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Howard Fritzson
Appearances
Having taken Benson along with him when he founded CTI, Creed Taylor merely leaves the guitarist alone with a small group on his first release. The payoff is a superb jazz [more]
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This is basically a Charlie Parker album that Miles Davis plays on, largely consisting of old Dial masters. Only on the August 1947 session is Davis listed as leader -- the date which [more]
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This album is perhaps most significant for the process it set in motion -- the collaboration between Gil Evans and Miles Davis that would produce Porgy and Bess and Sketches of Spain, two [more]
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Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent [more]
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Mississippi John Hurt's latter-day recordings after his rediscovery have somewhat obscured the importance of these debut sides -- the ones [more]
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![Red Clay [Bonus Track]](/cache/JS/g5/130x130_on-sale_g58897panv0.png)
This may be Freddie Hubbard's finest moment as a leader in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. On Red Clay, Hubbard [more]
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This five-CD box set collects all five of the Dave Brubeck Quartet's {#Time} series recordings: Time Out, Time Further Out, Countdown: Time in Outer Space, Time Changes, and Time In, [more]
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![Satch Plays Fats: The Music of Fats Waller [Bonus Tracks]](/cache/JS/e2/130x130_on-sale_e20801zh2ls.png)
Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York [more]
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"Every so often you're lucky enough to be in the right place at the right time. And we were the lucky ones, those of us who were in Carnegie Hall on Friday night, February 22, 1963. That was the night the Dave Brubeck Quartet reached swinging heights few of us had ever heard it attain before. It began predictably as a good Brubeck concert, but nothing out of the ordinary. We were all there on this Washington's Birthday because we like to listen to Brubeck, and we were hearing pretty much what we had expected to hear. And so we were satisfied. Then suddenly it happened-right after the start of the third number. Don't ask why. Probably nobody can explain it. But it happened all right, and what had begun as a quite good Brubeck concert burst abruptly into a truly great one. From then on, this turned out to be the night the Dave Brubeck Quartet was really swinging. This was the night it fell into a groove few, if any of us, had ever realized it could find. This was one of those nights when everything turned out right. During intermission I sat with Dave and Paul Desmond in their dressing room. They were very happy. A great rapport had been established, because they were feeling exactly what we had been feeling out front. They knew even better than we did that this was a special night. Some days later Dave, still exultant about what had happened at Carnegie Hall, remarked, 'The group had reached swinging heights like that before. What was lucky is that this concert was recorded!'"
For all those who have a big axe to grind with Brubeck, for all those who claim the band was only successful because they were predominantly white, or played [more]
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As any Monk aficionado knows, his solo piano performances were wonderful, idiosyncratic, living works of art that often wound up [more]
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Biography
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