It's redundant to call any Tito Puente collection 'the best of,' because every time the man picked up a drumstick or mallet, he gave the best he had to offer. The daunting and unenviable task of compiling the best among the dozens of tracks El Rey made for Concord was made easier by dividing this collection between Puente's more danceable pieces and his jazzier arrangements. Disc one's 12 tracks serve up the New York-Puerto Rican soul and Afro-Cuban rhythms--with mambos, merengues, cha chas, and rhythmic bursts hopping about. Puente's most famous composition, "Oye Como Va," appears in a rousing live version that justifies its status as one of National Public Radio's 100 most influential songs of the 20th century. Disc two showcases the strong soloists and arrangers that have always been jewels in Puente's musical crown. The amazing transformation that the legendary percussionist and his arrangers put on the most identifiable music is concentrated here as songs strongly associated with other artists, such as "On Broadway" (George Benson), "Take Five" (Dave Brubeck), and "Sun Goddess" (Ramsey Lewis) get elevated by Puente's Latin-fire, signature handprints. This is an essential disc for any serious collector of Latin jazz.

The Sermon! is a 1959 album by jazz organist Jimmy Smith. It was produced by the Blue Note record label. Allmusic's Lindsay Planer described the album as "a prime example of Smith and company's myriad of talents". At Saturdays Web Inauguration I opened the festivities with the Sermon.

Jimmy purchased his first Hammond organ, rented a warehouse to practice in and emerged after little more than a year. Upon hearing him playing in a Philadelphia club, Blue Note's Alfred Lion immediately signed him to the label and his second album, The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and, as a leader, dubbed The Incredible Jimmy Smith, he recorded around forty sessions for Blue Note in just eight years beginning in 1956. Albums from this period include The Sermon!, House Party, Home Cookin', Midnight Special, Back at the Chicken Shack and Prayer Meetin'.


Jimmy Smith put the Hammond B-3 organ on the jazz map for good in the 1950s. The Sermon, dating from 1958, is among his best recordings, featuring the exceptional lineup of trumpeter Lee Morgan, altoist Lou Donaldson, tenorman Tina Brooks, guitarist Kenny Burrell, drummer Art Blakey, and others. Smith's smooth, vibratoless sound perfectly suits the nimble and prodding leads of the player as he touches on R&B, soul, blues and, of course, gospel. This brings us to "The Sermon," which is reason enough to seek this gem out. Smith's group takes the title tune out for a 20-minute, fully improvised, slow-blues stroll, during which each player shares the spotlight. The soul-stirring feeling set in motion by Smith rubs off on the other musicians to make this tune and album a defining moment in organ jazz, and even in soul music. The Sermon stands as a sparkling gem in the Rudy Van Gelder reissue series.



One of my favorite jazz selections was an album by Herbie Hancock called Inventions and Dimensions. Recorded on August 30, 1963 for Blue Note Records when Herbie was only 23 years old. The album was also re-released in the mid-1970s as Succotash. This album was not as commercially successful as his two previous albums or as successful as some of his later releases. Artistically however; it is a giant that a true jazz enthusiast must have in their library.

This third album for Herbie Hancock chose a very rhythmic setting for his completely improvised compositions. Supported only by bassist Paul Chambers and percussionists Willie Bobo and Osvaldo Martinez, the pianist creates each tune from scratch and the results are astonishing. The bonus track, an alternate take of 'Mimosa', has previously only been available as part of a box set. Rudy Van Gelder remastered edition Blue Note 2005.

I own both the LP and the CD and for years have enjoyed giving this as a gift to some of my jazz friends only to hear in amazement how they could’ve missed this music.

Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award, after Getz/Gilberto in 1965.


Academy Awards

1986, Original Soundtrack, for Round Midnight


Grammy Awards

1.1984, Best R&B Instrumental Performance, for Rockit

2.1985, Best R&B Instrumental Performance, for Sound-System

3.1988, Best Instrumental Composition, for Call Sheet Blues

4.1995, Best Jazz Instrumental Performance, Individual or Group, for A Tribute to Miles

5.1997, Best Instrumental Composition, for Manhattan (Island of Lights and Love)

6.1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues

7.1999, Best Jazz Instrumental Performance, Individual or Group, for Gershwin's World

8.2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall

9.2003, Best Jazz Instrumental Solo, for My Ship

10.2005, Best Jazz Instrumental Solo, for Speak Like a Child

11.2008, Album of the Year, for River: The Joni Letters

12.2008, Best Contemporary Jazz Album, for River: The Joni Letters

13.2011, Best Improvised Jazz Solo, for A Change Is Gonna Come

14.2011, Best Pop Collaboration with Vocals, for Imagine

Have you ever gone to a hotel bar or a jazz club where there was a piano trio playing (piano, bass and drums) and you really couldn’t appreciate the performers because the audience was so inattentive and boisterous?  The Complete Village Vanguard recordings by Bill Evans are just that with a major exception the audience was laser focused on the performers and you could hear a pin drop. When I entertain, I play these selections and they invariably capture everyone’s attention and not just jazz enthusiast.

This collection recorded June 25, 1961, has long since acquired legendary status. The unique voicings of Evans have influenced over a generation of jazz pianists who have followed him, weaves one masterpiece after another with bassist Scott LaFaro a promising composer and phenomenal bassist and the equally valuable drummer Paul Motian. The interplay between them is intoxicating throughout each of their five sets from the final day of a summer gig at the Village Vanguard NY, NY. 

This beautifully remastered three-CD collection restores the previously omitted take of "Gloria's Step" marred only by a brief power outage and the humorous finale by Evans at the end of the night first issued in the massive Complete Riverside Recordings box set. The songs are in their original recorded sequence, adding a bit of ambience and audience reaction between numbers. Sadly, it was the trio's final recording, as LaFaro died in a car crash ten days later. The selections from this three-CD box set have been reissued numerous times over the years, but this is the first time that all of them have been collected in one U.S. release. Orrin Keepnews, the original producer, updates the liner notes he previously contributed to earlier issues of this music with a thoughtful commentary. This is an essential purchase, whether you are a novice or seasoned jazz fan.

Bill Evans the jazz pianists who was featured on the greatest jazz album of all time (Miles Davis, Kind of Blue 1959) was an American jazz pianist and composer who mostly worked in a trio setting. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. 


Born in Plainfield, New Jersey, he was classically trained and studied at Southeastern Louisiana University. In 1955, he moved to New York, where he worked with bandleader and theorist George Russell. Unlike many other jazz musicians of his time, Evans never embraced new movements like jazz fusion or free jazz.

Many of his compositions, such as "Waltz for Debby", have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted in the Down Beat Jazz Hall of Fame.

Jutta Hipp was born in Leipzig, Germany. She mostly worked in bebop and cool jazz. I just recently discovered her work some seven years after her death in 2003. She is one of those obscure figures in jazz whose whereabouts were a mystery for sometime.  After I discovered this particular CD (Jutta Hipp with Zoot Sims) I set out on a journey to collect her entire work I was extremely impressed and have loved her interaction with tenor saxophone players of the bebop era particularly Zoot Sims.

She also worked for New York based trios. She had been determined to be seen as an equal to male players, but at the same time she felt intense nervousness playing with other musicians she admired. The anxiety the profession caused her led to her abandoning jazz in 1958 and from then on she made her living primarily as a seamstress. She also returned to her first interest of painting, and her portraits of various jazz musicians became popular with musicians.

Jutta first studied painting in Germany, but later played jazz during the war and she indicated jazz was important to her during that period. After the war she moved to West Germany due to the communist occupation of East Germany. 

In 1954 famed jazz critic Leonard Feather was impressed with her work when he heard her in Germany. He dubbed her the “Europe's First Lady of Jazz.”, soon after she moved to New York City where she would spend most of her life. Within only four months Hipp would become the first European and white instrumentalist ever signed by the legendary Blue Note Records label. The founder of Blue Note, Alfred Lion, and his business partner Francis Wolff were also German immigrants but had, since the founding of their label in the late 1930s (with the notable exception of baritone saxophonist Gil Melle) signed only black jazz musicians on their artists’ roster. She initially drew some criticism from critics who felt she was too similar to her sponsor Horace Silver. In 1956 she played at the Newport Jazz Festival and did a studio album with Zoot Sims which is featured in the photo, is considered possibly her best. The album is considered rare, but a remastered edition from the Japanese division of Blue Note Records came out in 2003.

Although she maintained some contact with musicians, she had cut herself off from the music industry to the point that by 2000 Blue Note did not know where to send her royalties checks. Lee Konitz was one of a few musicians who kept in touch with her until her death in Queens, NY in 2003. She never married but she did have a son, Lionel who was named after Lionel Hampton. 

After her death she became of some interest as a woman instrumentalist in the New York jazz scene. 

I hope you discover what I hear.


Gregory Porter a local talent who has just rocked the international national music scene with his release called Liquid Spirit. He was recently rewarded with the 2014 Grammy award for the best jazz album of the year.

Born in 1971 in Los Angeles California Gregory came to my attention two years ago and with talent like this I wonder why it took so long to catch my ear.



His debut album, Water, released in 2010 via Motéma Music, was nominated for Best Jazz Vocal album at the 53rd Annual Grammy Awards. He was also a member of the original Broadway cast of It Ain't Nothin' But the Blues. His second album, Be Good, which is my personal favorite contains many of Porter's compositions, was released on February 14, 2012, and garnered critical acclaim for both his distinctive singing and his compositions, such as "Be Good (Lion's Song), "Real Good Hands", and "On My Way To Harlem". The title track was also nominated for Best Traditional R&B Performance at the 55th Annual Grammy Awards.

He was signed by Blue Note Records (Universal Music Group) on May 17, 2013, and his third album, Liquid Spirit, was released on September 2, 2013, in Europe and on September 17, 2013, in the US. With the blue note backing and their marketing it is no wonder that his career finally took off. The album won the 2014 Grammy for Best Jazz Vocal Album.


If you enjoy his music he does appear in Los Angeles; however it may be quite some time before he comes back he is on a world wide tour. I do not see any California performances for 2014. I have a friend in the UK who I sent a few song to and she says he has become her favorite jazz vocalist.


Blue Lights is an album by American jazz guitarist Kenny Burrell recorded in 1958 and released on the Blue Note label as two 12 inch LP's entitled Volume 1 and Volume 2. The cover features artwork by Andy Warhol. Any has done other Album Art for Blue note Records but that will be an article on its own.  The album was subsequently reissued as separate CDs and a two disc set combining Volume 1 and Volume 2.

My favorite selection comes from Volume 2 and is entitled Autumn in New York. His lyrical rendering of this popular tune places me 3000 miles away on a park bench in either Central Park or Battery Park in New York City. This music was recorded over 50 years ago; however the quality of these pressings whether purchased on vinyl or CD are masterful.

Burrell was born in Detroit, Michigan, to a musical family and began playing guitar at the age of 12. Guitarists who influenced him include Charlie Christian, Django Reinhardt, and Wes Montgomery. While a student at Wayne State University, he made his recording debut as a member of Dizzy Gillespie's sextet in 1951, following which he recorded the Ground Round single at Fortune Records in Detroit. He toured with Oscar Peterson after graduating in 1955 and then moved to New York City in 1956.

A consummate sideman, Burrell has recorded with a wide range of prominent musicians. He has also led his own groups since 1951 and recorded many well-received albums.

In the 1970s he began leading seminars about music, particularly Duke Ellington's. Although the two never collaborated directly, Ellington called Burrell his "favorite guitarist," and Burrell has recorded a number of tributes to and interpretations of Ellington's works.

A highly popular performer, Burrell has won several jazz polls in Japan and the United Kingdom as well as in the United States. He has recorded about 106 albums, including Midnight Blue (1963), Blue Lights, Guitar Forms, Sunup To Sundown (1990), Soft Winds (1993), Then Along Came Kenny (1993), and Lotus Blossom (1995).

In the mid 90’s, Mr. Burrell served as Director of Jazz Studies at UCLA, mentoring such notable alumni as Gretchen Parlato and Kalil Wilson. Burrell tought a course entitled "Ellingtonia", examining the life and accomplishments of Duke Ellington.

He is still performing today at the age of 82 and can sometimes be heard at Catalina Bar and Grill in Hollywood California.

Take a musical interlude and listen to Kenny Burrell Quartet's Autumn in New York here.


A fresh face, a fresh voice, jazz vocalist Cécile McLorin Salvant is destined to be the next great lady of jazz.

Her new CD entitled Woman Child evokes strong comparisons to The Divine One (Sarah Vaughan).  She is not a copy she has her own interpretation and style, however when I listen to the selection I Didn't Know What Time It Was I hear a young and vibrant Divine One.

Born and raised in Miami, Florida of a French mother and a Haitian father. She started classical piano studies at 5, and began singing in the Miami Choral Society at 8. Early on, she developed an interest in classical voice, began studying with private instructors, and later with Edward Walker, vocal teacher at the University of Miami. 

Cécile performs unique interpretations of unknown and scarcely recorded jazz and blues compositions. She focuses on a theatrical portrayal of the jazz standard and composes music and lyrics which she also sings in French, her native language as well as in Spanish. She enjoys popularity in Europe and in the United States, performing in clubs, concert halls, and festivals accompanied by renowned musicians like Jean-Francois Bonnel, Rodney Whitaker, Aaron Diehl, Dan Nimmer, Sadao Watanabe, Jacky Terrasson (with an a noted collaboration in his "Gouache" Universal CD), Archie Shepp, and Jonathan Batiste.  She sings for the 2nd consecutive year for the Chanel’s « Chance » ad campaign. In August 2012, Cécile recorded "WomanChild" for the Mack Avenue Label with Aaron Diehl, Rodney Whitaker, Herlin Riley and James Chirillo.

Cécile's WomanChild was nominated for the 2014 Grammy Award for Best Jazz Vocal Album.

Take a musical interlude and listen to Cécile's I Didn't Know What Time it Was here.