198. Frank Wess / Opus in Swing (1956)

This pianoless quintet led by the flute of Frank Wess also lacks his other instrument, the alto sax. Accordingly, he's in top form whether it's pounding high notes in the blue gloom of "Southern Exposure" or adding harmonic color to the serpentine leads of "Somewhere Over the Rainbow." Also moonlighting from the Basie Band are Eddie Jones and Freddie Green who keep time with Kenny Clarke so tight it's telepathic. The quintet excels in the same music that Basie's bands made famous. Like Basie's, their combo has an undeniable group dynamic, but every man is heard as his own solo artist. Together, they drive the music with one mind, then shine forth as individuals during the moments when one man stands alone. It's impossible to appreciate one quality without noticing the other. Kenny Burrell is notable. Listen to "East Wind." Green trades chording for a more pianolike approach that walks, while Klook keeps time with the cymbals and Wess sketches the heavy mood with dense vibrato. When he lays out, Burrell bursts the seams with bluesy runs and relevant single note phrases that underscore the character of the melody and polish the rhythm. It's choice stuff, a potent brew of Kansas City swing that has been seasoned with the developments of postwar New York.

25. Coleman Hawkins / In a Mellow Tone (1998)

Prestige had it easier than other labels in the task of compiling Coleman Hawkins' "best" studio recordings. Hawk's output on Prestige, Swingville and Moodsville commenced in 1958 and was completed by 1962, so the difficult job of choosing the most exemplary tracks was simplified. They chose from a diverse variety of small groups with Tiny Grimes, Red Garland, Tommy Flanagan, Major Holley, Ray Bryant, and Kenny Burrell, and others. It's a nice sampling of Hawk's technique and improvisational prowess. "Greensleeves" is done as a heartbreaking blues, and "I Want to be Loved" features Red Garland soulfully blocking the chorus while Hawk blows judicious bouts of syrupy vibrato. On Duke's "In a Mellow Tone," Hawk takes the left channel and Eddie "Lockjaw" Davis takes the right, trading gritty R&B inflected licks that progressively up the ante. The best part of this disc is that it does not sound conceptually disjointed. Hawk's distinctive voice and inventive ideas dominate the proceedings and keep the ear interested across almost five years of recordings with an assortment of players. 

04. Kenny Burrell / Midnight Blue (1963)

An album long in the making, according to the liner notes, and by the leader's decision, the selections were limited strictly to the blues. For this reason, I think putting Stanley Turrentine on tenor sax was an especially wise choice. When I listen to Midnight Blue, I'm listening to Turrentine's soulful attack and swinging timing as much as I'm listening to Burrell's guitar. Turrentine aside, there is notable variety in the arrangements, and a few tracks even work to the exclusion of one or more players. I'm impressed with the variety of different moods and textures the Burrell group can coax out of a single musical form, a testament to the power of the blues. Differences in mood between "Chitlins Con Carne," "Gee Baby Ain't I Good to You," and the quietly heartfelt solo voice of "Soul Lament" are simply flooring.