La Monte Young - Draw a Straight Line and Follow It II (2020) {6CD Set, Otherside Recordings Japan rec 1957-2003}
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© 1957-2003, 2020 La Monte Young, Marian Zazeela / Otherside Recordings Japan | [none]
Classical / Modern Classical / Modern Composition / Experimental / Microtonal

La Monte Young, generally regarded as the father of musical minimalism, is one of America’s most important contemporary composers–and one of the most elusive. Early on Young eschewed the conventional musical institutions of publishers, record labels, and venues, in order to create compositions completely unfettered by commercial concerns. At the same time, however, he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, Velvet Underground, Brian Eno and entire branches of pop music. For half a century he and his partner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality.

Donald Byrd - Fuego (1959) {Blue Note ‎724356380226, RVG Edition rel 2005}
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© 1959, 2005 Blue Note / Capitol | 7243 5 63802 2 6
Jazz / Hard Bop / Trumpet

Fuego – a title that might be somewhat misleading – is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson's clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960.

Charlie Parker Records: The Complete Collection, Vol. 26 - The Charlie Parker All Stars (2012 CP Records 233193/26 rec 1949}
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© 1949, 2012 Charlie Parker Records / Membran Media / Documents | 233193 / 26
Jazz / Bop / Saxophone

Exhaustive 30 CD collection from the Jazz legend's short-lived label. Contains 44 original albums (421 tracks) plus booklet. Every record-collector has run across an album with the little sax-playing bird in it's label-logo, right next to the brand name Charlie Parker Records or CP Parker Records. Turning the sleeve over, especially if it was one of the non-Parker releases, and seeing a '60s release date under the header Stereo-pact! Was as exciting an experience as it was confusing. Was the claim Bird Lives meant more literally than previously thought?

Jimmy Smith - The Complete February 1957 Jimmy Smith Blue Note Sessions (1994) {3CD Set, Mosaic MD3-154}
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© 1957, 1994 Mosaic / Blue Note | MD3-154
Jazz / Hard Bop / Hammond Organ B-3

It would not be an overstatement to say that organist Jimmy Smith was busy during February 11-13, 1957, for he recorded enough material for these three CDs, 21 often lengthy performances that originally appeared on five LPs plus three others that had been previously unissued. Smith is not only heard early in his career with his regular trio but in a sextet with trumpeter Donald Byrd, altoist Lou Donaldson, tenor-saxophonist Hank Mobley, and drummer Art Blakey, in duets with Donaldson and with a quartet that also stars guitarist Kenny Burrell.

Webb Pierce - High Geared Daddy (2008) {Bear Family BCD16790AH rec 1950-1959}
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© 1950-59, 2008 Bear Family Records | BCD 16790 AH
Country / Honky Tonk / Traditional Country

Honky tonk represented the first truly modern push in country music, and its poster boy was, of course, the haunted and tragic Hank Williams, but it could easily be argued that Webb Pierce, with his Nudie suits and big cars, his 96 charting singles (13 reached the top spot on the charts), and his love/hate relationship with the Nashville music establishment, did even more to present an identifiable and long-term face for honky tonk and the modernization of country.

Bill Harris - Complete Fifties Sessions (1957) {2CD Set, Lone Hill Jazz LHJ10252 rel 2008}
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© 1957, 2008 Lone Hill Jazz | LHJ10252
Jazz / Bop / Swing / Trombone

This double CD collection comprises the only three albums Bill Harris recorded under his own name throughout his extended career. In the 40s, during the 78 r.p.m. era, Harris had made just four short sessions under his own name and after the LPs presented here, he would never again record a session of his own until his death on August 21, 1973. These three amazing albums include some real big names like Ben Webster, Jimmy Rowles and Red Mitchell.

Billy Kyle & Art Tatum - Havin' A Ball (1995) {2CD Set, History 20.1968-HI rec 1937-1941}
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© 1937-41, 1995 History | 20.1968-HI
Jazz / Swing / Piano

A fluent pianist with a light touch, Billy Kyle never achieved much fame, but he always worked steadily. A professional from the time he was 18, Kyle played in the big bands of Tiny Bradshaw and Lucky Millinder and then became an important part of the John Kirby Sextet (1938-1942), a perfect vehicle for his style. He was forced to leave the band when he was drafted and, after three years in the military (1942-1945), Kyle freelanced, working fairly often with Sy Oliver. He joined Louis Armstrong's All-Stars in 1953 and was there for nearly 13 years until his death.

Lou Levy - Jazz In Four Colors (1956) {RCA–BMG Ariola ND74401 rel 1995}
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© 1956, 1995 RCA / BMG Ariola | ND 74401
Jazz / Bop / Cool / Piano

On Nov. 5, 1955, Billboard reported that RCA's jazz department signed Conte Candoli , Jack Montrose and Lou Levy. The move was made by Jack Lewis, RCA's pragmatic head of jazz A&R. Larger LPs meant more vinyl to fill, which, in turn, required studio pros who could get the job done in one or two takes. What's more, RCA was setting ambitious production goals for 1956, which meant a need for a longer list of releases. Discount record stores were popping up throughout the country and they had 12-inch racks to fill. During that same week, Lewis announced plans for RCA's now beloved Jazz Workshop series.

The history of jazz and blues is full of talented artists who were obscure but didn't deserve to be. One example is Claire Austin, an expressive jazz/blues vocalist who was as proficient with intimate, introspective torch singing as she was with more extroverted classic blues. Claire Austin Sings When Your Lover Has Gone was recorded for Contemporary in 1955 and 1956, and finds Austin favoring vulnerable, relaxed, subtle torch singing (her phrasing could be described as an appealing combination of Mildred Bailey, Peggy Lee, and Billie Holiday). As a torch singer, she embraces the songbooks of great pop composers like Harold Arlen, Cole Porter, and the Gershwin Brothers.

This is a true classic. Altoist Art Pepper is joined by an 11-piece band playing Marty Paich arrangements of a dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon has a few solos, but the focus is very much on the altoist who is in peak form for this period. Throughout, Pepper sounds quite inspired by Paich's charts which feature the band as an active part of the music rather than just in the background. Highlights of this highly enjoyable set include "Move," "Four Brothers," "Shaw Nuff," "Anthropology," and "Donna Lee," but there is not a single throwaway track to be heard. Essential music for all serious jazz collections. This edition add two additional versions of "Walkin'" and one of "Donna Lee" to the original program.

James Moody's mid-'50s band was a septet featuring four horns including the leader's tenor and alto. The bop-based group had plenty of spirit (as best shown here on the 14-minute title cut) if not necessarily a strong personality of its own. This CD (a straight reissue of the original LP plus two additional titles from the same session) is accessible, melodic and swinging; trumpeter Dave Burns is the best soloist among the sidemen.

By the time of this, Art Pepper's tenth recording as a leader, he was making his individual voice on the alto saxophone leave the cozy confines of his heroes Charlie Parker and Lee Konitz. Joining the Miles Davis rhythm section of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones made the transformation all that more illuminating. It's a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, 1957…

When Shelly Manne and His Friends (a trio starring pianist André Previn) had a surprise hit with their interpretations of melodies from My Fair Lady, it started a trend toward recording jazz versions of scores from plays. For this LP, Manne's trio (with Previn and bassist Red Mitchell) perform nine songs from the play Bells Are Ringing. Although seven of the pieces remained obscure, "The Party's Over" (which is heard twice) and particularly "Just in Time" caught on. As is always the case with this group, Previn's piano is the lead voice and his virtuosity, good taste, melodic improvising, and solid sense of swing are chiefly responsible for the music's success.

Link Davis - Gumbo Ya Ya: The Best Of 1948-1958 (2008) {Rev-Ola Bandstand CRREV252}
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© 1948-58, 2008 Rev-Ola Bandstand / Cherry Red | CR REV 252
Rock and Roll / Country / Cajun / Rockabilly

With his cajun fiddle, raw, yelping voice, and visceral mix of country, R&B, proto-rockabilly, and New Orleans sounds, Link Davis was a precursor to the swamp-pop style of the 1950s and '60s. GUMBO YA YA brings together some of Davis's greatest tracks from his peak period of 1948-58, including such swampy gems as “Big Mamou,” “Lonely Heart,” and “Time Will Tell.” This is a fine opportunity to catch up on the legacy of this Louisiana pioneer.

"Stretching Out". Like many studio sessions recorded for United Artists, this 1958 session co-led by Zoot Sims and Bob Brookmeyer can be a bit tricky to find. Brookmeyer contributed most of the charts, including the easygoing blues which serves as the title track, as well as updated treatments of Jelly Roll Morton's "King Porter Stomp" and "Ain't Misbehavin'." Al Cohn is responsible for a swinging chart of "Pennies from Heaven" during which he switches to baritone sax, while Bill Potts wrote and arranged "Bee Kay." The rest of the superb band includes Harry "Sweets" Edison, Hank Jones, bassist Eddie Jones, guitarist Freddie Green, and drummer Charlie Persip. Aside from a few innocuous reed squeaks, the music is essentially flawless and has stood the test of time very well…