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."]
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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
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
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
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 Liston5 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
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 :
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 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
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
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 : 
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' 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 :
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
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
Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers (also in Davis's group) and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" (during which he shows that he could sound relaxed at the fastest tempos) and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. Scott Yanow
Red Garland's third recording as a leader has him playing very well,
somewhat energetic and more inclusive in his direction to span the
mainstream jazz palate beyond the cool exterior he emanates. The title
might be a bit deceptive, for this is not a project where soul-jazz or
early boogaloo influences turned jazzmen into groovemeisters -- it's a
swinging groove. With bassist Paul Chambers and drummer Art Taylor,
Garland has all the support he needs to wing it in a variety of
directions. Recorded in that most legendary year of jazz, 1957, Garland
is coming into his own in a more confident way, buoyed by his
association at the time with Miles Davis. Chambers is flawless in his
support role, and on this recording deserves a close listen, especially
for students of the acoustic upright. They immediately dig in on the
opener "C Jam Blues," with Garland at his heartiest during his bridge
solo, they agree in the affirmative during the entirety of the hard bop
take of "Will You Still Be Mine?," and repeat but modify the melody à la
"Cool Blues" in an adept display of artistry for "Hey Now." Of course
Garland has to play a ballad or two, as on "Willow Weep for Me,"
luscious with chord sequences, and really reflects the influence of
Erroll Garner in that chiming, two-handed sustenato style for Garner's
"Gone Again." It is said that by the third recording, most musicians
should have their style down pat and begin attempting to take the music
to a higher level. You really hear that in this recording, which was a
springboard to making Red Garland one of the most revered and respected
jazz pianists of the modern era. Michael G. Nastos
Tracklist :
1 C-Jam Blues 8:21
Barney Bigard / Duke Ellington
2 Gone Again 6:46
Curley Hamner / Lionel Hampton / Curtis Lewis
3 Will You Still Be Mine? 4:43
Tom Adair / Matt Dennis
4 Willow Weep for Me 9:35
Ann Ronell
5 What Can I Say (After I Say I'm Sorry?) 7:14
Walter Donaldson / Abe Lyman
6 Hey Now 3:41
Red Garland / Sonny Gordon
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Piano – Red Garland
Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the slight length of this LP (under 35 minutes), this is a particularly strong showcase of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See for Looking," George Gershwin's "Soon," "Blackout," and a driving version of the classic blues "Castle Rock." Recommended. Scott Yanow Tracklist & Credits :
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...
