MAX ROACH — The Complete Mercury Max Roach Plus Four Sessions (2000) RM | 7xCD BOX-SET | MONO | FLAC (tracks+.cue), lossless

This seven-CD box set features 95 tracks from legendary drummer Max Roach's small group, consisting of the 1956-1960 recordings for Emarcy and Mercury Records, as these noteworthy sessions also represent the drummer's post Max Roach-Clifford Brown Quintet output. In 1956 the jazz world witnessed the tragic and untimely deaths of the great trumpeter Clifford Brown and pianist Ritchie Powell. Within these seven CDs, we find Roach maintaining his assault on jazz along with trumpeter Kenny Dorham, pianist Ray Bryant, and the drummer's bandmates from the Clifford Brown years, tenor saxophone giant Sonny Rollins and bassist George Morrow. Jazz aficionados will find a wealth of fantastic music here, as Roach also employed renowned artists such as tenor saxophonists Hank Mobley, Stanley Turrentine, and George Coleman, along with trumpeter Booker Little and many others of note. Essentially, Mosaic Records continues to excel in the reissue department, as they seemingly take great pains to portray or perhaps enhance the original LP recordings for modern day audiophiles and jazz connoisseurs. This collection also includes extensive annotations, biographies of the artists, interviews, recollections, and categorical documentation of the sessions presented in a matrix format. Here, the listener is treated to hard bop renditions of Charlie Parker's "Billie's Bounce" and "Koko," where trumpeter Kenny Dorham and tenor saxophonist George Coleman trade vicious, fierce fours, as the various aggregations and ensembles also tackle standards and originals. The infamous union of Max Roach and Buddy Rich originally titled, "Roach vs. Rich" presents an added bonus to this all encompassing package, as these works are further enhanced by Gigi Gryce's bold, fiery arrangements along with the addition of 14 previously unreleased alternate takes. Simply stated, Roach and Rich perform via a firebrand approach as the musician's distinct styles provide contrast and symmetry to Gryce's radiant horn charts. Basically, these pieces offer a glimpse of two masters/innovators whose respective techniques have often been imitated yet never duplicated. Suffice to state, Rich's blazing speed and unfathomable dexterity counterbalances Roach's complex, melodically constructed rolls, impeccable timing and bop-induced fills. Hence, the two are remarkable as they reciprocate impossibly fast motifs with cataclysmic fury. Overall, this 2000 release should be deemed required listening for astute observers of late-50's bebop and the continuing evolution of modern jazz. Highly recommended! Glenn Astarita    All Tracks & Credits :

SONNY ROLLINS — The Quartets Featuring Jim Hall (1962-1986) RM | APE (image+.cue) lossless

This double LP contains the six songs originally on The Bridge (his comeback album after three years of retirement) plus seven additional items from 1962 and 1964 that co-star guitarist Jim Hall. At first when Rollins reappeared his style was virtually unchanged from 1959 but gradually it loosened up and became freer. This attractive two-fer, which is highlighted by "Without a Song," "Don't Stop the Carnival" and "If Ever I Would Leave You," has important music that is essential for all Sonny Rollins collectors. Scott Yanow
Tracklist :
1    God Bless The Child    7:24
 Billie Holiday / Arthur Herzog, Jr.
2    John S.    7:31
 Sonny Rollins
3    You Do Something To Me    6:47
 Cole Porter
4    Where Are You    5:07
 Harold Adamson / Jimmy McHugh
5    Without A Song    7:24
 Edward Eliscu / Billy Rose / Vincent Youmans
6    The Bridge    5:55
 Sonny Rollins
7    If Ever I Would Leave You    11:59
 Alan Jay Lerner / Frederick Loewe
8    The Night Has A Thousand Eyes    9:07
 Buddy Bernier / Jerry Brainin
Credits :
Bass – Bob Cranshaw
Drums – Ben Riley (tracks: 2 to 8)
Guitar – Jim Hall
Performer – Mickey Roker
Tenor Saxophone – Sonny Rollins

HANK CRAWFORD — Wildflower (1973-2002) Serie Best Value | FLAC (tracks+.cue), lossless

Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 – one of eight cut between 1971 and 1978 – is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto – check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Corazon 6:02
Written-By – C. King
2    Wildflower 3:54
Written-By – D. Richardson, D. Edwards
3    Mr. Blues 6:05
Written-By – H. Crawford
4    You've Got It Bad Girl 9:34
Written-By – Y. Wright
5    Good Morning Heartache 6:08
Written-By – D. Fisher, E. Drake, I. Higginbothan
Credits :
Alto Saxophone – Hank Crawford
Arranged By, Conductor – Bob James
Backing Vocals – Hilda Harris, Maeretha Stewart, Randy Peyton, Bill Eaton
Bass – Bob Cranshaw
Bass Trombone – Tony Studd
Drums – Idris Muhammad
Engineer – Rudy Van Gelder
French Horn – Brooks Tillotson, Jim Buffington
Guitar – Joe Beck
Percussion – Arthur Jenkins, David Friedman, George Devans, Phil Kraus, Ralph MacDonald, Rubens Bassini
Piano, Organ – Richard Tee
Trombone – Paul Faulise, Wayne Andre
Trumpet – Alan Rubin, Bernie Glow, Marvin Stamm

PAUL BLEY — Bebopbebopbebopbebop (1990) FLAC (image+.cue), lossless

 A surprising album from Bley, long considered an outside player with little, if any, affinity for straight bop. He shatters that myth on this set, going through a dozen songs, including such anthems as "Ornithology" and "The Theme," with vigor, harmonic distinction, and rhythmic edge. He's brilliantly backed by bassist Bob Cranshaw, providing some of his best, least detached playing in quite a while, and drummer Keith Copeland, navigating the tricky changes with grace. Ron Wynn   Tracklist & Credits 

JOE ZAWINUL — The Rise & Fall Of The Third Stream + Money In The Pocket (1994) RM | Serie Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless

Two of keyboardist Joe Zawinul's finest recordings as a leader were reissued on this single CD. The Money in the Pocket album from 1965 features Zawinul on acoustic piano in a sextet with trumpeter Blue Mitchell, tenor saxophonist Joe Henderson, and baritone saxophonist Pepper Adams playing superior hard bop, highlighted by the funky title cut, "If," and "My One and Only Love." The other session utilizes a string quartet, trumpeter Jimmy Owens, and the tenor and arrangements of William Fischer. Its diverse music hints at fusion (Zawinul doubles on electric piano) and has many colorful moments. This gem of a CD is highly recommended. Scott Yanow   Tracklist & Credits :

OLIVER NELSON — Oliver Nelson Plays Michelle (1966) LP, Vinyl | MONOAURAL | FLAC (tracks), lossless

This is an album of short, often corny tunes and brief, likable solos. Nelson features one of his first uses of guitar here via Barry Galbraith and, more prominently, Billy Butler. Nelson's originals, "Jazz Bug" and "Do You See What I See?" are worth a listen. Douglas Payne   Tracklist & Credits :

JOHNNY HODGES | WILD BILL DAVIS ft. GRANT GREEN - Joe's Blues (1965-2007) FLAC (tracks+.cue), lossless

Joe's Blues   
1    Joe's Blues 6'09
Johnny Hodges
2    I'll Walk Alone 4'31
Sammy Cahn / Jule Styne
3    Harmony In Harlem 3'21
Duke Ellington / Johnny Hodges / Irving Mills
4    Warm Valley 4'31
Duke Ellington
5    Wild Bill Blues 5'24
Johnny Hodges
6    Somebody Loves Me 4'51
Buddy DeSylva / George Gershwin / Ballard MacDonald
7    Solitude 5'03
Eddie DeLange / Duke Ellington / Irving Mills
8    Clementine 3'13
Billy Strayhorn
Wings & Things   
9    Wings And Things 7'18
Wild Bill Davis / Johnny Hodges
10    Spotted Dog 7'49
Wild Bill Davis / Johnny Hodges
11    Casanova 2'45
Wild Bill Davis  
12    Dow De Dow Dow Dow 3'26
Mercer Ellington / Johnny Hodges
13    Peg O' My Heart 3'28
Alfred Bryan / Fred Fisher
14    The Nearness Of You 3'18
Hoagy Carmichael / Ned Washington
15    Imbo 3'58
Duke Ellington
16    Take The "A" Train 3'58
Billy Strayhorn
Credits :
Guitar – Grant Green
Organ – Wild Bill Davis
Alto Saxophone – Johnny Hodges
with
Personnel 1-8 :
Bass – Bob Cranshaw
Drums – Grady Tate
Electric Bass – Bob Bushnell
Personnel 9-16 :
Bass – Richard Davis
Drums – Ben Dixon
Piano – Hank Jones (pistas: 14 to 16)
Trombone – Lawrence Brown
Notas.
Tracks 1 to 8 recorded on January 6, 1965, in Englewood Cliffs, New Jersey, and issued as Johnny Hodges / Wild Bill Davis - Joe's Blues.
Tracks 9 to 16 recorded on July 27, 1965, in Englewood Cliffs, New Jersey, and issued as Johnny Hodges / Wild Bill Davis - Wings & Things.

ZOOT SIMS - Getting Sentimental (1974-2001) WV (image+.cue), lossless

Tracklist :
1    I'm Getting Sentimental Over You 6'13
Written-By [Incorrectly Attributed] – Gus Kahn, Matty Malneck
Written-By [Uncredited] – George Bassman, Ned Washington
2    Restless 6'08
Written-By – Tom Satterfield
3    Fred 5'45
Written-By – Neal Hefti
4    Caravan 7'26
Written-By – Duke Ellington, Irving Mills, Juan Tizol
5    Dream Dancing 6'41
Written-By – Cole Porter
6    The Very Thought Of You 6'21
Written-By – Ray Noble
7    Love Me 4'54
Written-By [Incorrectly Attributed] – Jacques Demy, Michel Legrand
Written-By [Uncredited] – Ned Washington, Victor Young
8    I'm Getting Sentimental Over You 6'36
Written-By [Incorrectly Attributed] – Gus Kahn, Matty Malneck
Written-By [Uncredited] – George Bassman, Ned Washington
Notas.
Recorded on April 20, 1974 in Sea Cliff, New York.
Track 1 is an alternate take and track 7 is previously unissued.
The composers are incorrect for tracks 1 & 8, as this is the well known standard from the 1930s written by George Bassman and Ned Washington.
The composers for track 7 are also incorrect, as this song is the older piece recorded in the 1930s by Art Tatum and others, written by Victor Young and Ned Washington.
Credits :
Bass – Bob Cranshaw
Drums – Mickey Roker
Piano – Jimmy Rowles
Tenor Saxophone – Zoot Sims

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 - A Caddy for Daddy (1966-2009) RM | SACD, Hybrid | FLAC (tracks+.cue), lossless

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended. Scott Yanow
Tracklist :
1     A Caddy for Daddy 9:15
Hank Mobley    
2     The Morning After 9:35
Hank Mobley    
3     Venus Di Mildew 7:05
Wayne Shorter    
4     Ace Deuce Trey 7:10
Hank Mobley    
5     3rd Time Around 6:10
Hank Mobley
Credits :
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – McCoy Tyner
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller
Trumpet – Lee Morgan

HANK MOBLEY - A Slice of the Top (1966-1995) RM | FLAC (tracks+.cue), lossless

This is one of tenor saxophonist Hank Mobley's more intriguing sessions, for the talented composer had an opportunity to have four of his originals, plus the standard "There's a Lull in My Life," performed by an octet in the cool-toned style of Miles Davis's "Birth of the Cool" nonet, arranged by Duke Pearson. Although recorded in 1966, this date was not released until 1979 (and reissued on CD in 1995). Mobley, who continued to evolve into a more advanced player throughout the 1960s, fits right in with such adventurous players as altoist James Spaulding, trumpeter Lee Morgan (with whom Mobley recorded frequently), pianist McCoy Tyner, bassist Reggie Workman and drummer Billy Higgins. The inclusion of Kiane Zawadi on euphonium and Howard Johnson on tuba adds a lot of color to this memorable outing. Scott Yanow
Tracklist :
1     Hank's Other Bag 7'10
Hank Mobley
2     There's a Lull in My Life 5'23
Mack Gordon / Mark Gordon / Harry Revel    
3     Cute 'N Pretty 7'34
Hank Mobley    
4     A Touch of Blue 8'44
Hank Mobley
5     A Slice of the Top 9'40
Hank Mobley
Notas.
Originally issued as BN LT-995, on which Reggie Workman was mistakenly identified as bassist.
Credits :
Alto Saxophone – James Spaulding
Arranged By – Duke Pearson
Bass – Bob Cranshaw
Drums – Billy Higgins
Engineer [Recording] – Rudy Van Gelder
Euphonium – Kiane Zawadi
Piano – McCoy Tyner
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan
Tuba – Howard Johnson

HANK MOBLEY - Hi Voltage (1967-2004) RM | RVG Edition | FLAC (tracks+.cue), lossless

This 1967 date by tenor saxophone great Hank Mobley was a high watermark for the Blue Note label during that exceptional year. Mobley wrote all six tunes here, and they offer the breadth and depth of his mature compositional method. All but one of his collaborators on this project were label veterans -- Jackie McLean, Blue Mitchell, Billy Higgins, and Bob Cranshaw. The lone exception was pianist John Hicks, and the recording session benefits greatly from his contribution. Hicks is a very lyrical player, even when he gets tough and funky. He is right at home with the hard bop blues on the title cut, which opens the set and provides a wonderfully swinging bottom for the soloists to trade fours and burrow through. His chromatic prowess and subtlety are very evident on the moving ballad "No More Goodbyes," where his gently shaded harmonies and ostinatos offer Mobley a beautiful backdrop to solo from. Mobley's sense of rhythmic invention is showcased on the breezy yet finger-popping "Bossa De Luxe," and the three horns go deep into the groove -- using Higgins and Hicks as counterweights in the funky, greasy "Flirty Gerty" that closes the set. In all, this date is solid, ranking with the very best of Mobley's offerings for Blue Note.
| This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'|
Tracklist :
1     High Voltage 8'09
Hank Mobley    
2     Two and One 6'09
Hank Mobley    
3     No More Goodbys 5'41
Hank Mobley
4     Advance Notion 5'57
Hank Mobley    
5     Bossa De Luxe 7'31
Hank Mobley    
6     Flirty Gerty 7'00
Hank Mobley
Credits :
Alto Saxophone – Jackie McLean
Bass – Bob Cranshaw
Drums – Billy Higgins
Piano – John Hicks
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Blue Mitchell

HANK MOBLEY - Reach Out ! (1968-2005) RVG Edition | FLAC (tracks+.cue), lossless

Reach Out was one of the few times Hank Mobley left behind driving, aggressive hard bop, choosing to concentrate on lightly grooving bop and soul-jazz instead. Essentially, the session resulted in the most commercially oriented record he made, complete with two pop covers ("Reach Out (I'll Be There)," "Goin' Out of My Head") and a laidback, swinging vibe. That wouldn't necessarily be a bad thing, but the band -- an impressive lineup of Woody Shaw (trumpet, flugelhorn), George Benson (guitar), Lamont Johnson (piano), Bob Cranshaw (bass) and Billy Higgins (drums) -- sounds constrained by the material and their desire to make the music appeal to a wide audience. Things rarely are worse than on "Reach Out," where the group not only fails to lay down a groove, but they often sound on the verge of falling apart, especially during Higgins' poorly timed breaks. They recover shortly afterward, but no one sounds particularly enthusiastic, including Mobley. In fact, Mobley's presence on the record feels strangely minimal. Only during "Good Pickin's" -- a laidback bop original that's easily the best thing here -- does he come alive, weaving a spell with long, liquid lines, but its subtle grace just illustrates the problems with this curiously bland record. Stephen Thomas Erlewine
Tracklist :
1     Reach Out (I'll Be There) 6:49
Lamont Dozier / Brian Holland / Eddie Holland    
2     Up, Over, And Out 5:52
Hank Mobley    
3     Lookin' East 5:19
Hank Mobley    
4     Goin' Out of My Head  5:19
Teddy Randazzo / Bob Weinstein
5     Good Pickin's 5:30
Hank Mobley    
6     Beverly 7:01
Lamont Johnson
Credits :
Bass – Bob Cranshaw
Drums – Billy Higgins
Guitar – George Benson
Mastered By – Ron McMaster
Piano – LaMont Johnson
Recorded By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet, Flugelhorn – Woody Shaw

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)

SONNY ROLLINS AND COLEMAN HAWKINS - Sonny Meets Hawk! (1963-1994) FLAC (tracks+.cue), lossless

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was. arwulf arwulf  
Tracklist :
1    Yesterdays 5'12
Written-By – J. Kern, O. Harbach
2    All The Things You Are 9'30
Written-By – J. Kern, O. Hammerstein II
3        Summertime
Written-By – D. Heyward, G. & I. Gershwin
4    Just Friends 4'37
Written-By – J. Klenner, S. Lewis
5    Lover Man 8'50
Written-By – J. Davis, J. Sherman, R. Ramirez
6    At McKies' 7'01
Written-By – S. Rollins
Credits :
Bass – Bob Cranshaw (pistas: 1, 2, 5), Henry Grimes (pistas: 3, 4, 6)
Drums – Roy McCurdy
Piano – Paul Bley
Tenor Saxophone – Coleman Hawkins, Sonny Rollins

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 QUINTET WITH HORACE SILVER – Complete Birdland Broadcasts (2011) FLAC (tracks+.cue), lossless

Tracklist :
Birdland, New York, Saturday, September 13, 1952    
1    Disorder At The Border 6'55
Bass – Curley Russell
Drums – Art Blakey
Piano – Horace Silver
Songwriter, Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
2    The Blue Room 6'55
Bass – Curley Russell
Drums – Art Blakey
Piano – Horace Silver
Songwriter – Lorenz Hart, Richard Rodgers
Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
3    Stuffy 7'00
Bass – Curley Russell
Drums – Art Blakey
Piano – Horace Silver
Songwriter, Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
Birdland, New York, Saturday, September 6, 1952    
4    Rifftide 5'50
Bass – Curley Russell
Drums – Connie Kay
Piano – Horace Silver
Songwriter, Tenor Saxophone – Coleman Hawkins
Trumpet – Howard McGhee
5    I Can't Get Started 4'10
Bass – Curley Russell
Drums – Connie Kay
Piano – Horace Silver
Songwriter – Ira Gershwin, Vernon Duke
Tenor Saxophone – Coleman Hawkins
Trumpet – Howard McGhee
6    Disorder At The Border #2 5'05
Bass – Curley Russell
Drums – Connie Kay
Piano – Horace Silver
Songwriter, Tenor Saxophone – Coleman Hawkins
Trumpet – Howard McGhee
Bonus Tracks - 1st Playboy Jazz Festival, Chicago, August 9, 1959    
7    All The Things You Are 6'48
Bass – Bob Cranshaw
Drums – Walter Perkins
Piano – Eddie Higgins
Songwriter – Jerome Kern, Oscar Hammerstein II
Tenor Saxophone – Coleman Hawkins
8    Centerpiece 9'00
Bass – Bob Cranshaw
Drums – Walter Perkins
Piano – Eddie Higgins
Songwriter – Harry 'Sweets' Edison, Jon Hendricks
Tenor Saxophone – Coleman Hawkins
9    Body And Soul 6'02
Bass – Bob Cranshaw
Drums – Walter Perkins
Piano – Eddie Higgins
Songwriter – Edward Heyman, Frank Eyton, Johnny Green, Robert Sour
Tenor Saxophone – Coleman Hawkins
10    Just You, Just Me 5'42
Bass – Bob Cranshaw
Drums – Walter Perkins
Piano – Eddie Higgins
Songwriter – Jesse Greer, Raymond Klages
Tenor Saxophone – Coleman Hawkins
Bonus Track - Hawkins Intervewed In London, England, CA. 1960    
11    Coleman Hawkins Interview    7:50

JIMMY HEATH - The Gap Sealer + Love and Understanding (1972-2008) FLAC (tracks), lossless

Some of Heath's finest, most aggressive playing. He is a standout on soprano, flute, and tenor. Ron Wynn

This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set. Scott Yanow
Tracklist :
1     Heritage Hum 7'48
Jimmy Heath
2     Invitation 5:46
Kaper    
3     A Sound For Sore Ears  7'20
Jimmy Heath
4     Gap Sealer 7'28
Jimmy Heath
5     Angel Man 7'20
Jimmy Heath
6     Alkebu-Lan (Land of the Blacks) 7'34
James Mtume
 Love and Understanding (1973)
7     One For Juan 7'04
Jimmy Heath
8     Hands Up! Feet Down! 7'06
Jimmy Heath
9     Far Away Lands 5'02
Jimmy Heath
10     Smilin' Billy 5'46
Jimmy Heath
11     Gemini 7'53
Jimmy Heath
Credits :
1-6
Bass – Bob Cranshaw
Drums – Al "Tootie" Heath
Percussion – Mtume
Piano – Kenny Barron
Soprano Saxophone, Tenor Saxophone – Jimmy Heath
7-11
Cello – Bernard Fennell
Drums, Tambourine – Billy Higgins
Electric Bass – Bob Cranshaw
Piano, Electric Piano – Stanley Cowell
Flute, Soprano Saxophone, Tenor Saxophone – Jimmy Heath
Trombone – Curtis Fuller

JOHNNY GRIFFIN ORCHESTRA - The Big Soul-Band (1960-1990) RM | FLAC (tracks+.cue), lossless

Tenor-saxophonist Johnny Griffin is showcased with a ten-piece group on this CD reissue of a Riverside LP which is augmented by a previously unreleased version of "Wade in the Water." The repertoire is a bit unusual with some spirituals (including "Nobody Knows the Trouble I've Seen" and "Deep River"), a tune apiece by Bobby Timmons ("So Tired") and Junior Mance, and three originals from Norman Simmons who arranged all of the selections. Trumpeter Clark Terry and trombonists Matthew Gee and Julian Priester have some short solos but the emphasis is on the leader who is in typically spirited and passionate form. Scott Yanow
Tracklist :
1     Wade in the Water (Alternate Take) 3'51
Traditional
2     Wade in the Water 3'47
Traditional
3     Panic Room Blues 4'37
Norman Simmons
4     Nobody Knows the Trouble I've Seen 2'43
Traditional
5     Meditation 8'21
Norman Simmons
6     Holla 3'39
Norman Simmons
7     So Tired 6'38
Bobby Timmons
8     Deep River 5'29
Traditional
9     Jubilation 3'57
Junior Mance
Credits :
Alto Saxophone – Frank Strozier, Pat Patrick (pistas: 1, 2, 3, 8)
Arranged By – Norman Simmons
Baritone Saxophone – Charlie Davis
Bass – Bob Cranshaw (pistas: 1, 2, 3, 8), Vic Sproles (pistas: 4 to 7, 9)
Celesta – Bobby Timmons (pistas: 4)
Drums – Charlie Persip
Piano – Bobby Timmons (pistas: 5), Harold Mabern (pistas: 1 to 4, 6 to 9)
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Edwin Williams, Johnny Griffin
Trombone – Julian Priester, Matthew Gee
Trumpet – Bob Bryant, Clark Terry

SHIRLEY SCOTT & CLARK TERRY - Soul Duo (1967-2012) FLAC (tracks), lossless

This is one of organist Shirley Scott's lesser-known Impulse LPs (not yet reissued on CD), a quartet outing with flugelhornist Clark Terry, drummer Mickey Roker and either George Duvivier or Bob Cranshaw on bass. Together they perform four Scott originals, a pair of C.T.'s compositions, the swinging "Until I Met You" and the standard "Heat Wave." Although not playing with the force that Stanley Turrentine exhibited when jamming with the organist, Clark Terry adds humor and a wistfulness to the date that easily compensates. Scott Yanow
Tracklist :
1    Soul Duo    5:45
2    Until I Met You (Corner Pocket)    5:40
3    This Light Of Mine    3:30
4    Joonji    3:51
5    Clark Bars    4:10
6    Taj Mahal    4:00
7    Up A Hair    4:59
8    Heat Wave    4:27
Credits :
Bass – Bob Cranshaw, George Duvivier
Drums – Mickey Roker
Organ – Shirley Scott
Trumpet – Clark Terry