MILES DAVIS — Porgy And Bess (1959) Six Version | RM | SACD | FLAC (image+.tracks+.cue), lossless

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian "Cannonball" Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on "Prayer (Oh Doctor Jesus)," "I Loves You, Porgy," and "There's a Boat That's Leaving Soon for New York" are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on "Fishermen, Strawberry and Devil Crab." Or the emotive bass and tuba duet that runs throughout "Buzzard Song." The impeccable digital remastering and subsequent reissue -- which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set -- only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker's dozen. No observation or collection of American jazz can be deemed complete without this recording. Lindsay Planer

(1983, CBS/Sony – 35DP 61) +
(1987, RM | CBS Jazz Masterpieces Series) +
(1997, RM | Columbia Jazz Series) +
(2000, RM | Master Sound Series) +
(2006, RM | The Original Jacket Collection Series) +
(2019, SHM-CD | Ultradisc UHR, Original Master Recording Series) 

Tracklist :
1    The Buzzard Song 4:07
2    Bess, You Is My Woman Now 5:12

3    Gone    3:38
4    Gone, Gone, Gone 2:05
5    Summertime 3:20
6    Bess, Oh Where's My Bess    4:31
7    Prayer (Oh Doctor Jesus)    4:40
8    Fishermen, Strawberry And Devil Crab 4:06
9    My Man's Gone Now    6:13
10    It Ain't Necessarily So 4:23
11    Here Come De Honey Man    1:18
12    I Loves You, Porgy 3:38
13    There's A Boat That's Leaving Soon For New York 3:26
Credits :
Alto Saxophone – Cannonball Adderley
Arranged By, Conductor – Gil Evans
Bass – Paul Chambers
Drums – Philly Joe Jones (tracks: 3, 4, 9, 15), Jimmy Cobb (tracks: 1, 2, 5 to 8, 10 to 14)
Flugelhorn – Miles Davis
Flute [Alto Flute], Bass Clarinet – Danny Bank
Flute, Flute [Alto Flute], Clarinet – Jerome Richardson (tracks: 1, 5 to 7, 12 to 14), Phil Bodner (tracks: 2 to 4, 8 to 11, 15), Romeo Penque
French Horn – Gunther Schuller, Julius Watkins, Willie Ruff
Trombone – Frank Rehak, Jimmy Cleveland, Joe Bennett, Dick Hixon
Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci
Trumpet [Lead] – Miles Davis (tracks: 2, 8, 10, 11)
Tuba – Bill Barber

ROY HAYNES · PHINEAS NEWBORN · PAUL CHAMBERS — We Three (1958) Two Version (1986, RM | MONO | Serie : Prestige CD Masterpiece Series – 12) + (2007, RM | RVG Remasters Series) FLAC (tracks+.cue), lossless

We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's "Reflection," a wonderful and bluesy rendition of Avery Parrish's "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it. Steve Leggett
Tracklist  :
1    Reflection 4:23
Written By – Ray Bryant
2    Sugar Ray 6:26
Written By – Phineas Newborn Jr.

3    Solitaire    8:51
Guion-Borek-Nutter
4    After Hours 11:20
Written By – Avery Parrish
5    Sneakin' Around 4:23
Written By – Ray Bryant
6    Our Delight 4:04
Written By – Tadd Dameron
Credits :
Bass – Paul Chambers
Drums – Roy Haynes
Engineer – Rudy Van Gelder
Piano – Phineas Newborn

PHIL WOODS · GENE QUILL · JACKIE McLEAN · JOHN JENKINS · HAL McKUSICK — Bird Feathers (1957-2013) RM | MONO | SHM-CD | New Jazz Chronicle Series | FLAC (tracks+.cue), lossless

Bird Feathers features Woods with the McLean/Jenkins/McKusick lineup in a high-flying blowing/jam session from the '50s. Ron Wynn

Tracklist :
1    Solar    5:49
 Miles Davis
2    Bird Feathers    10:22
 Charlie Parker
3    Interim    5:48
 Hal McKusick
4    Airegin    6:23
 Sonny Rollins
5    Don't Worry 'Bout Me    8:06
 Rube Bloom / Ted Koehler
6    Con Alma    7:40
 Dizzy Gillespie
Credits :
(tracks: 1, 4)
Phil Woods, Gene Quill – Alto Saxophone  
George Syran - Piano
Teddy Kotick - Bass
Nick Stabulas Drums

(tracks: 2)
Jackie McLean, John Jenkins – Alto Saxophone
Wade Legge - Piano
Doug Watkins - Bass
Art Taylor - Drums

(tracks: 3, 5, 6),
Hal McKusick – Alto Saxophone  
Billy Byers - Trombone
Paul Chambers - Bass
Charlie Persip - Drums
Eddie Costa - Piano

BENNIE GREEN — Blows His Horn (1955-1989) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Bennie Green, one of the few trombonists of the 1950s not to sound somewhat like a J.J. Johnson clone, always had a likable and humorous style. He blends in well with tenor saxophonist Charlie Rouse on these standards, blues, and jump tunes, two of which have group vocals. With a fine rhythm section (pianist Cliff Smalls, bassist Paul Chambers, drummer Osie Johnson, and Candido on congas), Green and his band show that there is no reason that swinging jazz has to be viewed as overly intellectual and esoteric. This CD (a reissue of the original LP) is a fine example of Bennie Green's talents and winning musical personality. Scott Yanow

Tracklist :
1. Sometimes I'm Happy 3:53
 Irving Caesar / Clifford Grey / Vincent Youmans
2. Laura 6:13
 Johnny Mercer / David Raksin
3. Body And Soul 6:58
 Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
4. Say Jack 3:36
 Bennie Green / Osie Johnson
5. One Track 3:15
Bennie Green / Osie Johnson
6. Groovin' The Blues (Take 1) 5:31
 Bennie Green
7. Groovin' The Blues (Take 2)
Bennie Green
8. Travelin' Light 3:07
 Harry Akst / Sidney Clare
9. Hi Yo Silver 3:21
 Bennie Green / Osie Johnson
Credits:

Bennie Green - Trombone

Paul Chambers - Bass

Candido - Congas

Osie Johnson - Drums

Cliff Smalls - Piano

Charlie Rouse - Tenor Saxophone

GIGI GRYCE & DONALD BYRD — Jazz Lab (1957-2010) RM | MONO | Serie Jazz 名盤 999 Best & More, EMI Music Japan Inc. 50th Anniversary | FLAC (tracks+.cue), lossless

Tracklist :
1    Blue Lights    4:00
Written-By – Gigi Gryce
2    Onion Head    4:44
Written-By – Donald Byrd
3    Isn't It Romantic    4:51
Written-By – Richard Rodgers - Lorenz Hart
4    Bat Land    7:05
Written-By – Gigi Gryce, Lea Sears
5    Bangoon    4:57
Written-By – Hank Jones
6    Imagination    5:40
Written-By – Jimmy Van Heusen - Johnny Burke
7    Xtacy    8:32
Written-By – Donald Byrd
Credits :
Alto Saxophone – Gigi Gryce
Bass – Paul Chambers
Drums – Art Taylor
Piano – Hank Jones
Trumpet – Donald Byrd

SONNY CLARK — Cool Struttin' (1958-1997) RM | The BN Works 1500 Series | FLAC (tracks+.cue), lossless

Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader's chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band. The set begins with one of the preeminent "swinging medium blues" pieces in jazz history: the title track with its leveraged fours and eights shoved smoothly up against the walking bass of Chambers and the backbeat shuffle of Jones. Clark's solo, with its grouped fifths and sevenths, is a wonder of both understatement and groove, while Chambers' arco solo turns the blues in on itself. While there isn't a weak note on this record, there are some other tracks that stand out, most notably Miles' "Sippin' at Bells," with its loping Latin rhythm. When McLean takes his solo against a handful of Clark's shaded minor chords, he sounds as if he may blow it -- he comes out a little quick -- but he recovers nicely and reaches for a handful of Broadway show tunes to counter the minor mood of the piece. He shifts to both Ben Webster and Lester Young before moving through Bird, and finally to McLean himself, riding the margin of the changes to slip just outside enough to add some depth in the middle register. The LP closes with Henderson and Vallée's "Deep Night," the only number in the batch not rooted in the blues. It's a classic hard bop jamming tune and features wonderful solos by Farmer, who plays weird flatted notes all over the horn against the changes, and McLean, who thinks he's playing a kind of snake charmer blues in swing tune. This set deserves its reputation for its soul appeal alone. [Some reissues include two bonus tracks: "Royal Flush" and "Lover."]
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Cool Struttin' 9:22

Written-By – Sonny Clark
2    Blue Minor 10:18
Written-By – Clark
3    Sippin' At Bells 8:17
Written-By – Miles Davis
4    Deep Night 9:33
Written-By – Henderson, Vallee
Credits :
Alto Saxophone – Jackie McLean
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Piano – Sonny Clark
Recorded By – Rudy Van Gelder
Trumpet – Art Farmer

PAUL CHAMBERS SEXTET — Whims of Chambers (1956-2010) RM | SACD Hybrid | Serie The Blue Note Reissues | FLAC (tracks+.cue), lossless

Of the seven songs on this Blue Note date, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers," and "Tale of the Fingers" is a showcase for Chambers' bowed bass. This is a fine effort and would be worth picking up by straight-ahead jazz fans even if John Coltrane had not participated. Scott Yanow
Tracklist :
1    Omicron 7:17
Written-By – Donald Byrd
2    Whims Of Chambers 4:05
Written-By – Paul Chambers
3    Nita 6:31
Written-By – John Coltrane
4    We Six 7:40
Written-By – Donald Byrd
5    Dear Ann 4:19
Written-By – Paul Chambers
6    Tale Of The Fingers 4:42
Written-By – Paul Chambers
7    Just For The Love 3:41
Written-By – John Coltrane
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Guitar – Kenny Burrell
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd

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

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

ELVIN JONES — And Then Again (1965-2017) RM | SHM-CD Limited Edition | Serie Jazz Masters Collection 1200 – 10 | FLAC (tracks+.cue), lossless

Tracklist :
1    Azan 3:38
Charles Davis / Arranged By, Conductor – Melba Liston
2    All Deliberate Speed 7:35
Arranged By, Conductor – Melba Liston
3    Elvin Elpus 5:52
Arranged By, Conductor – Melba Liston
4    Soon After 3:35
Arranged By, Conductor – Melba Liston
5    Forever Summer 4:04
Thad Jones / Arranged By, Conductor – Melba Liston
6    Len Sirrah 3:42
Arranged By, Conductor – Melba Liston
7    And Then Again 6:21
Elvin Jones / Arranged By, Conductor – Melba Liston
Credits :
Baritone Saxophone – Charles Davis
Bass – Art Davis, Paul Chambers
Cornet – Thad Jones
Drums – Elvin Jones
Piano – Don Friedman, Hank Jones
Flute, Tenor Saxophone – Frank Wess
Trombone – Hunt Peters
Arranged By, Conductor – Melba Liston

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

 Tracklist & Credits :

CURTIS FULLER — The Complete Blue Note/UA Curtis Fuller Sessions (1996) 3CD BOX-SET | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller, who developed his sound out of the style of J.J. Johnson, recorded prolifically as a leader from 1957-1962. After recording three dates for Prestige and New Jazz within a seven-day period in 1957, Fuller made four albums for Blue Note from 1957-1958, and after three albums for Savoy, he cut a lone session for United Artists in 1959. All of the five Blue Note and United Artists records (plus an alternate take of "Down Home") are on this excellent three-CD limited box set, released in 1996. Fuller is heard with four different quintets that include either tenor saxophonist Hank Mobley, baritonist Tate Houston, trumpeter Art Farmer, or (on a date only previously out in Japan) fellow trombonist Slide Hampton; the rhythm sections consist of either Bobby Timmons or Sonny Clark on piano, Paul Chambers or George Tucker on bass, and Art Taylor, Louis Hayes, or Charlie Persip in the drum slot. In addition, there is a sextet session with Lee Morgan, Mobley, Tommy Flanagan, Chambers, and Elvin Jones that has arrangements by Gigi Gryce and Benny Golson. Throughout, the music is high-quality hard bop with plenty of fine features for the underrated but talented Curtis Fuller. Scott Yanow   Tracklist & Credits :

CURTIS FULLER — Curtis Fuller with Red Garland (1958-1992) RM | MONO | Masters Of Jazz Series – 51 | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller is featured here in a quintet with altoist Sonny Red, pianist Red Garland, bassist Paul Chambers, and drummer Louis Hayes, performing a pair of originals, two blues, and a couple of ballad features. Garland is outstanding on "Moonlight Becomes You" (one of his finest recordings), while Fuller does a fine job on "Stormy Weather." This set has a feel of a jam session; the blend between the trombone and the alto is particularly appealing. Despite the overly critical liner notes (written in 1962), this is an excellent hard bop-oriented date. Scott Yanow   Tracklist & Credits :

CURTIS FULLER — Bone & Bari (1957-2003) RM | Serie 24 Bit By RVG | FLAC (tracks+.cue), lossless

Curtis Fuller emerged during the 1950s as a leading hard bop trombonist. A native of Detroit, Fuller was initially inspired by hearing J.J. Johnson, who became a mentor for the young musician. This recording was completed only weeks before Fuller went into the studio to record John Coltrane's Blue Trane. The session is unique in its pairing of trombone with the baritone sax of Tate Houston. The resultant front line sound is thick and rotund. The rhythm section of Sonny Clark, Paul Chambers and Art Taylor had a lovely rapport; individually and collectively, these three made many important recordings in the late 1950s, especially for the Blue Note label. Highlights of Bone & Bari include the title tune, penned by Fuller, and the group's rendering of the standard "Heart and Soul." Lee Bloom

Tracklist 
1 Algonquin 5:02
Written-By – Curtis Fuller
2 Nita's Waltz 6:55
Written-By – Curtis Fuller
3 Bone & Bari 6:18
Written-By – Curtis Fuller
4 Heart And Soul 4:48
Written-By – Frank Loesser, Hoagy Carmichael
5 Again 7:18
Written-By – Dorcas Cochran, Lionel Newman
6 Pickup 5:46
Written-By – Curtis Fuller
Credits :
Baritone Saxophone – Tate Houston
Bass – Paul Chambers
Drums – Art Taylor
Piano – Sonny Clark
Trombone – Curtis Fuller

CURTIS FULLER — The Opener (1957) Two Version (1996, RM | MONOAURAL | The BN Works 1500 Series) + (1999, RM | Serie 24 Bit By RVG) FLAC (tracks+.cue), lossless

The Opener is trombonist Curtis Fuller's first album for Blue Note and it is a thoroughly impressive affair. Working with a quintet featuring tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor, Fuller runs through a set of three standards -- "A Lovely Way to Spend an Evening," "Here's to My Lady," "Soon" -- two originals and an Oscar Pettiford-penned calypso. The six songs give Fuller a chance to display his warm, fluid style in all of its variations. "A Lovely Way to Spend an Evening" illustrates that he can be seductive and lyrical on ballads, while the brassy "Hugore" and hard-swinging "Lizzy's Bounce" shows that he can play hard without getting sloppy. His backing musicians are equally impressive; in particular, Mobley's robust playing steals the show. In all, The Opener, along with his three earlier sessions for Prestige and New Jazz, establishes Fuller as one of the most distinctive and original hard bop trombonists of the late '50s. Stephen Thomas Erlewine

Tracklist :
1 A Lovely Way To Spend An Evening 6:50
Written-By – H. Adamson, J. McHugh
2 Hugore 6:41
Written-By – Curtis Fuller
3 Oscalypso 5:37
Written-By – Oscar Pettiford
4 Here's To My Lady 6:40
Written-By – J. Mercer, R. Bloom
5 Lizzy's Bounce 5:21
Written-By – Curtis Fuller
6 Soon 5:35
Written-By – G. Gershwin-I. Gershwin
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Bobby Timmons
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller

THE CURTIS FULLER JAZZTET — The Curtis Fuller Jazztet With Benny Golson (1959-1991) RM | FLAC (tracks+.cue), lossless

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip. Brandon Burke   Tracklist & Credits : 

GIL EVANS — Columbia Jazz Profiles (2008) FLAC (tracks+.cue), lossless

Tracklist & Credits :

GIL EVANS — Gil Evans & Ten (1957-2003) SACD, Hybrid | MONO | FLAC (tracks+.cue), lossless

Although arranger Gil Evans had been active in the major leagues of jazz ever since the mid-'40s and had participated in Miles Davis' famous Birth of the Cool recordings, Gil Evans & Ten was his first opportunity to record as a leader. The set features a typically unusual 11-piece unit consisting of two trumpets, trombonist Jimmy Cleveland, Bart Varsalona on bass trombone, French horn player Willie Ruff, Steve Lacy on soprano, altoist Lee Konitz, Dave Kurtzer on bassoon, bassist Paul Chambers, and either Nick Stabulas or Jo Jones on drums, plus the leader's sparse piano. As good an introduction to his work as any, this program includes diverse works ranging from Leadbelly to Leonard Bernstein, plus Evans' own "Jambangle." The arranger's inventive use of the voices of his rather unique sidemen make this a memorable set. Scott Yanow   Tracklist & Credits :

GIL EVANS ft. CANNONBALL ADDERLEY — New Bottle, Old Wine (1958-1988) FLAC (tracks+.cue), lossless

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness. Scott Yanow    Tracklist & Credits :

GIL EVANS — The Individualism of Gil Evans (1964-2003) RM | Serie Jazz The Best | FLAC (tracks+.cue), lossless

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era. Scott Yanow
Tracklist :
1 Time Of The Barracudas 7:26
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
2 The Barbara Song 9:59
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Tuba – Bill Barber
Written-By – Bertolt Brecht, Kurt Weill
3 Las Vegas Tango 6:35
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
Flute Song / Hotel Me (12:29)
4a Flute Song
Bass – Ben Tucker, Paul Chambers, Richard Davis 
Drums – Elvin Jones
Engineer – Phil Ramone
French Horn – Don Corado, Gil Cohen, Julius Watkins
Guitar – Barry Galbraith
Harp – Margret Ross
Reeds, Woodwind – Al Block, Bob Tricarico, Eric Dolphy, Steve Lacy
Trombone – Jimmy Cleveland
Written-By – Gil Evans
4b Hotel Me
Bass – Paul Chambers, Ron Carter
Drums – Elvin Jones
Engineer – Bob Simpson, Phil Ramone
French Horn – Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Garvin Bushell, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Bernie Glow, Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans, Miles Davis
5 El Toreador 3:26
Bass – Milt Hinton, Paul Chambers, Richard Davis 
Drums – Osie Johnson
Engineer – Phil Ramone
French Horn – Jim Buffington, Bob Northern
Reeds, Woodwind – Bob Tricarico, Eric Dolphy, Jerome Richardson, Steve Lacy
Trombone – Jimmy Cleveland, Tony Studd
Trumpet – Ernie Royal, Johnny Coles, Louis Mucci
Written-By – Gil Evans
– BONUS TRACKS –
6 Proclamation 3:55
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Gil Evans
7 Nothing Like You 2:36
Bass – Gary Peacock
Drums – Elvin Jones
Engineer – Rudy Van Gelder
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Harp – Bob Maxwell
Reeds, Woodwind – Al Block, Andy Fitzgerald, Bob Tricarico, George Marge, Wayne Shorter
Trombone – Frank Rehak
Trumpet – Johnny Coles
Tuba – Bill Barber
Written-By – Bob Dorough
8 Concorde 7:39
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – John Lewis 
9 Spoonful 13:46
Bass – Paul Chambers  
Drums – Elvin Jones
Engineer – Bob Simpson
French Horn – Julius Watkins, Ray Alonge
Guitar – Kenny Burrell
Reeds, Woodwind – Andy Fitzgerald, Bob Tricarico, George Marge, Phil Woods
Trombone – Jimmy Cleveland, Jimmy Knepper
Trumpet – Bernie Glow, Louis Mucci, Thad Jones
Tuba – Bill Barber
Violin [Tenor] – Harry Lookofsky
Written-By – Willie Dixon
Credits : Arranged By, Conductor, Piano – Gil Evans

THE RED GARLAND QUINTET WITH JOHN COLTRANE — Dig It! (1958-2009) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless

Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland's straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John Coltrane in Garland's quartet apart from their association with Miles Davis, and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland's strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos. Because of the lack of extra material or alternate takes, one might buy this just for the good music, but also the Rudy Van Gelder remastering factor that allows you to hear these genius mmusicians cleaner and brighter. Michael G. Nastos

Tracklist :
1 Billie's Bounce 9:24
Charlie Parker
2 Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer
3 C.T.A. 4:42
Jimmy Heath
4 Lazy Mae 16:06
Red Garland
Credits
Bass – George Joyner (tracks: 1, 4), Paul Chambers (tracks: 2, 3)
Drums – Arthur Taylor
Piano – Red Garland
Tenor Saxophone – John Coltrane (tracks: 1, 3, 4)
Trumpet – Donald Byrd (tracks: 1, 4)