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Players include Vinnie Bell on guitar, Willie Bobo on percussion, Grady Tate on drums, and Jerome Richardson on reeds – and Cain really makes the record groove in ways that we've never heard on another on both trumpet and flugelhorn – working in co-leadership with Bob Brookmeyer on trombone – supported by the rhythm combo of Roger Kellaway on piano, Bill Crow on bass, and Dave Bailey on drums – a trio that swings in a smooth, sophisticated way that really matches the double brass sound in the frontline – lifting things to that special groove that , but his music is much more underground than theirs – maybe only ever designed to be put forth in an intimate club setting, late in the night – where the very conversational style of Allen's songs almost make them feel like barroom musings of a cat who's seen a heck of a lot of life on this planet, but still very able to peer into the souls of those he comes across.
This double-length set is Allen's masterpiece – originally issued on a small pressing back in the 70s, and very much an alt-country relic – but from a time when such a thing didn't even exist.
's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely!
Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn!
Duke's group here is in fine fine form – with key late 50s players who include Johnny Hodges on alto, Paul Gonsalves on tenor, Jimmy Hamilton on clarinet, and Cootie Williams, , and Cat Anderson on trumpets – plus a guest appearance by Gerry Mulligan on baritone sax!
A few tunes stretch out nicely with that mix of complicated modernism and all-out swing that Duke was bringing to the table at the time – and although initially aimed at the popular festival crowd of the time, the album's got more than enough depth to please fans of his other 50s classics on Columbia.
Titles include "Cocktails For Three", "High Plains Jamboree", "Amarillo Highway", "Lubbock Woman", "Rendezvous USA", "The Girl Who Danced Oklahoma", "Truckload Of Art", and "The Pink & Black Song".
Great reissue – with corrected sound, and a huge booklet of notes on Allen – with essays by David Byrne and others.
Players include Sonny Criss on alto, Art Farmer and A warm and wonderful 60s session from Lionel Hampton – recorded in a personal and intimate way, one that even surpasses his great small combo sides of the 50s!The material is from Chicago sessions recorded in 1956 – unusual non-Columbia material for the period, featuring the Ellington group working in a slightly older-styled mode.Much of the material is from the earlier songbook of the orchestra – but it's done here with some slight modern touches that show the 50s impulses of the group firmly in place.Players include Cat Anderson and on trumpet, Johnny Hodges on alto, Paul Gonsalves on tenor, and Harry Carney on baritone sax – and titles include "Midriff", "Ko Ko", "Lonesome Lullaby", "Upper Manhattan Medical Group", "Jack The Bear", "Stompy Jones", and "Creole Love Call".A hokey cover and title, but a hip little record from Duke Ellington – kind of a story of percussion and jazz, all wrapped together with some great vocals and narration!