Arranger/conductor Russ Garcia is a bit over the top in some of the arrangements, specifically in his use of the harp, but Stan really in-scends, sliding into the groove on some of the heavy treatment - particularly on Benny Golson's "Whisper Not", and "Round Midnight"; unlike Bird, who transcends; choosing instead to play above and beyond his given venue. "Early Autumn" is really luscious, and the best cut on this half of the venture. If you want the very best recording of this beautiful tune, check out Stan's version on "The Best Of The West Coast Sessions" - it is heavenly. "It Never Entered My Mind" deserves mention here as well for sheer romantic treatment. The "Voices" half of the session finds Stan in a more relaxed mode; however, after hearing Brazilian treatment of vocal arrangements, as done in Jobim's later work with "Bando Novo", I find the 'choir' to be more of a distraction than a partnership, although the feel of the tunes are more to my liking, as is Stan's samba playing. It's not the concept of the vocal accompanyment that I don't like, it is the execution. Since these are two seperate sessions, seperated by 6 years, I would have to give "Cool Velvet" 4 stars, and "Voices. 3 stars.

I am not a huge Trane fan...no, let me put that a different way; I like Trane in certain motifs - on "Ballads", then with Miles on "Kind Of Blue",and "Relaxin'", and then with the Red Garland Trio. That's as much Coltrane as I need - and so here is the last of my Trane Trilogy in this CD, "Soultrane". He pushes the melodic and harmonic envelope without ever losing the melody in all three of these settings. For those who have trouble with Coltrane (and I know there are a lot of folks out there who do), dig into these CDs, in that order. You'll really be doing yourself a favor.

I don't know if it is the addition of one of my top five piano players, Ray Bryant, or my top five favorite rhythm sections, Art Blakey and Paul Chambers, but Benny Golson is indeed groovin' this time. It is obvious from the first song. He is right there for the first solo. No flights of off-groove fancy, just great straight ahead, in the pocket playing, the way I am always used to hearing him. "I Didn't Know What Time It Was" finds him playing and saying everything melodically and coherently, even though he is still in Trane-ing. I'm partial to Benny before his Trane influence became so great, but here, it is used to properly propel his playing to new heights, unlike, in my opinion, "Blues-ette", where he simply lost his own voice in favor of his newer mentor. Perhaps having the date in his own name made a difference, I'm not sure, but he's swingin' hard and fast, like on "The Stroller" (written by Golson), and Curtis Fuller is flawless, punctuating a lot like Al Grey...and Ray...what IS there to say?! The man does it all. Chambers states his usual wise musical sermon, then Blakey takes it over the top. "Yesterdays" is truly soulful, and both Golson and Fuller (with Ray, of course) give it what it needs. THIS is my kind of star, straight ahead bop-blowing session. It blows "Blue-ette" away.

John Coltrane is a consummate player of ballads. The choices made in the tunes are also a large part of the allure - much like the LP I have, called "Miles Davis Plays For Lovers" on Prestige (a bad title, but a compilation recording, unlike this one). Unfortunately, when Prestige re-issued it, they dropped my favorite track, "Old Devil Moon" from the compilation, judging it too up-tempo for such a title no doubt. Here, Trane's melodies and rhythmic nuances are simply perfect. The melody ALWAYS takes preceedence to other, more cerebral flights of fancy, which Trane could have done with ease. Every tune on this CD is a classic, done as classics should be - with great tone and impeccable feeling. This is simply a master showing his mastery, like the true Master he is.

I can not give this the all-time 5-star rating. It is a good CD, with Tommy Flanagan playing brilliantly, and Fuller in top form. I think it is, ironically, Golson's playing that I am not as enamored of here. The Trane influence seems to have pushed his own sense of musicality which made him so great someplaces where it is sometimes not appropriate. Even in "Blues-ette", I mean, where are the blues in his solo? It is so cerebral and harmonically complicated when all that's required is a great blues/bop statement. Geez, this is Benny Golson I'm taking to task here! One of my heroes... There are stand-out tunes here, too, "Undecided" is a great vehicle for both Fuller and Flanagan, yet Golson's sporadically frenetic solo is out of place, and doesn't seem to match the spirit of everyone elses grooving. I KNOW I'll be skewered for this review, but this is how I feel about it. My favorite tune is "Love Your Spell Is Everywhere", and Golson starts beautifully with great phrading, even in the Trane mode, but then goes frenetic again in the middle. All in all, it is his best solo, but nobody else goes that far out there on this wonderful, lyrical tune. Fuller's attempts make more sense, and Flanagan does it like it's supposed to be done. He doesn't play Powell in the middle (well, not too much!) "Blues-ette" lovers forgive me; I know how good this is. I also know how good it could have been.

There is no doubt that this session served to push both Stitt and Rollins to some of their best ("The Eternal Triangle" for Stitt and Rollins...and "..Sunny Side.." finding Rollins compact and captivating in his solo). "After Hours" is one of my favorite tunes (called 'the Black National Anthem' by one of my 80+ year old best friends), and while it is played for quite a while - it is literally more than a fourth of the recording - I could listen to Ray Bryant with brother Tommy all night long. This is a great recording, and I wouldn't 'pass it around' without keeping a close eye on it!

I was present for this recording as well, in the intimate confines of the Manchester Craftsmen's Guild in Pittsburgh, and it was a BLAST. Jon Faddis did a great job of 'carrying on' for the late Master...and just seeing the reed section assembled there that night - all of whom were thoughouly enjoying themselves...Jimmy Heath in particular, who never stopped grinning the whole night -Moody, Heath, Wess, Smulyan, and Hart, along with greats Slide Hampton, Pittsburgher Jay Ashby, and his brother Marty on guitar, Claudio Roditi, Terrell Stafford, and the suprise of the night for myself and many others, the incredible piano playing of Renee Rosnes, who sparkled. Drummer Dennis Makrel did not disappoint, nor did percussionist "Duke" either! Being there was a real trip, I must say, but somehow that magic didn't quite translate onto this CD, in my opinion. Still, this is a swinging, talented band, and Jon Faddis was as good as anyone can be stepping into the over-sized shoes of Diz. For the real deal, Live also, I would suggest Dizzy's "Live at Newport 1957". Although these arrangements are tight and grooving, some are nearly carbon copies of those Diz gems at Newport; like "I Remember Clifford", and "Night In Tunisia".

Bud Powell was a genius - and there is a flip side to that. Bud had to deal with that flip side sporadically up through the mid-1950s, when it got the best of him. These Blue Note tracks give a glimpse into the genius that dwelled within this man. No, not every track is a "best", but enough of the musicality is here to warrant a 4 star rating. A prolific composer as well, most of the tunes here are penned by Powell. This is a good introduction to the genius that was Bud Powell, even if not every single cut is up to the high bar that this great set early on.

This CD reminds me a little of the Riverside (same label) recording "Budd Johnson and the Brass Giants". It has that same small brass 'orchestra' sound and feel (plus the addition of Cannonball), and, my God, what a line-up of talent! Clark Terry, Nat adderley, Cannonball, Tommy Flanagan and Cedar Walton, not to mention the other Heath brothers holding down the rhythm section. 'Tootie' is simply smokin' on this one for his big bro'. "Big "P" comes out like a bull in a china shop. "Old Fashioned Fun" is just that - a great up-tempo blues for Heath, Cannonball, and company to groove on, and again sounds like the "Johnson" date. That is followed by a beautifully arranged ballad, "Mona's Mood" (Jimmy arranged it, as well as "Big "P", and "Old Fashioned Fun"), where Cannonball grooves ever so mellowly before Dick Berg's french horn makes a quick romantic appearance, then Cannon takes a little more before Flanagan takes his, and Jimmy gets in towards the end. As you may notice, the arrangements are the focus on this session, not always long and hard-blowing solos - though there are some. Tom McIntosh, the trombonist, arranges Bobby Timmons' "Dat Dere", and Cedar Walton tips his hat to Bobby. The brass section (again with Cannon and Heath) gets to solo in chordal arrangement near the end. "Nails" starts with another great Heath arrangement; Jimmy solos, then gives Nat and Clark a chance to 'split' the chorus before the trumpet solos. Cannonball jumps all over alternating solos with the brass section, then Walton gets his, with Albert grooving on the rim. "Tootie' gets 8 bars too, and makes the most of it, the arrangement taking it out with the Afro-Latino groove. "Green Dolphin Street" gives Jimmy the spotlight first and he uses it to maximum effect, playing beautifully over the arrangement; then, again ripping up the solo. Adderley alternates solos with the section, too; and does the same. Clark Terry gets the bulk of the lead work on this CD, but Nat is represented well also. "My Ideal", another Heath arrangement, opens with Jimmy and Cedar in a quiet and lovely vein, Jimmy taking it to the finish. Both Jimmy and Cannon open the up-tempo "The Picture Of Heath", with Terry and Nat trading solos on the chorus - Terry playing fluglehorn. Walton then proceeds to give up his bluesy-est solo of the session. Recorded in 1962, this is an 'underappreciated' classic, ranking with the best work done at Riverside. Riverside also must have thought so, for half of these tracks were re-issued on the 'two-fer' featuring Heath on Milestone, titled "Fast Company". This is quintessential 5-star jazz at its best.

Fans of great small group Swing are in for a treat with this one. Also a treat are the personnel playing with Cozy. Much of the material here is on an older Savoy LP (itself a re-issue, right at the height of the "Topsy" years) called "Concerto For Cozy", with a wonderful LP cover featuring Cozy's silver sparkle Ludwig drum set. "Jersey Jumpoff", "Stompin' At The Savoy", "..Sunny Side..", and "Jump Awhile" have an all-star line-up, including Coleman Hawkins, Walter "Foots" Thomas, Eddie Barefield, Emmet Berry; while Budd Johnson replaces Barefield on "Old Man River", "Wrap Your Troubles..", Riding The Riff", and "Flat Rock". Ben Webster shows up, too, on "Jericho", "Talk To Me", "Concerto For Cozy", "Nice and Cozy", and "Body And Soul". All of this material is of the highest musical quality, and it is great to see it being re-issued.