Jazz — CDs  

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall".

A lost spiritual soul jazz classic – recorded in the early 80s, but with the feel of 70s independent work on labels like Strata East or Black Jazz! Pianist Nate Morgan's got a widely expansive vision – working here in a style that incorporates lots of blocky chords and modal grooves, set in context with a tight group that includes alto sax solos by Dadisi Komolafe. All tracks are originals, and the album's got a sweeping majestic feel that would have made it an enduring classic, had it been issued a decade earlier! Titles include "He Left Us A Song", "Journey Into Nigritia", "Morning Prayer", "Mother", and "Study in CT".

Under-exposed genius from the legendary Raymond Scott – a set of straighter jazz material from the late 40s, but all of it with Scott's undeniable sense of madness still very firmly in place! Most of the work here is small combo – played by either a quintet or sextet – and although the styles aren't as dramatic as in some of Raymond's better-known cartoon work, there's still an undeniably fluid, playful feel to the music! Instrumentation includes Scott on piano and celeste, plus trumpet, tenor, clarinet, bass, and drums – and some tracks even feature great early vocals from Dorothy Collins, who seems much madder than usual in the context of the combo! The work appears to have originally been issued by the Master and Audiovox labels – and titles include "Street Corner In Paris", "The Penguin", "By Heck", "Who", "Bird Life In The Bronx", "Curley Cue", "Somebody Loves Me", "Little Girl", "Ectoplasm", "Question Mark", and "Dedicatory Piece To The Crew & Passengers Of The First Experimental Rocket Express To The Moon".

A smokin' hard bop side from a sort of amalgamation of players who played in and out of the Jazz Messengers around this time, but Philly Joe's sittin' in the drummers seat, so though the rhythms cook hard, that not quite as bombastic as Bu's. We've always loved Benny Golson, and though his playing was at it's most sublime in the Jazztet, he got to stretch out just a bit more and played with just a touch more fire in other contexts, like this session. Barry Harris is on piano, with Jymie Merritt and Philly Joe rounding out the rhythm section and Curtis Fuller joins Golson in the front line for a spry quintet setting. Six tracks: "Strut time", "Jubilation", "Symptoms", "Are You Real?", "Cry A Blue Tear" and "This Night".