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

MILT JACKSON — Milt Jackson Quartet (1955) Two Version (2001, RM | 24 Bit Remastered Series) + (2013, RM | MONO | SHM-CD | 7000 Chronicle Series) FLAC (image+tracks+.cue), lossless

This 1955 date is an intriguing opportunity to hear Milt Jackson accompanied by the MJQ rhythm section, but with hard bopper Horace Silver substituting for John Lewis. Not only that, it's also a chance to hear a hitherto unknown, lushly romantic side of both Jackson and Silver, two blues-oriented players who rarely if ever recorded standards in this sort of style. With its excellent recording quality, it's a perfect album for intimate dinners and other late-night activities. Artie Shaw's exotic "Moonray" is rarely heard in any sort of context, while "My Funny Valentine" and "The Nearness of You" set the mood throughout.  Richard Mortifoglio
Tracklist  :
1 Wonder Why 5:22
Written-By – Brodszky, Cahn
2 My Funny Valentine 4:37
Written-By – Rodgers-Hart
3 Moonray 5:01
Written-By – Quenzer, Shaw, Madison
4 The Nearness Of You 4:01
Written-By – Carmichael, Washington
5 Stonewall 7:42
Written-By – Milt Jackson
6 I Should Care 4:16
Written-By – Stordal, Weston, Cahn
Credits :
Bass – Percy Heath
Drums – Connie Kay
Piano – Horace Silver
Vibraphone [Vibes] – Milt Jackson

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

KENNY BURRELL · JIMMY RANEY — Two Guitars (1957-1992) RM | Two Version | APE + FLAC (tracks+.cue), lossless

For this 1957 studio session, the two distinctive but complementary guitarists Kenny Burrell and Jimmy Raney are teamed up in a septet with trumpeter Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. The full group gets to stretch out on one original each by Watkins and McLean ("Little Melonae") and three from Waldron, while the two standards ("Close Your Eyes" and "Out of Nowhere") are individual features for Burrell and Raney. This is a well-rounded set that may not contain any real surprises, but will be enjoyed by collectors of hard bop. Scott Yanow
Tracklist :
1 Blue Duke 8:46
Written-By – Mal Waldron
2 Dead Heat 4:05
Written-By – Waldron 
3 Pivot 5:12
Written-By – Waldron
4 Close Your Eyes 4:46
Written-By – Bernice Petkere
5 Little Melonae 9:27
Written-By – Jackie McLean
6 This Way 11:20
Written-By – Doug Watkins
7 Out Of Nowhere 4:31
Written-By – Hyman, Green
Credits :
Alto Saxophone – Jackie Mclean
Bass – Doug Watkins
Drums – Arthur Taylor
Guitar – Jimmy Raney, Kenny Burrell
Piano – Mal Waldron
Trumpet – Donald Byrd

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

J.J. JOHNSON · KAI WINDING · BENNIE GREEN — Trombone by Three (1956-1992) FLAC (tracks+.cue), lossless

Top drawer early fifties bop turning hard bop across the three small groups here, with Sonny Rollins in his typical fifties blistering form. Each of the three trombonists are distinctly flavoured, and we also get Max Roach and Art Blakey drumming on two thirds of the sessions Mark Harrington
Tracklist  :
1 –Jay Jay Johnson Sextet - Elysee 3:07
Written-By – John Lewis 
2 –Jay Jay Johnson Sextet - Hi-Lo 2:43
Written-By – Sonny Rollins
3 –Jay Jay Johnson Sextet - Fox Hunt 2:46
Written-By – J. J. Johnson 
4 –Jay Jay Johnson Sextet - Opus V 2:46
Written-By – Johnson 
5 –Bennie Green Septet - Green Junction 2:52
Written-By – Bennie Green
6 –Bennie Green Septet - Flowing River 2:40
Written-By – Green 
7 –Kai Winding Sextet - A Night On Bop Mountain 3:34
Written-By – Kai Winding
8 –Kai Winding Sextet - Waterworks (Alternate) 3:39
Written-By – Gerry Mulligan
9 –Kai Winding Sextet - Broadway (Alternate) 3:19
Written-By – Woods , McRae 
10 –Kai Winding Sextet - Sid's Bounce 3:16
Written-By – Joe Kaminsky
11 –Bennie Green Septet - Whirl-A-Licks 3:17
Written-By – Bennie Green
12 –Bennie Green Septet - Pennies From Heaven 2:14
Written-By – Johnston, Burke
– BONUS TRACKS –
13    –Kai Winding Sextet - Broadway 3:08
14 –Kai Winding Sextet - Waterworks 3:38
15 –Kai Winding Sextet - A Night On Bop Mountain 3:24
16 –Bennie Green Septet - Tenor Sax Shuffle 3:04
17 –Bennie Green Septet - Sugar Syrup 3:01
Credits :
# 1 to 4 - New York City; 1949
JJ.Johnson - Trombone  
Sonny Rollins - Tenor Saxophone
Kenny Dorham - Trumpet
John Lewis - Piano
Leonard Gaskin - Bass
Max Roach - Drums

# 7 to 10 & 13-15 - New York City;  1949
Trombone – Kai Winding
Tenor Saxophone – Brew Moore
Baritone Saxophone – Gerry Mulligan
Piano – George Wallington
Bass – Curly Russell
Drums – Roy Haynes

# 5,6 11,12,16, 17 - New York City;  1951
Baritone Saxophone – Rudy Williams
Bass – Tommy Potter
Drums – Art Blakey
Piano – Teddy Brannon
Tenor Saxophone – "Big Nick" Nicholas, Eddie Davis
Trombone – Bennie Green

CEDAR WALTON — Soul Cycle (1969-1995) RM | FLAC (tracks+.cue), lossless

Soul Cycle, recorded in 1969, is pianist/composer Cedar Walton's attempt to "groove those who are already tuned in, while picking up some entirely new ears along the way." In his candid liner notes, he describes a major concern for jazz musicians at that time: How to be commercial without selling out. The electric instruments featured here are a nod to the times, but sound innocent compared to Miles Davis' contemporaneous Bitches Brew.

The opening "Sundown Express" sounds almost like an urban TV show theme, but James Moody's tentative, edgy sax solo sustains the suspense. The mellow, inoffensive, Latin-tinged "Quiet Dawn" also sounds influenced by television, while Stevie Wonder's "My Cherie Amour" finds us in the compromising place Walton describes in his liner notes. But on "Pensativa," "Easy Walker," and "I Should Care," Walton returns to the acoustic piano, and the band sounds more relaxed. An interesting effort that reflects its times, Soul Cycle confirms that Walton's playing is most authoritative in a blues/bop landscape. Rovi Staff   

Tracklist :

1 Sundown Express 6:49

Written-By – Walton

2 Quiet Dawn 7:31

Written-By – Cal Massey

3 Pensativa 6:28

Written-By – Clare Fisher

4 My Cherie Amour 4:13

Written-By – Cosby

5 Easy Walker 8:03

Written-By – Billy Taylor

6 I Should Care 3:26

Written-By – Stordahl, Wetstein, Cahn

Credits :

Bass, Bass [Fender] – Reggie Workman

Drums – Albert "Tootie" Heath

Guitar – Rudy Stevenson

Piano, Electric Piano – Cedar Walton

Tenor Saxophone, Flute – James Moody

THE CEDAR WALTON TRIO, QUARTET & QUINTET — Cedar! (1967-1990) RM | FLAC (tracks+.cue), lossless

Pianist Cedar Walton's debut as a leader is quite impressive. This CD reissue (which includes a "new" rendition of "Take the 'A' Train") showcases Walton with bassist Leroy Vinnegar and drummer Billy Higgins on "My Ship," features a pair of quartet numbers with trumpeter Kenny Dorham, has tenor saxophonist Junior Cook in Dorham's place on two other pieces (including "Come Sunday") and uses a quintet on the two remaining selections. One of the top hard bop-based pianists to emerge during the 1960s, Walton also contributed four originals to his excellent set. Scott Yanow
Tracklist :
1    Turquoise Twice    7:17
 Cedar Walton
2    Twilight Waltz    4:17
 Cedar Walton
3    My Ship    5:31
 Ira Gershwin / Kurt Weill
4    Short Stuff    6:23
 Cedar Walton
5    Head And Shoulders    4:13
 Cedar Walton
6    Come Sunday    6:56
 Duke Ellington
7    Take The "A" Train    3:27
 Billy Strayhorn
Credits :
Bass – Leroy Vinnegar
Drums – Billy Higgins
Piano – Cedar Walton
Tenor Saxophone – Junior Cook
Trumpet – Kenny Dorham

HONI GORDON — Honi Gordon Sings (1962-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Honi Gordon's obscurity (this was her only recording as a solo singer) is a mystery for she displays a great deal of talent on this date. Her father George Gordon wrote some of the tricky lyrics (which are phrased like a horn) and Honi (who is given stimulating support by pianist Jaki Byard, Ken McIntyre on flute and alto, guitarist Wally Richardson, bassist George Duvivier and drummer Ed Shaughnessy) is up to the job. Her version of Charles Mingus's "Strollin'" is definitive, she finds something new to say on "Ill Wind" and really digs into the originals. This is bop-based jazz singing at its best. Scott Yanow
Tracklist
1     Strollin' 4:30
Honi Gordon / Charles Mingus
2     Ill Wind 2:30
Harold Arlen / Ted Koehler
3     My Kokomo 5:15
George Gordon
4     Why Try to Change Me Now? 4:55
Cy Coleman / Joseph McCarthy
5     Cupid 3:20
Honi Gordon
6     Walkin' (Out the Door) 3:05
Mary Lou Williams
7     Why 3:20
Consuela Moorehead
8     Love Affair 3:40
Honi Gordon
9     Lament of the Lonely 2:43
Esmond Edwards
Credits :
Alto Saxophone, Flute  – Ken McIntyre
Bass – George Duvivier
Drums – Eddie Shaughnessy
Guitar – Wally Richardson
Piano – Jaki Byard
Vocals – Honi Gordon

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).

THE LUCKY THOMPSON QUARTET — Lucky Strikes (1964-1987) RM | FLAC (tracks+.cue), lossless

This CD reissue serves as a perfect introduction to the talents of the underrated saxophonist Lucky Thompson. Heard on four songs apiece on tenor and soprano (he was one of the first bop-oriented soprano players), Thompson plays two standards and six originals in a quartet with pianist Hank Jones, bassist Richard Davis, and drummer Connie Kay. The playing time on this straight reissue of an earlier LP is a bit brief (just over 38 minutes), but the quality is quite high. Thompson's soprano solos in particular are quite memorable. Scott Yanow
Tracklist :
1 In a Sentimental Mood 5:49
Duke Ellington / Manny Kurtz / Irving Mills
2 Fly With the Wind 4:01
Lucky Thompson
3 Mid-Nite Oil 5:08
Lucky Thompson
4 Reminiscent 4:04
Lucky Thompson
5 Mumba Neua 4:47
Lucky Thompson
6 I Forgot to Remember 6:36
Lucky Thompson
7 Prey-Loot 4:05
Lucky Thompson
8 Invitation 4:55
Bronislaw Kaper
Credits :
Bass – Richard Davis
Drums – Connie Kay
Piano – Hank Jones
Soprano Saxophone, Tenor Saxophone – Lucky Thompson

ARNETT COBB AND EDDIE "LOCKJAW" DAVIS — Blow Arnett Blow (1959-1993) RM | FLAC (tracks+.cue), lossless

Arnett Cobb's debut for Prestige and his first recording as a leader in three years (due to a serious car accident in 1956) is an explosive affair. Cobb is matched up with fellow tough tenor Eddie "Lockjaw" Davis, and there are plenty of sparks set off by their encounter. With organist Wild Bill Davis, bassist George Duvivier, and drummer Arthur Edgehill keeping the proceedings heated, Cobb and Davis tangle on a variety of basic material, alternating uptempo romps such as "Go Power" and "Go Red Go" with slightly more sober pieces highlighted by "When I Grow Too Old to Dream." This is a great matchup (reissued on CD through the OJC imprint) that lives up to its potential. Scott Yanow
Tracklist :
1    When I Grow Too Old To Dream 6:41
Written-By – Hammerstein, Romberg
2    Go Power 5:05
Written-By – Duvivier
3    Dutch Kitchen Bounce 7:00
Written-By – Cobb, Woods
4    Go Red, Go 5:39
Written-By – Arnett Cobb
5    The Eely One 8:16
Written By – Jordan / Cobb
6    The Fluke 5:30
Written-By – Strethen Davis
Credits :
Bass – George Duvivier
Drums – Arthur Edgehill
Organ – Wild Bill Davis
Recorded By – Rudy Van Gelder
Tenor Saxophone – Arnett Cobb, Eddie "Lockjaw" Davis

FRANK WESS — The Frank Wess Quartet (1960-2004) RM | FLAC (tracks+.cue), lossless

Frank Wess has long been one of the most underrated flautists in jazz, but it's his primary instrument on this CD reissue of a Moodsville LP recorded in 1960. With fine accompaniment by piano master Tommy Flanagan, bassist Eddie Jones and drummer Bobby Donaldson, the leader's lyrical chops are evident in Alec Wilder's rarely performed ballad "It's So Peaceful in the Country." The light Latin setting of "Star Eyes" initially spotlights Flanagan's elegant piano, with the rhythm switching gears as Wess works his magic on flute. Flanagan alone introduces the dreamy interpretation of "But Beautiful," while Wess will melt any heart with his gorgeous flute solo. Wess is best known for his swinging tenor saxophone, heard on the richly textured "Gone With the Wind," a spacious "Stella by Starlight" (which will rival any saxophonist's recording for pure beauty), as well as his bluesy original "Rainy Afternoon," with Donaldson's light percussion possibly suggesting stepping in sidewalk puddles or windshield wipers clearing intermittent precipitation. Highly recommended. Ken Dryden
Tracklist :
1    It's So Peaceful In The Country    4:58
 Alec Wilder
2    Rainy Afternoon    8:24
 Frank Wess
3    Star Eyes    3:51
 Gene DePaul / Don Raye
4    Stella By Starlight    5:08
 Ned Washington / Victor Young
5    But Beautiful    4:33
 Johnny Burke / James Van Heusen
6    Gone With The Wind    5:44
 Herbert Magidson / Allie Wrubel
7    I See Your Face Before Me    6:04
 Howard Dietz / Arthur Schwartz
Credits :
Bass – Eddie Jones
Drums – Bobby Donaldson
Flute, Tenor Saxophone – Frank Wess
Piano – Tommy Flanagan
Recorded By – Rudy Van Gelder

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

GENE AMMONS' ALL STARS — The Big Sound (1958-1991) RM | APE (image+.cue), lossless

Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original. Scott Yanow
Tracklist :
1    Blue Hymn 12:37
Written-By – Gene Ammons
2    The Real McCoy 8:33
Written-By – Mal Waldron
3    Cheek To Cheek 14:12
Written-By – Irving Berlin
4    That's All 13:58
Written-By – Bob Haymes
Credits :
Alto Saxophone – John Coltrane (tracks: 3)
Baritone Saxophone – Pepper Adams (tracks: 3, 4)
Bass – George Joyner
Drums – Art Taylor
Flute – Jerome Richardson
Piano – Mal Waldron
Tenor Saxophone – Gene Ammons, Paul Quinichette (tracks: 3)

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

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

KENNY BURRELL WITH COLEMAN HAWKINS — Bluesey Burrell (1962-2019) RM | SACD Hybrid, DSD | The Prestige Stereo Series | FLAC (tracks+.cue), lossless

This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on half of the eight tracks. Released on the Prestige subsidiary Moodsville -- a label that specialized in recordings with an intimate, reflective atmosphere -- the Moodsville sound doesn't sit comfortably on Hawkins. His playing is brilliantly relaxed, but it's not mood music. Leader Kenny Burrell's playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric. Unlike Hawkins, Burrell's subdued contribution is made to measure for this date. Listeners expecting to hear Burrell the hard bopper won't. The key moments come during the interaction between the guitarist and tenor player, especially during their exchanges on Burrell's "Montono Blues." The rhythm section, Hawkins' working band from this period (pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke) provides impeccable, sublime support. Jim Todd
Tracklist :
1    Tres Palabras 6:44
Written-By – Osvaldo Farres
2    No More 1:53
Written-By – Russell, Camarata
3    Guilty 4:17
Written-By – Kahn, Akst, Whiting
4    Montono Blues 4:45
Written-By – Kenny Burrell
5    I Thought About You 4:40
Written-By – Van Heusen, Mercer
6    Out Of This World 4:54
Written-By – Arlen, Mercer
7    It's Getting Dark 6:53
Written-By – Burrell
8    I Never Knew 5:19
Written-By – Kahn, Fiorito
Credits :
Alto Saxophone – Leo Wright (pistas: 8)
Bass – George Tucker (pistas: 8), Major Holley (pistas: 1 to 7)
Congas – Ray Barretto (pistas: 1 to 7)
Drums – Eddie Locke (pistas: 1 to 7), Jimmie Smith (pistas: 8)
Guitar – Kenny Burrell
Piano – Gildo Mahones (pistas: 8), Tommy Flanagan (pistas: 1 to 7)
Tenor Saxophone – Coleman Hawkins (pistas: 1, 4 to 5, 7)

CURTIS FULLER — New Trombone (1957-1996) RM | FLAC (tracks+.cue), lossless

This 1957 date matches Fuller with bluesy, fervent alto sax wailer Sonny Red Kyner. They make both a tight ensemble pair and an excellent contrasting frontline, with Kyner's spewing, flailing delivery featured on such cuts as "Blue Lawson" and "Namely You" operating against Fuller's equally intense, but lighter and smoother trombone lines. With Hank Jones operating as the rhythm section's harmonic link on piano, bassist Doug Watkins and drummer Louis Hayes mesh underneath effectively. These undiluted, straight-ahead bop and blues numbers are still par for the course. Ron Wynn
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 :