Once again – I send a special thanks to my man Sal in Chi-town for another great suggestion. This album is amazing.

Art Farmer recorded this in 1988. He was in his 60s at the time and still going strong with what could be called the best recording of his career. His playing on the title cut is one of the most beautifully crafted solos that I’ve ever heard. It is one of rare instances where you don’t hear horn or harmon — you hear emotion and feeling. Art could always play a ballad but he simply out does himself. It doesn’t stop there. It continues with tunes like “Fairtale Countryside”, “The Smile of the Snake” and “Progress Report” where Art stretches his legs and weaves another well crafted solo.

He is joined by a team of fantastic players who include Clifford Jordan (tenor sax), Victor Lewis (drums), Rufus Reid (bass) and James William (piano). To my ear they were all on the same page when they walked into the studio to record. The vibe is unified. Move it to the top of your “must have” list. You won’t regret it.

Before I even talk about what I love in this album, let’s look at the
musicians:

Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock
(piano), Grant Green (guitar), Reginald Workman (bass) and Billy Higgins
(drums).

I could honestly just end this posting now.  Just seeing a cast like
this assembled for one album should be enough to make you run out and buy
it.  Everyone on this album performs spectacularly.

Of all of Lee Morgan’s albums – this is my all time favorite.  Lee’s
playing is what you normally expect – soaring, exciting, daring but there is a
certain feel in this recording that I love.  All of the tunes are
originals, written by Morgan and they are all fantastic.  My favorites are
the title cut (it is a true masterpiece), the energetic "Mr. Kenyatta"
(Lee’s solo is one the greatest I’ve ever heard – he really kicks things into
high gear the group follows) and somber the "Melancholee."

I’m sure most experienced jazz listeners have this album in their collection
and they would agree it is a must have.  If you are looking for an example
as to why trumpet players rave about Lee Morgan this album coupled with
"Sidewinder" would be all the evidence your ears need.

As good as Miles Davis is on his studio recordings, he never ceases to knock me flat on my back with his live work. This 4 disk set is simply fantastic. This recording has been released with a number of previously unreleased tracks. The sound has also been enhanced. To me, it seemed like Miles Davis was standing in my living room playing. This quintet included Hank Mobley in place of John Coltrane. Hank holds his own and performs quite well on all numbers. You also get the pleasure of hearing one of greatest rhythm sections in jazz – Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. The song “Neo” (also known as “Teo) is true perfection. Buy it and enjoy it. If you're a musician – buy it, enjoy it and take notes.

I know I already posted a review on this album earlier but the RVG edition is now available!

My original review is below….

I got into an ebay bidding war with a cat for this CD. We had taken the price all the way up to $36 before I bailed. Fortunately I took a chance and visited Half.com and found it for $29. Word to the wise ? check Half.com before getting into bidding contests for CDs and LPs. You may find a better deal.

What more can be said about Freddie Hubbard?s playing during the Blue Note years that hasn?t already been said by me or others? His technique is incredible, his tone is fat and his musical ideas are fresh. Joining him on this set are Wayne Shorter, McCoy Turner, Art Davis, Elvin Hayes and Benard McKinney on euphonium. Freddie wrote three of tunes (Arietis, Birdlike and Crisis) and those are my favorites.

I am hoping Blue Note does a RVG edition. If they do ? it will only cost you $12 instead of the $31 that I panned out. It was worth ever penny though.

No trumpet player embodies the spirit, energy and fearlessness of our instrument like the great Lee Morgan. Freddie Hubbard used to speak of how Lee could win the crowd with his clever soul drenched lines. This Live at the Lighthouse date includes classic Lee Morgan with all the fire and energy that you would expect on any of his recordings. Most of the songs were written by other band members and each is a real treat as the artists explore, stretch and pull the material to its limits. Of course no Morgan date would be complete without a performance of ?The Sidewinder.? I particular enjoyed hearing Lee?s voice introduce the tunes and band members. Here was another great talent taken away from us way too soon.

As many of you know – I am a huge Wayne Shorter fan. While his technique and tone are rock solid – his compositions and improvisation are what makes me buy anything with his name on it. “The Soothsayer” is an example of those two reasons. The sextet includes Freddie Hubbard on trumpet, James Spaulding on alto, Ron Carter on bass, McCoy Tyner on piano and a 19 year old Tony Williams on drums.

All of the cuts on this CD are great but I have my favorites. “Lost” is a haunting tune that could have easily found its way on the “Speak No Evil” CD recorded earlier. The horn arrangement is so rich that I found myself playing the head over and over again. There are two cuts of “Angola” and it is interesting to hear the different approaches to the tune on each take. “Valse Triste” was apparently taken from a classical tune composed by Jean Sigelius. I have never heard it before but the group’s treatment of it compels me to do the research and check it out. On “Lady Day” Wayne pays homage to the great Billie Holiday. As with most of his ballads – I find it very moving and his playing is inspired. He uses Freddie and James to fill in some really nice background accompaniment. McCoy Tyner also plays a nice solo on that piece. Freddie shines on “The Big Push,” weaving an exciting solo that is full of energy and a demonstration of his prowess on the horn.

While “Speak No Evil” remains my favorite Wayne Shorter CD – “Soothsayer” is a great example of his talents as a writer and arranger. Pick this one up and judge for yourself.

Sal from Chi-town strikes again. He suggested this wonderful CD to me and it is simply fantastic. Woody Shaw seems to be on the top of his game. His playing is crisp, clean, lyrically expressive and exciting (all adjectives that can almost always be used when talking about Woody). The material is fresh with catchy (but adventurous) melodies that the group performs ell. The rhythm section (Ronnie Matthews on piano, Stafford James on bass and Eddie Moore on drums) is as tight as any I?ve ever heard and Frank Strozier on alto sax is electric. The title tune (which I adored) was dedicated to Woody?s wife Maxine and it is played with passion and freedom. This little known treasure belongs on every jazz lover?s CD rack. Get it.

“I make my living with my lips!” ~ Bleek Gilliam

When I think about all the elements that were involved in me playing the trumpet I count this movie among them.  “Mo Better Blues” is the story of a young trumpet player named Bleek Gilliam (Denzel Washington).  As a child he was forced to practice as his friends played outside.  In the end it pays off as he grows into a talented and successful musician leading an amazing quintet at a club called “Beneath the Underdog.”  Jazz is his driving force – as he told his girlfriend Clarke (Cynda Williams) “Music is first.  Everything else is secondary.”  Bleek’s other girlfriend – Indigo (Joie Lee) wonders why she puts up with the cocky trumpet player even though her mother warned her that dating a musician would eventually lead to heart break.  His quintet includes the saxophone player Shadow (Wesley Snipes) who believes he should be the leader of the group instead of Bleek and is constantly looking for opportunities to one-up his leader/band mate.  The group’s manager – Giant (Spike Lee) tries to get the group the money they deserve while struggling with a bad gambling problem.

Of all of movies by Spike Lee this is one of my all time favorites.  First off – the acting is amazing.  I’ve seen a lot of movies with musician’s pretending to play instruments and they were all dreadful in that regard.  I remember watching the movie “Angel Eyes” where Jim Caviezel was pretending to playing trumpet.  I swear if the horn made any kind of sound it would have scared him half to death (for the record I am a BIG fan of Jim Caviezel…  he just wasn’t convincing to me).  To avoid that Spike made all of the actors take extensive lessons on their instruments.  He also required them to listen to the music of the jazz greats on their instrument.  The hard work and study shows as each is very convincing.  Bill Nunn played the bass player Bottom Hammond and practiced till his fingers bled.  Denzel looked confident, comfortable and focused in the playing scenes as did all of the other band members.  Jeff “Tain” Watts played the drum player Rhythm Jones (you just can’t fake the drums) and did a great job.  The group also had great chemistry when off the bandstand.  The joking and comradery in the dressing rooms was very believable and had me in stitches.  It also had me wishing I had that same kind of chemistry with a group of cats.

The music was performed by the Brandford Marsalis quintet with Terence Blanchard on trumpet.  It is truly electrifying.  My favorites include “Say Hey” and “Knocked Out the Box.”  Denzel lends his talent of the spoken word on the tune “Pop Top 40” and Cynda Williams sings an original song “Harlem Blues.  ”  Both do a very good job.  After you check out the DVD you will surely run out and buy the movie soundtrack.  I will say this — no trumpet player can listen to the song “Again Never” and have a dry eye after seeing how this thing ends.  If you haven’t seen (or heard) it — check it out.

First off let me say this… I LOVE trumpet players in a quartet setting. In a selfish way it allows me to really focus on what the player is trying to say and I can really get into his sound and technique. I also have much respect for the musician who can pull it off successfully because it is extremely demanding to not have a reedman or other wind instrument to give you a break from time to time.

That being said – even if you are not a fan of the trumpet in a quartet setting you will love what Brian Lynch does on this album. He pays tribute to some of the masters of our instrumet — Woody Shaw, Freddie Hubbard, Kenny Dorham, Tom Harrell, Thad Jones, Lee Morgan, Blue Mitchell, Charles Tolliver and Booker Little. I think he does an excellent job capturing the spirit of their playing while maintaining his own voice which is difficult to do when playing on a tribute album. Brian tears it up on “Woody Shaw” and gets slow and smooth on “Eclipse”. The former jazz messenger has great tone and technique. He is backed by a fantastic rhythm section – Mulgrew Miller on piano, Essiet Essiet on bass and Carl Allen on drums. Definitely worth checking out.

The names should tell you everything you need to know here:

Dizzy Gillespie (trumpet)
Charlie Parker (alto sax)
Bud Powell (piano)
Charles Mingus (bass)
Max Roach (drums)

The Quintet includes the musicians above playing a live performance at Massy Hall in Toronto, Canada on May 15, 1953. You would think with the names above the place would have been packed. Unfortunately it was three quarters empty due to heavyweight championship boxing match between Rocky Marciano and Jersey Joe Walcott. Lucky for us – the concert was recorded and it captured some fantastic bebop performed by some of the men who put it on the map.

To my ear Charlie Parker and Dizzy Gillespie never sounded better. Powell, Roach and Mingus provide a rock solid rhythm section who spur on the horns and provide fantastic solos themselves. It’s great hearing the reaction of the crowd to Dizzy’s antics and even some mumbling conversations (arguments) between some of the musicians. All in all it is a fantastic/historic recording that belongs in any collection.