BARRY HARRIS TRIO — Preminado (1961-1990) RM | FLAC (tracks+.cue), lossless

This CD reissue (a straight reissue of the original Riverside LP) features the great bop pianist Barry Harris in a trio with bassist Joe Benjamin and drummer Elvin Jones. Jones in particular pushes the pianist, and this fine set has many strong moments, including strong versions of "My Heart Stood Still," Harris' original title cut and "What Is This Thing Called Love"; in addition, Barry Harris takes "I Should Care" as an unaccompanied solo. Scott Yanow
Tracklist :
1    My Heart Stood Still    6:31
 Lorenz Hart / Richard Rodgers
2    Preminado    5:30
 Barry Harris
3    I Should Care    3:33
 Sammy Cahn / Axel Stordahl / Paul Weston
4    There's No One But You    4:06
 A. H. C. Croom-Johnson / Austen Croom / Redd Evans
5    One Down    4:35
 Barry Harris
6    It's The Talk Of The Town    5:03
 Jerry Livingston / Al J. Neiburg / Marty Symes
7    Play, Carol, Play    4:11
 Barry Harris
8    What Is This Thing Called Love    4:05
 Cole Porter
Credits :
Bass – Joe Benjamin
Drums – Elvin Jones
Piano – Barry Harris

THELONIOUS MONK SEPTET - Monk's Music (1957) Two Version (1986, RM | MONO | Riverside CD Masterpiece Series – 6) + (2011, RM | Serie Original Jazz Classics Remasters) FLAC (tracks+.cue), lossless

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk's completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins' rich textures and Coltrane's playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. AdAdditionally, Blakey is in top form, with a solo that borders on spastic precision. Lindsay Planer
Tracklist :
1    Abide with Me 0:55    
Henry Francis Lyte / Thelonious Monk
2    Well, You Needn't 11:27
Thelonious Monk
3    Ruby, My Dear 5:28    
Thelonious Monk
4    Off Minor (Take 5) 5:11    
Thelonious Monk
5    Epistrophy  10:48
Kenny Clarke / Thelonious Monk
6    Crepuscule with Nellie (Take 6) 4:40    
Thelonious Monk
– BONUS TRACK –
7    Off Minor (Take 4) 5:15    
Thelonious Monk
 8    Crepuscule with Nellie (Take 4 & 5) 4:44
Thelonious Monk
9    Blues For Tomorrow    13:33
Credits :
Trumpet – Ray Copeland
Alto Saxophone – Gigi Gryce
Bass – Wilbur Ware
Drums – Art Blakey
Piano – Thelonious Monk
Tenor Saxophone – Coleman Hawkins, John Coltrane

ERNIE HENRY — Presenting Ernie Henry (1956-1999) RM | Original Jazz Classics Limited Edition Series | FLAC (image+.cue), lossless

Altoist Ernie Henry's first of three sessions as a leader, all of which were made within 16 months of his premature death, served as a strong debut. Joined by trumpeter Kenny Dorham, pianist Kenny Drew, bassist Wilbur Ware and drummer Art Taylor, Henry -- who always had a distinctive tone -- performs five of his boppish originals, plus "Gone With the Wind" and "I Should Care." Throughout the date, Henry hints strongly at the great potential he had. This set has thus far only been reissued by the OJC series on LP. Scott Yanow
Tracklist :
1    Gone With The Wind    3:24
 Herbert Magidson / Allie Wrubel
2    Orient    5:10
 Ernie Henry
3    Free Flight    5:48
 Ernie Henry
4    Checkmate    5:55
 Ernie Henry
5    Active Ingredients    5:03
 Ernie Henry
6    I Should Care    5:07
 Sammy Cahn / Axel Stordahl / Paul Weston
7    Cleo's Chant    8:21
 Ernie Henry
Credits :
Alto Saxophone – Ernie Henry
Bass – Wilbur Ware
Drums – Art Taylor
Piano – Kenny Drew
Trumpet – Kenny Dorham

SAM JONES PLUS 10 — The Chant (1961-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Bassist Sam Jones's Riverside recordings have long been underrated. This CD reissue features Jones on bass and cello for four songs apiece with a particularly strong supporting cast including cornetist Nat Adderley, trumpeter Blue Mitchell, trombonist Melba Liston, altoist Cannonball Adderley (who only takes one solo) and Jimmy Heath on tenor; Victor Feldman and Heath provided the colorful arrangments. Highlights include "Four," "Sonny Boy," Jones's "In Walked Ray" and "Over the Rainbow" but all eight selections in this straightahead set are rewarding. Scott Yanow
Tracklist :
1    The Chant    3:24
 Victor Feldman
2    Four    4:23
 Miles Davis / Jon Hendricks
3    Blues On Down    5:45
 Benny Golson
4    Sonny Boy    4:54
 Lew Brown / Buddy DeSylva / Ray Henderson / Al Jolson
5    In Walked Ray    4:04
Written-By – Sam Jones
6    Bluebird    4:10
 Charlie Parker
7    Over The Rainbow    6:37
 Harold Arlen / E.Y. "Yip" Harburg
8    Off-Color    4:26
Written-By – Rudy Stevenson
Credits :
Alto Saxophone – Julian "Cannonball" Adderley
Arranged By – Jimmy Heath, Victor Feldman
Baritone Saxophone – Tate Houston
Bass – Keter Betts (tracks: 4 to 7), Sam Jones (tracks: 1 to 3, 8)
Cello – Sam Jones (tracks: 4 to 7)
Cornet – Nat Adderley
Drums – Louis Hayes
Guitar – Les Spann (tracks: 1 to 3, 8)
Piano – Victor Feldman (tracks: 1 to 3, 5, 8), Wynton Kelly (tracks: 4, 6, 7)
Tenor Saxophone – Jimmy Heath
Trombone – Melba Liston
Trumpet – Blue Mitchell
Vibraphone – Victor Feldman (tracks: 4 to 7)

ELMO HOPE — Homecoming! (1961-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. Brandon Burke
Tracklist :
1    Elmo Hope Sextet–    Moe, Jr. (Take 4)    5:52
Composed By – Elmo Hope
2    Elmo Hope Sextet–    Moe, Jr. (Take 2)    4:37
Composed By – Elmo Hope
3    Elmo Hope Trio–    La Berthe    3:10
Composed By – Elmo Hope
4    Elmo Hope Sextet–    Eyes So Beautiful As Yours    6:28
Composed By – Elmo Hope
5    Elmo Hope Trio–    Homecoming    5:04
Composed By – Elmo Hope
6    Elmo Hope Trio–    One Mo' Blues    6:44
Composed By – Elmo Hope
7    Elmo Hope Sextet–    A Kiss For My Love (Take 5)    5:29
Composed By – Elmo Hope
8    Elmo Hope Sextet–    A Kiss For My Love (Take 4 - Previously Unissued)    5:35
Composed By – Elmo Hope
9    Elmo Hope Trio–    Imagination 6:39
Composed By – Jimmy Van Heusen And Johnny Burke
Credits :
Bass – Percy Heath
Drums – "Philly" Joe Jones
Piano, Arranged By – Elmo Hope
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Frank Foster (tracks: 1, 2, 4, 7, 8), Jimmy Heath (tracks: 1, 2, 4, 7, 8)
Trumpet – Blue Mitchell (tracks: 1, 2, 4, 7, 8)

NAT ADDERLEY — Work Song (1960-2004) SACD, Hybrid | FLAC (tracks+.cue), lossless

Work Song is a near-classic by cornetist Nat Adderley. Adderley utilizes a cornet-cello-guitar front line with Sam Jones and Wes Montgomery, along with a top-notch rhythm section pianist including Bobby Timmons, Percy Heath, or Keter Betts on bass and drummer Louis Hayes. First up is a fine early performance of his greatest hit, "Work Song." He also helps introduce Cannonball Adderley's "Sack O' Woe." Four songs use a smaller group, with Timmons absent on "My Heart Stood Still," which finds Keter Betts on cello and Jones on bass; "Mean to Me" featuring Nat backed by Montgomery, Betts, and Hayes; and two ballads ("I've Got a Crush on You" and "Violets for Your Furs") interpreted by the Adderley-Montgomery-Jones trio. No matter the setting, Nat Adderley is heard throughout in peak form, playing quite lyrically. Highly recommended. Scott Yanow
Tracklist :
1    Work Song 4:12
Written-By – Nat Adderley
2    Pretty Memory 3:50
Written-By – Bobby Timmons
3    I've Got A Crush On You 2:53
Written-By – Gershwin-Gershwin
4    Mean To Me 4:59
Written-By – Ahlert, Turk
5    Fallout 4:51
Written-By – N. Adderley
6    Sack Of Woe 4:24
Written-By – Julian Adderley
7    My Heart Stood Still 6:24
Written-By – Rodgers-Hart
8    Violets For Your Furs 3:47
Written-By – Dennis, Adair
9    Scrambled Eggs 3:20
Written-By – Sam Jones
Credits :
Bass – Keter Betts (tracks: 2, 4, 5), Percy Heath (tracks: 1, 6, 9), Sam Jones (tracks: 3, 7, 8)
Cello – Keter Betts (tracks: 7), Sam Jones (tracks: 1, 2, 5, 6, 9)
Cornet – Nat Adderley
Drums – Louis Hayes (tracks: 1, 2, 4 to 7, 9)
Guitar – Wes Montgomery
Piano – Bobby Timmons (tracks: 1, 2, 5, 6, 9)
Producer, Liner Notes – Orrin Keepnews

THE MONTGOMERY BROTHERS Groove Yard (1961-1994) RM | FLAC (image+.cue), lossless

Wes Montgomery was reunited with his brothers Monk and Buddy on this 1961 Riverside session, which also features drummer Bobby Thomas. The guitarist and his brothers are in great form throughout the session in spite of the less-than-ideal piano provided. According to producer Orrin Keepnews, Buddy Montgomery originally intended to split his time on the date between vibes and piano, but the failure of the motor on the former instrument caused him to spend most of his time at the keyboard. The highlight of the evening in the studio is a foot-tapping version of Carl Perkins' "Groove Yard," followed closely by a wild ride through Harold Land's "Delirium." The leader contributed the soulful hard bop work "Doujie." The pianist wrote the driving "Just for Now" and the easygoing blues "Back to Bock." The contents of this CD reissue, all of which are present within the 12-CD set The Complete Riverside Recordings, unfortunately doesn't include several valuable alternate takes later added to the boxed set. Like most of Wes Montgomery's Riverside recordings, this release is an essential part of his discography and is highly recommended. Ken Dryden
Tracklist :
1    Bock To Bock (Back To Back)    6:45
 Buddy Montgomery
2    Groove Yard    3:01
 Carl Perkins
3    If I Should Lose You    5:49
 Ralph Rainger / Leo Robin
4    Delirium    3:38
 Harold Land / Arthur Schutt
5    Just For Now    4:57
 Buddy Montgomery / Dick Redmond
6    Doujie    4:37
 Wes Montgomery
7    Heart Strings    4:35
 Milt Jackson
8    Remember    5:37
 Irving Berlin
Credits :
Wes Montgomery - Guitar
Buddy Montgomery - Piano
Monk Montgomery - Bass
Bobby Thomas - Drums

GEORGE RUSSELL SEXTET — Stratusphunk (1961-1995) RM | APE (image+.cue), lossless

 From 1960-1962, arranger/composer George Russell recorded six albums with his working combo that found him contributing "arranger's piano." The two Decca dates are very scarce, but the four Riversides have fortunately been reissued on CD under the Original Jazz Classics imprint. For this particular date, Russell is joined by five students at the Lenox School of Jazz: trumpeter Al Kiger, trombonist Dave Baker (who in the future would become an important jazz educator), tenor saxophonist Dave Young, bassist Chuck Israels, and drummer Joe Hunt. Surprisingly, only three of the six selections are Russell originals ("Bent Eagle" was an early effort by Carla Bley), but the leader's influence can be felt in all of the adventurous and slightly unusual yet swinging music. Scott Yanow
Tracklist :
1    Stratusphunk 6:06
Written-By – George Russell
2    New Donna 8:23
Written-By – George Russell
3    Bent Eagle 6:12
Written-By – Carla Bley
4    Kentucky Oysters 8:21
Written-By – Dave Baker
5    Lambskins 7:11
Written-By – David Lahm
6    Things New 6:52
Written-By – George Russell
Credits :
Bass – Chuck Israels
Drums – Joe Hunt
Piano, Arranged By – George Russell
Tenor Saxophone – Dave Young
Trombone – Dave Baker
Trumpet – Al Kiger

ELVIN JONES — Elvin! (1962-1995) RM | FLAC (tracks+.cue), lossless

Drummer Elvin Jones' first full-length album as a leader is different than one would expect when it is taken into consideration that he was a member of the fiery John Coltrane Quartet at the time. This sextet session, which also includes his brothers Thad and Hank on cornet and piano in addition to flutist Frank Wess, Frank Foster on tenor, and bassist Art Davis, is straight-ahead with a strong Count Basie feel. Jones is still recognizable on the fairly obscure material (only "You Are Too Beautiful" qualifies as a standard) and shows that he can cook in the fairly conventional setting. All of the musicians are in fine form, and two selections feature the rhythm section as a trio.  Scott Yanow
Tracklist :
1    Lady Luck 6:19
Written-By – Wess, Jones
2    Buzz-At 6:31
Written-By – Thad Jones
3    Shadowland 4:06
Written-By – Sara Cassey
4    Pretty Brown 3:30
Written-By – Ernie Wilkins
5    Ray-El 8:03
Written-By – Thad Jones
6    Four And Six 5:01
Written-By – Oliver Nelson
7    You Are Too Beautiful 4:20
Written-By – Rodgers-Hart
Credits :
Bass – Art Davis
Cornet – Thad Jones (tracks: 1 to 3, 5, 7)
Drums – Elvin Jones
Flute – Frank Wess (tracks: 1 to 3, 5, 7)
Piano – Hank Jones
Tenor Saxophone – Frank Foster (tracks: 1 to 3, 5)

WES MONTGOMERY — The Incredible Jazz Guitar (1967-1999) RM | Serie Jazz紙ジャケ十八番 | FLAC (image+.cue), lossless

The incredible Wes Montgomery of 1960 was more discernible and distinctive than the guitarist who would emerge a few years later as a pop stylist and precursor to George Benson in the '70s. On this landmark recording, Montgomery veered away from his home Indianapolis-based organ combo with Melvin Rhyne, the California-based Montgomery Brothers band, and other studio sidemen he had been placed with briefly. Off to New York City and a date with Tommy Flanagan's trio, Montgomery seems in his post- to hard bop element, swinging fluently with purpose, drive, and vigor not heard in an electric guitarist since bop progenitor Charlie Christian. Setting him apart from the rest, this recording established Montgomery as the most formidable modern guitarist of the era, and eventually its most influential. There's some classic material here, including the cat-quick but perhaps a trifle anxious version of the Sonny Rollins bop evergreen "Airegin," the famous repeated modal progressive and hard bop jam "Four on Six," and Montgomery's immortal soul waltz "West Coast Blues," effortlessly rendered with its memorable melody and flowing, elegant chiffon-like lines. Flanagan, at a time shortly after leaving his native Detroit, is the perfect pianist for this session. He plays forcefully but never overtly so on the bop tracks, offering up his trademark delicacy on the laid-back "Polka Dots and Moonbeams" and easy-as-pie "Gone with the Wind." With the dynamic Philadelphia rhythm section of brothers Percy Heath on bass and drummer Albert Heath, they play a healthy Latin beat on the choppy and dramatic melody of
Montgomery's original "Mr. Walker." Montgomery is clearly talented beyond convention, consistently brilliant, and indeed incredible in the company of his sidemen, and this recording -- an essential addition to every jazz guitarist fan's collection -- put him on the map. Michael G. Nastos

Tracklist :
1.    Airegin (Sonny Rollins) – 4:26
2.    D-Natural Blues (Wes Montgomery) – 5:23
3.    Polka Dots and Moonbeams (Jimmy Van Heusen) – 4:44
4.    Four on Six (Montgomery) – 6:15
5.    West Coast Blues (Montgomery) – 7:26
6.    In Your Own Sweet Way (Dave Brubeck) – 4:53
7.    Mr. Walker (Montgomery) – 4:33
8.    Gone With the Wind (Allie Wrubel) – 6:24
Credits :
Wes Montgomery- Electric Guitar
Tommy Flanagan - Piano
Percy Heath - Bass
Albert Heath - Drums

JIMMY HEATH — Triple Threat (1962-1998) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special. Scott Yanow
Tracklist :
1     Gemini 6'09
Jimmy Heath
2     Bruh Slim 5'16
Jimmy Heath
3     Goodbye 7'04
Gordon Jenkins
4     Dew and Mud 5'01
Jimmy Heath
5     Make Someone Happy 3'41
Betty Comden / Adolph Green / Jule Styne
6     The More I See You 4'18
Mack Gordon / Harry Warren
7     Prospecting 5'40
Jimmy Heath
Credits :
Bass – Percy Heath
Drums – Albert Heath
French Horn – Julius Watkins (pistas: 1 to 4, 7)
Piano – Cedar Walton
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Jimmy Heath
Trumpet – Freddie Hubbard (pistas: 1 to 4, 7)

WES MONTGOMERY — Boss Guitar (1963-2010) RM | Serie Original Jazz Classics Remasters | FLAC (image+.cue), lossless

Before he moved away from straight-ahead jazz and starting playing what is now known as smooth jazz, Wes Montgomery was one of bop's finest guitarists. Montgomery's bop period ended much too soon, but thankfully, he recorded his share of rewarding bop albums when he was still bop-oriented -- and one of them is Boss Guitar, which Orrin Keepnews produced in 1963. It's a trio recording, employing Mel Rhyne on organ and Jimmy Cobb on performances that have held up well over time; Montgomery shows how expressive a ballad player he could be on the standards "For Heaven's Sake" and "Days of Wine and Roses," but the fast tempo exuberance of "The Trick Bag" (a Montgomery original) serves him equally well. Montgomery swings the blues with pleasing results on "Fried Pies" (another Montgomery original), while Consuelo Velázquez's "Besame Mucho" (which is usually played at a slow ballad tempo) is successfully transformed into medium-tempo Latin jazz. Boss Guitar is among the bop-oriented Montgomery albums that should continue to be savored after all these years. [In addition to the eight master takes that were heard on the original '60s LP, some reissues contain alternate takes of "Besame Mucho," "The Trick Bag," and "Fried Pies" -- all of which will interest collectors.] Alex Henderson
Tracklist :
1.    Besame Mucho (Consuelo Velázquez, Sunny Skylar) – 6:28
2.    Besame Mucho [Alternate take] (Velazquez, Skylar) – 6:24
3.    Dearly Beloved (Jerome Kern, Johnny Mercer) – 4:49
4.    Days of Wine and Roses (Henry Mancini, Johnny Mercer) – 3:44
5.    The Trick Bag (Wes Montgomery) – 4:25
6.    Canadian Sunset (Eddie Heywood, Norman Gimbel) – 5:04
7.    Fried Pies (Montgomery) – 6:42
8.    Fried Pies Alternate take (Montgomery) – 6:35
9.    The Breeze and I (Ernesto Lecuona, Al Stillman) – 4:08
10.    For Heaven's Sake (Bretton, Edwards, Meyer) – 4:39
Credits :
Wes Montgomery – Guitar
Melvin Rhyne – Organ
Jimmy Cobb – Drums

CHET BAKER — Chet Baker Plays the Best of Lerner & Loewe (1956-2013) RM | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

This is one of the last Chet Baker (trumpet) long players recorded in the States prior to the artist relocating to Europe in the early '60s. Likewise, the eight-tune collection was the final effort issued during his brief association with the Riverside Records imprint. The project was undoubtedly spurred on by the overwhelming success of the Shelly Manne-led combo that interpreted titles taken from the score to My Fair Lady (1956). In addition to becoming an instant classic, Manne's LP was also among of the best-selling jazz platters of all time. While Baker and crew may have gained their inspiration from Manne, these readings are comparatively understated. That said, the timelessness of the melodies, coupled with the assembled backing aggregate, make Chet Baker Plays the Best of Lerner and Loewe (1959) a memorable concept album. Although Alan Jay Lerner and Frederick Loewe had produced a number of well-received and luminous entries, half of the material on this disc is derived from My Fair Lady (1956). "I've Grown Accustomed to Her Face" is given a languid torch song treatment that spirals around Baker's cool inconspicuous leads, featuring some equally sublime contributions from Zoot Simms (alto sax/tenor sax). This contrasts the resilient and free-spirited waltz on "I Could Have Danced All Night," which benefits from Herbie Mann's (flute) breezy counterpoint and solo. Bill Evans (piano) also lays down some tasty licks over top of the solid rhythm of Earl May (bass) and Clifford Jarvis (drums). "On the Street Where You Live" is a highlight, as the personnel take the time to stretch out and thoroughly examine with some key counterpoint between Baker's honey-toned horn and Pepper Adams' (baritone sax) husky and ample involvement. Of the non-My Fair Lady sides, "The Heather on the Hill" and a superior "Almost Like Being in Love" hail from Brigadoon (1947), while the scintillating and smoldering "Thank Heaven for Little Girls" comes from Gigi (1958). Not to be missed is "I Talk to the Trees," with an unhurried and evenly measured tempo that is coupled to Baker's austere, yet rich and purposeful lines. Lindsay Planer  
Tracklist :
1    I've Grown Accustomed To Your Face    4:11
Alan Jay Lerner / Frederick Loewe
2    I Could Have Danced All Night    3:39
Alan Jay Lerner / Frederick Loewe
3    The Heather On The Hill    5:01
Alan Jay Lerner / Frederick Loewe
4    On The Street Where You Live    8:35
Alan Jay Lerner / Frederick Loewe
5    Almost Like Being In Love    4:49
Alan Jay Lerner / Frederick Loewe
6    Thank Heaven For Little Girls    4:31
Alan Jay Lerner / Frederick Loewe
7    I Talk To The Trees    5:47
Alan Jay Lerner / Frederick Loewe
8    Show Me    6:29
Alan Jay Lerner / Frederick Loewe
Credits :
Alto Saxophone, Tenor Saxophone – Zoot Sims
Baritone Saxophone – Pepper Adams
Bass – Earl May
Drums – Clifford Jarvis
Flute – Herbie Mann
Piano – Bill Evans (2, 6 to 8), Bob Corwin (1, 3 to 5)
Tenor Saxophone – Herbie Mann (5)
Trumpet – Chet Baker

BILL EVANS – The Complete Interplay Sessions (2014) RM | 2CD | FLAC (tracks+.cue), lossless

Interplay stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
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

WYNTON KELLY — Piano (1958-1998) RM | Serie XRCD² | FLAC (tracks+.cue), lossless

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, Kelly had only cut one date as a leader prior to this -- and that had been seven years earlier. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in the conventional piano trio setting -- with only bass and drums -- a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. Lee Bloom 

Tracklist :

1  Whisper Not 7:12 

Benny Golson 

2  Action 7:12 

Wynton Kelly 

3  Dark Eyes 5:59 

Traditional 

4  Strong Man 5:17 

Oscar Brown, Jr. 

5  Ill Wind 4:25 

Harold Arlen / Ted Koehler 

6  Don't Explain 5:36 

Billie Holiday / Arthur Herzog, Jr. 

7  You Can't Get Away 6:24 

Wynton Kelly 

8  Dark Eyes 5:19 

Traditional 

Credits :

Bass – Paul Chambers 

Drums – Philly Joe Jones 

Guitar – Kenny Burrell (tracks: 1 to 3, 8) 

Piano – Wynton Kelly

ZOOT SIMS QUINTET - Zoot! (1957-1991) RM | WV (image+.cue), lossless

For a little while in the mid-'50s, Zoot Sims occasionally doubled on alto although he soon switched back exclusively to tenor where he had a stronger musical personality. On the CD reissue of Riverside's 1956 Zoot!, Sims plays alto on two of the seven tracks and works well with trumpeter Nick Travis. Actually, pianist George Handy, who contributed four originals (two standards and drummer Osie Johnson's "Osmosis" complete the program) and did all of the arranging, comes across as the key supporting player; bassist Wilbur Ware and Johnson are fine in quiet support. Although Handy's arrangements are a bit modern, this is still a typically hard-swinging and melodic Zoot Sims date. Scott Yanow
Tracklist :
1     Why Cry? 5:54
George Handy    
2     Echoes of You 7:12
George Handy    
3     Swim, Jim 7:07
George Handy    
4     Here and Now 4:55
George Handy    
5     Fools Rush In (Where Angels Fear to Tread) 4:30
Rube Bloom / Johnny Mercer
6     Osmosis 4:44
Osie Johnson    
7     Taking a Chance on Love 6:01
Vernon Duke / Ted Fetter / John Latouche
Credits :
Alto Saxophone – Jack "Zoot" Sims (pistas: 3, 6)
Bass – Wilbur Ware
Drums – Osie Johnson
Piano, Arranged By – George Handy
Producer, Liner Notes – Orrin Keepnews
Tenor Saxophone – Jack "Zoot" Sims
Trumpet – Nick Travis

COLEMAN HAWKINS - The Hawk Flies High (1957-2004) RM | FLAC (tracks+.cue), lossless

Coleman Hawkins' 1957 session for Riverside, aside from an oral documentary record in a short-lived series, was his only recording for the label under his name. Yet producer Orrin Keepnews had the good sense to invite the legendary tenor saxophonist to pick his own musicians, and Hawkins surprised him by asking for young boppers J.J. Johnson and Idrees Sulieman in addition to the potent rhythm section of Hank Jones, Oscar Pettiford, Barry Galbraith, and Jo Jones. The two days of sessions produced a number of strong performances, with Hawkins still very much at the top of his game, while both Johnson and Sulieman catch fire as well. Even though most of the focus was on new material contributed by the participants, the musicians quickly adapted to the unfamiliar music, especially the leader's old-fashioned swinger "Sancticity" (which sounds like it could have been part of Count Basie's repertoire) and the pianist's tightly woven bop vehicle "Chant." Hawkins was one of the great ballad interpreters, and his majestic performance of the standard "Laura" is no exception. The 2008 reissue in the Keepnews Collection series uncovered no previously unissued material, though expanded liner notes by the producer and improved 24-bit remastering make this edition an improvement over earlier versions. Ken Dryden  
Tracklist :
1     Chant 5:08
Hank Jones / Henry Jones
2     Juicy Fruit 11:16
Idrees Sulieman
3     Think Deep 3:24
William Smith
4     Lauran 4:34
Johnny Mercer / David Raksin
5     Blue Lights 5:44
Gigi Gryce
6     Sancticity 9:10
Coleman Hawkins
Credits :
Bass – Oscar Pettiford
Drums – Jo Jones
Guitar – Barry Galbraith
Piano – Hank Jones
Producer, Other [Original Liner Notes] – Orrin Keepnews
Saxophone [Tenor] – Coleman Hawkins
Trombone – J.J. Johnson
Trumpet – Idrees Sulieman

IDA COX WITH THE COLEMAN HAWKINS QUINTET — Blues for Rampart Street (1961-1990) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Classic blues singer Ida Cox had not recorded since 1940 nor performed regularly since the mid-'40s when she was coaxed out of retirement to record a date for Riverside in 1961. At 65 years old (some books list her as being 72), Cox's voice was a bit rusty and past its prime, but she still had the feeling, phrasing, and enough tricks to perform a strong program. With assistance from trumpeter Roy Eldridge, tenor saxophonist Coleman Hawkins, pianist Sammy Price, bassist Milt Hinton, and drummer Jo Jones (swing-era veterans who came up after Cox was already a major name), the singer does her best on such numbers as "Wild Women Don't Have the Blues," "Blues for Rampart Street," "St. Louis Blues," and "Death Letter Blues." Since she passed away in 1967, this final effort (reissued on CD) was made just in time and is well worth acquiring by 1920s jazz and blues collectors. Scott Yanow
Tracklist :
1 Blues for Rampart Street 3:00
Ida Cox
2 St. Louis Blues 3:24
W.C. Handy
3 Fogyism 4:32
Ida Cox
4 Wild Women (Don't Have the Blues) 3:19
Ida Cox
5 Hard Times Blues 4:16
Ida Cox
6 Cherry Pickin' Blues 3:32
Ida Cox
7 Hard, Oh Lord 3:49
Ida Cox
8 Lawdy Lawdy Blues 5:55
Ida Cox
9 Death Letter Blues 3:41
Ida Cox
10 Mama Goes Where Papa Goes 3:24
Milton Ager / Jack Yellen
Credits :
Bass – Milt Hinton
Drums – Jo Jones
Piano – Sammy Price
Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
Vocals – Ida Cox

JIMMY HEATH SEXTET - The Thumper (1960-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks), lossless

Jimmy Heath at age 33 made his recording debut as a leader on this Riverside session which has been reissued on CD in the OJC series. The hard bop tenor-saxophonist is in superior form, contributing five originals (of which "For Minors Only" is best known), jamming with an all-star sextet (including cornetist Nat Adderley, trombonist Curtis Fuller, pianist Wynton Kelly, bassist Paul Chambers and drummer Albert "Tootie" Heath) and taking two standards as ballad features. The excellent session of late '50s straightahead jazz is uplifted above the normal level by Heath's writing. Scott Yanow
Tracklist :
1     For Minors Only 4'53
Jimmy Heath
2     Who Needs It? 5'35
Wynton Kelly
3     Don't You Know I Care (Or Don't You Care to Know) 5'02
Mack David / Duke Ellington
4     Two Tees 4'14
Jimmy Heath
5     The Thumper 4'01
Jimmy Heath
6     New Keep 4'11
Jimmy Heath
7     For All We Know 4'35
J. Fred Coots / Sam M. Lewis
8     I Can Make You Love Me 3'27
Peter DeRose / Bob Russell
9     Nice People 3'52
Jimmy Heath
Credits :
Bass – Paul Chambers
Cornet – Nat Adderley (pistas: 1, 2, 4 to 7, 9)
Drums – Albert Heath
Piano – Wynton Kelly
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Jimmy Heath
Trombone – Curtis Fuller (pistas: 1, 2, 4 to 7, 9)