BARRY HARRIS TRIO — Preminado (1961-1990) RM | FLAC (tracks+.cue), lossless

This CD reissue (a straight reissue of the original Riverside LP) features the great bop pianist Barry Harris in a trio with bassist Joe Benjamin and drummer Elvin Jones. Jones in particular pushes the pianist, and this fine set has many strong moments, including strong versions of "My Heart Stood Still," Harris' original title cut and "What Is This Thing Called Love"; in addition, Barry Harris takes "I Should Care" as an unaccompanied solo. Scott Yanow
Tracklist :
1    My Heart Stood Still    6:31
 Lorenz Hart / Richard Rodgers
2    Preminado    5:30
 Barry Harris
3    I Should Care    3:33
 Sammy Cahn / Axel Stordahl / Paul Weston
4    There's No One But You    4:06
 A. H. C. Croom-Johnson / Austen Croom / Redd Evans
5    One Down    4:35
 Barry Harris
6    It's The Talk Of The Town    5:03
 Jerry Livingston / Al J. Neiburg / Marty Symes
7    Play, Carol, Play    4:11
 Barry Harris
8    What Is This Thing Called Love    4:05
 Cole Porter
Credits :
Bass – Joe Benjamin
Drums – Elvin Jones
Piano – Barry Harris

HAROLD LAND — West Coast Blues! (1960-1996) RM | FLAC (tracks+.cue), lossless

This reissue (which surprisingly has not yet come out in complete fashion on CD) was originally recorded for the Jazzland label. Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together, they perform three of Land's originals, "Don't Explain," and Charlie Parker's "Klactoveedsedstene," and an early version of Montgomery's "West Coast Blues." The music is as well-played and swinging as one would expect from this superior bop group. Scott Yanow
Tracklist :
1    Úrsula 7:05
Written-By – Harold Land
2    Klactoveedsedstene 6:01
Written-By – Charlie Parker
3    Don't Explain 9:56
Written-By – Herzog, Holiday
4    West Coast Blues 7:45
Written-By – Wes Montgomery
5    Terrain 4:52
Written-By – Land
6    Compulsion 6:47
Written-By – Land
Credits :
Bass – Sam Jones
Drums – Louis Hayes
Guitar – Wes Montgomery
Piano – Barry Harris
Tenor Saxophone – Harold Land
Trumpet – Joe Gordon

REGINA CARTER — Motor City Moments (2000) FLAC (tracks+.cue), lossless

Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene. Paula Edelstein
Tracklist :
1    Don't Git Sassy 5:17
Bass Clarinet, Tenor Saxophone – James Carter
Trumpet – Marcus Belgrave
Written-By – Thad Jones
2    Don't Mess With Mr. T 6:18
Drums – Lewis Nash
Written-By – Marvin Gaye
3    For Someone I Love 5:52
Arranged By – Regina Carter
Written-By – Milt Jackson
4    Forever February 3:49
Written-By – Regina Carter
5    Higher Ground 6:56
Written-By – Stevie Wonder
6    Love Theme From Spartacus 6:24
Bass Clarinet – James Carter
Flugelhorn – Marcus Belgrave
Written-By – Alex North
7    Prey Loot 3:47
Drums – Lewis Nash
Piano – Barry Harris
Written-By – Lucky Thompson
8    Fukai Aijo 4:56
Written-By, Piano – Barry Harris
9    Chattanooga Choo Choo 3:50
Guitar – Russell Malone
Whistle [Train Whistle] – Regina Carter
Written-By – Harry Warren, Mack Gordon
10    Up South 3:36
Written-By – Regina Carter
Written-By, Guitar – Russell Malone
Credits :
Arranged By – John Clayton (tracks: 1, 2, 6, 9)
Bass [The Band] – Darryl Hall (tracks: 1 to 7, 9)
Drums [The Band] – Alvester Garnett (tracks: 1, 4 to 6)
Percussion [The Band] – Mayra Casales (tracks: 2, 3, 5)
Piano [The Band] – Werner "Vana" Gierig (tracks: 1 to 6, 9)
Violin – Regina Carter

HANK MOBLEY - Complete The Jazz Message Sessions With Kenny Clarke (2003) FLAC (tracks), lossless

This set features four different sessions which tenor saxophonist Hank Mobley recorded as a leader before he got to Blue Note label. Recorded in 1953 and 1956, Mobley is in four distinct settings here. The first two sessions are with Max Roach on drums, and one has a front line with Idrees Sulieman on trumpet, Gigi Gryce on alto, Franklin Skeete on bass, and Walter Davis, Jr. on piano. The second with Roach, also from that year, strips away the other horns into a quartet. This material is notable for its three Mobley compositions -- "Kismet," "Mobleyization," and "Orientation," as well as several by Roach, including the stellar "Cou-Manchi Cou." The latter material is significant because Mobley's sidemen include drummer Kenny Clarke, and Donald Byrd, as well as two different pianists (depending on the session), either Barry Harris or Ronnie Ball. Doug Watkins swings hard in the bass chair on both sessions. Mobley's compositional chops are way up here, and the interplay between the two is remarkable. They dovetail, go head to head, and complement each other as the hard bop wunderkinds they were, with the sheer joy of invention and competition everywhere present. This pairing of front-line players is, perhaps, the reason the folks at Jazz Factory chose to place the Byrd and Clarke material first on the disc, despite the fact that it was recorded later than the Roach sides. In any case, it's all very fine indeed, and brings to light some little-known early Mobley.
>| This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' |<
Tracklist :
1     There Will Never Be Another You 5:49
Mack Gordon / Harry Warren    
2     Cattin' 4:36
Hank Mobley    
3     Madeline 4:41
Hank Mobley    
4     When I Fall in Love 3:45
Edward Heyman / Victor Young    
5     B. For B.B. 6:29
Hank Mobley    
6     Space Flight 4:13
Hank Mobley    
7     Blues Number Two 4:57
Hank Mobley    
8     Orientation 2:53
Hank Mobley
9     Mobleyzation 2:45
Hank Mobley    
10     Glow Worm 2:29
Paul Lincke / S. Wright    
11     Sfax 2:19
Max Roach    
12     Just One of Those Things 3:11
Cole Porter    
13     Cou Manchi-Cou 3:04
Max Roach    
14     Kismet 2:42
Hank Mobley    
15     Chi-Chi 3:03
Charlie Parker    
16     I'm a Fool to Want You 3:16
Joel Herron / Frank Sinatra / Jack Wolf    
17     Drum Conversation 2:41
Max Roach

HANK MOBLEY — Messages (1956-1989) RM | FLAC (tracks+.cue), lossless

With the exception of Hank Mobley's original "Alternating Current," which was left out due to lack of space, this single CD has all of the music from the two Prestige LPs Mobley's Message and Hank Mobley's Second Message; a two-LP set from 1976 which had the same Messages title and catalog number, but also the complete program, is actually the preferred acquisition, but will be difficult to locate. The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work. Scott Yanow
Tracklist :
1     Bouncing with Bud 6:57
Bud Powell    
2     52nd Street Theme 5:41
Thelonious Monk    
3     Minor Disturbance 6:15
Hank Mobley    
4     Au Privave 7:31
Charlie Parker    
5     Little Girl Blue 8:41
Lorenz Hart / Richard Rodgers    
6     These Are the Things I Love 6:37
Harold Barlow / Lewis Harris    
7     Message from the Border 6:03
Hank Mobley    
8     Xlento 5:36
Hank Mobley    
9     The Latest 5:48
Hank Mobley    
10     I Should Care 10:01
Sammy Cahn / Axel Stordahl / Paul Weston    
11     Crazeology 6:56
Benny Harris
Credits :
Alto Saxophone – Jackie McLean (tracks: 4)
Bass – Doug Watkins
Drums – Art Taylor
Piano – Barry Harris (tracks: 1 to 5), Walter Bishop (tracks: 7 to 11)
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 1 to 4), Kenny Dorham (tracks: 6 to 11)

HANK MOBLEY - Music For Lovers (2006) FLAC (image+.cue), lossless

These nine ballads were recorded by Hank Mobley between 1955 and 1967. Apart from being a genuinely wonderful set of romantic tunes, Music for Lovers showcases a different side of the great hard bop tenor's playing. Mobley's approach to ballads was reverent, but it was loose, too. Mobley brought a big helping of soul to his readings of standards such as "Darn That Dream," "I Should Care," and even the ethereal "Deep in a Dream." However, as this small collection illustrates, it is in his own tunes that Mobley shines brightest. First, there's the beautiful "No More Goodbyes," recorded with Bob Cranshaw, Billy Higgins, and John Hicks from a late date in 1967. His solo touches on Ben Webster's breathy tone for a moment, and then winds out gently with blues accents in each chorus. But perhaps the finest moment here is on his "My Sin," recorded in 1965 with Freddie Hubbard (a wonderful match for Mobley on the front line), bassist Paul Chambers, Barry Harris, and Higgins once again. Here is where Mobley actually sings though his horn, as Hubbard and Harris prod him to go deeper. For the price, this is a solid little comp that achieves its objective and then some.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    The Good Life    5:09
2    Darn That Dream    6:09
3    I Should Care    7:45
4    I See Your Face Before Me    5:29
5    No More Goodbyes    5:37
6    Deep In A Dream    5:59
7    My Sin    6:54
8    Fin De L'Affaire    6:35
9    Alone Together     4:15

HANK MOBLEY — Mobley's Message (1956-2012) RM | SACD, Hybrid MONO | The Prestige Mono Series | FLAC (tracks+.cue), lossless

Saxophonist Hank Mobley's 1956 date for Prestige, Mobley's Message, is an often overlooked gem of the era. Joining Mobley here is an all-star cast of musicians including trumpeter Donald Byrd, alto saxophonist Jackie McLean, pianist Barry Harris, bassist Doug Watkins, and drummer Art Taylor. Essentially a high-energy blowing session, the album features some stellar bop-oriented improvisation and is well worth seeking out. AllMusic
Tracklist :
1    Bouncin' With Bud    7:01
Written-By – Bud Powell
2    52nd Street Theme    5:44
Written-By – Thelonious Monk
3    Minor Disturbance    6:19
Written-By – Hank Mobley
4    Au Privave    7:34
Alto Saxophone, Guest – Jackie McLean
Written-By – Charlie Parker
5    Little Girl Blue    8:45
Written-By – Rodgers-Hart
6    Alternating Current    6:36
Written-By – Hank Mobley
Credits :
Bass – Doug Watkins
Drums – Art Taylor
Piano – Barry Harris
Recorded By – Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 1 to 4, 6)

HANK MOBLEY - The Jazz Message Of Hank Mobley # 2 (1956-1992) RM | MONO | FLAC (tracks+.cue), lossless

Impressive lineups, both in the front line and the rhythm section, fuel the two 1956 sessions on this Savoy reissue. The players are committed, the writing is good, and the performances reward repeated listening. The result is a worthwhile precursor to the industry-standard hard bop Mobley would later record for Blue Note.Lee Morgan, then 18, joins Mobley on two tracks that have pianist Hank Jones, bassist Doug Watkins, and drummer Art Taylor in the rhythm section. Even if Morgan at this time was audibly still growing as a trumpet player, his poise, execution, and resourceful imagination were already the tools of a master. Donald Byrd, on form and playing with crispness and authority, moves into the trumpet chair for the three remaining tracks. This time it's Barry Harris on piano, Kenny Clarke on drums, and Watkins (again) on bass. The influence on Mobley of swing era tenors, from Lester Young to Illinois Jacquet, can be clearly heard on these tracks. Mobley's respect for and understanding of the pre-bebop style serve him well in his contribution to the development of the predominant jazz style that followed bebop. In addition to three Mobley originals, there is a blues by Thad Jones and another from Watkins. The standout track is Mobley's "Space Flight," a bright, up-tempo bop number that has memorable solos from Mobley, Byrd, Harris, and Clarke. The recording on this CD is very good but, as is common on Savoy reissues, the running time isn't long -- 32 minutes in the case of this jazz message. Jim Todd  
Tracklist:
1     Thad's Blues 9:48
Thad Jones    
2     Doug's Minor B' Ok" 6:40
Doug Watkins    
3     B. For B.B. 6:31
Hank Mobley    
4     Blues Number Two 5:00
Hank Mobley    
5     Space Flight 4:15
Hank Mobley
Credits:
1-3
Bass – Doug Watkins
Drums – Art Taylor
Piano – Hank Jones
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
3-5
Tenor Saxophone – Hank Mobley
Drums – Kenny Clarke  
Piano – Barry Harris   
Trumpet – Donald Byrd

HANK MOBLEY - The Turnaround ! (1965-2000) RM | RVG Edition | FLAC (tracks+.cue), lossless

 The Hank Mobley of the Turnaround album was a markedly different one from a few years earlier. This session issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced "East of the Village," possibly the greatest example of Mobley's "round tone" on record, and the other was "The Good Life," a ballad. The rest was recorded nearly two years later in February of 1965. The title cut was produced here -- an Alfred Lion answer to Lee Morgan's "Sidewinder," which was burning up the charts -- as well as the beautiful "Pat 'n' Chat," with "Straight Ahead" and "My Sin" rounding out the program. On the earlier material, Donald Byrd, Herbie Hancock, Butch Warren, and Philly Jo Jones helped Mobley out, and on the latter it was Freddie Hubbard, Barry Harris, Paul Chambers, and Billy Higgins. In each case, there were alumnus members of the Miles band Mobley had played in. The main thing about "East of the Village" is the striking difference between the gorgeous melding of Latin and post-bop, straight-ahead rhythms, and the easy, loping blues feel that is cheered on by Jones. This track contains one of Mobley's most memorable solos. On the title track and "Pat 'n' Chat," there are elongated blues structures; in the former -- it is an unusual 18 bar figure -- and in the latter, there is the major 44 bar pattern that sounds like a blues with a bridge when the AABA pattern is invoked. Here is the evolution of Mobley's tone in full flower, all but gone is the rounded, warm sound, and in its place is a shorter, declarative, bluesier tone with real bite that is perfect for pianists like Harris, who were used to the deeper funk of the Detroit sound. In all this is a solid date, despite its time lapse, and one that gives us a solid picture of the two Mobleys.
|This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'|
Tracklist :
1     The Turnaround 8:15
Hank Mobley    
2     East of the Village 6:44
Hank Mobley    
3     The Good Life 5:08
Sacha Distel / Jack Reardon    
4     Straight Ahead 7:02
Hank Mobley    
5     My Sin 6:53
Hank Mobley    
6     Pat 'n' Chat 6:27    
Hank Mobley
Credits :
Bass – Butch Warren (tracks: 2, 3), Paul Chambers (tracks: 1, 4 to 6)
Drums – Philly Joe Jones (tracks: 2, 3), Billy Higgins (tracks: 1, 4 to 6)
Piano – Barry Harris (tracks: 1, 4 to 6), Herbie Hancock (tracks: 2, 3)
Recorded By, Remastered By [2000] – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (tracks: 2, 3), Freddie Hubbard (tracks: 1, 4 to 6)

HANK MOBLEY - Straight No Filter (1986-2001) FLAC (tracks+.cue), lossless

Straight No Filter finds tenor Hank Mobley in several settings from the mid-'60s, each of them excellent. The overall roster is quite impressive, starting with the first set which features trumpeter Lee Morgan, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins. The upbeat title cut is given a loose, post-bop feel by Tyner's comping, but things are brought back to earth by Mobley's emotional playing. A number of exchanges between Morgan and Mobley's horns give the piece an effective ending. "Chain Reaction" gives this group nearly 11 minutes to stretch things out, while "Soft Impressions" features a heavy blues groove. A couple of other standouts on this album -- "This Feelin's Good" and "Yes Indeed" -- feature trumpeter Donald Byrd, pianist Herbie Hancock, bassist Butch Warren, and drummer Philly Joe Jones. Hancock provides a distinctive backdrop for Mobley and Morgan's solos while turning in some fine work himself. Mobley shines on Sy Oliver's "Yes Indeed," delivering a soulful solo, shot through with the blues. His playing throughout Straight No Filter is warm, accessible, and inventive, and it is instructive to have these sessions side by side, giving the listener a chance to compare Mobley's work in different settings. It should be mentioned that he penned eight out of the nine of these fine compositions. Bob Blumenthal's liner notes are helpful, breaking down the individual sessions and providing a good overview of Mobley's career. Straight No Filter will be welcomed by Mobley's fans and lovers of hard bop. It shouldn't be missed. Ronnie D. Lankford, Jr.
Tracklist :
1     Straight No Filter 5:56
Hank Mobley    
2     Chain Reaction 11:00 crans
Hank Mobley    
3     Soft Impressions 4:46
Hank Mobley    
4     Third Time Around 6:23
Hank Mobley    
5     Hank's Waltz 7:41
Hank Mobley    
6     Syrup and Biscuits 5:34
Hank Mobley    
7     Comin' Back 6:24
Hank Mobley    
8     The Feelin's Good 5:38
Hank Mobley    
9     Yes Indeed 5:34
Sy Oliver
Notas.
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 17, 1966 (#1-3), February 4, 1965 (#4-5), October 2, 1963 (#6-7) and March 7, 1963 (#8-9).
Credits :
Bass – Bob Cranshaw (pistas: 1 to 3), Butch Warren (pistas: 8, 9), John Ore (pistas: 6, 7), Paul Chambers (pistas: 4, 5)
Drums – Philly Joe Jones (pistas: 6 to 9), Billy Higgins (pistas: 1 to 5)
Engineer [Recording Engineer] – Rudy Van Gelder
Mastered By [Using 24-bit Super Bit Mapping] – Ron McMaster
Piano – Andrew Hill (pistas: 6, 7), Barry Harris (pistas: 4, 5), Herbie Hancock (pistas: 8, 9), McCoy Tyner (pistas: 1 to 3)
Tenor Saxophone – Hank Mobley
Trumpet – Donald Byrd (pistas: 8, 9), Freddie Hubbard (pistas: 4, 5), Lee Morgan (pistas: 1 to 3, 6, 7)

COLEMAN HAWKINS - Sirius (1966-1995) RM | FLAC (tracks+.cue), lossless

Hawkins's final studio session is rather sad. Due to an excess of drink and his unwillingness to eat, the great tenor-saxophonist went steadily downhill between 1965 and his death four years later. Recorded in late 1966, this quartet set finds Hawk constantly short of breath and unable to play long phrases. He is able to get away with this deficiency on the faster pieces but the ballads are rather painful to hear. Even at this late stage Hawkins still had his majestic tone but this recording is only of historical interest. Scott Yanow
Tracklist :
1     The Man I Love 5:09
George Gershwin / Ira Gershwin    
2     Don't Blame Me 4:38
Dorothy Fields / Jimmy McHugh    
3     Just a Gigolo 2:56
Julius Brammer / Irving Caesar / Leonello Casucci    
4     The One I Love (Belongs to Somebody Else) 3:53
Isham Jones / Gus Kahn     
5     Time on My Hands 4:03
Harold Adamson / Mack Gordon / Vincent Youmans    
6     Sweet and Lovely 4:24
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
7     Exactly Like You 6:52
Dorothy Fields / Jimmy McHugh    
8     Street of Dreams 4:12
Sam M. Lewis / Victor Young
9     Sugar 5:13
Edna Alexander / Sidney Mitchell / Maceo Pinkard
Credits :
Bass – Bob Cranshaw
Drums – Eddie Locke
Piano – Barry Harris
Producer – Norman Granz
Remastered By – Joe Tarantino
Tenor Saxophone – Coleman Hawkins

COLEMAN HAWKINS - Wrapped Tight (1966-1991) RM | FLAC (tracks+.cue), lossless

Hawkins's last strong recording finds the veteran, 43 years after his recording debut with Mamie Smith's Jazz Hounds, improvising creatively on a wide variety of material on this CD, ranging from "Intermezzo" and "Here's That Rainy Day" to "Red Roses for a Blue Lady" and "Indian Summer." Best is an adventurous version of "Out of Nowhere" that shows that the tenor-saxophonist was still coming up with new ideas in 1965. Scott Yanow
Tracklist :
1 Wrapped Tight 3:30
Written-By – Albam
2 Intermezzo 3:38
Written-By – Mascagni
3 Out Of Nowhere 3:44
Written-By – Heyman, Green
4 Indian Summer 5:04
Written-By – Dubin, Herbert
5 Red Roses For A Blue Lady 2:27
Written-By – Brodsky, Tepper
6 Marcheta 3:08
Written-By – Schartzinger
7 Beautiful Girl 4:29
Written-By – Freed, Brown
8 She's Fit 2:45
Written-By – Hawkins
9 And I Still Love You 3:14
Written-By – Rivelli, Roberts, Clayton
10 Bean's Place 2:54
Written-By – Hammer, Clayton
Credits :
Bass – Buddy Catlett
Drums – Eddie Locke
Piano – Barry Harris
Tenor Saxophone – Coleman Hawkins
Trombone – Urbie Green (tracks: 1, 8)
Trumpet – Bill Berry (tracks: 1, 2, 3, 7, 8), Snooky Young (tracks: 4, 5, 6)

JIMMY HEATH - Picture of Heath (1975-2015) RM | FLAC (tracks), lossless

As was true of most Xanadu dates, the accent is on bebop during this Jimmy Heath LP. Doubling on tenor and soprano, Heath is heard on five of his better originals, including "For Minor's Only," "CTA" and the title cut, plus "Body and Soul." The great tenorman was clearly inspired by the stellar rhythm section (pianist Barry Harris, bassist Sam Jones and drummer Billy Higgins), resulting in one of his best blowing sessions. Scott Yanow
Tracklist :
1     For Minors Only 7'23
Jimmy Heath
2     Body and Soul 7'24
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
3     Picture of Heath 5'59
Jimmy Heath
4     Bruh Slim 8'58
Jimmy Heath
5     All Members 5'12
Jimmy Heath
6     C.T.A. 5'12
Jimmy Heath
Credits :
Bass – Sam Jones
Drums – Billy Higgins
Piano – Barry Harris
Tenor Saxophone, Soprano Saxophone – Jimmy Heath

JOHNNY GRIFFIN - White Gardenia (1961-1995) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Tenor saxophonist Johnny Griffin pays tribute to Billie Holiday, who had died exactly two years earlier, on this ballad-oriented set, which has been reissued on CD. Griffin is joined by a brass section (either five or seven pieces), plus a rhythm section and strings (the latter dominated by cellos), for his warm interpretations of nine songs associated with Billie Holiday, plus his original "White Gardenia." The arrangements, provided by Melba Liston and Norman Simmons, are tasteful, and the lyrical music is well-performed, if not overly memorable. Worth checking out. Scott Yanow
Tracklist :
1     Gloomy Sunday 4'06
Sam M. Lewis / Rezsö Seress
2     That Old Devil Called Love 3'50
Doris Fisher / Allan Roberts
3     White Gardenia 3'18
Johnny Griffin
4     God Bless the Child 3'17
Billie Holiday / Arthur Herzog, Jr.
5     Detour Ahead 4'33
Lou Carter / Herb Ellis / John Freigo / Johnny Frigo
6     Good Morning Heartache 4'10
Ervin Drake / Dan Fisher / Irene Higginbotham
7     Don't Explain 4'43
Billie Holiday / Arthur Herzog, Jr.
8     Travelin' Light 4'06
Harry Akst / Sidney Clare
9     No More 3'57
Tutti Camarata / Bob Russell
10     Left Alone 2'54
Eric Dolphy / Billie Holiday / Mal Waldron
Credits :
Arranged By – Melba Liston (pistas: 1 to 3, 7, 9, 10), Norman Simmons (pistas: 4 to 6, 8)
Bass – Ron Carter
Drums – Ben Riley
French Horn – Ray Alonge
Guitar – Barry Galbraith
Piano – Barry Harris (pistas: 2, 5, 8), Jimmy Jones (pistas: 1, 3, 4, 6, 7, 9, 10)
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Johnny Griffin
Trombone – Jimmy Cleveland, Paul Faulice, Urbie Green
Trumpet – Ernie Royal, Nat Adderley
Trumpet, Flugelhorn – Clark Terry

JOHNNY GRIFFIN QUARTET - The Kerry Dancers and Other Swinging Folk (1962-1997) RM | FLAC (tracks+.cue), lossless

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk -- and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" -- all of which work perfectly well in an acoustic jazz setting. Not everything on this album (which was recorded in late 1961 and early 1962) is a folk song from the British Isles; the other half of the album ranges from Griffin's moody "Oh, Now I See" to the John Coltrane-influenced "25 1/2 Daze." On Riverside's original LP version of this album, Griffin's bop interpretations of folk songs were confined to side one -- while the other material was placed on side two. But when Fantasy reissued this album on CD in 2001 on its Original Jazz Classics imprint, there was no interruption between the folk and non-folk material -- you no longer had to get up and turn the record over. And that's just as well, because Griffin brings a jazz mentality to everything on the album; he is as hard-swinging and improvisatory on "The Londonderry Air" as he is on "25 1/2 Daze" and "Oh, Now I See." The Kerry Dancers and Other Swinging Folk is among the many Griffin releases that the Chicagoan can be proud of. Alex Henderson  
Tracklist :
1    The Kerry Dancers 4'41
Traditional
Arranged By – Johnny Griffin
2    Black Is The Color Of My True Love's Hair 6'12
Traditional
Arranged By – Johnny Griffin
3    Green Grow The Rushes 4'35
Traditional
Arranged By – Johnny Griffin
4    The Londonderry Air 4'52
Traditional
Arranged By – Johnny Griffin
5    25½ Daze 4'40
Written-By – Sara Cassey
6    Oh, Now I See 5'08
Written-By – Johnny Griffin
7    Hush-A-Bye 4'53
Written-By – Thomas, Seelen, Fain
8    Ballad For Monsieur 3'34
Written-By – Sara Cassey
Credits :
Bass – Ron Carter
Drums – Ben Riley
Piano – Barry Harris
Producer [Original Recordings] – Orrin Keepnews
Tenor Saxophone – Johnny Griffin

ART FARMER | DONALD BYRD - 2 Trumpets (1956-1992) RM | FLAC (tracks+.cue), lossless

Tracklist :
1     The Third 7'42
Donald Byrd
2     Contour 7'38
Kenny Drew
3     When Your Lover Has Gone 5'13
Einar A. Swan
4     Dig 14'29
Miles Davis
5     'Round Midnight 6'38
Bernie Hanighen / Thelonious Monk / Cootie Williams
Credits :
Alto Saxophone – Jackie McLean (pistas: 1, 2, 4)
Bass – Doug Watkins
Drums – Arthur Taylor
Engineer [Recording Engineer] – Rudy Van Gelder
Piano – Barry Harris
Remastered By [Digital] – Phil De Lancie
Trumpet – Art Farmer (pistas: 1 to 4), Donald Byrd (pistas: 1, 2, 4, 5)

DEXTER GORDON - Gettin' Around (1965-2006) RM / FLAC (tracks+.cue), lossless

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop. It's hard to resist how Gordon massages the light and sweet bossa nova "Manha de Carnaval" hand in hand with Hutcherson, the heartfelt way "Who Can I Turn To?" or "Everybody's Somebody's Fool" is turned into a personalized statement, or how the co-leaders take Frank Foster's Count Basie staple, "Shiny Stockings," beyond a classic and into immortal territory. Where Gordon and Hutcherson's true strength lies is in their ability to listen and balance their sound into a unified whole beyond any other tenor sax-vibraphone combination you might care to name, unless it's Hutch's partnership in the ensuing years with Harold Land. Picking up on a Sonny Rollins idea, "Heartaches" is a loping cowboy-type swinger with some lustrous comping from Hutcherson and Harris, while the light, cat-prancing "Le Coiffeur" is the highlight among highlights, a stealth calypso with Gordon's deftly rendered staccato notation. One has to listen closer to the pianist on this date, as he buoys the others without demanding equal space, but he is just as reverberant. While this is not Gordon's ultimate hard bop date, it is reflective of his cooling out in Europe, adopting a tonal emphasis more under the surface than in your face. It's not essential, but quite enjoyable, and does mark a turning point in his illustrious career. [The CD version contains two bonus tracks, including the Onzy Matthews composition "Very Saxily Yours" with a melody very similar to "Shiny Stockings," Hutcherson alone during a second chorus, and a classy quarter-to-eighth note solo by Gordon. Ben Tucker's "Flick of a Trick" is added on, an 11-minute groove blues that lets Harris cut loose, digging in after-hours style.] by Michael G. Nastos  
Tracklist:
1 Manha De Carnival
Written-By – Antonio Maria, Luiz Bonfa
2 Who Can I Turn To
Written-By – Newley, Bricusse
3 Heartaches
Written-By – Hoffman, Klenner
4 Shiny Stockings
Written-By – Frank Foster
5 Everybody's Somebody's Fool
Written-By – H. Greenfield, H. Keller
6 Le Coiffeur
Written-By – Dexter Gordon
Credits:
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – Barry Harris
Recorded By – Rudy Van Gelder
Tenor Saxophone – Dexter Gordon
Vibraphone [Vibes] – Bobby Hutcherson

THE CANNONBALL ADDERLEY QUINTET - Them Dirty Blues (1960-2000) RM / FLAC (tracks+.cue), lossless

Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley's second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions. by Al Campbell
Tracklist:
1 Work Song 5:05
Composed By – Nat Adderley
2 Jeannine 7:15
Composed By – Duke Pearson
3 Easy Living 4:20
Composed By – L. Robin, R. Rainger
4 Them Dirty Blues 7:10
Composed By – Julian Adderley
5 Dat Dere 5:28
Composed By – Bobby Timmons
6 Del Sasser 4:40
Composed By – Sam Jones
7 Soon 5:34
Composed By – G. Gershwin, I. Gershwin
8 Work Song (Alternate Version) 5:49
Composed By – Nat Adderley
9 Dat Dere (Alternate Take) 5:28
Composed By – Bobby Timmons
Credits:
Alto Saxophone – Cannonball Adderley
Bass – Sam Jones
Cornet – Nat Adderley
Drums – Louis Hayes
Piano – Barry Harris (tracks: 1 to 4), Bobby Timmons (tracks: 5 to 9)

LEE MORGAN – The Sidewinder (1963-2013) RM | Serie Blue Note The Masterworks | SHM-CD | FLAC (tracks+.cue), lossless

Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw, and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow. Stacia Proefrock
Tracklist :
1 The Sidewinder 10:21 
Lee Morgan
2 Totem Pole 10:11
Lee Morgan
3 Gary's Notebook 6:10
Lee Morgan
4 Boy, What a Night 7:34
Lee Morgan
5 Hocus Pocus 6:25
Lee Morgan
- Bonus Track -
6 Totem Pole 9:57
Lee Morgan
Credits:
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – Barry Harris
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Joe Henderson
Trumpet – Lee Morgan