ALLISON NEALE
Seattle born alto saxophonist, Allison Neale is unashamedly keeping the flame alight for West Coast school style of jazz, and especially that of Art Pepper and Paul Desmond.
This gentle and lyrical approach is in plentiful supply on her stunning new album, Quietly There, which brings to the fore her intensely melodic improvisations with a subtle and deep rooted sense of swing.
With her new album so rooted in the West Coast Jazz of the fifties, brought right up to date with some superb arrangements and playing from the Quartet, we asked Allison to tell us about her all time top ten favourite albums.
This gentle and lyrical approach is in plentiful supply on her stunning new album, Quietly There, which brings to the fore her intensely melodic improvisations with a subtle and deep rooted sense of swing.
With her new album so rooted in the West Coast Jazz of the fifties, brought right up to date with some superb arrangements and playing from the Quartet, we asked Allison to tell us about her all time top ten favourite albums.
ART PEPPER - Meets the Rhythm Section
My all time favourite, this record represents some of Art’s finest playing on record with Coltrane’s incredible rhythm section of Wynton Kelly, Paul Chambers and Philly Joe. Am super proud to have both original stereo and mono first pressings in our collection at home. Art was a total individual with his own voice on the alto..and he never stopped searching in his music. Thats the benchmark!
STAN GETZ - Interpretations by the Stan Getz Quintet
I loved this record as a child and couldn't stop listening to it. The incredible sound of Stan made such a deep impression on me and still does today. The wonderful interplay here between Getz and valve trombonist Bob Brookmeyer is really perfection and has certainly influenced the way I have approached playing with other horn and guitar players over the years. I just love everything Stan has ever recorded and hearing him live in my younger days was truly magical for me.
My all time favourite, this record represents some of Art’s finest playing on record with Coltrane’s incredible rhythm section of Wynton Kelly, Paul Chambers and Philly Joe. Am super proud to have both original stereo and mono first pressings in our collection at home. Art was a total individual with his own voice on the alto..and he never stopped searching in his music. Thats the benchmark!
STAN GETZ - Interpretations by the Stan Getz Quintet
I loved this record as a child and couldn't stop listening to it. The incredible sound of Stan made such a deep impression on me and still does today. The wonderful interplay here between Getz and valve trombonist Bob Brookmeyer is really perfection and has certainly influenced the way I have approached playing with other horn and guitar players over the years. I just love everything Stan has ever recorded and hearing him live in my younger days was truly magical for me.
PAUL DESMOND - Easy Living
This is just one of five exquisite records that Paul made with guitarist Jim Hall in the early 60’s. These recordings are truly beautiful and show the perfect partnership that these two incredible voices in the music had together. Both Paul and Jim have had a profound influence on me in my career to date. Once I heard that Desmond sound there was no going back!
DAVE BRUBECK QUARTET - Jazz at Oberlin
One of the Brubeck Quartet’s finest college dates recorded for the Fantasy label at the famous Oberlin College in 1953. Paul and Dave had a particular relationship and musical partnership
which really worked in a live setting. This is some of Paul’s finest soloing, he really stretches out and his creativity and musicality is really at its peak here.
This is just one of five exquisite records that Paul made with guitarist Jim Hall in the early 60’s. These recordings are truly beautiful and show the perfect partnership that these two incredible voices in the music had together. Both Paul and Jim have had a profound influence on me in my career to date. Once I heard that Desmond sound there was no going back!
DAVE BRUBECK QUARTET - Jazz at Oberlin
One of the Brubeck Quartet’s finest college dates recorded for the Fantasy label at the famous Oberlin College in 1953. Paul and Dave had a particular relationship and musical partnership
which really worked in a live setting. This is some of Paul’s finest soloing, he really stretches out and his creativity and musicality is really at its peak here.
BUD SHANK QUARTET - Featuring Claude Williamson
I had the pleasure of playing alongside the great Bud Shank a few years before he died. One of my influences and one of the great altoists in the West Coast tradition he was also a wonderful flautist. This record on Pacific 1230 features one of my favourite pianists Claude Williamson along with a beautiful suite Tertia written by him for the quartet supported beautifully by Don Prell and Chuck Flores, longtime drummer with Woody Herman.
ERIC DOLPHY - Last Date
A beautiful and unique musical persona, Eric always fascinated me and I have always been drawn to his playing and recordings. This isn't in fact his last recording but seems very much his swan song to me..if you listen to his incredible interpretation of ‘You Don't Know What Love Is’ on flute. The sense of freedom is quite incredible. He is accompanied so creatively by Dutch jazzmen Misha Mengelberg on piano, Jacques Scholes on bass and drummer Han Bennink.
I had the pleasure of playing alongside the great Bud Shank a few years before he died. One of my influences and one of the great altoists in the West Coast tradition he was also a wonderful flautist. This record on Pacific 1230 features one of my favourite pianists Claude Williamson along with a beautiful suite Tertia written by him for the quartet supported beautifully by Don Prell and Chuck Flores, longtime drummer with Woody Herman.
ERIC DOLPHY - Last Date
A beautiful and unique musical persona, Eric always fascinated me and I have always been drawn to his playing and recordings. This isn't in fact his last recording but seems very much his swan song to me..if you listen to his incredible interpretation of ‘You Don't Know What Love Is’ on flute. The sense of freedom is quite incredible. He is accompanied so creatively by Dutch jazzmen Misha Mengelberg on piano, Jacques Scholes on bass and drummer Han Bennink.
ART FARMER / GIG GRYCE - When Farmer Met Gryce
This fantastic record unites my favourite trumpet player with another fine yet little talked about altoist Gigi Gryce, in a beautiful musical pairing. Gryce was better known for his writing and compositions, many of which I have explored myself on past recordings yet his sound and approach, Bird influenced of course, feels so honest alongside Farmer’s melodic style on this 1955 Prestige recording.
WES MONTGOMERY - Movin' Along
Growing up with a lot of jazz guitar records in the house, Wes is an absolute hero of mine! Hearing him play has always given me a sense of euphoria and this 1960 Riverside recording has to be one of my favourites of all time. He plays guitar and unusually, bass guitar with a magical rhythm section of Louis Hayes, Sam Jones and Victor Feldman along with James Clay on tenor and flute. Wes was a perfectionist who didn't like including outtakes on record so if you want to hear the original as it should be then listen to the vinyl!
This fantastic record unites my favourite trumpet player with another fine yet little talked about altoist Gigi Gryce, in a beautiful musical pairing. Gryce was better known for his writing and compositions, many of which I have explored myself on past recordings yet his sound and approach, Bird influenced of course, feels so honest alongside Farmer’s melodic style on this 1955 Prestige recording.
WES MONTGOMERY - Movin' Along
Growing up with a lot of jazz guitar records in the house, Wes is an absolute hero of mine! Hearing him play has always given me a sense of euphoria and this 1960 Riverside recording has to be one of my favourites of all time. He plays guitar and unusually, bass guitar with a magical rhythm section of Louis Hayes, Sam Jones and Victor Feldman along with James Clay on tenor and flute. Wes was a perfectionist who didn't like including outtakes on record so if you want to hear the original as it should be then listen to the vinyl!
CHET BAKER - Chet
This is another of my favourite Riverside recordings from 1959 with Chet accompanied by a magnificent lineup including Herbie Mann on flute, Pepper Adams on baritone, guitarist Kenny
Burrell, and Miles own rhythm section of Bill Evans, Paul Chambers and Philly Joe, although Connie Kay is also featured on drums. Chet was an ears player of course with melody at the very heart of his beautiful musical sound, heard on this soley instrumental recording with the focus very much on the art of the ballad.
LEE KONITZ / WARNE MARSH - Live at the Half Note
The great musical pairing of Lee and Warne on this classic live recording is truly symbiotic. Both saxophonists had a unique sound even as they emanate from the Tristano approach and are truly creative and effortless in their approach to improvisation. I was lucky to meet Lee on a few occasions and he was a taskmaster. True improvisation was his goal. Warne, who feared even by the likes of Stan Getz, was famously able play the same tune many times and never tire of finding new things to say. A lesson to all jazz musicians, I think!
This is another of my favourite Riverside recordings from 1959 with Chet accompanied by a magnificent lineup including Herbie Mann on flute, Pepper Adams on baritone, guitarist Kenny
Burrell, and Miles own rhythm section of Bill Evans, Paul Chambers and Philly Joe, although Connie Kay is also featured on drums. Chet was an ears player of course with melody at the very heart of his beautiful musical sound, heard on this soley instrumental recording with the focus very much on the art of the ballad.
LEE KONITZ / WARNE MARSH - Live at the Half Note
The great musical pairing of Lee and Warne on this classic live recording is truly symbiotic. Both saxophonists had a unique sound even as they emanate from the Tristano approach and are truly creative and effortless in their approach to improvisation. I was lucky to meet Lee on a few occasions and he was a taskmaster. True improvisation was his goal. Warne, who feared even by the likes of Stan Getz, was famously able play the same tune many times and never tire of finding new things to say. A lesson to all jazz musicians, I think!
For more information visit allisonneale.com
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