ACEJazzLibrary

The living saxophone legend Sonny Rollins interviewed at 79, gives a fascinating insight into almost 60 years of experience playing and performing. To Sonny, jazz is obviously a way of thinking and approaching things, rather than a dictated musical form. If you want to understand a bit more about jazz there is no better way than listening to one of the greats telling how it is. The ability to transform a collective experience by making music is obviously intrinsic to his philosophy. "One performance on stage is worth 6 months practising at home". Sonny also talks candidly about drug addiction, and reflects upon the artists' aspiration to leave the mundane nature of reality behind, by transcending to a beautiful place. Whether fuelled by alcohol, heroin, cocaine or cannabis Sonny discusses the trade off that drug use entails, where initial increases in creativity are ultimately transient, as the user spirals into a destructive pattern of addiction and diminishing returns. A noteworthy example being Charlie Parker turning up so late and gassed for a gig that Dizzy is heard on record asking "where the h**l have you been?" With almost 60 years experience on the scene, Sonny contemplates how "getting into the zone" is where it's at. Sonny studied yoga in India where he often worried about being able to meditate, but his guru explained that when he played his horn he was actually meditating. Ultimately Sonny's message seems to be that while true jazz may come from concentration on the transcendant nature of experience, it is connection via the true subconscious that requires the practise and  skill to tune into the experience and allow deep levels of creativity and spirituality to emerge. Enjoy!

Jazz Guitar Greats Vol. 1Welcome to ACE Jazz Library - Podcast no.5 This podcast features a selection of jazz guitar greats extending from the 1930's to the 1970's, touching on gypsy jazz, swing, bossa nova, blues, soul, cool and bop styles. The sequence is roughly in chronological order, giving a flavour of how jazz guitar styles developed, but beginning at the beginning to introduce the foundation influences and give you the heads up on where it's coming from we start with Django Reinhardt and Charlie Christian, who basically created the space for others to fill.  As ever on ACE Jazz Library we feature examples from outstanding album performances, which are well worth the purchase. To listen click on the title above. If you like what you hear please subscribe with your reader or podcast/zencast organiser. Check out additional samples at the links in the text (US) or in the box below the post (UK). Django Reinhardt - Minor Swing, Nuage (The Best Of Django Reinhardt) Capitol / Blue Note Every good jazz collection should include Django Reinhardt, who has had a seminal influence on players ever since sweeping Europe in the 1930's and 40's with his "hot" gypsy jazz style, which is kept alive today by players such as Bireli Lagrene and Holland's Rosenberg Trio. Django first came to prominence with the all string Quintet of the Hot Club of France (1934), though his career could have been cut disastrously short when as a teenager his caravan caught fire and he suffered serious burns to his body, crippling the 4th and 5th finger of his left hand. Nonetheless he taught himself to play again with an adapted technique, which undoubtedly influenced his style thereafter. The quintet featuring Django's lead, 2 rhythm guitars, bass and Stephane Grappeli's immediately recognisable violin playing provided sufficient volume to overcome any lack of amplification and was a very succesful club act of the time. Critics and officianados will argue forever and a day as to which album best represents Reinhardt's always consummate output. Because of the era we must content ourselves with compilations, however for entry level and to understand just how Django fitted in and influenced the parallel development of swing I have chosen The (Capitol/Blue Note) Best of Django Reinhardt. This contains a good selection of the best early Quintet from 1936, before the wartime split, when Grappeli remained in London and some examples of the Big Band accompaniment on which Django became engaged in France.  Extending up to 1948, also featured is a recording of Montmartre with the postwar visiting US jazzers Rex Stewart and his Feetwarmers. Charlie Christian - Seven Come Eleven (The Genius Of The Electric Guitar) It is often said that every jazz guitarist up until 1965 sounded like Charlie Christian. What this means is another question. Undoubtedly inflections of Django Reinhardt can be heard in some of Christian's work, so the statement cannot be taken too literally. Cross pollination within the swing genre was however inevitable, leading innovative players to emulate and expand on anothers style. Perhaps what is more important is that Chistian pioneered the use of electric guitar. He was also undoubtedly a genius of a player and though Django must be credited with establishing the guitar as a lead instrument, it was Christian who established the electric guitar as a lead within the big band genre at a time when small bands were beginning to take over. During a brief period from 1937 to his untimely death of tuberculosis at age 25 in 1942, Christian broke the mould of simple guitar as rhythm accompaniment and brought it up front with an infectiously perky plucking style that simply had to be heard. Followers on from Christian can simply be heard playing amplified guitar, typically plucked. It is arguable that it would be as difficult to sound unlike Christian as it would be for any saxophonist to sound totally unlike they were playing a saxophone. Subtle d

The Bebop Years Welcome to ACE Jazz Library - Podcast no.4 Here we tell the story of bebop and feature the playing of the virtuosos, who set the pace and transformed jazz from music hall entertainment to a cutting edge artform of dynamic invention and transcedant experience.  Click on the title above to listen.  [Click on the text links to hear more samples (US); or the selection box below the post (UK)] The Bebop era of the 1940's was when jazz rapidly transformed from a fairly rigid method and style of playing, usually as accompaniment to dancing or dining, into a relatively freeform artistic expression. Soloists had hitherto played second fiddle to the band leader who acted as compere for the evenings entertainment. Whether it was wartime frugality, the growing popularity of home radio or a natural development of the expanding New York jazz scene, giving more opportunity to independant and smaller ensembles, new small groups playing bebop rapidly set the tone for the sound of jazz to come and spelled the death of the big band era. Many of the iconic names of jazz gravitated to New York to learn the trade. In th early 1940's upcoming artists began to focus on and copy the virtuosic innovations of pianist Art Tatum, guitarist Charlie Christian and saxophonist Lester Young. These artists played long drawn out improvisations on a theme, where the original tune was heavily improvised around. With bebop the improvisation took an extra step so the originaal tune often remained only in essence as a key in which to play and some chords around which to improvise. Lester Young plays D B Blues Clubs like Minton's Playhouse in Harlem, also encouraged a more experimental scene and this became a melting pot, where established stars like Roy Eldrige rubbed shoulders with upcoming stars like Dizzy Gillespie and Charlie Parker. The bebop style came about as a result of a number of modifications to the prevailing jazz style. While improvisations are much freer, it is also often played much faster.  Not least among the innovations was the shift of emphasis on drums from the simple repetitive bass and brushes accompaniment of swing to keeping the beat on ride cymbal (listen for the characteristic ding ding da ding throughout the podcast). This frees up the hands and feet, allowing much greater flexibility for embellishments on the snare and bass. Kenny Clarke, was house drummer at Minton's and a key innovator of this new drum style. Clarke essentially set the pace for every jazz drummer since, though at the time he was as much lauded as ridiculed (mostly by old timers) for punctuating the rhythm so much. The new soloists however loved this percussion style, because it provided not only rhythm but dynamic punctuation for their continuous improvisations. Much has already been said and written about Charlie Parker’s influence on jazz, so I will not waste time repeating, but try to get straight to the essence of it. Parker was a spontaneous artistic genius and the greatest, most inimitable soloist in jazz history. His private life was a mess, with chronic drug and alcohol addictions that eventually saw him off this mortal coil, but boy could he play. He was a good old boy who liked to party, but was smart too, having a firm grasp on both the intellectual and artistic side of musical expression. If he lived his life to excess, it is also true of his playing, which was instrumental in freeing jazz of its rules and transforming it to a medium of free form artistic expression. This is beautifully exemplified in this rare video footage, where Parker can hardly wait for old time swinger Coleman Hawkins to finish his typically excellent but sedately paced offering, before he careens in wildy with a characteristically exuberant solo. While Dizzy Gillespie took a much more technical approach to playing , thankfully writing down his contributions to bebop and jazz in general, Parker was first and foremost a player, who lived the "scene!" He mi

Here at work is the master of improvisation on the piano - Keith Jarrett. The video below from Charles Limb looks at what is actually going on inside the brain during such a performance. The thesis is "can we really study this level of creativity scientifically". i.e. can we work out how it happens and code a machine to do it? I think not.... Enjoy  Musician and researcher Charles Limb wondered how the brain works during musical improvisation -- so he put jazz musicians and rappers in an fMRI to find out. What he and his team found has deep implications for our understanding of creativity of all kinds.

Late 1950's Saxophone Greats Welcome to ACE Jazz Library - Podcast no.3 This weeks podcast is a selection of contemporary and classic artists albums of the era. Featuring stars at the beginning middle and end of their careers the soud of the time was very much moving towards hard bop and on the cusp of avant garde, but this mix shows the diversity of styles already incorporated by the music masters, including elements of big band, swing and bop. As ever I have chosen examples from stellar album performances. To listen click on the title above. Check out additional samples at the links in the text (US) or below the post (UK). Sonny Rollins – St Thomas (Saxophone Colossus 1956) Sonny Rollins aptly titled Saxophone Colossus is a fine example of the high quality production newly available for studio albums of this era. Feel the space in the recording, which is characteristic of Rollins performances of the period with Max Roach weaving his percussive magic in and out of the mix. Unlike some of his contemporaries, Rollins’ style has a spareness where he holds back, and what is not heard is as important as what is heard. His striding, clear tone is to the fore on this impossibly delicious treat, with accompaniment by pianist Tommy Flanagan and bassist Doug Watkins which will leave you wanting more. Essential. Cannonball Adderley – Love for Sale (Somethin' Else (Rudy Van Gelder Edition) 1958) While historians dispute who actually led this session, album credit goes to Cannonball, but it is Davis’ gruff tone we hear at the end of “One for Daddy-O” asking Blue Note impresario Alfred Lion “Is that how you wanted it Alfred”. True, Davis did choose most of the material and even pen the title track, but who cares? It was Cannonball’s Blue Note recording date and Miles contribution could only be welcomed. After all it produced one of the most essential jazz album experiences of all time, only to be surpassed the following year by Davis’ own, Kind of Blue. Music this classy occurs rarely. Art Blakey on drums, Hank Jones on piano and Sam Jones on double bass, Essential. Serge Chaloff - I’ve Got the World on a String (Blue Serge 1956) As a featured artist in the bop big bands of Jimmy Dorsey and Woody Herman, baritonist Serge Chaloff’s career was plagued by drug addiction. In his brief career however he forged a path through the 1940’s for baritonists like Gerry Mulligan to emerge as artists in their own right not just as accompanists. This outstanding last recording sees Chaloff striding out with career topping style in a quartet date with pianist Sonny Clark, bassist Leroy Vinnegar and drummer Philly Joe Jones, only months before his sadly premature death from a spinal tumour at just 33. Gerry Mulligan – Chelsea Bridge (Gerry Mulligan Meets Ben Webster 1959) Mulligan gathered renown behind the scenes in the 1940s and 50s as an arranger, contributing notably to Mile Davis “Birth of the Cool” recordings, while his baritone playing gathered form. It was when he relocated to Los Angeles and formed a quartet with trumpeter Chet Baker (omitting piano) that he first gained the playing spotlight. Mulligan made this West Coast / Cool jazz sound his trademark and throughout a long career traded solos with many notable horn player including Lee Konitz, Stan Getz, Paul Desmond and for this date Ben Webster, the legendary King of Swing. Chelsea Bridge opens the set, giving a little flavour of the understated tone of the whole album, with the rhythm section Jimmy Rowles (piano), Mel Lewis (drums) and Leroy Vinnegar (bass) leaving ample space for the leaders to stretch out.  It is so cool it sounds effortless and after 11 wonderful tracks you will be left wondering if you’ve just listened to a “perfect” jazz album. Coleman Hawkins  - Laura (Hawk Flies High 1957) For this Riverside session Coleman Hawkins was enjoying something of a renaissance. Even after 32 years professional playing he was still capable of pulling out the stops. Hawkins proves here he could swing or bop with the best and was not shy to step into the studio with two of the hottest young bop players of the day, J.J. Johnson (trombone) and Idrees Sulieman (trumpet). The material ranges from swing to bop and the playing standard is consistently high throughout. Check out the Hawks’ trademark sound on his interpretation of the much loved classic Laura backed up by Hank Jones (piano), Jo Jones (drums), Oscar Pettiford (bass), Barry Galbraith (guitar), Lester Young  - Prisoner of Love (Pres & Teddy 1956) Young was nicknamed Prez by his lifelong friend and co-star Billie Holiday, referring to his presidential style. He was a key innovator in the swing to bebop movement, but here towards the end of his career with faltering health, he still has the ability to excel. While it is Young’s earlier recordings which are considered seminal, this set recorded the day after the equally impressive Jazz Giants session displays his fleeting and breathy tenor sax style throughout. With maturity Prez’s style took on a deeper more consummate elegance, not so evident in his rapid fire bebop days, which makes this recording a real collector’s gem. With fellow old timers Teddy Wilson (piano), Jo Jones (drums) and Gene Ramey (bass) it is not surprising the sound verges towards swing. Ben Webster – Time After Time (Ben Webster & Associates 1959) In this 1959 session Webster really stretches out in the new long player format with his idol Coleman Hawkins. The set starts with the marathon 20 min blow off “In a Mellow Tone”, but the pace is swinging rather than frantic, from start to finish. The sax stars trade memorable solos with Budd Johnson (sax), Roy Eldridge (trumpet), Jimmy Jones (piano), Les Spann (guitar), Ray Brown (bass) and Jo Jones (drums). But it is Webster with his breathy and sensual tone which takes us to the sublime limits on “Time After Time”. Lee Konitz – Moonlight in Vermont (Lee Konitz Meets Jimmy Giuffre 1959) Lee Konitz teams up with baritonist Jimmy Giuffre, whose beautifully lyrical arrangements define this octet session, which includes five saxes. The saxophone only rendition of “Darn That Dream” is a rare treat, but it is “Moonlight in Vermont” which shows off the ensemble cast to greatest effect, in this highly recommended outing.  The overall sound is cool, though Giuffre’s arrangements ensure plenty of bop and swing references. Frank Morgan – The Champ (Frank Morgan 1955) Alto saxophonist Frank Morgan’s brief fame when he debuted as leader in this 1955 set was sadly overshadowed by drug addiction, that prevented him capitalizing on his billing as "the new Bird" (Charlie Parker). While Morgan would not produce another album for 30 years, this set is alive with a vibrancy which definitely draws comparisons with Bird. This recording captures four latin tinged numbers with Machito's rhythm section and six songs with a septet including Wardell Gray (sax). Apart from the latin colouring, the set is pretty much straight ahead bop, and is memorable for trading os solos with Conte Candoli (trumpet). Track Listing0.00 St Thomas: Sonny Rollins 6.44 Love for Sale: Cannonball Adderley 13.43 I’ve Got the World on a String: Serge Chaloff 20.23 Chelsea Bridge: Gerry Mulligan Meets Ben Webster 27.39 Laura: Coleman Hawkins 32.10 Prisoner of Love: Prez Meets Teddy 39.45 Time After Time: Ben Webster and Associates 44.18 Moonlight in Vermont: Lee Konitz meets Jimmy Giuffre 48.16 The Champ: Frank Morgan  <A HREF="http://ws.amazon.co.uk/widgets/q?ServiceVersion=20070822&MarketPlace=GB&ID=V20070822%2FGB%2Facejazzlibrar-21%2F8001%2F31e1f72c-36df-4761-b490-b11650339c51&Operation=NoScript">Amazon.co.uk Widgets</A>

1950's Trumpet GreatsWelcome to ACE Jazz Library - Podcast no. 2 Yes folks we are in the 1950's when it was all change on the jazz scene. This weeks podcast features a diverse range of trumpet players, cornetists and flugelhornists (!) and music spanning the gap between swing, bebop, hard bop and New Orleans. With the gradual demise of big bands in the 1940's-50s, the record buying and radio listening public now supported smaller ensembles, with virtuosity and blistering solos more to the fore. Taking advantage of the new long player record format, solos were not only longer but everyone in the band could shine. This podcast features outstanding performances from some of the classic albums of the era. Click on the title above to listen.   [Click on the text links to hear more samples (US); or the selection box below (UK)] Dizzy Gillespie - Doodlin' (At Newport Live 1957) Dizzy Gillespie must be rated as the foremost exponent of the bop medium which originated in the 1940’s, not least because of his musical ability but also for his articulation and wit. He was a consummately humorous compere and frontman, for which he was nicknamed “Dizzy” and constantly drew the crowds with his accessible and pleasing style. He was also a radical bop innovator and teacher, injecting spontaneous rhythmic invention and harmonic texture throughout his long playing career. While it is thanks to Dizzy, Bop became a lasting phenomenon, it can even be claimed he introduced latin/Afro-cuban jazz to a western audience, but that is another story. Despite his continuous reinvention however, he always maintained enough swing to avoid only being a hit with hardline bop fans. Here he is with a characteristically boisterous live performance of Doodlin’ with his second great big band at Newport from 1957, featuring Al Grey (trom), and Billy Mitchell (ts), Pee Wee Moore (bs) and Wynton Kelly (p).   Clifford Brown – Delilah (Clifford Brown and Max Roach 1954) This duo teaming sent shock waves through the jazz world. Clifford, the hot young trumpet star, beating up the path blazed by Gillespie and Davis, teaming up with Max Roach, the sophisticated and innovating drummer par excellence. Roach who transcended the swing era's adherence to brush and snare in favour of the ride cymbal, had really opened up the vocabulary for jazz drumming and the pairing makes excellent and accessible listening. Check thos characteristic drum solos. Sadly Clifford’s warm and lush tone would not be heard past his 25th year when he died tragically in a car accident. Fortunately Roach would continue to astound audiences for many decades to come. This album features some of the most classic sounds of the duo, featured well on the podcast with the leisurely Delilah. Clifford Brown (t), Harold Land (ts), George Morrow (b), Richie Powell (p) Max Roach (d).   Thad Jones - Thedia (The Magnificent Thad Jones 1956) The multi talented Jones family are a main feature throughout the classic jazz period. Thad, younger brother of pianist Hank and older brother of drummer Elvin, learnt the ropes with the Count Basie Orchestra. In the mid 1950’s however trumpeter and cornetist Thad was finding his voice as a leader and arranger and this appropriately titled album displays his talent in the ascendant. While he later took his place more as a band leader, composer and arranger beside Mel Lewis and on the staff of CBS along with brother Hank, this quintet setting really shows off his harmonically advanced stylings at their best and is highly recommended. With Billy Mitchell (ts), Percy Heath (b), Max Roach (d). Miles Davis – Bye Bye Blackbird (Round About Midnight 1956) Who knew when Miles signed up for this, his debut with Columbia records, it would be the start of a marathon career of ground breaking jazz that would last until his death of pneumonia in 1991? One listen to this album however and you could tell the permanent quintet which Columbia’s contract allowed him to form was something special. Featuring Davis’ now legendary muted trumpet take on the intro to the Monk classic ‘Round Midnight and the as yet unknown talents of John Coltrane, backed by Philly Joe Jones (d), Paul Chambers (b) and Red Garland (p), this quintet churned out a consistently excellent array of records during the mid to late 1950’s. The band’s playing is more than tight, it is seamless. Just listen to the players flexing their respective muscle as they work out on the podcast track “Bye Bye Blackbird”. Kenny Dorham - Afrodisia (Afro-Cuban 1955) Kenny Dorham may not have had the limelight like some of his contemporaries, but name some of the most significant bop bands and he was in them - from Dizzy Gillespie and Billy Eckstine to Lionel Hampton, Charlie Parker’s Quintet, Art Blakey's Jazz Messengers and after Clifford Brown's untimely death, the Max Roach Quintet. But Dorham was not just an accompanist, he penned the standard Blue Bossa (podcast 1) and had a prolific 10 years as a leader starting with this Blue Note session, which is an excellent example, including nonet and sextet ensembles, featuring an all star cast. The latin tinged Afrodisia features the baritone sax of Cecil Payne along with Art Blakey (dr) Kenny Dorham (t) Percy Heath/ Oscar Pettiford (b) J.J. Johnson (trom) Hank Mobley (ts), Horace Silver (p) Carlos "Patato" Valdes (conga). Louis Armstrong - St Louis Blues (Louis Armstrong Plays W.C. Handy 1956) What collection of jazz trumpet greats would be complete without Louis Armstrong? He is after all credited with inventing the jazz solo and here Louis with his Allstars brings a touch of New Orleans style to the podcast, featuring arguably one of his best albums from the 1950’s, now an all time classic. Ably backed by Trummy Young (trom), clarinetist Barney Bigard (cl), Billy Kyle (p), Arvell Shaw (b), Barrett Deems (b) and Velma Middleton (voc), the band clearly enjoy themselves on this extended cut of St Louis Blues, giving the artists ample opportunity to swing with style. An an essential album for all serious jazz collections.   Art Farmer – Mox Nix (Modern Art 1958) It is the subtlety of Art Farmer that sets him apart from other players. Not brash or in your face, but cool, composed and thoughtful, which is perhaps why he never had the same attention as other players. He was a distinct feature throughout the 50’s and 60’s in the luminary bands of Gigi Bryce, Gerry Mulligan, Horace Silver, Benny Golson and Jim Hall. On this piece Bill Evans’ (p) plays shuffle accompaniment, quite out of type, (thinking of his very imminent date on Miles Davis' Kind of Blue), while Benny Golson (ts) and Farmer trade licks on his own composition Mox Nix, giving a glimpse of a maturing partnership that would come to fruition in their Jazztet pairing. Addison Farmer (b) Dave Bailey (d). Well worth a listen. Track listing 0.0 Doodlin’: Dizzy Gillespie 6.30 Delilah: Clifford Brown 14.36 Thedia: Thad Jones 25.08 Bye Bye Blackbird: Miles Davis 32.59 Afrodisia: Kenny Dorham 38.02 St. Louis Blues: Louis Armstrong 46.55 Mox Nix: Art Farmer <A HREF="http://ws.amazon.co.uk/widgets/q?ServiceVersion=20070822&MarketPlace=GB&ID=V20070822%2FGB%2Facejazzlibrar-21%2F8001%2F65d77d1d-06f5-4ea4-b3fa-14635b501379&Operation=NoScript">Amazon.co.uk Widgets</A>

Early 1960’s Saxophone Greats Welcome to ACE Jazz Library - Podcast no.1 This weeks podcast features some of this eras most characteristic saxophone players in stellar album performances. Click on the title above to listen.   [Click on the text links to hear more samples (US); or the selection box below the post (UK)] Dexter Gordon - Three O’Clock in the Morning (Go! 1962) Dexter Gordon starts us off with a cheerful romp at Three O’Clock in the Morning from this seminal album backed by a star quartet featuring the quintessential hard bop pianist Sonny Clark, heard here at the peak of his all too short career. Drums are in the capable hands of the intuitive mastermind Billy Higgins, on short term loan from the legendary Ornette Coleman quartet (also featured on this podcast) and on bass is Butch Warren. This track is a great example of Gordon’s straight ahead style with trademark flourishes and ditty’s, which sometimes quirky, never fail to satisfy the ear. Hank Mobley - Soul Station (Soul Station, 1960) Hank Mobley’s star lit up in 1955 when he solidified his rounded style in the fledgling hard bop outfit of Horace Silver’s Jazz Messengers. But it was in the years 1958-1960 he really hit his stride as a leader with Soul Station. The Messengers master drummer Art Blakey lends the backbeat to Mobley’s rounded style which is displayed here with such mastery and finesse that this album washes over you like a warm bath of honey. Backed up by Miles Davis’ favourites Paul Chambers on bass and Wynton Kelly on piano and at just over 37 minutes it is all over far too soon. Hit that play button again! John Coltrane – Lonnie’s Lament (Crescent, 1964) This album clearly showed Coltrane was ahead of the pack. Having learnt the ropes in Miles Davis’ 1950’s quintet, from which he was sacked, Coltrane not only got his act together by kicking heroin, but by 1964 had formed this superlative quartet with McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums). At the start of the 1960’s Coltrane was famous for his take on jazz standards, but with the fully self penned and almost meditative Crescent he began to touch new dimensions in sound. Followed later that year by the blistering heights of Love Supreme this gem of an album is an accessible and rewarding introduction to a genius of modern music. Yusef Lateef – Blues for the Orient (Eastern Sounds, 1961) Yusef Lateef is a multi-instrumentalist par-excellence, not limiting himself to genre or instrument. Playing flute, bamboo flute, oboe, and sax Lateef invented world music and broke the mould long before anyone else. This album blends Hollywood film themes with oriental modes and intervals, yet still presents a singularly compelling listening experience. A master musician at work ably supported by Barry Harris (piano), Lex Humphries (drums) and Ernie Farrow (bass). Sonny Rollins – Without a Song (The Bridge, 1962) Sonny Rollins, sometimes sidelined as “the other great saxophonist” (after Charlie Parker and John Coltrane), took 3 years sabbatical before returning to the studio with this incredibly confident and defining set. “I am Sonny Rollins” he says, displaying his trademark effortless manner and rich tone. His remarkable interplay with Jim Hall’s guitar on this quartet album, featuring bassist Bob Cranshaw (bass) and Ben Riley (drums) showcases Rollins trademark panache, which placed his star high in the jazz patheon. Ornette Coleman – Ramblin’ (Change of the Century, 1960) In this second album from Ornette Coleman the legendary quartet of  Don Cherry, Charlie Haden, and Billy Higgins, display the confidence and maturity which insured their long and successful careers. This album catches them at their prime in a set with an astonishing amount of free improvisation, yet throughout it remains a colourful and focused account of Coleman’s melodic themes and trademark exuberance, featured well in the rollicking blues of Ramblin’. While some of Coleman’s freer sounding albums can be a struggle, the freedom/restraint shown here make this a pure delight. Wayne Shorter – Yes or No (Juju, 1964) Wayne Shorter made a huge contribution to jazz, both as a composer and performer. University trained in music education he formulated his style in the 1950’s, practicing with Coltrane, Horace Silver and the Art Blakey’s Jazz Messengers, until landing a job in 1964 with Miles Davis’ quintet, where as its most prolific composer, he conceived standards such as "E.S.P.," "Pinocchio," "Nefertiti," "Sanctuary," "Footprints," and Miles signature tune, "Prince of Darkness.". Famous for his beautifully contrived, sinuous and meandering tunes this self penned track, “Yes or No” is a magnificent example from a top class album of Shorter’s engaging style, which though some say is reminiscent of Coltrane, is uniquely identifiable as his own. And who would be better suited to accompany him than Coltrane’s rhythm section? Elvin Jones (drums), Reggie Workman (bass), and McCoy Tyner (piano). Just compare this with Coltranes Giant Steps. Joe Henderson - Blue Bossa (Page One, 1963) The young tenor saxophonist Joe Henderson’s debut is a latin tinged classic, exemplified on the podcast by Dorham’s delightful arrangement of Blue Bossa. Ably supported by Blue Note stalwarts Kenny Dorham (trumpet), McCoy Tyner (piano), Butch Warren (bassist), and Pete La Roca (drums), this is another of those albums which hooks you in to its sublime soundscape and leaves you gasping for more. Stan Getz – Desafinado (Getz/Gilberto, 1963) This is one of the biggest-selling jazz albums of all time, named for the Getz/Gilberto pairing, though credit also goes to composer and pianist Antonio Carlos Jobim, whose classics The Girl From Ipanema, Desafinado and Corcovado are all here. This album quite literally set the bossa nova standard, topping Getz’s earlier “Jazz Samba” collaboration with Charlie Byrd, by teaming his unmistakable tone with the effortless grace and stylistic passion of two of bossa’s most enduring originators, Gilberto and Jobim. Every moment of music on this recording, which also launched the international singing career of Astrud Gilberto, is simply superlative. Absolutely essential. Track listing 0.00 Three O’Clock in The Morning: Dexter Gordon 5.35 Soul Station: Hank Mobley 14.38 Lonnie’s Lament: John Coltrane 26.22 Blues for the Orient: Yusef Lateef 31.58 Without a Song: Sonny Rollins 39.22 Ramblin’: Ornette Coleman 45.56 Yes or No: Wayne Shorter 52.28 Blue Bossa: JoeHenderson 60.18 Desafinado: Stand Getz <a href="http://ws.amazon.co.uk/widgets/q?ServiceVersion=20070822&MarketPlace=GB&ID=V20070822%2FGB%2Facejazzlibrar-21%2F8001%2F7935e18f-024d-4d07-9275-b9e234cb06ff&Operation=NoScript">Amazon.co.uk Widgets</a>