Gato Barbieri, “Milonga Triste” from Chapter 4: Alive in New York (1975). The Argentine saxophonist recorded at the Bottom Line in NYC. Last of the cat’s early 70s Latin America series on Impulse.
David Murry Octet, “Shakedown Street” from Dark Star: Music of the Grateful Dead (1996). Odd, cool, and hard to find jazz sax cat cutting Dead tracks.
Phil Woods, “Gunga Din” from Warm Moods (1957). Outstanding late-era BeBop from alto saxist Woods.
John Zorn and Masada, “Tahah” from One (1994). Representing one odd faction of the 90s downtown music scene in NYC. The alto saxist with other scene stalwarts Dave Douglass (trumpet) and Joey Baron (drums) combine avant-garde jazz and traditional Hebrew music.
Dr. Michael White, “Mpingo Blues” from Adventures in New Orleans Jazz, Part 1 (2010). Traditional clarinet blues in a modern recording. Two words: Sa Weet.
Charlie Haden and Quartet West (1987), “Hermitage”. Unbelievable tough and tender track. Featuring Ernie Watts sax. Like the burn of good scotch or sherry.
Jackie McLean, “Love and Hate” from Destination Out (Blue Note, 1963). Spacy new thing with Bobby Hutcherson’s clanging vibes.
Ry Cooder and Manual Galban, “Mambo Sinuendo” from Nonesuch album of the same name (2003). Cooder and the Cuban guitar legend. Goes down like chicken and yellow rice. With fried plantains. y cafe con leche.
Joanne Bracken, “Tico Tico” from Pink Elephant Music (1998). Yet more great jazz from the totally overlooked piano player.
Return to Forever, “The Sorceress” from Romantic Warrior (1976). Cheesy synth from leader Chick Corea, but Stanley Clarke’s bass and Al DiMeola guitar still sound great. Fusion near the end of it’s first classic era.
Yousvany Terry, “Summer Relief” from Today’s Opinion (2012). Nice modern jazz from Cuban sax player.