DIZZY GILLESPIE — The Verve/Philips Dizzy Gillespie Small Group Sessions (2006) RM | 7CD | APE (tracks+.cue), lossless

 Dizzy Gillespie's career soared with the surge of interest in bop, but after the failure of his independent Dee Gee label, his career was in the doldrums. In 1953, Norman Granz added the trumpeter to his successful Jazz at the Philharmonic all-star roster for tours and also signed him to a non-exclusive recording contract, where the producer was very open to most anything Gillespie wished to record. This seven-CD boxed set, a limited edition of 10,000 compiled by Mosaic, draws material from selected studio and live sessions made for Granz between 1954 and 1961, in addition to a number of studio dates made for Philips, all of which featured his working bands of the time.

The Verve tracks are a treasure trove, as a good deal of these performances were not reissued on CD until this compilation, with six selections appearing for the first time in this collection. Aside from some of the early novelty songs like "Hey Pete! Let's Eat More Meat," the calypso-flavored "Money Honey," and the perennial jive number "Swing Low, Sweet Cadillac," which wear out their welcome quickly, the remaining material is very strong. Up and coming musicians in his bands include saxophonists Hank Mobley, Gigi Gryce, and Benny Golson, along with pianists Ray Bryant and Junior Mance. One of the obvious highlights is alto sax great Johnny Hodges' guest appearance on "Squatty Roo," which bolsters Gillespie's playing to its highest level. The addition of the relatively unheralded Leo Wright (who doubles on flute and alto sax) and young pianist Lalo Schifrin for a brief concert at the Museum of Modern Art marks the end of his association with Verve, which was sold by Granz that very same year.

Several of the earliest Philips sessions find Gillespie incorporating Brazilian influences and exploring the music of Antonio Carlos Jobim, Luiz Bonfá, and even one extended work by Schifrin, "Mount Olive." Dizzy Gillespie & the Double Six of Paris features collaborations with a group of French vocalists arranged by Lalo Schifrin, with most of the songs utilizing Bud Powell, Pierre Michelot, and Kenny Clarke, with the trumpeter's regular group of the time on two selections. The Double Six of Paris' leader Michel Perin's vocalese interpretations of Charlie Parker's instrumental solos from Gillespie's well-known records of "Hot House" and "Groovin' High" are outstanding, as are the big-band arrangements recast for small group and voices. The final sessions feature James Moody and Kenny Barron, with Chris White and Rudy Collins. The tracks from Dizzy Goes Hollywood are enjoyable but far too brief, as most of them hover around the three-minute mark. Better are the songs from Original Score from the Cool World, an updated look at music Dizzy composed for the film, with fine arrangements by Tom McIntosh. This collection should be considered essential for any Dizzy Gillespie fan. Ken Dryden
Tracklist + Credits :

DIZZY GILLESPIE & THE DOUBLE SIX — Dizzy Gillespie & The Double Six of Paris (1963-1986) APE (image+.cue), lossless

This odd but successful pairing finds the Double Six of Paris singing vocalese in French to a dozen bebop classics associated with Dizzy Gillespie. Gillespie, with pianist Bud Powell and a rhythm section, take solos that uplift this date; two songs feature his quintet (with James Moody on alto). Not for all tastes, but this is a unique and colorful addition to Gillespie's discography. Scott Yanow
Tracklist + Credits :

CHARLIE PARKER – 1945-1947 | The Chronogical Classics – 980 (2000) FLAC (tracks+.cue), lossless

This features Bird's first solo sides: the legendary early Savoy and Dial sides. Although most of this material has been reissued ad nauseam in various packages and in varying fidelity, Classics gets all the BB's in the right holes, with great annotation and stellar transfers of the material. No alternate takes -- just the issued sides in that space of compressed genius between 1945 and early 1947. As such, a major document of jazz history. Cub Koda    Tracklist + Credits :

DEXTER GORDON – 1943-1947 | The Chronogical Classics – 999 (1998) FLAC (tracks+.cue), lossless

This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "...came like a bolt out of the blue to me...I readily identified with his ideas and concepts...." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years." By 1943 Gordon's saxophone voice had ripened under that influence to the point where he was beginning to tell his own story. Then one night in 1944 at Minton's Playhouse, Gordon sat in literally between Lester Young and Ben Webster. Recording for Savoy in October of 1945, Gordon was teamed with adventurous pianist Sadik Hakim, backed by Gene Ramey and Ed Nicholson. These performances resemble Lester Young's Aladdin and early Clef recordings. The second Savoy session from January 1946 has Leonard Hawkins blowing trumpet and a wicked rhythm section in Bud Powell, Curly Russell, and Max Roach. As is the case with most of the groups heard on this collection, the combination of creative minds is stunning. And here Gordon establishes his wonderful personal regimen of delivering slow, full-feature tenor ballads. Back in 1943, "Sweet Lorraine" was shared with Nat Cole, who soon became closely identified with that melody. "I Can't Escape from You" is the first real example listeners have of Gordon the three-minute balladeer. Other forthcoming offerings in this vein are "Talk of the Town" and "I Don't Stand a Ghost of a Chance with You." His next session as a leader took place in Hollywood on June 5, 1947, with trombonist Melba Liston, who was soloing with and writing arrangements for Gerald Wilson's orchestra during this period (see Classics 976, the 1945-1946 volume of the label's Wilson chronology). "Mischievous Lady" and "Lullabye in Rhythm" contain what seem to be Liston's first solos recorded in a small-band environment. It's a shame that this group didn't cut a dozen more sides together. One week later, Gordon and Wardell Gray cut their famous two-part tenor blowout, "The Chase." Since Charlie Parker's "Klactoveedsedstene," with its distinctive opening clause, was recorded on October 28, 1947, it is interesting to hear the same lick used to open and close "The Chase," recorded nearly five months earlier. Which came first, the Bird or the egg? As "The Chase" proceeds, another riff emerges, forming the basis for the theme and the beginning of the first solo. It is based on Alphonse Picou's famous clarinet passage from "High Society," the old New Orleans jazz anthem. Here is the great multi-generational span dance, the new thing firmly grounded in the old. Every single record reissued here is worth its weight in gold. Gordon's Dial recordings, especially "Chromatic Aberration" and "Bikini," are full-blooded mature statements from a 24-year-old master improviser wise beyond his years. Even in the face of all the great records he would make in the years to come, this stash of Dexter Gordon's early work should be cherished among his very best. arwulf arwulf               Tracklist + Credits :

KENNY CLARKE – 1946-1948 | The Chronogical Classics – 1171 (2001) FLAC (tracks), lossless

Although issued on the Swing label -- a French enterprise -- the four selections that open this exciting collection are full-force American bebop, recorded in New York during September of 1946. With Fats Navarro, Kenny Dorham, Sonny Stitt, and Bud Powell in the band, the energy is so powerful that sensitive listeners may experience gooseflesh. "Epistrophy" sounds profoundly modern, far ahead of nearly anything else on the scene in 1946. "52nd Street Theme" is a brave essay in a new form. The trumpets dance circles around each other and the whole session comes off like the grand achievement that it surely was. Although this is considered Vol. 1 of the Kenny Clarke chronology, his discography really begins with pianist and bandleader Edgar Hayes. Clarke's excellent drumming and his work as a skilled vibraphonist are well documented on both Edgar Hayes volumes in the Chronological series (Classics 730 and 1053). In March of 1938 Kenny Clarke's "Kvintet," with Hayes at the piano and Clarke playing vibes, made four records in Stockholm, only one of which -- the instrumental -- was memorable. Almost exactly ten years later Clarke was entrusted with the task of touring Scandinavia with a group composed of players from the Dizzy Gillespie big band. Financial hassles curtailed their plans and they landed instead in Paris, where most of the material on this CD was recorded. The session recorded March 2, 1948, is notable for the presence of trumpeter Benny Bailey and baritone saxophonist Cecil Payne. It also provides an audible glimpse of sadly under-recorded alto saxophonist Joe Brown, an early follower of Charlie Parker. Note also the presence of pianist Ralph Schecroun, who would eventually change his name to Errol Parker and move to the U.S., developing a ferocious, almost chiropractic technique as he forged his own unique style of ultra-percussive modern piano. As Kenny Clarke continued to sow bop ideology among Parisians during the spring of 1948, it is fascinating how quickly and adroitly these young Frenchmen took it up without resorting to base mimicry. The most musically advanced material emerged during the session recorded on May 4, with violinist Andre Hodeir providing a wistful intro for Clarke's intriguing opus "Algerian Cynicism." The title refers to the enigma of French colonialism in North Africa, and reflects a political awareness every bit as progressive as the music itself. The material recorded on the following day is permeated with a Coleman Hawkins flavor, echoing that saxophonist's healthy response to the latest developments in jazz. "Working Eyes" sounds a little like "Raincheck" or any one of Billy Strayhorn's upbeat modern ideas. This outstanding collection of recordings -- rarely heard outside of Europe for many years -- reaffirms Kenny "Klook" Clarke's crucial role as a primal innovator in early modern jazz. arwulf arwulf
Tracklist + Credits :

PEARL BAILEY – 1944-1947 | The Classics Chronological Series – 1213 (2001) FLAC (tracks), lossless

Pearl Bailey was a magnificent jazz singer and comedienne. Check her out in front of the Cootie Williams Orchestra! That's Bud Powell back there behind the piano. Cleanhead Vinson and Lockjaw Davis are in the reed section. Pearl seems perfectly at home with this early modern-sounding big band, and Cootie puts extra sass in his horn to complement the lady's personality. Herman Chittison leads a much smaller and more intimate ensemble for "He Didn't Ask Me," a subtly soft-spoken lament with wistful incidental whistling. Pearl attracted a lot of attention by being unusually tough, candid, and outspoken in ways that few pop vocalists had ever dared to pursue. For a black woman to assert herself in this way anywhere near the mainstream was particularly refreshing during the late '40s. Pearl's high-stepping improvisations on "St. Louis Blues" are spectacular, but her relaxed conversational musings on "Tired" are perfectly timed theater, naturally hip and funny as hell. "I Ain't Talkin'" has a similar easy perfection about it. Some of this material is pure entertainment. "Personality" turns out to be a metaphor for booty. "That's Good Enough for Me," "Say It Simple," and "Get It Off Your Mind" are clever routines. Some of this stuff seems like it was inspired by Cole Porter's high camp. The Mitchell Ayres Orchestra likes to pour on a little extra glitz, and low-tech reverb makes it seem like Pearl is performing in a gymnasium. Finally, there's a two-part duet with Frank Sinatra. They sound at ease with each other: two actors with seasoned pipes who enjoy tearing apart a slow song note for note and phrase by phrase. arwulf arwulf
Tracklist + Credits :

SARAH VAUGHAN – 1944-1946 | The Classics Chronological Series – 958 (1997) FLAC (tracks+.cue), lossless

This first installment in the complete chronological recordings of Sarah Vaughan is a gold mine of great jazz dating from turbulent and transitional times. It's also one of the very best Sarah Vaughan retrospectives ever made available to the public. Vaughan positively glows in front of every ensemble lucky enough to back her, as she performs in an almost bewildering series of outstanding recordings on the De Luxe, Continental, Guild, Crown, Gotham, H.R.S., and Musicraft labels. She appears as a 20-year-old featured with Billy Eckstine's Orchestra, then sitting in with Dizzy Gillespie and Charlie Parker, with violinist Stuff Smith's Trio, and with the amazing John Kirby Sextet (here billed as his orchestra). She rubs shoulders with Trummy Young, Dicky Wells, Tony Scott, Ben Webster, Freddy Webster, Al Cohn, Serge Chaloff, Flip Phillips, Tadd Dameron, Bud Powell, Dexter Gordon, Gene Ammons, Leo Parker, Georgie Auld, Art Blakey, Max Roach, Sid Catlett, Max Roach, and pianist Jimmy Jones, destined to accompany Vaughan intermittently until 1958. The jazz talent assembled on this one disc is nothing short of formidable. Sarah Vaughan began her recording career in the eye of the hurricane of jazz in New York during the mid-'40s. This incredible compilation documents exactly how she went about it. arwulf arwulf
Tracklist + Credits :

SARAH VAUGHAN – 1949-1950 | The Classics Chronological Series – 1166 (2001) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Sarah Vaughan chronology demonstrates her extraordinary versatility during the first stages of a fully blossoming artistic maturity. Four exquisite sides with the Joe Lipman Orchestra are followed by an MGM session in duet with crooner Billy Eckstine, backed by Lipman's Orchestra and strings. Given the fact that it was Eckstine who gave Vaughan her first break in showbiz, the pairing has a special charm. Aside from this MGM deviation, Vaughan was a Columbia recording artist during this time period. By far the best jazz on this disc was recorded on May 18 and 19, 1950, with accompaniment by pianist Jimmy Jones and his band. The front line of Miles Davis, Benny Golson, Budd Johnson, and Tony Scott, backed by the rhythm section of Jones, bassist Billy Taylor, J.C. Heard, and either Mundell Lowe or Freddie Green, matches the vocalist's every nuance to perfection. The combination of Miles Davis and Sarah Vaughan is a marvel not to be missed. There is some confusion between discographies regarding various brassy big band sides, as some tracks are credited both to the Norman Leyden Orchestra (with Bud Powell at the piano!) and to Mitch Miller & His Orchestra. Miller, of course, was no stranger to modern jazz, having also participated in some of Charlie Parker's With Strings sessions. Whoever actually headed the band, Sarah Vaughan's "Perdido" is delightful and invigorating. This interesting disc closes with a wild surprise in the form of "De Gas Pipe She's Leakin' Joe," a campy calypso spoof on the topic of suicide, so atypical of Sarah Vaughan that it could easily fool almost anyone in a blindfold test. The word again is "versatility." arwulf arwulf  
Tracklist + Credits :

J. J. JOHNSON – 1946-1949 | The Classics Chronological Series – 1176 (2001) FLAC (tracks+.cue), lossless

Coming up in the big bands led by Benny Carter and Count Basie, trombonist J.J. Johnson was among the first of the truly modern trombonists. For his first recording session as a leader, Johnson chose pianist Bud Powell, bassist Leonard Gaskin, drummer Max Roach, and the mighty Cecil Payne -- later famous as a baritone saxophonist -- blowing a really fine alto. Each of these Savoy sides bubbles with the fresh new energy of a vibrant, creative music reinventing itself. Johnson's next opportunity to lead occurred on December 24, 1947, with stellar bop baritone Leo Parker and a fine rhythm section in Hank Jones, Al Lucas, and Shadow Wilson. The sheer presence of so many great musical minds is thrilling as Sonny Rollins, John Lewis, and Gene Ramey show up at the third Savoy session on May 11, 1949. With the exception of six sides with Babs Gonzales earlier that year (as heard on Classics 1124, the 1947-1949 volume of the label's Gonzales chronology), these are the earliest recordings ever made by Sonny Rollins. Johnson's next two dates would result in eight sides for the New Jazz label, combining Rollins with Kenny Dorham and then in October of 1949 teaming up with alto saxophonist Sonny Stitt. This is exceptionally satisfying primal bop, with no unnecessary or superfluous chaff, an impressive beginning to an illustrious career. arwulf arwulf
Tracklist + Credits :

BUD POWELL – 1945-1947 | The Classics Chronological Series – 1003 (1998) FLAC (tracks+.cue), lossless

An excellent companion to Classics' 1949-1950 Bud Powell title, this roundup of the bop pianist's early post-war sides gets top overview honors for its better balanced share of combo and trio sides. The first half is mostly taken up by an incredible 1946 session featuring Fats Navarro, Sonny Stitt, Kenny Dorham, and Kenny Clarke, with highlights including the Navarro originals "Webb City," "Fat Boy," and "Everything's Cool." For Powell fanatics, though, the eight trio sides will be the real attraction. Backed by first-tier boppers Max Roach and Curly Russell, Powell is at his fleet and innovative best on a mix of his own work ("Bud's Bubble"), some Monk ("Off Minor"), and a handful of choice covers ("I'll Remember April," "I Should Care"). A taste of possibly the most irrepressible and sophisticated bop on wax. Stephen Cook  
Tracklist + Credits :

BUD POWELL – 1949-1950 | The Classics Chronological Series – 1170 (2001) FLAC (tracks), lossless

Roundups on either Verve or Blue Note offer the best entrée for Bud Powell neophytes -- and let's not forget the four-disc set on Proper -- but this Classics offering of the bop pianist's 1949-1950 sides certainly should not to be overlooked. Most of the 21 tracks feature Powell in a trio setting, with a handful of cuts given over to a top-notch combo date fronted by trumpeter Fats Navarro and a young Sonny Rollins. This latter material includes some of the finest playing of the bop era, as all the soloists find choice spots on the three Powell originals ("Bouncing With Bud," "Dance of the Infidels," "Wail") and the early Monk side "52nd Street Theme." The trio sides, though, offer the real highlights here. Backed on various sessions by the likes of Max Roach, Roy Haynes, Buddy Rich, Roy Brown, and Curly Russell, Powell is in his innovative prime on several self-penned gems ("Tempus Fugit," "Celia") and a round of finely gauged standards ("Yesterdays," "Get Happy"). A disc worthy of the competition. Stephen Cook  
Tracklist :

BUD POWELL – 1951-1953 | The Classics Chronological Series – 1373 (2004) FLAC (tracks), lossless

This is the third volume in the complete recordings of Earl Rudolph "Bud" Powell presented in chronological order. The rarely encountered combination of material recorded for both the Clef and Blue Note labels between February 1951 and August 1953 is cause for rejoicing, as most reissues segregate Powell's works by label rather than presenting a consistent sequential artistic evolution. The first eight tracks -- and two cuts from the first Blue Note date -- consist of unaccompanied solos. Here the pianist candidly reveals the surreal contours of his own personal corner of the universe through charming standards and stunning originals. "Parisian Thoroughfare" is pure magic. Having both the solo and trio versions on one album is a major triumph. Speaking of trios, this disc contains some of Powell's most outstanding collaborations, involving Curly Russell and Max Roach or Charles Mingus and Art Taylor. There is something darker, deeper, and more complex in the music that resulted from the trio session of 1953. Mingus had something to do with this, but so did the American Psychiatric Association (see Powell's "Glass Enclosure"). In light of this compilation's sheer brilliance and beatific magnitude, it would be difficult to prescribe a better introduction -- or tribute -- to the endlessly inventive and strikingly imaginative artistry of Bud Powell. arwulf arwulf  
Tracklist :

BUD POWELL – 1953-1954 | The Classics Chronological Series – 1452 (2007) FLAC (tracks), lossless

The last vestiges of what was the amazing Bud Powell faded in the mid-'50s, and although he lived for another decade-plus, the strung-out ravages of drug abuse withered the abilities of the first genius of bop piano. Those vestiges of flawed genius are still present in these sessions, reissued from the recordings Powell did for the Debut, Roost, and Norgan labels. But you can hear the frayed edges, the diminished energy, and the overt tiredness compared to his previous years. Still a peerless player even in a moderate state, there's much Powell to enjoy here. The first six tracks are from the legendary Massey Hall concert in Toronto, May 15, 1953, with Max Roach on drums and Charles Mingus at the upright bass. Much has been written about this trio, perhaps the most talented ever assembled, which was under-recorded, and in this case under-produced. They bop fast and hard on the faded-in "Cherokee," an incomplete take where Roach is wailing on brushes; they jive on the hip "Jubilee," also known as "Hallelujah"; and they are a collective slipstream in a wind tunnel for the jam on "Lullabye of Birdland." Mingus is less audible than the others overall, and you do hear the innovation of Powell on the tango flavorings of "I've Got You Under My Skin," the near Baroque leanings during the intro of "Sure Thing," and his unique embellishments on the basic melody of "Embraceable You." The remaining 16 tracks are studio dates from the autumn of 1953 through the summer of 1954, with bassist George Duvivier and drummer Art Taylor. You hear Powell at a less than optimal level especially on the ballads, described as reluctant and insecure during "Spring Is Here"; dour, deepest blue, and near funereal during "It Never Entered My Mind"; and tentative for the shaky solo take of "My Devotion." But then even on dark days Powell was able to conjure brilliance, as on his completely original remake of "Lover Come Back to Me," retitled "Burt Covers Bud"; the brighter "A Foggy Day"; an Asian-flavored "Embraceable You"; the confident, direct, even playful "Buttercup"; and the hard-charging "Fantasy in Blue." Powell's occasional stride piano influence comes to the fore on "My Funny Valentine," his best ballad is "Time Was," and you hear the trick arpeggios that were signatures of Thelonious Monk -- or was it the other way around? Valuable for its musical instructiveness and a hard reality check of life, this recording is a reminder that even flawed genius has it moments, however fleeting, and we should all be thankful to be able to capture those precious times. Michael G. Nastos  
Tracklist

COOTIE WILLIAMS AND HIS ORCHESTRA – 1941-1944 | The Classics Chronological Series – 827 (1995) FLAC (tracks+.cue), lossless

Tracklist + Credits :

ART BLAKEY — Paris Jam Session (1959-2000) RM | Serie Jazz In Paris – 40 | FLAC (tracks+.cue), lossless

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography. Ken Dryden
Tracklist :
1     Dance of the Infidels 12:26
Bud Powell
2     Bouncing with Bud 11:38
Gil Fuller / Bud Powell
3     The Midget 11:05
Lee Morgan
4     A Night in Tunisia 7:02
Dizzy Gillespie / Frank Paparelli
Credits :
Alto Saxophone – Barney Wilen (faixas: 1, 2)
Bass – Jymie Merritt
Drums – Art Blakey
Piano – Bud Powell (faixas: 1, 2), Walter Davis Jr. (faixas: 3, 4)
Tenor Saxophone – Wayne Shorter
Trumpet – Lee Morgan
Nota :
Recorded live December 18, 1959 at the Théâtre des Champs-Elysées, Paris
Reissue of the Fontana LP 832 692 

CHARLIE PARKER | DIZZY GILLESPIE | BUD POWELL | MAX ROACH | CHARLES MINGUS : THE QUINTET — Jazz at Massey Hall (1953-2012) ORIGINAL JAZZ CLASSICS REMASTERS / FLAC (tracks+.cue), lossless

This concert was held at Massey Hall in Toronto, Canada on May 15, 1953, and was recorded by bassist Charles Mingus, who overdubbed some additional bass parts and issued it on his own Debut label as the Quintet's Jazz at Massey Hall. Charlie Parker (listed on the original album sleeve as "Charlie Chan") performed on a plastic alto, pianist Bud Powell was stone drunk from the opening bell, and Dizzy Gillespie kept popping offstage to check on the status of the first Rocky Marciano-Jersey Joe Walcott heavyweight championship bout. Subsequent editions of this evening were released as a double-live album (featuring Bud Powell's magnificent piano trio set with Mingus and Roach), dubbed The Greatest Jazz Concert Ever. The hyperbole is well-deserved, because at the time of this concert, each musician on Jazz at Massey Hall was considered to be the principle instrumental innovator within the bebop movement. All of these musicians were influenced by Charlie Parker, and their collective rapport is magical. As a result, their fervent solos on the uptempo tunes ("Salt Peanuts" and "Wee") seem to flow like one uninterrupted idea. "All the Things You Are" redefines Jerome Kern's classic ballad, with frequent echoes of "Grand Canyon Suite" from Bird and Diz, and a ruminative solo by Powell. And on Gillespie's classic "Night in Tunisia," the incomparable swagger of Bird's opening break is matched by the keening emotional intensity of Gillespie's daredevil flight. A legendary set, no matter how or when or where it's issued. AllMusic 
Tracklist :
1 Perdido 7:47
Ervin Drake / Hans Lengsfelder / Juan Tizol
2 Salt Peanuts 7:44
Kenny Clarke / Steve Coleman / Dizzy Gillespie
3 All the Things You Are/52nd Street Theme 7:55
Oscar Hammerstein II / Jerome Kern / Thelonious Monk
4 Wee (Allen's Alley) 6:46
Denzil Best / Dizzy Gillespie / Frank Paparelli
5 Hot House 9:17
Tadd Dameron
6 A Night in Tunisia 7:39
Dizzy Gillespie / Frank Paparelli
Credits:
Alto Saxophone – Charlie Parker
Bass – Charles Mingus
Drums – Max Roach
Piano – Bud Powell
Producer [Original Recordings] – Charles Mingus
Trumpet – Dizzy Gillespie

DEXTER GORDON - Our Man in Paris (1963-2003) RM / FLAC (tracks+.cue), lossless

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate.
(This comment is posted on allmusic by Thom Jurek, follower of our blog O Púbis da Rosa)

Tracklist:

1 Scrapple from the Apple 7:22
Charlie Parker
2 Willow Weep for Me 8:47
Ann Ronell
3 Broadway 6:44
Billy Bird / Teddy McRae / Henry J. Wood
4 Stairway to the Stars 6:57
Matty Malneck / Mitchell Parish / Frank Signorelli
5 A Night in Tunisia 8:15
Dizzy Gillespie / Frank Paparelli
6 Love Is Here to Stay 5:39
George Gershwin / Ira Gershwin
7 Like Someone in Love 6:19
Johnny Burke / James Van Heusen
Credits:
Bass – Pierre Michelot
Drums – Kenny Clarke
Piano – Bud Powell
Remastered By [Remastered In 2003 By] – Rudy Van Gelder
Tenor Saxophone – Dexter Gordon