DIZZY GILLESPIE — The Complete RCA Victor Recordings (1995) 2CD | FLAC (tracks+.cue), lossless

Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to Latin jazz collections as well. Here listeners find the discographical launching pad of Afro-Cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his Latin experiments, using two Latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal Latin jazz tracks. Richard S. Ginell   Tracklist + Credits :

CHARLIE PARKER & DIZZY GILLESPIE — Diz 'N Bird At Carnegie Hall (1997) The Performance Series | FLAC (tracks+.cue), lossless

Nine years after Benny Goodman's groundbreaking concert, bebop finally came to Carnegie Hall. Most notable on this 1997 CD (which contains music that has been reissued many times, often incoherently) is the meeting between altoist Charlie Parker and trumpeter Dizzy Gillespie. Joined by the underrecorded piano of John Lewis, bassist Al McKibbon and the slightly overrecorded drums of Joe Harris, Bird and Diz generate some real fireworks on five songs, and Parker's rendition of "Confirmation," and the CD's high point, is definitive and memorable. The remainder of the set (ten selections including "Cool Breeze," "One Bass Hit," "Cubano-Be, Cubano-Bop" and "Things to Come") features the Gillespie big band in typically spirited form. Of particular interest are a few numbers ("Relaxin' at Camarillo," which was arranged by George Russell, "Hot House," and "Toccata for Trumpet") that were never recorded in the studio by the big band. Classic bebop. Scott Yanow
Nota :
Recorded live at Carnegie Hall on September 29, 1947.
Tracks 1-5 were performed by a quintet; tracks 6-15 were performed by a big band.   Tracklist + Credits :

DIZZY GILLESPIE + MAX ROACH — Dizzy Gillespie Pleyel Concert 1948 + Max Roach Quintet 1949 (1997) FLAC (tracks+.cue), lossless

Tracklist + Credits :

DIZZY GILLESPIE – 1946-1947 | The Classics Chronological Series – 986 (1998) FLAC (tracks+.cue), lossless

For bop fans inclined to thorough chronicles of their favorite stars, Classics' Chronological series might be the best place to start. Dizzy Gillespie gets the royal treatment this time out, with his 1946-1947 edition and 21 slices of rarefied and powerfully swinging work. And besides loads of the maestro's incendiary solos, the disc also spotlights other young bop talent like James Moody, Sonny Stitt, and Kenny Clarke. Beware, though: In between top-flight solo work and crack material like "Emanon" and "One Bass Hit," there are some razzy vocals and sundry hijinks, too. Still, the material all has the magic Gillespie touch and that's certainly not a bad thing. Stephen Cook     Tracklist :

DIZZY GILLESPIE AND HIS ORCHESTRA – 1947-1949 | The Classics Chronological Series – 1102 (2000) FLAC (tracks+.cue), lossless

 Classics #1102 focuses on the explosive years of 1947-1949 when Dizzy Gillespie created some of the most innovative big band recordings, combining bebop and Afro-Cuban rhythms (courtesy of percussionist Chano Pozo). These sessions, recorded for Victor in December 1947, 1948, and early 1949, include future Dizzy standards "Manteca," "Cubana Be," and "Cubana Bop." The roster of musicians Gillespie employed played an important part in the shaping of modern jazz: Yusef Lateef, John Lewis (in one of his earliest sessions), Kenny Clarke, and Cecil Payne. With arrangements by Tadd Dameron, George Russell, Gil Fuller, Gerald Wilson, and the vocals of Johnny Hartman, Kenny "Pancho" Haygood, and Joe Carroll, volume four of Dizzy's chronological recording career is highly recommended. Al Campbell     Tracklist :

ILLINOIS JACQUET – 1953-1955 | The Chronogical Classics – 1451 (2007) FLAC (tracks+.cue), lossless

The mid-'50s were a fruitful time for Illinois Jacquet, as he was about age 30. A popular and distinctive tenor saxophone soloist who could easily fit into a swing, big-band, bop, blues, or rhythm & blues context, he was also asserting himself as a bandleader. These sessions, the fifth in a series of Classics label reissues for Jacquet, are all originally from the Clef label and produced by Norman Granz. Mostly done in New York City, they feature his five-years-older brother, trumpeter Russell Jacquet, in a series of mid-sized ensembles that were hype-dubbed an orchestra. As Jacquet was involved with Granz in his Jazz at the Philharmonic traveling shows, these tunes naturally have a jam session feel. The first eight tracks, from 1953, feature a dynamite rhythm session of pianist Johnny Acea, bassist Al Lucas, and drummer Shadow Wilson. Trombonist Matthew Gee and baritone saxophonist Cecil Payne round out the "orchestra." There's some crazed, frantic bop on the "Out of This World" variation "On Your Toes," the lithe and fast hard bop with low-end bari and high-end brass of "Jacquet Jumps" and "Heads," the easy swing of Acea buoying "It's the Talk of the Town," and the totally bluesy counterpointed trumpet of Russell Jacquet as a foil for his brother during "R.U. One," minus Payne. Percussive tongue pops inspire the calypso beat of the unusual, near-novelty item "Jatap Conga." On the next four cuts, from 1954, Leo Parker replaces Payne, and Osie Johnson is the drummer man. Conga legend Chano Pozo joins in on the hot and joyous "Mambocito Mio," with group vocals, and there's the richly arranged "Jacquet's Dilemma" and the famous ballad "September Song," where the tenor of Jacquet explores the deepest blue spectrum. Two more cuts from 1954 team Ben Webster and Jacquet's unison tenors with Pozo on the Latinized bopper "The Kid and the Brute" and the follow-up slinky blues "I Wrote This for the Kid." The 1955 sessions are from Los Angeles with West Coasters Gerald Wiggins and Carl Perkins playing organ and piano, respectively. This combination breeds a neat energy, and with guitarist Irving Ashby, the band takes a different tack. Trumpeter Harry "Sweets" Edison is the tenor's foil, sliding easily through "Love Is Here to Stay" and the ballad "East of the Sun," while swinging hard on the fun tune "Empathy" and doing the groove biscuit similar to "Let the Good Times Roll," here dubbed "Cool Bill" (perhaps for Bill Doggett), minus Perkins. This short but potent time capsule in what must be considered the near prime of Illinois Jacquet is as precious as mid-period straight-ahead jazz gets, and is highly recmmended. Michael G. Nastos
Tracklist :

BILLY ECKSTINE AND HIS ORCHESTRA – 1946-1947 | The Chronogical Classics – 1022 (1998) FLAC (tracks+.cue), lossless

Following up their excellent set of Billy Eckstine's 1944-1945 sides, Classics' has now brought together more of the bandleader's prime bebop-era material on this disc of 1946-1947 material. Once again, Eckstine is backed by some of the day's top players, namely Miles Davis, Fats Navarro, Kenny Dorham, Sonny Stitt, Gene Ammons, and Art Blakey. The highlights abound, including an update of Eckstine's early-'40s hit with the Earl Hines band, "The Jitney Man"; excellent readings of "Without a Song" and "In the Still of the Night"; and a riveting go at Dizzy Gillespie's bop classic, "Oo Bop Sh'bam." Presaging his subsequent fame as a grand ballad singer, the collection also features early orchestra cuts like "My Silent Love" and "All the Things You Are," all featuring the singer's lush baritone against some slightly cloying string charts. Finally, the show ends in intimate fashion, as Eckstine takes up the trombone -- don't worry, he sings too -- in a small combo featuring tenor saxophonist Wardell Gray. A pure delight. Stephen Cook  
Tracklist + Credits :

JAMES MOODY – 1948-1949 | The Chronogical Classics – 1116 (2000) FLAC (tracks+.cue), lossless

These earliest sessions recorded by saxophonist James Moody under his own leadership, follow his initial years with Dizzy Gillespie, an association that would be maintained off and on throughout Dizzy's life. The disc starts in chronological order with eight sides recorded for Blue Note in October 1948. Arranged by composer Gil Fuller and backed by Moody's Modernists, which were, in essence, musicians comprised of Dizzy Gillespie's band including baritone saxophonist Cecil Payne, alto saxophonist Ernie Henry, Chano Pozo, and Art Blakey. These sessions were recorded in New York before Moody left for Europe, not to return to the states until years later. The remaining 14 tracks find him jamming with European musicians and fellow American expatriates including fellow tenor saxophonist Don Byas, mixing bebop and standards recorded in Zurich, Paris, Lausanne, and Stockholm for Vogue, Blue Star, and Prestige. Al Campbell  
Tracklist + Credits :

JAMES MOODY – 1951-1954 | The Chronogical Classics – 1410 (2006) FLAC (tracks+.cue), lossless

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals -- trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore -- show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955. Special mention should be made of pianist Sadik Hakim as well as hip vocalists Iona Wade, Babs Gonzales, and the amazing Eddie Jefferson, who also served as Moody's band boss and road manager. If the Mercury titles are uniformly excellent, early modern jazz, James Moody's 1954 Prestige recordings, particularly his gorgeous rendition of "Over the Rainbow" and the breathtakingly vivid, dangerously danceable "Mambo With Moody" are enduring masterworks that warrant repeated listening. arwulf arwulf  
Tracklist + Credits :

ROY ELDRIDGE – 1945-1947 | The Classics Chronological Series – 983 (1998) FLAC (tracks+.cue), lossless

As far as Roy Eldridge's big bands go, this was the peak. With arrangements by Buster Harding and a stable of powerful young players, the Roy Eldridge Orchestra must have been formidable in live performance. Most of the recordings they made for the Decca label represent the ultimate in extroverted big-band swing. The explosive "Little Jazz Boogie" is one of the hottest records Roy Eldridge ever made. The flip side, "Embraceable You," bears witness to his profound abilities as an interpreter of ballads. Three sides by the Roy Eldridge Little Jazz Band recorded for V-Disc on November 14, 1945, allow for more intimate interplay. "Roy Meets Horn" -- the title is a takeoff on "Boy Meets Horn," Ellington's feature for Rex Stewart -- and "Old Rob Roy" are late-period swing or "prebop" numbers, anticipating stylistic changes that were in the wind at the time. With Nick Caiazza blowing tenor sax, Ernie Caceres wielding a clarinet, and Trigger Alpert and Specs Powell in the rhythm section, this was one exciting little jam band. "I've Found a New Baby" is a full-blown stomp employing traditional swing polyphony. Contrary to what the discography claims, there is no spoken introduction by Eddie "Rochester" Anderson. Back in the Decca studios on January 31, 1946, the big band generated huge gusts of sound, employing lots of in-your-face brass. "Ain't That a Shame" is a fine cool blues graced with one of Eldridge's hippest vocals. The session of May 7, 1946, opened with the rowdy "Hi Ho Trailus Boot Whip" and eased into "Tippin' Out" -- the apparent obverse of "Tippin' In," a big hit for Erskine Hawkins. During his solo on "Yard Dog," tenor saxophonist Tom Archia quotes from Fats Waller's hit record "There's Honey on the Moon Tonight." On the other hand, "Les Bounce" is not a very inventive melody. The band compensates by blowing hard and Eldridge tries using a portion of the melodic line from his famous "Little Jazz." The material recorded on September 24, 1946, signals a return to dependable jazz standards of the day. This band had alto saxophonists Sahib Shihab and Joe Eldridge, Cecil Payne on baritone, and pianist Duke Jordan. The disc closes with the WNEW Saturday Night Swing Session broadcast live on May 31, 1947. "Honeysuckle Rose" is played by just the rhythm section of Al Casey, Eddie Safranski, and Specs Powell. "Flip and Jazz" is nearly nine minutes of hot jamming in the company of tenor saxophonist Flip Phillips. "How High the Moon" is, well, a visit to bop city as Eldridge brings in the melody known as "Ornithology." "Lover" is played bright and fast with lots of block chords hammered out by pianist Mike Coluchio's right hand. "Buck Still Jumps," played once again just by the rhythm section, is Al Casey's sequel to "Buck Jumpin'," his famous feature number from Fats Waller days. arwulf arwulf
Tracklist + Credits :

ANITA O'DAY – 1950-1952 | The Classics Chronological Series – 1336 (2003) FLAC (tracks+.cue), lossless

Compilations abound that center on Anita O'Day's work of the '40s and early '50s, before she set about recording one of the liveliest string of LPs ever seen on the planet (from 1955's This Is Anita to 1962's That Is Anita). With 1950-1952, the seminal Classics label reissued a string of titles that haven't seen light very often, a selection of her recordings for labels including London, Clef, and Norgran (the last two were Verve-associated labels). While they stand nowhere near the twin pinnacles of her career -- her big-band heyday and her solo revival yet to come -- O'Day recorded much wonderful music during these two years. In 1952 alone, she recorded three excellent sessions (the final two-thirds of the program), including a swinging date with her Krupa bandmate Roy Eldridge in New York and a sublime Chicago appearance with Roy Kral. John Bush
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 :

ARCHIE SHEPP - For Losers + Kwanza (2011) RM | Impulse! 2-On-1 | FLAC (tracks+.cue), lossless

Though the two titles featured on this Impulse two-fer were originally issued four years apart, they were recorded pretty much at the same time. For Losers, released in 1970, reflects Archie Shepp's deep fascination with rhythm & blues and soul, as well as showing how vanguard jazz drew directly from the tradition. Produced by Ed Michel, this album (and Kwanza) features Shepp in the company of Grachan Moncur III, Jimmy Owens, Woody Shaw, Charles Davis, Dave Burrell, Cedar Walton, Andy Bey, Robin Kenyatta, Cecil Payne, James Spaulding, Wilbur Ware, Beaver Harris, Bernard Purdie, Joe Chambers, Leon Thomas, and Doris Troy, to name a few. It ranges from the funky stomp of "Stick 'Em Up" with Thomas up front and which draws equally on James Brown and Rufus Thomas, through to an avant version of Duke Ellington's "I Got It Bad (And That Ain't Good)," with Troy's vocal atop a warm but angular and elastic harmonic arrangement, to a nearly straight version of Cal Massey's classic ballad "What Would It Be Without You," with beautiful interplay between Shepp's tenor and Payne's flute. The entire second side is taken up by "Un Croque Monsieur (Poem: For Losers)," an outside jazz jam of epic proportions. Kwanza, though it was recorded at nearly the same time, was not released until 1974. Its cuts display the same lineups as those on For Losers. While on the surface it would seem to be a collection of outtakes and leftovers from the earlier album, it doesn't doesn't play like one. With Michel producing only one track, and the balance by Bob Thiele, it sounds more like a direct follow-up. Shepp composed three tunes here; two of which ("Back Back" and "Slow Drag," with killer trumpet work by Shaw) reflect the tough, nasty soul and rhythm & blues foundations of the earlier album, while the other, "Spoo Pee Doo," while brief, is a curiously strange midtempo jazz ballad sung by Thomas. Moncur's modally based free workout "New Africa" appears as the set's longest and most satisfying number, with another Massey number, "Makai," which has its repetitive, labyrinthine counterpoint played to the hilt by Shepp and bassist Walter Booker. Together, For Losers and Kwanza are hotly debated but essential parts of the Shepp Impulse discography; they embody not merely the paradoxes of his vision, but the enormity of it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
For Losers    
1    Stick 'Em Up 2:05
Alto Saxophone – Robin Kenyatta
Bass [Fender] – Albert Winston, Wilton Felder
Drums – Beaver Harris
Guitar – Bert Payne
Organ, Guitar – Mel Brown
Piano – Andrew Bey
Trombone – Grachan Moncur III
Trumpet, Flugelhorn – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
2    Abstract 4:20
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass [Fender] – Bob Bushnell
Drums – Bernard Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Trombone – Grachan Moncur III
Trumpet, Flugelhorn – Jimmy Owens
3    I Got It Bad (And That Ain't Good) 5:16
Alto Saxophone – Clarence Sharpe
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Vocals – Chinalin Sharpe
4    What Would It Be Without You 4:05
Baritone Saxophone, Flute – Cecil Payne
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
5    Un Croque Monsieur (Poem: For Losers) 21:49
Alto Saxophone – Clarence Sharpe
Baritone Saxophone – Cecil Payne
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Trombone – Matthew Gee
Trumpet – Woody Shaw
Vocals – Chinalin Sharpe
Kwanza    
6    Back Back 5:45
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass [Fender] – Bob Bushnell
Drums – Bernard 'Pretty' Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
7    Spoo Pee Doo 2:37
Bass – Albert Winston
Drums – Beaver Harris
Guitar – Bert Payne
Piano – Andrew Bey
Trumpet – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
8    New Africa 12:47
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Drums – Beaver Harris
Piano – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
Vocals – Archie Shepp
9    Slow Drag 10:08
Bass – Wilbur Ware
Drums – Joe Chambers
Piano – Cedar Walton
Soprano Saxophone – Archie Shepp
Trumpet – Woody Shaw
10    Bakai 9:57
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Drums – Beaver Harris
Piano – Dave Burrell
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens

BENNY CARTER - 'Live And Well In Japan! (1977-1985) 32bits-96hz | FLAC (image+.cue), lossless

Benny Carter headed a talent-filled tentet for this frequently exciting concert. With trumpeters Cat Anderson and Joe Newman, trombonist Britt Woodman, Cecil Payne on baritone and Budd Johnson doubling on tenor and soprano, it is not at all surprising that the results would be memorable, but this date actually exceeds one's expectations. In addition to fine jam versions of "Squatty Roo," "Them There Eyes" and "It Don't Mean a Thing," there is a remarkable Louis Armstrong medley on which Carter (on trumpet) plays "When It's Sleepy Time Down South," Cat Anderson follows with a high note solo on "Confessin'" and then Joe Newman (who rarely recorded vocals) does a near-perfect imitation of Louis Armstrong singing on "When You're Smiling." Scott Yanow
Tracklist :
1     Squatty Roo 12:45
Johnny Hodges
2     Tribute to Louis Armstrong: When It's Sleepy Time Down South/Confe ... 6:05
Doc Daugherty / Marvin Fisher / Otis Rene / Ellis Reynolds / Shay
3     Them There Eyes 11:22
Maceo Pinkard / Doris Tauber / William Tracey
4     It Don't Mean a Thing (If It Ain't Got That Swing) 10:45
Duke Ellington / Irving Mills
Credits :    
Alto Saxophone, Trumpet, Producer – Benny Carter
Baritone Saxophone – Cecil Payne
Bass – George Duvivier
Drums – Harold Jones
Guitar – Mundell Lowe
Piano – Nat Pierce
Remastered By – Phil De Lancie
Tenor Saxophone, Soprano Saxophone – Budd Johnson
Trombone – Britt Woodman
Trumpet – Cat Anderson, Joe Newman

COLEMAN HAWKINS - 1947-1950 | The Classics Chronological Series – 1162 (2001) FLAC (tracks+.cue), lossless

Classics brings you another fine round of Hawkins' swing and bebop sides. This time out, the focus is on the last years of the '40s and Hawkins' work with bebop stars like J.J. Johnson, Fats Navarro, Max Roach, and Hank Jones. In addition to the legendary "Picasso" and an amazing "April in Paris," Hawkins is also heard on several fine sides ("It's Only a Paper Moon," "Sophisticated Lady") from a 1949 Paris date with bassist Pierre Michelot and drummer Kenny Clarke. A fine way to delve deeper into the extensive and varied Coleman Hawkins catalog. Stephen Cook
Tracklist :
1 Coleman Hawkins And His All Stars–    April In Paris    3:07
Vernon Duke / E.Y. "Yip" Harburg
2 Coleman Hawkins And His All Stars–    How Strange    3:03
Coleman Hawkins
3 Coleman Hawkins And His All Stars–    Half Step Down Please    3:01
Tadd Dameron / Coleman Hawkins
4 Coleman Hawkins And His All Stars–    Angel Face    3:13
Coleman Hawkins / Hank Jones
5 Coleman Hawkins And His All Stars–    Jumpin' Jane    3:08
Leonard Feather
6 Coleman Hawkins And His All Stars–    I Love You    2:50
Harry Archer / Harlan Thompson
7 Coleman Hawkins–    Picasso    3:15
Coleman Hawkins
8 Coleman Hawkins And His Orchestra–    The Big Head    3:23
Coleman Hawkins
9 Coleman Hawkins And His Orchestra–    Skippy    3:33
Coleman Hawkins
10 Coleman Hawkins And His Orchestra–    Platinum Love    3:24
Coleman Hawkins
11 Coleman Hawkins And His Orchestra–    There's A Small Hotel    3:02
Lorenz Hart / Richard Rodgers
12 Coleman Hawkins And His Orchestra–    Sih-Sah    3:11
Coleman Hawkins / James Moody
13 Coleman Hawkins And His Orchestra–    It's Only A Paper Moon    3:00
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
14 Coleman Hawkins And His Orchestra–    Bean's Talking Again    3:09
Kenny Clarke / Coleman Hawkins
15 Coleman Hawkins And His Orchestra–    Bay-U-Bah    3:18
Tadd Dameron / Coleman Hawkins
16 Coleman Hawkins And His Rhythm–    I Surrender, Dear    3:11
Harry Barris / Gordon Clifford
17 Coleman Hawkins And His Rhythm–    Sophisticated Lady    3:06
Duke Ellington / Irving Mills / Mitchell Parish
18 Coleman Hawkins With Leo Mathisen And His Orchestra–    The Man I Love    3:29
George Gershwin / Ira Gershwin
19 Coleman Hawkins With Leo Mathisen And His Orchestra–    It's The Talk Of The Town    3:53
Jerry Livingston / Al J. Neiburg / Marty Symes
20 Coleman Hawkins–    You've Got Me Crying Again    2:50
Isham Jones / Charles Newman
21 Coleman Hawkins–    Can Anyone Explain?    2:49
Bennie Benjamin / George David Weiss
22 Coleman Hawkins–    I Cross My Fingers    2:44
William Farrar / Walter Kent
23 Coleman Hawkins–    I'll Know    2:50
Frank Loesser

CLARK TERRY - Swahili (1955-2006) FLAC (tracks+.cue), lossless

With the exception of three songs cut as V-Discs in 1947, this set contains flugelhornist Clark Terry's first recordings as a leader. Joined by trombonist Jimmy Cleveland, baritonist Cecil Payne, pianist Horace Silver, Oscar Pettiford on cello, bassist Wendell Marshall, and drummer Art Blakey, Terry performs eight obscure songs that are arranged quite expertly by Quincy Jones. Terry sounds much more influenced by Dizzy Gillespie than he would in just a couple of years, but his good-humored musical personality and control of his horn were already obvious. With Pettiford offering occasional cello solos (in addition to playing second bass) and Cleveland in top form, this is an LP long overdue to be reissued on CD. Scott Yanow
Tracklist :
1     Swahili 6'07
Quincy Jones
2     Double Play 3'33
Quincy Jones
3     Slow Boat 4'28
Clark Terry
4     Co-Op 3'45
Clark Terry
5     Kitten 5'35
Clark Terry
6     The Countess 6'42
Freddie Green / Clark Terry
7     Tuma 3'06
Quincy Jones
8     Chuckles 4'19
Clark Terry
9     Bohemia After Dark 3'51
Oscar Pettiford
10     I Get a Kick out of You 4'31
Cole Porter
11     Blues in My Room 6'11
Jimmy Hamilton
12     I Can't Give You Anything But Love 4'38
Jimmy McHugh & Dorothy Fields
13     Chuckles 2'43
Clark Terry
14     Blues for Clarinet 4'00
Jimmy Hamilton
15     Solitude 5'24
Duke Ellington
16     What Am I Here For 4'41
Duke Ellington
Credits :
Arranged By – Quincy Jones (pistas: 1-8)
Bass – Oscar Pettiford (pistas: 9-16), W. Marshall (pistas: 1, 3 & 6)
Cello, Bass – O. Pettiford (pistas: 2, 4, 5, 7 & 8)
Clarinet – Jimmy Hamilton (pistas: 9-16)
Drums – A. Blakey (pistas: 1-8), Osie Johnson (pistas: 9-16)
Guitar – Barry Galbraith (pistas: 9-16)
Piano – Horace Silver (pistas: 1-8)
Rhythm Guitar – Sidney Gross (pistas: 9-16)
Saxophone [Baritone] – Cecil Payne (pistas: 1-8)
Trombone – Jimmy Cleveland (pistas: 1-8)
Trumpet – Clark Terry

ILLINOIS JACQUET AND BEN WEBSTER - The Kid and the Brute (1954-1998) RM | FLAC (image+.cue), lossless

This single CD reissues all of the music from a former LP and a ten-inch LP. Of greatest interest are two fairly long selections (the blues "I Wrote This for the Kid" and a stomping "The Kid and the Brute") that match Illinois Jacquet with fellow tenor great Ben Webster. Since they have equally passionate and distinctive sounds, their "battle" is a draw. Otherwise, this 1998 CD finds Jacquet with his band of the mid-1950s, featuring short solos and fine support from trumpeter Russell Jacquet, trombonist Matthew Gee and either Leo Parker or Cecil Payne on baritone. Jacquet is at his best on the uptempo numbers, such as "Jacquet Jumps" and two versions of "On Your Toes," where he gets to honk in strategic places. An excellent example of Illinois Jacquet's hard-swinging and accessible music. Scott Yanow
Tracklist :
1     I Wrote This For the Kid 11:53
Illinois Jacquet
2     Saph 2:42
Johnny Acea / Illinois Jacquet
3     Mambocito Mio 2:51
Illinois Jacquet / Osie Johnson
4     The Kiid and the Brute 8:26
Illinois Jacquet
5     September Song 4:31
Maxwell Anderson / Kurt Weill
6     Jacquet's Dilemma 3:09
Johnny Acea / Illinois Jacquet
7     Little Jeff 2:41
Johnny Acea / Illinois Jacquet
8     Jacquet Jumps 1:49
Johnny Acea / Illinois Jacquet
9     Blue Nocturne 3:07
Johnny Acea / Elwyn Frazier / Illinois Jacquet
10     On Your Toes 3:16
Illinois Jacquet / A.K. Salim
11     R.U. One 2:53
Illinois Jacquet / A.K. Salim
12     Jatap La Conga 2:54
Illinois Jacquet / John Lewis
13     It's the Talk of the Town 3:27
Jerry Livingston / Al J. Neiburg / Marty Symes
14     Heads 3:20
Illinois Jacquet
15     On Your Toes 3:18
Illinois Jacquet / A.K. Salim
Credits :
Russel Jaquet (Trumpet)
Shadow Wilson (Drums)
Al Lucas (Bass)
Chano Pozo (Conga, Vocals)
John "Johnny" Adriano Acea (Piano)
Osie Johnson (Drums)
Illinois Jacquet (Sax (Alto), Sax (Tenor), Vocals, Mouth Percussion, Main Performer)
Leo Parker, Cecil Payne (Sax (Baritone)
Ben Webster (Sax (Tenor)
Matthew Gee (Trombone, Vocals)

KENNY DORHAM - Afro-Cuban (1955-2007) RVG Edition | FLAC (tracks+.cue), lossless

Considered Kenny Dorham's finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging "La Villa" with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces "K.D.'s Motion," "Venita's Dance," and "Echo of Spring/K.D.'s Car Ride" display great group empathy and seem effortless, though they're not. It's the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie's. Payne's robust bari ignites the hip call-and-response motif of "Afrodisia," while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper "Basheer's Dream." Two takes of "Minor's Holiday" are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham's clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos "Patato" Valdes is the perfect spice added to this dish. The lone ballad, "Lotus Flower," is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers. Michael G. Nastos  
Tracklist :
1    Afrodisia    5:02
Kenny Dorham
2    Lotus Flower    4:15
Kenny Dorham
3    Minor's Holiday    4:25
Kenny Dorham
4    Minor's Holiday - Alternate Take    4:21
Kenny Dorham
5    Basheer's Dream    5:00
Gigi Gryce
6    K.D.'s Motion    5:25
Gigi Gryce
7    The Villa    5:20
Kenny Dorham / Gigi Gryce
8    Venita's Dance    5:18
Gigi Gryce
9    K.D.'s Cab Ride    6:06
Kenny Dorham
Credits :
Baritone Saxophone – Cecil Payne
Bass – Oscar Pettiford (faixas: 1 to 4, 9), Percy Heath (faixas: 5 to 8)
Congas – Carlos "Patato" Valdes (faixas: 1 to 4, 9)
Cowbell – Richie Goldberg (faixas: 1 to 4, 9)
Drums – Art Blakey
Piano – Horace Silver
Remastered By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trombone – J.J. Johnson (faixas: 1 to 4, 9)
Trumpet – Kenny Dorham 

BENNY GOLSON - Stockholm Sojourn (1964-1997) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Although the International Jazz Orchestra (which was arranged and conducted by Benny Golson) recorded their parts for this album on July 14, 1964, some of the soloists were dubbed in later that year. Golson, who does not play at all on this set, seemed inspired by the large instrumentation – a full orchestra with trumpets, trombones, French horns, several English horns doubling on oboes, five reeds, up to six additional flutes and a pianoless rhythm section – and his charts (six of his originals and three standards) are both inventive and full of subtle surprises. Among the many highlights are Golson's reworkings of "Are You Real," "Waltz for Debby" and "I Remember Clifford." This underrated set is recommended. Scott Yanow

Tracklist:

1 Stockholm Sojourn 4:35

Benny Golson

2 Tryst 3:25

Benny Golson

3 Are You Real? 3:20

Benny Golson

4 Goodbye 6:36

Gordon Jenkins

5 Waltz for Debby 4:25

Bill Evans / Gene Lees

6 My Foolish Heart 5:25

Ned Washington / Victor Young

7 A Swedish Villa 3:49

Benny Golson

8 I Remember Clifford 4:46

Benny Golson

- Bonus Track - 

9 The Call 4:30

Benny Golson

THE INTERNATIONAL JAZZ ORCHESTRA:

Benny Bailey, Bengt-Arne Wallin, Bo Broberg, Bertil Lövgren-trumpets

Georg Vernon, Jörgen Johansson, Ake Persson, Eje Thelin, Grachan Moncur III-trombones

Bengt Olsson, Karl Nyström, Elis Karvall, Willem Fock-French horns

Runo Eriksson-euphonium

Alf Nilsson, Ingvar Holst, Lars Skoglund, Eric Björkhagen-English horns, oboes

Bengt Christiansson, Niels Wharby, Börje Morelius, Yngve Sandstöm, Gösta Ströberg, Ulf Bergström-flutes

Rune Falk-clarinet, baritone saxophone

Torsten Wennberg, Claes Rosendahl, Arne Domnerus-clarinets, saxophones

Bjarne Nerem-tenor saxophone

Roman Dylag-bass

Eril Johansen-drums

Cecil Payne-baritone saxophone

Arranged and conducted by Benny Golson

JOHN COLTRANE - Complete Recordings With Dizzy Gillespie (2001) FLAC (tracks+.cue), lossless

 
Tracklist:
1    Say When 3:13   
Tadd Dameron / Dizzy Gillespie / James Moody
2    Tally-Ho 3:14
Dizzy Gillespie
3    You Stole My Wife, You Horsethief  3:10
Harry (Simovitz) Sims
4    I Can't Remember 2:55
Billy Reid / Harry (Simovitz) Sims
5    Coast to Coast 3:19 
Dizzy Gillespie / Buster Harding
6    Carambola 2:56  
Heitor Villa-Lobos
7    Oo-La-La 2:52  
John "Johnny" Adriano Acea / Dizzy Gillespie / Rudy Williams
8    Honeysuckle Rose 3:07  
Andy Razaf / Fats Waller
9    Birk's Works 2:54
Dizzy Gillespie
10    Tin Tin Deo 2:42   
Gil Fuller / Chano Pozo
11    We Love to Boogie 3:10 
Dizzy Gillespie
12    Fast Movin' Mama 2:16  
Gerry Gladstone / Ned Washington
John Coltrane feat: Dinah Washington
13    Juice Head Man of Mine 2:45 
Tab Smith / Jesse Stone / Dinah Washington
John Coltrane feat: Dinah Washington
14    Shuckin' and Jivin' 2:23  
Gerry Gladstone / Ned Washington
John Coltrane feat: Dinah Washington
15    Richest Guy in the Graveyard 2:55  
Leonard Feather
John Coltrane feat: Dinah Washington
16    Richest Guy in the Graveyard 2:52
Leonard Feather
John Coltrane feat: Dinah Washington
 Credits:
Alto Saxophone – Jimmy Heath
Alto Saxophone, Tenor Saxophone – John Coltrane
Baritone Saxophone – Al Gibson, Cecil Payne
Bass – Al McKibbon, Percy Heath, Ray Brown
Congas, Claves, Maracas – Calypso Boys
Drums – Charles "Specs" Wright, Teddy Stewart
Guitar – Floyd Smith, Freddie Green, John Collins, Kenny Burrell
Piano – John "Johnny" Adriano
Piano, Vibraphone – Milt Jackson
Tenor Saxophone – Paul Gonsalves
Trombone – Charles "Majeed" Greenlee, Matthew Gee, Sam Hurt
Trumpet – Don Slaughter, Elmon Wright, Willie Cook
Trumpet, Vocals – Dizzy Gillespie
Vocals – Dinah Washington, Freddy Strong, Joe Carroll
Note:
1 to 4: 1949-11-21, Unknown Studio, New York City, New York; Dizzy Gillespie & His Orchestra
5 to 8: 1950-01-09, Unknown Studio, New York City, New York; Dizzy Gillespie & His Orchestra
9 to 11: 1951-02-24, United Sound Systems, Detroit, Míchigan; The Dizzy Gillespie Septet
12 to 16 (Bonus Tracks): 1949-09-27; Dina Washington Accompanied By Teddy Stewart's Orchestra. John Coltrane was not present at this recording session.