COUNT BASIE • JOE TURNER — The Bosses (1974-1994) RM | FLAC (tracks+.cue), lossless

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." Scott Yanow
Tracklist :
1. Honeydripper 6:42
 Joe Liggins
2. Honey Hush 2:37
 Lou Willie Turner
3. Cherry Red 4:42
 Pete Johnson / Big Joe Turner
4. Night Time Is The Right Time 3:54
 Leroy Carr
5. Blues Around The Clock 4:58
 Willie Bryant
6. Since I Fell For You 3:55
 Buddy Johnson
7. Flip, Flop And Fly    3:28
 Charles E. Calhoun / Chuck Calhoun / Lou Willie Turner
8. Wee Baby Blues 5:37
 Pete Johnson / Big Joe Turner
9. Good Mornin' Blues 3:50
 Count Basie / Eddie Durham / Jimmy Rushing
10. Roll 'Em Pete 4:16
 Pete Johnson / Big Joe Turner
Credits :
Bass – Ray Brown
Drums – Louis Bellson
Guitar – Irving Ashby
Piano, Organ – Count Basie
Tenor Saxophone – Eddie Davis, Zoot Sims
Trombone – J.J. Johnson
Trumpet – Harry Edison
Vocals – Joe Turner

KING PLEASURE | ANNIE ROSS — King Pleasure Sings | Annie Ross Sings (1958-1987) APE (image+.cue), lossless

The brief life span of classic jazz vocalese singing found its first inspiration in these King Pleasure sides. Pleasure vocalized many bebop solos by the likes of James Moody, Charlie Parker, and Lester Young, often adding his own hip and witty lyrics to the mix. Initially issued on his debut, Moody's Mood for Love, the first eight sides here include solid senders like "Parker's Mood," "Red Top" (based on a Gene Ammons solo and featuring singer Betty Carter), and "Jumpin' With Symphony Sid" (Lester Young). Balancing out the boppish fare, Pleasure also delivers ballads like "This Is Always" (featuring the Dave Lambert Singers) and his own composition, "Don't Be Scared" (up-and-coming vocalese star Jon Hendriks guests). Future Hendriks cohort Annie Ross co-headlines this LP, matching Pleasure's best with hits like "Twisted" (Wardell Gray) and "Farmer's Market" (Art Farmer). Her wordless scat feature, "Annie's Lament," is a highlight as well. A must for bop and vocal jazz fans. Stephen Cook 
Tracklist :
King Pleasure Sings
King Pleasure - Red Top 3:12
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
Vocals – Betty Carter
King Pleasure - Jumpin' With Symphony Sid 2:34
Bass – Peck Morrison
Drums – Herbie Lovelle
Piano – Ed Swanston
Tenor Saxophone – Charlie Ferguson
Trumpet – Eddie Lewis
King Pleasure - Sometimes I'm Happy 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - This Is Always 3:12
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
Vocals – Dave Lambert Singers
King Pleasure - What Can I Say Dear 3:09
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - Don't Get Scared 3:18
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Joe Harris 
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, Jon Hendricks
King Pleasure - Parker's Mood 2:55
Bass – Percy Heath
Drums – Kenny Clarke
Piano – John Lewis 
King Pleasure - I'm Gone 3:27
Baritone Saxophone – Danny Bank
Bass – Paul Chambers 
Drums – Kenny Clarke
Piano – Jimmy Jones 
Tenor Saxophone – Lucky Thompson
Trombone – J.J. Johnson, Kai Winding
Vocals – Eddie Jefferson, The Three Riffs
Annie Ross Sings
Annie Ross - Twisted 2:37
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - Farmer's Market 2:43
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – Teacho Wiltshire
Annie Ross - The Time Was Right 3:16
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington
Annie Ross - Annie's Lament 2:58
Bass – Percy Heath
Drums – Art Blakey
Organ – Ram Ramirez
Piano – George Wallington

ABBEY LINCOLN — Through the Years : 1956-2007 (2010) 3CD SET | FLAC (tracks+.cue), lossless

Anyone who has followed Abbey Lincoln’s career with any regularity understands that she has followed a fiercely individual path and has paid the cost for those choices. Through the Years is a cross-licensed, three-disc retrospective expertly compiled and assembled by the artist and her longtime producer, Jean-Philippe Allard. Covering more than 50 years in her storied career, it establishes from the outset that Lincoln was always a true jazz singer and unique stylist. Though it contains no unreleased material, it does offer the first true picture of he range of expression. Her accompanists include former husband Max Roach, Benny Carter, Kenny Dorham, Charlie Haden, Sonny Rollins, Wynton Kelly, Benny Golson, J.J. Johnson, Art Farmer, Stan Getz, and Hank Jones, to name scant few.

Disc one commences with “This Can’t Be Love” from 1956; one of the best-known tunes off her debut album, arranged and conducted by Golson. But the story begins to change immediately with "I Must Have That Man" with her fronting the Riverside Jazz All-Stars in 1957. Tracks from It’s Magic, Abbey Is Blue, and Straight Ahead are here, and the story moves ahead chronologically and aesthetically all the way to 1984. But there are also big breaks stylistically, with her primal performance on “Triptych: Prayer/Protest/Peace” from We Insist! Max Roach’s Freedom Now Suite in 1960 and the amazing “Lonesome Lover” from It’s Time: Max Roach and His Orchestra and Choir in 1962, which is where her story takes its first recording break. It picks up in 1973 with "Africa" from People in Me. It breaks again until 1980, with “Throw It Away” off the beautiful Painted Lady, and continues through appearances with Cedar Walton and Sun Ra. There is another break in the narrative between discs one and two, commencing again in 1990 with the issue of the brilliant The World Is Falling Down on Verve when she began her association with Allard and recorded regularly. This disc contains a dozen tracks all recorded between 1990 and 1992. Disc three commences in 1995 and goes straight through to 2007. The latter two discs reflect the periods when Lincoln finally assumed her rightful status as a true jazz icon; individual track performances from standards to self-written tunes and folk songs are all done in her inimitable style and are well-known to fans. This set is gorgeously compiled and sequenced. As a listen, Through the Years is literally astonishing in its breadth and depth. It establishes her commitment to artistic freedom, and her fierce dedication to discipline, song, and performance. The box features liners by Gary Giddins, and great photographs, as well as stellar sound quality.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1    This Can't Be Love 2:22
Composed By – Lorenz Hart, Richard Rodgers
Directed By, Arranged By – Benny Carter
Engineer – John Kraus
Orchestra – Benny Carter And His Orchestra
Producer – Russell Keith
1-2    Don't Explain 6:35
Bass – Wynton Kelly
Composed By – Arthur Herzog, Jr., Billie Holiday
Drums – Max Roach
Engineer – Jack Higgins
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham
1-3    I Must Have That Man 3:37
Bass – Paul Chambers
Composed By – Dorothy Fields, Jimmy McHugh

Drums – Max Roach
Engineer – Jack Higgins
Piano – Wynton Kelly
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham
1-4    Little Niles 4:59
Bass – Sam Jones
Composed By – Jon Hendricks, Randy Weston
Drums – "Philly" Joe Jones
Engineer – Jack Higgins
Piano – Wynton Kelly
Producer – Orrin Keepnews
Tenor Saxophone – Benny Golson
Trumpet – Art Farmer
1-5    Let Up 5:19
Bass – Bob Boswell
Composed By – Abbey Lincoln
Drums – Max Roach
Engineer – Jack Higgins
Piano – Cedar Walton
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Stanley Turrentine
Trombone – Julian Priester
Trumpet – Tommy Turrentine
1-6    Come Sunday 5:07
Bass – Sam Jones
Composed By – Duke Ellington
Drums – "Philly" Joe Jones
Engineer – Jack Higgins
Guitar – Les Spann
Piano – Phillip Wright
Producer – Bill Grauer, Orrin Keepnews
1-7    Triptych: Prayer / Protest / Peace 7:58
Composed By – Max Roach
Drums – Max Roach
Engineer – Bob D'Orleans
1-8    Left Alone 6:46
Bass – Art Davis
Bass Clarinet – Eric Dolphy
Composed By – Billie Holiday, Mal Waldron
Drums – Max Roach
Piano – Mal Waldron
Tenor Saxophone – Walter Benton
Tenor Saxophone, Soloist – Coleman Hawkins
Trombone, Arranged By – Julian Priester
Trumpet – Booker Little
1-9    Lonesome Lover 7:01
Backing Vocals, Conductor – Coleridge-Taylor Perkinson
Bass – Art Davis
Composed By – Abbey Lincoln
Composed By, Orchestrated By – Max Roach
Drums – Max Roach
Engineer, Mixed By – George Piros, Rudy Van Gelder
Piano – Mal Waldron
Producer – Bob Thiele
Tenor Saxophone – Clifford Jordan
Trombone – Julian Priester
1-10    Africa 7:08
Bass – Kunimitsu Inaba
Composed By – Abbey Lincoln, John Coltrane
Drums – Al Foster
Engineer, Mixed By – Suenori Fukui
Percussion – James Mtume
Piano – Hiromasa Suzuki
Producer – Toshinari Koinuma
Tenor Saxophone – David Liebman
1-11    Throw It Away 6:35
Bass – Jack Gregg
Composed By – Abbey Lincoln
Drums – Freddie Waits
Engineer, Mixed By – Emile Flock, Jean-Claude Talar
Piano – Hilton Ruiz
Producer – Emile De La Tour, Gérard Terronès, Odile Terronès, Éric Terronès
Tenor Saxophone – Archie Shepp
Trumpet – Roy Burrowes
1-12    The Maestro 4:38
Bass – David Williams (2)
Composed By – Cedar Walton
Drums – Billy Higgins
Engineer, Mixed By – Malcolm Addey
Piano – Cedar Walton
Producer – Cedar Walton
Tenor Saxophone – Bob Berg
1-13    The River 4:57
Alto Saxophone – Steve Coleman
Backing Vocals – Arlene Knox, Bemshee Shirer, Naima Williams
Bass – Billy Johnson
Composed By – Abbey Lincoln
Drums – Mark Johnson
Engineer, Mixed By – David Baker
Percussion – Jerry Gonzalez
Piano – James Weidman
Producer – Horst Weber, Mathias Winkelmann
2-1    The World is Falling Down 6:20
Alto Saxophone – Jerry Dodgion
Alto Saxophone, Soloist – Jackie McLean
Arranged By – Ron Carter
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Billy Higgins
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
Trumpet – Clark Terry
2-2    You Must Believe in Spring and Love 5:57
Alto Saxophone – Jackie McLean
Arranged By – Ron Carter
Bass – Charlie Haden
Composed By – Alan & Marilyn Bergman, Michel Legrand
Drums – Billy Higgins
Flugelhorn – Clark Terry
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
2-3    First Song 6:31
Alto Saxophone – Jerry Dodgion
Bass – Charlie Haden
Composed By – Abbey Lincoln, Charlie Haden
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
Trumpet – Clark Terry
2-4    Bird Alone 8:34
Arranged By – Randolph Noël
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
Viola – Maxine Roach
2-5    I'm In Love 6:11
Bass – Charlie Haden
Composed By – Joan Griffin
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
2-6    A Time For Love 8:40
Arranged By – Randolph Noël
Bass – Charlie Haden
Composed By – Johnny Mandel, Paul Francis Webster
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
Viola – Maxine Roach
2-7    Jungle Queen 6:12
Ashiko – Kehinde O'Uhuru
Composed By – Abbey Lincoln
Djembe, Agogô – Sule O'Uhuru
Djembe, Ashiko, Shekere, Drum [Ngoma] – Babatunde Olatunji
Dunun [Jun Jun Drums] – Gordy Ryan
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
2-8    A Child Is Born 6:22
Bass – Marcus McLaurine
Composed By – Alec Wilder, Thad Jones
Drums – Grady Tate
Piano – Rodney Kendrick
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Trombone – J.J. Johnson
2-9    You Came A Long Way From St. Louis 3:55
Composed By – Bob Russell, John Benson Brooks
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Claude Ermelin
2-10    I Should Care 5:45
Composed By – Axel Stordahl, Paul Weston, Sammy Cahn
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorder, Mixed By – Claude Emelin
2-11    Through The Years 5:23
Bass – Michael Bowie
Composed By – Abbey Lincoln
Composed By, Piano, Tenor Saxophone – Bheki Mseleku
Drums – Marvin "Smitty" Smith
Producer – Jean-Philippe Allard, Russell Herman
Recorded By, Mixed By – Jay Newland
2-12    When I'm Called Home 5:28
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
3-1     Avec le temps 5:38
Acoustic Guitar, Electric Guitar – Pat Metheny
Bass – Charlie Haden
Composed By – Léo Ferré
Drums – Victor Lewis
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-2     Mr Tambourine Man 6:53
Bass – Michael Bowie
Composed By – Bob Dylan
Drums – Aaron Walker
Piano – Marc Cary
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Julien Lourau
3-3    Love Has Gone Away 7:35
Alto Saxophone – Steve Coleman
Bass – Michael Bowie
Composed By – Abbey Lincoln
Drums – Aaron Walker
Piano – Marc Cary
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-4    And It's Supposed To Be Love 5:12
Backing Vocals – Maggie Brown
Bass – Michael Bowie
Composed By – Abbey Lincoln
Drums – Alvester Garnett
Marimba – Bobby Hutcherson
Percussion – Daniel Moreno
Piano – James Hurt
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-5    Should've Been 7:57
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Victor Lewis
Electric Guitar – Pat Metheny
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-6    Nature Boy 5:04
Bass – Christian McBride
Composed By – Eden Ahbez
Drums – Victor Lewis
Piano – Rodney Kendrick
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Julien Lourau
Trumpet – Roy Hargrove
3-7    The Windmills Of Your Mind 5:52
Bass – Jaz Sawyer, John Ormond
Composed By – Alan & Marilyn Bergman, Michel Legrand
Piano – Brandon McCune
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
Tenor Saxophone – Joe Lovano
3-8    Skylark 5:25
Bass – Ray Drummond
Composed By – Hoagy Carmichael, Johnny Mercer
Conductor, Arranged By – Laurent Cugny
Drums – Jaz Sawyer
Piano – Kenny Barron
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-9    It's Me, O' Lord 3:42
Composed By – traditional
Piano – Kenny Barron
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-10    Blue Monk 5:13
Acoustic Guitar, Resonator Guitar – Larry Campbell
Bass – Scott Colley
Composed By – Abbey Lincoln, Thelonious Monk
Drums – Shawn Pelton
Producer – Jean-Philippe Allard
Producer, Recorded By, Mixed By – Jay Newland
3-11    The Music Is Magic 3:53
Bass – Scott Colley
Composed By – Abbey Lincoln
Drums – Shawn Pelton
Electric Guitar – Larry Campbell
Producer – Jean-Philippe Allard
Producer, Recorded By, Mixed By – Jay Newland
3-12    Down Here Below 8:50
Arranged By – Randolph Noël
Bass – Charlie Haden
Cello – John Robinson
Composed By – Abbey Lincoln
Drums – Victor Lewis
Piano – Kenny Barron
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Violin – Sandra Bilignslea

BOB BROOKMEYER | JIMMY CLEVELAND | FRANK ROSOLINO — The Trombones Inc. (1958-2007) FLAC (tracks+.cue), lossless

 Each of the selections on this set has between seven and a dozen trombonists along with a rhythm section. The first five selections were recorded with East Coast musicians and the next six with players from the West Coast but, truth be told, there is no real difference in the style of music. The arrangements of J.J. Johnson, Warren Barker and Marty Paich are strictly straight-ahead with an emphasis on the sound of the trombone sections. There are many concise solos along the way but the only standouts are Frank Rosolino and Jimmy Cleveland, as most of the other individual spots are brief. The final number, "I Found a New Baby," was not on the original LP and was apparently recorded half on the East Coast and half on the West, a discographer's nightmare but pointing to the unity of this project. The music is fun and very much in the idiom of 1950s J.J. Johnson although Johnson does not actually play a note on this project. Scott Yanow   Tracklist & Credits :

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 1 (1956-2001) RM | MONO | RVG Edition Series | FLAC (tracks+.cue), lossless

The CD reissue of the two volumes titled The Eminent Jay Jay Johnson straighten out his three Blue Note sessions of 1953-55 and add alternate takes. This particular CD concentrates exclusively on the trombonist's 1953 sextet date with the great trumpeter Clifford Brown, Jimmy Heath (who doubles on tenor and baritone), pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six titles (plus three alternates) are highlighted by "It Could Happen to You," "Turnpike" and a classic rendition of "Get Happy." Although Johnson has a couple of features, Clifford Brown largely steals the show. This CD is well worth getting by listeners who do not have the music on Brownie's own Complete Blue Note set. Scott Yanow   Tracklist & Credits :

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 2 (1956-2001) RM | Modern Jazz Series, RVG Edition | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

DIZZY GILLESPIE | MILT JACKSON | JOE CARROLL — School Days (1957-2000) RM | FLAC (tracks+.cue), lossless

An old recording from 1951, this album has been re-released on Columbia from the old Savoy/Regent recordings. The blowing is insane in spots -- in "Pop's Confessin," Dizzy tries to hit the loudest, highest, longest note possible (à la Roy Eldridge). Joe Carroll provides some humor in his vocal work (often performing in duet with Dizzy). Milt Jackson actually goes without his vibes here, singing and playing piano. A young John Coltrane solos on “We Love to Boogie,” which was one of his first appearances on record. According to the original liner notes, other performers on the album are "probably" Bill Graham on baritone sax, Wynton Kelly on piano, Percy Heath on bass, and Al Jones, Kansas Fields, or Joe Hanes on drums. The interplay among trumpet, piano, and Joe Carroll's vocals is some of the best you'll hear from this time period (it gets even better in a couple years, but this is still outstanding). "Lady Be Good" is a tour de force for Carroll, and "School Days" starts to sound a lot like the blues-shouting R&B of the day. For any fan of Dizzy, and the bop of the day, this is a worthwhile investment in listening pleasure. The trumpet is good, the vocals are good, the humor is good. You can barely miss with this one. Adam Greenberg 
Tracklist :
1 Lady Be Good 2:39
Written-By – G&I. Gershwin 
2 Pop's Confessin 3:31
Written-By – Neiburg, Daugherty, Reynolds
3 Nobody Knows The Trouble 2:36
Written-By – K. Clarke
4 Bopsie's Blues 2:33
Written-By – D. Gillespie
5 I Couldn't Beat The Rap 2:57
Written-By – D. Gillespie
6 School Days 3:07
Written-By – D. Gillespie
7 I'm In A Mess 2:10
Written-By – A. White, P. White
8 Umbrella Man 2:23
Written-By – Cavanaugh, Rose, Stock
9 Love Me, Pretty Baby 3:00
Written-By – K. Clarke
10 We Love To Boogie 2:50
Written-By – D. Gillespie
Credits
Alto Saxophone, Baritone Saxophone – Bill Graham (tracks: 2 to 8)
Alto Saxophone, Tenor Saxophone – John Coltrane (tracks: 10)
Bass – Bernie Griggs (tracks: 2, 8), Percy Heath (tracks: 1, 3 to 7, 9,10)
Drums – Al Jones (tracks: 2 to 8), Art Blakey (tracks: 1, 9), Kansas Fields (tracks: 10)
Guitar – Kenny Burrell (tracks: 10)
Organ, Vocals – Milt Jackson (tracks: 3)
Piano – Milt Jackson (tracks: 1,3 to 7, 9, 10), Wynton Kelly (tracks: 2, 8)
Tenor Saxophone – Budd Johnson (tracks: 1, 9)
Trombone – Jay Jay Johnson (tracks: 1, 9)
Trumpet – Dizzy Gillespie (tracks: 1 to 10)
Vibraphone – Milt Jackson (tracks: 1, 3 to 7, 9)
Violin – Stuff Smith (tracks: 3)
Vocals – Dizzy Gillespie (tracks: 2, 4, 7, 8), Freddy Strong (tracks: 10),
Joe Carroll (tracks: 1 to 9), Melvin Moore (tracks: 1, 4 to 8, 9)

DIZZY GILLESPIE — Afro (1955-2002) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring. Ken Dryden 
Tracklist :
1 Manteca Theme 4:11
2 Contrastes 2:46
3 Jungla 4:44
4 Rhumba-Finale 4:39
5 A Night In Tunisia 4:15
6 Con Alma 5:01
7 Caravan 7:20
Credits :
Alto Saxophone – George Dorsey (tracks: 1 to 4), Hilton Jefferson (tracks: 1 to 4)
Arranged By, Conductor – Chico O'Farrill (tracks: 1 to 4)
Baritone Saxophone – Danny Bank (tracks: 1 to 4)
Bass – Roberto Rodriguez, Lou Hackney (tracks: 1 to 4)
Bongos – José Manguel
Congas – Candido Camero, Mongo Santamaria (tracks: 1 to 4)
Drums – Charlie Persip (tracks: 1 to 4)
Flute – Gilberto Valdez (tracks: 5, 7)
Percussion – Rafael Miranda (tracks: 5 to 7)
Piano – Ray Concepcion (tracks: 1 to 4), Rene Hernandez (tracks: 5 to 7), Wade Legge (tracks: 1 to 4)
Tenor Saxophone – Hank Mobley (tracks: 1 to 4), Lucky Thompson (tracks: 1 to 4)
Timbales – Ubaldo Nieto
Trombone – George Matthews (tracks: 1 to 4), J.J. Johnson (tracks: 1 to 4), Leon Comegys (tracks: 1 to 4)
Trumpet – Dizzy Gillespie, Ernie Royal (tracks: 1 to 4), Jimmy Nottingham (tracks: 1 to 4), Quincy Jones (tracks: 1 to 4)
Notes
Tracks 1-4: Recorded May 24, 1954 at Fine Sound, New York City
Tracks 5-7: Recorded June 3, 1954 at Fine Sound, New York City

DIZZY GILLESPIE – The Champ (1956-2003) RM | Savoy Jazz Classic Masters | FLAC (tracks+.cue), lossless

An early LP on Savoy that gathers Dizzy Gillespie's small-group recordings from 1951-52, The Champ has a lot to recommend it -- songs, sidemen, and performances. With just one exception, each of the selections are drawn from quintet or sextet dates, boasting work by Art Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in addition to an early appearance from John Coltrane (he made his debut with Diz, though not here). On the title track, a six-minute jam released as a two-part single, Gillespie plays furiously and tenor Budd Johnson contributes a great squawking solo. "Birk's Works," one of Dizzy's finest compositions, gets its first commercial recording, while Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it needs to lift it above competing versions. Diz and Joe Carroll trade vocals on "On the Sunny Side of the Street," and bop culture meets gospel for "Swing Low, Sweet Cadillac."  John Bush
 Tracklist :
1 The Champ 05:43
 Dizzy Gillespie
2 Birk's Works 03:09
Dizzy Gillespie
3 Caravan 02:56
Duke Ellington / Irving Mills / Juan Tizol
4 Time On My Hands 02:26
Harold Adamson / Mack Gordon / Vincent Youmans
5 On the Sunny Side of the Street 03:09
Dorothy Fields / Jimmy McHugh
6 Tin Tin Deo 02:43
Gil Fuller / Dizzy Gillespie / Chano Pozo
7 Stardust 03:07
Hoagy Carmichael / Mitchell Parish
8 They Can't Take That Away from Me 03:46
George Gershwin / Ira Gershwin
9 The Bluest Blues 02:57
Dizzy Gillespie / Gary McFarland / Sir Charles Thompson
10 Swing Low, Sweet Cadillac 03:10
 Dizzy Gillespie
11 Ooh-Shoo-Be-Doo-Bee 03:21
Joe Carroll / Dizzy Gillespie / Bill Graham
Credits :
Alto Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11), John Coltrane (tracks: 2, 6)
Baritone Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11)
Bass – Bernie Griggs (tracks: 8, 11), Percy Heath (tracks: 1 to 7, 9, 10)
Drums – Al Jones (tracks: 3 to 5, 7 to 11), Art Blakey (tracks: 1), Kansas Fields (tracks: 2 to 6)
Guitar – Kenny Burrell (tracks: 2, 6)
Organ – Milt Jackson (tracks: 3 to 5, 7 to 9)
Piano – Milt Jackson (tracks: 2, 6, 10), Wynton Kelly (tracks: 8, 11)
Tenor Saxophone – Budd Johnson (tracks: 1), John Coltrane (tracks: 2, 6)
Trombone – J.J. Johnson
Trumpet – Dizzy Gillespie
Vibraphone – Milt Jackson (tracks: 2, 6, 10)
Violin – Stuff Smith (tracks: 3 to 5, 7, 9)
Vocals – Dizzy Gillespie (tracks: 10), Joe Carroll (tracks: 1, 3 to 5, 7 to 11), Melvin Moore (tracks: 1, 10), Milt Jackson (tracks: 3 to 5, 7 to 9)

DIZZY GILLESPIE – 1953-1954 | The Classics Chronological Series – 1424 (2006) FLAC (image+.cue), lossless

Volume ten in the Classics Dizzy Gillespie chronology documents this trumpeter's recording activities from December 9, 1953 to June 8, 1954. As one of producer Norman Granz's many star players, Diz was able to organize both hard bop and Cuban-styled bop bands comprised of able improvisers. The opening track, "Impromptu," is a nearly-eight-minute jam taken at 75mph by the "Dizzy Gillespie-Stan Getz Sextet" with lightning-fingered pianist Oscar Peterson, guitarist Herb Ellis (heard here in an unusually rambunctious mood); bassist Ray Brown, and drummer Max Roach. The 20-piece big band assembled on May 24, 1954 recorded a piquant 16-and-a-half-minute "Manteca" suite in five movements using arrangements by Chico O'Farrill. The personnel listing is extraordinary, with J.J. Johnson, Ernie Royal and Quincy Jones in the brass section with Diz; Hilton Jefferson, Hank Mobley, Lucky Thompson and Danny Bank in the reed department, as well as two bassists and four expert Latin American percussionists augmenting the kit drumming of Charlie Persip. On the following day, four members of this mammoth ensemble returned to form a quintet; in addition to pianist Wade Legge and bassist Lou Hackney, Hank Mobley was the designated saxophonist for this assignment, a relaxed blowing session with two vocals by the leader. Gillespie put together an octet for the next date, which took place on June 3, 1954, using flautist Gilbert Valdez and a lively Latino rhythm section including conga master Candido Camero. Four titles cut on June 8, 1954 by the Dizzy Gillespie Sextet featured trombonist Jimmy Cleveland in addition to the five men who comprised the Quintet from two weeks earlier. (Although a note in the enclosed discography claims that Cleveland is omitted on "Rumbola," he is clearly audible throughout). This last session, and indeed this entire segment of Gillespie's career, resulted in substantial music of great passion and depth. "Blue Mood" is particularly satisfying because Gillespie, like Charlie Parker, was an adept bluesman. arwulf arwulf    Tracklist :

GENE AMMONS – 1951-1953 | The Chronogical Classics – 1406 (2005) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Gene Ammons chronology sews together everything recorded and released under his name for the Prestige, Decca, and United record labels between June 1951 and June 1953. Instrumental highlights, in addition to Ammons' sensually charged tenor saxophone, include Sonny Stitt on supporting tenor (on tracks 13-16, Stitt plays baritone sax); trombonist J.J. Johnson (tracks 13-16); and trumpeter supreme Johnny Coles, who was destined to make outstanding records with James Moody and Charles Mingus (tracks 17-24). This particular slice of Gene Ammons' career is delightfully gutsy and easy to relate to. The Prestige material is classic Jug; his brief involvement with Decca is a thrilling sideshow, and those sanguine, sultry, scruffy sides for Chicago's tiny United record label are precious artifacts of inestimable worth. Note that the rocking "Jim Dawgs" is an entirely different entity from a similarly titled bop exercise recorded by Ike Quebec for Savoy Records in August of 1945. During his heyday, Gene Ammons represented the perfect blend of swing, bop, and R&B. This wonderful compilation presents a healthy stripe of vivid material from his label-hopping period during the years immediately preceding the Eisenhower era. arwulf arwulf       Tracklist + Credits :

CHARLIE PARKER – 1947 | The Chronogical Classics – 1000 (1998) FLAC (tracks+.cue), lossless

This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band -- now a sextet with the addition of trombonist J.J. Johnson -- made six more sides for Dial on December 17, 1947. Once again the quintet visited Detroit to make good on its broken contract with the El Sino, and this time the band's return engagement was a success. Miles Davis later remembered: "Bird played his ass off." Vocalist Betty Carter even sat in. While they were still in Detroit, producer Teddy Reig had "the Charlie Parker Quintette" make more records for the Savoy label. The four master takes heard here contain music that is still studied and cherished by musicians, poets, lovers, cultural historians, and devout listeners everywhere. arwulf arwulf                    Tracklist + Credits : 

ILLINOIS JACQUET – 1946-1947 | The Chronogical Classics – 1019 (1998) FLAC (tracks+.cue), lossless

Unlike so many previous reissues, this portion of the Illinois Jacquet chronology places these historical sessions side by side rather than sorting them out by label. Bringing together the last of Jacquet's Aladdin and Apollo recordings in this way is illuminating, informative, and entertaining. Jacquet's Apollo All Stars octet that recorded in August 1946 had a fine front line in trumpeter Joe Newman, trombonist Trummy Young, and alto saxophonist Ray "King" Perry alongside Jacquet's powerful tenor, supported by John Simmons, Freddie Green, Bill Doggett, and the amazing Denzil Best. "Jumpin' at Apollo" and "12 Minutes to Go" are the obligatory cookers, tempered with the walking "Jacquet Bounce" and "She's Funny That Way," a cool addition to Jacquet's marvelous catalog of ballads. As part of a heat wave of postwar tenor saxophony, Illinois blazed his own trail through stylistic terrain also traversed by Wardell Gray and Lucky Thompson. Like everything heard on this disc, Jacquet's 16-piece Aladdin big-band session from January 1947 reflects the Count Basie experience in high relief. While the trumpet section -- fortified with Joe Newman, Fats Navarro, and Miles Davis -- makes this a formidable listening experience, the star of the upbeat numbers -- and, in a way, of every session for the remainder of this collection -- is master percussionist Shadow Wilson, who thunders and shakes on "Big Dog" and "Jivin' with Jack the Bellboy," a reference to an extroverted drum feature recorded in 1940 by Lionel Hampton. Anyone who is lucky enough to possess the original 78-rpm Aladdin recording of "Blow, Illinois, Blow" can testify to the excitement of hearing a tenor saxophone wailing in front of a nine-piece band, coming up through the surface noise of a rapidly rotating platter. Digitally cleansed, this track sounds stunningly immediate as the ensemble seems to surround the listener and gradually close in. "Illinois Blows the Blues" knocks the band down to tenor and rhythm for one of Jacquet's definitive statements on record, feeling at times almost like a duet with Sir Charles Thompson. Back with Apollo for the last time in May of 1947, Jacquet retained certain key players from his previous couple of dates. Mention must be made of Leo Parker's exceptionally fine baritone sax outbursts. Jacquet regularly engages in his signature high-pitched wailing, a sound that some critics disparage but most open-minded listeners will enjoy as a necessary optional response to everyday life in the 20th century. Sir Charles, who plays on all of the dates from April 1, 1947, onward, exerted a marvelous influence upon Mr. Jacquet. Exhibit A would be Thompson's "Robbin's Nest" -- the version heard here is an easygoing delight. "Jumpin' at the Woodside," on the other hand, is almost frightening in its intensity, largely on account of Parker's snarling baritone. As the saga of Illinois Jacquet enters into the autumn of 1947, J.J. Johnson fans will want to listen for the trombone during the final eight tracks on this exceptionally satisfying album of early modern jazz. arwulf arwulf         Tracklist :

ILLINOIS JACQUET – 1947-1951 | The Chronogical Classics – 1254 (2002) FLAC (tracks+.cue), lossless

These recordings from Illinois Jacquet all showcase him in the context of his name orchestra recording for Bluebird and Apollo. Tadd Dameron arranged all of this material -- most of which was written by Jacquet. The band's varying personnel on these stellar sides includes Sir Charles Thompson, J.J. Johnson, J.C. Heard, John Lewis, Henry Coker, Red Callender, Shadow Wilson, Carl Perkins, Oscar Moore, and others. Standout cuts form these sides include "Symphony in Sid," "Riffin' at 24th Street," "Slow Down Baby," "My Old Gal," and a smoking rendition of Count Basie's "Mutton Leg."
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist + Credits :

BUDDY TATE – 1945-1950 | The Classics Chronological Series – 1207 (2001) FLAC (tracks+.cue), lossless

Buddy Tate gained his initial fame as one of the tenor saxophonists with Count Basie's Orchestra during 1938-1948, replacing Herschel Evans. All of his early dates as a leader are on this CD, and most of the sessions were formerly quite rare. Tate is heard as a sideman in 1945 with trumpeter Karl George's swing-to-bop octet (which also starred trombonist J.J. Johnson), with pianist Skip Hall's combo in 1949 (four instrumentals featuring trumpeter Buck Clayton), and on four sessions of his own. Thirteen songs are from two dates near the end of 1947 and feature some excellent Emmett Berry trumpet, pianist Bill Doggett's arrangements, and a couple of early vocals by Jimmy Witherspoon; Tate comes across effectively in an Illinois Jacquet jump/jazz role. His other two dates (from 1949-1950) are in a similar vein, with Buck Clayton and trombonist Tyree Glenn helping out. A few songs along the way have vocals (a pair by Eddie Fullylove are essentially middle-of-the-road pop), but most of the music is quite worthwhile and swinging. Recommended. Scott Yanow
Tracklist + Credits :

TADD DAMERON – 1947-1949 | The Classics Chronological Series – 1106 (2000) FLAC (tracks+.cue), lossless

Although Tadd Dameron was a talented pianist, he never considered piano playing his strong point -- the bebopper was best known for his writing and arranging, and when he recorded as a leader (which wasn't all that often), Dameron was quite happy to let his sidemen take most of the solos. Dameron can hardly be accused of hogging the solo space on 1947-1949, a collection of small-group and big-band sides he recorded as a leader for Blue Note and Savoy, among others, from August 1947-April 1949. The material, most of it superb, falls into two main categories: hard-swinging bop instrumentals and romantic ballads featuring vocalists. On the instrumentals (which include "Our Delight," "Dameronia," "The Squirrel," "Lady Bird," and other Dameron originals), he features some of early bop's heavy-hitting soloists, including trumpeter Fats Navarro (a major influence on Clifford Brown), tenor saxman Wardell Gray, and alto saxman Ernie Henry (who, like Sonny Stitt, was a Charlie Parker disciple but not a clone). And Dameron's romantic side takes over when he features Kay Penton (a delightful though underexposed vocalist) on several ballads (including "What's New" and "Gone With the Wind") and employs the Billy Eckstine-influenced Kenny Hagood on "I Think I'll Go Away." Meanwhile, singer Rae Pearl (who later went by Rae Harrison) provides a wordless vocal on Dameron's dreamy "Casbah." Boasting some of Dameron's most essential work, this French release is recommended without hesitation to lovers of early bop. Alex Henderson  
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 :

LEO PARKER – 1947-1950 | The Classics Chronological Series – 1203 (2001) FLAC (tracks+.cue), lossless

There's something about the purling, snarling and booting of a baritone sax that can create pleasant disturbances in the listener's spine and rib cage. Leo Parker came up during the simultaneous explosions of bebop and rhythm & blues. Everything he touched turned into a groove. Recording for Savoy in Detroit during the autumn of 1947, Leo was flanked by Howard McGhee and Gene Ammons, who at this point seems to have been operating under the influence of Lester Young. Leo does his own share of Prez-like one-note vamping, bringing to mind some of Lester's Aladdin recordings made during this same time period. Leo's Savoys originally appeared on 78 rpm platters, then on 10" long-playing records. Anyone who has ever heard one of these relics played on period equipment can testify to the sensation of hearing an old-fashioned phonograph wrestling with the extra fidelity contained in the voice of that king-sized sax. The next session happened in New York two months later. J.J. Johnson was on hand to supervise a smart recording of his own soon-to-be-famous "Wee Dot." Dexter Gordon is in fine form and it's nice to hear Joe Newman blowing so much gutsy bebop through his trumpet. Everything smoothes out for a gorgeous rendition of Duke Ellington's "Solitude," a lush feature for the baritone. The rhythm section of Curly Russell, Hank Jones and Shadow Wilson makes this particular session even more solid than usual. Leading his "Quintette" in Detroit on March 23rd, 1948, Leo races into "Dinky" with a run straight out of Herschel Evans' "Doggin' Around." Sir Charles Thompson tosses off some of his most fragmented playing, splattering the walls with abrupt block chords and tiny whirlpools of truncated riffs. "Señor Leo" cruises at a very cool, almost subterranean Latin tempo, a mood that brings to mind Bud Powell's hypnotic opus "Comin' Up." You get to hear the voices of Parker and Thompson at the beginning of "Chase 'n' the Lion," a fine bit of updated boogie-woogie. Apparently, Sir Charles was also known at that time as "Chase." A second session recorded on the same day adds Charlie Rouse to an already steaming band. Leo gnaws his way through four tunes of his own devising. Nothing brilliant here, just good hot jamming. The people at Prestige Records were smart enough to line up a date with the Leo Parker Quartet in July of 1950, resulting in what has got to be the hippest version of "Mona Lisa" ever put on record. The quartet hatched two other handsome ballads and a pair of kickers. "Who's Mad" is a sort of sequel to the famous "Mad Lad," made when Leo was recording for the Apollo label under Sir Charles' leadership. That makes "Mad Lad Returns" a sequel to the sequel. Unable or unwilling to shake this particular thematic, Leo called his next recording band "the Mad Lads." Two out of four sides were issued on the little Gotham label. Meet the all-but-forgotten Henri Durant, a bop tenor who made all the right moves and promptly split the scene. Good thing he at least made it on to this blowing session. Finally, get a load of Leo's creatively reconstituted "Solitude," rejected by Gotham but included by Classics at the tail-end of this mother lode of vintage recordings by the amazing Leo Parker. arwulf arwulf
Tracklist + Credits :

LUCKY THOMPSON – 1944-1947 | The Classics Chronological Series – 1113 (2000) FLAC (tracks+.cue), lossless

Tenor saxophonist Eli "Lucky" Thompson came up in Detroit but made all of his earliest recordings in the Los Angeles area during the 1940s. This fascinating album of rare jazz opens with a mind-blowing Timme Rosenkrantz-sponsored jam session recorded on December 26, 1944. Thompson leads an ensemble combining violinist Stuff Smith, trombonist Bobby Pratt, pianist Erroll Garner, and drummer George Wettling. "Test Pilots" appears to be a collective improvisation during which, like many Stuff Smith dates, the mood is wonderfully relaxed and informal. Recording for the Excelsior label in September of 1945, Lucky Thompson's All-Stars consisted of trumpeter Karl George, trombonist J.J. Johnson, bop clarinetist Rudy Rutherford and a tough rhythm section in Bill Doggett, Freddie Green, Rodney Richardson, and Shadow Wilson. In August, 1946, Thompson appeared in a live performance with fellow tenor Jack McVea and trumpeter Howard McGhee, along with pianist Jimmy Bunn, guitarist Irving Ashby, bassist Red Callender and drummer Jackie Mills. The proceedings were recorded and issued on the Black and White label under the heading of "Ralph Bass' Junior Jazz Series." The five-minute "Oodle Coo Bop" is really "Ornithology." It is followed by a gutsy jam titled "Bopin' Bop," and a 12-minute blowout simply called "Big Noise." This begins with a detailed introduction by producer Ralph Bass, who speaks like a 1940s high school principal or camp counselor. "Body and Soul," a feature for Hilton Jefferson-styled alto saxophonist Les Robinson, was included for the sake of completeness even though Thompson is not heard on this track. His next date as a leader occurred on September 13, 1946 and is noteworthy for the presence of piano genius Dodo Marmarosa. Red Callender and Jackie Mills acted as the perfect "other half" of this smart little quartet. Dodo and Red were present at the "Lucky Moments" session on April 22, 1947, where Thompson delivered a masterpiece in tenor sax ballad artistry, "Just One More Chance." This inventive octet included Benny Carter, Neal Hefti, baritone saxophonist Bob Lawson, guitarist Barney Kessel, and Lester Young's brother Lee on the drums. It forms one rousing conclusion for this excellent collection of Lucky Thompson's earliest recordings. arwulf arwulf  
Tracklist + Credits :

BABS GONZALES – 1947-1949 | The Classics Chronological Series – 1124 (2000) FLAC (tracks+.cue), lossless

Confronted with a new, harmonically advanced music filled with rhythmic complexities, white audiences and entertainers were only able to cope with bebop by treating it as though it were a novel alternative to pig Latin. If anyone supplied the fuel for this trivialization it was Slim Gaillard and Babs Gonzales, great musicians who were also bizarre characters who invented their own forms of funny scat language. In these vintage Blue Note sides by Babs' Three Bips and a Bop, you can hear exactly where Charlie Barnet got the idea for "Bebop Spoken Here." The originals, of course, sound much better than the silly attempts of bop imitators. Babs' Blue Note vocal arrangements were by pianist Tadd Dameron, and Rudy Williams poured a whole lot of soul into his alto saxophone. "Play Dem Blues" seems to have a little bit of "Ornithology" built into its opening line. "Running Around" is a sudden switch to straight vocal ballad style. Babs sings about heartbreak. The band has been reduced to piano, bass, and guitar. With "Bab's Dream," listeners are back in full bop language mode, with reams of scat unfolding in every direction. Dameron takes fascinating solos during this easygoing minor romp, and on his own "Dob Bla Bli." Special mention should also be made of the exceptionally solid bassist Art Phipps. "Weird Lullaby" stretches out Babs' bop scat lingo to the point where listeners seem to be hearing a serenade sung by a character actor imitating a visitor from Mars. Moving over to the Apollo label, Tony Scott blows an authentic bop clarinet, Phipps continues to act as an upright axis, and Roy Haynes carries the entire band on his back. In December of 1948, Babs lined up a session with Manor, an important label in the development of early modern jazz. With a front line of James Moody, Dave Burns, and Bennie Green, this is a steamy little band. Precision arrangements make for surprisingly intricate runs. Moody sounds particularly stoked. If anyone comes looking for vestigial Fats Waller in "Honeysuckle Bop," forget about it. The reference seems to have been purely poetic. If this bop workout was somehow based upon the changes to Waller's "Honeysuckle Rose," the camouflage is so successful that nobody could ever sort it out. Jumping to Capitol Records in 1949, Babs is once again surrounded by awesome musicians: J.J. Johnson, a well-oiled Sonny Rollins, Erroll Garner's brother Linton, and Jack "The Bear" Parker. Art Pepper really cooks on "The Continental," which is one of Gonzales' most successful performances. Gonzales' voice has deepened and he seems to be growing tougher by the minute. "St. Louis Blues" is masterfully restructured and augmented with fluent bop embellishments. Hearing Don Redman and Sonny Rollins side by side with Wynton Kelly and Roy Haynes in back is a treat not to be missed. A fascinating slice of vintage bop culture, packed with restless creative energy. arwulf arwulf  
Tracklist + Credits :