Norma Winstone - Stories Yet To Tell (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 307 Mb
© 2010 ECM 2158
Female Vocal
Many thanks to deepofrain, AneL
Descripstion
Distances (ECM, 2008) wasn't British vocalist Norma Winstone 's first release to feature her current trio of reedman Klaus Gesing and pianist Glauco Venier, but with ECM Records' greater exposure and reputation, it was the first to reach a broader international audience. With Distance a largely lyric-based alternative to Winstone's always lovely wordless vocals on Chamber Music (Universal, 2004), Stories Yet to Tell is a worthy successor to both, with even greater emphasis on Winstone the lyricist—she contributes to eight of its twelve songs—making it an even more personal collection than either this trio's past releases or the hushed beauty of her 1987 ECM debut as a leader, Somewhere Called Home.
Like Distances, Stories Yet to Tell doesn't entirely desert Winstone's warm and enticing approach to wordless vocals—a style she's evolved since the mid-'70s and work with Azimuth, the groundbreaking trio with trumpeter Kenny Wheeler} and pianist {{John Taylor. Rather than scatting on top of a group of accompanists, Winstone's less-dominant—and, for that matter, less-is-more— approach integrates more seamlessly; a partner, rather than a leader. Her name may be on the marquee here, but it's clear that this is a trio of equals, with Venier and Gesing providing plenty of compositional support as well as instrumentation as soft and understated as Winstone's own voice and delivery.
Three of the four songs not featuring Wintone's lyrics are instrumentals. Arranged by Venier and recording engineer Amerio Stefano, they range from a buoyant reimagining of the pentatonic Friulian folk song," Lipe Rosiže," where Winstone's voice and Gesing's soprano sax meld effortlessly in its magnetic intro, to a pensive adaptation of a 13th century troubadour song. Their imaginative look at 16th century Italian composer Giorgio Mainerio's memorably melodic "Ballo Furlano"—where Gesing's deep lyricism and rhythmic propulsion underscore Venier's intrinsic classicism and Winstone's weaving economy—feels, somehow, like an early touchstone for Ralph Towner and Oregon.
When Winstone turns to lyrics, her approach is similar: her understatement and refreshingly non-melismatic selflessness all about the essence of the song—and, paradoxically, by doing nothing overt to draw attention to herself, doing exactly so. An influence on more than one generation of singers, Winstone's three songs co-written with Gesing are particularly impressive, especially the dark-hued "Sisyphus," where the trio's interpretive ability to flex time is at its most empathic. Winstone also adds lyrics to instrumental music from jazz icon Wayne Shorter and Armenian composer Komitas, whose gently insistent "Cradle Song (Hoy Nazan)" may be familiar to fans of Kim Kashkashian 's Hayran (ECM, 2003); Winstone's voice, however, is considerably more alluring than pianist/composer Tigran Mansurian's rough-edged delivery on the violist's New Series date.
As Winstone moves ever farther from the Great American Songbook—her one nod, an achingly beautiful version of Caymmi/Motta/Bergman's "Like a Lover"— it's certain that, with band mates as sympathetic as Gesing and Venier, there's precious little she can't do. Stories Yet to Tell could be the pithy mission statement for this sublime trio, as it continues to mine a breadth of external sources, filtered through its own softly refracting internal prism.
Hadouk Trio - Air Hadouk (2010)
EAC | WAVPACK+CUE+LOG+Full Artwork -> 379 Mb
© 2010 Naïve NJ620611
Ethnic Jazz | Contemporary Jazz
Descripstion
This is a 2009 studio recording from the French/American Hadouk Trio who play jazz on unusual folk instruments. The album is conceived of as a set of 13 flights of fancy on a metaphorical airline "Air Hadouk" or "AH" with each tune listed on the back cover as a flight number on an electronic departures board. Your pilots, Loy Ehrlich, Didier Malherbe, and Steve Shehan, deliver charming and inventive music in 12 originals and one Thelonious Monk tune ("Friday the 13th"). This album sounds a bit funkier to my ears than the other Hadouk Trio albums I have, Shamanimal and Baldamore. I also think that Loy Ehrlich might be using some electronic keyboards on some tunes, although this is not indicated in the CD booklet.
Fans of Herman Melville might be interested in knowing that 3 tunes are named after characters ("Babbalanja", "Yillah", and "Dididi") from his first novel "Mardi".
Steve Dobrogosz & Anna Christoffersson - Covers (2010)
EAC | FLAC+CUE+LOG+No Scan -> 296 Mb
Vocal Jazz
David Binney - Aliso (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 466 Mb
© 2010 Criss Cross Jazz 1322
Modern Creative
Many thanks to tdelyon, jhardy
Descripstion
What David Binney has termed an old-school-type blowing session project, the acclaimed alto saxophonist presents perhaps his most straight-ahead, mainstream jazz album. It's certainly not without angular melodies or forward-thinking notions, especially considering Binney is teamed with fusion guitarist Wayne Krantz, but the tandem melody lines they form are consistently accessible and easy to enjoy. Pianist Jacob Sacks plays on the majority of these tracks (with Jon Escreet on the others,) as his reputation is steadily emerging as one of the top-drawer and sought-after sidemen, with leadership in his not-too-distant future. Binney himself has one of the most distinctive sounds on his instrument, balancing the sweet and sour aspects of his horn together with Krantz on the light-funk title track, and heavier "Bar Life" which recalls his previous and brilliant album South in collaboration with Chris Potter. Fresh covers of Thelonious Monk's "Think of One," Wayne Shorter's "Toy Tune" or "Teru," the exceptional hard bop version of the Sam Rivers-penned "Fuchsia Swing Song," and a lengthy adaptation of John Coltrane's massive "Africa" all show Binney's ability to broaden his appeal without compromising his vision. His alto on the latter selection where 'Trane's tenor was, gives pause to Binney's daring spirit that seems limitless. It's another exceptional effort in the career of a musical artist deserving of all accolades.
Blue Mitchell - The Thing To Do (1964)
EAC | APE+CUE+LOG+Full Artwork -> 265 Mb
© 2003 Blue Note RVG Edition
Hard Bop | Trumpet Jazz
Descripstion
This Blue Mitchell date is a classic, particularly the opening "Fungii Mama," which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson ("Step Lightly") and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended.
Jimmy Smith and Wes Montgomery - Further Adventures of Jimmy and Wes (1966)
EAC | FLAC+CUE+LOG+Artwork -> 180 Mb
© 2004 Verve 60th Aniversary Mini-LP, UCCV 9193
Hard Bop | Soul Jazz
Descripstion
Further Adventures of Jimmy and Wes picks up where Dynamic Duo left off, digging a little further into the one-time-only Wes Montgomery/Jimmy Smith sessions and coming up with more fine music -- mellower in general than Dynamic Duo but first-class nonetheless. Unlike most of the studio sessions from this time, Montgomery gets plenty of room for his single-string work as well as his famous octaves, and both techniques find him in full, mature bloom, needing fewer notes in which to say more (Smith, of course, is precisely the opposite). All but one of the tracks on the original LP find Smith and Montgomery interacting only with themselves, the drums of Grady Tate, and the congas of Ray Barretto; Roger Miller's "King of the Road" (not often covered by jazzers) and Montgomery's "O.G.D." (later known as "Road Song") come off best. Oliver Nelson's big band makes a sole appearance with a swaggering chart of "Milestones." Though Dynamic Duo is probably the priority purchase by a hairsbreadth margin, you'll need to have both that album and Further Adventures eventually.
Jimmy Smith and Wes Montgomery - The Dynamic Duo (1966)
EAC | FLAC+CUE+LOG+Full Artwork -> 270 Mb
© 1997 Verve Master Edition 314521445-2
Hard Bop | Jazz-Funk | Soul Jazz | Crossover Jazz
Descripstion
Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary -- a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound. The romping, aggressive big band charts -- Oliver Nelson at his best -- on "Down by the Riverside" and "Night Train," and the pungently haunting chart for Gary McFarland's "13" (Death March)" still leave plenty of room for the soloists to stretch out. "James and Wes" and "Baby, It's Cold Outside" include drummer Grady Tate and conguero Ray Barretto, with Smith's own feet working the organ pedals. The Verve Master Edition reissue also includes an alternate take of "O.G.D." with Tate and Barretto, a track previously surfacing on a long-gone Encyclopedia of Jazz anthology LP from the '60s -- a neat bonus that makes this the preferred version.
Lage Lund - Unlikely Stories (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 358 Mb
© 2010 Criss Cross Jazz 1321
Hard Bop | Trumpet Jazz
Many thanks to tdelyon, marksman
Descripstion
It is a great pleasure to watch the evolution of a musician—to witness the synthesis and refinement of ideas. And so it has been the case with Norwegian-born guitarist Lage Lund —who, in three short years of recording as a leader, has arrived at a new creative plateau.
Lund's first two recordings, Standards (Self Produced, 2007), and Early Songs (Criss Cross, 2008), displayed the guitarist's uniquely current sense of swing, and considerable technique. They cemented his burgeoning reputation as a force on the instrument and as a worthy interpreter of the jazz tradition. Unlikely Stories, however, comprised entirely of original compositions, finds the guitarist reinvented. While Lund remains a muscular improviser, he has pared down his concept to better suit his compositional style, eschewing much of the traditional jazz vocabulary for more personal and more provocative sounds.
On this album, Lund's writing instantly demonstrates the ability to make compelling new music without ignoring precedent. On one hand, Unlikely Stories, like the majority of contemporary New York jazz, shows a thorough absorption of Wayne Shorter and Herbie Hancock, among other figures in the jazz pantheon of the 1960s. On the other hand, it is clear that Lund is searching for new sounds. Admirably, the composer never allows odd meter, advanced harmony, or pyrotechnics to do anything other than contribute to the music.
As for the band, Lund works in a quartet setting, joined by pianist Edward Simon, bassist Ben Street and drummer Bill Stewart. Simon's moody, sometimes terse accompaniment is an appropriate foil for the guitarist's soaring, feverish improvisations. Street and Stewart's rhythmic backdrop, at once spacious and intense, punctuates Lund's exotic melodies. It is apparent from the first few bars of "Swagger," the album's first track, that Lund has set out to make a truly contemporary statement as a bandleader.
What is so striking about this album is that the music is neither overwritten nor overplayed. Lund has composed compelling, distinctively modern music to be played by a thoughtful ensemble. In an era of jazz's history where virtuosity is often prized at the expense of musicality, it is reassuring to hear a recording such as this.
Blue Mitchell - Big 6 (1958)
EAC | FLAC+CUE+LOG+Full Artwork -> 226 Mb
© 1991 Riverside OJCCD-615-2
Hard Bop | Trumpet Jazz
Many thanks to mishka1981
Descripstion
Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Now reissued on CD in the OJC series, Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson's "Blues March," predating Art Blakey's famous recording.
Blue Mitchell - Blue Soul (1959)
EAC | FLAC+CUE+LOG+Full Artwork -> 320 Mb
© 2008 Riverside RCD-30508
Hard Bop | Trumpet Jazz
Many thanks to fiks22
Descripstion
Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans.
Jennifer Zarine - Fresh Made Cuppa Tea (2010)
XLD Rip | FLAC+CUE+LOG+No Scan -> 259 Mb
Vocal Jazz
Descripstion
A seizure of nostalgia has gripped the jazz vocals community and shows no evidence of abating. Retta Christie continues her excellent survey of obscure cowboy movie tunes with Dave Frishberg. Lawrence Lebo strips the American musical vernacular to the quick in her three volume series, and Jennifer Zarine successfully mashes up 75 years of Americana with prewar Berlin Cabaret.
Fresh Made Cuppa Tea is very familiar, but completely lacking that sepia- toned attic smell; rather, these songs are crisp like a Spring strawberry bursting on the roof of your mouth. Driven by an eclectic sextet that includes a cello and occasional accordion, Zarine's repertoire is coolly sleek and hip.
Following Art Pepper's sage advice to never start a show with a ballad, Zarine kicks things off with a little-big band expression of the DeLugg-Stein chestnut "Orange Colored Sky." That and Gorney-Clare's "You're My Thrill," Charles Chaplin's "Smile" (coupled with the Leonard-Martin "I'm All Smiles"), and the Styne-Robin "Bye- Bye Baby" are what pass for standards here, each fresh scrubbed and bubbly. "Something Cool" is splendidly sultry and becoming.
But, it is the out-of-the-way selections that steal the show. Smokey Robinson's "The Way You Do The Things You Do" is Linda Ronstadt-smart and Elton John's "I Need You to Turn To" is the disc highlight. Great fun is the francophonic "Boum," a song truly summoning the spirit of the Berlin Cabaret, Red Wierenga's accordion adding that Lawrence Welk authenticity to the whole affair. Eric Lindberg's Hot Club guitar completes the underground laudanum dream.
"Paint it Black" is the breakout song of the disc. Take the Berlin paradigm into the 21st Century, add the beat of Sonny Rollins' "I'm Old Cowhand" as manifested in Josh Rutner divining Sidney Bechet on the tenor saxophone, and the idea might begin to become clear. This release should not be treated as a gimmick disc. Jennifer Zarine is the real deal.
Don Ellis - Live At Montreux (1978)
EAC | FLAC+CUE+LOG+Full Artwork -> 493 Mb
© 2002 Koch Jazz KOC CD-51410
Avant-Garde Jazz | Post-Bop | Trumpet Jazz
Many thanks to Obelix, OR
Descripstion
Don Ellis' final record as a leader (he passed away from a bad heart in Dec. 1978) is a worthwhile effort. Ellis' large orchestra (four reeds, eight brass, one keyboard, two bassists, two drummers, two percussionists and a string quartet) performs six of the leader's originals and, although none of the songs are all that memorable, there are many fine solos. The main players are trumpeter Ellis, Ted Nash on tenor, alto and clarient and trombonist Alan Kaplan.
Don Byron - Do the Boomerang: The Music of Junior Walker (2006)
EAC | FLAC+CUE+LOG+Full Artwork -> 375 Mb
© 2006 Blue Note 0946 3 41094 2 0
Post-Bop | Contemporary Jazz | Modal Music
Many thanks to Obelix, OR
Descripstion
Anybody interested in Don Byron gets his range, and his willingness to try almost anything that tickles his fancy, whether it be klezmer, swing, funk, out jazz, blues or funky soul. He explores and leaves his mark on something and moves on. From Music for Six Musicians and Tuskegee Experiments to Nu Blaxploitation and Bug Music, from Fine Line: Arias and Lieder and Plays the Music of Mickey Katz to Ivey-Divey, Byron has explored -- not usually reverently -- his inspirations and curiosities with mixed results, but it's the investigation that counts for him in the first place. Do the Boomerang: The Music of Junior Walker is a curious outing in that Walker didn't always write his own material, but he wrote enough of it (five cuts on this set) and, like Byron, put an indelible stamp on anything he took on, from singing to blowing the saxophone. Byron assembled a dream band for this offering that includes guitarist David Gilmore, B-3 organist George Colligan, drummer Rodney Jones and bassist Brad Jones as the core group. The guests who augment the proceedings are Curtis Fowlkes, Chris Thomas King and Dean Bowman. Is the music reverent? Nope; but it's totally recognizable as Walker's. Byron doesn't set out to re-create anything exactly. His concern is for that thing he can't put his finger on, and discovering the place where the magic happens. But this is no academic set of Walker tunes, it's funky, it swings, and the grooves are deep and wide. Walker was a killer vocalist and Byron enlisted bluesman King on four cuts (he plays guitar on a pair as well) and Bowman. The set begins on a late-night smoky groove with "Cleo's Mood," the B-3 carries it in with Gilmore's guitar playing in the gaps before the tune's melody slithers to the fore with Byron and Bowman, and from here it's the blues as read through post-bop, soul-jazz, and the ghost of Leon Thomas through Bowman's vocal solo that sounds right at home here. Byron is in the pocket with this band. They aren't reaching for margins, but exploring how much was in Walker's music to begin with, there are traces of many things in the tune, and Byron finds them all. Digging into the classic "Shotgun," King's vocal delivery on the title track struts and steps to Byron's clarinet floating in the boundaries as Colligan's B-3 and Gilmore's meaty guitar heighten the groove to the breaking point. On "Shotgun," Byron plays it close to home and King's vocal is brilliant. This, like the title cut, is a dance tune on par with James Brown's; the lyrics are particularly compelling for the times we live in. Walker acknowledged the influence James Brown had on him readily and on "There It Is," both Bowman and King pump themselves to front this band that is so greasy and nasty one would never know that this is Byron's group. This joint burns the house down, baby! While there isn't a dud in the set, other big standouts include "Satan's Blues," "Pucker Up, Buttercup," and the ballad "What Does It Take (To Win Your Love.)" Here the bass clarinet is distracting for a moment, but transposing the opening saxophone part and letting King and Gilmore play sweet and slow lays a fine ground for both the hypnotic B-3 chart and King's lonesome vocal. Byron uses clipped, right phrasing with the airiness of his horn, solos around the fringes of the tune, and brings it back inside and underscores the fact that this is a soul tune. King's vocal could have been a bit tougher and leaner, but that's a really small complaint. Ending the set on Holland-Dozier-Holland's "Roadrunner" takes it out on a honking high point. Byron's done justice not only to Walker here, but to his Muse and to the grand tradition of funky jazz records on Blue Note -- hopefully they'll get it in the A&R department and bring the groove back wholesale. This baby is a smoking slab of greasy soul with a jazzman's sense of adventure.
Blue Mitchell - Plays for Lovers (1963)
EAC | APE+CUE+LOG+Full Artwork -> 336 Mb
© 2003 Riverside RCD-6021-2
Hard Bop | Trumpet Jazz
Many thanks to zakukak
Descripstion
In the '60s, Prestige launched its Plays for Lovers series with LPs by Miles Davis, John Coltrane, and others. The concept was jazz as romantic mood music -- collections of previously released material that are dominated by ballads and emphasize a player's more lyrical side. Fantasy has long since acquired the Prestige catalog, and in the 2000s, it helped keep the Plays for Lovers concept alive -- not only with Prestige recordings, but also with recordings from the Fantasy-owned catalogs of Riverside, Contemporary, and other labels. The Blue Mitchell Plays for Lovers collection, in fact, doesn't contain a single Prestige recording; all of the material originally came out on Riverside. In 2003, the late Mitchell was an obvious choice for a Plays for Lovers release because the Clifford Brown-influenced trumpeter was, quite simply, a superb ballad player. He had no problem swinging aggressively at a fast tempo, but he was equally skillful when it came to ballads -- a fact that is obvious on Blue Mitchell Plays for Lovers, which spans 1958-1962 and finds him playing quite soulfully on "I Can't Get Started," "Polka Dots and Moonbeams," and other famous Tin Pan Alley standards. Not everything on the 61-minute CD is a ballad; Cedar Walton's "Turquoise" is a moody, dusky post-bop offering that is played at a medium tempo. The tune's appealing melody bears a slight resemblance to the standard "You Don't Know What Love Is," and even though "Turquoise" is faster than any of the other selections, it doesn't really disrupt the overall mood and ambiance -- it's a momentary diversion but not an outright disruption. Besides, the Plays for Lovers series was meant to be ballad-heavy but not ballad-exclusive; being dominated by ballads isn't the same as excluding medium-tempo material altogether. And when all is said and done, Blue Mitchell Plays for Lovers lives up its title.
Cannonball Adderley - Radio Nights (1991)
EAC | FLAC+CUE+LOG+Full Artwork -> 441 Mb
© 1991 Night Records VNCD 2
Hard Bop | Soul Jazz
Many thanks to Obelix, OR
Descripstion
This CD contains private recordings of Cannonball Adderley's groups during 1967-68 playing at the Half Note in New York City. The music is quite worthy with altoist Cannonball Adderley featured in a quartet setting on "Stars Fell on Alabama," performing three songs with his quintet (including "Fiddler on the Roof" ) and playing three other pieces (highlighted by "Work Song" and "Unit Seven" ) with the sextet he had that featured Charles Lloyd on tenor. This music is generally superior to Adderley's commercial Capitol recordings of the period..
Art Farmer, Benny Golson - Meet the Jazztet (1960)
EAC | FLAC+CUE+LOG+No Scan -> 268 Mb
© 2003 Argo UCCU-5053
Cool | Hard Bop | Post-Bop
Many thanks to Obelix, OR
Descripstion
Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable.
Freddie Hubbard - Ready For Freddie (1961)
EAC | FLAC+CUE+LOG+Full Artwork -> 342 Mb
© 1993 Blue Note TOCJ 4085
Hard Bop | Trumpet Jazz
Many thanks to Obelix, OR
Descripstion
Trumpeter Freddie Hubbard really came into his own during this Blue Note session, Ready for Freddie. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis" ), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums.
Horace Silver — Paris Blues (1962)
EAC | FLAC+CUE+LOG+Full Artwork -> 212 Mb
© 2002 Pablo PACD-5316-2
Hard-Bop
Many thanks to De_Metrio
Descripstion
This is the classic Horace Silver Quintet. It existed and recorded here while Miles was between his two great quintets, just before Art Blakey recorded Caravan with Curtis Fuller and Wayne Shorter, and while John Coltrane was assembling his classic quartet. This concert takes place almost half way between Finger Poppin' With the Horace Silver Quintet and Song for My Father. In essence, this is hard bop reaching perfection, neither al dente nor over-cooked. All of the songs are lengthy Silver compositions.
With all cuts clocking in over ten minutes ("Sayonara Blues" stretches out to sixteen minutes), all of the musicians have ample time to say what must be said. Blue Mitchell and Junior Cook are in top form, blowing their potent mixture of smoky blues and pungent funk. Tart as a lemon and strong as a Manhattan, Mitchell proves himself more than a minor prophet in the scripture of hard bop. The same can be said of Cook, whose full-throated tone melds perfectly with Silver and Mitchell on this fall night in the City of Lights. Silver is brilliant in his leadership and performance, as is his rhythm support in Gene Taylor and Roy Brooks .
When previously asked to define hard bop, I would have steered the query toward Art Blakey and the Jazz Messengers' Moanin'. Now I will suggest Paris Blues.
Blue Mitchell — Out Of The Blue (1958)
EAC | FLAC+CUE+LOG+Full Artwork -> 311 Mb
© 1991 Riverside OJCCD-667-2
Hard Bop | Trumpet Jazz
Many thanks to durmoll
Descripstion
This early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. It's an enjoyable date of high-quality hard bop.
Dizzy Gillespie ,Sonny Rollins, Sonny Stitt - Sonny Side Up (1957)
EAC | FLAC+CUE+LOG+Full Artwork -> 273 Mb
© 1997 Verve Master Edition 521 426-2
Bop | Trumpet Jazz
Many thanks to Obelix, OR
Descripstion
Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. In the midst of the rivalry (certainly some torch was being passed, since Rollins was soon to become the top tenor saxophonist in jazz), an embarrassment of solo riches comes tumbling out of both these men's horns. Gillespie adds his own split commentary on the proceedings with a casual solo on "After Hours" and a competitively blistering statement on "I Know That You Know." With an at ease rendition of "On the Sunny Side of the Street" rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session.
Wayne Horvitz Gravitas Quartet - Way Out East (2006)
EAC | FLAC+CUE+LOG+Full Artwork -> 313 Mb
© 2006 Songlines Recordings
Chamber Jazz | Modern Jazz
Many thanks to Darkman
Descripstion
Way Out East presents the debut of Wayne Horvitz Gravitas Quartet, with trumpeter Ron Miles -- who you'll wish you heard more from as a leader -- cellist Peggy Lee, and bassoonist Sara Schoenbeck. Horvitz plays piano and employs electronics some of the time. The music here alternates between structured improvisation for ensemble, modern composition, jazz, and the "other path" that Horvitz often takes that is just plain unclassifiable. One place they seem to meet is in the sound of the jazz tradition that is in everything Miles plays. Note the title track on which he comes from out of time itself and lays the blues (subtly) down on a gorgeous little melody cello, while the bassoon carries the piece harmonically and Horvitz weighs in with his own contrapuntal song. Horvitz and this group are not above meandering to find their way inside a written piece either (yes, that's a good thing). There are not hot points, places that the musicians feel they absolutely need to get to make a particular work "happen." There's lots of room in such a small group and Horvitz's lyric lines take full advantage of that group dynamic: check "Between Here and Heaven" with its droning lines and open-toned terrain. The absolutely lovely melody of "Berlin 1914" comes from a concert piece with a different group containing Lee, Horvitz, Bill Frisell, and Joey Baron. Its re-recording offers a different shade of blue to the piece and Schoenbeck's bassoon and Miles' trumpet add a "parlor" feel to the tune. Horvitz's compositions are wonderfully familiar and strange all at the same time. There is a feeling of return in them that doesn't necessarily have to do with theme; it's his innate sense of time and phrasing. Horvitz is a grand rhythmic player on the Hammond B-3, and knows his stride piano, too, and they inform his writing, especially for an ensemble like this where the weight is spread out so evenly. Even the considerable abstraction and sonic texture in the final track, "World Peace and Quiet," contain elements of song, as much for the way the ensemble plays together in improvisational composition. Way Out East is a beautiful and quietly moving and poetic recording; one that will sound fresh and new decades from now. Horvitz and his players have shown that "improvised" or "new" music can be utterly lovely to listen to.
Quincy Jones - The Great Wide World Of Quincy Jones (1961)
EAC | FLAC+CUE+LOG+Full Artwork -> 485 Mb
© 2009 Lone Hill Jazz LHJ10379
Jazz | Funk | Big Band
Many thanks to tiburon
Descripstion
Quincy Jones' original big band toured Europe under stressful conditions in 1960 before returning home. In 1961, they returned for a tour, and although the personnel had changed a bit, it was still a mighty orchestra. This Japanese LP (which contains music from a Zurich, Switzerland concert not yet reissued on CD) has six selections, including a 13-minute version of "Stolen Moments" and a nearly nine-minute Phil Woods original, "Banjaluka," along with four shorter pieces. Among the key soloists are trumpeter Freddie Hubbard, Eric Dixon and Budd Johnson on tenors, altoist Woods, trumpeter Benny Bailey (featured on "Moanin'") and trombonist Curtis Fuller. Fine straight-ahead music from a short-lived but significant jazz orchestra.
Larry Carlton & Tak Matsumoto - Take Your Pick (2010)
EAC | APE+CUE+LOG+Artwork -> 402 Mb
© 2010 335 Records
Jazz | Funk | Blues | Fusion
Many thanks to Kosha_184
Descripstion
It's a shame that artists' careers are reduced to oversimplifications of who they are and what they're capable of. Guitarist Larry Carlton, for example—despite releasing kick-ass blues-centric records like Sapphire Blue (Bluebird, 2004) and, more recently, the exciting yet unfailingly tasty Live in Tokyo (335 Records, 2007), not to mention delivering iconic solos on Steely Dan albums like The Royal Scam (MCA, 1976) and Gaucho (MCA, 1980)—is, more often than not, associated with the smooth jazz of albums like Alone/But Never Alone (MCA, 1986). Not that there's necessarily anything wrong with that, especially when it's real players playing music that's easy on the ears but has its own set of challenges, but it's too easy to forget that Carlton can play through changes with the best of them, as his still-stunning bop-centric solo on "Mulberry Street," from Strikes Twice (MCA, 1981), amply proved nearly thirty years ago.
If Carlton can be criticized of anything, it's his emphatic lyricism and unfailing taste, though it seems incredulous that the words "too" and "melodic" could ever be used together in the same sentence. Take Your Pick teams the veteran session man and, yes, smooth jazz hit maker with Japan's Tak Matsumoto—guitarist for B'z and, with over 80 million albums sold in his country alone, no less an icon, at least in some parts of the world. Carlton's name may come first, but this is a truly collaborative effort, with the two guitarists splitting the writing and arranging duties right down the middle; Matsumoto even arranges two of his tunes for a Japanese horn section, while Carlton brings in some American ringers to spice up three of his tunes. But regardless of where the music was recorded—from Franklin and Nashville to Los Angeles and Tokyo—the core rhythm section of drummer Billy Kilson (Dave Holland, Chris Botti), bassist Michael Rhodes ((J.J. Cale, Aaron Neville, and keyboardist Jeff Babko (Sheryl Crowe}}, James Taylor) keeps things honest on a set that leans towards a lighter complexion, though between Carlton and Matsumoto, there's plenty of grit to give the music some edge and energy.
Carlton's sweeter tone, recognizable vibrato and slightly broader language makes him easily distinguishable from the largely fuzzier-toned and rockier Matsumoto, especially on tracks like the Japanese guitarist's opening "JAZZY BULLETS," a finger-snapping tune with some tasty twin-guitar melodies and ass-kicking solos. But Matsumoto proves capable of a cleaner tone and twangier disposition on "Nite Crawler 2010"—an update on Carlton's self-titled 1978 MCA debut—and the similarly light funk of the Japanese axe-slinger's "THE WAY WE WERE."
Surprisingly, the more oriental-sounding references come on Carlton tracks like "Islands of Japan," with its koto samples. The lighter disposition at the start of the disc kicks into higher gear on Carlton's rocking, horn-driven "Easy Mystery," and the greasy funk of Matsumoto's closing "A girl from China." Throughout, Carlton may navigate the changes with a little more finesse, but he's well-matched, in tone and feel, with Matsumoto, making the easygoing but undeniably satisfying Take Your Pick less a matter of "either/or" and more a case of "and."
Blue Mitchell - The Cup Bearers (1993)
EAC | FLAC+CUE+LOG+Full Artwork -> 292 Mb
© 1988 Riverside OJCCD-797-2
Hard Bop | Trumpet Jazz
Many thanks to nkomissar
Descripstion
Trumpeter Blue Mitchell and four-fifths of the Horace Silver Quintet (with Cedar Walton in Silver's place) perform a variety of superior songs on this CD reissue including Walton's "Turquoise," Tom McIntosh's "Cup Bearers," Thad Jones's "Tiger Lily" and a couple of standards. The music swings hard, mostly avoids sounding like a Horace Silver group, and has particularly strong solos from Mitchell, tenor-saxophonist Junior Cook and Walton; excellent hard bop.
Blue Mitchell - Blues On My Mind (1959)
EAC | FLAC+CUE+LOG+Full Artwork -> 304 Mb
© 1988 Riverside OJCCD-6009-2
Hard Bop | Trumpet Jazz
Many thanks to nkomissar
Descripstion
For fans of great hard bop and intricate, intelligent horn arrangements, Blue Mitchell is simply too good for you to just buy this compilation. "Blues On My Mind" collects tunes from three of Mitchell's late 50s sessions, "Big Six," "Out Of The Blue" and "Blue Soul." (In fact, the photo on the cover of this CD is the same one used on "Blue Soul" -- don't get confused.) I have written reviews for all three of these albums already so I won't get into details about the songs here, but suffice it to say the music is classic. In fact, it's so good that if you buy this title you'll surely want to get the three albums in their entirety. So do yourself a favor, skip this one and go directly to the source.
Art Blakey And The Jazz Messengers - Moanin' (1958)
EAC | WAVPack+CUE+LOG+Full Artwork -> 296 Mb
© 2009 Analogue Productions CBNJ 84003 SA
Hard Bop
Many thanks to kikokakuke
Descripstion
Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond.
Art Taylor - A.T.'s Delight (1960)
EAC | WAVPack+CUE+LOG+Full Artwork -> 218 Mb
© 2009 Analogue Productions CBNJ 84047 SA
Hard Bop | Trumpet Jazz
Many thanks to kikokakuke
Descripstion
Although Art Taylor was one of the busiest modern second-generation jazz drummers, working in the studio with Coleman Hawkins, Donald Byrd, John Coltrane and many others, he only released five albums under his own name, of which A.T.'s Delight was the third. And a delight it is indeed, bright and percussive, and when conga player Carlos "Patato" Valdes joins Taylor and pianist Wynton Kelly and bassist Paul Chambers on three cuts (Thelonious Monk's "Epistrophy," "Move" and a Taylor calypso-inflected original called "Cookoo and Fungi"), the rhythm pocket opens into a deep blue sea for the horn men (Stanley Turrentine on tenor sax and Dave Burns on trumpet). "Move" does exactly that, it moves, and at a blistering pace. Monk's "Epistrophy," thanks in part to Valdes, reveals its rumba roots, and has never sounded brighter. The seldom-covered Coltrane composition "Syeeda's Song Flute" seems likewise refreshed and revived. The lone Taylor original, the driving "Cookoo and Fungi," is as sharp and alert is a kitten waking from a nap in the spring sun, and Taylor's drum solo is crisp, efficient and slides seamlessly into the calypso-informed main theme. A.T.'s Delight is a solid outing, with a wonderfully nervous but completely focused energy.
Buddy DeFranco - Mr. Clarinet (1953)
EAC | FLAC+CUE+LOG+Full Artwork -> 149 Mb
© 2002 Verve MGV-8159
Bop
Many thanks to Obelix, OR
Descripstion
Over the years, Buddy DeFranco's admirers have often wondered why the clarinet's popularity as a jazz instrument declined considerably after World War II and the swing era -- why haven't more improvisers applied Charlie Parker's ideas to the clarinet, and why is the clarinet usually stereotyped as a swing/Dixieland/classic jazz instrument rather than a bebop, post-bop, avant-garde, soul-jazz, or fusion instrument? Perhaps it has something to do with the demands of the clarinet -- it is a tough instrument to master, and it becomes even more demanding when you're dealing with the complexities of bop. But those challenges never stopped DeFranco, who was 30 when he recorded Mr. Clarinet for Verve in 1953. By that time, DeFranco was being hailed as "the Charlie Parker of the Clarinet," and he lives up to that title on this excellent album (which boasts Kenny Drew on piano, Milt Hinton on bass, and Art Blakey on drums). Throughout Mr. Clarinet, DeFranco makes the clarinet sound perfectly logical as a bop instrument -- which was certainly an innovative thing to do back in the late '40s and early '50s. Whether he is playing original material or standards (including "But Not for Me" and "It Could Happen to You"), DeFranco refuses to let the clarinet's evolution end with Benny Goodman, Artie Shaw, Sidney Bechet, and Barney Bigard; he has no problem making the clarinet sound relevant to the bebop scene of 1953. (It should be noted that Shaw was also exploring bop on the clarinet in the early '50s, but regrettably, he decided to retire from music in 1955.) Most of the bop-oriented recordings that DeFranco provided in the '50s are well worth owning; Mr. Clarinet (which Verve reissued on CD in 2002) is no exception.
Art Farmer - The Many Faces of Art Farmer (1964)
EAC | FLAC+CUE+LOG+Full Artwork -> 419 Mb
© 2008 Gambit Records 69252
Post-Bop | Contemporary Jazz
Many thanks to Obelix, OR
Descripstion
Two albums for the first time on CD!
- Art Quintet: The many faces of Art Farmer"
- Mundell Lowe Septet: "Porgy and Bess"
First time on CD for the album The Many Faces of Art Farmer (1964) plus Mundell Lowe's arrangement of Gershwin's Porgy & Bess (1958) featuring Art Farmer and Ben Webster. On The Many Faces Of..., Farmer surrounded himself with splendid musicians like alto saxophonist Charles McPherson, pianist Tommy Flanagan and bassist Ron Carter. As a bonus to this outstanding LP, we have added another equally rare album. Although this selection of tunes from Gershwin's Porgy & Bess was arranged by guitarist Mundell Lowe and originally released under his name, both Art Farmer and Ben Webster shine on it as featured soloists. 17 tracks total.
David Murray - Recording NYC 1986
EAC | FLAC+CUE+LOG+Full Artwork -> 329 Mb
© 1986 DIW 32DIW802CD Japan
Avant-Garde | Free Jazz | Contemporary Jazz
Many thanks to Obelix, OR
Descripstion
The quartet on N.Y.C. 1986 is a roadhouse-raunchy quartet, kicked down Highway 61 by the sometimes winningly crude guitarist Blood Ulmer. The bass solos by the Revolutionary Ensemble's Sirone sound like giant rubber bands snapping, and great free drummer Sunny Murray (no relation) lays down a conversational backbeat Murray's sound is harder, more brittle here, with fast nannygoat vibrato — more reckless, in keeping with the setting. It's music from the outskirts, halfway between Freeville and Bluestown.
Seamus Blake - Bellwether (2009)
EAC | FLAC+CUE+LOG+Full Artwork -> 384 Mb
© 2009 Criss Cross Jazz
Post-Bop | Contemporary Jazz
Many thanks to tdelyon
Descripstion
Some albums are named for a time, a place, an experience, or even a person. Others have a concept. Saxophonist Seamus Blake takes on concept with Bellwether, a term for leader or trendsetter.
Born in England and raised in Vancouver, Canada, Blake has gained recognition by Down Beat and JazzTimes magazines, and finished first in the 2002 Thelonious Monk Jazz Competition. His associations include Mark Turner, Kurt Rosenwinkel, Larry Grenadier and Victor Lewis. For Bellwether, Blake is accompanied by guitarist Lage Lund, pianist David Kikoski, bassist Matt Clohesy and drummer Bill Stewart.
"A Beleza Que Vem," one of five Blake compositions, is an easygoing piece that features the leader on soprano saxophone, playing the melody in duet with Lund. Bass and drums are subtle, rim shots and strategically placed splash cymbals subtly accenting Kikoski's solo. Blake stretches out plenty on his solo, the music building in intensity, at one pointy, as if to signal the end, but he plays on.
"Subterfuge," another original, features Blake on tenor. Guitar and sax blend on the lead of a song in 4/4 time but which, because of some creative note placement, often sounds like another time signature. Lund's solo subtly references Pat Metheny, while Stewart gives the entire kit a workout during his solo.
Some of Bellwether's selections are symphonic in mood, but whether symphonic or hard charging, the music is always cohesive and expressive. Each musician shines as an individual, but there's never a moment when the group concept is lost.
Blue Mitchell - Smooth As The Wind (1961)
EAC | FLAC+CUE+LOG+Full Artwork -> 265 Mb
© 1996 Riverside Ojc
Hard Bop | Trumpet Jazz
Descripstion
Trumpeter Blue Mitchell is in excellent form on this very interesting session that has been reissued on CD. Mitchell is accompanied by a brass section, a rhythm section, and strings. The arrangements (seven by Tadd Dameron and three from Benny Golson) are generally quite stimulating, inspiring the trumpeter to come up with many fresh melodic solos. The repertoire includes two songs that Mitchell played regularly with the Horace Silver Quintet, a pair of superior Tadd Dameron tunes (including the title cut), and six standards. By varying tempos and moods, Dameron and Golson helped create one of the better soloist-with-strings jazz dates.
Ramsey Lewis - Sun Goddess (1974)
EAC | FLAC+CUE+LOG+Full Artwork -> 272 Mb
© 1999 SBM/Sony
Crossover Jazz | Jazz-Pop | Soul Jazz
Descripstion
Sun Goddess to this day is one of the BEST instrumentals on the planet with its gorgeous melody & sleek groove. Ramsey Lewis, a master keyboardist and jazz legend in his own right combines forces with the "elements" to make this musical gem. Not only does EWF lend an unforgettable vocal melody, with Maurice and Phillip on percussion, Verdine and Johnny Graham on guitar, Don Myrick on sax and Charles Stepney on fender rhodes, "Sun Goddess" is the epitome of a classic jazz masterpiece. The drumming on this track is amazing as all other solos (check out Myrick's sax and Verdine's bass...too funky!) "Sun Goddess" is 8 1/2 minutes of bliss.
The seventies vibe continues flowing with "Living for the City". The S.Wonder interpretation is laced heavily with rhodes and a punchy string arrangement by Richard Evans. "Love Song" features Cleveland Eaton on upright and fender bass while Ramsey puts in serious work on all 4 kinds of keys as well as guitar. The horns and strings on this track add just the right flavor. "Jungle Strut" is a fun track that showcases the playful verbal antics of Derf Rehlew Raheem, adding African ryhthmic sound effects and dialect. "How Dawgit", like the title track was produced by Maurice White and features the smooth vocals of Phillip Bailey. "Tambura" has a spacey feel to it with its sound effects and percussive arrangement. Kinda brings the image of Bootsy Collins en route to the moon to mind. "Gemini Rising" is another great track on which Maurice Jennings drumming and C.Eaton's bass playing stand out, especially on the solos within the song. Ramseys keys ride the track smoothly.
Overall Sun Goddess is a great CD for jazz lovers or anyone who wants to slip back down memory lane and relax in the mid 70's. Go ahead and put those platforms, bell bottoms, sunglasses and apple caps Right On!
Blue Mitchell - Boss Horn (1966)
EAC | FLAC+CUE+LOG+Full Artwork -> 245 Mb
© 2005 Blue Note {RVG Edition}
Hard Bop | Trumpet Jazz
Descripstion
Trumpeter Blue Mithcell's "Boss Horn" is making its domestic debut as a single CD title with this RVG Edition release on Blue Note. (Please note, it was previously available as an import and in a limited edition set from Mosaic Records.) This November 17, 1966 session features an extended lineup of Julian Priester on trombone, Jerry Dodgion on alto sax and flute, Junior Cook on tenor sax, Pepper Adams on baritone sax, Cedar Walton and Chick Corea alternating on piano, Gene Taylor on bass and Mickey Roker on drums. Duke Pearson also lent his arranging talents for this album, along with one original composition, "Millie." Generally, I am luke-warm when it comes to Pearson, but the material is enjoyable in this setting. However, it is the Blue/Junior Cook tandem along with a young Chick Corea who steal the show (much like they did on Blue's earlier "The Thing To Do" -- see my review), the latter with his performances on his own "Tones for Joan's Bones" and "Straight Up and Down." Overall, a solid if not stellar date, but I am glad to see EMI is continuing to make classic Blue Notes readily available.
Blue Mitchell - Down With It! (1965)
EAC | FLAC+CUE+LOG+Full Artwork -> 277 Mb
© 2004 Blue Note {RVG Edition}
Hard Bop | Trumpet Jazz
Descripstion
After a handful of solid albums as a leader for the Riverside label (see my reviews), and after recording for Blue Note as a member of the Horace Silver Quintet for more than four years, trumpeter Blue Mitchell was given the opportunity to cut a Blue Note album as a leader by Alfred Lion in 1963. However, his debut session, now known as "Step Lightly," did not see the light of day at the time of its recording. Blue was given another chance on July 30, 1964 and the result was the magical "The Thing To Do" (see my review). Blue Mitchell's third Blue Note session, "Down With It," was recorded on July 14, 1965. It features two of his colleagues from the old Horace Silver band, Junior Cook on tenor sax and Gene Taylor on bass. Joining the three Silver alumni are Al Foster on drums and the pianist Chick Corea, who made his recording debut on Blue's "The Thing To Do." Since Blue Mitchell was a Blue Note trumpeter at the height of Lee Morgan's popularity, it is no surprise that "Down With It" features several soulful, Sidewinder-like jazz numbers. But don't assume this is one of Blue's cheesy forays into funk from the later 60s. "Down With It" is a great modern jazz album, and very comparable to Lee Morgan titles like "Charisma" and "Cornbread." For those of you that did not get "Down" in the "Rare Groove" series, thankfully you can pick up this new RVG reissue.
The Horace Silver Quintet - The Tokyo Blues (1962)
EAC | WAVPack+CUE+LOG+Full Artwork -> 229 Mb
© 2010 Analogue Productions CBNJ 84110 SA
Hard Bop | Soul Jazz | Piano Jazz
Many thanks to Djubei
Descripstion
Following a series of concert dates in Tokyo late in 1961 with his quintet, Horace Silver returned to the U.S. with his head full of the Japanese melodies he had heard during his visit, and using those as a springboard, he wrote four new pieces, which he then recorded at sessions held on July 13 and 14, 1962, along with a version of Ronnell Bright's little known ballad "Cherry Blossom." One would naturally assume the resulting LP would have a Japanese feel, but that really isn't the case. Using Latin rhythms and the blues as a base, Silver's Tokyo-influenced compositions fit right in with the subtle cross-cultural but very American hard bop he'd been doing all along. Using his usual quintet (Blue Mitchell on trumpet, Junior Cook on tenor sax, Gene Taylor on bass) with drummer Joe Harris (he is listed as John Harris, Jr. for this set) filling in for an ailing Roy Brooks), Silver's compositions have a light, airy feel, with plenty of space, and no one used that space better at these sessions than Cook, whose tenor sax lines are simply wonderful, adding a sturdy, reliable brightness. The centerpieces are the two straight blues, "Sayonara Blues" and "The Tokyo Blues," both of which have a delightfully natural flow, and the building, patient take on Bright's "Cherry Blossom," which Silver takes pains to make sure sounds like a ballad and not a barely restrained minor-key romp. The bottom line is that The Tokyo Blues emerges as a fairly typical Silver set from the era and not as a grandiose fusion experiment welding hard bop to Japanese melodies. That might have been interesting, certainly, but Silver obviously assimilated things down to a deeper level before he wrote these pieces, and they feel like a natural extension of his work rather than an experimental detour.
Lou Donaldson - Here 'Tis (1961)
EAC | WAVPack+CUE+LOG+Full Artwork -> 249 Mb
© 2010 Analogue Productions CBNJ 84066 SA
Hard Bop | Soul Jazz | Saxophone Jazz
Many thanks to Djubei
Descripstion
Here 'Tis is in the front rank of Lou Donaldson records, an exceptionally funky soul-jazz session that finds the saxophonist swinging harder than usual. As he moves from hard bop to soul-jazz, Donaldson reveals a bluesy streak to his playing while keeping the vigorous attack that defined his best bop. Donaldson's playing is among his finest in the soul-jazz vein, but what makes Here 'Tis such an enjoyable session is his interaction with his supporting trio of guitarist Grant Green, organist Baby Face Willette, and drummer Dave Bailey. As support, all three know how to keep a groove gritty and flexible, following Lou's lead and working a swinging beat that keeps flowing, never growing static. Green and Willette also have their time in the spotlight, and both musicians are frequently stunning. Green's single-note leads are clean and inventive; Willette is rhythmic and forceful, but also capable of soulful, mellow leads on the slow blues. Their talent, combined with Donaldson at a peak, results in a terrific record.
Grant Green - Green Street (1961)
EAC | WAVPack+CUE+LOG+Full Artwork -> 302 Mb
© 2010 Analogue Productions CBNJ 84071 SA
Hard Bop | Soul Jazz | Guitar Jazz
Many thanks to Djubei
Descripstion
As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or -- most importantly -- an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman. To say his star was rising would be an understatement. The lean meatiness of this group allows all three musicians to play with little hesitation, no wasted notes, and plenty of soul. Another aspect of this studio date is the stereo separation of Green's guitar in one speaker, perhaps not prevalent in modern recordings, but very much in use then. Check out the atypical (for Green) ballad "'Round About Midnight," as the guitarist trims back embellishments to play this famous melody straight, with a slight vibrato, occasional trills, and a shuffled bridge. The trio cops an attitude similar to Dizzy Gillespie for the introduction to "Alone Together," with clipped melody notes and a bass filler from Tucker. Three of Green's originals stamp his personal mark on rising original soulful post-bop sounds, as "No. 1 Green Street" has basic B-flat, easy-grooving tenets similar to his previously recorded tune "Miss Ann's Tempo." Two interesting key changes and chord accents identify the outstanding "Grant's Dimensions" beyond its core bop bridge and jam configuration -- not the least of which contains a hefty bass solo from the criminally underrated Tucker and Bailey trading fours. "Green with Envy" should be familiar to fans of Horace Silver, as it is almost identically based on the changes of "Nica's Dream," a neat adaptation full of stop-starts and stretched-out improvising over ten minutes. (The alternate take of this one on the expanded CD reissue is a full two minutes shorter.) If this is not a definitive jazz guitar trio, they have not yet been born, and Green Street stands as one of Grant Green's best recordings of many he produced in the ten prolific years he was with the Blue Note label.
