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).

GENE AMMONS – 1949-1950 | The Chronogical Classics – 1329 (2003) FLAC (tracks+.cue), lossless

This leg of the Gene Ammons chronology begins with two pretty vocals by Christine Chapman. Jug is in the background, offering emotional support through the tenor sax. These tidbits are soon forgotten as several powerful blowing sessions unfold. The lush, theatrical renditions of "Ev'rything Depends on You" and "When You're Gone" are thrilling examples of where the jazz ballad was at in 1949. The elegant boppish swing of "Hot Springs" is liberating. "Little Slam" eventually reveals itself as a reconstituted "King Porter Stomp." The next session is even better: "Pennies From Heaven" is all delicacy and beatitude. "The Last Mile," also known as "Rockin' Rocker," does an impressive slow grind on simple blues changes. "Cha-Bootie" is definitive swaggering Gene Ammons, full of soul. During "Full Moon" the band bursts all restraints and lunges forward with horns blazing. On March 5th 1960, Ammons started laying down thunder tracks for the Prestige label. "Bye Bye" sounds like "Soft Winds" with salt and Tabasco. Ammons leads a hand-clapping moralistic singalong called "Let It Be." That's Sonny Stitt blowing down a baritone sax. He comes round front, switches to tenor and duels with Ammons on "Blues Up and Down," a showpiece that would be revived by Johnny Griffin and Eddie "Lockjaw" Davis during the early 1960s. How cool it is to hear the original version of this two-sax workout, followed by a brisk "You Can Depend On Me"? Great rhythm section in Duke Jordan, Tommy Potter and "Kansas City" Jo Jones. Teddy Williams must have opened his mouth abnormally wide when he sang with this band. It's kind of outrageous, like he's doing Billy Eckstine impressions. On "Dumb Woman Blues" his chortling makes a bit more sense but he's still really loud and overbearing. For this kind of singing, Eddie "Cleanhead" Vinson would be preferable. The Prestige rendering of "Chabootie" is a marvel of precision. Stitt was a capable baritone player, and Art Blakey has appeared as a worthy successor for Jones. "Who Put the Sleeping Pills in Rip Van Winkle's Coffee?" is surprisingly stupid, and no amount of hot blowing can rescue the song from itself after Gene leads the band in a stilted singalong. The melody is a turkey, which explains why this track rarely appears on reissues. "Gravy" is immediately recognizable as "Walkin'," that great durable anthem of hard bop. Once again, Stitt's baritone is a bitch. "Easy Glide" sparkles with a vintage early-'50s show time arrangement, very theatrical. The disc closes out with four sides issued on the Chess label. While "Tenor Eleven" is pleasantly stimulating, Jug really finds himself in the ballad groove with the help of primitive reverb and maybe something else to steady the nerves and enhance his mood. Three ballads and you're out. arwulf arwulf       Tracklist + Credits :

GENE AMMONS – 1950-1951 | The Chronogical Classics – 1367 (2004) FLAC (tracks+.cue), lossless

Tracklist + Credits :

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

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

ERSKINE HAWKINS AND HIS ORCHESTRA – 1946-1947 | The Chronogical Classics – 1008 (1998) FLAC (tracks+.cue), lossless

Although by 1946 Erskine Hawkins no longer had any hit records in the future (1945's Tippin' In was his last one), his orchestra was still one of the best in jazz. Most of the 22 selections on this 1998 CD (the sixth in Classics' complete Hawkins series) are obscure but quite worthwhile. There are vocals on 13 of the songs (four by Jimmy Mitchelle, one from Ruth Christian, Ace Harris sounding spirited on "Well Natch," and seven easy-to-take vocals by Laura Washington) but it is the nine instrumentals that take honors. Although there are hints of bebop in the later records from 1947, most of the music on this CD is still very much in the swing vein. Taken as a whole, there is ample evidence here for the Erskine Hawkins Orchestra to be rated as one of the finest (and most underrated) big bands of the 1946-47 period. The key soloists in the orchestra are Hawkins and Sammy Lowe on trumpets, Matthew Gee on trombone, altoist Bobby Smith, Julian Dash on tenor, and baritonist Haywood Henry who is often heard on clarinet. Highlights include "Sneakin' Out," "Feelin' Low," "Needle Points," and "Lazy Blues." Recommended. 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 :

ARCHIE SHEPP - Kwanza (1974-2006) RM | Serie : Impulse! Originals | FLAC (tracks+.cue), lossless

Kwanza is a curious Archie Shepp recording. Released in 1969 on Impulse, it features cuts recorded between September 1968 and August 1969 with an assortment of lineups. Four of the album's five cuts were produced by Bob Thiele, and one, "Slow Drag," by Ed Michel. Shepp composed three tunes here, and he is in the company of musicians such as Grachan Moncur III (who composed "New Africa"), Jimmy Owens, Dave Burrell, Wally Richardson, Bob Bushnell, Bernard Purdie and Beaver Harris, Leon Thomas, Charles Davis, Woody Shaw, Cedar Walton, Wilbur Ware, Joe Chambers, Cecil Payne, and others. As the title might suggest, Kwanza is a joyful record, full of celebration in blues and jazz. "Back Back" opens the set with a colossal funky blues that feels like an out version of the JB's with Burrell kicking it on B-3. The all-too-brief "Spoo Dee Doo," showcases Thomas' unique, and truly awesome vocal stylings along with Tasha Thomas and Doris Troy providing a swinging backing R&B chorus. "New Africa" is the most vanguard track here, with a different rhythm section than on "Back Back," and no guitar, Burrell returns to his piano. It begins in a manner that suggests anger, but not rage. It becomes an edgeless, rounded meditation on joy and gratitude, a statement of purpose at realization and transcendence with Shepp, Owens. and Davis playing alongside Moncur as a monumental choral line in timbres; textures, big harmonic reaches and ultimately resolution. "Slow Drag," is a funky blues tune, it struts a minor key line that feels like a mutated "Wade in the Water," but its Latin rhythms and the killer bass work of Wilbur Ware make the cut a standout. The set closes with Cal Massey's "Bakai," a tune that walks a fringed line on the inside and swings like mad. Kwanza may not be one of Shepp's better known recordings, but it is certainly one of his fine ones.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Back Back 5'45
Alto Saxophone – James Spaulding
Baritone Saxophone – Charles Davis
Bass – Bob Bushnell
Composed By – Archie Shepp
Drums – Bernard Purdie
Guitar – Wally Richardson
Organ – Dave Burrell
Tenor Saxophone – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens    
2     Spoo Dee Doo 2'38
Bass – Albert Winston
Composed By – Archie Shepp
Drums – Beaver Harris
Flute – Robin Kenyatta
Guitar – Bert Payne
Piano – Andrew Bey
Tenor Saxophone – Archie Shepp
Trumpet – Martin Banks
Vocals – Doris Troy, Leon Thomas, Tasha Thomas
3     New Africa 12'50
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Composed By – Grachan Moncur III
Drums – Beaver Harris
Piano – Dave Burrell
Tenor Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens
4     Slow Drag 10'09
Alto Saxophone – Clarence Sharpe
Baritone Saxophone – Cecil Payne
Bass – Wilbur Ware
Composed By – Archie Shepp
Drums – Joe Chambers
Piano – Cedar Walton
Tenor Saxophone – Archie Shepp
Trombone – Matthew Gee
Trumpet – Woody Shaw
5     Bakai 9'59
Baritone Saxophone – Charles Davis
Bass – Walter Booker
Composed By – Cal Massey
Drums – Beaver Harris
Piano – Dave Burrell
Tenor Saxophone, Vocals – Archie Shepp
Trombone – Grachan Moncur III
Trumpet – Jimmy Owens

LOU DONALDSON - Quartet / Quintet / Sextet (1957-1999) RM | MONO | 24 Bit By RVG | FLAC (tracks+.cue), lossless

Since Quartet/Quintet/Sextet is Lou Donaldson's first full-length album, it's not surprising that it captures the alto saxophonist at the height of his Charlie Parker influence. Throughout the album -- on CD, the collection features all the music on the 12" LP, music from its 10" incarnation, and three alternate takes -- Donaldson plays in a straight bop vein, whether on up-tempo swingers or ballads. Most of the songs on the collection are standards, with a couple of fine originals from Donaldson and pianist Horace Silver spicing the mix; in particular, Silver's rollicking, Latin-tinged "Roccus" is a standout. While Donaldson's tone isn't quite as full as it would be within just five years, he impresses with his bold, speedy technique and fine phrasing. He doesn't play anything out of the ordinary, but he plays it very, very well, and his playing is enhanced by the three stellar bands that support him on these sessions. Among his fellow musicians on Quartet/Quintet/Sextet are Silver, bassist Gene Ramey, drummer Art Taylor, trumpeter Blue Mitchell, pianist Elmo Hope, and trumpeter Kenny Dorham. Everyone plays in a straight bop and hard bop tradition, contributing fine performances to a strong debut effort by Donaldson. Stephen Thomas Erlewine  
Tracklist :
1     If I Love Again 2:41
Jack Murray / Ben Oakland    
2     Down Home 3:21
Lou Donaldson    
3     The Best Things in Life Are Free 3:26
Lew Brown / Buddy DeSylva / Ray Henderson
4     Lou's Blues 3:44
Lou Donaldson    
5     Cheek to Cheek 3:04
Irving Berlin    
6     Sweet Juice 3:32
Horace Silver    
7     The Stroller 5:38
Lou Donaldson    
8     Roccus 3:27
Horace Silver    
9     Caracas 6:02
Lou Donaldson    
10     Moe's Bluff 5:08
Elmo Hope
Credits :
Alto Saxophone – Lou Donaldson
Bass – Gene Ramey, Percy Heath
Drums – Art Blakey, Arthur Taylor
Piano – Elmo Hope, Horace Silver
Recorded By [Recording By], Remastered By – Rudy Van Gelder
Trombone – Matthew Gee
Trumpet – Blue Mitchell, Kenny Dorham

JOHNNY GRIFFIN ORCHESTRA - The Big Soul-Band (1960-1990) RM | FLAC (tracks+.cue), lossless

Tenor-saxophonist Johnny Griffin is showcased with a ten-piece group on this CD reissue of a Riverside LP which is augmented by a previously unreleased version of "Wade in the Water." The repertoire is a bit unusual with some spirituals (including "Nobody Knows the Trouble I've Seen" and "Deep River"), a tune apiece by Bobby Timmons ("So Tired") and Junior Mance, and three originals from Norman Simmons who arranged all of the selections. Trumpeter Clark Terry and trombonists Matthew Gee and Julian Priester have some short solos but the emphasis is on the leader who is in typically spirited and passionate form. Scott Yanow
Tracklist :
1     Wade in the Water (Alternate Take) 3'51
Traditional
2     Wade in the Water 3'47
Traditional
3     Panic Room Blues 4'37
Norman Simmons
4     Nobody Knows the Trouble I've Seen 2'43
Traditional
5     Meditation 8'21
Norman Simmons
6     Holla 3'39
Norman Simmons
7     So Tired 6'38
Bobby Timmons
8     Deep River 5'29
Traditional
9     Jubilation 3'57
Junior Mance
Credits :
Alto Saxophone – Frank Strozier, Pat Patrick (pistas: 1, 2, 3, 8)
Arranged By – Norman Simmons
Baritone Saxophone – Charlie Davis
Bass – Bob Cranshaw (pistas: 1, 2, 3, 8), Vic Sproles (pistas: 4 to 7, 9)
Celesta – Bobby Timmons (pistas: 4)
Drums – Charlie Persip
Piano – Bobby Timmons (pistas: 5), Harold Mabern (pistas: 1 to 4, 6 to 9)
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Edwin Williams, Johnny Griffin
Trombone – Julian Priester, Matthew Gee
Trumpet – Bob Bryant, Clark Terry

JOHNNY GRIFFIN & MATHEW GEE - Soul Groove (1963-2012) RM | Jazz Best Collection 1000 | FLAC (tracks+.cue), lossless

The music seldom reaches ignition point on this undistinguished 1965 session. Co-leader Johnny Griffin has many more valuable items in his discography. While not as well-known as Griffin, the same can be said of trombonist Matthew Gee, whose resumé includes work with Dizzy Gillespie, Count Basie, and Duke Ellington and whose style straddles swing and bop (this was actually one of only two dates where Gee recorded as a leader).

Soul Groove disappoints in several areas, including the writing that seldom surpasses head-arrangement status. Drummer Art Taylor and bassist Aaron Bell plug away purposefully, but in a mix that blunts the personalities of their playing. The co-leaders' contributions also pass in a blur. Tenor and trombone front lines can work, but here the tone of the two instruments is too similar; Griffin and Gee's solos tend to drift and smear over one another.

Organist John Patton is on three tracks, pianist Hank Jones on four, and Jones, again, is on organ for one track. The presence of Jones and Patton looks promising, but the shuffling between the two and between organ and piano actually adds to the session's lack of focus. Jones has occasional moments of sparkle at the piano, but like his rhythm section colleagues, he often suffers from indifferent treatment in the mix. The best tracks end up being the three with Patton, as all hands settle in for the familiar pleasures of organ combo-style blowing. Jim Todd  
Tracklist :
1     Oh Gee 2'21
Matthew Gee
2     Here 5'10
Gerry Beckley / Matthew Gee
3     At Sundown 4'51
Lou Donaldson    
4     The Swingers Get the Blues, Too 8'00
Duke Ellington / Matthew Gee
5     Twist City 5'22
Matthew Gee
6     Poor Butterfly 4'59
John Golden / Raymond Hubbell    
7     Mood for Cryin' 4'42
Matthew Gee / Johnny Griffin          
8     Renee 5'18
Matthew Gee
Credits :
Bass – Aaron Bell (pistas: 1-3, 5-8)
Congas, Bongos – Carlos "Patato" Valdes
Drums – Art Taylor
Organ – Hank Jones (pistas: 2,6), John Patton (pistas: 1,5,8)
Piano – Hank Jones (pistas: 3,4,7)
Tenor Saxophone – Johnny Griffin
Trombone – Matthew Gee
Tuba – Aaron Bell (pistas: 4)