![]() ![]() Fantasy and the Weiss brothers came in the national jazz picture early with the Brubeck octet since then they have Today has come through their Manne dates. ![]() Les Koenig's Good Time Jazz andĬontemporary labels have presented both sides of the jazz politic withĮxceptional taste much of the important compositional experimentation recorded Richard Bock inaugurated Pacific Jazz with the Mulligan-Baker music, and has, since then,ĭone much to further the careers of newcomers. Recording and presentation have drawn more attention than would have been theĬase with earlier, more casual jazz packaging. Lured the great and the promising to California. Highly recommended for decompressing from a tough day or as background for a sensuous seduction plan or the successrful morning after.West Coast's lit tle record companies have Krall says that Peggy Lee has been a strong influence on her performance style and you can hear it on "Peel Me A Grape." But there's also a Sarah Vaughan quality to "Frim Fram Sauce," that is really delightful. ![]() The Very Best of Diana Krall takes many of the old "standards" and gives them a new presentation with her jazzy vocals, superb keyboard work, and high quality back-up arrangements by either a small combo or a full orchestra. The only possible complaint is the short playing time - a mere 35 minutes. Charlie Byrd's is terrific on the acoustic guitar and the tunes will get stuck in your head after 3 spins or less. Stan Getz's feathery, soft saxophone playing weaves beautiful melodies over the swaying, dancing Brazilian rhythms. In the hands of lesser musicians this style could degenerate into lightweight cocktail music, but not here. This is the album that kicked off the bossa nova craze in the US over 40 years ago. American record companies were to churn out hundreds of watered bossa-pop albums that have since given the style its lounge-addled image, but this album stands as a tribute to the vitality and adaptability of jazz. ![]() Collaborating with Stan Getz on tenor sax and backed by a band that included Gene Byrd (bass, guitar), Keter Betts (bass), and Buddy Deppenschmidt and Bill Reichenbach (drums), Byrd forged a new and brilliant sound. He was completely enamoured by the music, and when he returned, he headed straight for the recording studio to make the now classic Jazz Samba. Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. Fred GoodmanĬharlie Byrd and Stan Getz Jazz Samba Together, he and Brubeck proved one of the most potent pairings of the era. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Time Out īoasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. ![]()
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