Latest releases reviewed

JOHNNY COLES
Little Johnny C
Blue Note
****

Trumpeter Johnny Coles's lyricism indelibly marked his contributions to the recordings of composer and orchestrator Gil Evans. But, as this reissue of his early 1960s leader debut on Blue Note shows, he was also a far more probing and adventurous soloist than he was given credit for. With the fiery talents of Leo Wright (alto/flute) and Joe Henderson (tenor) contrasting beautifully with his own more restrained approach, and pianist Duke Pearson swinging hard in two driving rhythm sections (bassist Bob Cranshaw with Walter Perkins or Pete La Roca on drums), Cole put down what remains probably the finest release ever to appear under his own name. It's archetypal Blue Note of the era, impressively remastered by original sound engineer Rudy Van Gelder.

FRANK COLLET
All God's Chillun Got Rhythm - The Film Music of Bronislaw Kaper
Fresh Sound
****

Collet is a bop pianist with a long and distinguished jazz history as a sideman at the highest level, and it was an inspired choice of producer Dick Bank to put him together with the music of Kaper. Best known in jazz circles for the haunting Invitation, On Green Dolphin Street, the Oscar-winningHi-Lili, Hi-Lo and the title track (all here), Kaper was a front-rank, prolific film composer. This beautifully crafted, subtle response to his music offers, inter alia, some forgotten delicacies; Blue Lovebird, the gorgeous While My Lady Sleeps, a buoyantly swinging Tomorrow Is Another Day, and love themes from Mutiny on the Bounty and The Brothers Karamazov. Gelling the mix are the superbly apposite Tom Warrington (bass) and Joe La Barbera (drums), while Collet offers some gem-like solo piano pieces in Gloria, Ninon and The Color of Love. Tasty. www.freshsoundrecords.com

URI CAINE
Sphere Music
Winter & Winter
****

Winter & Winter's JMT reissues continue with this invigorating early 1990s example of pianist Uri Caine in full flow. A series of trio settings emphasise his astonishing rapport with drummer Ralph Peterson (the splendid bassists are Kenny Davis and Anthony Cox). But he also enjoys a meeting of minds in quartet and duo with clarinetist Don Byron; their witty, brilliantly quirky deconstruction of Round Midnight is a highlight, as is Caine's trio exploration of Monk's We See. Elsewhere, he brings in the dark-hued tenor of Gary Thomas, whose aggressive approach sits somewhat uneasily with Caine's exuberance, and the crisp cornet of a rather under-used Graham Haynes. That said, the forcefully imaginative trios and Byron colloquies are things to treasure on a fine release. www.harmoniamundi.com