Each of the selections on this set has between seven and a dozen trombonists along with a rhythm section. The first five selections were recorded with East Coast musicians and the next six with players from the West Coast but, truth be told, there is no real difference in the style of music. The arrangements of J.J. Johnson, Warren Barker and Marty Paich are strictly straight-ahead with an emphasis on the sound of the trombone sections. There are many concise solos along the way but the only standouts are Frank Rosolino and Jimmy Cleveland, as most of the other individual spots are brief. The final number, "I Found a New Baby," was not on the original LP and was apparently recorded half on the East Coast and half on the West, a discographer's nightmare but pointing to the unity of this project. The music is fun and very much in the idiom of 1950s J.J. Johnson although Johnson does not actually play a note on this project. Scott Yanow Tracklist & Credits : 
Oliver Nelson's debut as a leader found him already a distinctive and skilled tenor saxophonist by the age of 27. For this quintet set, Nelson teams up with the veteran trumpeter Kenny Dorham, pianist Ray Bryant, bassist Wendell Marshall, and drummer Art Taylor for four of his originals, plus the ballads "Passion Flower" and "What's New." Although none of these Nelson tunes caught on, this was an impressive beginning to a short but productive career and gives one a strong example of the multi-talented Nelson's tenor playing. Scott Yanow Tracklist & Credits : 
Lem Winchester, an ill-fated vibraphonist who was influenced musically by Milt Jackson, teams up with tenor saxophonist Oliver Nelson, altoist Curtis Peagler and a fine rhythm section for a good straight-ahead date that has been reissued on CD. Nelson emerges as the most distinctive solo voice, and since he contributed three of the six songs, the tenorman's musical personality dominates this set. Winchester shows much potential that, due to his untimely death in early 1961, was never fulfilled. Good bop-based music. Scott Yanow Tracklist & Credits : 
This set was pianist Red Garland's 25th session as a leader since 1956, but it would be eight years before his next record. Garland's influential style had been fully formed since the mid-'50s and his chord voicings were immediately recognizable. With the assistance of bassist Wendell Marshall and drummer Charlie Persip, Garland explores and updates seven veteran songs (including a previously unreleased "My Blue Heaven") dating from the '20s era. This fine LP is highlighted by such unlikely material as "Sonny Boy," "St. James Infirmary," "Baby Won't You Please Come Home," and a 12-minute "Nobody Knows the Trouble I've Seen." Scott Yanow Tracklist & Credits :
With sights set firmly set upon the blues, this is bedrock Red Garland, aimed squarely down the middle of his most fertile period. Not everything here is a blues, but they might as well be, given the sameness of mood and approach in this selection of small-group blowing sessions. Wherever you go on Red's Blues, you can't miss Garland's distinctive block chords and light-handed right-handed bop patterns recorded in the soft-focused Van Gelder studio manner, all of which jazz fans would hear constantly down the road in the '60s. And not only that, almost all of the tunes are in the keys of B flat or C, which could make this disc useful for background if not extended listening. Nevertheless, the personnel is often stellar; John Coltrane and Donald Byrd turn up on "Birks' Works," and Arnett Cobb saunters through "Black Velvet" (better known as "Don'Cha Go Way Mad"), Coleman Hawkins is in fine funky form on "Red Beans," and Ray Barretto's congas light up one of the few jazz compositions ever named after a critic ("Ralph J. Gleason Blues"). The 75-minute disc, all of whose contents have been issued on CD before, opens with a long, majestic Garland meditation on "See See Rider" -- and that pretty much sets the tone. Richard S. Ginell Tracklist & Credits :
SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight.
The music blends West Coast cool, swing, bop, and hard-bop styles in a manner befitting each of the monumental leaders, and the whole is driven by a spry rhythm section consisting of bassist Wendell Marshall, drummer J.C. Heard, and pianist Wynton Kelly. Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. SITTIN' IN is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz. AllMusic Tracklist + Credits :
Volume 40 in the complete sequential recordings of Duke Ellington, as compiled and reissued in 2002 as part of the Classics Chronological Series, covers about a half-year's time from December 18, 1950 to May 24, 1951, beginning with two extended tracks initially issued on the Columbia LP Masterpieces by Ellington. With Sophisticated Lady and Solitude, Ellington took advantage of the new long-playing format to allow the band to stretch out as they'd been doing in live performance for many years. The vocalist on Sophisticated Lady was Yvonne Lanauze. In addition to the usual rich palette of Ellington and Strayhorn compositions, this portion of the chronology contains original works by trumpeters Charlie Shavers and William "Cat" Anderson; by valve trombonist and arranger Juan Tizol, tenor saxophonist Paul Gonsalves, and Luigi Paulino Alfredo Francesco Antonio Balassoni, commonly known as drummer Louie Bellson, who had recently migrated from the Harry James Orchestra with Tizol and alto saxophonist Willie Smith. The music heard on this disc was recorded at a time when all of the big bands -- even those led by Count Basie and Duke Ellington -- were struggling to keep their heads above water. This explains the inclusion of seven selections that were released on Mercer records -- a short-lived independent label managed by Mercer Ellington, and Leonard Feather -- featuring a scaled down group known as Duke Ellington's Coronets. The titles credited to the Coronets are "Night Walk (Cat Walk)," "Moonlight Fiesta," "She (Sensuous)," "Swamp Drum," "Sultry Serenade," "Indian Summer," and the "Britt and Butter Blues" which referred to a pair of master trombonists, Britt Woodman and Quentin "Butter" Jackson. arwulf arwulf Tracklist + Credits :
Volume 41 in the complete chronological recordings of Duke Ellington as reissued by the Classics label contains 16 master takes that came together during the second half of 1951, the year that saw the release of Duke's marvelous Uptown album. Although big bands were struggling to stay together during this period and Johnny Hodges was off making records with producer Norman Granz, the Ellington Orchestra sounds exceptionally fine throughout. Billy Strayhorn had a lot to do with the elegance that characterizes the 1951 recordings, and the soloists are in extraordinarily good form. "Deep Night" features trombonists Juan Tizol, Quentin "Butter" Jackson, and Britt Woodman. "Please Be Kind" belongs to alto saxophonist Willie Smith, an alumnus of the Jimmie Lunceford Orchestra. The "Duet" between bassist Wendell Marshall and clarinetist Jimmy Hamilton is mostly an orchestral number that ends as a duo. Hamilton also plays tenor sax on "Bensonality." "Jumpin' with Symphony Sid," a tune rarely associated with Ellington, here becomes a solid steady groove that you'll want to slip into more than once. "Before My Time" from the "Controversial Suite" was Duke's whimsical response to the language of music critics who used up a lot of energy defining Tradition and Modernity; the Suite's title also referred to the flashy progressivism of Stan Kenton. The vocalist on "Blues at Sundown" is Jimmy Grissom, a steady customer who also handles Strayhorn's "Something to Live For" and "Azalea," a love song that Ellington claimed to have designed for Louis Armstrong, who subsequently recorded it with Duke about ten years later on that utterly essential Roulette album, The Great Summit. arwulf arwulf Tracklist + Credits :
Here's a treat. Vol. 42 of the chronologically reissued recordings of Duke Ellington opens with some 56 minutes of music recorded live at the Civic Auditorium in Seattle, WA, on March 25, 1952. This document fully conveys the excitement of hearing Duke's orchestra in person, on tour in the great Northwest. Ellington enthusiasts have cherished these recordings for years, and this concert is particularly satisfying. "Skin Deep" is an extroverted exercise for drum kit by Louie Bellson. After this percussive fireworks display the leader provides eloquent spoken introductions, acknowledging the musician chosen as soloist on each selection. Conservatory-trained trombonist Britt Woodman -- a favorite of Charles Mingus -- expresses himself beautifully throughout "Sultry Serenade." "Sophisticated Lady" spotlights "internationally celebrated alto saxophonist" Willie Smith. Clark Terry is the star soloist on a smoky ride through Juan Tizol's "Perdido," after which that valve trombonist elucidates another of his marvelous compositions, "Caravan." Ellington composed his majestic "Harlem Suite" for the NBC Symphony Orchestra. He briefly explains the concept of the piece and reminds his audience that Harlem has "more churches than cabarets." This was in keeping with Duke's lifelong dedication to improving the public's understanding and appreciation of Afro-American culture. Louie Bellson's zippy offering, "The Hawk Talks," has a rowdy piano introduction, whereupon the band generates quite a head of steam. There is a very showy crowd-pleasing medley of Ellington hits and lastly the famous "Jam With Sam," during which Ellington briefly introduces each soloist. This may serve as a listening lexicon of more than half of the wind players in the band at that time, enabling the listener to become better acquainted with the specific sounds of Willie Cook, Russell Procope, and Quentin "Butter" Jackson, as well as the familiar tones of Paul Gonsalves and Cat Anderson. On the cusp of June and July 1952, the Ellington orchestra concentrated its energies on the art of making extended LP recordings. Betty Roche added her scat singing to eight glorious minutes of "Take the 'A' Train" and did up "I Love My Lovin' Lover" in what at times seems a fairly close imitation of Dinah Washington. Jimmy Grissom goes out of his way to sound like Al Hibbler during "Come On Home." This full helping of Ellington jazz closes with an exquisitely expanded rendition of Duke's hit of 1928, "The Mooche," with breathtaking solos by Jimmy Hamilton, Quentin Jackson, Willie Smith, Ray Nance, and the mighty Harry Carney. arwulf arwulf Tracklist + Credits :
During the month of December 1953, Duke Ellington made records for the Capitol label in Chicago and New York with a trio, a quartet, and the full-sized orchestra. Volume 45 in the Ellington stratum of the Classics Chronological Series makes available 21 selections from this wonderfully creative chapter in the lives of the Duke and his men. Seldom, if ever, have the big band and small group recordings from this segment of Ellington's career been reissued in chronological sequence. Over the years, for some reason, the titles "Montevideo" and "Night Time" have both been applied to the thrilling piece of work heard on track two. Inspired by the largest city in the country of Uruguay, this passionate Latin jazz workout is enlivened by the conga drumming of Ralph Collier. Track 20, accurately titled "Night Time," is a gorgeous nocturne written in collaboration with Billy Strayhorn. Tracks four, five, six, eleven and sixteen feature vocals by Jimmy Grissom, and trumpeter/violinist Ray Nance sings "Just A-Settin' and A-Rockin'." Those who desire the complete 1953 trio recordings of Duke Ellington (including the conga-driven quartet recording of "Montevideo") should most definitely seek out the Capitol album Piano Reflections. arwulf arwulf Tracklist + Credits :
April in Paris, 1950. James Moody is making records with a band led by trumpeter Ernie Royal. While two originals by Royal are based on textbook bop themes, Moody's own "Date With Kate" shows greater depth of invention. "Mean to Me" prances at a healthy clip and "Embraceable You" is presented as a slow-dance delicacy. Jumping to July of 1950, Moody leads his own "Boptet" through four remarkable exercises in modernity. Marshall "Red" Allen, who subsequently worked for decades with Sun Ra, is heard in Moody's band playing alto saxophone. These must be Allen's earliest appearances on record. "Delooney" surges ahead with peculiar chords that do in fact slightly resemble what Ra's Arkestra would be playing by 1957. "Real Cool" features the celeste and piano of Raymond Fol and some lovely bass work by Buddy Banks. "In the Anna" is a slow and harmonically altered stroll through "Back Home Again in Indiana." Moody sings a chorus of rapid-fire bop scat on "Voila." After he blows his horn for a bit, several voices sing a background chorus, which continues during a fadeout, that new effect just beginning to occur on records in 1950. Moody's last Parisian session focuses tightly upon his tenor sax backed by apparent Bud Powell devotee Raphael "Raph" Schecroun, Pierre Michelot, and the amazing Kenny "Klook" Clarke, whose solo on "Riffin' and Raphin'" is a pleasure. Hot tracks invigorate, and ballads bring on the coolest of reveries. Moody's fluidic improvisations are always full of pleasant surprises. "St. Louis Blues" gets a modern, sophisticated treatment, slipping with progressive ease into the traditional tango chorus. There are no less than three distinct renditions of "Embraceable You" on this CD. Maybe we're inside a movie and this is the recurring theme song, always returning to assist in the story line's continuity: five months in the life of James Moody. The home stretch takes listeners back to Stockholm. Backed by seven Scandinavians and bolstered by cushy arrangements, Moody delivered six gorgeous performances for the Prestige label. His balladeering is always astonishing. "How Deep Is the Ocean" has the power to reassure. So does "I'll Get By." Each of these little three-minute records should be cherished like a vision of a better world. arwulf arwulf
Tracklist + Credits :
We Free Kings, Roland Kirk's third long-player, is among the most
consistent of his early efforts. The assembled quartet provides an ample
balance of bop and soul compliments to Kirk's decidedly individual
polyphonic performance style. His inimitable writing and arranging
techniques develop into some great originals, as well as personalize the
chosen cover tunes. With a nod to the contemporary performance style of
John Coltrane, as well as a measure of his influences -- most notably
Clifford Brown and Sidney Bechet -- Kirk maneuvers into and out of some
inspiring situations. His decidedly 'Trane-esque solos on "My Delight"
are supported with a high degree of flexibility by one-time Charles
Mingus' pianist Richard Wyands and Dizzy Gillespie percussionist Charlie
Persip. The album's title track is a Kirk original, based on the melody
of the Christmas hymn "We Three Kings." Incorporating recognizable
melodies into Kirk's oft times unorthodox musical settings would prove
to be a motif throughout his career. An example is the highly touted
cover of Charlie Parker's "Blues for Alice." This is an ideal avenue for
the quartet to explore one of Kirk's specialties -- the blues. The
almost irreverent manner in which he fuses blues and soul music into the
otherwise bop-driven arrangements is striking. "A Sack Full of Soul" is
a funky number with a walking-blues backbeat that perfectly supports
Kirk's swinging solos. The stop time syncopation is reminiscent of Ray
Charles' "What'd I Say." The 1987 CD version also includes an alternate
take of "Blues for Alice." One additional track -- a cover of the Frank
Loesser standard "Spring Will Be a Little Late This Year" -- was also
recorded at these sessions and remained unissued until its inclusion on
the ten-disc Rahsaan: The Complete Mercury Recordings of Roland Kirk box
set. Lindsay Planer
John Cornelius Hodges began working with Duke Ellington in 1928 and soon became one of the prime voices in the Ellington orchestra. Hodges began leading his own recording ensembles -- actually scaled-down versions of Duke's band -- in 1937. Occasionally sitting in with other leaders like Lionel Hampton, Hodges also led groups of his own, including a quartet at New York's Apollo Club during the summer of 1948 and five of the six bands heard on this first volume of his complete recordings in chronological order. (All records issued under Hodges' name prior to 1947 have been included in the massive Classics chronology of Duke Ellington.) Sandy Williams' Big Eight was one of many ensembles recording for the Hot Record Society -- and one of the very best of them. "Mountain Air" and "After Hours on Dream Street" are slow, smooth, languid, and lovely, with Hodges playing pretty for the people. "Sumpin' Jumpin' Round Here" is a smart strut with a hint of Latin American rhythm built into its caboose. Harry Carney, who fortunately appears on fully half of the recordings reissued here, does some friendly nudging with his horn on this pleasantly stimulating dance tune. "Chili con Carney" is a light bounce honoring the baritone saxophonist without granting him any more solo space than a couple of brief breaks. The next four selections appeared on the small and ephemeral Wax label in 1947. Carney is roundly featured on Jerome Kern's moody existential opus "Why Was I Born?," and Hodges softly interprets Walter Donaldson's "You're Driving Me Crazy" in what must be one of the slowest and most gentle versions of this song ever recorded. "Key Largo" carries a whiff of the Caribbean in its dulcet tones and lapping rhythm. Billy Strayhorn's "Triple Play" is marvelously cool mood music, elegantly rendered by a quintet with the composer at the piano. When Hodges recorded for the Mercer and Sunrise labels, he included longtime Ellington trombonist Lawrence Brown, Chick Webb's star trumpeter Taft Jordan, up-and-coming tenor saxophonist Al Sears, and a rhythm section of Billy Strayhorn, Oscar Pettiford, and trombonist Wilbur DeParis sitting in on the drums! Each performance is a delight. "A Flower Is a Lovesome Thing" is the classic Strayhorn/Hodges still life. "Longhorn Blues" and "Faraway Blues" both feel like close cousins to "Jeep's Blues." On the second Mercer session Harry Carney replaces Brown, Harold "Shorty" Baker is the trumpeter, and Sonny Greer does wonderful things with the drums. Anyone who wants to hear Strayhorn cook a little on the piano should check out the groove track "Searsy's Blues," which is somewhat of an advanced approach to a boogie. Its tempo reappears exactly on "Let the Zoomers Drool" -- a "zoomer" being hip vernacular for a mooch. Years later, Dave Frishberg liked "A Little Taste" so much that he composed some of his funniest lyrics based on its nonchalant contours. This satisfying CD ends with the first of Hodges' Parisian sessions from 1950, with Raymond Fol sitting in with a pack of Ellingtonians when Duke declined to participate for contractual reasons. These tracks are notable for the presence of trombone ace Quentin "Butter" Jackson and voluntary expatriate tenor saxophonist Don Byas, who blows a splintering run during the crackling strut "We Fooled You." arwulf arwulf
Tracklist :
1 Mountain Air 3'02
Cat Anderson / Tab Smith
2 Sumpin' Jumpin' Round Here 3'00
Brick Fleagle
3 After Hours on Dream Street 3'20
Brick Fleagle
4 Chili con Carney 2'38
Harry Carney
5 Key Largo 2'37
Benny Carter / Lou Carter / Karl Suessdorf / Leah Worth
6 You're Driving Me Crazy 2'53
Walter Donaldson
7 Why Was I Born? 3'12
Oscar Hammerstein II / Jerome Kern
8 Triple Play 2'42
Billy Strayhorn
9 Who Struck John? 2'51
Duke Ellington / Johnny Hodges
10 It Shouldn't Happen to a Dream 3'03
Duke Ellington / Don George / Johnny Hodges
11 June's Jumpin' 2'48
Johnny Hodges
12 Violet Blue 3'05
Billy Strayhorn
13 A Flower Is a Lovesome Thing 2'53
Billy Strayhorn
14 Frisky 4'48
Duke Ellington / Johnny Hodges
15 Longhorn Blues 2'50
Duke Ellington / Johnny Hodges
16 Far Away Blues 2'53
Duke Ellington / Johnny Hodges
17 Searsy's Blues 2'44
Duke Ellington / Johnny Hodges
18 A Little Taste 3'08
Cannonball Adderley / Duke Ellington / Johnny Hodges
19 Let the Zoomers Drool 3'00
Duke Ellington / Johnny Hodges
20 Charlotte Russe 3'08
Johnny Hodges
21 St. Germain-des-Prés Blues 3'22
Don Byas
22 Good to the Last Drop 3'13
Gene Page
23 Only Wish I Knew 3'06
Don Byas / Raymond Fol
24 We Fooled You 2'46
Harold Baker / Johnny Hodges 
Johnny Hodges' 1950 Parisian Vogue recordings -- augmented here with four sides waxed in Copenhagen for the Danish Tono label -- form a prologue to the records Hodges would make with Norman Granz from 1951-1955. The band heard on the first five tracks was essentially a condensed Ellington group with Don Byas sitting in and Raymond Fol at the piano. "Last Leg Blues" is a saucy, loping exercise in two parts that incorporates at one point a lick from "Tuxedo Junction." This is a good example of what seems at first like an almost too simple musical idea bearing incredible fruit, Jimmy Hamilton's clarinet and Hodges' alto working it up handsomely into an impressive exploration of the blues. Composed by Hamilton, the feisty, bop-like "Nix It, Mix It" is one of the most exciting tracks included here. "Time on My Hands" feels like an oasis of lyrical familiarity among so many relatively uncomplicated melodies designed for jamming rather than reflection. Hamilton, Byas, and Hodges communicate wonderfully during this gorgeous ballad. Three of the four Danish recordings feature vocalist Chubby Kemp, whose slightly nasal voice sounds like Anita Love or maybe even Little Esther Phillips if she'd sung jazz. "Tea for Two" is a pleasant surprise, with Hamilton's clarinet sending up bubbles over Quentin "Butter" Jackson's mellifluous trombone during the opening. Hodges and Hamilton both deliver spirited solos and the antiquated Vincent Youmans confection grows into something intricate, ornate, and exhilarating. Back in Paris with the band scaled down to a sextet, Hodges led his men through a stunning rendition of Juan Tizol's "Perdido," eased them into "Mood Indigo," "Sweet Lorraine," and the 19th century melody "In the Shade of the Old Apple Tree," here rendered into a smooth, cool exercise in swing. "Rendez-Vous at the Hot Club" moves briskly and swings hard. With the session of January 15, 1951, Hodges was back on American soil, initiating a collaborative relationship with producer Norman Granz that would continue through 1955 and occasionally rekindle over the years. According to Stanley Dance, "You Blew Out the Flame in My Heart" was given the erroneous title "Rabbit's Blues" in an early recording ledger, and the misnomer continues to resurface in discographies to this very day. Over the next five years, Hodges would record an enormous amount of material for the Mercury, Clef, and Norgran labels, often relying upon tenor saxophonist Al Sears to help steer the operation as the music evolved into relative modernity while rooted in strong elements of blues, ballads, and swing. arwulf arwulf
Coleman Hawkins
1 Coleman Hawkins And His Rhythm– It's Only A Paper Moon 3'03
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
2 Coleman Hawkins And His Rhythm– Sih-Sah 3'15
Coleman Hawkins / James Moody
3 Coleman Hawkins And His Rhythm– Bean's Talking Again 3'17
Kenny Clarke / Coleman Hawkins
4 Coleman Hawkins And His Rhythm– Bah-Uh-Bah 3'23
Tadd Dameron / Coleman Hawkins
5 Coleman Hawkins And His Rhythm– I Surrender Dear 3'14
Harry Barris / Gordon Clifford
6 Coleman Hawkins And His Rhythm– Sophisticated Lady 3'14
Duke Ellington / Irving Mills / Mitchell Parish
Johnny Hodges
7 Johnny Hodges And His Orchestra– Jump, That's All 3'04
Harold Baker
8 Johnny Hodges And His Orchestra– Last Legs Blues - Part 1 3'06
Johnny Hodges
9 Johnny Hodges And His Orchestra– Last Legs Blues.- Part 2 2'59
Johnny Hodges
10 Johnny Hodges And His Orchestra– Nix It, Mix It 3'19
Jimmy Hamilton
11 Johnny Hodges And His Orchestra– Time On My Hands 3'18
Harold Adamson / Mack Gordon / Vincent Youmans
12 Johnny Hodges And His Orchestra– Run About 3'03
Johnny Hodges
13 Johnny Hodges And His Orchestra– Wishing And Waiting 3'23
Johnny Hodges
14 Johnny Hodges And His Orchestra– Get That Geet 3'18
Johnny Hodges
15 Johnny Hodges And His Orchestra– That's Grand 3'25
Johnny Hodges
16 Johnny Hodges And His Orchestra– Skip It 3'24
Johnny Hodges
17 Johnny Hodges And His Orchestra– Perdido 3'08
Ervin Drake / Hans Lengsfelder / Juan Tizol
18 Johnny Hodges And His Orchestra– In The Shade Of The Old Apple Tree 3'40
Egbert VanAlstyne / Harry Williams
19 Johnny Hodges And His Orchestra– Mood Indigo 3'50
Barney Bigard / Duke Ellington / Irving Mills
20 Johnny Hodges And His Orchestra– Sweet Lorraine 3'13
Clifford R. Burwell / Mitchell Parish
21 Johnny Hodges And His Orchestra– Bean Bag Boogie 3'06
Harold Baker
22 Johnny Hodges And His Orchestra– Hop, Skip And Jump 2'27
Duke Ellington
All Credits
Notas.
Tracks 1-6: Recorded in Paris on December 21, 1949.
Tracks 7-22: Recorded in Paris on April 15 & June 20, 1950.
This is a decent but not very exciting outing. Then 52, Hawkins uses a typically young rhythm section (including guitarist Kenny Burrell and pianist Ray Bryant) and plays melodically on a variety of originals and standards. This insipid version of "Greensleeves" is difficult to sit through but the rest of this CD is enjoyable if not overly inspiring. Scott Yanow
Tracklist :
1 Soul Blues 9'52
Coleman Hawkins
2 I Hadn't Anyone Till You 4'34
Ray Noble
3 Groovin' 5'43
Kenny Burrell
4 Greensleeves 3'12
Traditional
5 Sunday Mornin' 6'29
Kenny Burrell
6 Until the Real Thing Comes Along 4'42
Sammy Cahn / Saul Chaplin / L.E. Freeman / Mann Holiner / Alberta Nichols
7 Sweetnin' 6'49
Coleman Hawkins
Credits :
Bass – Wendell Marshall
Drums – Osie Johnson
Guitar – Kenny Burrell
Piano – Ray Bryant
Tenor Saxophone – Coleman Hawkins
Esbjörn Svensson has stood not only once on stage in Montreux. He was already a guest in the summer of 1998 at the jazz festival on Lake Gen...
