158. Dick Hyman & Ralph Sutton (1993)

This magical live set was recorded at Berkeley's Maybeck Recital Hall in 1993. Both players have a grand command of the keyboard, and a little bit like the piano recordings of Duke Ellington, they render the music with the arranger's ear for an orchestra. Hyman is off to the left, Sutton on the right. Hearing the two styles in opposition is a marvelous thing. Tumbling down the stairs in effervescent flurries from the high end is Hyman, while Sutton provides a canvas of chording and big rhythmic anchor. Sutton's choruses in tunes like "I'm Gonna Sit Right Down and Write Myself a Letter" are comparatively rowdy, bordering on barrel house, filled with booming chords and a topsy-turvy swing. Clocking in just shy of five minutes, I think the tune could easily have gone another round, but what we get is such a skyrocket that it's impossible to complain. "Everything Happens to Me" is a solo feature for Sutton, while Hyman gets "Ol' Man River" all to himself. In the latter, Hyman's lines demonstrate a dazzling fluency in blues, bop, and balladry. A shimmering collection of piano jazz by two undisputed masters of the instrument, I highly recommend this collection.

123. Wilton Felder / Forever, Always (1993)

Felder is a hard working session man on the bass and tenor who is deeply reverent of his roots in straight ahead jazz, soul, blues, and R&B. I'm down with that. But on the other hand, this funky, (thanks, Dwight Sills on bass) soul-influenced smooth jazz session is a snoozer. I'm not going to pan it because it's a very slick product with some uncanny melodies and remarkable consistency. Don't take me the wrong way because I like smooth jazz, soul jazz, and fusion. But when I turn on Forever, Always, from the very first note, I find myself looking toward the television for the weather forecast. You feel me? It's one of those records, and a very good one, at that. I find it to be good for the background, good music to listen to if I just want to relax because there aren't many surprises and rhythmically it's all at one depth. Felder's tone is very solid and downright enjoyable, but the music is thin on ideas and while it isn't uninspired, it comes off as routine. Sonically speaking, the mix is creamy and sounds equally at home on speakers or headphones. Did I mention I've retained this album in my iPod? There's a time and a place for everything. So if you're into smooth jazz, 80s soul jazz, or fusion groups without horns, this is the record for you. 

23. Bix Beiderbecke / Felix the Cat (1993)

CD compilations from 78s are a gamble because the audio can be very poor and the program might omit the artist's most important work. The Columbia remasters and similar offerings from other big labels are safe, but if you just want a few CDs then choosing the right one in a chronological, multidisc series can be difficult. This import on a single disc is unavailable, but I've seen it inexpensively in a few shops, probably because people prefer the complete Columbia set. The audio quality is surprisingly good. It is a substantial 24 tracks, and presents good selections from all the phases of Bix's career. Included are Bix's lovely piano original "In a Mist" as well as the small group side with Eddie Lang "Wringin' and Twistin'." You also get big band work with the Wolverines, Jean Goldkette, Frankie Trumbauer, Paul Whiteman, and his last sides with friend Hoagy Carmicheael. The tone and style of Bix's open horn are immediately recognizable and stand head and shoulders above other players, even today. If I had to pick a single Bix compilation out of the multitude, this would probably be the one.