206. Frank Sinatra / In the Wee Small Hours (1955)

Though not as languished as 1959's No One Cares, this album of ballads sets the bar for melancholy, as well as being the first of the themed (and innovative) full-length LP's that Sinatra recorded for Capitol. Gordon Jenkins arranged and conducted on No One, but originally it was Nelson Riddle at the stand. The collaboration is magical. Riddle's restrained treatments underscore the mood of each lyric and magnify their impact. Sinatra expertly uses breath control and different vocal textures to interpret the material while Riddle's charts employ orchestral color at all the right incidental moments. Sinatra sings the passages carefully, sounding deeper and more mature than ever before. The frankness of songs like "Last Night When We Were Young," "I See Your Face Before Me," and "When Your Lover Has Gone" have secured In the Wee Small Hours a permanent place in the hearts of many fans. It remains one of  his most satisfying and moving performances on wax. More than a routine set of ballads, it only takes a few notes to know that Sinatra is making these songs his own. At the same time, they're yours too.

205. Coleman Hawkins with Eddie "Lockjaw" Davis / Night Hawk (1960)

Enough has been said about Hawk's invention of the wheel when it comes to the tenor sax solo. His influence extends over both horizons and has touched untold numbers of musicians both directly and indirectly. But his work, especially that of the transitional 50's and early 60's, is also a lot of fun to listen to. Hawk's professionalism was so cool it was casual, his technique an enigmatic balance of technical innovation and instinct. Here, in a 1960 session for the Swingville imprint and recorded by Rudy Van Gelder, he is heard with fellow tenor Eddie Davis, Tommy Flanagan, Ron Carter, and Gus Johnson. The title track, 10 minutes of slow blues loosely organized around a theme, is a pickup number that demonstrates the players' knack for the above. The contrast between the tone and styles of Hawkins and Davis on tracks like "In a Mellow Tone" provides an added dimension. Flanagan is in top form playing tastefully between the leads, Carter and Johnson a sympathetic unit whose attention to the music goes beyond timekeeping. As with Duke Ellington Meets Coleman Hawkins recorded for Impulse two years later, a good result from such a meeting of the minds was not a foregone conclusion, but in both cases the outcome was memorable.

204. Don Cherry / Art Deco (1988)

Credited to Cherry, this session belongs to the same unit that worked together before Cherry, Haden, and Higgins historically joined ranks with Ornette Coleman. It's a beautiful straight set, comprised of cooly executed standards, originals, and several Coleman covers. The quartet is familiar and tight. I haven't listened to much of James Clay's past work, but now I wish I had more of it on hand to explore. His deep, supple lines in "Body and Soul" put a fresh coat on the old song, mixing wry bop phrasing with bursts of unexpected tonal color and bluesy swagger. Cherry takes a rest while Higgins and Haden nimbly sidestep one another before Haden builds a short solo. The ensemble picks up again behind Clay's last chorus and the plaintively emotive outro for solo tenor. Monk's "Bemsha Swing" comes next, where Cherry and Clay get most of the spots, but leave room for Higgins. Higgins, Cherry, and Haden each get time alone on "Passing," "Maffy," and "Folk Medley," quiet, introspective spaces that give listeners a chance to appreciate their individualism. Eight-bars-and-blow gets old, I agree, but these renderings sagely belie that trope with wit, spirit, and a genuine enjoyment for the music Do you love great jazz? Find it, buy it.

203. The Jeff Lorber Fusion / Wizard Island (1980)

If you don't listen to jazz, you've probably heard Lorber's music on the Weather Channel while checking your local forecast! The back catalog is a bit more interesting, but not by much. This record was a #1 seller for Arista, and it sounds every bit the part. Cast in the same mold as the heavy hitters like Hancock, Corea, Clarke, et al, it lacks the trailblazing and depth found in those acts (Corea guests on "Rooftops"). Selections are heavy on the funk and Arista Records' special sauce, a superb studio product. It's got a lot of production on it and in spite of the funky corners, some of the songs do take on a two-dimensional pop simplicity. But if you're a fan of good bass playing or vintage synths like Minimoog and the Sequential Circuits Prophet 5, Lorber's album might interest you. I'm not a big fan of soft jazz or heavily produced wallpaper, but I do spin it sometimes. Dennis Bradford and Danny Wilson get high marks for drums and bass, respectively. Bland as this example may be, funky fusion grooves were an entry point for countless musicians of the 70's and early 80's, and Wizard Island does well to show you the ropes.