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

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

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

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | Limited Edition | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanburn.

Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.

After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song. Samuel L. Chell
Tracklist :
1    Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Bass – Gene Wright
Clarinet – Buddy DeFranco
Drums – Bobby White
Guitar – Tal Farlow (tracks: 1, 3 to 5)
Organ, Piano – Sonny Clark

SONNY CRISS — Sonny Criss Plays Cole Porter (1956-1990) Serie We Love Jazz | FLAC (tracks+.cue), lossless

Tracklist :
1    I Love You 4:13
Cole Porter
2    Anything Goes 3:12
Cole Porter
3    Easy to Love 3:16
Cole Porter
4    It's All Right With Me 3:10
Cole Porter
5    In the Still of the Night 4:19
Cole Porter
6    Love for Sale 2:43
Cole Porter
7    Night and Day 4:43
Cole Porter
8    Just One of Those Things 2:48
Cole Porter
9    What Is This Thing Called Love? 5:43
Cole Porter
10    I Get a Kick Out of You     2:46
Cole Porter
Credits :
Alto Saxophone – Sonny Criss
Bass – Buddy Clark
Drums – Lawrence Marable
Piano – Sonny Clark
Vibraphone – Larry Bunker

DEXTER GORDON — Go (1962) Two Version | 1986, BLUE NOTE SUPER 50 – 48 + 1999, RM | Serie RVG Edition | FLAC (tracks+.cue), lossless

From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go is going to be one of those albums where everything just seems to come together magically. A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines. Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance. Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all.Stacia Proefrock

Tracklist :

1 Cheese Cake 6:34
Dexter Gordon
2 I Guess I'll Hang My Tears Out to Dry 5:23
Sammy Cahn / Jule Styne
3 Second Balcony Jump 7:06
Billy Eckstine / G. Valentine / Gerald Valentine
4 Love for Sale 7:37
Cole Porter
5 Where Are You? 5:20
Harold Adamson / Jimmy McHugh
6 Three O'Clock in the Morning 5:42
Julián Robledo / Dorothy Terriss
Credits:
Bass – Butch Warren
Drums – Billy Higgins
Piano – Sonny Clark
Recorded By – Rudy Van Gelder
Tenor Saxophone – Dexter Gordon

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

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

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

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

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

CURTIS FULLER — Volume 3 (1957-1999) RM | Serie 24 Bit By RVG | FLAC (tracks+.cue), lossless

Trombonist Curtis Fuller settled in New York in April of 1957, after working for several years in his native Detroit. Volume 3 pairs him with trumpeter Art Farmer, along with a buoyant rhythm section comprising Sonny Clark (who also relocated to N.Y.C. in April '57), George Tucker and Louis Hayes. This third solo recording for Fuller on the Blue Note label is stronger than its predecessors, especially in showcasing the trombonist's writing talents. The five original tunes and one standard feature some fine ensemble playing and cover a broad range from Afro-Cuban to medium swing to ballad. Fuller's composition "Carvon" is exceptional; the main theme is played on trombone accompanied only by bowed bass. This recording firmly established Curtis Fuller as a serious, mature voice on his instrument. Lee Bloom Tracklist & Credits

CURTIS FULLER — Two Bones (1958-2014) RM | SHM-CD | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

THE BUDDY DeFRANCO QUINTET — Sweet And Lovely (1956-2012) RM | MONO | Serie Jazz The Best お宝コレクション – 64 | FLAC (tracks+.cue), lossless

I'm not the greatest fan of the clarinet, which was the most celebrated instrument during the '30s and '40s--the so-called "Swing Era"--when the two most popular instrumental stars were Benny Goodman and Artie Shaw. Both led big bands and realized revenues that exceeded (or at least matched) the leading vocal stars of the period--the foremost of which were Frank Sinatra and Bing Crosby). How can you explain the instrument's hold on the American public and its complete fall from grace by 1955 (Artie wisely quit the music business in 1954, with more than half of his life in front of him; BG managed to hang on, as a nostalgia item in America pop culture and still a "star" in the eyes of the rest of the world (Russia, Japan, Europe)?

Here's a theory that has never received attention in explaining the relative "disappearance" of the clarinet (except as a 2nd horn, useful for doubling in certain situations and on certain arrangements). First (and foremost), beginning in the 1960s the only instrument that "mattered" to the new and powerful consumer culture (mostly young adults, 25-45) was the guitar. Ask the "average" listener to name ANY instrumentalist, and if it's not a guitarist, it's going to be a guitarist-composer-singer (Bob Dylan, Elvis, Buck Owens, Johnny Cash), it's the rare exception that gets the public's attention--someone like Kenny G or David Sanborn.
Both of the latter instruments, it must be noted, played as high as the clarinet, but were fuller and more penetrating. And this is what helps explain the mystery of the clarinet's fall from public favor: the MICROPHONE. The mic came along in time for Bing Crosby to crowd Al Jolsen from the stage, but it was not sufficiently sensitive, compact and complex to allow for amplifying an instrument in a big band (make it 3-4 on today's drummers). I saw Ray Brown playing unamplified bass in amphitheaters in the late '50s. In such a context, the clarinet was the star because it was the only instrument that could be HEARD among 20 other guys playing fff.
After 1950 the clarinet no longer had the advantage it had received "by default." Artie Shaw would not have been able to marry 8 trophy wives (4 of them Hollywood stars), nor did Buddy DeFranco. But among that tiny minority of listeners who follow jazz--embracing its completelness in time and space--Buddy DeFranco was to the clarinet what Charlie Parker was to all musicians who, by the late 1940s, wanted to sound more "modern" than either Benny or Artie. He was, minimally, the equal of Benny and Artie, and he played more complex music, "musician's music." And to prove he was the "real deal," he performed with major, pyrotechnical jazz stars (entire albums with Art Tatum and Oscar Peterson) and he mined the inexhaustible challenges and beauty of "the Great American Songbook." On this album Buddy is featured with primo bebop pianist Sonny Clark and some of the jewels representing the real art of American popular song.  Samuel L. Chell

Tracklist :
1     Getting A Balance 8:57
Written-By – DeFranco, Clark
2    Old Black Magic 6:39
Written-By – Arlen/Mercer
3    They Say Its Wonderful 7:14
Written-By – Berlin
4    But Beautiful 4:34
Written-By – Burke/Van Heusen
5    Nearness Of You 4:54
Written-By – Carmichael, Washington
6    What I Can Say (After I Say I’m Sorry) 4:43
Written-By – Lyman, Donaldson
7    Moe 4:07
Written-By – Clark
Credits :
Buddy De Franco - Clarinet
Sonny Clark - Piano and Organ
Tal Farlow - Guitar
Gene Wright - Bass
Bobby White - Drums
Recorded in Los Angeles, CA, on September 1, 1954 and August 12 & 26, 1955.

LOU DONALDSON - The Complete Blue Note Lou Donaldson Sessions 1957-60 (2002) RM | MONO | 6xCD | FLAC (tracks+.cue), lossless

A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.
Over the course of some 20 albums that Donaldson would cut for Blue Note beginning with his first sessions in 1953, you can trace the course of popular jazz styles, from bop inflected quintets to soul jazz organ combos. The majority of this new six disc set covers the type of bebop fare that is the core of Donaldson's musical persona and much of this material has been available previously on compact disc, although there are a few items that could only be found previously on pricey Japanese imports.

For the record, the albums included herein are Wailing with Lou, Swing and Soul, Lou Takes Off, Blues Walk, LD + 3, The Time Is Right, Sunny Side Up, Light-Foot, Gravy Train, and Midnight Sun.

Seven of the original sessions feature Donaldson in stripped down quartet formats, with conga player Ray Barretto added on occasion. Pianist Herman Foster is a mainstay on several of these dates and he shares a strong affinity with our leading man, especially on the albums Swing and Soul and Light-Foot. Of course, the cream of the crop in this category has to be Blues Walk, a certifiable Blue Note gem with bop ditties such as 'Move' and 'Callin' All Cats' mixing beautifully with lush ballad as found on 'The Masquerade Is Over' and 'Autumn Nocturne.' Never before available in the U.S. on disc, the transcendent L.D. + 3 should be considered the sleeper of these quartet/quintet sides, with Gene Harris and the Three Sounds helping to cast a bluish hue that finds Donaldson at his most sublime. In fact, it wouldn't be an exaggeration to suggest that this session alone is worth the price of admission.

The rest of the set finds Donaldson working with larger groups, starting with 1957's Lou Takes Off. Strictly a blowing session, the four extended performances allow Donald Byrd, Curtis Fuller, and Donaldson to stretch out at length, with the rhythm section of Sonny Clark , George Joyner, and Art Taylor booting things along at a medium tempo for the most part. For Wailing With Lou, The Time Is Right, and Sunny Side Up, things revert to a quintet format that places trumpet and alto as the lead voices. The latter two albums are excellent Blue Note dates of the period that make the most of pianist Horace Parlan's bluesy grass roots approach. Plus, trumpeters Blue Mitchell and Bill Hardman make perfect foils to Donaldson in that each has a lyrical style that meshes beautifully with altoist's own melodic muse.

Closing this durable set and serving as a signpost of groovier things to come, namely the organ combo records that Donaldson would launch into beginning with The Natural Soul, 1960's Midnight Sun and the following year's Gravy Train, wrap up this set in a funky vein with Barretto (and Alec Dorsey on Gravy Train ) back to add a little percussive spice. Pieces like 'Dog Walk,' 'Twist Time,' and 'Gravy Train' are modern blues numbers with just a touch of soul and a flavor that would make them jukebox classics at the time—their crossover appeal was very strong.

In typical Mosaic fashion, this set is housed in a 12 x 12 inch box (although the company now is not fastening the top and bottom sections of the box; the top simply slips on top of the bottom half). Along with the 24-bit sound in this package, a 16-page booklet includes original session photographs by Francis Wolff and commentary by Bob Blumenthal. All recordings are available solely through Mosaic Records: 35 Melrose Place; Stamford, CT 06902; (203) 327-7111.

 All Tracks & Credits

LOU DONALDSON - Lou Takes Off (1957-2008) RM | MONO | RVG Edition | FLAC (tracks+.cue), lossless

The influence of Charlie Parker can be heard in virtually every modern jazz musician, particularly players of the alto saxophone. Although considered to be one of "Bird's children," Lou Donaldson absorbed and synthesized other pre-Parker influences, such as Johnny Hodges and Benny Carter. This recording marks a period in his development prior to a stylistic shift away from bop and toward a stronger rhythm and blues emphasis. Three up-tempo tunes are pure bebop; the remaining number is a medium blues in B flat, quite characteristic of the hard bop period. The front line on this set includes Donald Byrd and Curtis Fuller; the rhythm section is Sonny Clark, George Joyner, and Art Taylor. Overall, Lou Takes Off breaks no new musical ground, but it is a solid, swinging session of high-caliber playing. [An edition remastered by Rudy Van Gelder was issued in 2008.] Lee Bloom
Tracklist :
1     Sputnik 10:05
Lou Donaldson    
2     Dewey Square 7:16
Charlie Parker    
3     Strollin' In 14:34
Lou Donaldson    
4     Groovin' High 6:22
Dizzy Gillespie
Credits :
Alto Saxophone – Lou Donaldson
Bass – Jamil Nasser
Drums – Art Taylor
Piano – Sonny Clark
Recorded By [Recording Engineer], Remastered By – Rudy Van Gelder
Trombone – Curtis Fuller
Trumpet – Donald Byrd

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

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

HANK MOBLEY - Hank Mobley (1957-2007) RM | MONO | RVG Edition | FLAC (tracks+.cue), lossless

Tracklist :
1    Mighty Moe and Joe 6:51
Curtis Porter     
2     Falling in Love With Love 5:28
Lorenz Hart / Richard Rodgers    
3     Bags' Groove 5:57
Milt Jackson    
4     Double Exposure 8:04
Hank Mobley    
5     News 8:12
Curtis Porter
Credits :    
Alto Saxophone, Tenor Saxophone – Curtis Porter
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Piano – Sonny Clark
Tenor Saxophone – Hank Mobley
Trumpet – Bill Hardman

HANK MOBLEY - Poppin' (1957-1996) FLAC (tracks+.cue), lossless

Poppin' was one of many sessions tenor saxophonist Hank Mobley recorded in the late '50s and early '60s but remained unreleased until the late '70s and '80s. It's hard to say why this session - which was recorded in 1957 -- sat on the shelves, since it as good as the other records he cut at the time. Leading a sextet featuring trumpeter Art Farmer, baritone saxophonist Pepper Adams, pianist Sonny Clark, bassist Paul Chambers, and drummer Philly Joe Jones, Mobley plays a selection of five originals and contemporary jazz songs with passion and vigor. All of the musicians turn in fine performances (Clark in particular stands out with his lithe solos and tasteful accompaniment), and the result is a winning collection of straight-ahead hard bop that ranks as another solid addition to Mobley's strong catalog. Stephen Thomas Erlewine
Tracklist :
1     Poppin' 6:31
Hank Mobley    
2     Dam That Dream 6:09
Eddie DeLange / James Van Heusen    
3     Gettin' Into Something 6:31
Hank Mobley    
4     Tune Up 10:51
Miles Davis    
5     East of Brooklyn 10:09
Hank Mobley
Credits :
Baritone Saxophone – Pepper Adams
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Engineer – Rudy Van Gelder
Piano – Sonny Clark
Tenor Saxophone – Hank Mobley
Trumpet – Art Farmer

HANK MOBLEY QUINTET - Curtain Call (1957-1996) RM | FLAC (tracks), lossless

Today we can only speculate as to why so many Blue Note sessions were not originally issued. Blue Note founder/producer Alfred Lion, known to be punctilious in upholding a very high standard for his product, sometimes felt that a particular session was not worthy of public release. While neither the playing nor writing is quite at the level of Mobley's 1960 critically acclaimed Soul Station (Blue Note 4031), "Curtain Call" is nevertheless a fine effort; yet it was only made available in 1984 by Toshiba EMI in Japan. Kenny Dorham, who like Mobley had worked in Max Roach's group, is featured on trumpet. (Dorham and Mobley had also recorded together on an earlier Mobley session for the Prestige label.) Highlights include the ballad "Deep in a Dream," which was to be re-recorded four years later with Ike Quebec for inclusion on Sonny Clark's great Leapin' and Lopin' LP. Hank's originals "Curtain Call" and "The Mobe" are sprightly and likable bop lines. Despite an occasional tendency for Mobley's relaxed articulation to sound a bit languorous, his playing is generally enjoyable, and his writing exhibits character, maturity, and a uniquely rhythmic approach to crafting memorable melodies. Lee Bloom  
Tracklist:
1     Don't Get Too Hip 10:58
Hank Mobley    
2     Curtain Call 5:25
Hank Mobley    
3     Deep In A Dream 5:59
Eddie DeLange / James Van Heusen    
4     The Mobe 6:20
Hank Mobley    
5     My Reverie 5:32
Larry Clinton / Claude Debussy    
6     On The Bright Side 7:14     
Hank Mobley
Credits:
Bass – Jimmy Rowser
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Piano – Sonny Clark
Tenor Saxophone – Hank Mobley
Trumpet – Kenny Dorham

JOHNNY GRIFFIN - The Congregation (1957-2005) RM | MONO | FLAC (tracks+.cue), lossless

The great tenor saxophonist Johnny Griffin is heard in top form on this near-classic quartet set. Assisted by pianist Sonny Clark, bassist Paul Chambers, and drummer Kenny Dennis, Griffin is exuberant on "The Congregation" (which is reminiscent of Horace Silver's "The Preacher"), thoughtful on the ballads, and swinging throughout. It's recommended for bop collectors. Scott Yanow
Tracklist :
1     Congregation 6'46
Johnny Griffin
2     Latin Quarter 6'27
John Jenkins
3     I'm Glad There Is You 5'10
Jimmy Dorsey / Paul Mertz
4     Main Spring 6'23
Johnny Griffin
5     It's You or No One 4'51
Sammy Cahn / Jule Styne
6     I Remember You 7'29
Johnny Mercer / Victor Schertzinger
Credits :
Bass – Paul Chambers
Drums – Kenny Dennis
Illustration [Cover] – Andy Warhol
Piano – Sonny Clark
Recorded By – Rudy Van Gelder
Tenor Saxophone – Johnny Griffin

THE CLARK TERRY QUARTET | THE COLEMAN HAWKINS SEXTET - Eddie Costa : Memorial Concert (1963) lp | FLAC (tracks), lossless

A memorial concert was held in 1962 not long after the death of pianist and vibraphonist Eddie Costa in a car wreck; evidently, many musicians volunteered to perform at this Village Gate event but only parts of two sets were recorded and issued. Clark Terry, joined by Dick Hyman, Art Davis, and Osie Johnson, perform on the first side following comments by Willis Conover and Terry. The flügelhornist starts with his delightful "Simple Waltz," showcasing his fat lyrical tone, although the rhythm section is not well-recorded and is a little too much in the background. Trombonist Willie Dennis joins the quartet for a down-and-dirty arrangement of "Things Ain't What They Used to Be," which is highlighted by Terry's final solo where he alternates between a flügelhorn in one hand and a muted trumpet in the other. Coleman Hawkins leads off the second side; he's joined by Urbie Green, Markie Markowitz, Sonny Clark, Roy Haynes, and Chuck Israels. Like Terry, he starts off his first number, "I'm Confessin' That I Love You," with just the rhythm section. Hawkins is bursting with energy and imagination in his rendition, ranking this effort equal to or exceeding anything else he recorded in the 1960s; unfortunately, the song is suddenly faded out just after the six-minute mark. The interplay with the added horns on an extended take of "Just You, Just Me" is quite enjoyable, though Markowitz's trumpet seems somewhat off-mike at times. This long unavailable LP will be difficult to find. Ken Dryden  
Tracklist :
1    The Clark Terry Quartet–    Introduction    1:40
2    The Clark Terry Quartet–    The Simple Waltz    6:32
3    The Clark Terry Quartet–    Things Ain't What They Used To Be    11:24
4    The Coleman Hawkins Sextet–    I'm Confessin' That I Love You    6:09
5    The Coleman Hawkins Sextet–    Just You, Just Me    15:45
Credits :
The Clark Terry Quartet :
Trumpet, Flugelhorn – Clark Terry
Bass – Art Davis
Drums – Osie Johnson
Piano – Dick Hyman
The Coleman Hawkins Sextet :
Bass – Chuck Israels
Drums – Roy Haynes
Piano – Sonny Clark
Tenor Saxophone – Coleman Hawkins
Trombone – Urbie Green
Trumpet – Marky Markowitz

SONNY CLARK — Leapin' and Lopin' (1961-1987) Serie Blue Note CD Treasury – 24 | FLAC (image+.cue), lossless

Sonny Clark's fifth Blue Note recording as a leader is generally regarded as his best, especially considering he composed four of the seven tracks, and they all bear his stamp of originality. What is also evident is that he is shaping the sounds of his quintet rather than dominating the proceedings as he did on previous dates. Tenor saxophonist Charlie Rouse and trumpeter Tommy Turrentine play very little harmony on the date, but their in-tune unison lines are singularly distinctive, while bassist Butch Warren and young drummer Billy Higgins keep the rhythmic coals burning with a steady, glowing red heat. Among the classic tunes is the definitive hard bop opener "Somethin' Special," which lives up to its title in a most bright and happy manner, with Clark merrily comping chords. "Melody for C" is similarly cheerful, measured, and vivid in melodic coloration. The showstopper is "Voodoo," the ultimate late-night slinky jazz tune contrasted by Clark's tinkling piano riffs. Warren wrote the exciting hard bopper "Eric Walks" reminiscent of a Dizzy Gillespie tune, while Turrentine's "Midnight Mambo" mixes metaphors of Afro-Cuban music with unusual off-minor phrases and Rouse's stoic playing. Tenor saxophonist Ike Quebec plays a cameo sans the other horns on the soulful ballad "Deep in a Dream," exhibiting a vocal quality on his instrument, making one wonder if any other sessions with this group were done on the side. Top to bottom, Leapin' and Lopin' is a definitive recording for Clark, and in the mainstream jazz idiom, as well. Michael G. Nastos
Tracklist :
1     Somethin' Special 6:23
Sonny Clark
2     Deep in a Dream 6:47    
Eddie DeLange / James Van Heusen
3     Melody for C 7:50
Sonny Clark
4     Eric Walks 5:41
Butch Warren
5     Voodoo 7:39
Sonny Clark
6     Midnight Mambo 7:16
Tommy Turrentine
7     Zellmar's Delight 5:43
Sonny Clark
8     Melody for C 8:14
Sonny Clark
Credits :    
Bass – Butch Warren
Drums – Billy Higgins
Piano – Sonny Clark
Tenor Saxophone – Charlie Rouse, Ike Quebec
Trumpet – Tommy Turrentine

LEE MORGAN – Candy (1958-2007) RM | RVG Edition | FLAC (tracks+.cue), lossless

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here -- there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. Not merely a technical marvel, his tone on this album was sweet and his playing fluid, infused with joy and crisply articulated emotion. Morgan would later turn out to be an expert songwriter, but here songs like Buddy Johnson's "Since I Fell for You," and Jimmy Heath's "C.T.A." gave him ample space to show off his talents. Stacia Proefrock  

Tracklist :

1. Candy 7:07
Kramer, Whitney, David
2. Since I Fell For You 5:35
Buddy Johnson
3. C.T.A. 5:04
Jimmy Heath
4. All the Way 7:24
S. Cahn-J. Van Heusen
5. Who Do You Love, I Hope 4:58
Irving Berlin
6. Personality 6:12
J. Burke-J. Van Heusen
7. All At Once You Love Her 5:26
R. Rodgers-O. Hammerstein

Personnel :

Lee Morgan (trumpet);

Sonny Clark (piano);

Doug Watkins (bass);

Art Taylor (drums).

CAL TJADER - Tjader Plays Tjazz (1954-1998) RM / MONO / APE (image+.cue), lossless

In a change of pace, for this recording vibraphonist Cal Tjader recorded cool-toned bop without a Latin rhythm section. Half of the ten songs (mostly jazz standards) feature Tjader switching to drums (his original instrument) in a quartet also including the obscure trombonist Bob Collins, guitarist Eddie Duran and bassist Al McKibbon. Tjader is back on vibes for the quintet selections with tenor saxophonist Brew Moore, pianist Sonny Clark, bassist Eugene Wright and drummer Bobby White. He sounds right at home in both formats and the swinging quintet numbers in particular are a good reason to search for this valuable album. by Scott Yanow
Tracklist :
1      Moten Swing 4:02
Bennie Moten / Buster Moten
2     I've Never Been in Love Before 2:33
Frank Loesser
3     There Will Never Be Another You 5:04
Mack Gordon / Harry Warren
4     How About You? 3:04
Ralph Freed / James Van Heusen / Burton Lane
5     Jeepers Creepers 3:17
Johnny Mercer / Harry Warren
6     A Minor Goof 3:56
Brew Moore
7     My One and Only Love 2:47
Robert Mellin / Guy Wood
8     Imagination 3:18
Johnny Burke / James Van Heusen
9     I'll Know 2:59
Frank Loesser
10     Brew's Blues 3:29
Brew Moore
Credits :
Bass – Al McKibbon (faixas: 2, 4, 7, 9), Eugene Wright (faixas: 1, 3, 5, 6, 8, 10)
Drums – Bobby White (faixas: 1, 3, 5, 6, 8, 10), Cal Tjader (faixas: 2, 4, 7, 9)
Guitar – Eddie Duran (faixas: 2, 4, 7, 9)
Liner Notes – Ralph J. Gleason
Piano – Sonny Clark (faixas: 1, 3, 5, 6, 8, 10)
Tenor Saxophone – Brew Moore (faixas: 1, 3, 5, 6, 8, 10)
Trombone – Bob Collins (faixas: 2, 4, 7, 9)
Vibraphone – Cal Tjader (faixas: 1, 3, 5, 6, 8, 10)