Trio and Sextet

Editorial Reviews
From Jazziz
Al Haig, a top-shelf bop pianist who played on some of Charlie Parker and Dizzy Gillespie's groundbreaking recordings, also exhibited a bit of Powell's influence after 1950. For his part, Powell cited Haig as his favorite on the instrument and referred to him as "a perfect pianist." On Trio and Sextets, Haig is heard in 1949 with groups that included tenor greats Stan Getz and Wardell Gray and, five years later, in a trio that included bassist Bill Crow and drummer Lee Abrams.

It's easy to understand why Powell held Haig in such high regard; Al was a consummate artist, sensitive, melodically inventive, and a great accompanist. He was also a great technician, a fact somewhat obscured by the apparent ease of his playing. He used the upper octaves more than most bop pianists and played very smoothly, anticipating Hank Jones and Tommy Flanagan.

Not only does Haig play with uncommon authority on Trio and Sextets, but there's also topnotch playing by Getz and Gray, who display their interpretations of Lester Young's style, and by Jimmy Raney, the guitar equivalent of Haig.

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