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)

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

WARDELL GRAY – 1946-1950 | The Classics Chronological Series – 1264 (2002) FLAC (tracks+.cue), lossless

Here you have the first installment in the Classics Wardell Gray chronology. His earliest appearances on record can be found on this label's surveys of Earl Hines and Billy Eckstine. Having this brilliant saxophonist's recordings laid out in exact chronological order is both a treat for the connoisseur and a perfect introduction for those who haven't yet had the pleasure. Wardell Gray's first session as a leader took place in Los Angeles on November 23, 1946, in the excellent company of pianist Dodo Marmarosa, bassist Red Callender, and alternate drummers Harold "Doc" West and Chuck Thompson. These Sunset recordings were not issued commercially and languished for years in obscurity. Here the Lester Young influence is palpable, and Gray was gracious enough to acknowledge his idol with "One for Prez." The next step of the chronology lands listeners in New York during April and May of 1948, whereupon the saxophonist made four brilliant sides for the Sittin' in With record label backed by a rhythm trio featuring pianist Al Haig, and then sat in as a member of a septet led by virtuoso percussionist J.C. Heard. While the quartet date spotlights Gray and Haig, the Heard band glows with a front line of trumpeter Joe Newman, trombonist Benny Green, baritone saxophonist Tate Houston, and Wardell Gray. (Anyone who really loves this kind of music will feel better just contemplating that lineup.) After a smart little study in bop scat singing by Buddy Stewart, the next installment is the justifiably famous New Jazz session of November 11, 1949. Securely supported by Al Haig, Tommy Potter, and Roy Haynes, on that day Wardell Gray blew some of the best jazz of his entire all-too-brief career. The producers of the Classics Chronological Series wisely opted to present only the master takes, although interested parties are encouraged to tap into Wardell Gray Memorial, Vol. 1 on Prestige for multiple takes of both "Southside" and especially "Twisted" for audible proof of this man's wealth of creativity and imagination. Speaking of Prestige, this mind-blowing treasure trove of great vintage bop closes with four sides recorded for that label in Detroit, MI, on April 25, 1950. It's the perfect closer for this potent little package of essential early modern jazz. Every track is strong and solid, tight and righ arwulf arwulf t.
All Tracks & Credits :