Tenor saxophonist Teddy Edwards and trumpeter Howard McGhee had played together regularly during 1945-47. For their recorded reunion, they are assisted by the masterful pianist Phineas Newborn, bassist Ray Brown and drummer Ed Thigpen. Edwards, McGhee and Brown contributed one new song apiece which alternates with a trio of standards ("You Stepped Out of a Dream," "Misty" and Charlie Parker's "Perhaps"). The trumpeter was having a short-lived comeback at the time and he had largely regained his earlier form. Edwards sounds as strong as ever and Newborn was an up-and-coming talent. Their collaboration for this boppish date (reissued on CD) is generally quite memorable.

Scott Yanow

Trumpeter Howard McGhee, after spending much of the 1950s only partly active in music (due to drug problems), made a full-fledged comeback in the early '60s only to find his bop-oriented music out of fashion. This Contemporary set (reissued on CD in the OJC series) was McGhee's finest recording of the period, a quartet outing with brilliant pianist Phineas Newborn, bassist Leroy Vinnegar, and drummer Shelly Manne. Although tenor saxophonist Teddy Edwards is not on the date, two of his compositions (his famous "Sunset Eyes" and a tribute to the trumpeter, "Maggie's Back in Town") are fully explored by the quartet. Other titles include three standards plus McGhee's original blues "Demon Chase." This CD is a perfect starting point for listeners not familiar with the underrated (and often overlooked) Howard McGhee.

Scott Yanow

This recording is a dream come true for Sonny Rollins fans, as Rollins presents an entire program without accompaniment in what must have been the ideal setting of the Museum of Modern Art Sculpture Garden. As expected, Rollins drops allusions all over the place and spins core melodic ideas into extended variations. The real fun, though, is simply getting caught up in the inspired whirl of the Rollins imagination as it darts here and there, managing to be both coherent and unpredictable in a manner that has earned him recognition as the music's supreme improviser. The enthusiastic audience, delighted to be along for the ride, even gets into the act at the close of this colossal solo session.

Well, I think words alone are insufficient when it comes to describing the music of Brad Mehldau. To me this man is definitely one of the most important and innovative pianists today. The song, which is featured here is from his first album: "Introducing Brad Mehldau". "London Blues" is in fact just a blues in F, although on first hearing that might not seem the case. Let's look at the theme …

by Christiaan 'Niliov' van Hemert

Recorded live at the Antibes Jazz Festival in 1960. The group that Charles Mingus brought to the Antibes jazz festival in 1960 was likely the most powerful group, pound-for-pound, that the bassist ever led. The front line was comprised of trumpeter Ted Curson, alto saxophonist Eric Dolphy, and, for this stint, tenor saxophonist Booker Ervin. Without a piano for most of this Antibes concert, the band relied on a combustion that Mingus created with his antiphonal compositions and a gospel bent. Dolphy, Curson, and Ervin sound jubilant on "Wednesday Night Prayer Meeting" and then full of longing on "Prayer for Passive Resistance." But it's on "Folk Forms No1" that you hear how much leap the group has without a formal harmonic anchor. Mingus chugs along, using his lowest-end bustle as a backbone for rhythmic variations across the top. As usual, drummer Dannie Richmond cracks the percussion with speed-shifting exactness. As if that all weren't enough, one of bebop's quirkier architects, Bud Powell, joins the band for a touching read of "I'll Remember April".

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre."

Scott Yanow

Pianist Marcin Wasilewski, double-bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz are best known as the young Polish musicians who have collaborated with trumpet legend Tomasz Stanko in recent years, in particular on Soul of Things and Suspended Night . But while Stanko has been a mentor since ’93, first calling Wasilewski when he was only sixteen looking for a trio to support him when his regular rhythm section was unavailable, the three have also maintained a separate musical existence, releasing a number of acclaimed records in Poland as Simple Acoustic Trio. Now, with their first international release, they demonstrate lessons learned from Stanko, the kind of empathic interplay that only comes from a long-standing relationship, and, while clearly rooted in tradition, an unmistakable penchant for modernity.

John Kelman

This CD reissue adds an alternate take and an unissued selection to the original program. Pianist Phineas Newborn's only recording of the 1963-68 period, the trio outing with bassist Leroy Vinnegar and drummer Frank Butler, finds Newborn's virtuosic style unchanged from the late '50s. As is usual on his Contemporary recordings, the pianist explores superior jazz compositions, in this case interpreting a song apiece by Benny Carter, Russ Freeman, Hampton Hawes, Art Pepper, Ornette Coleman ("The Blessing"), Carl Perkins, Frank Rosolino, Leroy Vinnegar, Jimmy Woods and Barney Kessel. Newborn's remarkable control of the piano was still unimpaired, and he is heard giving Oscar Peterson a run for his money.

Scott Yanow

Everyone's favorite sideman, drummer Roy Haynes, is heard on this CD leading his first American record date. Since the trio also includes pianist Phineas Newborn and bassist Paul Chambers and Haynes is modest in taking much solo space himself, the excellent set is most notable for the virtuosic yet reasonably restrained playing of Newborn. Best known among the tunes are "After Hours" and Tadd Dameron's "Our Delight," but all six selections feature strong musical communication by these top-notch players.

Scott Yanow