27:

Release date June 24: Ella Fitzgerald's "Songbook" records - with her peerless renditions of the best songs from iconic composers from Irving Berlin to Rogers & Hart to Cole Porter to George & Ira Gershwin - are the cornerstone of the Verve catalog and the standard for jazz vocal recordings. Ella never released a live version of these Songbooks. This record, discovered in the private collection of Norman Granz, will make the first time a live Songbook has been released from the First Lady of Song.