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

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

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

CLIFFORD BROWN – Memorial Album (1956-1987) RM | FLAC (tracks+.cue), lossless

Trumpeter Clifford Brown is heard here in two unusual and unrelated sessions. On four selections, Brown is featured with arranger/pianist Tadd Dameron's Orchestra; other soloists include Benny Golson on tenor and altoist Gigi Gryce. The other date was recorded in Sweden while Brown was touring with Lionel Hampton & His Orchestra. Clifford Brown and fellow trumpeter Art Farmer play four Dameron arrangements with a Swedish group that includes altoist Arne Domnerus, baritonist Lars Gullin, and pianist Bengt Hallberg. Oscar Hammerstein II & Sigmund Romberg's "Lover Come Back to Me" really cooks and Brown and Farmer get to trade off in exciting fashion during Quincy Jones' "'Scuse These Blues." Scott Yanow    Tracklist + Credits :

THELONIOUS MONK – 1947-1948 | The Classics Chronological Series – 1118 (2000) FLAC (tracks+.cue), lossless

 The first recordings ever issued under Thelonious Monk's name are presented as volume one in the Classics Thelonious Monk chronology. Although he'd been an active catalyst on the jazz scene for many years it wasn't until the autumn of 1947 that Monk was able to begin making records as a leader. These 20 Blue Note sides are uniformly excellent; each of the pianist's original compositions would soon begin to form a musical canon of strikingly creative works that would completely transform the ways in which jazz was conceived, structured, played, received and understood. During this period, Monk's groups included such vital players as Milt Jackson, Art Blakey, Shadow Wilson, Gene Ramey, Idrees Sulieman, Sahib Shihab and Ike Quebec's cousin Danny Quebec West. Monk's quartet session of July 2, 1948 features two pleasant vocals by Kenny "Pancho" Hagood. Note that "Evidence," based upon the chord progressions of "Just You, Just Me," was originally titled "Just Us." Legend has it that after he realized that the recording engineer had mistakenly written down "Justice," Monk decided that if he was going to court he'd be sure and bring along the Evidence. arwulf arwulf      Tracklist :

BEN WEBSTER – 1946-1951 | The Chronogical Classics – 1253 (2002) FLAC (tracks+.cue), lossless

This volume in the Chronological Classics Ben Webster series is a fascinating slice during a wildly transitional period for the saxophonist. In the years between 1946-1951, Webster made numerous jumps as evidenced by these tracks, from the glorious jumping big swing of "The Jeep Is Jumpin'" while he was with Bill De Arango to the searing bebop of "Dark Corners" (with some blazing guitar work by De Arango) to the small-combo hard bop of "Randle's Island" to the bluesy, near soul-jazz balladry of "You're My Thrill." In Webster's company are some masters to be sure, including Maynard Ferguson, Al Haig, Big Sid Catlett, Bill Coleman, Benny Carter, Tony Scott, Buster Moten, and Gerald Wiggins, to name a few. This is varied set in terms of style, but these performances (and sound) are consistently fine.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist :
1 The Jeep Is Jumpin'  2:57
Duke Ellington / Johnny Hodges
2 I Got It Bad (And That Ain't Good)  2:56
Duke Ellington / Paul Francis Webster
3 Dark Corners 3:02
Ben Webster
 4 Mister Brim 3:15
Bill DeArango
 5 Frog and Mule 3:09
Ben Webster
 6 Spang 2:41
Ben Webster
7 Doctor Keets 3:16
Ben Webster
8 Park and Tilford Blues 3:18
Ben Webster
9 As Long As I Live 2:25
Harold Arlen / Ted Koehler
10 All Alone 2:57
Irving Berlin
11 Blue Belles of Harlem 2:57
Duke Ellington
12 Turn It Over 2:38
Bennie Moten
13 That Dit It 2:47
Bennie Moten
14 Best Friend Blues 3:08
Bennie Moten / Bessie Smith
15 Baby You Messed Up 2:20
Bessie Smith
16 Randle's Island 3:16
Ben Webster
17 Old Folks 2:55
Dedette Lee Hill / Willard Robison
18 King's Riff 3:14
Ben Webster
19 You're My Thrill 3:06
Sidney Clare / Jay Gorney

ERSKINE HAWKINS AND HIS ORCHESTRA – 1947-1949 | The Chronogical Classics – 1148 (2000) FLAC (tracks+.cue), lossless

The swing era may have ended during 1945-1946, but Erskine Hawkins' big band was still a mighty power in the late '40s. Still based at the Savoy Ballroom, Hawkins' ensemble occasionally showed a slight influence of bebop, but was essentially unchanged from five years earlier in style. Dud and Paul Bascomb had departed, but the band still had strong soloists in trumpeter Sammy Lowe, altoist Bobby Smith, tenorman Julian Dash, baritonist/clarinetist Haywood Henry, who is particularly well-featured, and the exciting leader/trumpeter. With occasional vocals by Jimmy Mitchelle, there was no reason to think that this big band would not survive for decades to come. Highlights of the program of little-known but valuable music includes: "Gabriel's Heater," "Rose Room" (during which Henry is excellent on clarinet), "Corn Bread," "Texas Hop," and "Fishtail," among others. Highly recommended to fans of swinging big bands. Scott Yanow  
Tracklist :

ERSKINE HAWKINS AND HIS ORCHESTRA – 1950-1951 | The Chronogical Classics – 1257 (2002) FLAC (tracks+.cue), lossless

Having survived and adapted to changing popular tastes throughout the 1940s, the Erskine Hawkins Orchestra eased into the next decade with six of the most traditionally oriented titles in its entire discography. Sammy Lowe's arrangements, however, were anything but old-fashioned. There's more than a bit of bop in the blaring trumpets, vamping reeds, and whiplash rhythms. "St. Louis Blues" may have been published in 1914, but Hawkins' band has it sounding positively contemporary. With the leader's salty trumpet and a stable of young toughs like Idrees Sulieman, Booty Wood, Haywood Henry, and Julian Dash, there's nary a dull moment. Except for Jimmy Mitchell's tidy vocal on "Careless Love," the first six tracks are thrilling instrumentals. They were issued as an album of three 78-rpm platters bearing the title W.C. Handy for Dancing. This brings listeners to the very last recordings Erskine Hawkins would make for RCA Victor. Efforts were being made to update the band's sound, and the results are different from anything previously recorded by this organization. "Hey Pretty Baby" and "Opportunity" boast Caribbean percussion; both tunes are sung with exceptional charm by Ace Harris. Although the Classics discography seems reluctant to divulge their identity, a retooled ride through "Tuxedo Junction" features the Deep River Boys, who exercise their collective ability to exaggerate a song until it stands taller than a house. Why Classics failed to specify Harris or even mention the Deep River Boys is puzzling, as the original 78s had the vocal credits printed clearly on the labels, right under the song titles. Bongos return during a fortified, updated treatment of Irving Berlin's "Always." Jimmy Mitchell's sweet vocal is spiced with vocal interjections from the band in a style originated by Steve Washington, premiered with Doc Wheeler, and exploited by Tommy Dorsey. Two months later Hawkins was working for Coral Records. On "So Long, Goodbye Blues," this group suddenly sounds a lot like Jay McShann's mid-'40s Kansas City big band. "Skippin' and Hoppin'" clearly resembles the Hawkins orchestra's earlier hit record, "Tippin' In." Continuing to shoot for the jukebox, Hawkins ground out a greasy "Downbeat" and the sugary "Tennessee Waltz." Solid remakes of two hardcore slow blues -- "After Hours" and "Bear Mash Blues" -- closed out 1950, and were followed by yet another pass at "Tuxedo Junction." When they weren't making easy sentimental records, these guys really cooked for the dancing crowd. Here, then, is another fascinating chapter in the life of the mighty Erskine Hawkins. arwulf arwulf  
Tracklist + Credits :

LOUIS JORDAN AND HIS TYMPANY FIVE – 1943-1945 | The Chronogical Classics – 866 (1996) FLAC (tracks), lossless

Although Louis Jordan's greatest hits are continually reissued, this Classics CD (the fourth in the series) gives listeners an opportunity to hear many of his lesser-known recordings, quite a few of which sound as if they could have been hits too. Jordan, a fine R&Bish altoist who was an underrated singer and a brilliant comedic talent who knew a good line when he heard one (there are many memorable ones throughout this program), is heard in peak form. The 23 performances are Decca sides (including five not originally released), some V-Discs and the privately recorded "Louis' Oldsmbile Song." Bing Crosby sings duets with Jordan on "My Baby Said Yes" and "Your Socks Don't Match," there are two major hits ("G.I. Jive" and "Caldonia") and among the sidemen are the fine trumpeter Eddie Roane, the forgotten but talented pianist Tommy Thomas, trumpeter Idrees Sulieman (on the January 19, 1945 session) and (for the final two songs) pianist Wild Bill Davis. Other highlights include "You Can't Get That No More," "I Like 'Em Fat like That," "Deacon Jones" and "They Raided the House." Highly recommended. Scott Yanow  
Tracklist + Credits :

ELLA FITZGERALD – 1947-1948 | The Classics Chronological Series – 1049 (1999) FLAC (tracks+.cue), lossless

This segment of the Classics Ella Fitzgerald chronology focuses upon the recordings she made for the Decca label between March 1947 and November 1948. Most of these sides include polished group background vocals, generating a certain campy slickness that some listeners might find overly affected. This kind of ensemble singing rose to prominence with Tommy Dorsey and Glenn Miller and manifested itself throughout the late '40s and early '50s, even popping up in the form of the Dave Lambert Singers behind Charlie Parker. Bop scatting at times like a Roman candle, Ella sounds fully in command, a seasoned improviser well on the way to stylistic maturity. Nothing interferes with her honeyed, seamless delivery, not even the Andy Love Quintet, the Song Spinners, or the Day Dreamers. The collective instrumental personnel includes bassists Bob Haggart and Ray Brown, trumpeter Idrees Sulieman, saxophonists Illinois Jacquet and Ernie Caceres, organist Sir Charles Thompson, pianist Hank Jones, and drummer J.C. Heard. Ella imitates a Slam Stewart bass solo on "Oh, Lady Be Good" and tears up "How High the Moon" in a manner that would serve her well for the rest of her illustrious career. A fascinating chunk of history is here to be savored. Just don't be surprised if a mixed choir begins hooting and harmonizing behind Ella Fitzgerald. arwulf arwulf  
Tracklist :

MARY LOU WILLIAMS – 1949-1951 | The Classics Chronological Series – 1260 (2002) FLAC (tracks+.cue), lossless

Always in sync with progressive developments in jazz music, pianist, composer, arranger, and bandleader Mary Lou Williams turns out to have made more records during the 1940s and '50s than most people ever realized. Thanks to the Classics Chronological Series, listeners are now able to follow her career session by session throughout these eventful and transitional years. The fifth installment of her complete recorded works in chronological order opens with a fascinating pair of angular studies in chamber bop. Recorded for the King label on March 18, 1949, these tracks feature the most dramatically modern-sounding band that Mary Lou Williams had ever assembled. With a front line of trumpeter Idrees Sulieman, Alan Feldman on clarinet and alto sax, and pre-Eric Dolphy bass clarinetist Martin Glaser backed by Williams, guitarist Mundell Lowe, bassist George Duvivier, and drummer Denzil de Costa Best, "Tisherome" and "Knowledge" are bracing examples of a bop logic that is strikingly adventuresome. The flip sides are topical bop scat novelties featuring vocalist Kenny "Pancho" Hagood. On January 3, 1950, the rhythm section met again to wax four more sides for King. Here the material consisted of jazz standards with Williams at times playing organ or piano or both instruments simultaneously -- during "Bye Bye Blues" she operates the organ with her left hand, piano with her right. On March 7, 1951, the Mary Lou Williams Trio cut ten sides for the Atlantic record company for release on the new LP format. This session turned out to be decidedly cool and nonchalant -- even old "Pagliacci" becomes irresistibly hip. This excellent survey of vintage early modern jazz concludes with five sides cut for the Circle label in June of 1951. The first of these, a carefully devised bop love song sung by the Dave Lambert Singers, features Elbert "Skippy" Williams on bass clarinet. The remaining tracks, recorded four days later, are delightfully cool studies for Billy Taylor's string bass, Willie "Bobo" Correa's conga drums, and the creatively inspired piano of Mary Lou Williams. arwulf arwulf
Tracklist :
1    Mary Lou Williams With Orchestra–    Tisherome    2:49
2    Mary Lou Williams With Orchestra–    Knowledge    2:26
3    Mary Lou Williams With Orchestra–    Oo-Bla-Dee    2:44
Vocals – Kenny Hagood
4    Mary Lou Williams With Orchestra–    Shorty Boo    2:53
Vocals – Kenny Hagood
5    Mary Lou Williams–    Bye Bye Blues    2:48
6    Mary Lou Williams–    Moonglow    2:29
7    Mary Lou Williams–    Willow Weep For Me    2:56
8    Mary Lou Williams–    I'm In The Mood For Love    2:33
9    Mary Lou Williams Trio–    Opus Z    2:54
10    Mary Lou Williams Trio–    The Surrey With The Fringe On Top    2:28
11    Mary Lou Williams Trio–    My First Date With You    3:12
12    Mary Lou Williams Trio–    Pagliacci    2:44
13    Mary Lou Williams Trio–    'S Wonderful    2:51
14    Mary Lou Williams Trio–    From This Moment On    3:39
15    Mary Lou Williams Trio–    You're The Cream In My Coffee    2:52
16    Mary Lou Williams Trio–    Mary's Waltz    3:25
17    Mary Lou Williams Trio–    Would I Love You    3:04
18    Mary Lou Williams Trio–    In The Purple Grotto    3:04
19    Mary Lou Williams–    Walking 2:37
Vocals – Dave Lambert Singers
20    Mary Lou Williams And Her Modern Music–    The Sheik Of Araby    2:45
21    Mary Lou Williams–    When Dreams Come True    2:51
22    Mary Lou Williams–    Bobo    2:50
23    Mary Lou Williams–    Kool    2:24
Credits :    
Bass – Billy Taylor Sr. (tracks: 19 to 23), Carl Pruitt (tracks: 9 to 18), George Duvivier (tracks: 1 to 8)
Bass Clarinet – Elbert "Skippy" Williams (tracks: 19), Martin Glaser (tracks: 1 to 4)
Bongos – Willie "Bobo" Correa (tracks: 20 to 23)
Clarinet, Alto Saxophone – Allan Feldman (tracks: 1 to 4)
Drums – Al Walker (tracks: 19), Bill Clark (tracks: 9 to 18), Denzil Best (tracks: 1 to 8)
Guitar – Mundell Lowe (tracks: 1 to 8)
Organ – Mary Lou Williams (tracks: 5, 6)
Piano – Mary Lou Williams (tracks: 1 to 4, 7 to 23)
Trumpet – Idrees Sulieman (tracks: 1 to 4)

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

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

BENNY CARTER - Swinging The Blues (Recordings By The Greatest Musicians Of The Big Band Era 1929-1947) (1998) RM | 2CD | FLAC (tracks+.cue), lossless

Tracklist  1 :
1     Patience and Fortitude 2:40
Billy Moore / Blackie Warren
2     Malibu 3:05     
Benny Carter    
3     Who's Sorry Now? 2:58
Bert Kalmar / Harry Ruby / Ted Snyder
4     Poinciana 3:01
Buddy Bernier / Nat Simon     
5     Forever Blue 2:38     
Benny Carter    
6     Just a Baby's Prayer at Twilight 3:04
Sam M. Lewis / Joe Young    
7     Jump Call 2:58
Benny Carter        
8     Hurry, Hurry! 2:51     
Benny Carter / Richard Larkin
9     Love for Sale 3:03
Cole Porter    
10     Some of These Days 2:47
Shelton Brooks        
11     Prelude to a Kiss 3:17     
Duke Ellington / Irving Gordon / Irving Mills
12     I Can't Escape from You 3:22     
Sydney Robin / Richard A. Whiting
13     Rose Room 2:57
Art Hickman / Harry Williams
14     I Surrender, Dear 3:04     
Harry Barris / Gordon Clifford
15     I'm the Caring Kind 2:48
Benny Carter / Irving Gordon
16     I'm Lost 3:11
Otis Rene        
17     A Good Deal 3:14     
Irving Berlin    
18     I Cant Get Started 2:52
Vernon Duke / Ira Gershwin        
19     Looking for a Boy 2:53
George Gershwin / Ira Gershwin
20     Daddy-O 2:54
Gene DePaul / Don Raye        
21     Diga Diga Doo 2:53
Dorothy Fields / Jimmy McHugh
22     Just You, Just Me 2:54
Jesse Greer / Raymond Klages
Tracklist  2 :            
1     Black Bottom 2:54
Lew Brown / Buddy DeSylva / Ray Henderson    
2     Nightfall 3:11     
Benny Carter        
3     Swinging the Blues 3:00
Benny Carter    
4     Gloaming 2:47
Thore Ehrling        
5     Carry Me Back to Old Virginia 2:51
James A. Bland    
6     I've Got Two Lips 2:47
Leonard Feather    
7     When Day Is Done 2:56
Buddy DeSylva / Robert Katscher
8     Jingle Bells 3:14
James Pierpont        
9     Gin and Jive 2:57
Benny Carter    
10     New Street Swing 2:32
Jack Bulterman    
11     There'll Be Some Changes Made 2:46
Billy Higgins / W. Benton Overstreet    
12     Nagasaki 2:58
Mort Dixon / Harry Warren    
13     There's a Small Hotel 3:04
Lorenz Hart / Richard Rodgers    
14     I Gotta Go 3:03
Benny Carter    
15     Bugle Call Rag 2:22     
Billy Meyers / Jack Pettis / Elmer Schoebel
16     I'm in the Mood for Swing 2:34
Benny Carter / Spencer Williams
17     Swingin' at Maida Vale 2:44     
Benny Carter
Notas.Recording period: 1936-1937 and 1943-1946

All Credits :

COLEMAN HAWKINS - 1950-1953 | The Classics Chronological Series – 1340 (2004) FLAC (tracks+.cue), lossless

Although he adapted better than most swing-era musicians to the bop revolution that swept through jazz in the late '40s, Coleman Hawkins was still viewed by the record labels as a swing artist, and he recorded infrequently in the early '50s. His tough, romantic tenor saxophone sound was considered by many to be dated, although most bop tenor players knew better, and his stature rebounded as the decade wore on. This collection opens with three marvelous tracks recorded at Carnegie Hall during a Jazz at the Philharmonic concert, but the balance of the set (save for the lovely "And So to Sleep Again" and the striking "If I Could Be With You") feels like Hawkins in limbo, playing what is essentially incidental mood music. His breathy tone is there, but you can't help sensing that he's just waiting for the ice to break. And it would, as his pairing with Roy Eldridge was just around the corner. Collectors will want this disc to fill out their Hawkins shelves, but it is hardly representative of the first great modern sax player. Steve Leggett
Tracklist :
1     Stuffy 6:39
Coleman Hawkins     
2     Yesterdays 3:56
Otto Harbach / Jerome Kern
3     Hawk's Tune 4:52
Erskine Hawkins    
4     Sin 2:58
George Hoven / Chester R. Shull    
5     And So to Sleep Again 2:59
Joe Marsala / Sunny Skylar
6     Spellbound 3:08
Mack David / Miklós Rózsa    
7     Amber 2:45         
McKenna   
8     Lost in a Fog 3:06
Dorothy Fields / Jimmy McHugh    
9     Carioca 2:28
Edward Eliscu / Gus Kahn / Vincent Youmans    
10     Trust in Me 3:06
Milton Ager / Arthur Schwartz / Ned Wever    
11     Wishin' 3:10
Hart / Lewis / Simms 
12     Lonely Wine 3:15
Dicky Wells
13     Midnight Sun 2:57
Sonny Burke / Lionel Hampton    
14     If I Could Be With You 3:15
Henry Creamer / Lonnie Johnson    
15     I Can't Get Started 2:58
Vernon Duke / Ira Gershwin    
16     Ruby 2:28
Mitchell Parish / Heinz Roemheld    
17     Moulin Rouge 3:00
Georges Auric / William Engvick    
18     Lucky Duck 2:50
Neal Hefti     
19     Bye 'n' Bye 2:51
Neal Hefti

COLEMAN HAWKINS - The Hawk Flies High (1957-2004) RM | FLAC (tracks+.cue), lossless

Coleman Hawkins' 1957 session for Riverside, aside from an oral documentary record in a short-lived series, was his only recording for the label under his name. Yet producer Orrin Keepnews had the good sense to invite the legendary tenor saxophonist to pick his own musicians, and Hawkins surprised him by asking for young boppers J.J. Johnson and Idrees Sulieman in addition to the potent rhythm section of Hank Jones, Oscar Pettiford, Barry Galbraith, and Jo Jones. The two days of sessions produced a number of strong performances, with Hawkins still very much at the top of his game, while both Johnson and Sulieman catch fire as well. Even though most of the focus was on new material contributed by the participants, the musicians quickly adapted to the unfamiliar music, especially the leader's old-fashioned swinger "Sancticity" (which sounds like it could have been part of Count Basie's repertoire) and the pianist's tightly woven bop vehicle "Chant." Hawkins was one of the great ballad interpreters, and his majestic performance of the standard "Laura" is no exception. The 2008 reissue in the Keepnews Collection series uncovered no previously unissued material, though expanded liner notes by the producer and improved 24-bit remastering make this edition an improvement over earlier versions. Ken Dryden  
Tracklist :
1     Chant 5:08
Hank Jones / Henry Jones
2     Juicy Fruit 11:16
Idrees Sulieman
3     Think Deep 3:24
William Smith
4     Lauran 4:34
Johnny Mercer / David Raksin
5     Blue Lights 5:44
Gigi Gryce
6     Sancticity 9:10
Coleman Hawkins
Credits :
Bass – Oscar Pettiford
Drums – Jo Jones
Guitar – Barry Galbraith
Piano – Hank Jones
Producer, Other [Original Liner Notes] – Orrin Keepnews
Saxophone [Tenor] – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Idrees Sulieman

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

John Coltrane (tenor sax) resumed his association with Rudy Van Gelder's Prestige label on a late March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burell gets some space to stretch out on the understated and refined cool of "Anatomy." After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed," as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time. by Lindsay Planer  
Tracklist:
1 Interplay 9:38
Mal Waldron
2 Anatomy 11:53
Mal Waldron
3 Light Blue 7:49
Thelonious Monk / Mal Waldron
4 Soul Eyes 17:30
Mal Waldron
- Bonus Track -
5 C.T.A. 4:40
Jimmy Heath
Credits:
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Piano, Written-By – Mal Waldron (tracks: 1 to 4)
Tenor Saxophone – Bobby Jaspar (tracks: 1 to 4), John Coltrane
Trumpet – Idrees Sulieman, Webster Young

MILES DAVIS - Aura (1989) APE (image+.cue), lossless

Miles' last recording for the Columbia label before heading for the financial allure of Warner Bros. in the mid-'80s was not released until 1989. This critic's guess is because largely they had no idea what to do with it. Unlike anything else in his catalog, Aura is a ten-part suite composed by Danish flügelhornist Palle Mikkelborg as a tribute. Influenced deeply by serialism and the inspiration of Gil Evans, Mikkelborg composed a theme from ten notes based on the letters of Davis' first and last names. The notes yielded a chord, which led him through the work. Employing a full orchestra and the guitar talents of former Davis collaborator John McLaughlin and famed European bassist Niels-Henning Ørsted Pederson, Aura's sections are named for the color spectrum, with the addition of white and "electric red." The music is an amalgam of classical impressionism, European new music, jazz, rock, electronic, and other genres. As a tribute and separate orchestral work, it's quite moving and beautiful, full of moody interludes and evocations of nuance, color, texture, and dynamic. With Davis added, soloing in his trademark muted, rounded warmth, the music becomes almost breathtaking. The Gil Evans influence is everywhere apparent in the way strings segue into keyboards and float there until the trumpet or wind section comes for them and brings them home. It's easy to be cynical about a work like this, and call it a pastiche of Miles clichés. Far harder is it to place the entirety of Davis' career in one place and hear it expressed with so much warmth and elegance, because that career was so mercurial. Mikkelborg gave Miles a fine parting gift when he left Columbia, and listeners are so very fortunate for his generosity.  by Thom Jurek 
Tracklist:
1 Intro 4:25
2 White 6:02
Soloist, Guitar – John McLaughlin
3 Yellow 6:45
4 Orange 8:34
Soloist, Guitar – John McLaughlin
5 Red 9:56
6 Green 4:20
Soloist, Acoustic Bass – Niels Henning Oersted Pedersen
Soloist, Fretless Bass – Bo Stief
7 Blue 6:33
8 Electric Red 4:16
9 Indigo 5:58
Soloist, Acoustic Bass – Niels Henning Oersted Pedersen
Soloist, Piano [Acoustic] – Thomas Clausen
10 Violet 9:01
Soloist, Guitar – John McLaughlin
Credits:
Bass – Niels Henning Oersted Pedersen
Bass Trombone – Axel Windfeld, Ole Kurt Jensen
Cor Anglais, Oboe – Niels Eje
Drums – Lennart Gruvstedt
Electric Bass [Fender Bass], Fretless Bass – Bo Stief
Electronic Drums – Vince Wilburn
Flugelhorn [Additional], Trumpet [Additional] – Palle Mikkelborg
Guitar – Bjarne Roupé, John McLaughlin
Harp – Lillian Thornquist
Keyboards – Kenneth Knudsen, Ole Koch-Hansen, Thomas Clausen
Percussion – Ethan Weisgaard, Marilyn Mazur
Piano – Thomas Clausen
Saxophone, Woodwind – Bent Jaedig, Flemming Madsen, Jesper Thilo, Per Carsten, Uffe Karskov
Trombone – Jens Engel, Ture Larsen, Vincent Nilsson
Trumpet – Miles Davis (tracks: 1 to 8, 10)
Trumpet, Flugelhorn – Benny Rosenfeld, Idrees Sulieman, Jens Winther, Palle Bolvig, Perry Knudsen
Vocals – Eva Thaysen

MAL WALDRON – Mal / 2 Prestige 7111 (1957-1991) FLAC (tracks+.cue), lossless

Before becoming an expatriate in 1965 and eventually settling in Munich, pianist Mal Waldron cut several stateside hard bop albums full of his idiosyncratic and Monk-ish piano work, and featuring choice contributions by some of the music's finest. For this 1957 date, Waldron worked with a stellar sextet interchangeably manned by John Coltrane, Jackie McLean, Idrees Sulieman, Art Taylor, and others. Bookended by the pianist's ebullient "Potpourri" and the avant-noir blues "One by One," the set also includes a fetching cover of Cole Porter's "From This Moment On" and a beautifully complex arrangement of Billie Holiday's "Don't Explain." (Waldron was Holiday's accompanist for the last two years of the singer's life until her death in 1959.) Solo highlights include McLean's keenly constructed solo on Waldron's "J.M.'s Dream Doll" (dedicated to the alto saxophonist and his wife) and Sulieman's incredibly rich and supple trumpet work on "One by One." For his part, Coltrane is in good form throughout, save for a few sour notes and some faltering solos; at this time Coltrane was still coming into his own and a few years shy of the masterful hard bop sides he would record for Atlantic. Waldron here leads a potent crew on an engaging and original set of arrangements. A cut above many of the relatively straightforward and blues-based hard bop dates of the time. Stephen Cook 
Tracklist :
1 Potpourri 6:37
Mal Waldron
2 J.M.'s Dream Doll 8:39
Mal Waldron
3 Don't Explain 6:58
Arthur Herzog, Jr.
4 Blue Calypso 8:58
5 Falling in Love With Love 11:40
6 The Way You Look Tonight 8:26
7 From This Moment On 6:17
Cole Porter
8 One by One 9:39
Credits:
Alto Saxophone – Jackie McLean (tracks: 1 to 5)
Alto Saxophone, Baritone Saxophone – Sahib Shihab (tracks: 6 to 8)
Bass – Julian Euell
Drums – Art Taylor (tracks: 1 to 5), Ed Thigpen (tracks: 6 to 8)
Piano – Mal Waldron
Tenor Saxophone – John Coltrane
Trumpet – Bill Hardman (tracks: 1 to 5), Idrees Sulieman (tracks: 6 to 8)

TOMMY FLANAGAN / JOHN COLTRANE / KENNY BURRELL / IDRESS SULIEMAN - The Cats [1957] FLAC (image+.cue), lossless

In 1957, the greatest year for recorded music including modern jazz, Detroit was a hot spot, a centerpiece to many hometown heroes as well as short-term residents like John Coltrane and Miles Davis. It was here that Trane connected with pianist Tommy Flanagan, subsequently headed for the East Coast, and recorded this seminal hard bop album. In tow were fellow Detroiters -- drummer Louis Hayes, bassist Doug Watkins, and guitarist Kenny Burrell, with the fine trumpeter from modern big bands Idrees Sulieman as the sixth wheel. From the opening number, the classic "Minor Mishap," you realize something special is happening. Flanagan is energized, playing bright and joyous melody lines, comping and soloing like the blossoming artist he was. Coltrane is effervescent and inspired, hot off the presses from the Miles Davis Quintet and searching for more expressionism. The other hard bop originals, "Eclypso" and "Solacium," easily burn with a cool flame not readily associated with East Coast jazz. Flanagan himself is the catalyst more than the horns -- dig his soaring, animated solo on "Eclypso" as he quotes "Jeepers Creepers." The near 12-minute blues "Tommy's Tune" is the perfect vehicle for Burrell, a prelude for his classics of the same period "All Day Long" and "All Night Long." The lone trio session, on the standard "How Long Has This Been Going On?," is regarded as quintessential Flanagan, and quite indicative of the Midwestern Motor City flavor Flanagan and his many peers brought into the mainstream jazz of the day and beyond. One yearns for alternate takes of this session. The Cats is a prelude to much more music from all of these masters that would come within a very short time period thereafter, and cannot come more highly recommended. It's a must-buy for the ages.  by Michael G. Nastos  
Tracklist:
1 Minor Mishap 7:26
Tommy Flanagan
2 How Long Has This Been Going On? 5:58
George Gershwin / Ira Gershwin
3 Eclypso 7:58
Tommy Flanagan
4 Solacium 9:09
Tommy Flanagan
5 Tommy's Tune 11:56
Tommy Flanagan
Credits 
Bass – Doug Watkins
Drums – Louis Hayes
Guitar – Kenny Burrell
Piano – Tommy Flanagan
Tenor Saxophone – John Coltrane
Trumpet – Idrees Sulieman

 TOMMY FLANAGAN / JOHN COLTRANE 

 KENNY BURRELL / IDRESS SULIEMAN - The Cats [1957] 

RM [2004] New Jazz / FLAC (image+.cue), lossless

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