SONNY STITT — Kaleidoscope (1992) FLAC (tracks+.cue), lossless

Deftly handling the alto, tenor, and baritone saxophone, bebop giant Sonny Stitt is heard to perfection here on a variety of early-'50s dates. Stitt not only shows off his patented speed throughout, but he goes a long way in dispelling criticisms of him being all fire and no grace. The 16-track disc kicks off with four tight, Latin-tinged swingers featuring an octet that includes trumpeter Joe Newman and timbales player Humberto Morales. Switching to piano quartet mode for the bulk of the disc, Stitt ranges effortlessly from frenetic blasts ("Cherokee") to golden-hued ballads ("Imagination"). Capping off the set with four bonus cuts featuring the likes of Gene Ammons and Junior Mance, Stitt delivers one of the top sets of performances from the late bebop era. Stephen Cook
Tracklist :
1    Stitt's It 2:35
Written-By – Massey, Stitt
2    Cool Mambo 2:40
Written-By – Massey, Stitt
3    Blue Mambo 2:25
Written-By – Massey, Stitt
4    Sonny Sounds 2:29
Written-By – Massey, Stitt
5    Ain't Misbehavin' 3:02
Written-By – Razaf, Waller, Brooks
6    Later 3:00
Written-By – Sonny Stitt
7    P.S. I Love You 3:00
Written-By – Jenkins, Mercer
8    This Can't Be Love 2:47
Written-By – Rodgers-Hart
9    Imagination 3:24
Written-By – Burke-Van Heusen
10    Cherokee 2:33
Written-By – Ray Noble
11    Can't We Be Friends 2:41
Written-By – Swift, James
12    Liza (All The Clouds'll Roll Away) 2:45
Written-By – Gershwin-Gershwin, Kahn
– BONUS TRACK –
13    To Think You've Chosen Me 3:11
Written-By – Benjamin, Weiss
14    After You've Gone 2:25
Written-By – Creamer, Layton
15    Our Very Own 3:05
Written-By – Elliot, Young
16    'S Wonderful 2:24
Written-By – Gershwin-Gershwin
Credits :
Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Sonny Stitt
Baritone Saxophone – Gene Ammons (tracks: 13 to 16)
Bass – Ernie Sheppard (tracks: 1 to 4), Gene Wright (tracks: 7 to 16), Tommy Potter (tracks: 5, 6)
Drums – Art Blakey (tracks: 5, 6, 9, 10), Shadow Wilson (tracks: 1 to 4), Teddy Stewart (tracks: 7, 8, 11, 12), Wesley Landers (tracks: 13 to 16)
Engineer [Recording] – Rudy Van Gelder
Piano – Charlie Bateman (tracks: 7, 8, 11, 12), John Houston (tracks: 1 to 4), Junior Mance (tracks: 9, 10, 13 to 16), Kenny Drew (tracks: 5, 6)
Timbales – Humberto Morales (tracks: 2, 3)
Trombone – Matthew Gee (tracks: 13 to 16)
Trumpet – Bill Massey (tracks: 1 to 4, 13 to 16), Joe Newman (tracks: 1 to 4), John Hunt (tracks: 1 to 4)
Vocals – Larry Townsend (tracks: 13 to 16)
Nota.
Selections #1-4 recorded on March 25, 1952; #5-6 February 17, 1950; #7-8 February 1, 1951; #9-10 December 15, 1950; #11-12 January 31, 1951; #13-16 October 8, 1950. All selections recorded in New York City.
NoNOISE reprocessing by Sonic Solutions.
Audio restoration and digital remastering, 1992 (Fantasy Studios, Berkeley).
Selections #13-16 previously released on Stitt’s Bits (Prestige 7585).

ERNIE HENRY — Presenting Ernie Henry (1956-1999) RM | Original Jazz Classics Limited Edition Series | FLAC (image+.cue), lossless

Altoist Ernie Henry's first of three sessions as a leader, all of which were made within 16 months of his premature death, served as a strong debut. Joined by trumpeter Kenny Dorham, pianist Kenny Drew, bassist Wilbur Ware and drummer Art Taylor, Henry -- who always had a distinctive tone -- performs five of his boppish originals, plus "Gone With the Wind" and "I Should Care." Throughout the date, Henry hints strongly at the great potential he had. This set has thus far only been reissued by the OJC series on LP. Scott Yanow
Tracklist :
1    Gone With The Wind    3:24
 Herbert Magidson / Allie Wrubel
2    Orient    5:10
 Ernie Henry
3    Free Flight    5:48
 Ernie Henry
4    Checkmate    5:55
 Ernie Henry
5    Active Ingredients    5:03
 Ernie Henry
6    I Should Care    5:07
 Sammy Cahn / Axel Stordahl / Paul Weston
7    Cleo's Chant    8:21
 Ernie Henry
Credits :
Alto Saxophone – Ernie Henry
Bass – Wilbur Ware
Drums – Art Taylor
Piano – Kenny Drew
Trumpet – Kenny Dorham

KENNY DREW TRIO — Your Soft Eyes (1982) FLAC (tracks+.cue), lossless

Pianist Kenny Drew is accompanied by fellow expatriate drummer Ed Thigpen and the talented young bassist Mads Vinding on these 1981 sessions. The leader continued to grow as a player during his years living in Europe, evolving from a strong bop pianist into something more. He opens "Alone Together" with a tense, evocative solo before returning to familiar territory as the rhythm section joins him. His sprightly, brisk take of "How Are Things in Glocca Mora" is a nice change from the usual arrangements, with Vinding's walking bass prominent in the mix. The leader's two originals include the snappy "Evening in the Park" and the lush, intimate ballad "Your Soft Eyes." This rewarding CD seems to have been deleted from Soul Note's catalog, so it is well worth tracking down. Ken Dryden 
Tracklist :
1 Forgotten But Not Gone 3:52
Ernie Wilkins
2 Alone Together 9:50
Howard Dietz / Arthur Schwartz
3 Your Soft Eyes 5:06
Kenny Drew
4 Evening in the Park  5:18
Kenny Drew
5 How Are Things in Glocca Morra?  7:36
E.Y. "Yip" Harburg / Burton Lane
6 Mads' Blues
Kenny Drew
Credits :
Double Bass – Mads Vinding
Drums – Ed Thigpen
Piano – Kenny Drew

BUDDY DeFRANCO – 1949-1952 | The Classics Chronological Series – 1445 (2007) FLAC (tracks+.cue), lossless

Hep Records' issue of Buddy DeFranco's recordings as a leader of both a quintet and an orchestra between 1949 and 1952 is a welcome one. The material on these 26 cuts is standard fare from the swing era, which was way over by 1949, but it proves that DeFranco knew how to lead a big band and swing hard as a soloist in a quintet setting -- especially with the company he kept. Some of his crew on these sides include Serge Chaloff, Teddy Charles, Teddy Kotick, Lee Konitz, Max Roach, Jimmy Raney, and Al Cohn, just to name a few. Arrangements for these tunes were done by DeFranco, George Russell, and Manny Albam, which gives the listener a taste of the varied sonic interests of the great clarinetist. The sound on these sides is a tiny bit thin, but that's a minor complaint. The material swings no matter the arrangement or the size of the band. This is an intimate look at an often overlooked jazz great.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist + Credits :

OSCAR PETTIFORD – 1951-1954 | The Classics Chronological Series – 1409 (2005) FLAC (tracks), lossless

In 2006. a survey of recordings made during the years 1951-1954 by groups under the leadership of bassist, cellist, and composer Oscar Pettiford was released as part of the Classics Chronological Series. During this period, Pettiford was making history as one of the very first improvising cellists in jazz. Swingin' ‘Til the Girls Come Home and "Bei Mir Bist du Schon" were recorded under the supervision of Leonard Feather on April 28, 1951 for Mercer Records, the label named for Duke Ellington's son. The sextet, billed as Oscar Pettiford, His Cello and Orkette, included trumpeter Howard McGhee, vibraphonist Joe Roland (whose other specialty was scoring bop charts for string ensembles à la Charlie Parker with Strings); pianist Kenny Drew, bassist Tommy Potter, and drummer Art Taylor. Arrangements were provided by Quincy Jones. During the summer of 1951, Pettiford worked with bands led by Jimmy Mundy, Wynton Kelly, and Budd Johnson. In the autumn he assembled a six-piece unit for a series of USO shows (this was during the Korean War) in New Jersey, New York, Japan, Korea, and various islands in the Pacific. In late 1951/early 1952, the group was recorded live in Guam. Those recordings, which include interpretations of older traditional standards played by the young boppers, were subsequently released under Howard McGhee's name, and are not included here. On February 21, 1952 Pettiford recorded again with his cello, now backed by bassist Charles Mingus, pianist Billy Taylor, and drummer Charlie Smith. As if to signal that this was not Pettiford's maiden voyage using the violoncello, one of the pieces was titled "Cello Again." Over the next several months, Pettiford would operate as a member of the Beryl Booker Trio, the Miles Davis Sextet, the Billy Taylor Quartet, and a unit led by pianist George Wallington. He also engaged in collective improvisations with Mary Lou Williams and Kenny Clarke at the Downbeat, where nobody recorded what must have been a series of remarkable experiments in early modern jazz.

In February 1953, Pettiford joined the Duke Ellington orchestra, replacing Charles Mingus, who was fired after tussling with valve trombonist Juan Tizol in front of a live audience. While swiftly becoming an important ingredient in Duke's ensemble, Pettiford sat in with Bud Powell and Roy Haynes at Birdland. After playing the Apollo Theater with Duke, he toured with the Ellington orchestra to Albuquerque and Pasadena. While in Los Angeles in June of 1953, he recorded his masterpiece "Blues in the Closet" and three other numbers with his All-Stars, a quintet which featured himself and Harry Babasin on celli. After gigging with Wardell Gray in August and September, Pettiford joined a Norman Granz package tour with Ellington. On December 29, 1953 the New Oscar Pettiford Sextet cut five tracks for the Mingus/Roach-owned and operated Debut label, again featuring the leader on cello, with Julius Watkins blowing French horn, Phil Urso on tenor sax, and a rhythm section of Walter Bishop, Charles Mingus, and Percy Brice. Quincy Jones wrote the arrangements for "Tamalpais Love Song" (later shortened to "Tamalpais") which featured Pettiford on the bass, and Quincy's own "Stockholm Sweetnin'." Pettiford began the year 1954 sitting in with a small band led by Illinois Jacquet's big brother, trumpeter Russell Jacquet. On March 21, Pettiford, the trailblazing jazz cellist, recorded six titles (four of which are included here) for the Vogue label with tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, bassist Henri Renaud, and drummer Max Roach. The producers of the Classics Chronological Series are to be commended for having assembled these cello-centered recordings of Oscar Pettiford on one album for all to enjoy and learn from.. 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 :

BUDD JOHNSON – 1944-1952 (2003) The Classics Chronological Series – 1307 | FLAC (tracks+.cue), lossless

One thing about these chronological compilations: if the featured musician only rarely acted as a bandleader, what listeners get is a core sample of nearly every recording date he happened to be in on. In the case of Texas tenor Budd Johnson, the people at Classics decided to begin his story with sessions waxed when he was 34 years of age and had been making records as a sideman for more than ten years. This is a pity, as a thorough survey could have begun with his bizarre vocal on Louis Armstrong's "Sweet Sue" (1933), then sampled his work with Lionel Hampton and Earl Hines, up through 1943. That would have lent context and background to this grab bag of primal bebop and R&B, designated as "the first volume of the recordings of Budd Johnson." Nevertheless, this segment of Johnson's career is exciting and full of surprises. Clyde Hart's Hot Seven, recording for Savoy in December of 1944, included legendary trumpeter Benny Harris and the wild alto sax of Herbie Fields. A Manor date led by squealing trumpeter Al Killian is extra solid due to the presence of Ellington's baritone, Harry Carney, who seems to enjoy weaving a bit of thunder into an already smoking ensemble. J.C. Heard & His Cafe Society Orchestra deliver four very concise, classy studies in boppish swing. George Treadwell's muted trumpet is notably attractive, and Johnson is able to shout or soothe as needed. James Charles Heard was a discerning artist, and his band's interpretation of Ellington's "Azure" is breathtakingly lovely. Of the three sides recorded in March of 1946 for the Hot Record Society by trombonist Dicky Wells & His Big Seven, "Bed Rock" is the cooker, but is somewhat upstaged by "Opera in Blue," a rhapsody built entirely around Johnson's lyrically inspired tenor.
Johnson led his own session in June of 1947 for the obscure Cyclone label. Included here are apparently the only two surviving sides. The tenor is very expressive on "My Heart's Doin' Time (For You)," and Mary Stafford belts out a smart little piece of blues on the flip side. A few months later, crooner Leslie Scott fronted a band with strings and a handful of jazz musicians, including drummer Denzil Best and a very sensuously laid-back Johnson. These sentimental numbers are oddly comforting, and fortunately the strings are not obtrusive. Johnson seems to have specialized in getting signed with small-time labels. In February 1951, working for Faith Records, he can be heard leading an all-star ensemble including Howard McGhee, J.J. Johnson, Cecil Payne, Kenny Drew, Oscar Pettiford, and Kansas Fields. Freddie Jackson sings a tough take on the blues called "Sometime I Feel Like Leaving Home," the band bounces through something called "Grooving in Birdland," and Johnson completely dominates the ballad "Talk of the Town." In March of 1952, Budd Johnson's All-Stars backed vocalist Johnny King on a pair of Louis Jordan-style numbers issued on the MGM label. The leader adapted unflinchingly to every stylistic trend during these years, always delivering gutsy, substantial solos. Here is an intriguing glimpse of one working tenor's professional evolution during a period notable for its many cultural transitions. arwulf arwulf   
Tracklist :
1    Clyde Hart's Hot Seven–    Smack That Mess 3:02
Vocals – Joe Gregory
2    Clyde Hart's Hot Seven–    Dee Dee's Dance    3:00
3    Clyde Hart's Hot Seven–    Little Bennie (King Kong)    2:40
4    Clyde Hart's Hot Seven–    Shoot The Arrow To Me Cupid    3:02
5    Al Killian And His Orchestra–    You're The One    3:00
6    Al Killian And His Orchestra–    Goin' Down     2:40
7    J.C. Heard And His Orchestra–    The Walk    3:00
8    J.C. Heard And His Orchestra–    Heard But Not Seen    2:38
9    J.C. Heard And His Orchestra–    Azure    2:49
10    J.C. Heard And His Orchestra–    Bouncing For Barney    2:54
11    Dickie Wells' Big Seven–    Bed Rock    2:50
12    Dickie Wells' Big Seven–    Opera In Blue    2:59
13    Dickie Wells' Big Seven–    Drag Nasty - The Walk    2:49
14    Budd Johnson–    My Heart's Doing Time    2:43
15    Budd Johnson–    I Just Can't Find That Kind 2:47
Vocals – Mary Stafford
16    Leslie Scott And His Orchestra–    So Long 3:11
Vocals – Leslie Scott
17    Leslie Scott And His Orchestra–    Blue And Sentimental 3:01
Vocals – Leslie Scott
18    Budd Johnson's All Stars–    Sometime I Feel Like Leaving Home 3:09
Vocals – Freddy Jackson
19    Budd Johnson's All Stars–    Grooving In Birdland    3:08
20    Budd Johnson's All Stars–    I'm All Alone 3:07
Vocals – Charlie Singleton
21    Budd Johnson's All Stars–    Talk Of The Town    2:52
22    Johnny King With Budd Johnson And His All Stars–    Where Were You ?    2:09
23    Johnny King With Budd Johnson And His All Stars–    Way Downtown At The Bottom Of The Hill    2:25
Credits
Alto Saxophone – George Dorsey (tracks: 14 to 15), Herbie Fields (tracks: 1 to 4), Hilton Jefferson (tracks: 22 to 23)
Baritone Saxophone – Cecil Payne (tracks: 18 to 23), Cecil Scott (tracks: 11 to 13), Harry Carney (tracks: 5 to 6)
Bass – Al McKibbon (tracks: 7 to 13), Joe Shulman (tracks: 5 to 6), Milt Hinton (tracks: 22 to 23), Oscar Pettiford (tracks: 1 to 4, 18 to 21), Trigger Alpert (tracks: 16 to 17)
Clarinet – Eddie Barefield (tracks: 14 to 15)
Clarinet, Alto Saxophone – Aaron Sachs (tracks: 5 to 6)
Directed By, Piano – Luther Henderson (tracks: 16 to 17)
Drums – Denzil Best (tracks: 1 to 4, 16 to 17), George Jones (tracks: 5 to 6), J.C. Heard (tracks: 7 to 13), Kansas Fields (tracks: 18 to 21), Kelly Martin (tracks: 22 to 23)
Guitar – Chuck Wayne (tracks: 1 to 4), Herman Mitchell (tracks: 16 to 17)
Piano – Billy Taylor (tracks: 22 to 23), Clyde Hart (tracks: 1 to 4), Jimmy Jones (tracks: 7 to 13), Kenny Drew (tracks: 18 to 21), Marty Napoleon (tracks: 5 to 6)
Tenor Saxophone – Budd Johnson, Charlie Singleton (tracks: 18 to 21)
Trombone – Dickie Harris (tracks: 7 to 10), Dicky Wells (tracks: 11 to 13), J.J. Johnson (tracks: 18 to 21), Trummy Young (tracks: 5 to 6)
Trumpet – Al Killian (tracks: 5 to 6), Little Benny Harris (tracks: 1 to 4), George Treadwell (tracks: 7 to 13), Howard McGhee (tracks: 18 to 21), Joe Newman (tracks: 22 to 23)

ZOOT SIMS WITH THE KENNY DREW TRIO - Zoot Sims In Copenhagen (1978-1995) RM | Original Master Recording, Ultradisc II | 24Kt Gold Plated | FLAC (tracks+.cue), lossless

Formerly put out by Storyville, this audiophile CD reissue features the great Zoot Sims performing in a quartet with bassist Niels-Henning Ørsted Pedersen and two notable expatriates: pianist Kenny Drew and drummer Ed Thigpen. Sims, who doubles here on soprano, is in typically swinging form on such numbers as "Too Close for Comfort," "In a Mellowtone," an extended, nearly ten-minute rendition of "All the Things You Are," and "It's All Right with Me." The supporting rhythm section is perfect for this style of music, and Sims is heard throughout in prime form. Scott Yanow
Tracklist :
1     Too Close for Comfort 7:27
Jerry Bock / Larry Holofcener / George David Weiss    
2     (I Wonder) Where Our Love Has Gone 7:17
Buddy Johnson    
3     In a Mellow Tone 5:12
Duke Ellington / Milt Gabler
4     I Got It Bad (And That Ain't Good) 2:14
Duke Ellington / Paul Francis Webster    
5     Caravan 6:32
Duke Ellington / Irving Mills / Juan Tizol
6     Softly, As in a Morning Sunrise 7:33
Oscar Hammerstein II / Sigmund Romberg    
7     All the Things You Are 9:57
Oscar Hammerstein II / Jerome Kern    
8     I'll Remember April 8:46
Gene DePaul / Patricia Johnston / Don Raye    
9     Morning Fun 4:49
Al Cohn / Zoot Sims
10     In the Middle of a Kiss 7:42
Sam Coslow
11     It's All Right with Me 8:15
Cole Porter
Credits :
Bass – Niels-Henning Ørsted Pedersen
Drums – Ed Thigpen
Piano – Kenny Drew
Soprano Saxophone, Tenor Saxophone – Zoot Sims

BENNY CARTER QUARTET - Summer Serenade (1980-1986) FLAC (tracks+.cue), lossless

Benny Carter has recorded so many excellent swing sessions throughout his lengthy career that it is very difficult to pick out the best ones; there's too much competition. This quartet date for the Danish Storyville label matches his alto with pianist Kenny Drew, bassist Jesper Lundgaard and drummer Ed Thigpen for four of Carter's originals and three standards. As a bonus, Richard Boone sings the good-humored "All That Jazz." Scott Yanow
Tracklist :
1     (Back Home Again In) Indiana 5:08     
James F. Hanley / Ballard MacDonald    
2     Almost Like Being in Love 7:22
Alan Jay Lerner / Frederick Loewe    
3     Summer Serenade 4:15
Benny Carter    
4     All That Jazz 5:03
Benny Carter / John Kander / Al Stillman    
5     Blue Star 8:06
Benny Carter    
6     When Lights Are Low 6:01
Benny Carter / Spencer Williams    
7     Taking a Chance on Love 8:20
Vernon Duke / Ted Fetter / John Latouche
Credits :
Alto Saxophone – Benny Carter
Bass – Jesper Lundgaard
Drums – Ed Thigpen
Piano – Kenny Drew
Vocals – Richard Boone (pistas: 4)

EDDIE 'LOCKJAW' DAVIS QUARTET - All of Me (1983-1994) FLAC (tracks+.cue), lossless

Tenorman Eddie "Lockjaw" Davis had already been a potent force in jazz for 35 years when he recorded this set but as it turned out his SteepleChase date (his next-to-last session) was one of the strongest of his career. Accompanied by a trio led by pianist Kenny Drew, Lockjaw really tears into these standards which are highlighted by "I Only Have Eyes for You," two versions of "There Is No Greater Love" (the alternate version was released for the first time on this CD reissue), "Four" and the title cut. Davis was at the peak of his powers during this recording, making his lone SteepleChase outing one of his very best. Scott Yanow
Tracklist :
 1     I Only Have Eyes for You 5'35
Al Dubin / Harry Warren
2     Ow! 5'40
Dizzy Gillespie
3     Funky Fluke 6'17
Bernie Green
4     There Is No Greater Love 5'40
Isham Jones / Marty Symes
5     All of Me 6'04
Gerald Marks / Seymour Simons
6     That's All 4'29
Alan Brandt / Bob Haymes
7     Coming Home Baby 6'41
Mel Tormé
8     Four 5'48
Eddie "Cleanhead" Vinson
9     There Is No Greater Love 5'24
Isham Jones / Marty Symes
Credits :
Bass – Jesper Lundgaard
Drums – Svend-Erik Nørregaard
Piano – Kenny Drew
Tenor Saxophone – Eddie Lockjaw Davis

JOHNNY GRIFFIN SEXTET - Johnny Griffin Sextet (1958-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

The great tenor Johnny Griffin made his debut on Riverside with this sextet set which has been reissued on CD in the OJC series. Griffin is teamed with trumpeter Donald Byrd, baritonist Pepper Adams, pianist Kenny Drew, bassist Wilbur Ware and drummer Philly Joe Jones for three obscure tunes, the ballad "What's New" and a cooking version of "Woody'N You." High-quality hard bop from some of the best. Scott Yanow
Tracklist :
1     Stix' Trix 7'37
Wilbur Campbell
2     What's New? 7'45
Johnny Burke / Bob Haggart
3     Woody 'N You 6'09
Dizzy Gillespie
4     Johnny G.G. 9'38
John Hines
5     Catharsis 9'53
Johnny Griffin
Credits :
Baritone Saxophone – Pepper Adams
Bass – Wilbur Ware
Drums – Philly Joe Jones
Piano – Kenny Drew
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Johnny Griffin
Trumpet – Donald Byrd

JOHNNY GRIFFIN QUARTET - Way Out! (1958-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

This formerly obscure quartet set by tenor-saxophonist Johnny Griffin (reissued on CD in the OJC series) features the fiery soloist on five little-known originals written by Chicagoans plus a burning version of "Cherokee." Virtually all of Griffin's recordings are worth getting and, with the assistance of pianist Kenny Drew, bassist Wilbur Ware and drummer Philly Joe Jones, the tenor is in superior form for this spirited date. Scott Yanow
Tracklist :
1    Where's Your Overcoat, Boy? 6'16
Written-By – Richard Evans
2    Hot Sausage 4'01
Written-By – Jody Christian
3    Sunny Monday 9'52
Written-By – John Hines
4    Cherokee 6'38
Written-By – Ray Noble
5    Teri's Tune 8'00
Written-By – Teri Thornton
6    Little John 7'30
Written-By – John Hines
Credits :
Bass – Wilbur Ware
Drums – Philly Joe Jones
Piano – Kenny Drew
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Johnny Griffin

JOHNNY GRIFFIN - The Man I Love (1967-1988) FLAC (tracks+.cue), lossless

Teamed up with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert "Tootie" Heath for a club date at Copenhagen's Montmartre in 1967 (reissued on CD by Black Lion), the great tenor saxophonist Johnny Griffin really stretches out on four numbers: "The Man I Love," "Hush-A-Bye," "Blues for Harvey" and a memorable version of "The Masquerade Is Over." Griffin shows why he was early on billed as "the world's fastest tenor" although he also displays warmth on "Sophisticated Lady." A fine example of Griffin's underrated talents. Scott Yanow
Tracklist :
1     The Man I Love 12'18
George Gershwin / Ira Gershwin
2     Hush-A-Bye 9'16
Traditional
3     Blues for Harvey 12'29
Johnny Griffin
4     The Masquerade Is Over 12'58
Herbert Magidson / Allie Wrubel
5     Sophisticated Lady 5'44
Duke Ellington / Irving Mills / Mitchell Parish
6     Wee 2'17
Denzil Best
Credits :
Bass – Nils-Henning Ørsted Pedersen
Drums – Al Heath
Piano – Kenny Drew
Tenor Saxophone – Johnny Griffin

JOHNNY GRIFFIN QUARTET - Blues for Harvey (1973-1990) FLAC (tracks+.cue), lossless

Johnny Griffin is heard in a pair of dates recorded in 1972 at Jazzhus Montmartre in Copenhagen, joined by fellow American expatriates Kenny Drew and Ed Thigpen, along with bassist Mads Vinding. Most of this album is devoted to Griffin's originals. His piercing, extended blues "That Party Upstairs" is followed by a somber ballad "Alone Again" (not the bland Gilbert O'Sullivan pop hit "Along Again (Naturally)," as listed in some discographies). His remake of his early composition "Soft and Furry" features Vinding's delightful arco bass in octave unison with Griffin's tenor sax. The furious uptempo "Blues for Harvey" gives way to a turbulent pair of choruses of Thelonious Monk's "Rhythm-A-Ning." There are some exciting moments, but overall, this live record falls just a bit short of essential for hard bop fans. Ken Dryden
Tracklist :
1     That Party Upstairs 14'42
Johnny Griffin
2     Alone Again 8'42
Johnny Griffin
3     Sound Track Blues 6'13
Johnny Griffin
4     Theme 0'26
Traditional
5     Soft and Furry 11'34
Johnny Griffin
6     Blues for Harvey 12'53
Johnny Griffin
7     Rhythm-A-Ning (Theme) 2'36
Thelonious Monk / Traditional
Credits :
Bass – Mads Vinding
Drums – Ed Thigpen
Piano – Kenny Drew
Tenor Saxophone – Johnny Griffin

JOHNNY GRIFFIN QUARTET ft. KENNY DREW - Catharsis! (1989-1999) FLAC (tracks), lossless

Johnny Griffin had already been living in Europe for 16 years by the time of this club date with fellow expatriate Kenny Drew, along with bassist Jens Melgaard and drummer Ole Streenberg, and the hard-blowing tenor saxophonist enjoys stretching out on a set that primarily features standards. An explosive "Just Friends" opens the evening, followed by a loping and very long (but never dull) "If I Should Lose You." The Danish folk song "Hush-a-Bye," which was also a favorite of fellow tenor saxophonist Stan Getz, is heard in an arrangement that Griffin co-wrote with frequent collaborator Niels-Henning Orsted Pedersen. Griffin's up-tempo "Slukefter Blues" sounds like a perfect set closer, but there's more to come with a dreamy treatment of the lovely ballad "Isfahan" and the blazing, somewhat squawking treatment of Thelonious Monk's "Rhythm-a-Ning." This well-recorded live CD will greatly appeal to hard bop fans. Ken Dryden
Tracklist :
1     Just Friends 8'40
John Klenner / Sam M. Lewis
2     If I Should Loose You 14'06
Ralph Rainger / Leo Robin
3     Hush-A-Bye 13'24
Traditional
4     Slukefter Blues 14'45
Johnny Griffin
5     Isfahan 12'15
Duke Ellington / Billy Strayhorn
6     Rhythm-A-Ning 5'45
Thelonious Monk
Credits :
Bass – Jens Melgaard
Drums – Ole Streenberg
Piano – Kenny Drew
Tenor Saxophone – Johnny Griffin

ART FARMER - Farmer's Market (1956-2007) RVG Remasters | APE (image+.cue), lossless

In 1956, trumpeter Art Farmer was teamed with tenor saxophonist Hank Mobley and pianist Horace Silver in one of the most vital and important modern jazz groups of the seminal hard bop era. But it was Farmer here who was emerging as a leader, with Mobley tagging along on this excellent date. Not to say that Mobley was a slouch, and indeed far from it as a peer of Sonny Rollins and John Coltrane. Fact is, Mobley led the band with Farmer and Silver, but achieved his greatest acclaim alongside trumpeters Lee Morgan, and eventually Miles Davis. For Farmer, this recording was a coming out party, establishing him not only as a fine player, but a composer who lyricists were attracted to. "Farmer's Market" with its by now immortal swift hard bop melody and harmony courtesy of the Farmer/Mobley tandem, and the languid ballad "Reminiscing" with Mobley out but pianist Kenny Drew adding reinforcement a hundredfold, were covered vocally later on by Annie Ross and Earl Coleman respectively. Twin brother Addison Farmer stokes the coals on bass for the hard swinging "Wailin' with Hank," goes for a cool blues groove as the horns play a unison line on "Ad-Dis-Un," and strokes a bluesy swing during "By Myself" as another feature for the trumpeter, in this case with mute, and Mobley sitting out. Drummer Elvin Jones, who sounds like a more sensitive rhythm pilot instead of the powerhouse he would become with John Coltrane, plays his role as an intent listener and firm contributor without pushing the envelope. His style on the recording deserves a close inspection, vis à vis what he would become a decade later. Considering this is early period Farmer, and that his work after leaving the U.S. for Europe led him to playing the softer toned flugelhorn and trumpet exclusively, it is an important document in his legacy, comparing favorably alongside peers Clifford Brown, Miles Davis, and an also emerging Donald Byrd or Lee Morgan. Michael G. Nastos
Tracklist :
1     With Prestige 5'13
Kenny Drew
2     Ad-Dis-Un 6'22
Kenny Drew
3     Farmer's Market 5'50
Art Farmer
4     Reminiscing 4'57
Gigi Gryce
5     By Myself 7'03
Howard Dietz / Arthur Schwartz
6     Wailin' with Hank 7'13
Hank Mobley
Credits :
Bass – Addison Farmer
Drums – Elvin Jones
Piano – Kenny Drew
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Art Farmer

ART FARMER QUINTET - Manhattan (1985) FLAC (tracks+.cue), lossless

Art Farmer added a bit of a different twist for these 1981 studio sessions, including baritone saxophonist Sahib Shihab with him in the front line, along with fellow expatriate Americans Kenny Drew (piano) and Ed Thigpen (drums), plus bassist Mads Vinding. Drew contributed the first two songs, including the boisterous mid-tempo opener "Context" and the brisk blues "Blue Wail," both top-notch features for Farmer and Shihab. The intricate take of Charlie Parker's "Passport" and Bennie Wallace's inventive "Back Door Beauty" find Shihab switching to soprano sax. The only standard is a lush take of "Manhattan," showcasing the leader's lyrical flugelhorn. This release is a little short by CD standards, clocking under 40 minutes, but it will be of great interest to fans of Art Farmer. Ken Dryden
Tracklist :
1     Context 6'53
Kenny Drew
2     Blue Wail 5'06
Kenny Drew
3     Manhattan 6'50
Lorenz Hart / Richard Rodgers
4     Passport 6'48
Charlie Parker
5     Arrival 6'51
Horace Parlan
6     Back Door Beauty 6'17
Bennie Wallace
Credits :
Bass – Mads Vinding
Drums – Ed Thigpen
Flugelhorn – Art Farmer
Piano – Kenny Drew
Soprano Saxophone, Baritone Saxophone – Sahib Shihab

CHET BAKER - Chet Baker Sings It Could Happen to You (1958-2010) Original Jazz Classics Remasters / FLAC (tracks+.cue), lossless

The ultra-hip and sophisticated "cool jazz" that Chet Baker (trumpet/vocals) helped define in the early '50s matured rapidly under the tutelage of producer Dick Bock. This can be traced to Baker's earliest sides on Bock's L.A.-based Pacific Jazz label. This album is the result of Baker's first sessions for the independent Riverside label. The Chet Baker Quartet featured on Chet Baker Sings: It Could Happen to You includes Kenny Drew (piano), Sam Jones (bass), and Philly Joe Jones (drums). (Performances by bassist George Morrow and drummer Dannie Richmond are featured on a few cuts.) This results in the successful combination of Baker's fluid and nonchalant West Coast delivery with the tight swinging accuracy of drummer Jones and pianist Drew. Nowhere is this balance better displayed than the opening and closing sides on the original album, "Do It the Hard Way" and "Old Devil Moon," respectively. One immediate distinction between these vocal sides and those recorded earlier in the decade for Pacific Jazz is the lissome quality of Baker's playing and, most notably, his increased capacity as a vocalist. The brilliant song selection certainly doesn't hurt either. This is an essential title in Chet Baker's 30-plus year canon. [Some reissues contain two bonus tracks, "I'm Old Fashioned" and "While My Lady Sleeps"].  by Lindsay Planer
Tracklist :
1   Do It The Hard Way  3:00
Written-By – Rodgers & Hart
2   I'm Old Fashioned  5:04
Written-By – Kern, Mercer
3   You're Driving Me Crazy  2:54
Written-By – Walter Donaldson
4   It Could Happen To You  2:50
Written-By – Burke-Van Heusen
5   My Heart Stood Still  3:26
Written-By – Rodgers & Hart
6    The More I See You  3:03
Written-By – Warren, Gordon
7   Everything Happens To Me  5:02
Written-By – Matt Dennis, Tom Adair
8   Dancing On The Ceiling  3:06
Written-By – Rodgers & Hart
9  How Long Has This Been Going On?  4:07
Written-By – George & Ira Gershwin
10    Old Devil Moon 2:58
Written-By – Lane, Harburg
11    While My Lady Sleeps (Take 10) 4:22
Written-By – Kaper, Kahn
12    You Make Me Feel So Young (Take 5) 3:41
Written-By – Myrow, Gordon
13    The More I See You (Take 8) 2:51
Written-By – Warren, Gordon
14    Everything Happens To Me (Take 2) 4:51
Written-By – Dennis, Adair
Credits :
Bass – George Morrow (faixas: 1, 2, 5, 7, 8, 14), Sam Jones (faixas: 3, 4, 6, 9 to 13)
Drums – Philly Joe Jones (faixas: 1, 2, 5 to 8, 10 to 14), Dannie Richmond (faixas: 3, 4, 9)
Piano – Kenny Drew
Trumpet, Vocals – Chet Baker

TINA BROOKS — Back to the Tracks (1960-1993) The BN Works 4000 Series | FLAC (tracks+.cue), lossless

The music that comprises Back to the Tracks was recorded in September 1960, months after the sessions for True Blue, but it sat on the shelves until Mosaic reissued it as part of their Complete Blue Note Recordings box, even though it was penciled in for release. Like Minor Move, Tina Brooks first session that stayed unreleased for over 20 years, Back to the Tracks is an excellent hard bop set, and it's hard to understand why it wasn't released at the time. Brooks leads a fantastic band featuring alto saxophonist Jackie McLean, trumpeter Blue Mitchell, pianist Kenny Drew, bassist Paul Chambers and drummer Art Taylor through three originals and two standards. Each musician has opportunity to shine, but Brooks remains the center of attention. His style is remarkably fluid, capable of graceful, elegant turns on the ballads and clean, speedy improvisations on the up-tempo bop. Each of the five songs have breathtaking moments, confirming Brooks talents as a saxophonist, composer and leader. Listening to Back to the Tracks, it's impossible to figure out why the record wasn't released at the time, but it's a hard bop gem from the early '60s to cherish. Stephen Thomas Erlewine  
Tracklist :
1     Back to the Tracks 8:00
Tina Brooks
2     Street Singer 10:17
Tina Brooks
3     The Blues and I 8:52
Tina Brooks
4     For Heaven's Sake 6:01
Elise Bretton / Sherman Edwards / Don Meyer / Donald Meyer / Sherman Edwards & Donald Meyer
5     The Ruby and the Pearl 5:05
Ray Evans / Jay Livingston
Credits :
Alto Saxophone – Jackie McLean
Bass – Paul Chambers
Drums – Art Taylor
Piano – Kenny Drew
Tenor Saxophone – Tina Brooks
Trumpet – Blue Mitchell

KARIN KROG & DEXTER GORDON - Some Other Spring, Blues And Ballads (1970-2000) FLAC (tracks+.cue), lossless

The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen, and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended. Scott Yanow
Tracklist  
1 Some Other Spring 5:02
Composed By – Hertzog, Wilson
2 Blue Monk 3:57
Composed By – Lincoln, Monk
3 How Insensitive 4:37
Composed By – Jobim, Gimbel
4 Blue Eyes 4:53
Composed By – Egerbladh, Krog
5 Jelly Jelly 4:58
Composed By – Eckstein, Hines
Tribute To Jimmy Scott
6 I Wish I Knew 5:25
Composed By – Warren, Gordon
7 Everybody's Somebody's Fool 4:41
Composed By – Adams, Hampton
8 Shiny Stockings 3:49
Composed By – Foster, Hendricks
9 Ode To Billy Joe 8:20
Composed By – Gentry
10 Some Other Spring (Alternate) 4:27
Composed By – Hertzog, Wilson
11 Blue Monk (Alternate) 4:04
Composed By – Lincoln, Monk
12 Shiny Stockings (Alternate) 6:54
Composed By – Foster, Hendricks
Credits
Bass – Niels-Henning Ørsted Pedersen
Drums – Espen Rud
Piano, Organ – Kenny Drew
Tenor Saxophone, Vocals – Dexter Gordon
Vocals – Karin Krog