Lee Morgan - The Sixth Sense (1969)

Lee Morgan - The Sixth Sense (1969)

jazz | 1cd | eac-flac-cue-log-covers | 420MB

Blue Note/EMI 7243 5 92423 2 3;  RVG 2004

Allmusic:
From late 1967 through 1968, Lee Morgan fronted a fine sextet with alto saxophonist Jackie McLean and the less-heralded tenor saxophonist Frank Mitchell. The group recorded The Sixth Sense, but by September of 1968, Morgan, Mitchell, and drummer Billy Higgins remained, the band revamped and reduced to a quintet. Those later sessions were not released until 1999 with the issue of this CD, which includes three bonus tracks. Where McLean's contribution was very telling in terms of the combo's overall sound, the quintet was able to further display the quiet confidence and competence Mitchell held. Either Cedar Walton or Harold Mabern appear showcasing their distinctive qualities, so this transitional recording marks the end of Walton's association, and the beginning of Mabern's, who would last with Morgan right up to his tragic and senseless murder. The symmetry of McLean's sourdough alto, Morgan's on-top trumpet and the middle-ground tenor of Mitchell is more balanced on the straight-ahead calypso title track, sweet and light as Walton sets the pace and proportions the right seasonings. "Short Count" on the other hand displays a stubby melody spiked by Walton's piano accents and the drum fills of Higgins in a more off minor taste. Approaching boogaloo go-go, "Psychedelic" is not so much acidic as conga line, Morgan leading the group, then following. The most memorable piece is Walton's "Afreaka," a wonderful modal piece with an Afro-centric groove and great harmonic content. High drama identifies "Anti Climax" with a dark, closet film noir sound acceding to hard bop, while the great Cal Massey composition "The Cry of My People" is covered, a ballad dominated by Morgan's somber and deep muted trumpet, swinging lightly on the bridge. The three tracks sans McLean and Walton with Morgan, Mitchell, Mabern, Higgins, and bassist Mickey Bass replacing Victor Sproles from the fall of 1968 sound noticeably different from the others. There's a more soulful flavor in Mabern's Memphis-cum-N.Y.C. uptown approach, and Mitchell challenges himself to assert his individual, less-pronounced voicings. The tenorman's post-bop composition "Extemporaneous" displays tricky phrasings and a musical syncopation, Bass' "Mickey's Tune" uses a loping 5/4 to 6/8 rhythm change so modern it keeps your ears on their toes, so to speak, and while "Leebop" is fairly typical, the chord substitutions and brilliant playing of Mabern are hard to ignore as he digs in, far above average or timid. The more one listens to Mabern the more you understand why he was a favorite of Morgan's, and everyone else's. The appropriately title Sixth Sense presents a transition between one of the most intriguing sextets during the last years of post-bop and Morgan's final ensembles that saw him reaching higher and higher before, like Icarus, falling from grace.

Tracks
01. The Sixth Sensev (6:46)
02. Short Count (6:03)
03. Psychedelic (6:32)
04. Afreaka (8:03)
05. Anti Climax (6:19)
06. The Cry Of My People (5:24)
07. xtemporaneous (5:09)
08. Mickey's Tune (6:36)
09. Leebop (5:38)

Personnel
- Lee Morgan - trumpet
- Jackie McLean - alto saxophone
- Frank Mitchell - tenor saxophone
- Cedar Walton - piano
- Victor Sproles - bass
- Billy Higgins - drums
- Harold Mabern - piano
- Mickey Bass - bass

 sample & buy: Sixth Sense 

Baby Face Willette - Face To Face (1961)

Baby Face Willette - Face To Face (1961)

jazz | 1cd | eac-flac-cue-log-cover | 375MB

Blue Note/EMI | RVG 2007

Allmusic:
While it's true that Baby Face Willette's Stop and Listen is widely regarded as his finest recording, this, his Blue Note debut from January of 1961, should not by any means be overlooked. After all, before this session he had the same lot as most Blue Note artists at the time; they played as sidemen on other's recordings before being allowed to headline their own dates. Willette performed on dates by Grant Green (Grant's First Stand) and Lou Donaldson (Here 'Tis). Face to Face boasts a mighty meat and potatoes soul-jazz lineup: Green on guitar, Fred Jackson on tenor, and drummer Ben Dixon. Comprised of six cuts, five of them are Willette originals. The evidence of the rough and rowdy side of Willette's playing is evident from the opener, "Swinging at Sugar Ray's." His approach to the B-3 is far more percussive than Jimmy Smith's, each note is a distinct punch; not only in his solos, but in his chord and head approaches. His solo is a nasty, knotty blues sprint that encompasses gospel licks and R&B fills, too. The other notable thing about the cut is Green's guitar break that shows a side of him we seldom got to hear early on, where he's bending strings, playing in the high register, and using intense single-note runs. It's nearly a breathless way to open a record. Things slow down on the blues "Goin' Down" that features a nice emotive solo by Jackson. The mambo-infused "Whatever Lola Wants" by Richard Adler and Jerry Ross comes next and includes some beautiful stop-and-and start moves in the melody, as well as beautiful call and response between Jackson and Willette, while Dixon's drums shift around the outside before the whole thing breaks down into a groover. The poppin' funky title track has one of those beautiful hard bop heads that's instantly memorable. Sure, it's not terribly sophisticated but it's full of soul and a relaxed yet quick group of changes before Jackson begins to blow. "Somethin' Strange" is pure blues, Chicago style, before moving into tough funky soul. The set closes with "High 'N' Low," a relaxed show-closing groove joint; it's all blues with fine contributions from Green, Jackson, and Willette. The two alternates are not necessarily revelatory, but they do keep the solid vibes happening for another 13 minutes or so. Certainly it's true that these compositions don't show a ton of imagination conceptually, but that doesn't mean anything. The group interplay here is the thing, it works seamlessly. The other notable is the looseness with which Green was playing on the date, and the true introduction of Willette's trademark approach to the B-3. That's all here. These tunes have their own little trademark knots and notches all over them. Highly recommended.

Tracks
1. "Swingin' at Sugar Ray's" - 6:35
2. "Goin' Down" - 7:24
3. "Whatever Lola Wants" (Richard Adler, Jerry Ross) - 7:21
4. "Face to Face" - 6:17
5. "Something Strange" - 6:42
6. "High 'N' Low" - 7:07
7. "Face to Face" [Alternate take] - 6:52 Bonus track on CD reissue
8. "Something Strange" [Alternate take] - 6:41 Bonus track on CD reissue
All compositions by Baby Face Willette except as indicated

Personnel
* Baby Face Willette – organ
* Grant Green – guitar
* Fred Jackson - tenor saxophone
* Ben Dixon – drums

 sample & buy: Face To Face 

Dexter Gordon - Dexter Calling... (1961) (RVG)

Dexter Gordon - Dexter Calling... (1961)

jazz | 1cd | eac-flac-cue-log-cover | 335MB

Blue Note | RVG 24-bit remaster

Allmusic:
Dexter Gordon's second recording for the Blue Note label is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time -- 1961 -- is one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. This SACD edition features a broad range of jazz that Gordon mastered with wisdom and a bit of mad abandon on his solos. Where Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. "The End of a Love Affair" takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn. The remarkable "Modal Mood" combines hard bop with Drew's three-chord piano repetitions and Gordon's soulful, simplified sax, while the equally impressive "Clear the Dex" steamrolls the competition as the band -- cued by Jones -- skillfully pushes or pull tension and release elements, then busts loose into joyous swinging in a true signature tune that is immediately recognizable as only the long, tall tenor man. The sad ballad "Ernie's Tune" is based on a yin/yang theme via Freddie Redd's stage play The Connection and the crazy character that ran wild or tame. There's a previously unissued track, "Landslide," which sounds slightly like a knock-off of one of his other tunes -- perhaps "Cheesecake" -- but considering the time frame, it could be a prelude to one of his most famous songs of all time. The excellent band, solid musicianship, and memorable music on every track make this one of the more essential recordings of Gordon's career, enhanced by the improved audio quality.

Tracks
-1. "Soul Sister" - 7:45
-2. "Modal Mood" (Kenny Drew) - 5:23
-3. "I Want More" - 5:20
-4. "The End of a Love Affair" (Edward Redding) - 6:53
-5. "Clear the Dex" (Drew) - 4:54
-6. "Ernie's Tune" - 4:16
-7. "Smile" (Charlie Chaplin) - 3:23
-8. "Landslide" - 5:15 Bonus track
All compositions by Dexter Gordon except as indicated

Personnel
* Dexter Gordon - tenor saxophone
* Kenny Drew - piano
* Paul Chambers - bass
* Philly Joe Jones - drums

sample & buy: Dexter Calling

Art Blakey - At The Cafe Bohemia v1-2 (1955) (RVG)

Art Blakey - At The Cafe Bohemia v1-2 (1955)

jazz | 1+1cd | eac-flac-cue-log-cover | 330+335MB

Blue Note | RVG 24-bit remaster 2001

Allmusic:
v1:
The third edition of Art Blakey's early period Jazz Messengers, after the departure of Donald Byrd and briefly Clifford Brown, welcomed trumpeter Kenny Dorham to the fray, and he was an important component matched with tenor saxophonist Hank Mobley, bassist Doug Watkins, and pianist Horace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters that signified its sound, and expanded on the language of modern jazz. There are three bonus CD tracks not on the original LP that further emphasize not only the inherent power of Blakey's band and drumming, but demarcate the simplicity of melodic statements that were a springboard for the fantastic soloing by these individuals that would follow those tuneful lines. Dorham is responsible for this edict, as he contributes three of the selections, including the staccato-accented melody of "Minor's Holiday" primed by a thumping intro via Blakey, "Prince Albert" with its by now classic and clever reharmonization of "All the Things You Are," and the perennial closer of every set "The Theme," with its brief repeat melody and powerhouse triple-time bop break. Mobley wrote the scattered melody of "Deciphering the Message," heard here at length for the first time, although it was later available in its original shortened studio form on the reissued Columbia CD Art Blakey & the Jazz Messengers. The tenor man gets his feature on the quarter-speed slowed ballad version of "Alone Together," which altogether sounds pining and blue to the nth degree. Standards like Fletcher Henderson's "Soft Winds" seemed merely a simple and lengthy warmup tune, but Tadd Dameron's "Lady Bird" is an absolute workout, with variations abounding on the intro, first and second run-throughs of the melody, and some harmonic twists. Watkins is featured on the lead line of "What's New?" which again combines melancholy with that slightest spark of hope. If this is indeed in chronological order as a first set from the November 13, 1955 performances, it whets the whistle and leaves the listener wanting more, knowing the best is yet to come.
v2
Volume deux of the 1955 Cafe Bohemia sessions from Art Blakey's second edition Jazz Messengers is better than the first. The music is more energetic, cohesive, and pushes the hard bop farther. Where the first volume featured compositions of newly recruited trumpeter Kenny Dorham, it is tenor saxophonist Hank Mobley asserting himself on the bandstand with his set pieces that formed the foundation of the first studio edition of the quintet that included Donald Byrd. Here, Mobley does not defer to Dorham, pushing his sound forward without compromising his vision. "Sportin' Crowd" is definitely an ear opener, a straight-ahead, hard bop gem based on the changes of the Sonny Rollins' classic "Tenor Madness." A live version of "Hank's Symphony" -- recapitulated from the studio version on the original Jazz Messengers' LP for the Columbia label -- has an Asian and calypso flair with many accented notes and a secondary melody. The killer track is Mobley's "Avila & Tequila," drenched in Blakey's churning Afro-Cuban beats, filled with multiple modal devices especially from Horace Silver, and charges ahead as if there was no tomorrow -- a truly memorable and vital performance. The other tracks may seem to pale by comparison, but the easy, bluesy "Like Someone in Love," a short ballad version of "Yesterdays" finally featuring trumpeter Dorham, and Mobley's luscious tenor during the ultimate tearjerker "I Waited for You" offer stark contrast while losing no internal intensity. It is on "Just One of Those Things" where the band really straightens up and convenes in tandem, a solid cohesion where Dorham and Mobley work like an effortless, major league shortstop and second base double-play combination. "Gone with the Wind" finishes this set in soulful, legato, dispassionate refrains. This is a more consistent effort than the first volume, with a much anticipated, late-night set still on the horizon.

Tracks
v1
-1. Announcement by Art Blakey 1:32
-2. "Soft Winds" 12:34
-3. "The Theme" 6:11
-4. "Minor's Holiday" 9:11
-5. "Alone Together" 4:15
-6. "Prince Albert" 8:51
-7. "Lady Bird" (reissue bonus track) 7:30
-8. "What's New?" (reissue bonus track) 4:31
-9. "Deciphering the Message" (reissue bonus track) 10:13
v2
-1. Announcement by Art Blakey 0:37
-2. "Sportin' Crowd" 6:53
-3. "Like Someone in Love" 9:15
-4. "Yesterdays"  4:18
-5. "Avila and Tequila" 12:46
-6. ""I Waited for You"  9:47
-7. "Just One Of Those Things" -9:27
-8. "Hank's Symphony" 4:43
-9. "Gone with the Wind" 7:27

Personnel
* Art Blakey — drums
* Horace Silver — piano
* Kenny Dorham — trumpet
* Hank Mobley — saxophone (tenor)
* Doug Watkins — bass

sample & buy: At The Cafe Bohemia, v1

sample & buy: At The Cafe Bohemia v2

Jackie McLean - Demon's Dance (1967) (RVG)

Jackie McLean - Demon's Dance (1967)

jazz | 1cd | eac-flac-cue-log-cover | 265MB

Blue Note | RVG 24-bit remaster 2006

Allmusic:
Demon's Dance was Jackie McLean's final album for Blue Note, closing out an amazing streak of creativity that's among the more underappreciated in jazz history. The record retreats a bit from McLean's nearly free playing on New and Old Gospel and 'Bout Soul, instead concentrating on angular, modal avant bop with more structured chord progressions. The whole session actually swings pretty hard, thanks to drummer Jack DeJohnette, who manages that feat while maintaining the busy, kinetic style McLean had favored since Tony Williams' appearance on One Step Beyond. Pianist Lamont Johnson and bassist Scott Holt both return from New and Old Gospel, and trumpeter Woody Shaw is in especially fiery, muscular form, rivaling the leader in terms of soloing impact and contributing two of the six compositions. McLean's originals tend to be the most intriguing, though; there's the angular title track, the bright, up-tempo "Floogeh," and the spacious ballad "Toyland," a warm, soft piece anchored by Johnson that runs counter to typical descriptions of the impressions McLean's tone creates. While Demon's Dance didn't quite push McLean's sound the way its two predecessors had, there was no sign that the altoist was beginning to run out of creative steam. Unfortunately, Blue Note's ownership change and resulting commercial direction meant the end of McLean's tenure with the label, and ultimately the prime of his career; he would resume recording five years later, often with rewarding results, but nonetheless, Demon's Dance marks the end of an era.

Tracks
-1. "Demon's Dance" - 7:09
-2. "Toyland" (Cal Massey) - 5:24
-3. "Boo Ann's Grand" (Woody Shaw) - 6:57
-4. "Sweet Love of Mine" (Shaw) - 6:04
-5. "Floogeh" - 5:23
-6. "Message From Trane" (Massey) - 5:29

Personnel
* Jackie McLean - alto saxophone
* Woody Shaw - trumpet, flugelhorn
* LaMont Johnson - piano
* Scott Holt - bass
* Jack DeJohnette - drums

sample & buy: Demon's Dance

Red Garland - Red Garland's Piano (1957) (RVG)

Red Garland - Red Garland's Piano (1957)
jazz | 1cd | eac-flac-cue-log-cover | 270MB

Prestige | RVG 24-bit remaster 2005

Allmusic:
Red Garland's third session as a leader finds the distinctive pianist investigating eight standards (including "Please Send Me Someone to Love," "Stompin' at the Savoy," "If I Were a Bell," and "Almost Like Being in Love") with his distinctive chord voicings, melodic but creative ideas, and solid sense of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual consistent level, making this an easily recommended disc for straight-ahead fans.

Tracks
-1. "Please Send Me Someone to Love" - Mayfield - 9:51
-2. "Stompin' at the Savoy" - Goodman, Razaf, Sampson, Webb - 3:12
-3. "The Very Thought of You" - Noble - 4:12
-4. "Almost Like Being in Love" - Lerner, Loewe - 4:52
-5. "If I Were a Bell" - Loesser - 6:41
-6. "I Know Why (And So Do You)" - Gordon, Warren - 4:50
-7. "I Can't Give You Anything But Love" - Fields, McHugh - 5:05
-8. "But Not for Me" - Gershwin, Gershwin - 5:52

Personnel
* Red Garland (piano)
* Paul Chambers (bass)
* Art Taylor (drums)

sample & buy: Red Garland's Piano

Curtis Fuller - The Opener (1957) (RVG)

Curtis Fuller - The Opener (1957)
jazz | 1cd | eac-flac-cue-log-cover | 170MB

Blue Note/EMI | RVG 24-bit remaster 2008

Allmusic:
The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards -- "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" -- two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show. In all, The Opener, along with his three earlier sessions for Prestige and New Jazz, establishes Fuller as one of the most distinctive and original hard bop trombonists of the late '50s.

Tracks
-1. "A Lovely Way to Spend an Evening" (Harold Adamson, Jimmy McHugh) - 6:52
-2. "Hugore" (Fuller) - 6:43
-3. "Oscalypso" (Oscar Pettiford) - 5:40
-4. "Here's to My Lady" (Rube Bloom, Johnny Mercer) - 6:43
-5. "Lizzy's Bounce" (Fuller)- 5:25
-6. "Soon" (George Gershwin, Ira Gershwin) - 5:33
Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey on June 16, 1957.

Personnel
* Curtis Fuller - trombone
* Hank Mobley - tenor saxophone (tracks 2, 3, 5 & 6)
* Bobby Timmons - piano
* Paul Chambers - bass
* Art Taylor - drums

sample & buy: The Opener

Horace Silver - The Cape Verdean Blues (1965) (RVG)

Horace Silver - The Cape Verdean Blues (1965)

jazz | 1cd | eac-flac-cue-log-cover | 330MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw -- is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album.

Tracks
-1. "The Cape Verdean Blues" - Silver - 4:59
-2. "The African Queen" - Silver - 9:36
-3. "Pretty Eyes" - Silver - 7:30
-4. "Nutville" - Silver - 7:15
-5. "Bonita" - Silver - 8:37
-6. "Mo' Joe" - Henderson - 5:45

Personnel
* Horace Silver (piano)
* Woody Shaw (trumpet)
* Joe Henderson (tenor sax)
* J. J. Johnson (trombone)
* Bob Cranshaw (bass)
* Roger Humphries (drums)

sample & buy: Cape Verdean Blues

Art Blakey - Indestructible (1964) (RVG)

Art Blakey - Indestructible (1964)

jazz | 1cd | eac-flac-cue-log-cover | 330MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well ("The Egyptian" and "Sortie"). There are plenty of hard swinging grooves-- an off-Latin funk à la Morgan's "Calling Miss Kadija," Shorter's killer "Mr. Jin," and Walton's ballad-cum-post-bop sprint "When Love Is New" -- and the Blakey drive is in full effect, making this album comes closest in feel to the Moanin' sessions with Bobby Timmons. Here the balance of soul groove and innovative tough bop are about equal. Morgan lends great intensity to this date by being such a perfect foil for Shorter, and their trading of fours and eights in "Sortie" is one of the disc's many high points. Morgan's bluesed-out modal frame is already in evidence here as he was beginning to stretch beyond the parameters of the 12-bar frame and into music from other spaces and times.

Tracks
-1. "The Egyptian" (Fuller) – 10:25
-2. "Sortie" (Fuller) – 8:13
-3. "Calling Miss Khadija" (Morgan) – 7:21
-4. "When Love is New" (Walton) – 6:02
-5. "Mr. Jin" (Shorter) – 7:04
-6. "It's a Long Way Down" (Shorter) – 5:26 Bonus track on CD

Personnel
* Lee Morgan — trumpet
* Curtis Fuller — trombone
* Wayne Shorter — tenor saxophone
* Cedar Walton — piano
* Reggie Workman — bass
* Art Blakey — drums

sample & buy: Indestructible

Dexter Gordon - One Flight Up (1964) (RVG)

Dexter Gordon - One Flight Up (1964)

jazz | 1cd | eac-flac-cue-log-cover | 320MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
When he expatriated to Scandinavia just before this session in Paris was recorded, Dexter Gordon said he was liberated in many ways, as a jazz musician and as a human being. This is reflected in the lengthy track on this album, a testament to that newly found freedom, addressing the restrictions the American music scene placed on artists to do the two- to three-minute hit. With the nearly 18-minute "Tanya" and the 11-minute "Coppin' the Haven," Gordon and his quintet, featuring trumpeter Donald Byrd, were able to jam at length with no thought of being edited, and they fully prolong their instrumental remarks in a way few other musicians -- jazz or otherwise -- would allow themselves. Yes, it would be difficult to hear these tracks on the radio, but the tradeoff was a listening experience for their fans that would also showcase a rare commodity in the lexicon of their style of post-bop mainstream jazz -- consistency. The simple, sweet, and lightly swinging "Tanya" has become a classic song, and it is a staple in most saxophonists' diets, even though the supportive chord structures from pianist Kenny Drew and Byrd's up-front brass are more attractive or noticeable than Gordon's bluesy tenor. Memorable for many reasons, Drew's brilliant composition "Coppin' the Haven" is textbook modern jazz, a modal minor-key delight as Byrd again dominates with a shining, gliding melody tacked on to an easy swing that exemplifies the song form for jazz in its best sense. Gordon steps up apart from the trumpeter on the great ballad "Darn That Dream," and is at his best, wringing every regretful emotion out of his horn as only he can. The CD version contains the bonus track "Kong Neptune" sans Byrd, a good swinger that cops from no other influences, merging the mythical strengths of the two creatures in its title via Gordon's muscular, lithe, and athletic on-land and at-sea horn. At around 47 substantive minutes of music, One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say.

Tracks
1. "Tanya" (Donald Byrd) - 18:18
2. "Coppin' the Haven" (Kenny Drew) - 11:18
3. "Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) - 7:29
4. "Kong Neptune" - 11:00 Bonus track on CD reissue
All compositions by Dexter Gordon except as indicated
Recorded at Barclay Studios, Paris, France on June 2, 1964

Personnel
* Dexter Gordon - tenor saxophone
* Donald Byrd - trumpet (tracks 1 & 2)
* Kenny Drew - piano
* Niels-Henning Orsted Pedersen - bass
* Art Taylor - drums

sample & buy: One Flight Up

Lou Donaldson - Gravy Train (1961) (RVG)

Lou Donaldson - Gravy Train (1961)

jazz | 1cd | eac-flac-cue-log-cover | 400MB

Blue Note | RVG 24-bit remaster 2007

Allmusic:
Gravy Train is a fine, if not quite exceptional record from Lou Donaldson's initial soul-jazz phase of the early '60s. Actually, given the title and the period in which it was recorded, the album isn't quite as greasy and funky overall as one might expect; most of the repertoire is devoted to pop ballads and mid-tempo standards, the latter of which tends to bring out more of the bop elements in Donaldson's playing. That's not true for the entire album, though; the title cut is a laid-back, conga-tinged, bluesy groover in the classic Donaldson mold, even if it's a bit workmanlike. Donaldson's longtime pianist, Herman Foster, is allotted quite a bit of solo space here, and he concentrates more on thick, rippling chords than single-note lines. For his part, Donaldson's playing is pleasant, and the rest of the supporting group maintains a steady groove throughout. All of Donaldson's sessions from this period (Here 'Tis, The Natural Soul, Good Gracious) have enough worthwhile moments for devoted fans, and that's true of Gravy Train as well, though casual fans probably won't find it necessary enough to track down.

Tracks
-1. "Gravy Train" - 8:14
-2. "South of the Border" (Michael Carr, Jimmy Kennedy) - 5:31
-3. "Polka Dots and Moonbeams" (Johnny Burke, James Van Heusen) - 4:59
-4. "Avalon" (Buddy DeSylva, Al Jolson, Vincent Rose) - 4:15
-5. "Candy" (Mack David, Alex Kramer, Joan Whitney) - 9:18
-6. "Twist Time" - 6:47
-7. "Glory of Love" (Billy Hill) - 4:04
-8. "Gravy Train" [alternate take] - 7:30 Bonus track on CD
-9. "Glory of Love" [alternate take] (Hill) - 3:49 Bonus track on CD
All compositions by Lou Donaldson except as indicated
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ on April 27, 1961.

Personnel
* Lou Donaldson - alto saxophone
* Herman Foster - piano
* Ben Tucker - bass
* Dave Bailey - drums
* Alec Dorsey - congas (tracks 1, 2 & 4-9)

sample & buy: Gravy Train

Horace Parlan - Up & Down (1961) (RVG)

Horace Parlan - Up & Down (1961)

jazz | 1cd | eac-flac-cue-log-cover | 375MB

Blue Note | RVG 24-bit remaster 2008

Allmusic:
By adding guitarist Grant Green and tenor saxophonist Booker Ervin to his standard rhythm section of bassist George Tucker and drummer Al Harewood, pianist Horace Parlan opens up his sound and brings it closer to soul-jazz on Up and Down. Green's clean, graceful style meshes well with Parlan's relaxed technique, while Ervin's robust tone and virile attack provides a good contrast to the laid-back groove the rhythm section lays down. Stylistically, the music is balanced between hard bop and soul-jazz, which are tied together by the bluesy tint in the three soloists' playing. All of the six original compositions give the band room to stretch out and to not only show off their chops, but move the music somewhat away from generic conventions and find new territory. In other words, it finds Parlan at a peak, and in many ways, coming into his own as a pianist and a leader.

Tracks
-1. "The Book's Beat" (Booker Ervin) - 9:50
-2. "Up and Down" (Horace Parlan) - 6:11
-3. "Fugee" (George Tucker) - 7:04
-4. "The Other Part of Town" (Grant Green) - 11:41
-5. "Lonely One" (Babs Gonzales) - 4:06
-6. "Light Blue" (Tommy Turrentine) - 6:04
-7. "Fugee" [alternate take] (Tucker) - 7:01
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ on June 18, 1961

Personnel
* Horace Parlan - piano
* Booker Ervin - tenor saxophone
* Grant Green - guitar
* George Tucker - bass
* Al Harewood - drums

sample & buy: Up & Down

Sonny Rollins - Newk's Time (1957) (RVG)

Sonny Rollins - Newk's Time (1957)

jazz | 1cd | eac-flac-cue-log-cover | 270MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
In his early prime and well-respected, tenor saxophonist Sonny Rollins cut this fine hard bop date as one of several late-'50s sessions for Blue Note. The record is part classic date, part blowing session, sporting a mix of engaging head statements and lengthy solos. Rollins takes to the spacious quartet setting, stretching out on taut versions of Miles Davis' '50s concert opener "Tune Up" and Kenny Dorham's "Asiatic Raes." Keeping the swing hard but supple are drummer Philly Joe Jones, bassist Doug Watkins, and pianist Wynton Kelly; Jones was certainly the standout in this well-respected sampling of the best young players of the period, as he oftentimes matched the intensity and ingenuity of the star soloists he backed. Jones, in fact, puts in some career highlights on "Wonderful! Wonderful!" and "The Surrey With the Fringe on Top," just two of many wholly unique Tin Pan Alley song interpretations Rollins has done in his long career. From a career-defining period before the legendary Williamsburg Bridge layoff of two years, Rollins' Newk's Time may not make classic status in jazz roundups, but it certainly is a must for fans of this most important of classic hard bop soloists.

Tracks
-1. "Tune Up" (Davis) (5:43)
-2. "Asiatic Raes" (5:55)
-3. "Wonderful! Wonderful!" (Edwards, Raleigh) (5:57)
-4. "The Surrey with the Fringe on Top" (Rodgers-Hammerstein) (6:30)
-5. "Blues for Philly Joe" (6:42)
-6. "Namely You" (3:18)

Personnel
* Saxophone [Tenor] - Sonny Rollins
* Bass - Doug Watkins
* Drums - Philly Joe Jones
* Piano - Wynton Kelly
* Producer - Alfred Lion

--> Blue Note 804001 edition (1990) here  <--

sample & buy: Newk's Time

Donald Byrd - Off To The Races (1958) (RVG)

Donald Byrd - Off To The Races (1958)

jazz | 1cd | eac-flac-cue-log-cover | 280MB

Blue Note | RVG 24-bit remaster 2006

Allmusic:
From the crackling opening notes of "Lover Come Back to Me," it's clear that Off to the Races is one of Donald Byrd's most invigorating sessions of the late '50s. Working with a stellar supporting band -- Jackie McLean (alto sax), Wynton Kelly (piano), Pepper Adams (bari sax), Sam Jones (bass), Art Taylor (drums) -- Byrd turns in one of his strongest recordings of the era. Throughout the album, Byrd switches between hard bop, ballads, laid-back blues, and soul-jazz. Two of the numbers are standards, one is a cover, and three are Byrd originals, but what matters is the playing. Over the course of the album, Byrd proves he has matured greatly as a soloist, capable of sweet, melodic solos on the slower numbers and blistering runs of notes on the faster songs. McLean is just as vigorous and lyrical, contributing some fine moments to the record, as do Adams and Kelly. There's nothing surprising about Off to the Races; it's simply a set of well-performed, enjoyable hard bop, but sometimes that's enough.

Tracks
-1. "Lover, Come Back to Me" (Oscar Hammerstein II, Sigmund Romberg) - 6:52
-2. "When Your Love Has Gone" - 5:04
-3. "Sudwest Funk" - 6:53
-4. "Paul's Pal" (Sonny Rollins) - 7:08
-5. "Off to the Races" - 6:36
-6. "Down Tempo" - 5:19
All compositions by Donald Byrd except as indicated
Recorded at Rudy Van Gelder Studio, Hackensack, NJ on December 21, 1958.

Personnel
*Donald Byrd - trumpet,
*Jackie McLean - alto saxophone (tracks 1 & 3-6)
*Pepper Adams - baritone saxophone (tracks 1 & 3-6)
*Wynton Kelly - piano
*Sam Jones - bass
*Art Taylor - drums

samle & buy: Off to the Races

McCoy Tyner - Tender Moments (1967) (RVG)

McCoy Tyner - Tender Moments (1967)

jazz | 1cd | eac-flac-cue-log-cover | 260MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
On this excellent set (reissued on CD by Blue Note), McCoy Tyner had the opportunity for the first time to head a larger group. His nonet is an all-star aggregation comprised of trumpeter Lee Morgan, trombonist Julian Priester, altoist James Spaulding, Bennie Maupin on tenor, the French horn of Bob Northern, Howard Johnson on tuba, bassist Herbie Lewis, and drummer Joe Chambers in addition to the pianist/leader. Tyner debuted six of his originals, and although none became standards (perhaps the best known are "The High Priest" and "All My Yesterdays"), the music is quite colorful and advanced for the period. Well worth investigating. [The 2004 Rudy Van Gelder Edition does not contain any bonus material. It does, however, feature wonderfully remastered sound in 24-bit resolution transferred from the original two-track analog tapes. It replaces the earlier CD issue.]

Tracks
-1. "Mode to John" - 5:40
-2. "Man from Tanganyika" - 6:51
-3. "The High Priest" - 6:05
-4. "Utopia" - 7:30
-5. "All My Yesterdays" - 6:02
-6. "Lee Plus Three" - 5:36
All compositions by McCoy Tyner
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, December 1, 1967

Personnel
*McCoy Tyner: piano
*Lee Morgan: trumpet
*Julian Priester: trombone (tracks 1-5)
*Bob Northern: french horn (tracks 1-5)
*Howard Johnson: tuba (tracks 1-5)
*James Spaulding: alto saxophone, flute (tracks 1-5)
*Bennie Maupin: tenor saxophone (tracks 1-5)
*Herbie Lewis: bass
*Joe Chambers: drums

sample & buy: Tender Moments

Art Blakey - Meet You at the Jazz Corner of the World (1960) (RVG)

Art Blakey - Meet You at the Jazz Corner of the World (1960)

jazz | 2cd | eac-flac-cue-log-cover | 640MB

Blue Note | RVG 24-bit remaster 2001

Allmusic:
This set collects both installments of Art Blakey & the Jazz Messengers' Meet You at the Jazz Corner of the World (1961) in a comprehensive two-CD compendium, sporting thoroughly remastered sound by legendary jazz producer/engineer Rudy Van Gelder. Audio-conscious consumers should be aware of the distortion that somewhat marred the original vinyl, as well as all subsequent pressings. Unfortunately, it seems to have been inherent in the master tapes. While it occasionally reveals itself during the more dynamic contrasts and passages, the combo's swinging bop and sheer musicality outweigh any and all anomalies. Birdland (aka "the jazz corner of the world") produced some of Art Blakey's (drums) most revered live recordings. In addition to these volumes, enthusiasts are equally encouraged to locate the genre-defining A Night at Birdland (1954). For the Meet You at the Jazz Corner of the World sides, listeners fast-forward six years to Blakey's latest quintet, which includes the respective talents of Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass) -- all of whom are solidly grounded to Blakey's firm yet profound backbeat.
The lyrical performance style that began to emerge from Shorter in the early to mid-'60s can be heard developing during his tenure as a Jazz Messenger. He contrasts Morgan's limber and lilting solos and improvisations, which are especially notable on "'Round About Midnight" and the spirited "The Breeze and I." The latter title also allows Timmons the opportunity to stretch out and motivate the melody. "High Modes" showcases Merritt's pulsating and hypnotic basslines as he weaves a smoky groove beneath Morgan and Shorter's scintillating leads. In addition to "High Modes," this set features two more Hank Mobley compositions. The syncopated and infectiously rhythmic "Night Watch" is highlighted by Shorter, as he begins to fully grasp his improvisational skills that seem to materialize right before the keen-eared listener. He is quickly developing into the undaunted instrumentalist who would revolutionize modern jazz with Miles Davis in the mid-'60s. The set concludes with a rousing rendition of Shorter's "The Summit," which became a comparable standard for this version of the Jazz Messengers. Once again the lines fly fast and furious between Shorter and Morgan, with Timmons securely anchoring the soloists to the equally involved rhythm section. The 2002 reissue includes a newly inked essay from jazz historian Bob Blumenthal as well as reproductions of Leonard Feather's original sleeve notes. The sheer volume of releases by Art Blakey & the Jazz Messengers arguably makes this set somewhat obscured by the plethora of similarly classic live platters. However, the 2002 complete Meet You at the Jazz Corner of the World would be a welcome addition to the library of most any jazz lover.

Tracks
cd1
-1. "Announcement By Pee Wee Marquette - 1:06
-2. "The Opener" - Mobley, Shrdlu - 8:29
-3. "What Know" - Morgan - 10:26
-4. "The Theme" - Blakey, Dorham, Traditional - 1:37
-5. "Announcement By Art Blakey" - Blakey - 0:21
-6. "'Round About Midnight" - Hanighen, Monk, Williams - 9:44
-7. "The Breeze and I" - Lecuona, Stillman" - 10:38
cd2
-1. "Announcement By Pee Wee Marquette & Art Blakey - 1:01
-2. "High Modes" - Mobley - 13:09
-3. "Night Watch" - Mobley - 8:34
-4. "The Things I Love" - Barlow, Harris - 8:26
-5. "The Summit" - Shorter - 9:26
-6. "The Theme" - Blakey, Dorham, Traditional - 1:35

Personnel
*Art Blakey - Drums
*Lee Morgan - Trumpet
*Jymie Merritt - Bass
*Bobby Timmons - Piano
*Wayne Shorter - Tenor Sax

sample & Buy: Meet You at the Jazz
Corner of the World

Art Blakey - The Big Beat (1960) (RVG) (eac-log-cover)

Art Blakey - The Big Beat (1960)

jazz | 1cd | eac-flac-cue-log-cover | 310MB

Blue Note | RVG remaster 2005

Allmusic:
Perhaps the best known and most loved of Art Blakey's works, The Big Beat is a testament to the creative progress of one of the best jazz drummers of all time. Now over 40 years old, The Big Beat is as thunderous as ever. Here, Blakey combines his rhythm with tenor saxophonist Wayne Shorter's brilliant composing to make what could only be termed a "structurally raw" album. Each track rips through bebop as quickly as Blakey ripped through drum heads. "Dat Dere" and "Lester Left Town" stand out as part of the true canons for hot jazz. Two alternate versions of "It's Only a Paper Moon" round out the album, both brimming with the fluid integrity of the song and the drive only Blakey could provide. As one of the few drummers to step out and lead, not just play backup, Blakey created a true jazz treasure in The Big Beat.

Tracks
1. "The Chess Players" (Shorter) - 9:39
2. "Sakeena's Vision" (Shorter) - 6:06
3. "Politely" (Hardman) - 6:04
4. "Dat Dere" (Timmons) - 8:48
5. "Lester Left Town" (Shorter) - 6:26
6. "It's Only a Paper Moon" (Arlen, Harburg, Rose) - 6:41
7. "It's Only a Paper Moon [alternate take] (Arlen, Harburg, Rose) - 6:22
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 6, 1960

Personnel
*Wayne Shorter — tenor saxophone
*Lee Morgan — trumpet, flugelhorn
*Bobby Timmons — piano
*Jymie Merritt — bass
*Art Blakey — drums

sample & buy: Big Beat

Miles davis - Bag's Groove (1954) (RVG & XRCD) (eac-log-cover)

Miles davis - Bag's Groove (1954)

jazz | 1 + 1cd | eac-flac-cue-log-cover
-------

Prestige | RVG 24-bit remaster 2007 | 250MB

JVC XRCD 20-bit K2 1998 | 325MB

Allmusic:
There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session -- featuring Thelonious Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis' Sketches of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath's most impressive displays on Bags' Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags' Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. The remastered CD includes both historic takes of "Bag

Tracks
-1. "Bags' Groove" (Milt Jackson) [take 1] – 11:12
-2. "Bags' Groove" [take 2] – 9:20
-3. "Airegin" (Sonny Rollins) – 4:57
-4. "Oleo" (Rollins) – 5:10
-5. "But Not for Me" (George Gershwin) [take 2] – 4:34
-6. "Doxy" (Rollins) – 4:51
-7. "But Not for Me" [take 1] – 5:42

Personnel
* Miles Davis - Trumpet
* Sonny Rollins - Tenor saxophone
* Horace Silver - Piano
* Percy Heath - Bass
* Kenny Clarke - drums
* Milt Jackson - Vibraphone
* Thelonious Monk - Piano

sample & buy: Bag's Groove (XRCD)

sample & buy: Bag's Groove (RVG)

Clifford Brown - Jazz Immortal (RVG) (1954) eac-log-cover)

Clifford Brown - Jazz Immortal (1954)

feat: Zoot Sims

jazz | 1cd | eac-flac-cue-log-cover | 120MB

Pacific Jazz | RVG 24-bit remaster 2001

Amazon:
Clifford Brown recorded this album in 1954 in California with a great band, including Zoot Sims on Tenor Sax and Russ Freeman on Piano. Clifford Brown was a masterful trumpet player at a very young age and soon achieved a high stature in the jazz world in the early 50's. He played with Charlie Parker and Tadd Dameron, as well as leading his own bands. I think this recording is one of his best, with original songs and arrangements done by Jack Montrose. Clifford Brown's alternatively sweet, tough and complex trumpet playing integrates wonderfully with Zoot Sims saxophone. The song 'Tiny Capers' is a brilliant excursion in jazz improvisation and playfulness, while retaining a beautiful melody.

Tracks
-01. "Daahoud" - Brown - 4:13
-02. "Finders Keepers" - Montrose - 3:52
-03. "Joy Spring" - Brown - 3:16
-04. "Gone With the Wind" - Magidson, Wrubel - 3:40
-05. "Bones for Jones" - Brown - 4:15
-06. "Blueberry Hill" - Lewis, Rose, Stock - 3:16
-07. "Tiny Capers" - Brown - 4:16
-08. "Tiny Capers" - Brown - 2:59
-09. "Gone With the Wind" - Magidson, Wrubel - 2:58

Personnel
*Baritone Saxophone - Bob Gordon
*Bass - Carson Smith , Joe Mondragon
*Drums - Shelly Manne
*Piano - Russ Freeman
*Tenor Saxophone - Zoot Sims
*Trombone - Stu Williamson
*Trumpet - Clifford Brown

sample & buy: Jazz Immortal

Horace Silver - 6 Pieces Of Silver (RVG) (eac-log-cover)

Horace Silver - 6 Pieces Of Silver (1956)

jazz | 1cd | eac-flac-cue-log-cover | 280MB

Blue Note | RVG 24-bit remaster 2000

Allmusic:
The first classic album by the Horace Silver Quintet, this CD is highlighted by "Señor Blues" (heard in three versions, including a later vocal rendition by Bill Henderson) and "Cool Eyes." The early Silver quintet was essentially the Jazz Messengers of the year before (with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map.

Tracks
-01. "Cool Eyes" - 5:55
-02. "Shirl" - 4:16
-03. "Camouflage" - 4:25
-04. "Enchantment" - 6:22
-05. "Señor Blues" - 7:01
-06. "Virgo" - 5:48
-07. "For Heaven's Sake" (Elise Bretton, Donald Meyer, Edwards Sherman) - 5:09
Bonus tracks
-08. "Señor Blues" (alternate take) - 6:38
-09. "Tippin'" - 6:16
-10. "Señor Blues" (Vocal version) - 6:12
* All songs written and composed by Horace Silver, except where noted.
* Recorded at Rudy Van Gelder Studio, Hackensack, NJ, November 10, 1956 (tracks 1-8) and November 15, 1958 (tracks 9 & 10).

Personnel
* Horace Silver - piano
* Donald Byrd - trumpet (tracks 1, 2, 4-6 & 8-10)
* Hank Mobley - tenor saxophone (tracks 1, 2, 4-6 & 8)
* Junior Cook - tenor saxophone (tracks 9 & 10)
* Doug Watkins - bass (tracks 1-8)
* Gene Taylor - bass (tracks 9 & 10)
* Louis Hayes - drums (tracks 1-8)
* Roy Haynes - drums (tracks 9 & 10)
* Bill Henderson - vocals (track 10)

sample & buy: Six Pieces of Silver