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jasapaal
 Into the Rhythm
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1964: Anthony Williams - Life Time |
Hard-bop, Post-bop |
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 Artist: Tony Williams Album: Life Time Label: Blue Note Year: 1964 Format, Bitrate: MP3 192 kbps :S Time: 38.3 min Size: 51 Mb AMG Rating:  Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer. ~ Scott Yanow, All Music Guide |
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2010: Lou Donaldson Quartet - Forgotten Man |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Lou Donaldson Quartet Album: Forgotten Man Label: Timeless Jazz Legacy /Challenge Records Year: 1981 Release: 2010 Format, bitrate: mp3, 320kb/s Size: 88 MB On "Forgotten Man" alto saxophonist Lou Donaldson improvises, as he does during his concerts, to four sorts of themes: own compositions as the 32-measures counting "Tracy", jazz-standards like the samba "This is Happiness", "low down blues" such as "Wiskey Drinkin' Woman" and at last Charlie Parker-vehicles like "Confirmation", "Melancholy Baby", "Don't Blame Me" and "Exactly Like You". He expresses himself on this record in a typical post-Parkerian style. Striking is his choice of the material to be improvised in the form of attractive and charming "songs" with a melodic line. In his ballads he evokes something of the purity of a Johnny Hodges. As a creative artist he joins an innate liking for the melody to a special sense for the re-creation of the themes into own flesh and blood. In this way he carries on "Bird" Parker's message with almost the same instrumental virtuosity. His sonority stands for a True revelation. His tone possesses this special vibration which made Parker so touching during his golden ages. It leaves a sophisticated, delicate and muffled impression. Moreover, Donaldson is served by a natural and faultless timing. His swing of performance links up with the mainstream jazz and the postbop. Technically he experiences not one difficulty to cast the ideas that are flowing through his mind into a suitable form Since he does not reflect Parker's torture in any way, he appears more classicistical to us. His chorusses seem to be carried by a profound lyricism, the basis of all good music. On top of this he affirms on this album his personal and wordly approach of the blues, which gains in relief thanks to his vocal contribution and his ironical undertone. In this field, we consider him even as one of the greatest saxophonists of the contemporary jazzscene. Indeed, these interpretations show that Lou is no longer a "forgotten man", but has recovered his own strong identily. Together with the prominent Phil Woods and the enthusiastic Richie Cole, he probably cinstitutes the presentday top of altosaxes in the postbop-idiom.~ Juul Anthonissen, Challenge Records International |
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1989: Eddie Daniels - Blackwood |
Hard-bop, Post-bop |
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 Artist: Eddie Daniels Album: Blackwood Label: GRP Records Year: 1989 Format, bitrate: flac Time: 46:32 Size: 269mb Eddie Daniels is such a monster on the clarinet that all of his GRP recordings are worth acquiring. This one, however, due to the somewhat commercial nature of some of the tunes (and the lightly funky rhythm sections), is of lesser interest compared to the classics such as Breakthrough. Daniels sounds fine but he is far better than much of the material (generally written by either the clarinetist, Rob Mounsey or Dave Grusin). ~ Scott Yanow, All Music Guide |
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1958-59: Blue Mitchell - Blues on My Mind |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Blue Mitchell Album: Blues on My Mind Label: Original Jazz Classics Years: 1958-59 , release 2007 Genre: Hard Bop, Blues Format, bitrate: mp3, 320 kbps Time: 52:20 Size: 71 MB A very fine collection of hard bop sides cut by Blue Mitchell in the late 50s for Riverside, taken from the albums "Big Six", "Out Of The Blue", and "Blue Soul". An all-star lineup of mainstream/bop greats. Mitchell holds his own against sax greats Jimmy Heath, Benny Golson, and Johnny Griffin. - Ron Wynn, AMG |
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1961: Howard McGhee - Maggie's Back In Town!! |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Howard McGhee Album: Maggie's Back In Town!! Label: OJC/Contemporary Year: 1961; release: 1992 Quality: MP3@320 kbps Size: 97 mb Total time: 42:25 AMG Rating:  Trumpeter Howard McGhee, after spending much of the 1950s only partly active in music (due to drug problems), made a full-fledged comeback in the early '60s only to find his bop-oriented music out of fashion. This Contemporary set (reissued on CD in the OJC series) was McGhee's finest recording of the period, a quartet outing with brilliant pianist Phineas Newborn, bassist Leroy Vinnegar, and drummer Shelly Manne. Although tenor saxophonist Teddy Edwards is not on the date, two of his compositions (his famous "Sunset Eyes" and a tribute to the trumpeter, "Maggie's Back in Town") are fully explored by the quartet. Other titles include three standards plus McGhee's original blues "Demon Chase." This CD is a perfect starting point for listeners not familiar with the underrated (and often overlooked) Howard McGhee. ~ Scott Yanow, All Music Guide |
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1957: Jackie McLean - Jackie McLean Plays Fat Jazz |
Jazz, BeBop, Hard-bop |
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 Artist: Jackie McLean Album: Jackie McLean Plays Fat Jazz Label: ESH Sound / Jubilee Year: 1957, CD 2003 Format: mp3@320 kb/s Size: 82 MB w/covers Time: 36:33 AMG Rating:  Jackie McLean, the young alto man who has gained much attention since leaving the Art Blakey Messengers a few years ago, is caught here with his sextet, a group which didn't exist until a few months ago. McLean, backed by R.Draper on tuba, W. Young on coronet, and a rhythm section, gets a chance to show off his driving, biting hard bop style here. Tunes are mainly originals, and in addition to McLean, Draper and Young also come through solidly. Strong bop for the hippies.~ Billboard, April 13 1959 |
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2008: Clark Terry Sextet Featuring Ben Webster - More / Tread Ye Lightly |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Clark Terry Sextet Featuring Ben Webster Album: More / Tread Ye Lightly Label: Lone Hill Jazz Year: 1963; release: 2008 Format: mp3, bitrate: 320@kbps Time: 69:28 Size: 140 MB REPOST with a new link This edition presents two rare consecutive 1963 albums by the great Clark Terry (the first on wich features Ben Webster), appearing here on CD complete and in the correct track order for the first time ever. Three tracks, "More", "Meditation" and "Sweet Juke", have never been previously issued on CD. More is one out of seven collaborations between Clark Terry and Ben Webster. More was the third studio encounter and the first in a small group format. ~ Album's Notes This is one of Clark Terry's finest records of the 1960s, but has yet to be reissued on CD. Possessor of the happiest sound in jazz, the flugelhornist is particularly exuberant on "Georgia on My Mind," "Misty" and "Lilies of the Field." The colorful supporting cast includes Seldon Powell on tenor, baritone and flute, Buddy Lucas doubling on harmonica and tenor, bassist Major Holley (who sings along with some of his solos) and the mysterious "Homer Fields" on piano, who is actually Ray Bryant. Well worth searching for. ~ Scott Yanow, All Music Guide |
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1960: Art Farmer/Benny Golson Jazztet - Blues March |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Art Farmer / Benny Golson Jazztet Album: Blues March Label: Jazz Time Records Year: 1960; release: 1993 Quality: FLAC Size: 239 mb (with all covers) Total time: 39:56 AMG Rating:   Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable. ~ Scott Yanow, All Music Guide |
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1957: Art Blakey - Mirage |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Art Blakey & The Jazz Messengers Album: Mirage Label:Savoy Year: 1957; Release:1976 Format, bitrate: Mp3, 320 Kbps Size:89 MB The 1957 edition of The Jazz Messengers heard throughout this enjoyable LP features altoist Jackie McLean, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest and leader/drummer Art Blakey. Already at this early stage, the band was the epitome of hard bop and just beginning to become an influential force. Although none of these six selections (three by tuba player Ray Draper) would become standards, the music is consistently excellent and typically hard swinging. ~ Scott Yanow, All Music Guide |
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1989: Mose Allison - My Backyard |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: My Backyard Label: Blue Note Year: 1989 Quality: mp3@320 kb/s Size: 97 mb (with covers) Mose Allison's career in his golden and quite fruitful years has yielded many surprises and challenges, not the least of which is this delightful offering. He continues to write attractive, bouncy, and fun tunes carried by his signature roiling piano style and sly lyrics. For this effort, producer and Allison disciple Ben Sidran hooked him up with musicians from the modern New Orleans jazz scene, including Astral Project members -- the extraordinary drummer John Vidacovich, tenor saxophonist Tony Dagradi, and guitarist Steve Masakowski. Veteran bassist Bill Huntington rounds out this very talented ensemble that happily works with Allison step by step to produce some of the singer/songwriter/instrumentalist's most enjoyable music, a tall order but easily recognizable once the listening commences. John D. Loudermilk's "You Call It Joggin'," with the retort "but I call it runnin' around," is one of the all-time classic skeptical lyric lines, as applicable to contemporary lifestyles as anything in the urban lexicon. His revisit of "That's Your Red Wagon" is another timeless tale of emotional baggage; Percy Mayfield's "Stranger In My Own Hometown" is purely autobiographical; while "Sleepy Lagoon" is an easygoing, romantic fantasy theme. Of the eight Allison originals, "The Getting Paid Waltz" depicts every musician's nightmare playing in a nightclub, impatiently waiting for the cheapskate owner eventually to pay up. "Was" is a light waltz for has-beens; "Sentimental Fool" talks about the paradox that he "messed around and got humanized"; and the New Orleans shuffle "Big Brother" -- including smart tradeoffs with Dagradi -- is a post-technology cautionary tale, even more relevant in modern times with the advent of Skype, Twitter, and Facebook. A statement on the music industry and jazz in particular, the slinky "Long Song" delineates in four minutes what need and not need be present in popular commercial or creative progressive music, and is a perfect companion to his song "My Top 40 Hit Record." Allison is always a delight to hear, a consistently marvelous piano player, and in very good company with this expert band that suits his style and personality perfectly. My Backyard is one of the best records of his career. ~ Michael G. Nastos, All Music Guide |
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1960: Nat Adderley - That's Right!: Nat Adderley & The Big Sax Section |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Nat Adderley Album: That's Right!: Nat Adderley & The Big Sax Section Label: Riverside/OJC Year: 1960 Format: Flac Size: 217 MB AMG Rating:  Nat Adderley has seldom played with more fire, verve, and distinction as he does on That's Right! It places him in the company of an expanded sax section that includes his brother Cannonball on alto, Yusef Lateef on tenor, flute, and oboe, Jimmy Heath and Charlie Rouse on tenor, and baritone saxophonist Tate Houston. Solos crackle, the backing is tasty and stimulating, and the eight songs range from brisk standards to delightful originals. This CD reissue, despite lacking any new or alternate material, is most welcome due to the full, striking sound that the big reed section provides.~ Ron Wynn, All Music Guide |
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2003: Benjamin Herman - Plays Jaki Byard (ft. Pierre Christophe) |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Benjamin Herman (ft. Pierre Christophe) Album: Plays Jaki Byard Label: Challenge Year: 2003 Format, bitrate: Mp3@320 kbps Size: 115.54 MB AMG rating:  Repost with link on Rapidshare Although the late Jaki Byard recorded extensively as a leader and soloist, as well as composing a fair body of original music, he is remembered most for his work as a sideman with the likes of Charles Mingus and Eric Dolphy. Alto saxophonist Benjamin Herman sought to correct this oversight by dedicating most of a CD to Byard's songs, accompanied by pianist Pierre Christophe (who studied with Byard for four years in New York), bassist Jos Machtel, and drummer Joost van Schalk. "Tribute to Jimmy Slide" makes for an impressive opener. Byard's tribute to the well-known tap dancer was first conceived as a piano solo, but Christophe adapted it for the quartet, with the pianist incorporating some of Byard's keyboard techniques without sounding like a clone. "D.D.L.J." was written for Byard's two daughters and wife (he is the "J"); Herman's alto sax easily negotiates the demanding changes in this uptempo piece. "Aluminum Baby" is a jaunty but easygoing ballad, complete with an amusing reference to "Satin Doll," while "Two-Five-One" is a hard bop masterpiece devoured whole by the quartet. Herman soars in the deceptively funky blues "Out Front," while Christophe detours into a hilarious Erroll Garner-tinged solo for a time. Byard, who was occasionally known to pick up and play an alto sax during a recording session or concert, would have been pleased with Herman's interpretation. "Sagapo" is the least eclectic of the Byard compositions heard on this disc, though that hardly means it is easy to play. The relaxed groove within "Strolling Along" (aka "Just Rollin' Along") is the perfect choice for wrapping the date, with outstanding solos by both Herman and Christophe. Christophe composed the lovely, relaxed ballad "Never Again," though all he admitted to the leader of the date was that he had a major hangover when he wrote it! The sound on this hybrid Super Audio CD is amazing, but better still is that it features musicians who not only had the foresight to explore the music of the late Jaki Byard, but are also able to meet it head on. ~ Ken Dryden, All Music Guide |
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1973: Jimmy Heath - Love and Understanding |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: Love and Understanding Label: Muse Year: 1973 Quality: mp3@320 kb/s Size: 89 mb (with covers) This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set. ~ Scott Yanow, All Music Guide |
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2010: Mose Allison - The Way Of The World |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: The Way Of The World Label: Anti Year: 2010 Quality: mp3@320 Size: 77 mb Mose Allison basically retired from studio recording after 1998’s dynamite Gimcracks and Gewgaws. Retired, that is, until producer Joe Henry met him in 2008 and dogged him until he graciously caved in. He coaxed Allison into his basement studio and cut the seven originals and five covers that became The Way of the World with a host of players from his own stable in five days. At 82, Allison is as smart, cagey, and inventive as ever. All but one of these cuts feature his weathered but still wiry dry baritone voice that exudes a trademark jazz singer cum beat poet’s phrasing. For anyone who’s seen him in the last decade -- or heard his jaw-dropping Live in London recordings -- his keyboard skills are sharp as an Argentine stiletto: give a listen to the lone instrumental, “Crush.” Allison's elastic harmonic sense is as beautifully unruly as Monk's, yet his improvisational ideas are carried by a nimble-fingered force worthy of Bud Powell. The opener, “My Brain,” is a smoking rewrite of Willie Dixon's “My Babe.” Allison reflects on the ever-changing intellectual capabilities of his gray matter while punching up the piano's middle register. The blues have been at the heart of Allison’s piano attack (Back Country Suite, 1957), though he’s always wedded them to swing, rag, and bop. Henry underscores that with subtle touches: the strummed Gypsy swing mandola on the ironic betrayal anthem “I Know You Didn’t Mean It” that engages with a knotty bluesed-out piano break and a warm tenor solo -- à la Ben Webster -- and “Everybody Thinks You’re an Angel,” a waltz with a Weissenborn guitar, follows a similar principle to delightfully different ends. On “Modest Proposal” Allison humorously asserts the compassionate idea that perhaps God is so weary he deserves a vacation. It’s a strutting piano-and-vocal number, where Allison's saloon-singer irony might scandalize a preacher but makes the congregation laugh. The elegant parlor ballad “Once in a While” and the shuffling, not brokenhearted blues of “I’m Alright” also stand out. The latter’s addition of electric guitar, mandola, and saxophone might seem like frills for an Allison session, but sound perfectly balanced and natural. On the final track, Buddy Johnson's WWII-era pop tune “This New Situation,” Allison duets with daughter Amy; the two swing beautifully together. The Way of the World is not a comeback album; Henry had a nagging suspicion that Allison might have something new to say and Allison obliged. In the process they created a gem of an album that proves the pianist and songwriter still has many tricks up his elegantly tailored, eternally hip sleeve. ~ Thom Jurek, All Music Guide |
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1974: Jimmy Heath - The Time And The Place |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: The Time And The Place Label: Landmark Year: 1974; release: 1994 Quality: mp3@320 Size: 120 mb (with covers) Although this 1994 CD looks like a reissue, the music was actually released for the first time 20 years after it was recorded. Jimmy Heath, who is heard here on tenor, alto, soprano and flute, played at his prime throughout the 1970's although he tended to be somewhat overlooked in popularity polls. Heath was stretching himself during the era as can be heard on these obscure pieces; five of his originals plus Kenny Dorham's "No End." Although essentially bop-based, Heath was open to the influences of the avant-garde and fusion and, with a flexible group also including trombonist Curtis Fuller, guitarist Pat Martino, pianist Stanley Cowell, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume, Jimmy Heath consistently takes adventurous yet logical solos. Worth checking out. ~ Scott Yanow, All Music Guide |
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1963: Jimmy Heath - Swamp Seed |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heat Album: Swamp Seed Label: Riverside/OJC Year: 1963 Format, bitrate: Mp3@320Kbps Time: 37:18 Size: 88 Mb with covers This is a delightful if underrated set that was reissued on CD in 1997. The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos; he also contributed three of the seven pieces and arranged all of them for a group also including trumpeter Donald Byrd, two French horns, Don Butterfield's tuba and a rhythm section that has bassist Percy Heath and (on three numbers) drummer Albert "Tootie" Heath. The music is straight-ahead but contains some unpredictable moments. Highlights include Heath's versions of Thelonious Monk's "Nutty" and "More Than You Know." ~ Scott Yanow, All Music Guide |
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1961: Mose Allison - V-8 Ford Blues |
Cool, Hard-bop, Allison Mose |
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 Artist: Mose Allison Album: V-8 Ford Blues Label: Sony Year: recorded in 1961, reissued in 2004 Format, bitrate: mp3@320Kbps Time: 00:38:42 Size: 88,63 MB AMG rating: Repost on Rapidshare! Besides cool playing and his uniquely smoky singing, Mose has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live," "I Ain't Got Nobody" and "Baby Please Don't Go," complete with what the singer himself calls his distinctive "involuntary groan" during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio. This album was released with two others in a delightful 1994 collection called High Jinks. ~ Mark Allan, All Music Guide |
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1967: Various Artists - Jazz For A Sunday Afternoon, Vol. 1 |
Hard-bop, Post-bop |
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 Artists - Pepper Adams, Dizzy Gillespie , Elvin Jones , Mel Lewis, Ray Nance, Chick Corea Album - Jazz For A Sunday Afternoon, Vol. 1 Label - Solid State/United Artists Year - 1967, release - 1968 Quality - MP3@320 kbps Size - 80,2 mb Total time - 38:02 REPOST by request with a new link The first of four LPs put out by Solid State in this series has three lengthy titles ("Blues for Max," "Lullaby of the Leaves" and "Lover Come Back to Me") performed by an interesting if sometimes eccentric all-star group (trumpeter Dizzy Gillespie, baritonist Pepper Adams, violinist Ray Nance, pianist Chick Corea, bassist Richard Davis, Elvin Jones or Mel Lewis on drums). Gillespie and Adams are in fine form, Nance takes wild chances and the rhythm section shows off the influence of the avantgarde; the sidelong "Lover Come Back to Me" is the highpoint. ~ Scott Yanow, All Music Guide |
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1980: Kenny Barron - Golden Lotus |
Hard-bop, Post-bop |
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 Artist: Kenny Barron Album: Golden Lotus Label: Muse Records (Catalog#: MR 5220) Year: 1980; release: 1982 Format: FLAC (LP-Rip) Size: 169.74MB Time: 42:23 Solid 1980 session with the always vibrant, challenging pianist Kenny Barron and the underrated saxophonist John Stubblefield in fiery form. Steve Nelson began generating interest on vibes with his playing on this session ~ Ron Wynn, All Music Guide. A great Kenny Barron side for Muse, one of the best from a label that has a lot of remarkable sleepers on it. Like the best Muse sides, this set does a great job of straddling the line between forward looking modal playing and relaxed soul jazz, combining the best elements of both. And as you might imagine from the title, there is a bit of spiritual and eastern influence creeping in on some of the numbers. © 1996-2012, Dusty Groove America, Inc. |
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1957: Pepper Adams - The Cool Sound Of Pepper Adams |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Pepper Adams Album: The Cool Sound Of Pepper Adams Label: Savoy, Sony/Columbia Year: 1957, CD 1994 Format: mp3@320 / flac Size: 86MB / 177MB w/scans Time: 33:11 AMG Rating: REPOST with new links The Cool Sound of Pepper Adams is the kind of record one buys for its remarkable cover art (depicting a flame-haired beauty cupping a seashell to her ear) only to discover the music contained therein is just as spellbinding. A wonderfully soulful session featuring striking contributions from pianist Hank Jones and drummer Elvin Jones, its four lengthy cuts pulsate with energy and invention. Despite complementing Adams' baritone leads with Bernard McKinney's euphonium, the music never sounds bloated. Instead, it's supple and slinky, with a dexterity that's utterly winning. Still, there's no mistaking the physicality of Adams' tone. Songs like "Bloos, Blooze, Blues" and "Like…What Is This?" are as rich and smooth as crushed velvet.~ Jason Ankeny, All Music Guide |
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