Gerry Mulligan Quartet & Bob Brookmeyer - Paris

Styles: Saxophone And Trombone Jazz
Year: 1954
File: MP3@320K/s
Time: 61:58
Size: 142,3 MB
Scans:

(3:38) 1. The Lady Is a Tramp
(4:58) 2. I May Be Wrong
(6:25) 3. Gold Rush
(3:35) 4. Makin' Whoopee
(4:16) 5. Laura
(4:25) 6. Soft Shoes
(4:36) 7. The Nearness of You
(6:04) 8. Bark for Barksdale
(4:18) 9. Bernie's Tune
(4:31) 10. Five Brothers
(3:14) 11. Lullaby of the Leaves
(4:50) 12. Limelight
(3:45) 13. Come out Wherever You Are
(3:16) 14. Moonlight in Vermont


Personnel: Baritone Saxophone – Gerry Mulligan; Bass – Red Mitchell; Drums – Frank Isola; Trombone – Bob Brookmeyer

Paris

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Lee Konitz - You and Lee

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 33:37
Size: 77,8 MB
Art: Front

(4:50)  1. Ev'rything I've Got (Belongs to You)
(4:22)  2. You Don't Know What Love Is
(4:14)  3. You're Driving Me Crazy
(4:03)  4. I Didn't Know About You
(4:10)  5. You're Clear Out of This World
(3:42)  6. The More I See You
(4:10)  7. You Are Too Beautiful
(4:02)  8. I'm Getting Sentimental Over You

One of the lesser-known Lee Konitz albums, this LP (which has not been reissued yet on CD) features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. ~ Scott Yanow

Personnel:   Lee Konitz – alto saxophone; Marky Markowitz – trumpet; Ernie Royal – trumpet;  Phil Sunkel – trumpet;  Eddie Bert – trombone; Billy Byers – trombone; Bob Brookmeyer – valve trombone;  Bill Evans – piano;  Jim Hall – guitar;  Sonny Dallas – bass;  Roy Haynes – drums

You and Lee

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Bob Brookmeyer Quartet - The Blues Hot And Cold + 7X Wilder

Styles: Trombone And Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 72:31
Size: 174,8 MB
Art: Front

(6:04) 1. On the Sunny Side of the Street
(5:54) 2. Stoppin' at the Savoy
(7:21) 3. Languid Blues
(4:53) 4. I Got Rhythm
(5:48) 5. Smoke Gets in Your Eyes
(7:57) 6. Hot and Cold Blues
(6:09) 7. While Were Young (4:42) 8. That s The Way It Goes
(4:32) 9. The Wrong Blues
(4:04) 10. It s So Peaceful In The Country
(6:07) 11. Blues For Alec
(4:28) 12. I ll Be Around
(4:26) 13. Who Can I Turn To?

Bob Brookmeyer pioneered playing jazz on the valve trombone, and employed an open-ended approach that embraced both cool and chamber jazz elements. This CD combines two of his finest early period albums from 1960 and 1961, playing standards and originals alongside a stock backup piano/bass/drums trio with Jimmy Rowles, and interpreting the music of Alec Wilder in tandem with guitarist Jim Hall. For the latter date, Brookmeyer goes back and forth between trombone and piano, with drummer Mel Lewis on both sessions.

The first group is more sedate on songs like the polite "On the Sunny Side of the Street" and "Languid Blues," but hop it up for the happy swinger "I Got Rhythm," or up and down title track. Brookmeyer has a delicate touch on piano for the waltz "While We're Young" and "The Wrong Blues," but on the trombone bops along for the fun tune "That's The Way It Goes," and epitomizes California cool for classics like the immortal "It's so Peaceful in the Country," paired beautifully with Hall on "Who Can I Turn To?" or on the muted trombone during "I'll Be Around." As you listen, you notice Brookmeyer gets around on his brass instrument as a trumpeter, not with the acumen of J.J. Johnson's slide trombone, but with an attack that combines the subtleties of Chet Baker with the alacrity of Shorty Rogers, who must be a telling influence. These albums were highly rated when they came out, and stand the test of time as excellent early examples of Brookmeyer's performance prowess.
~Michael G. Nastos https://www.allmusic.com/album/blues-hot-cold-7-x-wilder-mw0001359682

Personnel: Valve Trombone, Piano – Bob Brookmeyer; Bass – Bill Crow (tracks: 7 to 13), Buddy Clark (tracks: 1 to 6); Drums – Mel Lewis; Guitar – Jim Hall (tracks: 7 to 13); Piano – Jimmy Rowles (tracks: 1 to 6)

The Blues Hot And Cold + 7X Wilder

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Stan Getz, Bob Brookmeyer - Recorded Fall '61

Styles: Saxophone And Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(10:37)  1. Minuet Circa '61
( 4:46)  2. Who Could Care?
( 5:58)  3. Nice Work If You Can Get It
( 6:46)  4. Thump, Thump, Thump
( 6:59)  5. A Nightingale Sang In Berkeley Square
( 7:39)  6. Love Jumped Out

Stan Getz returned to the United States in 1961 after two years of living in Denmark and playing throughout Europe. That fall, while preparing for Focus, which was to become his favorite personal album, the tenorist went into the studio to recreate some of the quintet magic he and valve trombonist Bob Brookmeyer had produced in the mid-1950s. In fact, the group had recorded earlier in the year with Scott LaFaro on bass, but unhappy with his own playing, Getz refused to release the results. Due to LaFaro’s untimely death that summer, Getz enlisted John Neves to partner with pianist Steve Kuhn and drummer Roy Haynes for this subsequent session, Recorded Fall 1961.

It’s easy to see why Getz must have been pleased with the effort this time. His lines are relatively cliche-free and his fabulous tone, masterful technique and effortless swing are on display throughout. Brookmeyer, one of the most individualistic of improvisers, once again shows himself to be an ideal mate for Getz, combining a composer’s inventiveness with a Kansas City-bred earthiness and sense of swing. The trombonist also composed three tunes-“Minuet Circa ’61,” the ballad “Who Could Care?” and “Thump, Thump, Thump”-to go with his arrangements of a pair of standards and Buck Clayton’s “Love Jumped Out.” Getz liked the rhythm section so much that he continued to use them for his live engagements. Although Recorded Fall 1961 was released soon after its completion, this remastered reissue is part of Verve’s Master Edition series.

Nearly 30 years later, and a year before his death in 1991, Getz was still playing near the top of his form. With his cancer in remission, he was touring Europe with a quartet that included pianist Kenny Barron, bassist Alex Blake and drummer Terri Lyne Carrington. Synthesizer players Eddie Del Barrio and Frank Zottoli augmented the quartet on selections from Getz’s then recently released Apasionado, which featured Del Barrio’s electronically enhanced arrangements. Although some critics accused Del Barrio’s charts of being excessively pop-oriented, they did provide Getz with a congenial setting for his free-flowing lyricism. And at the Munich concert that comprises the first part of The Final Concert Recording, Getz imbues the five selections with his trademark passion and beauty despite a slight tendency to rely too heavily on some of his favorite melodic patterns. The other nine tracks on the two discs that constitute The Final Concert Recording exemplify quintessential small-group Getz. Digging in on the pop standards “What Is This Thing Called Love?” and “On a Slow Boat to China,” as well as the jazz compositions “Seven Steps to Heaven,” “Blood Count” (a Getz favorite), Barron’s “Voyage,” Thad Jones’ “Yours and Mine,” Johnny Mandel’s “El Cajon” and Benny Carter’s “People Time,” the quartet simply sparkles. Blake and Carrington provide a sometimes powerful, sometimes quietly urgent underpinning for Getz and Barron, and both soloists play with the confidence and polish expected of such consummate professionals. Although Barron had worked frequently with Getz, this occasion seems to have been particularly inspirational for him as he’s consistently all over the piano in an especially impressive display of invention. It seems fitting that Getz’s last recording, made a few months later, would feature just the two of them.https://jazztimes.com/archives/stan-getzbob-brookmeyer-recorded-fall-1961/

Personnel: Bob Brookmeyer - valve trombone; Stan Getz - tenor saxophone; Steve Kuhn - piano; John Neves - double bass; Roy Haynes - drums

Recorded Fall '61

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Gerry Mulligan - The Original Sextet: Complete Studio Master Takes

Styles: Saxophone And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 152:17
Size: 353,3 MB
Art: Front

(5:07) 1. Mud Bug
(5:07) 2. Sweet and Lovely
(5:29) 3. Apple Core
(4:39) 4. Nights at the Turntable
(6:39) 5. Broadway
(5:25) 6. Everything Happens to Me
(5:13) 7. Lady Is a Tramp
(6:46) 8. Benie's Tune
(4:07) 9. Makin' Whoopee
(5:43) 10. Demanton
(4:29) 11. Duke Ellington Medley: Moon Mist,In a Sentimental Mood
(4:26) 12. Westward Walk
(3:30) 13. La Plus Que Lente
(8:17) 14. Blues
(6:52) 15. Elevation
(6:49) 16. Mainstream
(5:24) 17. Ain't It the Truth
(6:58) 18. Igloo
(5:44) 19. Blues at the Roots
(5:53) 20. Lollypop
(7:02) 21. Blues (Bonus Track)
(5:42) 22. Lady Is a Tramp (Bonus Track)
(5:41) 23. Demanton (Bonus Track)
(6:37) 24. Broadway (Bonus Track)
(2:46) 25. Sweet and Lovely [Feat. Jon Eardley, Bob Brookmeyer & Zoot Sims] (Short Version, Bonus Track)
(2:40) 26. Bernie's Tune [Feat. Jon Eardley, Bob Brookmeyer & Zoot Sims] (Short Version, Bonus Track)
(5:22) 27. Westwood Walk (Bonus Track)
(3:39) 28. La Plus Que Lente (Bonus Track)

This two-disc, 28-track compilation gathers all of Gerry Mulligan's sides recorded with a short-lived sextet lineup in 1955 and 1956. Originally released as three LPs on the Emarcy and Mercury labels 1955's Presenting the Gerry Mulligan Sextet and A Profile of Gerry Mulligan and 1956's Mainstream of Jazz this material was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his star-making Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the Birth of the Cool sessions in 1949.

As on those sides, Mulligan's primary musical sparring partner is a trombonist, Bob Brookmeyer, and the unusual pairing of Mulligan's baritone and Brookmeyer's trombone takes precedence over the more conventional trumpet (Jon Eardley and Don Ferrara) and tenor (Zoot Sims) parts. The primary difference here is in the rhythm section (drummer Dave Bailey and either Peck Morrison or Bill Crow on bass, with both Mulligan and Brookmeyer doubling on piano when necessary), which gooses the tempos in a way that Mulligan's more languid early groups rarely managed. Furthermore, unlike the earlier recordings, which had to be edited for 78 rpm play, this group is allowed to stretch out, leading to longer and more daring solos. The sextet never became the hot group of the moment in the way that the Mulligan and Baker lineup did, but this set beautifully showcases their gifts. As an added gift, the second disc includes eight rare and unissued alternate takes, including both sides of a 1955 single pairing greatly reduced versions of "Sweet and Lovely" and "Bernie's Tune."~ Stewart Mason https://www.allmusic.com/album/the-original-sextet-complete-studio-master-takes-mw0001170379

Personnel: Baritone Saxophone, Piano – Gerry Mulligan; Bass – Bill Crow, Peck Morrison; Tenor Saxophone – Zoot Sims; Trombone, Piano – Bob Brookmeyer; Trumpet – Don Ferrara, Jon Eardley

The Original Sextet: Complete Studio Master Takes (Bonus Track Version)

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Curtis Fuller - Cabin In The Sky

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 40:30
Size: 93,6 MB
Art: Front

(4:49) 1. The Prayer / Taking A Chance On Love
(4:00) 2. Cabin In The Sky
(3:22) 3. Old Ship Of Zion
(4:15) 4. Do What You Wanna Do
(3:25) 5. Honey In The Honeycomb
(4:57) 6. Happiness Is A Thing Called Joe
(2:45) 7. Savannah
(3:46) 8. Love Turned The Light Out
(3:40) 9. In My Old Virginia Home (On The River Nile)
(5:27) 10. Love Me Tomorrow (But Leave Me Alone Today) / The Prayer

If you love Miles Davis' Miles Ahead and Porgy and Bess both arranged by Gil Evans then you simply must consider Curtis Fuller's Cabin in the Sky. Recorded over two days in April 1962 for Impulse, the album's orchestrations are on par with both Davis albums and frame Fuller's trombone beautifully. [Pictured above, Curtis Fuller]. Arranged by Manny Albam [pictured above] one of the finest composer-arrangers of the '50s and '60s who remains woefully underappreciated Cabin in the Sky has the same sighing quality and provocative brassy bombast as the Evans works. They shift, turn, swing and ponder all the way through.

On the album, Fuller (like Davis) is cast as a wandering, vulnerable soloist who must spar with surging sections of the orchestra that hurl all sorts of heavenly bolts at him. From start to finish, Cabin in the Sky is a masterpiece that truly needs fresh critical consideration.At the time, however, the album was a considered a commercial flop through no fault of Fuller or Albam. Which is both tragic and baffling, considering its spectacular qualities and the musicians involved. Here's who were talking about... On the tracks with strings: Curtis Fuller (tb), Eddie Costa (vib,perc), Hank Jones (p), Barry Galbraith (g), Milt Hinton (b), Osie Johnson (d) and Margaret Ross (harp) along with unknown strings. On the orchestral tracks: Bernie Glow, Ernie Royal, Al DeRisi and Freddie Hubbard (tp); Curtis Fuller, Bob Brookmeyer, Kai Winding [pictured above] and Wayne Andre (tb); Alan Raph (b-tb) Harvey Phillips (tu) Jimmy Buffington, Ray Alonge, Tony Miranda and Morris Secon (fhr); Eddie Costa (vib); Hank Jones (p); Art Davis (b) and Osie Johnson (d).

As you can see, the date featured many of New York's finest. So what was the problem? To find out, I pulled Ashely Kahn's The House That Trane Built: The Story of Impulse Records off the shelf...

“The trombonist remembers that for a session requiring intricate coordination with large ensembles, all went surprisingly well until extra studio time was requested.

“ 'They allowed me three hours with the strings and three hours with the brass. The strings, obviously, went perfect; we got that done, boom, with time to spare. But we needed time to fuse the thing, to connect the strings with the brass... I said, No, [three hours is] kind of harsh, can we have another hour? They raised hell for about a week.'

“The album was completed, released with an evocative double male-female profile by photographer Pete Turner [pictured above], who received positive notice in the jazz press. Yet what ultimately transpired, from Fuller's perspective, was a bitter lesson in record company acccounting that can leave an unwary musician with little chance of recouping expenditures, some of which were hidden. “ '[Bob] Thiele said, If w'ere going to have strings, we're going to go all out. We went from a six-string ensemble to the New York Philharmonic. Well, now, whose budget is it anyway? Then I found out that they would charge me for the ashtrays and the music stands and everything else you know, this is a big business... [Photo above of Impulse producer Bob Thiele and John Coltrane by Joe Alper]

“ 'I think Creed [Taylor] would have run that over with me. But Bob Thiele was, Let's just do this and let's let it be done. But once the album came out, I just don't think that the company was prepared to put the kind of [marketing and promotional] money into it."

If you are unfamiliar with Fuller's Cabin in the Sky, you will be knocked out by the trombonist's conversational style and Manny Albam's extraordinary gift for turning an orchestra into a rip-tide of brassy energy. https://news.allaboutjazz.com/curtis-fuller-cabin-in-the-sky

Personnel: Curtis Fuller - trombone; Al DeRisi, Bernie Glow, Freddie Hubbard, Ernie Royal - trumpet; Ray Alonge, Jim Buffington, Anthony Miranda, Morris Secon - French horn; Wayne Andre, Kai Winding - trombone; Bob Brookmeyer - valve trombone; Alan Raph - trombone, bass trombone; Harvey Phillips - tuba; Eddie Costa - vibraphone, percussion; Barry Galbraith - guitar; Hank Jones - piano; Art Davis, Milt Hinton - bass; Osie Johnson - drums; Harry Lookofsky - violin, concertmaster; Margaret Ross - Harp; Unnamed string section; Manny Albam - arranger, conductor

Cabin In The Sky

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Bob Brookmeyer - Bob Brookmeyer & Friends

Styles: Trombone Jazz
Year: 1964
File: MP3@320K/
s Time: 55:12
Size: 127,7 MB
Art: Front

(4:40) 1. Jive Hoot
(5:17) 2. Misty
(5:18) 3. The Wrinkle
(4:57) 4. Bracket
(5:00) 5. Skylark
(4:04) 6. Sometime Ago
(5:04) 7. I've Grown Accustomed To Her Face
(7:02) 8. Who Cares
(5:18) 9. Day Dream
(3:37) 10. Time For Two
(4:50) 11. Pretty Girl

This somewhat obscure session was reissued on LP by Columbia in 1980. Valve trombonist Bob Brookmeyer and tenor-great Stan Getz (who had played together regularly a decade prior) had a reunion for this date, performing five standards and three Brookmeyer originals. The young rhythm section (pianist Herbie Hancock, vibraphonist Gary Burton, bassist Ron Carter, and drummer Elvin Jones) uplifts what would have been a fairly conventional (although high quality) bop date. https://www.allmusic.com/album/bob-brookmeyer-and-friends-mw0000030917

Personnel: Valve trombone - Bob Brookmeyer; Tenor saxophone - Stan Getz; Vibraphone - Gary Burton; Piano - Herbie Hancock; Bass - Ron Carter , Drums - Elvin Jones; Vocals - Tony Bennett (track 9).

Bob Brookmeyer & Friends

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Thad Jones, The Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live)

Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live)  Disc 1

Styles: Jazz, Hard Bop 

Year: 2016

File: MP3@320K/s

Time: 48:36

Size: 112,0 MB

Art: Front

(13:22)  1. Back Bone

( 4:22)  2. All My Yesterdays

( 5:51)  3. Big Dipper

( 4:49)  4. Mornin' Reverend

(14:25)  5. The Little Pixie

( 5:45)  6. Big Dipper

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Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live) Disc 2

Time: 76:51

Size: 177,2 MB

( 4:38)  1. Low Down

( 5:25)  2. Lover Man (Oh Where Can You Be?)

(10:08)  3. Ah, That's Freedom

( 4:28)  4. Don't Ever Leave Me

( 6:15)  5. Willow Weep for Me

( 5:51)  6. Mean What You Say

(12:45)  7. Once Around

( 4:02)  8. Polka Dots & Moonbeams

( 5:49)  9. Mornin' Reverend

( 4:25) 10. All My Yesterdays

(12:59) 11. Back Bone

Offering: Live at Temple University (Resonance Records, 2014), Getz/Gilberto '76 (Resonance Records, 2016), Moments in Time (Resonance Records, 2016)...and these are just the most recent (not to forget several Wes Montgomery) releases. Resonance Records steps up (again) and releases what can only be considered the apotheosis of live jazz performance, All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard. Before even considering the music, there is the captured ambiance. Recorded by a then 19-year old amateur engineer, George Klaban, the period technology may be lacking by today's standards. Maybe even Klaban's amateur status could call things into question. However, the results provide the listener with a very intimate listening experience that only lacks the smell of just-lit Lucky Strikes and Cutty Sark on the rocks. Klaban's gig pack included a Crown Professional two Track stereo tape recorder, an Ampex four-input mixer and six mics (Neumann U67, Bayer and AKG professional mics and an Electro Voice 654 Dynamic, the last used for the bass). Klaban details that he placed one mic each for the reeds, trombones, and trumpets, the fourth for the bass, the fifth for the piano and the last for the leader, Thad Jones. The result of this alchemic paradigm is a presence, not in the audience, but up over the middle of the band looking (hearing) down (a physical impossibility given the compressed confines of the Village Vanguard).

Nonetheless, the sound and atmosphere is electrically charged and immediate. The sound is spacious enough to get up and walk around in, passing through all of the sections. It is musical arrangement as subatomic metaphor...each musical element interacting with and against one another to produce a compounded product of rare substance and beauty. It is immediately evident that there is something special taking place. Queue up the first performance of the Thad Jones composition and arrangement "Back Bone" and listen. Alto saxophonist Jerry Dodgion spits out an unaccompanied blues chorus of spurred on with shouts and encouragement from the band with Thad Jones himself anticipating the entry of the whole band with a grand, "Yeah!" This is unbridled joy in music making. Evidence of Bill Basie is all over the charts, in both the riffing and solos. Altoist Jerome Richardson introduces "Little Dipper" twice and pianist (and Thad Jones' brother) Hank Jones channel the spirit of the still living Count Basie. This is, simply, what live music is all about: invention, spontaneity, improvisation, and spring freshness. Hear from where all big band since has come. ~ C.Michael Bailey https://www.allaboutjazz.com/all-my-yesterdays-the-debut-1966-recordings-at-the-village-vanguard-thad-jones-resonance-records-review-by-c-michael-bailey.php

Personnel: Thad Jones – flugelhorn; Mel Lewis – drums; Hank Jones – piano; Richard Davis – bass; Sam Herman – guitar; Jerome Richardson – alto saxophone, soprano saxophone, clarinet, bass clarinet, flute; Jerry Dodgion – alto saxophone; Joe Farrell – tenor saxophone, clarinet, flute; Eddie Daniels – tenor saxophone, clarinet, bass clarinet; Pepper Adams – baritone saxophone; Snooky Young – trumpet; Jimmy Owens – trumpet; Bill Berry – trumpet; Jimmy Nottingham – trumpet; Bob Brookmeyer – trombone; Jack Rains – trombone; Garnett Brown – trombone; Cliff Heather – trombone

All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard(Live)Disc1,Disc2

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Don Sebesky - A Jazz Portrait of Charlie Mariano

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 39:33
Size: 92,0 MB
Art: Front

(2:58)  1. I Feel Pretty
(4:14)  2. The Wind
(7:30)  3. To Taiho
(4:29)  4. Goodbye
(2:52)  5. The Shout
(5:24)  6. Portrait of an Artist
(3:19)  7. Deep in a Dream
(5:37)  8. Pretty Little Nieda
(3:05)  9. The Song Is You

"There is so much taht could be said about this album, but until the record companies consider using larger jackets, I shall be obliged to hold my enthusiasm in check. I must mention Jim Hall's masterful playing is something we have all come to expect from him. Phil Bodner, whose complete mastery of all the redd instruments makes him a one man section, and as such, he is an invaluable asset. Mel Lewis' consistently fine musicianship and his fiery propulsion to the big band tracks is more thanworthy of comment Charlie's gospel-tinged THE SHOUT, the Sebesky title tune of the album, amd Rolf Ericson's delightful jazz waltz, Pretty Little Nieda, coupled with the standards, make for above average programming, something of a novelty in a business that has become mired in anonymity. Regiona Records should feel very proud of yhis contribution, and I repeat if this album doesn't scare a lot of people there is definitely something wrong with the music business." ~ Mort Fega, liner-notes from the original LP on Regina Records https://www.freshsoundrecords.com/charlie-mariano-albums/4076-a-jazz-portrait-of-charlie-mariano.html

Personnel: Charlie Mariano (as), Jim Hall (g), Mel Lewis (d), Bob Brookmeyer (v-tb), Marvin Stamm (tp), Roger Kellaway, Jaki Byard (p), Richard Davis, Art Davis (b), Albert 'Tootie' Heath (d)

A Jazz Portrait of Charlie Mariano

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Bill Evans & Lee Konitz - Play The Arrangements Of Jimmy Giuffre

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 74:29
Size: 172,2 MB
Art: Front

(3:08)  1. Palo Alto
(5:02)  2. When Your Lover Has Gone
(9:50)  3. Cork'n' Bib
(4:29)  4. Somp'm Outa' Nothin'
(3:36)  5. Someone To Watch Over Me
(3:55)  6. Uncharted
(3:59)  7. Moonlight In Vermont
(5:08)  8. The Song Is You
(1:58)  9. Darn That Dream
(4:48) 10. Ev'rything I've Got (Belongs To You)
(4:19) 11. You Don't Know What Love Is
(4:00) 12. I Didn't Know About You
(3:57) 13. I'm Getting Sentimental Over You
(4:11) 14. You're Driving Me Crazy
(4:08) 15. You're Clear Out Of This World
(3:39) 16. The More I See You
(4:12) 17. You Are Too Beautiful

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Konitz and Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover. Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin', which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk. Following a chamber-jazz reworking of "Darn That Dream, in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is, show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. ~ Matthew Miller https://www.allaboutjazz.com/play-the-arrangements-of-jimmy-giuffre-bill-evans-lone-hill-jazz-review-by-matthew-miller.php?width=1920

Personnel: Band 1: Lee Konitz, Hal McKusick: alto saxophone; Ted Brown, Warne Marsh: tenor saxophone; Jimmy Giuffre: baritone saxophone/arrangements; Bill Evans: piano; Buddy Clark: bass; Ronnie Free: drums.

Band 2: Marky Markowitz, Ernie Royal, Phil Sunkel: trumpet; Eddie Bert, Billy Byers; trombone; Bob Brookmeyer: valve trombone; Lee Konitz: alto saxophone; Bill Evans; piano; Sonny Dallas: bass; Roy Haynes: drums; Jimmy Giuffre: arranger, conductor.

Play The Arrangements Of Jimmy Giuffre

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Hank Jones - One More - The Music of Thad Jones

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:22
Size: 159,9 MB
Art: Front

(5:37)  1. Subtle Rebuttal
(4:54)  2. Thad's Pad
(6:40)  3. Kids Are Pretty People
(5:49)  4. One More
(7:05)  5. Mean What You Say
(8:02)  6. A Child Is Born
(5:12)  7. Bossa Nova Ova
(7:02)  8. The Waltz You Swang for Me
(5:37)  9. H & T Blues
(5:23) 10. Consummation
(5:27) 11. The Farewell
(2:31) 12. Monk's Mood

Great jazz things have been happening at IPO Recordings, and they have been for a while. One More: Music of Thad Jones is the sixth CD from Executive Producer Bill Sorin, and it continues the generous spirit of tribute that has informed each of its predecessors. Three of the six recordings so far have been among the final recordings of the late piano maestro, Sir Roland Hanna, with another Hanna album on the way later this year. Listeners familiar with the Thad Jones-Mel Lewis Band should know that Hanna held the piano chair in the band from its beginning in '66 through '74, and that he often performed Thad's compositions on his own recordings. Hanna is present posthumously on One More, in a recreation of one his classic unaccompanied introductions to "A Child Is Born, arguably Jones' most famous composition. One More indeed pays homage to Jones the composer with stellar performances of 11 of his tunes. The aggregation that performs Michael Patterson's distinctive arrangements is an octet made up of a Who's Who of straight-ahead blowing jazz. James Moody, Benny Golson and Frank Wess appear on tenor and other saxophones, with Wess tripling on flute; Bob Brookmeyer on trombone and Jimmy Owens on trumpet and fluegelhorn comprise the brass section. The superb rhythm section is anchored by Richard Davis on bass and Mickey Roker on drums. One might wonder if Hanna were still alive, he would be on piano. But here we have the redoubtable Hank Jones, Thad's brother, on piano. It is hard to ask for more. Ira Gitler points out in his liner notes, "What Patterson has done is write for this ensemble (and what an ensemble) without losing the spirit of the big band. That's the way Thad wrote, very translatable. With musicians who have no doubt known one another and played together often over many years, there is the feeling here of a reunion, a celebration not only of Thad Jones' talents as a composer but perhaps of the rare chance to play together again. 

For a one-time project, the group is surprisingly tight and polished; everyone really seems to have come to play his best, together. Without slighting any of the other masters, one can't miss the contributions of Hank Jones on piano and Jimmy Owens on trumpet, which are consistently brilliant on this album, on virtually every cut. What an honor for jazz lovers to still have Hank in our midst; here and on his new Great Jazz Trio recordings of late he sounds better than ever. Perhaps Owens' highlight is his solo on "Consummation. Poetic justice: Thad Jones wrote the song for a concert performance by Owens in '69. One More concludes on a rather special note. The final track is an unaccompanied solo performance by Hank Jones of "Monk's Mood, the only tune on the album not by Thad. He is playing an arrangement that he learned, note-for-note, directly from the composer himself, Thelonious Monk, in the mid-'40s, which was a favorite of Thad's. IPO seems headed in a good direction. One More: Music of Thad Jones follows With Malice Toward None: The Music of Tom McIntosh, another great composer, which features some of the same musicians. Who knows? Maybe someday we will see a tribute to the compositional talents of Sir Roland Hanna, another match surely to be made in heaven. ~ Wayne Zade https://www.allaboutjazz.com/one-more-music-of-thad-jones-by-wayne-zade.php

Personnel: Benny Golson (tenor saxophone); James Moody (tenor and soprano saxophone); Frank Wess (tenor and alto saxophone, flute); Jimmy Owens (trumpet and fluegelhorn); Bob Brookmeyer (trombone); Hank Jones (piano); Richard Davis (bass); Mickey Roker (drums) 

One More - The Music of Thad Jones

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Thad Jones, Mel Lewis Jazz Orchestra - Presenting Thad Jones, Mel Lewis & The Jazz Orchestra

Styles: Flugelhorn Jazz, Big Band
Year: 1966
File: MP3@320K/s
Time: 45:06
Size: 104,5 MB
Art: Front

( 5:29)  1. Once Around
( 5:37)  2. Willow Weep For Me
( 5:01)  3. Balanced Scales = Justice
( 5:48)  4. Three In One
( 5:32)  5. Mean What You Say
( 4:37)  6. Don't Ever Leave Me
(12:59)  7. ABC Blues

The debut recording of the Thad Jones/Mel Lewis Orchestra launched a mighty (if part-time) all-star big band. With arrangements by Jones, Bob Brookmeyer, and Tom McIntosh and such soloists as baritonist Pepper Adams, pianist Hank Jones, valve trombonist Brookmeyer, Jerome Richardson on various reeds, altoist Jerry Dodgion, and Joe Farrell and Eddie Daniels on tenors (in addition to flügelhornist Jones), it is not surprising that the orchestra was soon rated near the top. Among the seven selections are four Thad Jones originals (including "Mean What You Say"), "Willow Weep for Me," and Brookmeyer's lengthy "ABC Blues." ~ Scott Yanow  https://www.allmusic.com/album/presenting-thad-jones-mel-lewis-the-jazz-orchestra-mw0000877905

Personnel:  Thad Jones – flugelhorn;  Mel Lewis – drums;  Hank Jones – piano;  Richard Davis – bass;  Pepper Adams, Eddie Daniels, Joe Farrell, Jerry Dodgion,  Jerome Richardson – saxophone;  Jimmy Nottingham,  Bill Berry, Danny Stiles , Richard Williams – trumpet;  Jack Rains, Bob Brookmeyer – trombone, Tom McIntosh, Cliff Heather.

Presenting Thad Jones-Mel Lewis & The Jazz Orchestra

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Bob Brookmeyer - Electricity

Styles: Trombone Jazz
Year: 1991
File: MP3@320K/s
Time: 69:47
Size: 160,4 MB
Art: Front

(16:47)  1. Farewell, New York
(10:33)  2. Ugly Music
(11:40)  3. Wihite Blues
( 7:15)  4. Say Ah
(13:14)  5. No Song
(10:15)  6. The Crystal Palace

Electricity is another one of an infrequent series of recordings by Bob Brookmeyer, who used to pop up all over the place throughout the 1950s and 1960s. While he's always been rooted firmly in the mainstream (Gerry Mulligan, the Concert Jazz Band, the Thad Jones / Mel Lewis Orchestra and his own records on Verve), Brookmeyer has also consistently approached creative music in unorthodox ways (his two-piano quartet with Bill Evans, and his trombone jazz samba records). His greatest gifts, though, are his contributions to orchestral jazz. His tonal palette has many more shades than one expects. As a result, his compositions and arrangements often require more than one listen. There's much to appreciate in his music's richness and depth. Even though in his notes to Electricity , Brookmeyer writes, "I think that I'm looking more for meaning and worrying less about coloring the orchestra," he manages to achieve both here. But Electricity , as its title may suggest, is by no means a look backwards. Many of Brookmeyer's six long tunes (ranging from seven to sixteen minutes each) are framed by John Abercrombie's thrashing electric guitar or cushioned by his tasteful guitar synth or other electronic keyboards. This March 1991 recording finds Brookmeyer fronting the excellent WDR Big Band (which also supports Mike Gibbs, Bernard Purdie and Eddie Harris on other recent Act Jazz releases). The German WDR Big Band, like the Dutch Metropole Orchestra, are all that remain of the great jazz orchestras many of which Brookmeyer has successfully contributed to since the early 1950s! 

All of these pieces have a progressive, story-like pattern to them, utilizing Abercrombie as the principal storyteller. "Farewell New York" is a 16-minute dirge that begins with Abercrombie's dissonant guitar-synth wail then progresses into march-like cadenzas to eventually find the guitarist in a more contemplative mood. Its intensity oddly recalls Elton John's "Funeral for A Friend." The album's strongest tracks, "Ugly Music" and "Say Ah" bring to mind those cool, jazzy soundtracks of Italian mystery films from the 1970s (i.e.: Deep Red ). Abercrombie is simply amazing throughout. He can mine the wealth of innovations from Hendrix and Montgomery to Farlow and Frisell and yet never lose his own multiply talented identities. One senses that Electricity more successfully achieves much of what Gil Evans was trying to accomplish in the late 1970s and 1980s with his own big bands. Aside from the lovely, almost simplistic harmonies and rhythmic patterns, Brookmeyer's choice of a main soloist with multiple talents (in this case, Abercrombie) is perfect. Some listeners may be discouraged that Brookmeyer didn't showcase his own beautiful and distinctive valve trombone (his only real features are brief ones in "No Song" and "The Crystal Place"). But that's a small gripe. Brookmeyer always reveals so much more as a musician in his orchestrations. For the small group fans, however, Challenge Records recently issued Brookmeyer's Paris Suite , a 1993-94 session which finds the valve trombonist leading a Dutch quartet. Electricity is highly recommended to those who appreciate the lost art of orchestral jazz in a contemporary setting and, most especially, to fans of John Abercrombie who is nothing short of brilliant in his varied roles here. ~ Douglas Payne https://www.allaboutjazz.com/electricity-bob-brookmeyer-act-music-review-by-douglas-payne.php

Personnel:  Valve Trombone, Composed By, Liner Notes, Mixed By [Remixed] – Bob Brookmeyer;  Bass – Dieter Ilg;  Drums – Danny Gottlieb;  Guitar – John Abercrombie;  Keyboards – Frank Chastenier, Rainer Brüninghaus;  Orchestra – WDR Big Band Köln;  Saxophone – Heiner Wiberny, Olivier Peters, Paul Peucker, Rolf Römer;  Trombone – Bernt Laukamp, Dave Horler , Roy Deuvall;  Trumpet – Andy Haderer, Klaus Osterloh, Rick Kiefer

Electricity

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Eliane Elias, Bob Brookmeyer, The Danish Radio Jazz Orchestra - Impulsive!

Bitrate: MP3@320K/s
Time: 55:05
Size: 126.1 MB
Styles: Piano jazz
Year: 1997
Art: Front

[ 7:28] 1. Just Kiddin'
[ 8:42] 2. So In Love
[ 9:09] 3. Moments
[11:48] 4. The Time Is Now
[ 7:53] 5. One Side Of You
[10:02] 6. Impulsive!

The curious blend of pianist Eliane Elias with conductor and arranger Bob Brookmeyer leading the Danish Radio Jazz Orchestra makes for a surprising mix. Brookmeyer, long established as one of the top jazz writers and a phenomenal valve trombonist to boot, was not familiar with the recordings of the Brazilian keyboardist, but he was clearly up to the challenge of scoring her music. Brookmeyer gives "Just Kiddin'" a big and bold post-bop treatment, with an underlying funky rhythm and a bit of electronics thrown in for fun. Elias and Brookmeyer share the solo spotlight in the breezy setting of her ballad "So in Love." Far more low-key is "Moments," with sparse piano lines backed by Brookmeyer's rich scoring for the brass and a fine solo by flugelhornist Henrik Bolberg Pedersen. The exotic, high-energy setting of "The Time Is Now" is a more modern bossa nova, showcasing Elias and Brookmeyer, along with bassist Thomas Ovesen and drummer Jonas Johansen. "One Side of You" is a haunting ballad made more so by Brookmeyer's brilliant arrangement. This session may throw a bit of a curve to longtime fans of either Eliane Elias or Bob Brookmeyer, but this successful CD is very much an ear opener. ~Ken Dryden

Impulsive! mc
Impulsive! zippy

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George Russell - New York, New York

Styles: Big Band, Bop
Year: 1959
File: MP3@320K/s
Time: 45:26
Size: 104,3 MB
Art: Front

(10:33)  1. Manhatten
(11:41)  2. Big City Blues
(10:10)  3. Manhatten - Rico
( 8:00)  4. East Side Medley
( 5:00)  5. A Helluva town

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others.

In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD. ~ Ken Dryden https://www.allmusic.com/album/new-york-ny-mw0000309054 

Personnel: George Russell (leader, arranger, chromatic drums); Jon Hendricks (spoken vocals); Hal McKusick, Phil Woods (alto saxophone, flute, clarinet); John Coltrane, Benny Golson, Al Cohn (tenor saxophone); Gene Allen, Sol Schlinger (baritone saxophone); Art Farmer, Doc Severinsen, Ernie Royal, Joe Wilder, Joe Ferrante (trumpet); Bob Brookmeyer, Frank Rehak, Tom Mitchell, Jimmy Cleveland (trombone); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton, George Duvivier (bass); Charlie Persip, Max Roach, Don Lamond (drums); Al Epstein (bongos).             

New York, New York

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 45:36
Size: 105,9 MB
Art: Front

(6:29)  1. If I Could Be With You One Hour
(8:56)  2. Tin Tin Deo
(7:18)  3. Mariooch
(7:33)  4. All Too Soon
(7:26)  5. 28th And 8th
(7:52)  6. What Am I Here For

This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful. ~ Scott Yanow https://www.allmusic.com/album/jazz-reunion-mw0000195279

Personnel: Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Emmett Berry (trumpet); Bob Brookmeyer (trombone); Nat Pierce (piano); Milt Hinton (bass); Jo Jones (drums).          

Jazz Reunion

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Bill Potts - The Jazz Soul of Porgy and Bess

Styles: Jazz, Post-Bop 

Year: 1959

File: MP3@256K/s

Time: 47:36

Size: 87,6 MB

Art: Front

(3:08)  1. Summertime

(2:23)  2. A Woman Is A Sometimes Thing

(4:10)  3. My Man's Gone Now

(2:45)  4. It Takes A Long Pull To Get There

(3:27)  5. I Got Plenty O' Nuttin'

(5:18)  6. Bess, You Is My Woman

(3:16)  7. It Ain't Necessarily So

(5:15)  8. Medley

(3:04)  9. I Loves You Porgy

(3:15) 10. Clara, Clara

(3:25) 11. There's A Boat Dat's Leavin' Soon For New York

(4:41) 12. Oh Bess, Oh Where's My Bess

(3:22) 13. Oh Lawd, I'm On My Way

Music that will endure, played with all the skill, passion and imagination that great jazz musicians can bring to bear on it. These are but two of the basic factors which make The Jazz Soul of Porgy and Bess one of the finest jazz albums ever made. Just as crucial was a third the superb work of arranger Bill Potts, which established him as a major figure in the field of arranging for jazz orchestra. Add to all that a score that includes the top songs written by George and Ira Gershwin for this classic musical. The result was itself a multifaceted classic, a faithful translation to the language of big band jazz of the emotional rollercoaster of love and tragedy set to music by the Gershwins, brought to dramatic life by one of the finest groups of jazz ever assembled under one roof for a recording session. ~ Editorial Reviews https://www.amazon.com/Porgy-Bess-Arranged-Conducted-Potts/dp/B005Y0QXD4

Personnel: BIll Potts (arr, cond), Charlie Shavers, Harry Edison, Art Farmer, Bernie Glow (tp), Bob Brookmeyer (v-tb), Jimmy Cleveland, Frank Rehak (tb), Phil Woods, Gene Quill, Zoot Sims, Al Cohn, Sol Schlinger (saxes), Bill Evans (p), Herbie Powell (g), George Duvivier (b), Charles Persip (d)

The Jazz Soul of Porgy and Bess

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Bob Brookmeyer - The Dual Role of Bob Brookmeyer

Styles: Trombone Jazz
Year: 1955
File: MP3@320K/s
Time: 39:47
Size: 91,4 MB
Art: Front

(4:40)  1. Rocky Scotch
(5:07)  2. Under the Lilacs
(5:49)  3. They Say It's Wonderful
(4:49)  4. Potrezebie
(5:46)  5. Revelation
(4:29)  6. Star Eyes
(4:25)  7. Nobody's Heart
(4:38)  8. Loup-Garou

This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative. ~ Scott Yanow http://www.allmusic.com/album/the-dual-role-of-bob-brookmeyer-mw0000203311

Personnel: Bob Brookmeyer (valve trombone, piano); Nancy Overton (vocals); Jimmy Raney (guitar); Teddy Charles (vibraphone); Mel Lewis, Ed Shaughnessy (drums).

The Dual Role of Bob Brookmeyer

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The Thad Jones-Mel Lewis Orchestra - Basie, 1969

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Trumpet jazz

Year: 1969/1995

Art: Front

[10:53] 1. Second Race

[ 4:29] 2. Don't Ever Leave Me

[ 9:23] 3. The Waltz You Swang For Me

[11:09] 4. That's Freedom

[ 4:56] 5. Come Sunday

[11:48] 6. Don't Get Sassy

[ 6:47] 7. Bible Story

[ 8:22] 8. Groove Merchant

Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams (saxes, woodwinds); Thad Jones; Snooky Young, Jimmy Nottingham, Richard Williams (trumpets); Bob Brookmeyer, Garnett Brown, Tom McIntosh, Cliff Heather (trombones); Roland Hanna (piano), Richard Davis (bass), Mel Lewis (drums). Recorded in 1970 at the Village Vanguard in NYC, and was originally titled "Village Vanguard Live Sessions 3.

This live concert, broadcast over Swiss radio and released for the first time on this 1995 CD, features the Thad Jones/Mel Lewis Orchestra at its prime. The remarkable all-star group includes two first trumpeters (Snooky Young and Al Porcino) and such soloists as trumpeters Richard Williams, Danny Moore and Thad Jones, trombonist Jimmy Knepper, Jerome Richardson on soprano, Jerry Dodgion on flute and alto, baritonist Pepper Adams, pianist Roland Hanna, bassist Richard Davis and tenor great Joe Henderson whose short stint with the band was long enough to include this European tour. Highlights of the superior set include "Second Race," "The Waltz You Swang For Me," "Don't Get Sassy" and "Groove Merchant." Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.

Basie, 1969   

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The Bob Brookmeyer Quartet - Oslo

Styles: Trombone Jazz
Year: 1986
File: MP3@320K/s
Time: 44:50
Size: 106,0 MB
Art: Front

(5:18)  1. With The Wind And The Rain In Your Hair
(5:11)  2. Oslo
(5:07)  3. Later Blues
(8:13)  4. Detour Ahead
(4:15)  5. Tootsie Samba
(5:17)  6. Alone Together
(5:24)  7. Who Could Care
(6:02)  8. Caravan

Bob Brookmeyer has been so busy as a writer since the mid-'60s that his valve trombone playing has been somewhat underrecorded. This quartet set with pianist Alan Broadbent (who also plays a bit of synthesizer), bassist Eric Von Essen and drummer Michael Stephans) finds Brookmeyer in top form on four standards and a quartet of his originals (including "Later Blues," "Tootsie Samba" and "Who Could Care"). His valve trombone playing had grown and evolved through the years and, although he still had the cool tone, Brookmeyer's solos are often quite complex while not completely abandoning chordal improvisation. This Concord release is well worth picking up. ~ Scott Yanow http://www.allmusic.com/album/oslo-mw0000192909

Personnel: Bob Brookmeyer (trombone), Alan Broadbent (piano), Eric Von Essen (bass), Michael Stephans (drums).

Oslo

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