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)

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

J.J. JOHNSON — The Eminent Jay Jay Johnson, Volume 2 (1956-2001) RM | Modern Jazz Series, RVG Edition | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

THE CURTIS FULLER JAZZTET — The Curtis Fuller Jazztet With Benny Golson (1959-1991) RM | FLAC (tracks+.cue), lossless

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip. Brandon Burke   Tracklist & Credits : 

ART PEPPER — Gettin' Together! (1960) Two Version | 1994, DCC Jazz – GZS-1054 | 24K Gold CD + 1997, Contemporary Records – VICJ-41170 | FLAC (tracks+.cue), lossless

As a sort of follow-up to Art Pepper's matchup with Miles Davis' trio in the 1957 classic Art Pepper Meets the Rhythm Section, Pepper utilizes Davis' sidemen on this 1960 near-classic. In addition to pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, trumpeter Conte Candoli makes the group a quintet on four of the eight numbers. This time around, rather than emphasizing standards, Pepper performs just three ("Softly, As in a Morning Sunrise," Thelonious Monk's "Rhythm-A-Ning," and "The Way You Look Tonight") and includes three originals of his own: "Diane," "Bijou the Poodle," and "Gettin' Together." The music is all very straight-ahead and bop-oriented, but as usual, Pepper brings something very personal and unique to his playing; he sounds like no one else. [Some reissues add "The Way You Look Tonight" (formerly only available on another LP) and an alternate take of the title cut to the original repertoire.] Scott Yanow    Tracklist & Credits :  

CANNOBALL ADDERLEY WITH MILT JACKSON — Things Are Getting Better (1958-2013) RM | MONO | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] Lindsay Planer 
Tracklist :
1 Blues Oriental 5:01
Written-By – Milt Jackson
2 A Few Words 0:44 *
3 Things Are Getting Better 7:14
Written-By – Adderley, Langdon
4 Serves Me Right (Take 5) 4:50
Written-By – Buddy Johnson
5 Groovin' High 5:22
Written-By – Dizzy Gillespie
6 The Sidewalks Of New York (Take 5) 7:00
Arranged By – J. Adderley
Written-By – Lawlor, Blake
7 Sounds For Sid 6:27
Written-By – Julian Adderley
8 Just One Of Those Things 6:48
Written-By – Cole Porter
9 Serves Me Right (Take 4) 4:38 *
Written-By – Buddy Johnson
10 The Sidewalks Of New York (Take 4) 5:15 *
* – BONUS TRACKS –
Not on original lp (mono)
Credits :
Alto Saxophone – Cannonball Adderley
Bass – Percy Heath
Drums – Art Blakey
Piano – Wynton Kelly
Vibraphone – Milt Jackson

WYNTON KELLY — Piano (1958-1998) RM | Serie XRCD² | FLAC (tracks+.cue), lossless

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, Kelly had only cut one date as a leader prior to this -- and that had been seven years earlier. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in the conventional piano trio setting -- with only bass and drums -- a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. Lee Bloom 

Tracklist :

1  Whisper Not 7:12 

Benny Golson 

2  Action 7:12 

Wynton Kelly 

3  Dark Eyes 5:59 

Traditional 

4  Strong Man 5:17 

Oscar Brown, Jr. 

5  Ill Wind 4:25 

Harold Arlen / Ted Koehler 

6  Don't Explain 5:36 

Billie Holiday / Arthur Herzog, Jr. 

7  You Can't Get Away 6:24 

Wynton Kelly 

8  Dark Eyes 5:19 

Traditional 

Credits :

Bass – Paul Chambers 

Drums – Philly Joe Jones 

Guitar – Kenny Burrell (tracks: 1 to 3, 8) 

Piano – Wynton Kelly

CLIFFORD JORDAN — Clifford Jordan In The World (1972-2006) RM | FLAC (tracks+.cue), lossless

Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath, and trumpeter Don Cherry. Jordan's pensive "Vienna" is given an extended workout, with Cherry's somewhat abstract playing fitting in rather well. The second piece, Jordan's "Doug's Prelude," is also a bit brooding, showcasing the leader, Priester, and Kelly. Ken Dryden
Tracklist :
1 Vienna 17:10
Clifford Jordan
2 Doug's Prelude 4:47
Clifford Jordan
3 Ouagoudougou 11:00
Clifford Jordan
4 872 7:14
Clifford Jordan
Credits :
Bass – Richard Davis, Wilbur Ware
Drums – Al Heath (tracks: 1, 2), Ed Blackwell (tracks: 3, 4), Roy Haynes (tracks: 3, 4)
Piano – Wynton Kelly
Tenor Saxophone – Clifford Jordan
Trombone – Julian Preister
Trumpet – Don Cherry (tracks: 1, 2), Kenny Dorham (tracks: 3, 4)

STUFF SMITH — Stuff Smith, Dizzy Gillespie & Oscar Peterson (1957-1994) 2CD | FLAC (tracks+.cue), lossless

The great swing violinist Stuff Smith had not recorded as a leader since 1945 when producer Norman Granz got him to make three albums for Verve during a three-month period. Smith, who was still very much in his prime, recorded 11 selections (one previously unissued) with pianist Carl Perkins, either Red Callender or Curtis Counce on bass and Oscar Bradley or Frank Butler on drums (Have Violin Will Swing), jammed nine numbers (three released for the first time here) with the Oscar Peterson Trio (for the album titled Stuff Smith), and on five tunes teamed up with trumpeter Dizzy Gillespie and a rhythm section (Dizzy Gillespie-Stuff Smith); all are reissued in full on this generous two-CD set from 1994. In each of the settings, the violinist excels, making this an easily recommended and very satisfying release.
Scott Yanow   Tracklist + Credits :

DIZZY GILLESPIE — Sittin' In (1958-1997) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

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 :

DIZZY GILLESPIE — Birks Works : The Verve Big Band Sessions (1995) 2CD | FLAC (tracks+.cue), lossless

Tracklist + Credits :

DIZZY GILLESPIE | MILT JACKSON | JOE CARROLL — School Days (1957-2000) RM | FLAC (tracks+.cue), lossless

An old recording from 1951, this album has been re-released on Columbia from the old Savoy/Regent recordings. The blowing is insane in spots -- in "Pop's Confessin," Dizzy tries to hit the loudest, highest, longest note possible (à la Roy Eldridge). Joe Carroll provides some humor in his vocal work (often performing in duet with Dizzy). Milt Jackson actually goes without his vibes here, singing and playing piano. A young John Coltrane solos on “We Love to Boogie,” which was one of his first appearances on record. According to the original liner notes, other performers on the album are "probably" Bill Graham on baritone sax, Wynton Kelly on piano, Percy Heath on bass, and Al Jones, Kansas Fields, or Joe Hanes on drums. The interplay among trumpet, piano, and Joe Carroll's vocals is some of the best you'll hear from this time period (it gets even better in a couple years, but this is still outstanding). "Lady Be Good" is a tour de force for Carroll, and "School Days" starts to sound a lot like the blues-shouting R&B of the day. For any fan of Dizzy, and the bop of the day, this is a worthwhile investment in listening pleasure. The trumpet is good, the vocals are good, the humor is good. You can barely miss with this one. Adam Greenberg 
Tracklist :
1 Lady Be Good 2:39
Written-By – G&I. Gershwin 
2 Pop's Confessin 3:31
Written-By – Neiburg, Daugherty, Reynolds
3 Nobody Knows The Trouble 2:36
Written-By – K. Clarke
4 Bopsie's Blues 2:33
Written-By – D. Gillespie
5 I Couldn't Beat The Rap 2:57
Written-By – D. Gillespie
6 School Days 3:07
Written-By – D. Gillespie
7 I'm In A Mess 2:10
Written-By – A. White, P. White
8 Umbrella Man 2:23
Written-By – Cavanaugh, Rose, Stock
9 Love Me, Pretty Baby 3:00
Written-By – K. Clarke
10 We Love To Boogie 2:50
Written-By – D. Gillespie
Credits
Alto Saxophone, Baritone Saxophone – Bill Graham (tracks: 2 to 8)
Alto Saxophone, Tenor Saxophone – John Coltrane (tracks: 10)
Bass – Bernie Griggs (tracks: 2, 8), Percy Heath (tracks: 1, 3 to 7, 9,10)
Drums – Al Jones (tracks: 2 to 8), Art Blakey (tracks: 1, 9), Kansas Fields (tracks: 10)
Guitar – Kenny Burrell (tracks: 10)
Organ, Vocals – Milt Jackson (tracks: 3)
Piano – Milt Jackson (tracks: 1,3 to 7, 9, 10), Wynton Kelly (tracks: 2, 8)
Tenor Saxophone – Budd Johnson (tracks: 1, 9)
Trombone – Jay Jay Johnson (tracks: 1, 9)
Trumpet – Dizzy Gillespie (tracks: 1 to 10)
Vibraphone – Milt Jackson (tracks: 1, 3 to 7, 9)
Violin – Stuff Smith (tracks: 3)
Vocals – Dizzy Gillespie (tracks: 2, 4, 7, 8), Freddy Strong (tracks: 10),
Joe Carroll (tracks: 1 to 9), Melvin Moore (tracks: 1, 4 to 8, 9)

DIZZY GILLESPIE — At Newport (1957-1992) RM | FLAC (image+.cue), lossless

This CD features Dizzy Gillespie's second great big band at the peak of its powers. On the rapid "Dizzy's Blues" and a truly blazing "Cool Breeze," the orchestra really roars; the latter performance features extraordinary solos by Gillespie, trombonist Al Grey, and tenor saxophonist Billy Mitchell. In addition to fine renditions of "Manteca" and Benny Golson's then-recent composition "I Remember Clifford," the humorous "Doodlin'" is given a definitive treatment, there is a fresh version of "A Night in Tunisia," and pianist Mary Lou Williams sits in for a lengthy medley of selections from her "Zodiac Suite." This brilliant CD captures one of the high points of Dizzy Gillespie's remarkable career and is highly recommended. Scott Yanow
Tracklist :
1    Dizzy's Blues    11:51
2    School Days 5:47
Vocals – Dizzy Gillespie
3    Doodlin'    7:52
4    Manteca Theme    7:11
5    I Remember Clifford    4:47
6    Cool Breeze    10:30
7    Selections From Zodiac Suite (Virgo/Libra/Aries)    10:28
8    Carioca    3:42
9    A Night In Tunisia    10:00
Credits :
Alto Saxophone – Ernie Henry, Jimmy Powell
Baritone Saxophone – Pee Wee Moore
Bass – Paul West
Drums – Charlie Persip
Piano – Mary Lou Williams (tracks: 7, 8), Wynton Kelly (tracks: 1 to 6, 9)
Tenor Saxophone – Benny Golson, Billy Mitchell
Trombone – Al Grey, Chuck Connors, Melba Liston

DIZZY GILLESPIE – The Champ (1956-2003) RM | Savoy Jazz Classic Masters | FLAC (tracks+.cue), lossless

An early LP on Savoy that gathers Dizzy Gillespie's small-group recordings from 1951-52, The Champ has a lot to recommend it -- songs, sidemen, and performances. With just one exception, each of the selections are drawn from quintet or sextet dates, boasting work by Art Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in addition to an early appearance from John Coltrane (he made his debut with Diz, though not here). On the title track, a six-minute jam released as a two-part single, Gillespie plays furiously and tenor Budd Johnson contributes a great squawking solo. "Birk's Works," one of Dizzy's finest compositions, gets its first commercial recording, while Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it needs to lift it above competing versions. Diz and Joe Carroll trade vocals on "On the Sunny Side of the Street," and bop culture meets gospel for "Swing Low, Sweet Cadillac."  John Bush
 Tracklist :
1 The Champ 05:43
 Dizzy Gillespie
2 Birk's Works 03:09
Dizzy Gillespie
3 Caravan 02:56
Duke Ellington / Irving Mills / Juan Tizol
4 Time On My Hands 02:26
Harold Adamson / Mack Gordon / Vincent Youmans
5 On the Sunny Side of the Street 03:09
Dorothy Fields / Jimmy McHugh
6 Tin Tin Deo 02:43
Gil Fuller / Dizzy Gillespie / Chano Pozo
7 Stardust 03:07
Hoagy Carmichael / Mitchell Parish
8 They Can't Take That Away from Me 03:46
George Gershwin / Ira Gershwin
9 The Bluest Blues 02:57
Dizzy Gillespie / Gary McFarland / Sir Charles Thompson
10 Swing Low, Sweet Cadillac 03:10
 Dizzy Gillespie
11 Ooh-Shoo-Be-Doo-Bee 03:21
Joe Carroll / Dizzy Gillespie / Bill Graham
Credits :
Alto Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11), John Coltrane (tracks: 2, 6)
Baritone Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11)
Bass – Bernie Griggs (tracks: 8, 11), Percy Heath (tracks: 1 to 7, 9, 10)
Drums – Al Jones (tracks: 3 to 5, 7 to 11), Art Blakey (tracks: 1), Kansas Fields (tracks: 2 to 6)
Guitar – Kenny Burrell (tracks: 2, 6)
Organ – Milt Jackson (tracks: 3 to 5, 7 to 9)
Piano – Milt Jackson (tracks: 2, 6, 10), Wynton Kelly (tracks: 8, 11)
Tenor Saxophone – Budd Johnson (tracks: 1), John Coltrane (tracks: 2, 6)
Trombone – J.J. Johnson
Trumpet – Dizzy Gillespie
Vibraphone – Milt Jackson (tracks: 2, 6, 10)
Violin – Stuff Smith (tracks: 3 to 5, 7, 9)
Vocals – Dizzy Gillespie (tracks: 10), Joe Carroll (tracks: 1, 3 to 5, 7 to 11), Melvin Moore (tracks: 1, 10), Milt Jackson (tracks: 3 to 5, 7 to 9)

DIZZY GILLESPIE – 1952-1953 | The Classics Chronological Series – 1347 (2004) FLAC (tracks+.cue), lossless

Longtime collectors of vintage Dizzy Gillespie recordings will be delighted with this package of predominantly but not exclusively Parisian blowing sessions. The eighth installment in the Classics Dizzy Gillespie chronology opens with three selections from a Blue Star date that took place in Paris on April 6, 1952. A hauntingly soulful "Summertime" is followed by a refreshing "Blue Moon." This is Diz in his early maturity, full of cool whimsy. "Blues Chanté" is essentially a rehearsal take for the excellent "Cripple Crapple Crutch," a humorous blues containing references to a blind sow, a crippled crab, and an elephant's member. This and seven subsequent tracks were recorded for the Vogue label with a sextet featuring tenor saxophonist Don Byas, the brothers Hubert and Raymond Fol, and aspiring bassist Pierre Michelot on April 11, 1952. With the exception of the aforementioned blues and a smart version of Tadd Dameron's "Lady Bird" (here titled "Dizzy Song") the play list for this richly rewarding session is all standards and ballads. Back in the U.S.A. on July 18th, Gillespie presided over a Dee Gee recording date in Chicago with 20-year-old pianist Wynton Kelly and outrageous vocalist Joe "Be Bop" Carroll. In addition to the definitive version of "Oo-Shoo-Be-Doo-Be," this date resulted in a hilarious version of "Blue Skies" (wherein Diz and Joe ponder the possibility of getting eaten by a whale), a really nutty take on "Umbrella Man," a wild Louis Armstrong impersonation by Diz, and a gorgeous version of "They Can't Take That Away from Me." On November 24, 1952, Gillespie participated in one of those "jazz battles" contrived by music critics. Presented live at Birdland, "Hot vs. Cool" placed a team of young "modern" musicians (Dizzy Gillespie, tenor man Ray Abrams, bassist Al McKibbon, and drummer Max Roach) alongside players who were more closely associated with "traditional" fare. Trumpeter Jimmy McPartland, the most conspicuous member of this contingent, verbally introduces "Muskrat Ramble." (McPartland's professional career reached back into the mid-'20s when he recorded with the Wolverines after the departure of Bix Beiderbecke.) "Battle of the Blues" quickly develops into a kicking R&B jam, while "How High the Moon," naturally, belongs to the boppers. In truth, of course, McPartland and Gillespie got along marvelously and the only real conflict was between opinionated journalists. The packaging of this CD includes a wonderfully weird snapshot of the two men fingering each other's trumpets while simultaneously trying to blow their horns and smoke tobacco; from the corners of their mouths McPartland dangles a cigarette while Dizzy chews a big cigar. On February 22, 1953, Gillespie and Joe Carroll were back in Paris recording for Vogue. The cream of this session and one of Gillespie's all-time best recordings is their very hip version of Irving Berlin's "Always.". arwulf arwulf    Tracklist + Credits :

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 :

ROLAND KIRK - "Rahsaan" The Complete Mercury Recordings of Roland Kirk (1990) 11xCD BOX-SET | FLAC (tracks+.cue), lossless

Rahsaan Roland Kirk's nearly one-dozen long-players on the Mercury Records family of labels -- including the Smash and Limelight subsidiaries -- are gathered on this massive ten-disc compilation. Actually, it is 11 discs if you count the surprise bonus CD. Additionally, Rahsaan: The Complete Mercury Recordings of Roland Kirk lives up to its name by augmenting those albums with more than two-dozen previously unissued sides. Kirk's thoroughly innovative multi-instrumental reed work caught the attention of legendary producer Quincy Jones, then the vice-president of Mercury Records, who signed Kirk and would later arrange and conduct orchestrations for several of his memorable sessions. Perhaps the most recognizable among them is "Soul Bossa Nova" which is heavily featured in the Austin Powers franchise. Kirk's ability to perform several reed instruments -- including the tenor, flute, clarinet, manzello, and stritch -- simultaneously allowed him a musical autonomy few instrumentalists are afforded. His youthful embrace of the R&B, soul, pop, and eventually rock genres produced swinging interpretations of "And I Love Her" and "Walk on By," among others. Regardless of the genre, however, Kirk's ability to Swing -- with a capitol "S" -- is imprinted upon every piece he performed. Although Kirk continued his prolific output on Atlantic records in the late '60s and '70s, arguably his most profound sides are included here. We Free Kings, Domino, Reeds and Deeds, Gifts and Messages, I Talk with the Spirits and Rip, Rig & Panic are offered in their entirety. Undoubtedly the centerpiece of Kirk's work for the label is the live Kirk in Copenhagen, which features some wicked harp blowing from blues legend "Sonny Boy" Williamson, aka Big Skol. It is only fitting that this album benefits so greatly from inclusion on this set. The original six sides have been supplemented with an additional ten to present the entire October '63 performance, now complete at an hour and 45 minutes. Rahsaan: The Complete Mercury Recordings if Roland Kirk is complimented visually with a 56-page information packed booklet that includes: complete discographical and recording session logs, as well individual essays for each disc. Although not for the light of funds, this is truly the best way to become immersed in these early works of Rahsaan Roland Kirk. Lindsay Planer
All Tracks & Credits

ROLAND KIRK - Domino (1962-2000) RM | FLAC (tracks+.cue), lossless

The expanding musical universe of Rahsaan Roland Kirk continues its orbit on Domino. While always true to his exceptional talents, Kirk's previous efforts are somewhat derivative when compared to his later and more aggressive sound. On Domino, the genesis of his more assertive presence is thoroughly evident. Additionally, this disc features several impressive originals, as well as the most distinctly branded cover tunes to date, including the intense bop of the title track. As evidenced throughout the album, Kirk's compositions are becoming denser and more involved. "Meeting on Termini's Corner" -- an ode to the legendary Five Spot club -- mimics the off-kilter rhythms of Thelonious Monk. The tenor sax solo that rises through his multi-instrumentation is stunning. The contrast between the lilting flute work, which bookends "Domino," and the stirring tenor sax solo at the center is yet again indicative of the boundaries Kirk would be approaching. However, it's the Latin-tinged "Rolando" that might best display the unmistakably singular sound that comes from the stritch -- a Kirk modified second generation B flat soprano sax -- and the tenor sax, when performed simultaneously. The warmth and clarity are at once unique and hypnotic. Another prime example of the multiplicity in Kirk's performance styles can be heard on "I Believe in You." The juxtaposition of the husky tenor with the spry manzello provides a false sense of balance as Kirk delays combining the two until the final chorus. This produces a surprising and memorable effect, as Kirk's arrangement does not anticipate the finale. The 2000 CD reissue contains both recording dates for the original album as well as a previously undocumented session that includes Herbie Hancock(piano), Roy Haynes (drums), and Vernon Martin (bass). Additionally, Domino was the first album to feature Kirk's live band of Haynes, Andrew Hill (celeste/piano), and Henry Duncan (percussion) on several tracks. Lindsay Planer  
Tracklist :
1     Domino 3'11
Louis Ferrari / Jacques Plante / Don Raye
2     Meeting on Termini's Corner 3'39
Rahsaan Roland Kirk
3     Time 3'11
Richie Powell
4     Lament 3'37
J.J. Johnson
5     A Stritch in Time 5'04
Rahsaan Roland Kirk
6     3-In-1 Without the Oil 2'32
Rahsaan Roland Kirk
7     Get Out of Town 4'47
Cole Porter
8     Rolando 3'44
Rahsaan Roland Kirk
9     I Believe in You 4'24
Frank Loesser
10     E.D. 2'20
Rahsaan Roland Kirk
- BONUS TRACKS -
11     Where Monk and Mingus Live/Let's Call This 4'06
Rahsaan Roland Kirk / Thelonious Monk
12     Domino 4'44
Louis Ferrari / Jacques Plante / Don Raye
13     I Didn't Know What Time It Was 3'13
Lorenz Hart / Richard Rodgers
14     I Didn't Know What Time It Was 2'15
Lorenz Hart / Richard Rodgers
15     I Didn't Know What Time It Was 2'18
Lorenz Hart / Richard Rodgers
16     Someone to Watch over Me - Breakdown Take 2'34
George Gershwin / Ira Gershwin
17     Someone to Watch over Me 3'35
George Gershwin / Ira Gershwin
18     Terminis Corner - Breakdown Take 2'32
Rahsaan Roland Kirk
19     Termini's Corner 2'24
Rahsaan Roland Kirk
20     Termini's Corner 2'39
Rahsaan Roland Kirk
21     Termini's Corner - Breakdown Take And Intercuts 3'24
Rahsaan Roland Kirk
22     When the Sun Comes Out 2'38
Harold Arlen / Ted Koehler
23     When the Sun Comes Out 1'54
Harold Arlen / Ted Koehler
24     When the Sun Comes Out 2'41
Harold Arlen / Ted Koehler
25     Time Races With Emit 1'22
Rahsaan Roland Kirk
Credits :
Bass – Vernon Martin
Celesta – Andrew Hill (pistas: 3)
Drums – Henry Duncan (pistas: 1, 2, 4 to 6), Roy Haynes (pistas: 7 to 25)
Piano – Andrew Hill (pistas: 1, 2, 4 to 6), Herbie Hancock (pistas: 11), Wynton Kelly (pistas: 7 to 10, 12 to 25)
Tenor Saxophone, Saxophone [Manzello, Stritch], Flute, Whistle [Siren Whistle], Voice, Nose Flute – Roland Kirk

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

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

HANK MOBLEY | LEE MORGAN - Peckin' Time (1959-2011) RM | SACD, Hybrid | FLAC (tracks+.cue), lossless

Tenor saxophonist Hank Mobley was overshadowed by more influential tenors such as Sonny Rollins and John Coltrane during his career, but although he wasn't deliberately flashy or particularly innovative, his concisely measured, round sax tone made him the perfect ensemble player and he was a fine writer, as well, a talent who has often been undervalued and overlooked. The Peckin' Time session was recorded February 9, 1958 (the LP was issued a year later) and came in the midst of what was a period of whirlwind creativity for Mobley, who recorded work for the Savoy and Prestige imprints as well as six full albums for Blue Note (two were never released -- it was not that uncommon for Blue Note to stockpile sessions at the time) in a little more than a year's time (later Blue Note albums like Soul Station and Roll Call were still well in the future). For this session, Mobley found himself working with a young Lee Morgan on trumpet and in front of a fluid rhythm section that included pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip, and it's solid stuff, bright and always energetic. All but one of the tracks, a rendering of Kurt Weill's "Speak Low," were written by Mobley, and again, his hidden strength was always his writing, and it should probably come as no surprise that the best two tracks here, the title tune "Peckin' Time" and the wonderful "Stretchin' Out," were both penned by Mobley. It all adds up to a fine program, and if Mobley didn't push the envelope a whole lot, his lyrical and economical playing was always appropriate and graceful, and that's certainly the case here. Steve Leggett
Tracklist :
1    High And Flighty    6:09
Hank Mobley
2    Speak Low    7:12
Ogden Nash / Kurt Weill
3    Peckin' Time    6:52
Hank Mobley
4    Stretchin' Out    9:04
Hank Mobley
5    Git-Go Blues    12:25
Hank Mobley
- BONUS TRACKS -    
6    High And Flighty (Alternate Take)    6:35
7    Speak Low (Alternate Take)    7:13
8    Stretchin' Out (Alternate Take)    6:46
Credits :
Bass – Paul Chambers
Drums – Charlie Persip
Engineer [SACD Authoring] – Gus Skinas
Piano – Wynton Kelly
Recorded By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trumpet – Lee Morgan