SONNY ROLLINS — The Quartets Featuring Jim Hall (1962-1986) RM | APE (image+.cue) lossless

This double LP contains the six songs originally on The Bridge (his comeback album after three years of retirement) plus seven additional items from 1962 and 1964 that co-star guitarist Jim Hall. At first when Rollins reappeared his style was virtually unchanged from 1959 but gradually it loosened up and became freer. This attractive two-fer, which is highlighted by "Without a Song," "Don't Stop the Carnival" and "If Ever I Would Leave You," has important music that is essential for all Sonny Rollins collectors. Scott Yanow
Tracklist :
1    God Bless The Child    7:24
 Billie Holiday / Arthur Herzog, Jr.
2    John S.    7:31
 Sonny Rollins
3    You Do Something To Me    6:47
 Cole Porter
4    Where Are You    5:07
 Harold Adamson / Jimmy McHugh
5    Without A Song    7:24
 Edward Eliscu / Billy Rose / Vincent Youmans
6    The Bridge    5:55
 Sonny Rollins
7    If Ever I Would Leave You    11:59
 Alan Jay Lerner / Frederick Loewe
8    The Night Has A Thousand Eyes    9:07
 Buddy Bernier / Jerry Brainin
Credits :
Bass – Bob Cranshaw
Drums – Ben Riley (tracks: 2 to 8)
Guitar – Jim Hall
Performer – Mickey Roker
Tenor Saxophone – Sonny Rollins

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 :

ABBEY LINCOLN — Through the Years : 1956-2007 (2010) 3CD SET | FLAC (tracks+.cue), lossless

Anyone who has followed Abbey Lincoln’s career with any regularity understands that she has followed a fiercely individual path and has paid the cost for those choices. Through the Years is a cross-licensed, three-disc retrospective expertly compiled and assembled by the artist and her longtime producer, Jean-Philippe Allard. Covering more than 50 years in her storied career, it establishes from the outset that Lincoln was always a true jazz singer and unique stylist. Though it contains no unreleased material, it does offer the first true picture of he range of expression. Her accompanists include former husband Max Roach, Benny Carter, Kenny Dorham, Charlie Haden, Sonny Rollins, Wynton Kelly, Benny Golson, J.J. Johnson, Art Farmer, Stan Getz, and Hank Jones, to name scant few.

Disc one commences with “This Can’t Be Love” from 1956; one of the best-known tunes off her debut album, arranged and conducted by Golson. But the story begins to change immediately with "I Must Have That Man" with her fronting the Riverside Jazz All-Stars in 1957. Tracks from It’s Magic, Abbey Is Blue, and Straight Ahead are here, and the story moves ahead chronologically and aesthetically all the way to 1984. But there are also big breaks stylistically, with her primal performance on “Triptych: Prayer/Protest/Peace” from We Insist! Max Roach’s Freedom Now Suite in 1960 and the amazing “Lonesome Lover” from It’s Time: Max Roach and His Orchestra and Choir in 1962, which is where her story takes its first recording break. It picks up in 1973 with "Africa" from People in Me. It breaks again until 1980, with “Throw It Away” off the beautiful Painted Lady, and continues through appearances with Cedar Walton and Sun Ra. There is another break in the narrative between discs one and two, commencing again in 1990 with the issue of the brilliant The World Is Falling Down on Verve when she began her association with Allard and recorded regularly. This disc contains a dozen tracks all recorded between 1990 and 1992. Disc three commences in 1995 and goes straight through to 2007. The latter two discs reflect the periods when Lincoln finally assumed her rightful status as a true jazz icon; individual track performances from standards to self-written tunes and folk songs are all done in her inimitable style and are well-known to fans. This set is gorgeously compiled and sequenced. As a listen, Through the Years is literally astonishing in its breadth and depth. It establishes her commitment to artistic freedom, and her fierce dedication to discipline, song, and performance. The box features liners by Gary Giddins, and great photographs, as well as stellar sound quality.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1    This Can't Be Love 2:22
Composed By – Lorenz Hart, Richard Rodgers
Directed By, Arranged By – Benny Carter
Engineer – John Kraus
Orchestra – Benny Carter And His Orchestra
Producer – Russell Keith
1-2    Don't Explain 6:35
Bass – Wynton Kelly
Composed By – Arthur Herzog, Jr., Billie Holiday
Drums – Max Roach
Engineer – Jack Higgins
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham
1-3    I Must Have That Man 3:37
Bass – Paul Chambers
Composed By – Dorothy Fields, Jimmy McHugh

Drums – Max Roach
Engineer – Jack Higgins
Piano – Wynton Kelly
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham
1-4    Little Niles 4:59
Bass – Sam Jones
Composed By – Jon Hendricks, Randy Weston
Drums – "Philly" Joe Jones
Engineer – Jack Higgins
Piano – Wynton Kelly
Producer – Orrin Keepnews
Tenor Saxophone – Benny Golson
Trumpet – Art Farmer
1-5    Let Up 5:19
Bass – Bob Boswell
Composed By – Abbey Lincoln
Drums – Max Roach
Engineer – Jack Higgins
Piano – Cedar Walton
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Stanley Turrentine
Trombone – Julian Priester
Trumpet – Tommy Turrentine
1-6    Come Sunday 5:07
Bass – Sam Jones
Composed By – Duke Ellington
Drums – "Philly" Joe Jones
Engineer – Jack Higgins
Guitar – Les Spann
Piano – Phillip Wright
Producer – Bill Grauer, Orrin Keepnews
1-7    Triptych: Prayer / Protest / Peace 7:58
Composed By – Max Roach
Drums – Max Roach
Engineer – Bob D'Orleans
1-8    Left Alone 6:46
Bass – Art Davis
Bass Clarinet – Eric Dolphy
Composed By – Billie Holiday, Mal Waldron
Drums – Max Roach
Piano – Mal Waldron
Tenor Saxophone – Walter Benton
Tenor Saxophone, Soloist – Coleman Hawkins
Trombone, Arranged By – Julian Priester
Trumpet – Booker Little
1-9    Lonesome Lover 7:01
Backing Vocals, Conductor – Coleridge-Taylor Perkinson
Bass – Art Davis
Composed By – Abbey Lincoln
Composed By, Orchestrated By – Max Roach
Drums – Max Roach
Engineer, Mixed By – George Piros, Rudy Van Gelder
Piano – Mal Waldron
Producer – Bob Thiele
Tenor Saxophone – Clifford Jordan
Trombone – Julian Priester
1-10    Africa 7:08
Bass – Kunimitsu Inaba
Composed By – Abbey Lincoln, John Coltrane
Drums – Al Foster
Engineer, Mixed By – Suenori Fukui
Percussion – James Mtume
Piano – Hiromasa Suzuki
Producer – Toshinari Koinuma
Tenor Saxophone – David Liebman
1-11    Throw It Away 6:35
Bass – Jack Gregg
Composed By – Abbey Lincoln
Drums – Freddie Waits
Engineer, Mixed By – Emile Flock, Jean-Claude Talar
Piano – Hilton Ruiz
Producer – Emile De La Tour, Gérard Terronès, Odile Terronès, Éric Terronès
Tenor Saxophone – Archie Shepp
Trumpet – Roy Burrowes
1-12    The Maestro 4:38
Bass – David Williams (2)
Composed By – Cedar Walton
Drums – Billy Higgins
Engineer, Mixed By – Malcolm Addey
Piano – Cedar Walton
Producer – Cedar Walton
Tenor Saxophone – Bob Berg
1-13    The River 4:57
Alto Saxophone – Steve Coleman
Backing Vocals – Arlene Knox, Bemshee Shirer, Naima Williams
Bass – Billy Johnson
Composed By – Abbey Lincoln
Drums – Mark Johnson
Engineer, Mixed By – David Baker
Percussion – Jerry Gonzalez
Piano – James Weidman
Producer – Horst Weber, Mathias Winkelmann
2-1    The World is Falling Down 6:20
Alto Saxophone – Jerry Dodgion
Alto Saxophone, Soloist – Jackie McLean
Arranged By – Ron Carter
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Billy Higgins
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
Trumpet – Clark Terry
2-2    You Must Believe in Spring and Love 5:57
Alto Saxophone – Jackie McLean
Arranged By – Ron Carter
Bass – Charlie Haden
Composed By – Alan & Marilyn Bergman, Michel Legrand
Drums – Billy Higgins
Flugelhorn – Clark Terry
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
2-3    First Song 6:31
Alto Saxophone – Jerry Dodgion
Bass – Charlie Haden
Composed By – Abbey Lincoln, Charlie Haden
Piano – Alain Jean-Marie
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – David Baker
Trumpet – Clark Terry
2-4    Bird Alone 8:34
Arranged By – Randolph Noël
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
Viola – Maxine Roach
2-5    I'm In Love 6:11
Bass – Charlie Haden
Composed By – Joan Griffin
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
2-6    A Time For Love 8:40
Arranged By – Randolph Noël
Bass – Charlie Haden
Composed By – Johnny Mandel, Paul Francis Webster
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
Viola – Maxine Roach
2-7    Jungle Queen 6:12
Ashiko – Kehinde O'Uhuru
Composed By – Abbey Lincoln
Djembe, Agogô – Sule O'Uhuru
Djembe, Ashiko, Shekere, Drum [Ngoma] – Babatunde Olatunji
Dunun [Jun Jun Drums] – Gordy Ryan
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
2-8    A Child Is Born 6:22
Bass – Marcus McLaurine
Composed By – Alec Wilder, Thad Jones
Drums – Grady Tate
Piano – Rodney Kendrick
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Trombone – J.J. Johnson
2-9    You Came A Long Way From St. Louis 3:55
Composed By – Bob Russell, John Benson Brooks
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Claude Ermelin
2-10    I Should Care 5:45
Composed By – Axel Stordahl, Paul Weston, Sammy Cahn
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorder, Mixed By – Claude Emelin
2-11    Through The Years 5:23
Bass – Michael Bowie
Composed By – Abbey Lincoln
Composed By, Piano, Tenor Saxophone – Bheki Mseleku
Drums – Marvin "Smitty" Smith
Producer – Jean-Philippe Allard, Russell Herman
Recorded By, Mixed By – Jay Newland
2-12    When I'm Called Home 5:28
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Mark Johnson
Piano – Hank Jones
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Stan Getz
3-1     Avec le temps 5:38
Acoustic Guitar, Electric Guitar – Pat Metheny
Bass – Charlie Haden
Composed By – Léo Ferré
Drums – Victor Lewis
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-2     Mr Tambourine Man 6:53
Bass – Michael Bowie
Composed By – Bob Dylan
Drums – Aaron Walker
Piano – Marc Cary
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Julien Lourau
3-3    Love Has Gone Away 7:35
Alto Saxophone – Steve Coleman
Bass – Michael Bowie
Composed By – Abbey Lincoln
Drums – Aaron Walker
Piano – Marc Cary
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-4    And It's Supposed To Be Love 5:12
Backing Vocals – Maggie Brown
Bass – Michael Bowie
Composed By – Abbey Lincoln
Drums – Alvester Garnett
Marimba – Bobby Hutcherson
Percussion – Daniel Moreno
Piano – James Hurt
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-5    Should've Been 7:57
Bass – Charlie Haden
Composed By – Abbey Lincoln
Drums – Victor Lewis
Electric Guitar – Pat Metheny
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
3-6    Nature Boy 5:04
Bass – Christian McBride
Composed By – Eden Ahbez
Drums – Victor Lewis
Piano – Rodney Kendrick
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Tenor Saxophone – Julien Lourau
Trumpet – Roy Hargrove
3-7    The Windmills Of Your Mind 5:52
Bass – Jaz Sawyer, John Ormond
Composed By – Alan & Marilyn Bergman, Michel Legrand
Piano – Brandon McCune
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
Tenor Saxophone – Joe Lovano
3-8    Skylark 5:25
Bass – Ray Drummond
Composed By – Hoagy Carmichael, Johnny Mercer
Conductor, Arranged By – Laurent Cugny
Drums – Jaz Sawyer
Piano – Kenny Barron
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-9    It's Me, O' Lord 3:42
Composed By – traditional
Piano – Kenny Barron
Producer – Daniel Richard, Jean-Philippe Allard
Recorded By, Mixed By – Jay Newland
3-10    Blue Monk 5:13
Acoustic Guitar, Resonator Guitar – Larry Campbell
Bass – Scott Colley
Composed By – Abbey Lincoln, Thelonious Monk
Drums – Shawn Pelton
Producer – Jean-Philippe Allard
Producer, Recorded By, Mixed By – Jay Newland
3-11    The Music Is Magic 3:53
Bass – Scott Colley
Composed By – Abbey Lincoln
Drums – Shawn Pelton
Electric Guitar – Larry Campbell
Producer – Jean-Philippe Allard
Producer, Recorded By, Mixed By – Jay Newland
3-12    Down Here Below 8:50
Arranged By – Randolph Noël
Bass – Charlie Haden
Cello – John Robinson
Composed By – Abbey Lincoln
Drums – Victor Lewis
Piano – Kenny Barron
Producer – Jean-Philippe Allard
Recorded By, Mixed By – Richard Applegate
Violin – Sandra Bilignslea

CLIFFORD BROWN – Brownie : The Complete EmArcy Recordings of Clifford Brown (1989) RM | 11xCD BOX-SET | MONO | FLAC (tracks+.cue), lossless

Although undoubtedly an expensive acquisition, this ten-CD set is perfectly done and contains dozens of gems. The remarkable but short-lived trumpeter Clifford Brown has the second half of his career fully documented (other than his final performance) and he is showcased in a wide variety of settings. The bulk of the numbers are of Brownie's quintet with co-leader and drummer Max Roach, either Harold Land or Sonny Rollins on tenor, pianist Richie Powell, and bassist George Morrow (including some previously unheard alternate takes), but there is also much more. Brown stars at several jam sessions (including a meeting with fellow trumpeters Clark Terry and Maynard Ferguson), accompanies such singers as Dinah Washington, Helen Merrill, and Sarah Vaughan, and is backed by strings on one date. Everything is here, including classic versions of "Parisian Thoroughfare," "Joy Spring," "Daahoud," "Coronado," a ridiculously fast "Move," "Portrait of Jenny," "Cherokee," "Sandu," "I'll Remember April," and "What Is This Thing Called Love?" Get this set while it stays in print. Scott Yanow   Tracklist + Credits :

CLIFFORD BROWN AND MAX ROACH – At Basin Street (1956-2002) RM | Verve Master Edition | FLAC (tracks+.cue), lossless

The last official album by the Clifford Brown/Max Roach Quintet is the only one that featured the great Sonny Rollins on tenor. With pianist Richie Powell and bassist George Morrow completing the group, this date is a hard bop classic. Brownie and Rollins fit together perfectly on memorable versions of "What Is This Thing Called Love," "I'll Remember April," and a witty arrangement of "Love Is a Many Splendored Thing." Highly recommended. Scott Yanow   Tracklist + Credits :

DIZZY GILLESPIE | SONNY STITT | SONNY ROLLINS — Sonny Side Up (1959-1997) RM | Verve Master Edition | FLAC (tracks+.cue), lossless

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. In the midst of the rivalry (certainly some torch was being passed, since Rollins was soon to become the top tenor saxophonist in jazz), an embarrassment of solo riches comes tumbling out of both these men's horns. Gillespie adds his own split commentary on the proceedings with a casual solo on "After Hours" and a competitively blistering statement on "I Know That You Know." With an at ease rendition of "On the Sunny Side of the Street" rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session. Stephen Cook   Tracklist + Credits :

DIZZY GILLESPIE WITH SONNY ROLLINS AND SONNY STITT — Duets (1957-1988) RM | FLAC (tracks+.cue), lossless

The product of a day's worth of recording at Nola Studios in 1957, this album is essentially the same as a much older release of the same on Verve, but the master tapes had been found and remastered into stereo along with the addition of a couple of tracks previously left off the album. Presumably, these are the same sessions that spawned the Sonny Side Up album. Here, Dizzy works separately with each of the Sonnys for a couple of tracks. "Wheatleigh Hall" is something of a tour de force for both Rollins and Gillespie, and the "Con Alma" tracks are certainly worthwhile listens for a glimpse of Stitt's prowess. Finally, the album ends with "Haute Mon'," a themeless blues in G minor. Before that, however, is the addition of a newly discovered yet unlabeled track from the same sessions, which was belatedly titled "Anythin', Ha Ha" by Gillespie prior to the release of this album. Overall, the highlights are many, and one would probably be better off with this album than the original release (in mono, no less). On a related note, however, one would probably be better off with the Sonny Side Up album instead of this one (given only one choice), due to the simultaneous collaboration with both sax players (and for no other reason than the sheer beauty of "Eternal Triangle"). Adam Greenberg   Tracklist + Credits :

J. J. JOHNSON – 1946-1949 | The Classics Chronological Series – 1176 (2001) FLAC (tracks+.cue), lossless

Coming up in the big bands led by Benny Carter and Count Basie, trombonist J.J. Johnson was among the first of the truly modern trombonists. For his first recording session as a leader, Johnson chose pianist Bud Powell, bassist Leonard Gaskin, drummer Max Roach, and the mighty Cecil Payne -- later famous as a baritone saxophonist -- blowing a really fine alto. Each of these Savoy sides bubbles with the fresh new energy of a vibrant, creative music reinventing itself. Johnson's next opportunity to lead occurred on December 24, 1947, with stellar bop baritone Leo Parker and a fine rhythm section in Hank Jones, Al Lucas, and Shadow Wilson. The sheer presence of so many great musical minds is thrilling as Sonny Rollins, John Lewis, and Gene Ramey show up at the third Savoy session on May 11, 1949. With the exception of six sides with Babs Gonzales earlier that year (as heard on Classics 1124, the 1947-1949 volume of the label's Gonzales chronology), these are the earliest recordings ever made by Sonny Rollins. Johnson's next two dates would result in eight sides for the New Jazz label, combining Rollins with Kenny Dorham and then in October of 1949 teaming up with alto saxophonist Sonny Stitt. This is exceptionally satisfying primal bop, with no unnecessary or superfluous chaff, an impressive beginning to an illustrious career. arwulf arwulf
Tracklist + Credits :

BUD POWELL – 1949-1950 | The Classics Chronological Series – 1170 (2001) FLAC (tracks), lossless

Roundups on either Verve or Blue Note offer the best entrée for Bud Powell neophytes -- and let's not forget the four-disc set on Proper -- but this Classics offering of the bop pianist's 1949-1950 sides certainly should not to be overlooked. Most of the 21 tracks feature Powell in a trio setting, with a handful of cuts given over to a top-notch combo date fronted by trumpeter Fats Navarro and a young Sonny Rollins. This latter material includes some of the finest playing of the bop era, as all the soloists find choice spots on the three Powell originals ("Bouncing With Bud," "Dance of the Infidels," "Wail") and the early Monk side "52nd Street Theme." The trio sides, though, offer the real highlights here. Backed on various sessions by the likes of Max Roach, Roy Haynes, Buddy Rich, Roy Brown, and Curly Russell, Powell is in his innovative prime on several self-penned gems ("Tempus Fugit," "Celia") and a round of finely gauged standards ("Yesterdays," "Get Happy"). A disc worthy of the competition. Stephen Cook  
Tracklist :

BABS GONZALES – 1947-1949 | The Classics Chronological Series – 1124 (2000) FLAC (tracks+.cue), lossless

Confronted with a new, harmonically advanced music filled with rhythmic complexities, white audiences and entertainers were only able to cope with bebop by treating it as though it were a novel alternative to pig Latin. If anyone supplied the fuel for this trivialization it was Slim Gaillard and Babs Gonzales, great musicians who were also bizarre characters who invented their own forms of funny scat language. In these vintage Blue Note sides by Babs' Three Bips and a Bop, you can hear exactly where Charlie Barnet got the idea for "Bebop Spoken Here." The originals, of course, sound much better than the silly attempts of bop imitators. Babs' Blue Note vocal arrangements were by pianist Tadd Dameron, and Rudy Williams poured a whole lot of soul into his alto saxophone. "Play Dem Blues" seems to have a little bit of "Ornithology" built into its opening line. "Running Around" is a sudden switch to straight vocal ballad style. Babs sings about heartbreak. The band has been reduced to piano, bass, and guitar. With "Bab's Dream," listeners are back in full bop language mode, with reams of scat unfolding in every direction. Dameron takes fascinating solos during this easygoing minor romp, and on his own "Dob Bla Bli." Special mention should also be made of the exceptionally solid bassist Art Phipps. "Weird Lullaby" stretches out Babs' bop scat lingo to the point where listeners seem to be hearing a serenade sung by a character actor imitating a visitor from Mars. Moving over to the Apollo label, Tony Scott blows an authentic bop clarinet, Phipps continues to act as an upright axis, and Roy Haynes carries the entire band on his back. In December of 1948, Babs lined up a session with Manor, an important label in the development of early modern jazz. With a front line of James Moody, Dave Burns, and Bennie Green, this is a steamy little band. Precision arrangements make for surprisingly intricate runs. Moody sounds particularly stoked. If anyone comes looking for vestigial Fats Waller in "Honeysuckle Bop," forget about it. The reference seems to have been purely poetic. If this bop workout was somehow based upon the changes to Waller's "Honeysuckle Rose," the camouflage is so successful that nobody could ever sort it out. Jumping to Capitol Records in 1949, Babs is once again surrounded by awesome musicians: J.J. Johnson, a well-oiled Sonny Rollins, Erroll Garner's brother Linton, and Jack "The Bear" Parker. Art Pepper really cooks on "The Continental," which is one of Gonzales' most successful performances. Gonzales' voice has deepened and he seems to be growing tougher by the minute. "St. Louis Blues" is masterfully restructured and augmented with fluent bop embellishments. Hearing Don Redman and Sonny Rollins side by side with Wynton Kelly and Roy Haynes in back is a treat not to be missed. A fascinating slice of vintage bop culture, packed with restless creative energy. arwulf arwulf  
Tracklist + Credits :

SONNY ROLLINS AND COLEMAN HAWKINS - Sonny Meets Hawk! (1963-1994) FLAC (tracks+.cue), lossless

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was. arwulf arwulf  
Tracklist :
1    Yesterdays 5'12
Written-By – J. Kern, O. Harbach
2    All The Things You Are 9'30
Written-By – J. Kern, O. Hammerstein II
3        Summertime
Written-By – D. Heyward, G. & I. Gershwin
4    Just Friends 4'37
Written-By – J. Klenner, S. Lewis
5    Lover Man 8'50
Written-By – J. Davis, J. Sherman, R. Ramirez
6    At McKies' 7'01
Written-By – S. Rollins
Credits :
Bass – Bob Cranshaw (pistas: 1, 2, 5), Henry Grimes (pistas: 3, 4, 6)
Drums – Roy McCurdy
Piano – Paul Bley
Tenor Saxophone – Coleman Hawkins, Sonny Rollins

ART FARMER - Early Art (1954-2006) RM / MONO / FLAC (tracks+.cue), lossless

Two of trumpeter Art Farmer's earlier sessions as a leader are reissued on this CD in the OJC series. Farmer teams up with an all-star quintet (which includes tenor-saxophonist Sonny Rollins, pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke) for four songs and dominates a quartet (with pianist Wynton Kelly, bassist Addison Farmer and drummer Herbie Lovelle) on six other tunes. Farmer's sound is lyrical even on the uptempo pieces and he is heard throughout in his early prime. Highlights include "Soft Shoe," "I'll Take Romance," "Autumn Nocturne" and an uptempo "Gone with the Wind." One should note that the programming differs from what is listed, with "Soft Shoe" (which should have been the opener) actually appearing fifth and the songs listed as appearing second through fifth moving up to first through fourth. Despite that flaw, the music is quite enjoyable and a must for 1950s bop collectors. by Scott Yanow
Tracklist :
1 Soft Shoe 3:54
Art Farmer
2 Confab In Tempo 4:57
Art Farmer
3 I'll Take Romance 4:32
Oscar Hammerstein II / Ben Oakland
4 Wisteria 4:05
Art Farmer
5 Autumn Nocturne 4:59
Kim Gannon / Josef Myrow
6 I've Never Been In Love Before 3:49
Frank Loesser
7 I'll Walk Alone 3:55
Sammy Cahn / Jule Styne
8 Gone With The Wind 4:07
Herbert Magidson / Allie Wrubel
9 Alone Together 3:59
Howard Dietz / Arthur Schwartz
10 Pre Amp 3:35
Art Farmer
Credits :
Bass – Addison Farmer (tracks: 5 to 10), Percy Heath (tracks: 1 to 4)
Drums – Herbie Lovelle (tracks: 5 to 10), Kenny Clarke (tracks: 1 to 4)
Piano – Horace Silver (tracks: 1 to 4), Wynton Kelly (tracks: 5 to 10)
Tenor Saxophone – Sonny Rollins (tracks: 1 to 4)
Trumpet – Art Farmer

SONNY ROLLINS - Sonny Rollins, Vol. 1 (1956-2004) RM / FLAC (tracks+.cue), lossless

After several incredible dates for Prestige, Rollins moved over to Blue Note to cut a series of studio and live recordings; while not as groundbreaking as his earlier work, the albums still stand out among the many hard bop releases of the day. Upon listening to this, his fine debut for the label, not to mention classics like Saxophone Colossus and Sonny Rollins Plus Four, one almost takes for granted the tenor giant's ability to reel off a nonstop flow of breathtaking solo lines while keeping an overall thematic structure intact. And even though it's not as classic sounding as other Blue Note titles like Vol. 2 or Newk's Time, Sonny Rollins, Vol. 1 will satisfy Rollins fans comfortable with a mostly loose and free-flowing set; the hard-swinging originals "Bluesnote" and "Sonnysphere" certainly fit the bill, while the loping blues "Decision" and easy swinger "Plain Jane" up the ante with fetching head statements. Topping things off, Rollins includes one of his singular Broadway song interpretations with the Finian's Rainbow ballad "How Are Things in Glocca Mora." Figuring prominently in the proceedings are veteran bassist Gene Ramey, longtime drummer Max Roach, and then up-and-coming hard bop stars trumpeter Donald Byrd and pianist Wynton Kelly. Maybe not a first-choice disc for Rollins newcomers, but certainly an essential title down the line. by Stephen Cook 

Tracklist

1 Decision 8:00

Sonny Rollins

2 Bluesnote 6:58

Sonny Rollins

3 How Are Things in Glocca Morra? 6:17

E.Y. "Yip" Harburg / Burton Lane

4 Plain Jane 9:56

Sonny Rollins

5 Sonnysphere 9:34

Sonny Rollins

Personnel:

Donald Byrd (tp)

Sonny Rollins (ts)

Wynton Kelly (p)

Gene Ramey (b)

Max Roach (d)

SONNY ROLLINS - Sonny Rollins Plus Four (1956-1985) RM / MONO / Prestige Masterpiece Series / FLAC (tracks+.cue), lossless

1956, Sonny Rollins was spiritually and physically rejuvenated. And on Sonny Rollins Plus 4, he's clearly inspired by Max Roach and Clifford Brown's depth of spirit. Multi-dimensional re-arrangements of popular songs were a Brown-Roach trademark. "Kiss and Run" is treated to a stop-and-go intro, then settles into a brisk 4/4, as Rollins, Brown, and the perennially underrated Richie Powell fashion long dancing lines. "I Feel a Song Coming On" creates tension by alternating a vamp figure with a swinging release. Rollins takes an immense solo, contrasting chanting figures and foghorn-like long tones with Parker-ish elisions, and Brown answers with buzzing figures and daring harmonic extensions. Then Roach takes things out with sweeping melodic choruses and polyrhythmic fanfares, setting the stage for a torrid tenor-trumpet duel. On "Valse Hot," there's an early example of a successful jazz waltz as Rollins offers up one of his most charming themes. Max Roach treats the European three with the dancing elan of an American four, and Rollins responds by floating in between the beat, syncopating in Monk-ish stabs and thrusts, as Brown answers with the kind of rhythmically complex, sweetly articulated melodic lines that have inspired every modern trumpeter. by Rovi Staff  

1 Valse Hot 8:35

Composed By – Sonny Rollins

2 Kiss And Run 7:07

Composed By – Sam Coslow

3 I Feel A Song Coming On

Composed By – Dorothy Fields, George Oppenheimer, Jimmy McHugh

4 Count Your Blessings 5:13

Composed By – Irving Berlin

5 Pent-Up House 8:53

Composed By – Sonny Rollins

Credits:

Bass – George Morrow

Drums – Max Roach

Piano – Richie Powell

Recorded By – Rudy Van Gelder

Tenor Saxophone – Sonny Rollins

Trumpet – Clifford Brown

SONNY ROLLINS - Rollins Plays for Bird (1956-2008) RVG REMASTERS / FLAC (tracks+.cue), lossless

As the tenor sax is not in the same key as an alto, Sonny Rollins would have to transpose a lot of music to take a tribute to Charlie Parker to a high level. Instead Rollins has chosen standards associated with Parker, and recorded them within a year after Bird's passing. This idea poses some peculiar challenges, added on to the fact that the quintet of Rollins starts the proceedings with a 27-minute medley of seven tunes seamlessly stitched together. Pianist Wade Legge, an unsung hero of jazz in the '50s for sure, plays some wonderful music here, and laces the grooves of the tunes together, while bassist George Morrow and the always exceptional drummer Max Roach keep things moving forward. Even more unusual is that trumpeter Kenny Dorham is in many instances invisible on the date, playing less than a cursory role to Rollins. Dorham rarely plays together with him, and is much more separate than equal, which in many regards is a shame. Considering how well Dorham and tenor saxophonist Joe Henderson worked as a tandem, one wonders why this happened. The music certainly has its moments, as on the inexhaustible medley. Rollins plays the melody on alternating songs "I Remember You" and "They Can't Take That Away from Me," Dorham has at it for "My Melancholy Baby" and "Just Friends," with Legge getting his two cents in on trio only versions of "Old Folks" and "My Little Suede Shoes." Finally the whole band joins in on the ten-minute finale "Star Eyes." Even for the heartiest fans, this long-winded exercise might prove taxing. Rollins does the ballad "I've Grown Accustomed to Your (Her) Face," and the horns finally play together for the nearly 12-minute cool waltz "Kids Know." A disappointment in terms of the division of labor, and not the merging of titans jazz lovers would have wished for, this recording still provides a great deal of high level music that could have been so much more. by Michael G. Nastos 
Tracklist:
1 Medley: I Remember You / My Melancholy Baby / Old Folks / They Can't ... 26:55
Gene DePaul / Public Domain / George Gershwin / Ira Gershwin / John Klenner / Johnny Mercer / Norton / Charlie Parker / Don Raye / Earl Robinson / Victor Schertzinger
2 Kids Know 11:39
Sonny Rollins
3 I've Grown Accustomed to Your Face 4:52
Alan Jay Lerner / Frederick Loewe
Credits:
Bass – George Morrow
Drums – Max Roach
Piano – Wade Legge
Recorded By, Remastered By, Engineer – Rudy Van Gelder
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham

SONNY ROLLINS - Saxophone Colossus (1957-1991) RM / MONO / Masters Of Jazz Series / FLAC (tracks+.cue), lossless

Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed. by Scott Yanow
Tracklist:
1 St. Thomas 6:48
Sonny Rollins
2 You Don't Know What Love is 6:31
Gene Paul / Don Raye
3 Strode Rode 5:17
Sonny Rollins
4 Moritat (Mack the Knife) 10:07
Bertolt Brecht / Kurt Weill
5 Blue 7 11:20
Sonny Rollins
Credits:
Bass – Doug Watkins
Drums – Max Roach
Engineer [Original Recordings] – Rudy Van Gelder
Piano – Tommy Flanagan
Tenor Saxophone – Sonny Rollins

SONNY ROLLINS - Sonny Rollins, Vol. 2 (1957-2010) RM / MONO / SACD / FLAC (tracks+.cue), lossless

Sonny Rollins, Vol. 2, recorded for Blue Note, is a timeless session and a milestone in jazz history that gathered together some of the founding fathers of the post-bop era. Joining Rollins are Jazz Messengers Art Blakey on drums and Horace Silver on piano, Miles Davis' favorite bassist Paul Chambers, the quintessential trombonist J.J. Johnson, and even Thelonious Monk himself. The tour de force in swing begins with a bang and doesn't let up until the last note has faded away. Rollins' own uptempo "Why Don't I" kicks off the session with a rhythmic jolt before his big tenor launches into a classic swinging solo followed by turns from Johnson and Silver and some heated exchanges with Blakey. The aptly titled "Wail March" begins deceptively with a street-beat groove before careening into several blistering solo choruses. Monk sits in for his own "Misterioso" and "Reflections," two quintessential works from this eccentric master that are given excellent readings here. The bouncing "You Stepped Out of a Dream" provides some tasty interaction between Rollins and Johnson. Finally, the lilting "Poor Butterfly" is a nice bluesy ending to this all-star session. AllMusic 
Tracklist:
1 Why Don't I 5:42
Sonny Rollins
2 Wail March 6:09
Sonny Rollins
3 Misterioso 9:22
Thelonious Monk
4 Reflections 7:01
Thelonious Monk
5 You Stepped Out of a Dream 6:22
Nacio Herb Brown / Gus Kahn
6 Poor Butterfly 6:05
John Golden / Raymond Hubbell
Credits:
Bass – Paul Chambers
Drums – Art Blakey
Piano – Horace Silver, Thelonious Monk
Recorded By – Rudy Van Gelder
Tenor Saxophone – Sonny Rollins
Trombone – Jay Jay Johnson

SONNY ROLLINS —A Night at the Village Vanguard, Vol. 1 (1957-1987) MONO | FLAC (tracks+.cue), lossless

Sonny Rollins, one of jazz's great tenors, is heard here at his peak with a pair of piano-less trios (either Wilbur Ware or Donald Bailey on bass and Elvin Jones or Pete La Roca on drums) stretching out on particularly creative versions of "Old Devil Moon," "Softly As in a Morning Sunrise," "Sonnymoon for Two," and "A Night in Tunisia," among others. Not only did Rollins have a very distinctive sound but his use of time, his sly wit, and his boppish but unpredictable style were completely his own by 1957. Truly magical. [Originally released as separate albums, A Night at the Village Vanguard has also been reissued in its entirety, complete with alternate takes.] Scott Yanow
Tracklist :

1 A Night in Tunisia 7:43

Dizzy Gillespie / Frank Paparelli
2 I've Got You Under My Skin 9:52
Cole Porter
3 A Night in Tunisia 8:53
Dizzy Gillespie / Frank Paparelli
4 Softly, As in a Morning Sunrise 6:39
Oscar Hammerstein II / Sigmund Romberg
5 Four 8:31
Miles Davis
6 Woody 'N You 8:20
Dizzy Gillespie
7 Old Devil Moon 7:43
E.Y. "Yip" Harburg / Burton Lane
Credits:
Elvin Jones,  Pete LaRoca - Drums
Sonny Rollins - Sax (Tenor)
Wilbur Ware, Donald Bailey - Bass

SONNY ROLLINS - A Night at the Village Vanguard, Vol. 2 (1957-1987) MONO / FLAC (tracks+.cue), lossless

Wilbur Bernard Ware (September 8, 1923 – September 9, 1979) was an African-American Classical Contra-bassist known for his creative use of time and space, his angular, unorthodox solo technique and a distinctive percussive sound. He was a staff bassist at Riverside Records in the 1950s, playing on many of the label's sessions, including LPs with such widely diverse stylists as J.R. Monterose, Toots Thielemans, Tina Brooks, Zoot Sims, and Grant Green.Born in Chicago, Ware taught himself to play banjo and bass and he approached the contra-bass not only as a melodic and rhythmic instrument but also as a percussive instrument. In the 1940s, he worked with Stuff Smith, Sonny Stitt, and Roy Eldridge. He recorded with Sun Ra in the early 1950s. Later in the 1950s, settling in New York, Ware played with Eddie Vinson, Art Blakey, and Buddy DeFranco. His only album recorded under his own name during his lifetime was The Chicago Sound, from 1957, while Ware was signed to Riverside. Ware was also active in studio recordings of several Music Minus One (MMO) jazz instructional LPs made in a New Jersey studio in the late 1950s, several of which have now been re-released on compact disc. In 1958, Ware was one of 57 jazz musicians to appear in the photograph A Great Day in Harlem.In 2012, Ware's widow produced and released a collection of previously unreleased studio tracks made with trumpeter Don Cherry, under the title Wilbur Ware: Super Bass. The CD also contains a 5-minute track in which Ware describes his early years in music and his life in this art-form commonly known as jazz.Ware is best known for his work with the Thelonious Monk quartet in 1957-58 and for his live recordings with the Sonny Rollins Trio at the Village Vanguard​. by Rashid 
Tracklist:
1 What Is This Thing Called Love? 13:25
Cole Porter
2 Softly, As in a Morning Sunrise 7:30
Oscar Hammerstein II / Sigmund Romberg
3 Sonnymoon for Two 7:30
Sonny Rollins
4 I Can't Get Started 4:00
Vernon Duke / Ira Gershwin
5 I'll Remember April 8:35
Gene DePaul / Patricia Johnston / Don Raye
6 Get Happy 8:43
Harold Arlen / Ted Koehler
7 Striver's Row 5:50
Sonny Rollins
8 All the Things You Are 6:32
Oscar Hammerstein II / Jerome Kern
9 Get Happy 4:32
Harold Arlen / Ted Koehler
Credits:
Elvin Jones - Drums
Sonny Rollins - Sax (Tenor)
Wilbur Ware - Bass