ERNIE HENRY — Presenting Ernie Henry (1956-1999) RM | Original Jazz Classics Limited Edition Series | FLAC (image+.cue), lossless

Altoist Ernie Henry's first of three sessions as a leader, all of which were made within 16 months of his premature death, served as a strong debut. Joined by trumpeter Kenny Dorham, pianist Kenny Drew, bassist Wilbur Ware and drummer Art Taylor, Henry -- who always had a distinctive tone -- performs five of his boppish originals, plus "Gone With the Wind" and "I Should Care." Throughout the date, Henry hints strongly at the great potential he had. This set has thus far only been reissued by the OJC series on LP. Scott Yanow
Tracklist :
1    Gone With The Wind    3:24
 Herbert Magidson / Allie Wrubel
2    Orient    5:10
 Ernie Henry
3    Free Flight    5:48
 Ernie Henry
4    Checkmate    5:55
 Ernie Henry
5    Active Ingredients    5:03
 Ernie Henry
6    I Should Care    5:07
 Sammy Cahn / Axel Stordahl / Paul Weston
7    Cleo's Chant    8:21
 Ernie Henry
Credits :
Alto Saxophone – Ernie Henry
Bass – Wilbur Ware
Drums – Art Taylor
Piano – Kenny Drew
Trumpet – Kenny Dorham

GIGI GRYCE & DONALD BYRD — Jazz Lab (1957-2010) RM | MONO | Serie Jazz 名盤 999 Best & More, EMI Music Japan Inc. 50th Anniversary | FLAC (tracks+.cue), lossless

Tracklist :
1    Blue Lights    4:00
Written-By – Gigi Gryce
2    Onion Head    4:44
Written-By – Donald Byrd
3    Isn't It Romantic    4:51
Written-By – Richard Rodgers - Lorenz Hart
4    Bat Land    7:05
Written-By – Gigi Gryce, Lea Sears
5    Bangoon    4:57
Written-By – Hank Jones
6    Imagination    5:40
Written-By – Jimmy Van Heusen - Johnny Burke
7    Xtacy    8:32
Written-By – Donald Byrd
Credits :
Alto Saxophone – Gigi Gryce
Bass – Paul Chambers
Drums – Art Taylor
Piano – Hank Jones
Trumpet – Donald Byrd

IDREES SULIEMAN | WEBSTER YOUNG | JOHN COLTRANE | BOBBY JASPAR — Interplay for 2 Trumpets And 2 Tenors (1957-1992) RM | FLAC (image + .cue), lossless

John Coltrane (tenor sax) resumed his association with the Prestige label on a late-March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burrell gets some space to stretch out on the understated and refined cool of "Anatomy." After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed," as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time. Lindsay Planer
Tracklist :
1    Interplay    9:37
 Mal Waldron
2    Anatomy    11:53
 Mal Waldron
3    Light Blue    7:47
 Thelonious Monk / Mal Waldron
4    Soul Eyes    17:29
 Mal Waldron
5    C.T.A. 4:40
Piano – Red Garland
Written-By – Jimmy Heath
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Piano, Written-By – Mal Waldron (tracks: 1 to 4)
Tenor Saxophone – Bobby Jaspar (tracks: 1 to 4), John Coltrane
Trumpet – Idrees Sulieman, Webster Young

GENE AMMONS' ALL STARS — The Big Sound (1958-1991) RM | APE (image+.cue), lossless

Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original. Scott Yanow
Tracklist :
1    Blue Hymn 12:37
Written-By – Gene Ammons
2    The Real McCoy 8:33
Written-By – Mal Waldron
3    Cheek To Cheek 14:12
Written-By – Irving Berlin
4    That's All 13:58
Written-By – Bob Haymes
Credits :
Alto Saxophone – John Coltrane (tracks: 3)
Baritone Saxophone – Pepper Adams (tracks: 3, 4)
Bass – George Joyner
Drums – Art Taylor
Flute – Jerome Richardson
Piano – Mal Waldron
Tenor Saxophone – Gene Ammons, Paul Quinichette (tracks: 3)

CURTIS FULLER — The Complete Blue Note/UA Curtis Fuller Sessions (1996) 3CD BOX-SET | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller, who developed his sound out of the style of J.J. Johnson, recorded prolifically as a leader from 1957-1962. After recording three dates for Prestige and New Jazz within a seven-day period in 1957, Fuller made four albums for Blue Note from 1957-1958, and after three albums for Savoy, he cut a lone session for United Artists in 1959. All of the five Blue Note and United Artists records (plus an alternate take of "Down Home") are on this excellent three-CD limited box set, released in 1996. Fuller is heard with four different quintets that include either tenor saxophonist Hank Mobley, baritonist Tate Houston, trumpeter Art Farmer, or (on a date only previously out in Japan) fellow trombonist Slide Hampton; the rhythm sections consist of either Bobby Timmons or Sonny Clark on piano, Paul Chambers or George Tucker on bass, and Art Taylor, Louis Hayes, or Charlie Persip in the drum slot. In addition, there is a sextet session with Lee Morgan, Mobley, Tommy Flanagan, Chambers, and Elvin Jones that has arrangements by Gigi Gryce and Benny Golson. Throughout, the music is high-quality hard bop with plenty of fine features for the underrated but talented Curtis Fuller. Scott Yanow   Tracklist & Credits :

CURTIS FULLER — Bone & Bari (1957-2003) RM | Serie 24 Bit By RVG | FLAC (tracks+.cue), lossless

Curtis Fuller emerged during the 1950s as a leading hard bop trombonist. A native of Detroit, Fuller was initially inspired by hearing J.J. Johnson, who became a mentor for the young musician. This recording was completed only weeks before Fuller went into the studio to record John Coltrane's Blue Trane. The session is unique in its pairing of trombone with the baritone sax of Tate Houston. The resultant front line sound is thick and rotund. The rhythm section of Sonny Clark, Paul Chambers and Art Taylor had a lovely rapport; individually and collectively, these three made many important recordings in the late 1950s, especially for the Blue Note label. Highlights of Bone & Bari include the title tune, penned by Fuller, and the group's rendering of the standard "Heart and Soul." Lee Bloom

Tracklist 
1 Algonquin 5:02
Written-By – Curtis Fuller
2 Nita's Waltz 6:55
Written-By – Curtis Fuller
3 Bone & Bari 6:18
Written-By – Curtis Fuller
4 Heart And Soul 4:48
Written-By – Frank Loesser, Hoagy Carmichael
5 Again 7:18
Written-By – Dorcas Cochran, Lionel Newman
6 Pickup 5:46
Written-By – Curtis Fuller
Credits :
Baritone Saxophone – Tate Houston
Bass – Paul Chambers
Drums – Art Taylor
Piano – Sonny Clark
Trombone – Curtis Fuller

CURTIS FULLER — The Opener (1957) Two Version (1996, RM | MONOAURAL | The BN Works 1500 Series) + (1999, RM | Serie 24 Bit By RVG) FLAC (tracks+.cue), lossless

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. Stephen Thomas Erlewine

Tracklist :
1 A Lovely Way To Spend An Evening 6:50
Written-By – H. Adamson, J. McHugh
2 Hugore 6:41
Written-By – Curtis Fuller
3 Oscalypso 5:37
Written-By – Oscar Pettiford
4 Here's To My Lady 6:40
Written-By – J. Mercer, R. Bloom
5 Lizzy's Bounce 5:21
Written-By – Curtis Fuller
6 Soon 5:35
Written-By – G. Gershwin-I. Gershwin
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Bobby Timmons
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller

OLIVER NELSON — Meet Oliver Nelson (1959-1992) RM | FLAC (tracks+.cue), lossless

Oliver Nelson's debut as a leader found him already a distinctive and skilled tenor saxophonist by the age of 27. For this quintet set, Nelson teams up with the veteran trumpeter Kenny Dorham, pianist Ray Bryant, bassist Wendell Marshall, and drummer Art Taylor for four of his originals, plus the ballads "Passion Flower" and "What's New." Although none of these Nelson tunes caught on, this was an impressive beginning to a short but productive career and gives one a strong example of the multi-talented Nelson's tenor playing. Scott Yanow   Tracklist & Credits :

LEM WINCHESTER SEXTET ft. OLIVER NELSON — Lem's Beat (1960-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Lem Winchester, an ill-fated vibraphonist who was influenced musically by Milt Jackson, teams up with tenor saxophonist Oliver Nelson, altoist Curtis Peagler and a fine rhythm section for a good straight-ahead date that has been reissued on CD. Nelson emerges as the most distinctive solo voice, and since he contributed three of the six songs, the tenorman's musical personality dominates this set. Winchester shows much potential that, due to his untimely death in early 1961, was never fulfilled. Good bop-based music. Scott Yanow   Tracklist & Credits :

THE RED GARLAND QUINTET WITH JOHN COLTRANE — Dig It! (1958-2009) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland's straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John Coltrane in Garland's quartet apart from their association with Miles Davis, and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland's strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos. Because of the lack of extra material or alternate takes, one might buy this just for the good music, but also the Rudy Van Gelder remastering factor that allows you to hear these genius mmusicians cleaner and brighter. Michael G. Nastos

Tracklist :
1 Billie's Bounce 9:24
Charlie Parker
2 Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer
3 C.T.A. 4:42
Jimmy Heath
4 Lazy Mae 16:06
Red Garland
Credits
Bass – George Joyner (tracks: 1, 4), Paul Chambers (tracks: 2, 3)
Drums – Arthur Taylor
Piano – Red Garland
Tenor Saxophone – John Coltrane (tracks: 1, 3, 4)
Trumpet – Donald Byrd (tracks: 1, 4)

THE RED GARLAND TRIO WITH PAUL CHAMBERS AND ART TAYLOR — A Garland Of Red (1956-1991) RM | FLAC (tracks+.cue), lossless

Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers (also in Davis's group) and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" (during which he shows that he could sound relaxed at the fastest tempos) and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. Scott Yanow

Tracklist :
1    A Foggy Day 4:48
Written-By – Gershwin-Gershwin
2    My Romance 6:50
Written-By – Rodgers-Hart
3    What Is This Thing Called Love 4:50
Written-By – Cole Porter
4    Makin' Whoopee 4:12
Written-By – Kahn, Donaldson
5    September In The Rain 4:46
Written-By – Dubin, Warren
6    Little Girl Blue 5:04
Written-By – Rodgers-Hart
7    Constellation 3:50
Written-By – Charlie Parker
8    Blue Red 7:40
Written-By – Red Garland
Credits :
Bass – Paul Chambers
Drums – Arthur Taylor
Piano – Red Garland

RED GARLAND TRIO — Groovy (1957-1999) RM | Serie Prestige 50th Anniversary Special Commemorative Edition | FLAC (tracks+.cue), lossless

Red Garland's third recording as a leader has him playing very well, somewhat energetic and more inclusive in his direction to span the mainstream jazz palate beyond the cool exterior he emanates. The title might be a bit deceptive, for this is not a project where soul-jazz or early boogaloo influences turned jazzmen into groovemeisters -- it's a swinging groove. With bassist Paul Chambers and drummer Art Taylor, Garland has all the support he needs to wing it in a variety of directions. Recorded in that most legendary year of jazz, 1957, Garland is coming into his own in a more confident way, buoyed by his association at the time with Miles Davis. Chambers is flawless in his support role, and on this recording deserves a close listen, especially for students of the acoustic upright. They immediately dig in on the opener "C Jam Blues," with Garland at his heartiest during his bridge solo, they agree in the affirmative during the entirety of the hard bop take of "Will You Still Be Mine?," and repeat but modify the melody à la "Cool Blues" in an adept display of artistry for "Hey Now." Of course Garland has to play a ballad or two, as on "Willow Weep for Me," luscious with chord sequences, and really reflects the influence of Erroll Garner in that chiming, two-handed sustenato style for Garner's "Gone Again." It is said that by the third recording, most musicians should have their style down pat and begin attempting to take the music to a higher level. You really hear that in this recording, which was a springboard to making Red Garland one of the most revered and respected jazz pianists of the modern era. Michael G. Nastos  
Tracklist :
1 C-Jam Blues 8:21
Barney Bigard / Duke Ellington
2 Gone Again 6:46
Curley Hamner / Lionel Hampton / Curtis Lewis
3 Will You Still Be Mine? 4:43
Tom Adair / Matt Dennis
4 Willow Weep for Me 9:35
Ann Ronell
5 What Can I Say (After I Say I'm Sorry?) 7:14
Walter Donaldson / Abe Lyman
6 Hey Now 3:41
Red Garland / Sonny Gordon
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Red Garland

THE RED GARLAND QUINTET — All Mornin' Long (1958-2001) RM | Serie Prestige 50th Anniversary Special Commemorative Edition | FLAC (tracks+.cue), lossless

On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set. Scott Yanow    Tracklist & Credits :

RED GARLAND — Red Garland Revisited! (1963-1996) RM | FLAC (image+.cue), lossless

For pianist Red Garland's fourth recording as a leader, he's teamed up with bassist Paul Chambers, drummer Art Taylor, and (on "Four" and "Walkin'") guest guitarist Kenny Burrell. Garland plays in his distinctive style consistently throughout Red Garland Revisited!. Highlights include "Billy Boy" (which was adapted from Ahmad Jamal's rendition), "I'm Afraid the Masquerade Is Over," "It Could Happen to You," and two Burrell tracks. Predictably excellent music; Garland recorded more than 20 additional albums within the next five years. Scott Yanow    Tracklist & Credits :

RED GARLAND — Can't See for Lookin' (1963-1996) RM | FLAC (tracks+.cue), lossless

Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the slight length of this LP (under 35 minutes), this is a particularly strong showcase of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See for Looking," George Gershwin's "Soon," "Blackout," and a driving version of the classic blues "Castle Rock." Recommended. Scott Yanow    Tracklist & Credits :

RED GARLAND WITH PAUL CHAMBERS AND ART TAYLOR — Red Garland's Piano (1957-2006) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

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. Scott Yanow    Tracklist & Credits :

RED GARLAND — The P.C. Blues (1957-1996) RM | MONO | FLAC (tracks+.cue), lossless

P.C. Blues is a trio album from 1957 that features pianist Red Garland with bassist Paul Chambers (the "P.C." in the title), and drummer Art Taylor. In addition to the four original titles (which are highlighted by a sensitive version of "Lost April" and the lengthy "Tweedle Dee Dee"), Garland's feature on a 1956 Miles Davis record, "Ahmad's Blues" (which features him with Chambers and drummer Philly Joe Jones), adds to the value of this thoughtful but swinging release. Scott Yanow
Tracklist :
1 Ahmad's Blues 7:29
Ahmad Jamal
2 Lost April 6:26
Emil Newman / Hubert Spencer
3 Why Was I Born 5:49
Oscar Hammerstein II / Jerome Kern
4 Tweedle Dee Dee 13:18
Winfield Scott
5 The P.C. Blues 9:53
Red Garland
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones (tracks: 1), Art Taylor (tracks: 2 to 4)
Piano – Red Garland

THE RED GARLAND TRIO — It's a Blue World (1958-1999) RM | FLAC (tracks+.cue), lossless

Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the CD reissue on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate. Richard S. Ginell    Tracklist & Credits :

THE RED GARLAND TRIO PLUS RAY BARRETTO — Manteca (1958-1990) RM | FLAC (image+.cue), lossless

This is a solid LP that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session. Scott Yanow
Tracklist :
1 Manteca 8:06
Written-By – Gillespie, Fuller
2 S'Wonderful 6:41
Written-By – Gershwin-Gershwin
3 Lady Be Good 5:50
Written-By – Gershwin-Gershwin
4 Exactly Like You 7:09
Written-By – Fields, McHugh 
5 Mort's Report 12:11
Written-By – Red Garland
6 Portrait Of Jenny 7:18
Written-By – Burdge, Robinson
Credits :
Bass – Paul Chambers
Congas – Ray Barretto
Drums – Art Taylor
Piano – Red Garland

RED GARLAND TRIO — All Kinds of Weather (1958-1990) RM | FLAC (tracks+.cue), lossless

Red Garland was always a consistent pianist and all of his mid-to-late-'50s Prestige dates are worth acquiring. This CD reissue has six titles having to do with seasons and the weather (such as "Rain," "Summertime" and "Winter Wonderland"). The gimmick served as a good excuse for Garland, bassist Paul Chambers and drummer Art Taylor to explore six superior songs and their interpretations always swing and uplift the melodies. Scott Yanow    Tracklist & Credits :