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 Into the Rhythm
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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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1947-1952: Dizzy Gillespie - School Days [Bonus Tracks] |
Music » Jazz » BeBop |
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![1947-1952: Dizzy Gillespie - School Days [Bonus Tracks]](http://jazzbluesclub.com/uploads/posts/thumbs/1326904832_cover.jpg) Artist: Dizzy Gillespie Album: School Days [Bonus Tracks] Label: Savoy SVY 17256 [Regent MG 6043] Years: 1947, 1951, 1952; Release: 2003 Format, bitrate: mp3@320kbps Time: 45:26 Size: 106 MB (including scans) AMG Rating: ![1947-1952: Dizzy Gillespie - School Days [Bonus Tracks]](http://jazzbluesclub.com/uploads/posts/1207302846_45.gif) 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. 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. [The 2003 reissue on Savoy Jazz adds four bonus tracks: an alternate version of "Caravan" recorded at the same session as "No One Knows" and three live tracks taken from a 1947 performance at Carnegie Hall that teamed Diz with Charlie Parker. The sound is good, the performances solid and even though the tracks have absolutely nothing to do with the original album, they are a worthwhile addition for the Gillespie collector.] ~Adam Greenberg, All Music Guide |
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1960: Art Pepper - Gettin' Together! |
Cool, West Coast Jazz |
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 Artist: Art Pepper Album: Gettin' Together! Label: Contemporary M 3573 Year: 1960; release: 1997 Format, bitrate: mp3@320kbps Time: 60:05 Size: 198 MB (including scans) AMG Rating: As a sort of follow-up to Art Pepper's matchup with Miles Davis's trio in the 1957 classic Art Pepper Meets the Rhythm Section, Pepper utilizes Davis's 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. The CD reissue adds "The Way You Look Tonight" (formerly only available on another LP) and an alternate take of the title cut to the original repertoire. 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 straightahead and bop-oriented, but as usual, Pepper brings something very personal and unique to his playing; he sounds like no one else. ~ Scott Yanow, All Music Guide |
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1958: Gerry Mulligan/Art Farmer/Johnny Mandel - I Want to Live! |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Gerry Mulligan/Art Farmer/Shelly Manne Album: The Jazz Combo From I Want to Live! Label: Jazz Plaza Music JPM8800 Year: 1958; release: 2009 Format, bitrate: mp3@320kbps Time: 72:10 Size: 171 MB (including scans) AMG rating:  "Paralleling Henry Mancini's own late-'50s, West Coast jazz noir backdrop to the detective TV series Peter Gunn, Johnny Mandel's "I Want to Live!" soundtrack works both as high-end mood music and swinging jazz. And while straight jazz workouts like "San Diego Party" are fine, the most intriguing cuts are those that seamlessly combine jazz, Latin percussion, and strains of Max Steiner's dramatically moody soundtracks; Mandel creates an especially provocative and calamitous mix of it on tracks like "Stakeout." And as far as murky ambience goes, he delivers some of the best (next to Mancini) with numbers like the subtly sinister "Preparations for Executions." Mandel further demonstrates his ease with a variety of forms on marriages of high and low art like the avant-garde classical and Las Vegas grind/lounge mix "Trio Convicted," the spookily claustrophobic "Gas Chamber Unveiling," and the into-the-light-of-day "Letter Writing Sequence." To help navigate the vast terrain, Mandel enlists a cadre of top West Coast players like trumpeter Jack Sheldon, trombonist Frank Rosolino, reed player Bill Holman, bassist Red Mitchell, and drummer Shelly Manne. And topping off Mandel's original score, it is Gerry Mulligan and Art Farmer's combo interpretations of a handful of Mandel's original themes from the movie (Mulligan and company appear in the movie's bar scenes). One of the best jazz-inspired soundtracks around."~ Stephen Cook, All Music Guide "Baritonist Gerry Mulligan and a group of West Coast all-stars were heard throughout the soundtrack of the Susan Hayward movie "I Want to Live!". Although not a soundtrack, this LP features six themes from the movie (all composed by Johnny Mandel) performed by the same musicians, who this time around get an opportunity to really stretch out. Since the band is comprised of Mulligan, trumpeter Art Farmer, altoist Bud Shank, trombonist Frank Rossolino, pianist Pete Jolly, bassist Red Mitchell and drummer Shelly Manne, virtually all of the music is quite interesting with plenty of fine solos and hard-swinging."~ Scott Yanow, All Music Guide |
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1958: David “Fathead” Newman/Ray Charles - Fathead: Ray Charles Presents David Newman |
Music » Jazz » BeBop » Hard-bop |
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 Artists: David “Fathead” Newman/ Ray Charles Album: Fathead: Ray Charles Presents David Newman Label: Atlantic SD 1304 Year: 1958; release: 2003 Style: Soul Format, bitrate: mp3@320kbps Time: 37:09 Size: 78.02 MB (including scans) AMG rating The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. This historic set was issued on CD by Collectables in 2005. ~Scott Yanow, All Music Guide |
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1959, 1961: Yusef Lateef - Cry! Tender/Lost in Sound (2lp/1CD) |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Yusef Lateef Album: Cry! Tender/Lost in Sound (2lp/1CD) Label: Solar 4569878 Year: 1959 & 1961; release: 2010 Format, bitrate: mp3@320kbps Time: 77:12 Size: 151,46 MB (including scans) This is among the more quietly exciting albums produced this year. There must be some delineation as to where jazz begins and ends,this record flows fluidly across such markers, infusing the native jazz with a pervadingessence of distant lands. Lateef continues his exploration of the areas of rhythm, instrumentation, and coloring. ~ Benny Green (Downbeat Original Review: Cry Tender) The improvising is generally first rate, with Hamong's playing in particular coming as a pleasant surprise. There is a distinctive contrast between the horns, Lateef playing authoritatively throughout. Though not one of Lateef's most far-out efforts, this LP is nevertheless among his better ones. ~Harvey Pekar (Downbeat Original Review: Lost In Sound) |
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1960: Shelly Manne & His Men - West Coast Jazz In England: Live At The Free Trade Hall |
Music » Jazz » BeBop » West Coast Jazz |
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 Artists: Shelly Manne & His Men Album: West Coast Jazz In England: Live At The Free Trade Hall, March 12, 1960 Label: Solar 4569886 [Jazz Groove JG 006] Year: 1960; release: 2011 Format, bitrate: mp3@320 kbps Time: 63:31 Size: 117,63 MB (including scans) This edition presents, for the first time ever on CD, a complete live performance in Manchester by the legendary Shelly Manne quintet with Joe Gordon and Richie Kamuca. This short lived group had produced the celebrated multivolume albums at the Blackhawk, in San Francisco, the previous year (with Victor Feldman on piano instead of Russ Freeman), as well as celebrated recordings of Henry Mancini’s Peter Gunn music.
The Manchester concert, which was only previously released on an extremely rare long out of print LP, showcases the quintet in high spirits, and offers a new opportunity to appreciate the talents of trumpeter Joe Gordon, who would die soon after. This concert also includes the only known version of “I’ve Grown Accustomed to Her Face” by Richie Kamuca, Joe Gordon and Shelly Manne, either together or alone! ~ From Liner Notes |
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1955-1956: Ernie Wilkins - Top Brass and Trumpets All Out |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Ernie Wilkins Album: Top Brass and Trumpets All Out Label: Fresh Sound FSR-CD 517 (Savoy MG 12044 + MG 12096) Year: 1955, 1956; release: 2008 Format, bitrate: mp3@320kbps Time: 71:20 Size: 167 MB (including scans) Top Brass was a 1956 stellar (5-star in Down Beat) album in a modern and expanded reincarnation of many of the Keynote sessions in the ‘40s when a pride of several lions on one particular instrument was assembled to exchange ideas and styles. In this case, Savoy presented five trumpeters (Ernie Royal, Idrees Sulieman, Joe Wilder, Ray Copeland, and Donald Byrd) blowing score and solo in various Ernie Wilkins settings flawlessly backed by the famous trio made up by Hank Jones, Wendell Marshall, and Kenny Clarke. The success of this first, experimental, date allowed Savoy’s producer Ozzie Cadena to do a repeat session utilizing five different trumpet players (Art Farmer, Emmett Berry, Charlie Shavers, and Harold Baker) and a rhythm section with two changes: pianist Don Abney, and drummer Bobby Donaldson. The end result was Trumpets All Out, another excellent date with essentially mood setters. The lines are sprightly and Ernie, who arranged all, is his usual spare, swinging, estimable self. ~ Liner Notes |
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1957-1959: The Jimmy Giuffre 4 - Ad Lib |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Jimmy Giuffre Album: Ad Lib Label: Jazz Plaza Music JPM 880 (Verve MGV 8361) Years: 1957-1959; release: 2010 Format, bitrate: mp3@320kbps Time: 68:31 Size: 138 MB (159 including scans) This release contains the complete Jimmy Giuffre studio album Ad Lib, appearing here for the first time ever on CD. Backed by Jimmy Rowles, Red Mitchell and Lawrence Marable, this quartet session mark one of the only "blowing dates" Giuffre ever made, with only the head arrangements prepared. As a bonus, it's also included several rare trio recordings by Giuffre in concert. ~ Album Notes |
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1959: Shelly Manne & His Men - Play Peter Gunn / Son Of Gunn!! |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Shelly Manne & His Men Album: Play Peter Gunn / Son Of Gunn!! 2LP/1CD Label: American Jazz Classics 99012 (Contemporary C3560 + M3566) Year: 1959; release: 2010 Format, bitrate: mp3@320 kbps Time: 79:29 Size: 162 MB (186 MB, including scans) "It looks like The Drummer has done it again. This album could well become one of the top jazz LPs of 1959." ~John A. Tynan -Down Beat (Play Peter Gun) “ The meat of the LP is in the rompin’, stompin’, blowing of one of the hardest swinging groups on either coast. This is a wholly satisfying and, in some aspects, significant album.” ~Don De Michael - Down Beat (Son Of Gun!!) " Henry Mancini's writing for Peter Gunn was quite significant, for it was the first regular television series to utilize jazz as an integral part of its score. Half a year after the show debuted, drummer Shelly Manne, the members of his quintet (trumpeter Conte Candoli, altoist Herb Geller, pianist Russ Freeman, and bassist Monty Budwig), and guest vibraphonist Victor Feldman (doubling on marimba) interpreted the Peter Gunn theme and nine selections from the show, including "Dreamsville." The enjoyable music (originally made for the Contemporary label) was reissued as a CD via the Original Jazz Classics imprint. Mancini encouraged Manne to use the songs as vehicles for extended solos, and the results are swinging, standing apart from the show. Candoli and particularly Geller are in top form on this fairly memorable effort." ~Scott Yanow, All Music Guide |
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1962: Pink Anderson - Medicine Show Man Vol. 2 |
Music » Blues » Acoustic blues |
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 Artist: Pink Anderson Album:Medicine Show Man Vol. 2 Label: OBC/Prestige Bluesville BV 1051 Year: 1961; release: 1999 Format, bitrate: mp3@320kbps Time: 39:34 Size: 75 MB AMG Rating: Like volume one and three of the series of LPs Anderson did for Bluesville, this was recorded in 1961 (though it was recorded in New York City whereas the others were recorded in Spartanburg, SC). Volumes one and three were mostly traditional songs; these are all traditional songs in the public domain. It follows that if you liked volumes one and three, you'd probably like this too; if you want to choose just one, you're about as well off with any of the individual volumes. If you had to split hairs, it seems that Anderson sounds a bit more comfortable in the studio/recording setting on this one than on the others, and a tad less countrified and more urbane. The tone is cheerful and easygoing, like that of a well-loved man entertaining his neighbors. Which is not to say this is a throwaway; the phrasing and rhythms are crisp, and the ragtime-speckled folk/blues guitar accomplished. ~ Richie Unterberger, All Music Guide |
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1955: Art Blakey & The Jazz Messengers - The Complete Jazz Messengers At The Cafe Bohemia |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Art Blakey & The Jazz Messengers Album: T he Complete Jazz Messengers At The Cafe Bohemia Label: LoneHillJazz LHJ10294 Year: 1955; release: 2007 Format, bitrate: Mp3@320kbps Time: 78:51 Size: 132 + 146 MB (including scans) On the album The Jazz Messengers Live at the Cafe Bohemia, Art Blakey introduces trumpeter Kenny Dorham by saying that he had played with Charlie Parker “The Prophet of Modern Jazz.” If Parker was the prophet, then Blakey was definitely one of its chief apostles. Just take a look at the musicians who formed The Jazz Messengers over the years and you have a veritable who’s who of contemporary jazz. ~Kyle Simpler This is part of Blue Note's Rudy Van Gelder Editions series.When Art Blakey invites his audience to "take off your shoes and have a ball" we know that this live set from the Cafe Bohemia will be a swinger. This second volume of Blakey's Jazz Messengers at the famous Greenwich Village nightspot is a defining document of one of the greatest small groups in jazz. Recorded the same night as VOLUME ONE, this set captures the original Messengers line-up--Blakey, Horace Silver, Kenny Dorham, Hank Mobley and Doug Watkins--in a wailing performance full of swinging grooves, masterful solos and, of course, Blakey's powerful beat. Mobley's "Sportin' Crowd" kicks off the set with a bang as Blakey asserts a driving beat that kicks his men into high gear. In contrast, the standard "Like Someone In Love," featuring Dorham in the lead, is a delightfully relaxed reading. Dorham, himself, introduces Jerome Kern's "Yesterdays" and blows another sultry lead on this classic tune. Things heat up later with Mobley's "Hanks Symphony," featuring a forceful mambo beat by the leader. Another highlight comes later with "Avila & Tequila," a Latin extravaganza featuring everybody on percussion. Finally, the smoky "I Waited For You" leads to the Messengers' closing theme and enthusiastic applause.~Album Notes |
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1961: Ornette Coleman - Ornette! [Bonus Track] |
Music » Jazz » Modern Jazz » Avantgarde |
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![1961: Ornette Coleman - Ornette! [Bonus Track]](http://jazzbluesclub.com/uploads/posts/1304186635_jbc.jpg) Artist: Ornette Coleman Album: Ornette! Label: Atlantic 1378 Year: 1961; release: 2004 Format, bitrate: mp3@320kbps Time: 54:38 Size: 111 MB (inlcuding scans) AMG rating Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first time bassist Scott LaFaro recorded with Coleman, and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of "W.R.U." There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden's warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. By this time, Coleman was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general. [Ornette! was reissued in 2004 with "Proof Readers" added as a bonus track.] ~ Brian Olewnick, All Music Guide |
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1955: Donald Byrd - Complete Recordings: Donald Byrd Sextet with Yusef Lateef & Barry Harris |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Donald Byrd Album: Complete Recordings: Donald Byrd Sextet with Yusef Lateef & Barry Harris Label: Gambit 69238 Year: 1955; release: 2006 Format, bitrate: mp3@320kbps Time: 68:08 Size: 157 MB (including scans) A summit of the titans; Donald Byrd’s legendary recording debut featuring Yusef Lateef & Barry Harris. Includes the complete album: Delmark’s 1955 LP First Flight. Contains as bonus tracks: Both tracks from Transition’s December 2, 1955 session featuring Byrd with Hank Mobley, Horace Silver, Doug Watkins & Art Blakey.
Donald Byrd made his recording debut as a leader on August 23, 1955. An all-star cast of Detroit natives was assembled for a live concert recording at the city’s New World Stage featuring the incomparable multi-reed instrumentalist Yusef Lateef, piano giant Barry Harris, euphonium pioneer Bernard McKinney, and bass and drum stalwarts, Alvin Jackson (brother of famous vibraphonist Milt Jackson) and Frank Gant.
This outstanding live recording stands out for several reasons, the most obvious being the exquisite quality of the music – Down Beat magazine awarded the album five stars. In addition to the fact that this was Donald Byrd’s first recording as a leader, it also marks the trumpeter’s sole recording with Yusef Lateef, and one of his few recordings with Barry Harris. To have all three together, at the onset of their careers and in the developing stages of their unique styles is a rare treat indeed.
Of the seven tracks performed at the New World Stage, two were Byrd originals (Blues, Tortion Level), one was a piece by Barry Harris (Yusef), two were Gillespie compositions (Woody ‘N You, Shaw ‘Nuff) one was a Bud Powell tune (Parisian Thoroughfare) and the last was a version of the Dietz and Schwartz standard Dancing In The Dark.
The Transition session on December 2, 1955 marks Byrd’s first recording with the Jazz Messengers formation. Although the tracks included on this release – Dennis & Adair’s Everything Happens To Me and Hank Mobley’s Hank’s Other Tune – were only two of the six tracks recorded for the date, we have decided to include them here, as they mark the only tracks that feature Byrd as the sole trumpeter. The other four tracks not included on this edition featured trumpeter Joe Gordon. ~DownBeat Magazine |
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1960: Dizzy Reece - Comin' On |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Dizzy Reece Album: Comin' On Label: Blue Note 22019 Year: 1960 ; release: 1999 Genre: Hard Bop Format, bitrate: MP3@320 kbps Time: 1:06 Size: 154 MB For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer. ~ Al Campbell from Allmusic.com |
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1998: R.L. Burnside - Come on In |
Music » Blues » Modern electric blues |
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 Artist: R.L. Burnside Album: Come on In Label: Fat Possum/Epitaph 80317-2 Year: 1998 Format, bitrate: mp3@320kbps Time: 43:00 Size: 84 MB (including scans) You have to give a guy credit for trying. In an age when most of the old blues players are either dead or too old to play, R.L. Burnside, the 71-year-old Mississippi native, can still rip dirty juke-joint blues in convincing fashion. Come On In attempts, with some success, to bring one of America's oldest musical forms into the 21st century by adding sampling and looping techniques to Delta blues. Come On In is a collaboration with Beck mixmaster Tom Rothrock and Alec Empire of Digital Hardcore. Seldom does one see the words "dub," "remix" and "programming" on a Delta blues album, but R.L. Burnside is no ordinary bluesman. Come On In is a risky move to say the least, and unfortunately, it doesn't always pay off. The best tracks in the album are the least techno-fied. "Come On In," a solo shot, and the down-and-dirty "Just Like a Woman" has a non-trip-hopped Burnside mining tough riffs for all their emotion. "Let My Baby Ride" with a stomping, looped beat, is still recognizable as Burnside and works well. On the other hand, "Don't Stop Honey" and "It's Bad You Know" take the techno tampering too far, and the results are feckless shells of what were once gritty blues. Next time out, if Burnside gets his ass pocket o' whiskey, turns down the techno a bit and cranks those amps up, he could be onto something. ~ Matthew Hilburn, All Music Guide |
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1956:Clifford Brown, Sonny Rollins & Max Roach Quintet - Complete Studio Recordings: The Master Takes |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Clifford Brown,Sonny Rollins & Max Roach Quintet Album: Complete Studio Recordings: The Master Takes Label: Essential Jazz Classics EJC 55407 Year: 1956 Format, bitrate: mp3@320Kbps Time: 79:51 Size: 150 MB (including scans) Two albums on one CD! Includes the complete 1956 albums Clifford Brown And Max Roach At Basin Street and Sonny Rollins Plus Four. At the very end of 1955 Sonny Rollins replaced Harold Land in the outstanding Clifford Brown-Max Roach Quintet. Rollins’ style proved a perfect fit for the group’s extraordinary equilibrium between fast (and we mean really fast!) tunes and delicate, romantic, ballads, all combined with careful arrangements (mostly written by pianist Richie Powell). However, this fantastic formation was destined to end in tragedy, for in the early morning hours of June 26, 1956, Clifford Brown died in a car accident (at the age of 25) along with pianist Richie Powell. In the short time between Rollins’ arrival and Brownie’s death, the group had the chance to enter the recording studios on three occasions. The results of those three sessions originally appeared on two albums: Clifford Brown and Max Roach at Basin Street and Sonny Rollins Plus Four. All the originally issued master takes from those sessions are compiled on this CD. The title of the first of these LPs deserves special mention: although the Roach-Brown quintet was playing at the Basin Street Club during those days, all the contents of Clifford Brown and Max Roach at Basin Street were recorded in the studio. ~ Essential Jazz Classics |
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1990:Clark Terry - Live At The Village Gate |
Music » Jazz » BeBop |
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 Artist: Clark Terry Album: Live At The Village Gate Label: Chesky JD49 Year: 1990 Format, bitrate: mp3@320 kbps Time: 60:31 Size: 120 MB (including scans) AMG rating: Flugelhornist Clark Terry, three weeks shy of his 70th birthday at the time of this live performance, sounds very much at the peak of his powers throughout Live at the Village Gate. Teamed up with old friend Jimmy Heath, who doubles on tenor and soprano, pianist Don Friedman, bassist Marcus McLauren and drummer Kenny Washington (altoist Paquito D'Rivera guests on "Silly Samba"), Terry performs eight little-known originals. The tunes are all fairly basic, but they inspire these talented musicians to some of their best playing. The hard-swinging music, which includes a trumpet-drums duet on "Brushes & Brass" and some singing from the audience on "Hey Mr. Mumbles," is quite enjoyable, and among the most accessible type of jazz. ~ Scott Yanow, All Music Guide |
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1958: Tina Brooks - Minor Move |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Tina Brooks Album: Minor Move Label: Blue Note 22671 Year: 1958; release: 2000 Format, bitrate: mp3@320 kbps Time: 40:45 Size: 84.7 MB (111 MB, including scans) Tina Brooks' first session for Blue Note was recorded in March of 1958, a month after he appeared on Jimmy Smith's sessions for The Sermon and House Party, but the music wasn't released at the time. The sessions remained unreleased for years, eventually appearing as Minor Move in Japan during the '80s. Listening to Minor Move, it's hard to see why the record was shelved. Not only does it feature Brooks in robust form, but he's supported by pianist Sonny Clark, trumpeter Lee Morgan, bassist Doug Watkins, and drummer Art Blakey — a first-rate lineup if there ever was one. Stylistically, the music here is no great surprise — it's straight-ahead, driving hard bop — but the performances are exceptional. Brooks has no problem keeping up with Morgan and Clark, who both have more than their fair share of fine moments here. He has a rich, full-bodied tone and clever phrasing, keeping the music fresh on standards like "The Way You Look Tonight" and "Everything Happens to Me." His original compositions "Nutville" and "Minor Move" are equally impressive, offering the entire band opportunities to stretch out and improvise vigorously. It is true that Minor Move is right within the hard bop tradition, but fans of that style will find much to treasure here. ~ Stephen Thomas Erlewine, Allmusic.com Tina Brooks was one of the lost legends of jazz. An excellent hard bop tenor-saxophonist, Brooks led four sessions for Blue Note during 1958-61 but only one was released during his lifetime. ~Scott Yanow |
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1993:Muddy Waters - The Complete Plantation Recordings |
Music » Blues » Acoustic blues |
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 Artist: Muddy Waters Album: The Complete Plantation Recordings Label: CHESS MCA CHD – 9344 Year: 1941-42; release: 1993 Format, bitrate: mp3@320kbps Time: 61:39 Size: 120 MB (including scans) AMG Rating:  At long last, Muddy's historic 1941-1942 Library of Congress field recordings are all collected in one place, with the best fidelity that's been heard thus far. Waters performs solo pieces (you can hear his slide rattling against the fretboard in spots) and band pieces with the Son Sims Four, "Rosalie" being a virtual blueprint for his later Chicago style. Of particular note are the inclusion of several interview segments with Muddy from that embryonic period and a photo of Muddy playing on the porch of his cabin, dressed up and looking sharper than any Mississippi sharecropper on Stovall's plantation you could possibly imagine. This much more than just an important historical document; this is some really fine music imbued with a sense of place, time and loads of ambience. ~Cub Koda, All Music Guide This is a treasure trove--for the Muddy Waters fan, for the blues historian, for the country-blues enthusiast. Alan Lomax, searching for Robert Johnson (recently deceased), came through and recorded a young McKinley Morganfield. The rest is history. Early versions of future classics can be found on these field recordings from 1941-42, and the guitar and voice that would have unimaginable influence on blues and rock & roll. There's no Chicago yet in these often-scratchy recordings, but if you listen, you can hear where it came from. ~Genevieve Williams |
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