As the quintessential summit meeting between American and Brazilian artists, Getz/Gilberto was both an artistic and commercial success. For the 50th anniversary of its release, Verve has issued an new CD edition. Thomas Cunniffe writes that the original stereo album sounds better than ever, but finds the supplemental section lacking in imagination.
MoreFollowing his 1961 big band masterpiece, Out of the Cool, Gil Evans defied expectations with his next album, Into the Hot. Evans acted only as producer, allowing John Carisi and Cecil Taylor to showcase their music. Amy Duncan reviews this classic album which contrasts Carisi’s progressive big band charts with Taylor’s avant-garde ensemble.
MoreHerbie Hancock called his 1970 LP, Mwandishi his “favorite record of all the records I have ever made, and the loosest I’ve ever done.” Marissa Dodge examines this pivotal album which expanded the ideas explored in Miles Davis’ Bitches Brew.
MoreDuring the 1920s, James P. Johnson’s career developed in four distinct areas: stride pianist, vocal accompanist, songwriter and sideman. A new set from Mosaic features Johnson’s recordings in all these areas during his peak years of 1921-1943. Because the recordings are presented in chronological order, the music of those distinct areas get mixed together. In his Retro Review, Thomas Cunniffe suggests that listeners use the programming function on their CD player to separate the styles and omit some of the less artistic tracks.
MoreJazz history textbooks will all tell you that Miles Davis’ 1959 masterpiece Kind of Blue was important because of its extensive use of modal improvisation. Thomas Cunniffe agrees wholeheartedly with that statement, but wonders if the modes were simply a means to an end. He traces the history of the album through its immediate predecessor, Jazz Track and finds a simple reason for the album’s artistic and popular successes.
MoreJazz and politics might seem strange bedfellows, but no one merged the two better than Charlie Haden. With brilliant arrangements by Carla Bley, Haden’s 1969 LP, Liberation Music Orchestra captured the turbulence of its era, and led to three more albums by this landmark ensemble. Thomas Cunniffe examines the original Impulse album in this Retro Review.
MoreResonance Records, a non-profit record label run by George Klabin and Zev Feldman, usually produces a handful of historic jazz releases each year, but this year–in the span of six weeks–they have issued five remarkable albums. In this expanded Retro Review, Thomas Cunniffe reviews the CDs by Thad Jones/Mel Lewis, Stan Getz, João Gilberto, Larry Young and Sarah Vaughan.
MoreWhen Shuffle Along premiered on Broadway in May 1921, it ended a 12-year drought of black shows on the so-called Great White Way. With a new version of the show about to premiere on Broadway, Thomas Cunniffe examines a 1976 LP and a new CD which reconstruct the show’s proto-jazz score, written by Noble Sissle and Eubie Blake. Cunniffe also examines a new solo piano recording by Ehud Asherie of songs from the score.
MoreBulee Slim Gaillard was a man of many gifts–songwriter, singer, multi-instrumentalist–but his greatest gift may have been as a linguist of both real and invented languages. Gaillard’s recordings for JATP, MGM, Mercury, Clef and Norgran have been collected in a new Verve collection, Groove Juice and Thomas Cunniffe provides his input on how Gaillard’s music and humor have traveled through the years.
MoreInception was McCoy Tyner’s first album as a leader, and it shows the 24-year-old pianist bridging the gap between bop and modal jazz. The album has been highly influential on several pianists, including Jazz History Online’s Ben Markley, who chose this disc for his first Retro Review.
MoreBy 1960, John Coltrane had played with Miles Davis for nearly five years. With the release of Giant Steps, he was auditioning musicians for his own quartet. However, Davis needed Coltrane for an tour of Europe, and Coltrane reluctantly accepted. The brilliant concert recordings from that tour have been bootlegged for years, but a new Acrobat 4-CD set collects them in one place. In this Retro Review, Thomas Cunniffe recommends the set for its improved sound quality and its detailed liner notes by Simon Spillett.
MoreWhen Miles Davis first took the stage at the Newport Jazz Festival in 1955, Duke Ellington joked that Davis and his fellow musicians inhabited the world of Buck Rogers. Actually, the music Davis played that day was fairly accessible, and it wasn’t until 14 years later that his music began to alienate his long-time fans. While the new Legacy 4-CD set Miles Davis at Newport dutifully presents the music in chronological order, Thomas Cunniffe’s review offers a different perspective as he starts with the most recent (and less known) sets and works backward from there.
MoreThe reissues have been piling up in the JHO offices, so this month, Thomas Cunniffe has selected seven new collections (a total of 26 discs!) for discussion in the Retro Review. Included are the Mosaic Savory Collection, and collections featuring Oscar Peterson, Ella Fitzgerald, Louis Armstrong, Miles Davis, John Coltrane and Erroll Garner.
MoreIn 1975, Stan Getz was asked to produce several jazz albums for Columbia. One of his first projects was The Peacocks, an album displaying the instrumental and vocal talents of Jimmy Rowles. In this Retro Review, Thomas Cunniffe calls the album the best showcase Rowles ever had.
More