GIL EVANS ORCHESTRA — Great Jazz Standards (1959-1988) Pacific Jazz Series | FLAC (tracks+.cue), lossless

A follow-up to New Bottle, Old Wine, this Gil Evans set has colorful arrangements of five jazz standards plus "Ballad of the Sad Young Men" and Evans' "Theme." Using a band consisting of three trumpets, three trombones, a French horn, Bill Barber's tuba, soprano-saxophonist Steve Lacy (the first important post-swing player on his instrument), tenor saxophonist Budd Johnson (on half of the program), and a four-piece rhythm section (including the leader's piano), Evans contributes some very memorable written ensemble passages, most notably on "Straight No Chaser." In addition to Lacy and Johnson, the main soloists are trumpeter Johnny Coles, trombonists Curtis Fuller and Jimmy Cleveland, and guitarist Ray Crawford. Highly recommended. Scott Yanow    Tracklist & Credits :

CHARLIE PARKER – The Complete Dean Benedetti Recordings Of Charlie Parker (1990) 7xCD BOX-SET | FLAC (tracks+.cue), lossless

The packaging is impeccable, this seven-CD box set has a definitive 48-page booklet, and the recording quality is as good as possible, so why the "poor" rating? Dean Benedetti, a fanatical Charlie Parker disciple, recorded Bird extensively during three periods in 1947-1948 but did his best to turn off his wire recorder whenever anyone but Parker was soloing. He became legendary, as did his long lost acetates, and Mosaic has done what it could to make the excerpts coherent but the results
are still quite unlistenable. None of the performances on this large set are complete; guests such as Thelonious Monk and Carmen McRae are introduced, play, or sing two notes and then are cut off. And, although Parker seems to play well, these performances reveal no new secrets and add nothing to his legacy. Scott Yanow    Tracklist + Credits :

DIZZY GILLESPIE + MAX ROACH — Dizzy Gillespie Pleyel Concert 1948 + Max Roach Quintet 1949 (1997) FLAC (tracks+.cue), lossless

Tracklist + Credits :

STAN GETZ – 1946-1949 | The Classics Chronological Series – 1126 (2000) FLAC (image+.cue), lossless

These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax. The same rhythm section backs trumpeter Norman Faye and a tenor sax quartet of Getz, Zoot Sims, Allen Eager, and Al Epstein. Garnished with a bit of primitive vibrato, this record has a strange but not unpleasant quality. The Stan Getz Tenor All Stars put down four sides for the New Jazz label in April 1949, lining up Al Cohn, Allen Eager, Brew Moore, and Zoot Sims in a smooth bop experiment landing somewhere between Woody Herman's Herd and Coleman Hawkins' Keynote Sax Ensemble. Walter Bishop laid a lot of block chords while sax after sax took a shot at running the changes, and Getz even blew baritone on "Five Brothers." A Savoy session from just a few weeks later placed trombonist Earl Swope amid Getz, Cohn, and Sims, with Duke Jordan on piano. Both of these octets came across as cool and well-organized. The Stan Getz Quartet, with Al Haig, Gene Ramey, and Stan Levey, made five excellent sides for the Prestige and New Jazz labels on June 21, 1949. Their rendition of Victor Herbert's "Indian Summer" is superbly mellow. It is easy to draw a line directly from this whimsical record directly to the cool bossa novas that would make Stan Getz so famous years later, even among a record-buying public who never heard any of these marvelous early recordings by this suede-toned tenor man. arwulf arwulf     Tracklist + Credits :

STAN GETZ – 1950 | The Classics Chronological Series – 1172 (2001) FLAC (tracks), lossless

After a pair of taffy ballads sung in imitation Billy Eckstine baby talk by Junior Parker -- not the Memphis blues singer but a pseudonym for Arthur Daniels -- the 21 tracks that follow demonstrate exactly why Stan Getz went over so well with the listening public. His soft tone and gently inventive phraseology, a direct outgrowth of the Lester Young archetype, make each of these performances an ideal choice for relaxation. Getz regularly recorded with exceptional musicians. The rhythm sections of Al Haig, Tommy Potter, and Roy Haynes or Tony Aless, Percy Heath, and Don Lamond were perfectly suited to his softly searching essays in cool improvisation. On December 10, 1950, Horace Silver, Joe Calloway, and Walter Bolden kindled a hotter fire under the saxophonist, resulting in music of elevated intensity. At this point in his career, Getz sometimes engaged in bubbly noodling, which in its wilder moments sounds like a premonition of Lee Konitz as heard on his fabulous Motion sessions of 1961. This equation would also lead to Warne Marsh and Anthony Braxton, if you want to go there. As for material choices, the 1950 Getz repertoire is full of delightful surprises, from an almost calypso "The Lady in Red" to "Sweetie Pie," a cheerful number barbecued by Fats Waller & His Rhythm back in 1934. Anyone familiar with Waller's version will most likely thrill at hearing this brisk modern expansion of the old Tin Pan Alley come-on. Excellent music, good for the nerves and stimulating for the imagination. arwulf arwulf         Tracklist + Credits :

GENE AMMONS – 1949-1950 | The Chronogical Classics – 1329 (2003) FLAC (tracks+.cue), lossless

This leg of the Gene Ammons chronology begins with two pretty vocals by Christine Chapman. Jug is in the background, offering emotional support through the tenor sax. These tidbits are soon forgotten as several powerful blowing sessions unfold. The lush, theatrical renditions of "Ev'rything Depends on You" and "When You're Gone" are thrilling examples of where the jazz ballad was at in 1949. The elegant boppish swing of "Hot Springs" is liberating. "Little Slam" eventually reveals itself as a reconstituted "King Porter Stomp." The next session is even better: "Pennies From Heaven" is all delicacy and beatitude. "The Last Mile," also known as "Rockin' Rocker," does an impressive slow grind on simple blues changes. "Cha-Bootie" is definitive swaggering Gene Ammons, full of soul. During "Full Moon" the band bursts all restraints and lunges forward with horns blazing. On March 5th 1960, Ammons started laying down thunder tracks for the Prestige label. "Bye Bye" sounds like "Soft Winds" with salt and Tabasco. Ammons leads a hand-clapping moralistic singalong called "Let It Be." That's Sonny Stitt blowing down a baritone sax. He comes round front, switches to tenor and duels with Ammons on "Blues Up and Down," a showpiece that would be revived by Johnny Griffin and Eddie "Lockjaw" Davis during the early 1960s. How cool it is to hear the original version of this two-sax workout, followed by a brisk "You Can Depend On Me"? Great rhythm section in Duke Jordan, Tommy Potter and "Kansas City" Jo Jones. Teddy Williams must have opened his mouth abnormally wide when he sang with this band. It's kind of outrageous, like he's doing Billy Eckstine impressions. On "Dumb Woman Blues" his chortling makes a bit more sense but he's still really loud and overbearing. For this kind of singing, Eddie "Cleanhead" Vinson would be preferable. The Prestige rendering of "Chabootie" is a marvel of precision. Stitt was a capable baritone player, and Art Blakey has appeared as a worthy successor for Jones. "Who Put the Sleeping Pills in Rip Van Winkle's Coffee?" is surprisingly stupid, and no amount of hot blowing can rescue the song from itself after Gene leads the band in a stilted singalong. The melody is a turkey, which explains why this track rarely appears on reissues. "Gravy" is immediately recognizable as "Walkin'," that great durable anthem of hard bop. Once again, Stitt's baritone is a bitch. "Easy Glide" sparkles with a vintage early-'50s show time arrangement, very theatrical. The disc closes out with four sides issued on the Chess label. While "Tenor Eleven" is pleasantly stimulating, Jug really finds himself in the ballad groove with the help of primitive reverb and maybe something else to steady the nerves and enhance his mood. Three ballads and you're out. arwulf arwulf       Tracklist + Credits :

CHARLIE PARKER – 1947 | The Chronogical Classics – 1000 (1998) FLAC (tracks+.cue), lossless

This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band -- now a sextet with the addition of trombonist J.J. Johnson -- made six more sides for Dial on December 17, 1947. Once again the quintet visited Detroit to make good on its broken contract with the El Sino, and this time the band's return engagement was a success. Miles Davis later remembered: "Bird played his ass off." Vocalist Betty Carter even sat in. While they were still in Detroit, producer Teddy Reig had "the Charlie Parker Quintette" make more records for the Savoy label. The four master takes heard here contain music that is still studied and cherished by musicians, poets, lovers, cultural historians, and devout listeners everywhere. arwulf arwulf                    Tracklist + Credits : 

CHARLIE PARKER – 1950 | The Chronogical Classics – 1222 (2002) FLAC (tracks+.cue), lossless

Here in the 21st century, listeners are fortunate to be able to digest Charlie Parker's complete studio master takes in chronological order. Unlike most previous compilations, this series is not limited by original label licensing. The exact sequential evolution of Bird's turbulent career is neatly laid out regardless of the crossover from Dial to Savoy to Mercury and so forth. It just so happens that the fourth installment in the Classics Charlie Parker chronology documents a portion of a period in Bird's life when he was able (or chose) to stick with one record company. Stretching out in Norman Granz territory, this segment of history opens with three meaty selections recorded in March of 1950. Backed by Hank Jones, Ray Brown, and Buddy Rich, Bird blows an exquisite couple of ballads and a brisk modern expansion on the "Blues." This set a precedent for John Coltrane's later excursions (i.e., "Bessie's Blues"), similarly modern adventures that were nevertheless directly connected to the very taproots of the jazz tradition. Heard in direct succession, the opening tracks feel like a warm-up for a Bird and Diz reunion session recorded three months later with Thelonious Monk, Curly Russell, and Buddy Rich. For all of the excitement inherent in this rowdy bopped-out blowing session, the real gem is their comparatively relaxed and brilliantly executed rendering of "My Melancholy Baby." Tracks ten through 22 feature Charlie Parker with Strings, a lovely artistic experiment that allowed Bird to sail at will over some very pretty chamber ensemble accompaniment. Anyone who experiences a knee-jerk reaction to the string ensemble needs to cool off and simply focus on the saxophone and jazz rhythm section. This is not Muzak; the formula was never merely Bird with Squares. Over the course of two different "Strings" sessions, the real jazz players behind Bird were Bernie Leighton, Ray Brown, Buddy Rich, Al Haig, Tommy Potter, and Roy Haynes. arwulf arwulf          Tracklist + Credits :

EARL HINES – 1949-1952 | The Classics Chronological Series – 1288 (2003) FLAC (tracks+.cue), lossless

This disc begins with five excellent recordings that Earl Hines made for the Royal Jazz label in Paris. These joyous, optimistic trio renderings of "Honeysuckle Rose" and "Fine and Dandy" were part of a sizable bundle of great music recorded on November 4, 1949, the balance of which occupies the final eight tracks of Classics 1120. Two days later, Hines created three interesting piano solos for Royal: a relaxed revisit with Maceo Pinkard's old-fashioned love song "Sugar," a tough and powerful remake of "Boogie Woogie on the St. Louis Blues," and "Singing for My French Brothers," during which the pianist scats amiably. In July of 1950, Hines recorded eight outstanding trio performances to be issued on Columbia's newly developed long-playing 33-and-1/3-rpm format. The combination of Hines with bassist Al McKibbon and the impeccable J.C. Heard was remarkably fruitful. "These Foolish Things" seems to unfold as gradually as the dawn, "Velvet Moon" and "When I Dream of You" are slow and reflective, and the rest of this trio's work swings marvelously. "Diane" develops something like a Cuban rhythm halfway through, then prances the rest of the way home. In December of 1952 Hines was able to wax seven sides for the D'Oro label, which was created especially to record the Earl Hines Sextet, with a front line of trumpeter Jonah Jones, trombonist Bennie Green, and Aaron Sachs, who played clarinet and tenor sax. Vocalists heard here are Helen Merrill (this was her very first appearance on record), Lonnie Sattin (who bellows and croons like an Eckstine caricature), and a soulful Etta Jones (who has a lot of fun hollering "Stop"). Hines himself sings over a rhumba called "Ella's Fella," and "Whirl on a Whirl" also has a bit of that rhythmic Caribbean energy running through it. "Green's Corner" -- which in fact uses the bridge from "Love Is Just Around the Corner" -- is a friendly study for trumpet, tenor sax, and trombone with rhythm accompaniment, including brief solos from bassist Tommy Potter and Earl "Fatha" Hines. arwulf arwulf
Tracklist :

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 :

OSCAR PETTIFORD – 1951-1954 | The Classics Chronological Series – 1409 (2005) FLAC (tracks), lossless

In 2006. a survey of recordings made during the years 1951-1954 by groups under the leadership of bassist, cellist, and composer Oscar Pettiford was released as part of the Classics Chronological Series. During this period, Pettiford was making history as one of the very first improvising cellists in jazz. Swingin' ‘Til the Girls Come Home and "Bei Mir Bist du Schon" were recorded under the supervision of Leonard Feather on April 28, 1951 for Mercer Records, the label named for Duke Ellington's son. The sextet, billed as Oscar Pettiford, His Cello and Orkette, included trumpeter Howard McGhee, vibraphonist Joe Roland (whose other specialty was scoring bop charts for string ensembles à la Charlie Parker with Strings); pianist Kenny Drew, bassist Tommy Potter, and drummer Art Taylor. Arrangements were provided by Quincy Jones. During the summer of 1951, Pettiford worked with bands led by Jimmy Mundy, Wynton Kelly, and Budd Johnson. In the autumn he assembled a six-piece unit for a series of USO shows (this was during the Korean War) in New Jersey, New York, Japan, Korea, and various islands in the Pacific. In late 1951/early 1952, the group was recorded live in Guam. Those recordings, which include interpretations of older traditional standards played by the young boppers, were subsequently released under Howard McGhee's name, and are not included here. On February 21, 1952 Pettiford recorded again with his cello, now backed by bassist Charles Mingus, pianist Billy Taylor, and drummer Charlie Smith. As if to signal that this was not Pettiford's maiden voyage using the violoncello, one of the pieces was titled "Cello Again." Over the next several months, Pettiford would operate as a member of the Beryl Booker Trio, the Miles Davis Sextet, the Billy Taylor Quartet, and a unit led by pianist George Wallington. He also engaged in collective improvisations with Mary Lou Williams and Kenny Clarke at the Downbeat, where nobody recorded what must have been a series of remarkable experiments in early modern jazz.

In February 1953, Pettiford joined the Duke Ellington orchestra, replacing Charles Mingus, who was fired after tussling with valve trombonist Juan Tizol in front of a live audience. While swiftly becoming an important ingredient in Duke's ensemble, Pettiford sat in with Bud Powell and Roy Haynes at Birdland. After playing the Apollo Theater with Duke, he toured with the Ellington orchestra to Albuquerque and Pasadena. While in Los Angeles in June of 1953, he recorded his masterpiece "Blues in the Closet" and three other numbers with his All-Stars, a quintet which featured himself and Harry Babasin on celli. After gigging with Wardell Gray in August and September, Pettiford joined a Norman Granz package tour with Ellington. On December 29, 1953 the New Oscar Pettiford Sextet cut five tracks for the Mingus/Roach-owned and operated Debut label, again featuring the leader on cello, with Julius Watkins blowing French horn, Phil Urso on tenor sax, and a rhythm section of Walter Bishop, Charles Mingus, and Percy Brice. Quincy Jones wrote the arrangements for "Tamalpais Love Song" (later shortened to "Tamalpais") which featured Pettiford on the bass, and Quincy's own "Stockholm Sweetnin'." Pettiford began the year 1954 sitting in with a small band led by Illinois Jacquet's big brother, trumpeter Russell Jacquet. On March 21, Pettiford, the trailblazing jazz cellist, recorded six titles (four of which are included here) for the Vogue label with tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, bassist Henri Renaud, and drummer Max Roach. The producers of the Classics Chronological Series are to be commended for having assembled these cello-centered recordings of Oscar Pettiford on one album for all to enjoy and learn from.. arwulf arwulf
Tracklist + Credits :

AL COHN - Al Cohn's Tones (1950-1992) MONO | FLAC (tracks+.cue), lossless

Cohn stretches out here for a program heavy with up-tempo swingers. Cut in two sessions during 1950 and 1953, Cohn's Tones finds the usually more mellow tenor great feeding off the driving drum work of both Tiny Kahn and Max Roach. Besides the ballad evergreen "How Long Has This Been Going On" and a bluesy "Ah-Moore," the eight-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe. Stephen Cook
Tracklist :
1     I'm Tellin' Ya 5:58
Al Cohn
2     Jane Street 4:37
Al Cohn
3     Infinity 2:57
Al Cohn
4     How Long Has This Been Going On? 3:13
George Gershwin / Ira Gershwin
5     That's What You Think 4:50
Al Cohn
6     Ah Moore 4:57
Al Cohn
7     Groovin' With Gus 2:36
Al Cohn
8     Let's Get Away from It All 3:10
Matt Dennis
Credits :    
Bass – Curly Russell (tracks: 1, 2, 5, 6), Tommy Potter (tracks: 3, 4, 7, 8)
Drums – Max Roach (tracks: 1, 2, 5, 6), Tiny Kahn (tracks: 3, 4, 7, 8)
Piano – George Wallington (tracks: 3, 4, 7, 8), Horace Silver (tracks: 1, 2, 5, 6)
Tenor Saxophone – Al Cohn
Trumpet – Nick Travis (tracks: 1, 2, 5, 6)

AL COHN - The Progressive Al Cohn (1953-1994) RM | SJL Collection | FLAC (tracks+.cue), lossless

This CD (reissued by Savoy in 1994) has tenor saxophonist Al Cohn's first two sessions as a leader. Cohn, who was very influenced during the era by Lester Young, is in fine early form with a 1950 quartet that also includes pianist George Wallington, bassist Tommy Potter and drummer Tiny Kahn, and with a 1953 quintet that has trumpeter Nick Travis, pianist Horace Silver, bassist Curley Russell and drummer Max Roach. All but two numbers ("How Long Has This Been Going On" and an excellent version of "Let's Get Away Ffrom It All") are Cohn's inventive originals; best are "Infinity," "That's What You Think" (heard in two versions) and "Ah-Moore."  Scott Yanow

Tracklist :
1 Infinity 2:53
Al Cohn
2 Groovin' With Gus 2:31
Al Cohn / Dizzy Gillespie
3 How Long Has This Been Going On 3:10
George Gershwin / Ira Gershwin
4 Let's Get Away From It All 3:05
Al Cohn / Matt Dennis
5 That's What You Think (Take 1) 4:46
Al Cohn / Margaret Whitfield
6 I'm Tellin' Ya 5:57
Al Cohn
7 Jane Street 4:30
Al Cohn
8 Ah-Moore 4:51
Al Cohn
9 That's What You Think (Master) 4:44
Al Cohn / Margaret Whitfield 

Credits :
Bass – Curly Russell (tracks: 5 to 8), Tommy Potter (tracks: 1 to 4)
Drums – Max Roach (tracks: 5 to 8), Tiny Kahn (tracks: 1 to 4)
Piano – George Wallington (tracks: 1 to 4), Horace Silver (tracks: 5 to 8)
Tenor Saxophone – Al Cohn
Trumpet – Nick Travis (tracks: 5 to 8)

JIMMY FORREST - Out of the Forrest (1961-1994) RM / APE (image+.cue), lossless

This CD reissue is an excellent example of tenor saxophonist Jimmy Forrest in a soulful but fairly straight-ahead setting. Accompanied by pianist Joe Zawinul, bassist Tommy Potter and drummer Clarence Johnston, Forrest revives his "Bolo Blues," and plays his basic "Crash Program," and otherwise sticks to melodic standards. His highly expressive powers and ability to say a lot with a few notes is very much in evidence on this excellent set. by Scott Yanow
Tracklist :
1     Bolo Blues 4:07
Jimmy Forrest
2     I Cried for You 5:03
Gus Arnheim / Arthur Freed / Abe Lyman
3     I've Got a Right to Cry 4:22
Joe Liggins
4     This Can't Be Love 4:03
Lorenz Hart / Richard Rodgers
5     By the River Sainte Marie 5:13
Edgar Leslie / Harry Warren
6     Yesterdays 5:08
Otto Harbach / Jerome Kern
7     Crash Program 4:02
Jimmy Forrest / J.J. Johnson / Johnson
8     That's All 4:54
Alan Brandt / Bob Haymes
Credits :
Bass – Tommy Potter
Drums – Clarence Johnston
Piano – Joe Zawinul
Tenor Saxophone – Jimmy Forrest

AL HAIG - Al Haig Trio and Sextets ft. Stan Getz & Wardell Gray (2000) RM / FLAC (tracks+.cue), lossless

Bop pianist Al Haig was unfortunately overlooked, with few opportunities to record for a long stretch in the middle of his career. Fortunately, this Original Jazz Classics compilation highlights several sessions recorded between 1949 and 1954 for Period. The first eight tracks feature bassist Bill Crow and drummer Lee Abrams, where Haig's light touch is especially of interest. A number of these pieces were recorded by Art Tatum, but Haig puts his own stamp on them, inserting a humorous bit of "Sing, Sing, Sing!" into an easygoing "Taboo" (to contrast with Tatum's showstopping virtuoso arrangement) and offering a rambunctious bop treatment of "Just You, Just Me" as a quicky. Four tracks feature Haig in a group with tenor saxophonist Wardell Gray and guitarist Jimmy Raney, with vocalist Terry Swope scatting in unison on two of them. Best is Haig's potent original "In a Pinch." Stan Getz is present (along with Raney) on the last four selections, including a breezy take of Haig's "Skull Buster" (a transparent reworking of "[Back Home Again In] Indiana") and the pianist's lighthearted "Poop Deck." Released as a limited-edition reissue in 2000, bop fans are advised not to tarry if interested in this excellent compilation of Al Haig's early recorded efforts. by Ken Dryden 
Tracklist:
1 Just One of Those Things 3:59
Cole Porter
2 Yardbird Suite 3:06
Charlie Parker
3 Taboo 2:44
Margarita Lecuona / Bob Russell
4 Mighty Like a Rose 4:51
Ethelbert Nevin / Frank Stanton
5 S'Wonderful 3:37
George Gershwin / Ira Gershwin
6 Just You, Just Me 1:52
Jesse Greer / Raymond Klages
7 The Moon Was Yellow 2:48
Fred E. Ahlert / Edgar Leslie
8 'Round Midnight 5:21
Bernie Hanighen / Thelonious Monk / Cootie Williams
9 Sugar Hil 2:34
10 Five Star 2:54
Jimmy Raney
11 It's the Talk of the Town 3:09
Jerry Livingston / Al J. Neiburg / Marty Symes
12 In a Pinch 3:08
Al Haig
13 Skull Buster 2:26
Al Haig
14 Ante Room 2:46
Jimmy Raney
15 Poop Deck 2:52
Al Haig
16 Pennies from Heaven 3:20
Johnny Burke / Arthur Johnston
Note
Tracks 1-8 recorded March 13, 1954
Tracks 9-12 recorded April 1949
Tracks 13-16 recorded May 12, 1949
Credits:
Bass – Bill Crow (tracks: 1 to 8), Gene Ramey (tracks: 13 to 16), Tommy Potter (tracks: 9 to 12)
Congas – Carlos Vidal
Drums – Charlie Perry (tracks: 9 to 16), Lee Abrams (tracks: 1 to 8)
Guitar – Jimmy Raney (tracks: 9 to 16)
Piano – Al Haig
Tenor Saxophone – Stan Getz (tracks: 13 to 16), Wardell Gray (tracks: 9 to 12)
Voice – Terry Swope (tracks: 9, 10)

CECIL PAYNE - Patterns of Jazz (1956-1991) RM / MONO / FLAC (tracks+.cue), lossless

This 1956 set partners baritone saxophonist Cecil Payne with the superb rhythm section of pianist Duke Jordan, drummer Art Taylor, and bassist Tommy Potter. Their performances of originals, standards, and a pair of Randy Weston compositions are unpretentious bop artistry of a high caliber. Jordan and Potter played together in Charlie Parker's quintet of the late '40s and are well-equipped to meet the demands of bebop. The pianist's economical, swinging style falls somewhere between Count Basie's and Thelonious Monk's. Like them, Jordan is supremely skilled at saying a lot with a little. His open approach leaves plenty of space for the unassuming virtuosity of Potter and Taylor. Potter, in particular, merits close attention. He is a master of the walking bass, spilling out a relentless four to the bar with the precision of a Swiss timepiece and the obsession of one whose calling is, above all, to swing and to swing righteously. Payne's conception is the opposite of the big-throated, baritone sax roar of his Savoy labelmate Pepper Adams. Rather, his light tone calls to mind Lester Young's tenor sax, a parallel that is most apparent on Payne's extended solo on his ballad treatment of "How Deep Is the Ocean." On four of the eight tracks on this 1991 CD reissue the quartet is joined by trumpeter Kenny Dorham, who is in excellent form, adding a high-energy second voice to the frontline and a fearless chorus on the quintet's version of Dizzy Gillespie's "Groovin' High." For listeners who have yet to become acquainted with Cecil Payne, this classic mid-'50s Savoy recording would make a good introduction. by Jim Todd 
Tracklist:
1 This Time The Dream's On Me 3:46
2 How Deep Is The Ocean? 7:47
3 Chessman's Delight 5:27
4 Arnetta 3:38
5 Saucer Eyes 6:38
6 Man Of Moods 5:33
7 Bringing Up Father 6:19
8 Groovin' High 4:22
Credits:
Baritone Saxophone – Cecil Payne
Bass – Tommy Potter
Drums – Art Taylor
Piano – Duke Jordan
Recorded By – Rudy Van Gelder
Trumpet – Kenny Dorham (tracks: 5 to 8)