OSCAR PETERSON | MILT JACKSON — Two Of The Few (1983-1992) RM | FLAC (tracks+.cue), lossless

This CD reissue brings back a unique duet recording featuring pianist Oscar Peterson and vibraphonist Milt Jackson. One would expect the instrumentation to feature mostly ballads, but the opposite is true as O.P. and Bags romp through quite a few uptempo pieces. Highlights include "Oh, Lady Be Good," "Limehouse Blues," "Reunion Blues," and "Just You, Just Me." This is a successful and highly enjoyable outing. Scott Yanow
Tracklist :
1        Lady Be Good 7:54
Written-By – George & Ira Gershwin
2        If I Had You 4:27
Written-By – James Campbell, Reginald Connelly, Ted Shapiro
3        Limehouse Blues 4:28
Written-By – Douglas Furber, Philip Braham
4        Mister Basie 5:54
Written-By – Oscar Peterson
5        Reunion Blues 5:12
Written-By – Milt Jackson
6        More Than You Know 6:35
Written-By – Billy Rose, Edward Eliscu, Vincent Youmans
7        Just You, Just Me 5:07
Written-By – Jesse Greer, Raymond Klages
8        Here's Two Of The Few 5:56
Written-By – Milt Jackson
Credits :
Piano – Oscar Peterson
Vibraphone [Vibes] – Milt Jackson

MILT JACKSON — A London Bridge (1988) APE (image+.cue), lossless

One of three albums of material recorded by the Milt Jackson Quartet (which consisted of pianist Monty Alexander, bassist Ray Brown and drummer Mickey Roker) during a stay at Ronnie Scott's Club in London, this excellent set features the veterans playing in their usual style (bop, blues and ballad) but with a fresher repertoire than usual including "Impressions," "Good Bait" and Alexander's "Reggae/Later." The pianist often steals the show on this fine set; all three records from this gig are easily recommended. Scott Yanow
Tracklist :
1    Impressions    5:40
 John Coltrane
2    Flamingo    5:22
 Ted Grouya / Milt Jackson
3    Eleuthera    7:11
 Monty Alexander
4    Good Bait    5:23
 Count Basie / Tadd Dameron
5    FSR    6:20
 Ray Brown
6    Reggae/Later    6:49
 Monty Alexander
7    Close Enough For Love    7:23
 Johnny Mandel / Paul Williams
8    Captain Bill    7:27
 Ray Brown
Credits :
Bass – Ray Brown
Drums – Mickey Roker
Piano – Monty Alexander
Vibraphone – Milt Jackson

THE MODERN JAZZ QUARTET — The Complete Modern Jazz Quartet Prestige & Pablo Recordings (2003) 4CD BOX-SET | FLAC (image+.cue), lossless|

In typical Fantasy Records aplomb, this four-CD set collects the eight albums which the Modern Jazz Quartet either mentored or collaborated on during their tenure at the commencement and nadir of their reign as jazz's premier chamber ensemble. Beginning with the 1952 issue of Modern Jazz Quartet/Milt Jackson Quintet recording (the earlier Milt Jackson Quartet sides are not here for obvious reasons, as the band did not commence its fully developed form on them) featuring original drummer Kenny Clarke before Connie Kay replaced him, and ending with This One's For Basie in 1985; the association the MJQ had with Prestige was a monumental one. Signified on the band's first full-length outing included here, Django, were the quiet power and majesty the group would later showcase on its Atlantic recordings, MJQ, Fontessa, and the soundtrack for No Sun In Venice. More importantly, the band's run on Prestige showcased not only the roots of the chamber jazz sound, but a harder-edged swing than was displayed on the more expansive recordings on Atlantic. From the almost novel and humorous asides of "The Queen's Fancy," to the funkier, grittier side of the band displayed with Sonny Rollins as a guest on "No Moe," MJQ were always about swing and blues. Discs One and Two showcase the early days of the band on their debut, Django, with Sonny Rollins and Concorde recordings. Concorde is a pinnacle, and reveals John Lewis' writing and arranging to have opened up and embraced all of classical music's dynamic spectrum, while keeping the restraint of swing and the expressionism of the blues in full view. The more regal sound is the one that informed virtually all of the group's Atlantic sides in the years to come. But Concorde and Django are simply two of the first recordings that the label issued during the early 1950s. Discs Three and Four represent four Pablo albums: The Reunion at Budokan in 1981, Together Again at Montreux Jazz in 1982, Echoes from 1984, and finally, This One's For Basie. These sides offer a much more mannered and ritualistic side of MJQ, one that had its critics but nonetheless swung hard and took chances, particularly in their live encounters. There is a caveat, however, as has become typical of the Fantasy boxed sets: Perhaps they should be titled the complete "released" recordings, since there is only one unreleased track in the bunch, the deep sixed 16th alternate take of "Rockin' In Rhythm," from Topsy: This One's For Basie. Really, what is the label waiting for? Fans, no doubt, have most if not all of this material anyway, and there needs to be -- besides an excellent package, sets of liner notes by Eugene Holley and Chris Sheridan -- a definitive edition that includes the process-takes this band recorded to get to the final version: MJQ were nothing if not perfectionists. Still, it's a somewhat small complaint to have all of this material in one place and juxtaposed so brilliantly between the young jazz rebels and the celebrated masters.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1 All The Things You Are 3:15
 Kern, Hammerstein
2 La Ronde 3:08
 John Lewis
3 Vendome 3:12
 John Lewis
4 Rose Of The Rio Grande 2:12
 Leslie, Warren, Gorman
5 The Queen's Fancy 3:12
 John Lewis
6 Delaunay's Dilemma 3:57
 John Lewis
7 Autumn In New York 3:38
 Vernon Duke
8 But Not For Me 3:44
 Gershwin Gershwin
9 In A Sentimental Mood 3:16
 Duke Ellington
10 The Stopper 2:55
 Sonny Rollins
11 Almost Like Being In Love 3:21
 Lerner Loewe
12 No Moe 3:27
 Sonny Rollins
13 Django 7:03
 John Lewis
14 One Bass Hit 2:59
 Gillespie, Fuller, Brown
15 Milano 4:21
 John Lewis
16 La Ronde Suite 9:25
 John Lewis
17 Ralph's New Blues 7:09
 Milt Jackson
18 All Of You 4:26
 Cole Porter
Tracklist 2 :
1 I'll Remember April 5:07
 Raye, De Paul, Johnston
2 Gershwin Medley (Soon/For You, For Me, For Evermore/Love Walked In/love Is Here To Stay) 7:55
 Gershwin Gershwin
3 Concorde 3:38
 John Lewis
4 Softly, As In A Morning Sunrise 7:57
 Hammerstein, Romberg
5 Softly, As In A Morning Sunrise 5:53
 Hammerstein, Romberg
6 The Cylinder 5:01
 Milt Jackson
7 Really True Blues 5:19
 Milt Jackson
8 The Golden Striker 5:47
 John Lewis
9 Odds Against Tomorrow 8:29
 John Lewis
10 The Jasmine Tree 3:29
 John Lewis
11 Bags' Groove 5:19
 Milt Jackson
12 Django 5:12
 John Lewis
13 Django 5:25
 John Lewis
Tracklist 3 :
1 The Jasmine Tree 4:42
 John Lewis
2 Odds Against Tomorrow 8:53
 John Lewis
3 The Cylinder 5:12
 Milt Jackson
4 The Martyr 8:43
 Milt Jackson
5 Really True Blues 5:39
 Milt Jackson
6 Monterey Mist 4:05
 Milt Jackson
7 Bags' New Groove 4:15
 Milt Jackson
8 Woody'n You 3:47
 Dizzy Gillespie
9 Echoes 7:08
 Milt Jackson
10 The Watergate Blues 6:04
 Percy Heath
11 The Hornpipe 8:16
 John Lewis
12 Connie's Blues 7:21
 Milt Jackson
Tracklist 4 :
1 Sacha's March 7:54
 John Lewis
2 That Slavic Smile 8:00
 John Lewis
3 Reunion Blues 4:09
 Milt Jackson / John Lewis
4 D And E (Take 5) 9:43
 John Lewis
5 Rockin' In Rhythm (Take 16) 7:30
 Ellington, Carney, Mills
6 Valeria 6:46
 John Lewis
7 Le Cannet 8:16
 John Lewis
8 Nature Boy 5:03
 Eden Ahbez
9 Milano 5:50
 John Lewis
10 Topsy 4:40
 Durham, Battle
11 D And E (Re-take 1) 8:27
 John Lewis
Credits :
Bass – Percy Heath
Drums – Connie Kay (tracks: 1-17 to 4-11), Kenny Clarke (tracks: 1-01 to 1-16)
Piano – John Lewis
Tenor Saxophone – Sonny Rollins (tracks: 1-09 to 1-12)
Vibraphone – Milt Jackson

RAY BROWN — With The All-Star Big Band ft. Cannonball Adderley + Ray Brown & Milt Jackson (2012) RM | SHM-CD | Two Original Albums On One CD | FLAC (image+.cue), lossless

Tracklist & Credits : 

1-9 With The All-Star Big Band
10-17 Ray Brown / Milt Jackson

RAY BROWN | MILT JACKSON — Much In Common + All-Star Big Band (1996) 2xCD | Serie Verve Take 2 | APE (image+.cue), lossless

Tracklist & Credits :

MILT JACKSON & RAY BROWN JAM — Montreux '77 (1977-1985) Serie Polydor Jazz CD Fair, Montreux '77 | FLAC (image+.cue), lossless

Tracklist & Credits :

CANNOBALL ADDERLEY WITH MILT JACKSON — Things Are Getting Better (1958-2013) RM | MONO | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] Lindsay Planer 
Tracklist :
1 Blues Oriental 5:01
Written-By – Milt Jackson
2 A Few Words 0:44 *
3 Things Are Getting Better 7:14
Written-By – Adderley, Langdon
4 Serves Me Right (Take 5) 4:50
Written-By – Buddy Johnson
5 Groovin' High 5:22
Written-By – Dizzy Gillespie
6 The Sidewalks Of New York (Take 5) 7:00
Arranged By – J. Adderley
Written-By – Lawlor, Blake
7 Sounds For Sid 6:27
Written-By – Julian Adderley
8 Just One Of Those Things 6:48
Written-By – Cole Porter
9 Serves Me Right (Take 4) 4:38 *
Written-By – Buddy Johnson
10 The Sidewalks Of New York (Take 4) 5:15 *
* – BONUS TRACKS –
Not on original lp (mono)
Credits :
Alto Saxophone – Cannonball Adderley
Bass – Percy Heath
Drums – Art Blakey
Piano – Wynton Kelly
Vibraphone – Milt Jackson

MILT JACKSON — Ballads & Blues (1956-2012) RM | Jazz Best Collection 1000 Series | MONO | FLAC (image+.cue), lossless

Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
The small group settings for these performances allow the players – some of the very best in jazz and all in top form – to be heard to full advantage. The guitarists are particularly effective, the crisp, cool tones of Skeeter Best, Barry Galbraith, Barney Kessel, and Kenny Burrell complementing the rich, ringing cascade from Jackson's vibes. Of note from 1956's Ballads and Blues are two performances with tenor saxophonist Lucky Thompson. These will be appreciated by anyone who has enjoyed Jackson's work with Thompson on the Savoy label. The 1956 date also has three Ralph Burns arrangements that augment the players with a woodwind quintet. While neither overly lush or cloying, the oboes, etc., still don't add a lot to what the core group has to say.
Tracklist :
1    So In Love 3:11

Written-By – Cole Porter
2    These Foolish Things 4:26
Written-By – Harry Link, Holt Marvell
3    Solitude 4:39
Written-By – Duke Ellington, Eddie de Lange, Irving Mills
4    The Song Is Ended 4:39
Written-By – Irving Berlin
5    They Didn't Believe Me 3:44
Written-By – Jerome Kern, M. E. Rourke
6    How High The Moon 6:12
Written-By – M. Lewis, Nancy Hamilton
7    Gerry's Blues 5:00
Written-By – Milt Jackson
8    Hello 3:44
Written-By – Milt Jackson
9    Bright Blues 6:11
Written-By – Milt Jackson
Personnel :
Milt Jackson – Vibes
Lucky Thompson - Tenor Saxophone (tracks 6, 8 & 9)
John Lewis - Piano (tracks 1, 3, 5, 6, 8 & 9)
Skeeter Best (tracks 6, 8 & 9), Barry Galbraith (tracks 1, 3 & 5), Barney Kessel (tracks 2, 4 & 7) – Guitar
Percy Heath (tracks 2, 4 & 7), Oscar Pettiford (tracks 1, 3, 5, 6, 8 & 9) - Bass
Kenny Clarke (tracks 1, 3, 5, 6, 8 & 9), Lawrence Marable (tracks 2, 4 & 7) – Drums

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 – 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)

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

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

THELONIOUS MONK – 1951-1952 | The Classics Chronological Series – 1430 (2007) FLAC (tracks+.cue), lossless

During a three year period following his Blue Note session of July 2, 1948, Thelonious Monk made no studio recordings as a leader. This second installment in the complete recordings of Monk as reissued in the Classics Chronological Series presents the master takes from Monk's Blue Note and Prestige sessions dating from July 23, 1951 through December 18, 1952. This portion of Monk's discography is a rich blend of 15 original compositions and five jazz standards, performed in the company of skilled improvisers like vibraphonist Milt Jackson, trumpeter Kenny Dorham, and saxophonists Lou Donaldson, Sahib Shihab, and Lucky Thompson. Monk's bassists during this 17-month period were Al McKibbon, Nelson Boyd, and Gary Mapp. His drummers were Art Blakey and Max Roach. Monk would continue to record for Prestige until September 1954; his fruitful working relationship with Riverside would commence in July 1955. By concentrating on master takes and combining the all too often separated selections from the Blue Note and Prestige catalogs, Classics has once again done a splendid job of reissuing great historic jazz recordings with a detailed disocgraphical session index and insightful liner notes that will enable the listener to better understand and fully enjoy this great music. arwulf arwulf       Tracklist :

HOWARD McGHEE – 1948 | The Classics Chronological Series – 1058 (1999) FLAC (tracks+.cue), lossless

This excellent album of vintage bop opens with seven tracks recorded in Chicago during February 1948, using members of the band that Howard McGhee was leading at Chicago's Argyle Lounge at the time. Milt Jackson and Percy Heath are heard on the first three tunes, along with an unnamed baritone saxophonist. For the second session McGhee used an entirely different band, with a tenor player who is believed to have been Kenny Mann and a rhythm section of Hank Jones, Ray Brown, and the great J.C. Heard. Billy Eckstine, who by this time had dissolved his own band and was busily pulling in an unprecedented amount of cash by making vocal pop records for MGM, blows his valve trombone alongside McGhee on this date. No vocalist is mentioned in the enclosed discography, even though someone scats up a storm from time to time. Whoever it was, he didn't sound like Eckstine. McGhee's next recording dates as a leader took place in Paris, where 13 sides were cut for the Vogue and Blue Star labels on May 15th and 18th. This band really cooked, with Jimmy Heath and Jesse Powell joining the trumpeter's front line and a rhythm section of Vernon Biddle, Percy Heath, and Specs Wright. The upbeat numbers are exceptionally well-crafted studies in modern jazz. "Denise" and "Etoile," slow and reflective, sound like the poetically charged "Portrait" studies that young Charles Mingus was already beginning to formulate on his own. The closing selections, recorded for Blue Note in New York on October 11, 1948, pair McGhee with Fats Navarro alongside alto saxophonist Ernie Henry and Milt Jackson playing both vibes and piano. Curly Russell and Kenny Clarke round off this amazing six-piece Howard McGhee Boptet. arwulf arwulf          Tracklist + Credits :

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

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

DIZZY GILLESPIE AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1168 (2003) FLAC (tracks+.cue), lossless

This entry in the Classics label Chronological series features the final recordings by Dizzy Gillespie's 1940s big band, a few jump jazz titles geared toward the R&B market, and a session in which Dizzy's trumpet is backed by a string section arranged by Johnny Richards. It is definitely a mixed bag. The big band titles are generally weak ("You Stole My Wife, You Horsethief" would never be considered a classic), as Gillespie tried hard to come up with a hit to save his orchestra. The jump titles are more fun, with "She's Gone Again" being particularly catchy. Richards' string arrangements are not very creative, although Gillespie plays well throughout. This set is not without interest overall, but is mostly for Dizzy completists and is far from essential. Scott Yanow  Tracklist :

DIZZY GILLESPIE AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1286 (2003) FLAC (tracks+.cue), lossless

This intriguing CD features trumpeter Dizzy Gillespie during a transitional period, more than a year after his 1940s bebop orchestra broke up. "We Love to Boogie" has the first commercially recorded solo of tenor saxophonist John Coltrane, four years before he joined Miles Davis. Gillespie is heard with five different small groups playing music that is both boppish and a little R&B-influenced. Three of the combos match him with baritonist Bill Graham, with Milt Jackson playing as much piano as vibes and violinist Stuff Smith guesting on one session. Highlights include "Birk's Works," Joe Carroll's vocal on "Oh, Lady Be Good," the heated two-part "The Champ," "The Bluest Blues," and Carroll and Gillespie's singing on "On the Sunny Side of the Street." The final four numbers, taken from singles cut for the Atlantic label, are particularly rare. Scott Yanow          Tracklist :

KENNY CLARKE – 1948-1950 | The Chronogical Classics – 1214 (2001) FLAC (tracks+.cue), lossless

Bebop thrived on both sides of the Atlantic during the late '40s. While some Americans treated bop as nothing more than affected "hep talk" and a way of dressing up funny, there were profound artistic innovations at the heart of this new music. Kenny Clarke helped to establish bop in Europe, and the recordings he made in Paris document a wonderful flowering of early modern jazz that would have a decisive impact on the next half century of musical evolution worldwide. Trumpeter Howard McGhee was the prime focus of a session that came at the end of a full season of recording activity during the spring of 1948. This was quite an octet in that John Lewis was the pianist, Hubert Fol and Jimmy Heath played alto saxophones, and Jesse Powell -- featured on "I'm in the Mood for Love" -- played tenor sax. Anyone who's fond of bassist Percy Heath should hear him carrying the melodic line on "Out of Nowhere." Six sides waxed for the small-time Century label in New York on January 25, 1949, resound with Milt Jackson's vibraphone -- he also doubled on piano -- and Kenny Dorham's fine trumpeting combined with the unusual tonalities of a French horn played by Julius Watkins. Furthermore, Joe Harris expanded Clarke's percussion section by handling congas and timbale. The results are something like chamber bop, dignified and progressive. "You Go to My Head" features the vibes -- Jackson makes the ballad feel like a blues -- and "Roll 'Em Bags" sounds something like "Billie's Bounce." Back in Paris, Clarke's next recording date involved Hubert Fol and a facile trombonist by the name of Nat Peck. "Iambic Pentameter," a wild feature for the drums, closely resembles "Epistrophy," while famously opinionated jazz critic Hugo Panassie's name is sent up in an adventurous bop study called "Assy Pan Assy." On March 3, 1950, Clarke participated in a remarkable session with the brothers Hubert and Raymond Fol and bassist Pierre Michelot. Their version of "Out of Nowhere" is a gem. The first version of "These Foolish Things" is so bopped up it's hard to recognize. Version number two, a feature for the bassist, is similarly veiled through harmonic reconstruction. "Those Fol-ish Things" at last reveals the melody, played on alto by Hubert Fol. These variations survive as a pleasant example of the quirkiness of the boppers. The CD closes with two excellent tracks from the spring of 1950, with Gerald Wiggins, Nat Peck, and world-class saxophonist James Moody joining the pack. arwulf arwulf       Tracklist + Credits :

SLIM GAILLARD – 1951-1953 | The Classics Chronological Series – 1437 (2007) FLAC (tracks+.cue), lossless

During the early 1950s, producer Norman Granz managed quite a number of seasoned jazz musicians with challenging personalities; these included Charlie Parker, Billie Holiday, Lester Young and Bulee "Slim" Gaillard. Each of these individuals struggled with tendencies, habits and addictions; Gaillard would outlive Bird, Pres and Lady Day but his career was beginning to unravel and he wouldn't fully regain his popularity until his London-based comeback during the '80s. Volume eight in the Classics Slim Gaillard chronology presents 19 recordings made between August 1951 and December 1953, and issued by Granz on the Mercury, Clef and Norgran labels. Although adept as both pianist and vibraphonist, Gaillard excelled primarily as a singing guitarist during the '50s. His wild sense of humor extends even unto the names of the groups represented here. They are Slim Gaillard & His Middle Europeans, Slim Gaillard & His Atomic Engineers, Slim Gaillard & His Southern Fried Orchestra, Slim Gaillard & His Bakers Dozen, Slim Gaillard & His Shintoists and Slim Gaillard & His Musical Aggregation, Wherever He May Be. Although some of the personnel remain anonymous, Granz made sure to include several master musicians in some of Gaillard's groups; these included bassist Ray Brown and trombonist Benny Green as well as Kansas City-trained saxophonists Ben Webster and Buddy Tate. The December 1952 session that resulted in "Gomen Nasai (Forgive Me)" and a cheery paean to snack food titled "Patato Chips" documents a rare occasion when vibraphonist Milt Jackson sat in at the drums. On this compilation, Gaillard presents two distinctive aspects of his public persona: the squirrelly novelty performer who was a borderline surrealist ("Yip Roc Heresy," "The Hip Cowboy," "Chicken Rhythm") and the well-oiled crooner who reinvented Billy Eckstine's romantic chortling aesthetic. Slim Gaillard obviously loved to ladle on the Grenadine, even if Mr. Hyde was invariably present, softly giggling behind a debonair layer of polished veneer. arwulf arwulf  
Tracklist :
1    Slim Gaillard And His Middle Europeans–    For You 2:57
2    Slim Gaillard And His Middle Europeans–    Yip Roc Heresy 2:33
3    Slim Gaillard And His Atomic Engineers–    The Hip Cowboy 2:45
4    Slim Gaillard And His Orchestra–    Chicken Rhythm 2:31
5    Slim Gaillard–    I Only Have Eyes For You 2:36
6    Slim Gaillard–    As You Are 2:31
7    Bulee Gaillard And His Southern Fried Orchestra–    St. Louis Blues 2:21
8    Bulee Gaillard And His Southern Fried Orchestra–    I Know What To Do 2:34
9    Slim Gaillard And His Orchestra–    Taxpayers Blues 2:28
10    Slim Gaillard And His Orchestra–    Eatin' With The Boogie 2:31
11    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    Make It Do 2:51
12    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    You Goofed 2:47
13    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    I Can't Give You Anything But Love 2:40
14    Slim Gaillard And His Musical Aggregations, Wherever He May Be–    This Is My Love 2:34
15    Slim Gaillard And His Shintoists–    Gomen Nasai (Forgive Me) 2:35
16    Slim Gaillard And His Bakers Dozen–    Potato Chips 3:07
17    Slim Gaillard And His Orchestra–    I'm In The Mood For Love 2:41
18    Slim Gaillard And His Orchestra–    Mishugana Mambo 2:22
19    Slim Gaillard And His Orchestra–    Go, Man, Go 2:43
Credits :    
Bass – Clyde Lombardi (tracks: 1 to 4), Ray Brown (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Brass – Unknown Artist (tracks: 17 to 19)
Chorus – Unknown Artist (tracks: 5)
Drums – Charlie Smith (tracks: 1 to 4), Milt Jackson (tracks: 15, 16), Unknown Artist (tracks: 17 to 19)
Orchestra – Unknown Artist (tracks: 5 to 14)
Piano – Cyril Haynes (tracks: 15, 16), Maceo Williams (tracks: 1 to 4), Unknown Artist (tracks: 17 to 19)
Strings – Unknown Artist (tracks: 5, 6)
Tenor Saxophone – Ben Webster (tracks: 15, 16), Buddy Tate (tracks: 1 to 4)
Trombone, Alto Saxophone – Benny Green (tracks: 1 to 4)
Vocals, Guitar – Slim Gaillard

LOU DONALDSON - Complete 1952 Blue Note Sessions (1952-2002) APE (image+.cue), lossless

Tracklist :
1    Tahiti 3'29
Milt Jackson
2    Lillie 3'15
Milt Jackson
3    Bag's Groove 3'04
Milt Jackson
4    What's New 3'12
Haggart-Burke
5    Don't Get Around Much Anymore 2'59
Ellington / Russell
6    On The Scene 2'43
Lou Donaldson
7    Skippy 3'02
T. Monk
8    Hornin' In 3'15
T. Monk
9    Sixteen 3'39
T. Monk
10    Carolina Moon 3'28
Davis / Burke
11    Let's Cool One 3'48
T. Monk
12    I'll Follow You 3'48
Turk / Ahlert
13    Roccus 3'24
H. Silver
14    The Things We Did Last Summer 3'20
Styne / Cahn
15    Cheek To Cheek 3'01
I. Berlin
16    Lou's Blues 3'44
Lou Donaldson
17    Sweet Juice 3'29
H. Silver
18    If I Love Again 2'38
Murray / Oakland
19    Down Home 3'19
Lou Donaldson
20    The Best Things In Life Are Free 3'22
De Sylva / Brown / Henderson
Credits :
Alto Saxophone – Lou Donaldson with
1-6
Bass – Percy Heath
Vibes - Milt Jackson
Piano - John Lewis
Drums – Kenny Clark
7-12
Trumpet - Kenny Dorham
Tenor Sax - Lucky Thompson
Piano - Thelonious Monk
Bass - Nelson Boyd
Drums - Max Roach
13-16
Piano - Horace Silver
Bass - Gene Ramey
Drums - Art Taylor
17-20
Trumpet - Blue Mitchell (except on # 17)
Piano - Horace Silver
Bass - Percy Heath
Drums - Art Blakey

HANK MOBLEY - The Complete Blue Note Hank Mobley Fifties Sessions (1998) 6xCD, BOX-SET | MONO | FLAC (tracks+.cue), lossless

This is a typically remarkable box set from Mosaic. The six-CD limited-edition package has all of tenor saxophonist Hank Mobley's recordings as a leader for Blue Note from a three-year period, all of the music originally included in the albums titled The Hank Mobley Quartet, Hank Mobley Sextet, Hank Mobley & His All-Stars, Hank Mobley Quintet, Hank, Hank Mobley, Curtain Call, Poppin', and Peckin' Time; not a lot of imagination went into these records' original titles. There is only one previously unissued selection (the alternate take of "Barrel of Funk"), but two of the albums were only out previously in Japan, and most of the others had not been previously available on CD. Mobley, an underrated player with a distinctive sound (influenced at times by Sonny Rollins), would continue to grow as an improviser and composer throughout the 1960s, but even on his earliest date here, he is a strong (if unsung) soloist. Featured along with the leader is a who's who of 1950s hard bop, including trumpeters Donald Byrd, Lee Morgan, Bill Hardman, Kenny Dorham, and Art Farmer, pianists Horace Silver, Bobby Timmons, Sonny Clark, and Wynton Kelly, vibraphonist Milt Jackson, bassists Doug Watkins, Paul Chambers, Wilbur Ware, and Jimmy Rowser, and drummers Art Blakey, Charlie Persip, Philly Joe Jones, and Art Taylor. A must for Hank Mobley and 1950s Blue Note fans, but this deluxe box (released in 1998) promises to go out of print quickly. Scott Yanow  
All Tracks & Credits :