7 Classic Albums

New York, N. Y. (1959)GR, arr, cond; Art Farmer, Doc Severinson, Ernie Royal, tpt; Bob Brookmeyer, valve tbn; Frank Rehak, Tom Mitchell, tbn; Hal McKusick, alto sx; John Coltrane, ten sx; Sol Schlinfger, bari sx; Bill Evans, p; Barry Galbraith, guit; Milt Hinton, b; Charlie Persip,, dr; Jon Hendricks, voc, narr.Jazz in the Space Age (1960)GR, arr, cond; Ernie Royal, Al Kiger, Marky Markowitz, tpt; Frank Rehak, David Baker, tbn; Bob Brookmeyer, valve tbn; Jimmy Buffington, FR horn; Hal McKusick, alto sx; Dave Young, ten sx; Sol Schlinger, bari sx; Bill Evans, Paul Bley, p; Barry Galbraith, Howard Collins, guit; Milt Hinton, b; Don Lamond, Charlie Persip, dr.Stratusphunk (1960)GR, p, arr, cond; Al Kiger, tpt; David Baker, tbn; Dave Young, ten sx; Chuck Israels, b; Joe Hunt, dr.GR Sextet in K. C. (1962)Same , except Don Ellis, tpt.Ezzthetics (1961)GR, p, arr, cond; Don Ellis, tpt; Eric Dolphy, alto sx, bss clari; Dave Baker, tbn; Steve Swallow, b; Joe Hunt, dr.The Stratus Thinkers (1962)Same except replace Dolphy w/ Paul Plummer, ten sx, and John Pierce, alto sx.The Outer View (1962)GR, p, arr, cond; Don Ellis, tpt; Garnett Brown, tbn; Paul Plummer, ten sx; Steve Swallow, b; Pete LaRoca, dr; Sheila Jordan, voc.These seven albums, now squeezed into four CDS, are the classic George Russell cuts from the period 1959-1962. They include two large ensemble albums. The first, New York, NY, from 1959, features musicians like Art Farmer (tpt), Bob Brookmeyer (valve tbn), John Coltrane (ten sx), and Bill Evans (p), and Jon Hendricks writes the lyrics and delivers on vocals. I bought this album on vinyl when it first came out and I have the same reaction to it now that I had then: there are brilliant moments and some phenomenal musical writing but as a whole, the album doesn't make it. It's derivative and too heavy. The second large ensemble album is Jazz in the Space Age (1960). An exceptional ensemble plays, including -the best moment on the recording--Paul Bley and Bill Evans playing against and together with each other. Still the album sounds like a trial balloon -a first class composer is still trying out his wings. He hasn't quite made it yet but what a way to fail!The remaining four albums included on this compilation feature Russell's own working group from 1960-62: with Al Kiger or Don Ellis on trumpet, David Baker and (on the last album) Garnett Brown on trombone, different sax players -Dave Young (tern sx), Eric Dolphy (alto sx and bss clari), Paul Plummer (alto sx) and John Pierce (ten sx), Russell on piano, Chuck Israels or Steve Swallow on bass, and Joe Hunt or Pete LaRoca on drums. Sheila Jordan sings on the most famous cut of all these records, "You Are My Sunshine," which still sounds amazing today but was absolutely groundbreaking in 1962, when it was first released.There are so many good things happening on these last four albums that it's hard to decide where to start. From the start, it was an exceptionally tight, responsive ensemble. Russell, who plays much more than arranger's piano, leads the group through his difficult but exciting, interesting music, and the other players respond brilliantly.Do I have favorites? Of course! Both of the trumpeters are brilliant, not only the better known Ellis but Kiger, a musician I wish I knew more about. Of the reed players, the best is clearly Dolphy but now of them disappoint -it's just that Dolphy was a genius, whose worth has only slowly been acknowledged. He wasn't an original harmonicist like Trane or Ornette but who had a sound like him -only Albert Ayler or Peter Brotzmann can equal him-- and who made such brilliant and unexpected entries into his solos? I've already said how much I appreciate Russell's playing. I expected brilliant writing from him but over the years, had forgotten what a good ensemble piano player he was.If I'm disappointed by any of the playing it would be the drummers, and then only sometimes. It seems as though Hunt -not LaRoca--things were settled in the group by the time he joined it in 1962- was still feeling his way to a freer role as drummer. In the early cuts, his drumming seems adequate but unexciting -constrained--and a group as wild as this deserved more. By his last album with Russell, The Stratus Seekers (1962), Hunt sounds fine.There are so many good, inexpensive composite sets of major players from the 50s and 60s out there now -Bill Evans, the Quincy Jones bands, Horace Silver, Sun Ra, Ornette Coleman--but the Russell set may be the very best of all.

I believe I've seen complaints about sound quality in reviews of some Real Gone Jazz releases. By and large these complaints are unjustified or just plain wrong. Considering that all these releases are of 50+ year old recordings, the quality of the sound, across the board in the series, is about as good as it can be - and, in the case of the George Russell release at hand here, it's truly wonderful. The seven George Russell albums compiled in this set were recorded in stereo (in 1959-1962!), and what stereo it is (!) - wide, panoramic, detailed, with lots of "space" around the instruments. There is little-to-no distortion or lack of "presence" in these recordings (with the possible exception of the piano, which often sounds a bit distant, even tinny - but then, many recordings of this era featured poor piano sound). The music itself is very advanced, in terms of both composition and arrangement, with large ensembles playing sophisticated, at times almost avant-garde, pieces. Unusual instruments are used in spots, as well as what could be described as "sound effects". Nonetheless, despite its advanced nature the music here is quite accessible and enjoyable. Especially given the quite low price that this set is available for, as well as the fact that the individual albums in the set are difficult, if not - in some cases - nearly impossible to find, I can't recommend this purchase highly enough. As one of the other reviewers here wrote, this is very possibly, if not probably, the best set of CDs in the Real Gone Jazz series.

It took me a long time to appreciate George Russell's work and even now I have to be in the right frame of mind to listen to it. (Late at night is best.) I used to think his music was too detached and cerebral, but his place in the lexicon of modern jazz is firmly established, and with good reason. Most of the albums collected in this four disc set are convincing evidence of Russell's genius, however, because some are more approachable than others I would direct those who are new to his work to start with "Jazz in the Space Age" and then listen to "The George Russell Sextet in K.C." - both good introductions. I love "Stratusphunk" and its uniquely-titled songs ("Kentucky Oysters" and "Lambskins" to name two), which you can practically tap your foot to every now and then, whereas "Ezz-thetics" represents Russell at his most abstract. While I would much rather have seen the Jazz Workshop album, now apparently only available on the  Complete Bluebird Recordings  disc, or  George Russell Sextet At The Five Spot  in lieu of "New York, N.Y.," an avant-garde period piece with a narrative overlay by Jon Hendricks, this criticism is minor in view of the overall quality and value of this set.The sound picture is also outstanding.Five stars.

This set of CDs comprises one wonderful musical experience after another. The playing is phenomenal throughout. Of course when you are dealing with players such as Dolphy, David Baker, Don Ellis, Bill Evans, Paul Plummer, Dave Young et al how can you go wrong. But best of all is Russell's musical original concepts. Was music like this really being written and played in 1960!? He opened up many possibilities that never came to fruition later in the decade. Sure, the powerful voices of Ornette, Trane, Miles and Mingus are what we mostly remember from that era but Russell was exploring some very fertile ground from the beginning.

Excellent value.

a perfekt collection of a man with his own way of musical thinking. displayed in small and large ensembles. both sides has their charm, the small groups with a young don ellis on trumpet,w0w! and david baker on trombone, what if he hadn't played with a displased jaw giving hin so much trouble that he had to give up his playing career.the big band sides is in a sense more easily to understand. but still fantastic music so very nice to get it all in one volume

this cd is excellent like the 4 disc box set would recommend this classic cd box set to any jazz fan

Brilliant unique jazz. AMAZING value which I would recommend to any George Russell fans. I particularly want to mention the audio quality as other reviews very nearly put me off buying these outstanding CDs by implying poor audio quality. On my £5000 system (2005 prices) Exposure CD & Amp + Castle speakers, the audio quality is above average for recordings of this period. Enjoy!

I can only hope for more of this type of collection to fill the sporadic gaps in George Russell's discography. Pity there are no alternative takes, but I'm greedy.