The Cool One CD combines Jimmy Giuffre's first two albums under his own name, Four Brothers and Tangents in Jazz, into one disc. Four Brothers, cut at three separate sessions between early 1954 and early 1955, is certainly the more conventionally bop-formatted of the pair, though it does vary in its approach, the lineup changing in size between a quintet, a septet, and a quartet. The earliest of the sessions is fairly standard, solid cool jazz, though the seven-piece shows signs of winging off into more daring directions with the fluttering melodics of "Four Brothers" and the choppy irregular beats and circling-round-each-other horns of "Sultana." While Giuffre scaled back to a quartet for the final Four Brothers recordings, a piece such as "Iranic" uses playfully lyrical horn lines and sporadic rhythm punctuations that similarly peeled away from expected jazz progressions. Tangents in Jazz, entirely recorded with a quartet (also featuring Jack Sheldon on trumpet, Ralph Pena on bass, and Art Anton on drums), is aptly named as it too goes into tangents from mid-'50s cool bop tunes, the rhythm section used to comment and insert rather than provide a straightforward pulse. Though certainly not devoid of appeal to straight-ahead jazz fans with its pleasantly good-natured riffs and sparse arrangements that can be either playful or (in tracks like "Scintilla 1" and "Rhetoric") meditative, or slightly melancholy, one can nonetheless hear the seeds of jazz moving from swing-based bop to more of an art music. Roy Carr's liner notes supply succinct details about these particular sessions and Giuffre's general background. ~ Richie Unterberger

This double-CD documents the meeting of two intuitive and frighteningly innovative musical minds (who both happen to play the same instrument) playing tuned and "detuned" pianos, one at a festival in 1991, and one at a piano factory in Germany. These duets are investigations into sonorities and tonalities that are accomplished during the act of duet improvisation. There are textures and rhythms possible only when one pianist is experiencing directly the tonal possibilities and harmonic registers in the act of responding to them. On the "tuned" set, there is so much of a musical meld, gentle competition, and sonic revelry, it's impossible to hear who is playing where; the feeling is one of confusion for the listener, but as comfort, there is a familiarity in the tones these improvisations take on. On disc one, each of the players is in a setting where they can hear themselves with familiarity; listening is an important element, but improvisatory know-how can rule the duel in a tough moment. On disc two, the "detuned" set, where the pianos are diagonally tuned -- "both pianos are tuned a quarter tone apart in their middle registers, while the lower and upper registers are stretched flat, respectively sharp, gradually, within the range of a minor second" (from the liner notes) -- no such thing is possible. Each musician is feeling his/her way through a new set of seemingly infinite tonal possibilities and equations that don't add up in the same manner. To add this kind of discovery onto a duet with a player in the same circumstances is either brave or stupid in a recording session. Pure musicality and instinct are the only components applicable with intense listening. There is the notion of dynamic, of course, but it would be too easy, too remedial to take that way out. What makes this recording so interesting to listen to is the "how" in each player's vocabulary that makes it work -- and most of the time it does very well. It may be excessive, but it's also a one of a kind document of a nearly hidden moment in musical history. ~ Thom Jurek

Previously, a double-LP was released of the Clifford Brown/Max Roach Quintet live from Chicago's Bee Hive, dating from late 1955. It was historically important because it had Sonny Rollins sitting in with the band for the first time, a short time before he succeeded Harold Land as the quintet's tenor saxophonist; unfortunately it was erratically recorded. However that has nothing to do with this two-CD set, much of which was recorded June 30, 1955. The recording quality is better than expected, trumpeter Clifford Brown is in brilliant form, tenorman Harold Land is at the top of his game, and there are many fine spots for pianist Richie Powell. All of that music was previously unreleased and it includes a nearly 22-minute version of "After You've Gone" (which was not otherwise recorded by the group) and a 15-minute "Blues" among its highlights. In addition, the final five selections on this two-fer are from a live set in New York from February 1956. That set, which has Sonny Rollins on tenor, was previously released, but just on an Elektra/Musician LP in the '80s. Once again the recording quality is decent and Brownie sounds wonderful. Clifford Brown has a right to feel excited about this significant release. ~ Scott Yanow