Hank Mobley - Messages (Reissue)

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 76:15
Size: 175,5 MB
Art: Front

( 6:57)  1. Bouncing With Bud
( 5:41)  2. 52nd Street Theme
( 6:15)  3. Minor Disturbance
( 7:32)  4. Au Privave
( 8:42)  5. Little Girl Blue
( 6:37)  6. These Are The Things I Love
( 6:04)  7. Message From The Border
( 5:37)  8. Xlento
( 5:49)  9. The Latest
(10:01) 10. I Should Care
( 6:56) 11. Crazeology

With the exception of Hank Mobley's original "Alternating Current," which was left out due to lack of space, this single CD has all of the music from the two Prestige LPs Mobley's Message and Hank Mobley's Second Message; a two-LP set from 1976 which had the same Messages title and catalog number, but also the complete program, is actually the preferred acquisition, but will be difficult to locate. The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work. ~ Scott Yanow https://www.allmusic.com/album/messages-mw0000201086

Personnel: Tenor Saxophone – Hank Mobley; Alto Saxophone – Jackie McLean; Bass – Doug Watkins; Drums – Art Taylor; Piano – Barry Harris, Walter Bishop; Trumpet – Donald Byrd, Kenny Dorham 

Messages (Reissue)

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Steve Grossman - In New York

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 72:56
Size: 167,2 MB
Art: Front

(13:15)  1. Speak Low
( 9:46)  2. My Ship
(12:09)  3. Softly as in a Morning Sunrise
(10:15)  4. Impressions
( 9:30)  5. Over the Rainbow
( 8:56)  6. Love for Sale
( 9:02)  7. Good Bait

For his second Dreyfus Jazz album, Grossman ventures into New York's Sweet Basil club, with a stellar piano trio (McCoy Tyner, Avery Sharp, Art Taylor) in tow. With this kind of firepower, the listener is usually guaranteed a satisfying level of cooking jazz, and that's certainly what we get here, though it seldom rises above that into a higher region. Grossman's tune choices are mostly predictable standards, the one exception being his own cheeky title "Love for Sal," a bop-style number where the bass and then the piano double the tune's lead sax statement. Throughout, Grossman likes to fire away the eighth notes in that pungent, Sonny Rollins-influenced tenor tone, with Tyner often temporarily (and generously) dropping out so that the saxophonist can develop freer melodic patterns over the bass and drums. "Impressions" taken virtually at Tyner's late employer John Coltrane's tempo does achieve a special ignition, driven hard by Taylor, with some exploration of multiphonics by an inspired Grossman. Otherwise, a mostly solid live session of post-bop.By Richard S.Ginell http://www.allmusic.com/album/in-new-york-mw0000627313

Personnel: Steve Grossman (tenor saxophone); McCoy Tyner (piano); Avery Sharpe (bass); Art Taylor (drums).

In New York

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Oliver Nelson - Meet Oliver Nelson / Main Stem

Bitrate: MP3@320K/s

Time: 72:25

Size: 165.8 MB

Styles: Saxophone jazz

Year: 2012

Art: Front

[7:02] 1. Jams And Jellies

[6:51] 2. Passion Flower

[3:44] 3. Don't Stand Up

[5:30] 4. Ostinato

[6:52] 5. What's New

[6:34] 6. Booze Blues Baby

[6:50] 7. Main Stem

[5:50] 8. J & B

[4:33] 9. Ho!

[6:11] 10. Latino

[5:18] 11. Tipsy

[7:03] 12. Tangerine

Kenny Dorham, Joe Newman (tp), Oliver Nelson (ts), Ray Bryant, Hank Jones (p), Wendell Marshall, George Duvivier (b), Charlie Persip, Art Taylor (d).

”Meet Oliver Nelson” marked the leader recording debut of a considerable talent in tenor saxophonist Oliver Nelson (1932-1975). He was to win even greater acclaim later as a composer and arranger, but at 27 he was already a vastly experienced performer and a notably imaginative soloist, affectingly sensitive on ballads like Passion Flower and What’s New, with a voluminous sound, full and fiery, on more driving material.

For his debut he had simpatico company in trumpeter Kenny Dorham, so lyrical on Booze Baby Blues, and a shrewdly chosen rhythm section in pianist Ray Bryant, bassist Wendell Marshall and drummer Art Taylor. It was a noteworthy beginning.

Recorded almost two years later, “Main Stem” was much more like a typical Prestige blowing session of the time, heavily dependant on the wit and invention of the participants. Fortunately, Nelson again chose his colleagues well. Trumpeter Joe Newman is particularly good and pianist Hank Jones is his usual lucidly impeccable self in a swinging rhythm section with bassist George Duvivier and drummer Charlie Persip, while the leader, on both alto and tenor, produces an abundance of melodic, well-constructed solos over a satisfying session.

Meet Oliver Nelson/Main Stem  

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Benny Golson - Gettin' With It

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 37:20
Size: 86,1 MB
Art: Front

( 6:15)  1. Baubles, Bangles And Beads
( 5:11)  2. April In Paris
( 6:55)  3. Blue Streak
( 6:40)  4. Tippin' On Thru
(12:16)  5. Bob Hurd's Blues

Benny Golson leads a potent quintet in this 1959 studio date; the tenor saxophonist is joined by pianist Tommy Flanagan, trombonist Curtis Fuller, bassist Doug Watkins, and drummer Art Taylor. Golson's snappy arrangement of "Baubles, Bangle and Beads" features Fuller's fine mute work and Flanagan's upbeat inventive solo before he introduces his big-toned tenor into the mix. Golson's slight vibrato and Taylor's swirling brushwork are highlights of his interpretation of "April in Paris." The remaining three tracks are all originals by the leader: the up-tempo hard bop cooker "Blue Streak," the jaunty strut "Tippin' on Thru," and the extended blues "Bob Hurd's Blues," which will get anyone's feet tapping. This is one of Benny Golson's best dates as a leader because one not only gets to enjoy his always strong arrangements, but his consistently first-rate tenor sax solos. Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/gettin-with-it-mw0000180765

Personnel: Benny Golson - tenor saxophone; Curtis Fuller - trombone; Tommy Flanagan - piano; Doug Watkins - bass; Art Taylor - drums

Gettin' With It

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Dizzy Reece - Blues In Trinity (Remastered)

Styles: Trumpet Jazz
Year: 1959
File: MP3@320K/s
Time: 47:33
Size: 109,3 MB
Art: Front

( 6:47)  1. Blues In Trinity
( 3:04)  2. I Had The Craziest Dream
(10:39)  3. Close Up
( 6:37)  4. Shepherd's Serenade
( 6:02)  5. Color Blind
( 4:46)  6. 'Round About Midnight
( 4:03)  7. Eboo
( 5:31)  8. Just A Penny

One of the few American releases cut by the legendary British trumpeter Dizzy Reece and a great one! The album was strange for Blue Note, in that it was a joint US/UK session featuring American players Donald Byrd and Art Taylor, along with great Brit players Reece, Tubby Hayes, Terry Shannon, and Lloyd Thompson. Hayes is especially excellent here, and the record captures him at the peak of his young imaginative powers. With a two-trumpet frontline held down by Byrd and Reece, Hayes' tenor solos cut through hard and clean, with a deep soulful sound that makes him the most sparkling player on the session. Titles include "Close Up", "Blues In Trinity", "Color Blind", and "Round Midnight". © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/515086/Dizzy-Reece:Blues-In-Trinity

Personnel: Dizzy Reece - trumpet; Donald Byrd - trumpet; Tubby Hayes - tenor saxophone; Terry Shannon - piano; Lloyd Thompson - bass; Art Taylor - drums

Blues In Trinity

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Gene Ammons - Up Tight!

Bitrate: MP3@320K/s
Time: 75:04
Size: 171.9 MB
Styles: Bop, Saxophone jazz
Year: 1961/1994
Art: Front

[6:25] 1. The Breeze And I
[6:06] 2. Carbow
[5:03] 3. Moonglow
[6:01] 4. I'm Afraid The Masquerade Is Over
[4:47] 5. I'm Beginning To See The Light
[8:17] 6. Jug's Blue Blues
[4:13] 7. Lester Leaps In
[5:57] 8. The Five O'clock Whistle
[4:31] 9. I Sold My Heart To The Junkman
[5:12] 10. Song Of The Islands
[3:32] 11. Up Tight
[3:40] 12. Travelin'
[4:49] 13. Soft Summer Breeze
[6:24] 14. Don't Go To Strangers

Bass – Arthur Davis, George Duvivier; Congas – Ray Barretto; Drums – Arthur Taylor; Piano – Patti Bown, Walter Bishop; Saxophone – Gene Ammons. Recorded in October 17th & 18th, 1961.

Gene Ammons recorded many albums for Prestige but, if this CD is a good start for listeners unfamiliar with his playing. A reissue of two LPs (Up Tight and Boss Soul) recorded during the same two-day period, these performances find Ammons backed by a pair of four-piece rhythm sections (with either Walter Bishop or Patti Bown on piano and Ray Barretto's congas a major asset) and taking the lion's share of the solo space. Ammons sounds particularly warm and emotional throughout this CD, particularly on such numbers as "The Breeze and I," "I'm Afraid the Masquerade Is over," a cooking "Lester Leaps In" and "Song of the Islands." His sound and style effectively bridged the gap between bop and soul jazz. ~Scott Yanow

Up Tight!

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Charlie Rouse Quintet - Takin' Care Of Business

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(7:26)  1. Blue Farouq
(7:27)  2. ''204''
(4:48)  3. Upptankt
(6:02)  4. Wierdo
(5:16)  5. Pretty Strange
(6:52)  6. They Didn't Believe Me

Charlie Rouse's debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse's own uptempo "Upptankt," the standard "They Didn't Believe Me," and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set. ~ Scott Yanow https://www.allmusic.com/album/takin-care-of-business-mw0000312067

Personnel:  Charlie Rouse - tenor saxophone; Blue Mitchell - trumpet; Walter Bishop, Jr. - piano; Earl May - bass; Art Taylor - drums

Takin' Care Of Business

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Red Garland - Soul Junction

Bitrate: MP3@320K/s
Time: 42:22
Size: 97.0 MB
Styles: Bop, Piano jazz
Year: 1957/2013
Art: Front

[15:24] 1. Soul Junction
[ 6:46] 2. Woodyn' You
[ 7:31] 3. Birks' Works
[ 6:12] 4. I've Got It Bad And That Ain't Good
[ 6:27] 5. Hallelujah

Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd.

Pianist Red Garland's very relaxed, marathon blues solo on the 15-minute "Soul Junction" is the most memorable aspect of this CD reissue. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd, plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." Coltrane is in excellent form, playing several stunning sheets of sound solos. ~Scott Yanow

Soul Junction

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Hal Singer - Blues and News

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 45:07
Size: 103,8 MB
Art: Front

(7:37)  1. It's My Thing
(4:38)  2. Lina
(8:38)  3. Malcolm X
(6:17)  4. Pour Stéphanie
(6:07)  5. Du Bois
(6:20)  6. Lina - Unissued
(5:27)  7. Blues For Hal

The other great Hal Singer album from his years on the French scene and a record that we'd say is even better than his legendary Paris Soul Food set! Although Singer is often most associated with an older style of swing-based jazz, he's working here in a loose, free mode that's got plenty of 70s soulful touches often funky at the best moments, but even more importantly openly rhythmic with a progressively soulful style that's really outta site! The group features Art Taylor on drums, plus an assortment of European players led by Siegried Kessler who plays some great piano and flute on the album, and also handled the arrangements. The album features Singer's wonderful tune "Malcolm X" the kind of a track that we'd rank right up there with some of the most righteous soul jazz groovers of the time. Other highlights include the modal "Pour Stephanie", the jagged "Blues For Hal", and the groovy "It's My Thing". CD also includes the bonus track "Lina".

Personnel: Hal Singer - tenor saxophone; Jacques Bolognesi - trombone;  Jean-Claude Andre - guitar; Siegfried Kessler - piano; Patrice Caratini - bass; Art Taylor - drums

Blues and News

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George Wallington - Variations

Styles: Piano Jazz 
Year: 1954/2015
File: MP3@320K/s
Time: 47:08
Size: 108,4 MB
Art: Front

(3:28)  1. Before Dawn
(2:50)  2. If I Love Again
(3:04)  3. Your Laughter
(3:20)  4. Morning Dew
(2:37)  5. Busman's Holiday
(4:36)  6. My Funny Valentine
(4:20)  7. Ever Loving Blues
(5:23)  8. Variations
(3:45)  9. Autumn In New York
(4:25) 10. Marcel The Furrier
(3:19) 11. Invitation
(3:24) 12. Moonlight In Vermont
(2:31) 13. Alone Together

George Wallington was one of the first and best bop pianists, ranking up there with Al Haig, just below Bud Powell. He was also the composer of two bop standards that caught on for a time: "Lemon Drop" and "Godchild." Born in Sicily, Wallington and his family moved to the U.S. in 1925. He arrived in New York in the early '40s and was a member of the first bop group to play on 52nd Street, Dizzy Gillespie's combo of 1943-1944. After spending a year with Joe Marsala's band, Wallington played with the who's who of bop during 1946-1952, including Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, and Red Rodney. He toured Europe with Lionel Hampton's ill-fated big band of 1953, and during 1954-1960 he led groups in New York that included among its up-and-coming sidemen Donald Byrd and Jackie McLean (the latter succeeded by Phil Woods). Then, in 1960, Wallington gave up on the music business altogether and retired to work in his family's air-conditioning company. 24 years later he re-emerged, recording three albums of original material before time ran out. ~ Scott Yanow https://www.allmusic.com/artist/george-wallington-mn0000645514/biography

Personnel: George Wallington (piano); Curly Russell (bass); Art Taylor (drums); Joseph Livoisi (violin);  David Uchitel (viola);  William Eder (cello);  Clyde Lombardi (bass)

Variations

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Bud Powell Trio - Swingin' With Bud

Styles: Piano Jazz 
Year: 1957
File: MP3@320K/s
Time: 39:03
Size: 90,2 MB
Art: Front

(3:27)  1. Another Dozen
(4:57)  2. Like Someone In Love
(2:22)  3. Salt Peanuts
(5:09)  4. She
(3:16)  5. Swedish Pastry
(3:16)  6. Shaw 'Nuff
(2:33)  7. Oblivion
(3:25)  8. In the Blue of the Evening
(3:05)  9. Get It
(4:20) 10. Birdland Blues
(3:09) 11. Midway

The immortal pianist Bud Powell's two RCA sets from 1956-1957 have been unjustly neglected through the years. Superior to his Verve releases from the time (although not on the same level as his Blue Note dates), Powell is in generally good form on this trio session with bassist George Duvivier and drummer Art Taylor. Highlights include "Like Someone in Love," "Salt Peanuts," "Shaw 'Nuff" and "Oblivion" (the latter is one of four Powell originals on the program). The set is not essential but is easily recommended to bop collectors. ~ Scott Yanow https://www.allmusic.com/album/swingin-with-bud-mw0000644656

Personnel: Bud Powell – piano; George Duvivier – bass; Art Taylor – drums

Swingin' With Bud

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Lee Morgan - Candy

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 42:04
Size: 97,1 MB
Art: Front

(7:07)  1. Candy
(5:39)  2. Since I Fell For You
(5:06)  3. C.T.A.
(7:27)  4. All The Way
(5:01)  5. Who Do You Love, I Hope
(6:16)  6. Personality
(5:26)  7. All At Once You Love Her

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. Not merely a technical marvel, his tone on this album was sweet and his playing fluid, infused with joy and crisply articulated emotion. Morgan would later turn out to be an expert songwriter, but here songs like Buddy Johnson's "Since I Fell for You," and Jimmy Heath's "C.T.A." gave him ample space to show off his talents. ~ Stacia Proefrock https://www.allmusic.com/album/candy-mw0000649662

Personnel: Lee Morgan - trumpet; Sonny Clark - piano; Doug Watkins - bass; Art Taylor - drums

Candy

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Dizzy Reece - Soundin' Off

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 41:58
Size: 96,2 MB
Art: Front

(5:05)  1. A Ghost of a Chance
(7:58)  2. Once in a While
(7:30)  3. Eb Pob
(7:46)  4. Yesterdays
(7:10)  5. Our Love Is Here to Stay
(6:27)  6. Blue Streak

Originally issued in 1960 and subsequently reissued multiple times in a variety of formats, the trumpeter Dizzy Reece's fourth Blue Note outing as a leader is here presented in Super Audio CD format by the APO label. While it would have been nice to see a bit more material on a reissue like this (with at least a couple of alternate takes), the original program is densely packed with high-quality music and makes for a solidly satisfying listening experience on its own. The opening track, interestingly enough, is both a ballad and a standard: on "Ghost of a Chance" Reece plays with a buttery, burnished tone that coats the familiar melody in a golden haze like the quality of light at dusk. The sun rises again on the next track, a midtempo number titled "Once in a While," and the tempo ratchets up another notch on "Eb Pob," a rather undistinguished composition on the "I Got Rhythm" changes that is completely redeemed by the quality of the solos. "Yesterday" finds pianist Walter Bishop delivering a curiously lackadaisical solo, but he gets back in the groove on a wonderful version of "Our Love Is Here to Stay." The program ends with a nice, bouncy blues original titled "Blue Streak." Throughout the album, Reece digs into his bag of sonic tricks without ever doing anything that detracts from the music itself. Soundin' Off is a little bit uneven, but is never less than a solid pleasure to listen to. ~ Rick Anderson https://www.allmusic.com/album/soundin-off-mw0000368905

Personnel:  Dizzy Reece - trumpet; Walter Bishop Jr. - piano; Doug Watkins - bass; Art Taylor - drums

Soundin' Off

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Buddy Tate, Claude Hopkins - Buddy & Claude

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 74:29
Size: 171,8 MB
Art: Front

(4:22)  1. Is It So
(7:01)  2. Yes, Indeed
(3:26)  3. What's Your Story Morning Glory
(7:21)  4. Willow Weep For Me
(6:27)  5. Empty Bed Blues
(5:35)  6. It Don't Mean A Thing (If It Ain't Got That Swing)
(4:27)  7. What Is This Thing Called Love
(4:11)  8. Buddy's Tate-A-Tate
(8:14)  9. Groun' Hog
(4:14) 10. All Too Soon
(5:39) 11. Snatchin' It Back
(6:22) 12. #20 Ladbroke Square
(7:04) 13. Take The ''A'' Train

Combining two rare Swingville sessions from the 60’ this disc is an excellent primer for those unfamiliar with the singular sounds of Buddy Tate. Tate served a lengthy tenure in Basie’s band and many other Kansas City collectives before branching out on his own and these sessions visit him in his later years still laying down a voluptuous and sultry swing. His tone on tenor has elements of many of his peers, most noticeably Coleman Hawkins without the bite, but still retains a lilting originality. Hopkins hails from D.C. and his roots in the swing lineage run equally deep. The two men converge on the first session in the company of four other players and work over a highly inviting collection of standards. The emphasis is on maintaining a temperate mood and empathic rapport and the absence of individual bravado is refreshing. It’s also a joy to hear these veterans in their element, doing what they do best under the auspices of modern recording technology. As an added benefit, the technology also allows the players to stretch out past the time limits afforded the recordings of their earlier years. The majority of tunes are taken at a soothing speed and work well off the light interplay between rhythm section and the pairing of Tate and Berry. Berry mainly sticks to muted work on his brass, contributing gently smeared slurs to the ensemble sound on a regular basis. His protracted, but carefully conceived solo on “Empty Bed Blues” is infused with a tasteful discipline that is representative of the entire quintet. 

Over the course of most of the numbers Tate’s solos are usually short and sweet suggesting an admirable economy that many modern players would be advised to take lesson from. Hopkins works magic of the changes of each tune, particularly the bluesy reading of Ellington’s “It Don’t Mean a Thing.” The second date presented here features a completely different group and lacks the effervescent presence of Hopkins. Fortunately his talents are traded in for the equally formidable Flanagan who in concert with Gales and Taylor gives the second half of this disc a decidedly bop-flavored bent. Tate acquaints himself well with the slightly different surroundings and digs into a program comprised of both standards and three pieces derived from Terry’s pen. The tongue-in-cheek piece titled “Buddy’s Tate-A-Tate” wastes no time in giving the saxophonist the chance to test his technique on brisker fare. Terry keeps pace alongside Tate and blows some velvety lines across Taylor’s rollicking drum breaks. On the slower tempo “Groun’ Hog” Terry turns to flugelhorn and the round sound of his larger brass works as an ideal foil for Flanagan’s polished ivories. A lengthy opening bass vamp by Gales sets the mood on “#20 Ladbroke Square” and deposits the players in another easy groove which they explore with the same enthusiastic verve as on the earlier numbers. A faithful run-down of Strayhorn’s “Take the ‘A’ Train” acts as an epilogue for a session imbued with no shortage of swinging grace. Tate and Hopkins are jazz originals and disc’s such as this work as windows into a time when they and their peers were at the top of their art, if not the charts. ~ Derek Taylor https://www.allaboutjazz.com/buddy-and-claude-buddy-tate-prestige-records-review-by-derek-taylor.php

Personnel: Buddy Tate- tenor saxophone; Claude Hopkins- piano; Emmett Barry-trumpet; Wendell Marshall- bass; Osie Johnson- drums. Clark Terry- trumpet, flugelhorn; Tommy Flanagan- piano; Larry Gales- bass; Art Taylor- drums.

Buddy & Claude

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Donald Byrd - Timeless

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 42:32
Size: 97,7 MB
Art: Front

(4:31)  1. Long Green
(7:49)  2. Star Eyes
(7:39)  3. Someone to Watch over Me
(7:36)  4. Honeylike
(7:43)  5. Orpheus
(7:11)  6. Winterset

Timeless Donald Byrd combines most of the trumpeter's 1955 Savoy session Byrd's Word and two tracks from alto saxophonist John Jenkins' 1957 Savoy release Jazz Eyes. 

Both albums are solid examples of mid-'50s mainstream jazz and represent both artists well. Given that these albums go in and out of print, the Timeless compilations are welcome additions to the artists' catalogs, though diehards will still want to seek out the original albums. ~ Matt Collar https://www.allmusic.com/album/timeless-donald-byrd-mw0000661040

Personnel:  Trumpet – Donald Byrd; Alto Saxophone – John Jenkins;  Bass – Doug Watkins, Paul Chambers; Drums – Art Taylor, Kenny Clarke; Piano – Hank Jones, Tommy Flanagan; Tenor Saxophone – Frank Foster; Trombone – Curtis Fuller

Timeless

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Dexter Gordon & Slide Hampton - A Day In Copenhagen

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 40:57
Size: 113,4 MB
Art: Front

(9:07)  1. My Blues
(5:59)  2. You Don't Know What Love Is
(5:03)  3. A New Thing
(8:00)  4. What's New
(4:57)  5. The Shadow Of Your Smile
(7:48)  6. A Day In Vienna

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.~ Scott Yanow https://www.allmusic.com/album/day-in-copenhagen-mw0000649538

Personnel:  Dexter Gordon - tenor saxophone;  Slide Hampton - trombone;  Dizzy Reece - trumpet;  Kenny Drew - piano;  Niels-Henning Orsted Pedersen - bass;  Art Taylor - drums

A Day In Copenhagen

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Johnny Griffin - Live In Tokyo

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 56:37
Size: 130,2 MB
Art: Front

(18:53)  1. All The Things You Are
(17:08)  2. When We Were One
( 3:47)  3. Wee
(16:47)  4. The Man I Love

The great tenor Johnny Griffin really gets a chance to stretch out on this two-LP set. Joined by pianist Horace Parland, bassist Mads Vinding and drummer Art Taylor for this Tokyo concert, Griffin digs into three standards and a pair of his originals; all except for a rapid "Wee" are at least 16 minutes long. 

Griffin's long cadenza on "The Man I Love" is a highlight.~ Scott Yanow https://www.allmusic.com/album/live-in-tokyo-mw0000094442

Personnel:  Johnny Griffin (saxophone), Horace Parlan (piano), Art Taylor (drums), Mads Vinding (bass).

Live In Tokyo

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Don Byrd, Gigi Gryce - Jazz Lab

Bitrate: MP3@320K/s
Time: 41:29
Size: 95.0 MB
Styles: Bop
Year: 1957/2011
Art: Front

[3:39] 1. Speculation
[8:17] 2. Over The Rainbow
[5:28] 3. Nica's Tempo
[4:59] 4. Blue Concept
[6:59] 5. Little Niles
[7:13] 6. San Souci
[4:52] 7. I Remember Clifford

Alto Saxophone – Gigi Gryce; Baritone Saxophone – Sahib Shibab; Bass – Wendell Marshall; Drums – Art Taylor; Horn – Julius Watkins; Piano – Tommy Flanagan, Wade Legge; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Don Byrd; Tuba – Don Butterfield.

Alto saxophonist arranger Gigi Gryce and trumpeter Donald Byrd's innovative, but unfortunately short lived Jazz Lab Quintet recorded several sides during 1957, seven of which were released on this excellent Columbia album a handful of other titles were collectively made for Riverside, Verve, and RCA. The nucleus band of Gryce, Byrd, pianist Tommy Flanagan a spot also filled by Wade Legge and Hank Jones, bassis and drummer Art Taylor are augmented on four cuts here by trombonists Benny Powell and Jimmy Cleveland, French horn player Julius Watkins, baritone saxophonist Sahib Shihab, and tuba player Don Butterfield. The expanded ensemble turn in fleetly swinging renditions of Horace Silver's "Speculation" and Gryce's "Nica's Tempo" while varying the mood a bit with a ballad reading of Benny Golson's "I Remember Clifford" and a Far East-tinged waltz take on Randy Weston's "Little Niles" shades of Miles Davis' Birth of the Cool group are heard in the complex, yet featherweight arrangements by Gryce. The quintet tracks include Gryce's "Sans Souci" and a provocative version of "Over the Rainbow." With some of the best arrangements heard in jazz and excellent solos by Gryce, Byrd, and Flanagan, Jazz Lab makes for an excellent introduction to the hard bop catalog.

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Johnny Griffin, Art Taylor - Johnny Griffin / Art Taylor

Bitrate: MP3@320K/s
Time: 69:43
Size: 159.6 MB
Styles: Saxophone jazz
Year: 1996
Art: Front

[17:34] 1. What Is This Thing Called Love
[ 9:26] 2. Body And Soul
[ 4:48] 3. Wee Dot
[19:26] 4. Doctor's Blues
[ 9:56] 5. Exactly Like You
[ 8:30] 6. A Night In Tunisia

Johnny Griffin (ts & vo), Kenny Drew (p), Niels-Henning Ørsted Pedersen (b) and Art Taylor (dr).

This live CD marks the first release of music recorded during a series of dates led by Johnny Griffin at Montmartre Jazzhaus, with Kenny Drew, Niels Pedersen and Art Taylor Johnny Griffin/Art Taylor In Copenhagen buy CD music. Both "What Is This Thing Called Love?" and Griffin's "Doctor's Blues" are long jams, with the latter including a humorous vocal by the leader Johnny Griffin/Art Taylor In Copenhagen CD music. All of the musicians are in top form throughout, highlighted by the pulsating "Wee Dot" and a tribal chant-like introduction to build tension as they launch "A Night In Tunisia." Johnny Griffin/Art Taylor In Copenhagen album for sale. These recordings are a little bit on the bassy side, and there are noticeable tape dropouts at times Johnny Griffin/Art Taylor In Copenhagen songs. ~ Ken Dryden

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Red Garland - Halleloo-Y'-All

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 35:50
Size: 82,1 MB
Art: Front

( 6:59)  1. Back Slidin'
( 6:13)  2. Revelation Blues
( 4:50)  3. Everytime I Feel the Spirit
( 6:38)  4. Halleloo-Y'-All
(11:08)  5. I'll Never Be Free

Except for Count Basie, few pianists in the post-war years could swing the blues like Red Garland. Certainly, Garland could give standards a handsome spin with dramatic lyricism, plenty of space and clusters of block chords. But the blues were in Garland's blood system, and his trio album Halleloo-Y'-All from 1960 remains for me one of the finest examples of his blues trio playing. Garland grew up in Dallas, began his music education on reed instruments, joined the Army in 1941and began playing piano while stationed in Arizona. After being discharged from the service in '44, Garland gigged around Texas and soon joined Oran “Hot Lips" Page's orchestra. When the band hit New York, Garland quit to remain in the city, which turned out to be a shrewd career move.

In New York, Garland played and recorded with many of the greats of the late 1940s. When Miles Davis was unable to persuade Ahmad Jamal and his trio to back him in the early 1950s, Davis turned to Garland, looking to the pianist for an emulation of Jamal's elegant and bright melodic style. Garland delivered (in comes cases on the exact same songs) but with a more pronounced and bluesy style than Jamal. By 1956, Prestige was recording Garland as the leader of a trio when he wasn't playing as a member of Davis's and John Coltrane's rhythm sections. [Photo above of Red Garland and Miles Davis]

Virtually all of Garland's leadership dates had a blues pull. Like a posh musical bartender, Garland was masterful at perfectly blending church and club to produce music that was neither and both. Like B.B. King and Ray Charles, every song Garland touched was saturated in the blues. "Garland recorded several blues-centric albums, including Alone With the Blues and P.C. Blues. But perhaps his best was Halleloo-Y'-All. Recorded in April 1960, the album featured my favorite Garland trio Sam Jones on bass and Art Taylor on drums. Both musicians have been vastly overlooked as industrial and inventive trio players. And this Red Garland Trio ranks up there with the best of the decade. Halleloo-Y'-All features a full menu of five blues. As Dan Morganstern wrote in his original album liner notes, “the program consists of three Garland originals, a rhythm-and-blues hit of fairly recent vintage [I'll Never Be Free] and an old traditional gospel hymn. The emphasis is on relaxed tempos and a bluesy groove, but there is none of the pseudo funk which is marketed in such quantity these days under titles similar to some of the 'churcy' ones found here. Red Garland is a stylist not a gimmick-merchant and everything he plays is musical and unforced. He isn't trying to prove anything and what comes out is uncontrived and happy jazz." The album also features Garland's playing organ on the title track, a play on hallelujah. Garland could swing and extract the Hammond's full gospel flavor using a tender touch. With the sharp fierceness of Taylor and fleshy bass lines of Jones, this is a perfect Red Garland Trio album. ~ Marc Myers  https://news.allaboutjazz.com/red-garland-halleloo-y-and-39-all.php

Personnel:  Red Garland – piano, organ;  Sam Jones – bass;  Art Taylor – drums

Halleloo-Y'-All

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