Silky Denims: Barry Harris

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Sunday, December 1, 2024

Ronnie Cuber - Cuber Libre

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 52:34
Size: 120,6 MB
Art: Front

(11:59) 1. Star Eyes
( 5:19) 2. Rifftide
(10:18) 3. Tin Tin Deo
( 6:13) 4. Samba D'Orfeo
( 7:07) 5. Misty
( 5:30) 6. Sudwest Funk
( 6:05) 7. Prince Albert

This quartet session was a perfect setting for baritonist Ronnie Cuber, who was 34 years old at the time. Joined by the impeccable pianist Barry Harris, bassist Sam Jones, and drummer Albert "Tootie" Heath, Cuber gets to swing hard on such standards as "Star Eyes," "Rifftide," and "Tin Tin Deo."

Throughout this bop-oriented date, Cuber shows why he has been considered one of the top masters of the baritone during the past 20 years.~Scott Yanow http://www.allmusic.com/album/cuber-libre-mw0000869723

Personnel: Ronnie Cuber (baritone saxophone); Barry Harris (piano); Albert Heath (drums).

Cuber Libre

Wednesday, October 9, 2024

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)

Tuesday, October 8, 2024

Hank Mobley - Jazz Message #2

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 32:14
Size: 74,5 MB
Art: Front

(9:51) 1. Thad's Blues
(6:40) 2. Doug's Mino B' Ok
(6:31) 3. B. For B.B.
(4:58) 4. Blues Number Two
(4:11) 5. Space Flight

Impressive lineups, both in the front line and the rhythm section, fuel the two 1956 sessions on this Savoy reissue. The players are committed, the writing is good, and the performances reward repeated listening. The result is a worthwhile precursor to the industry standard hard bop Mobley would later record for Blue Note.Lee Morgan, then 18, joins Mobley on two tracks that have pianist Hank Jones, bassist Doug Watkins, and drummer Art Taylor in the rhythm section. Even if Morgan at this time was audibly still growing as a trumpet player, his poise, execution, and resourceful imagination were already the tools of a master. Donald Byrd, on form and playing with crispness and authority, moves into the trumpet chair for the three remaining tracks. This time it's Barry Harris on piano, Kenny Clarke on drums, and Watkins (again) on bass. The influence on Mobley of swing era tenors, from Lester Young to Illinois Jacquet, can be clearly heard on these tracks. Mobley's respect for and understanding of the pre-bebop style serve him well in his contribution to the development of the predominant jazz style that followed bebop. In addition to three Mobley originals, there is a blues by Thad Jones and another from Watkins. The standout track is Mobley's "Space Flight," a bright, up-tempo bop number that has memorable solos from Mobley, Byrd, Harris, and Clarke. The recording on this CD is very good but, as is common on Savoy reissues, the running time isn't long 32 minutes in the case of this jazz message. ~ Jim Todd https://www.allmusic.com/album/the-jazz-message-of-hank-mobley-vol-2-mw0000098294

Personnel: Hank Mobley - tenor saxophone; Donald Byrd - trumpet; Barry Harris - piano; Doug Watkins - bass; Kenny Clarke - drums

Jazz Message #2

Wednesday, January 24, 2024

Dexter Gordon - Gettin' Around

Bitrate: MP3@320K/s
Time: 58:48
Size: 134.6 MB
Styles: Bop, Saxophone jazz
Year: 1965/1987
Art: Front

[ 8:25] 1. Manha De Carnaval
[ 5:12] 2. Who Can I Turn To
[ 7:48] 3. Heartaches
[ 6:16] 4. Shiny Stockings
[ 6:43] 5. Everybody's Somebody's Fool
[ 6:58] 6. Le Coiffeur
[ 6:50] 7. Very Saxily Yours
[10:33] 8. Flick Of A Trick

Bass – Bob Cranshaw; Drums – Billy Higgins; Piano – Barry Harris; Tenor Saxophone – Dexter Gordon; Vibraphone [Vibes] – Bobby Hutcherson.

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop. It's hard to resist how Gordon massages the light and sweet bossa nova "Manha de Carnaval" hand in hand with Hutcherson, the heartfelt way "Who Can I Turn To?" or "Everybody's Somebody's Fool" is turned into a personalized statement, or how the co-leaders take Frank Foster's Count Basie staple, "Shiny Stockings," beyond a classic and into immortal territory. Where Gordon and Hutcherson's true strength lies is in their ability to listen and balance their sound into a unified whole beyond any other tenor sax-vibraphone combination you might care to name, unless it's Hutch's partnership in the ensuing years with Harold Land. Picking up on a Sonny Rollins idea, "Heartaches" is a loping cowboy-type swinger with some lustrous comping from Hutcherson and Harris, while the light, cat-prancing "Le Coiffeur" is the highlight among highlights, a stealth calypso with Gordon's deftly rendered staccato notation. One has to listen closer to the pianist on this date, as he buoys the others without demanding equal space, but he is just as reverberant. While this is not Gordon's ultimate hard bop date, it is reflective of his cooling out in Europe, adopting a tonal emphasis more under the surface than in your face. It's not essential, but quite enjoyable, and does mark a turning point in his illustrious career. [The CD version contains two bonus tracks, including the Onzy Matthews composition "Very Saxily Yours" with a melody very similar to "Shiny Stockings," Hutcherson alone during a second chorus, and a classy quarter-to-eighth note solo by Gordon. Ben Tucker's "Flick of a Trick" is added on, an 11-minute groove blues that lets Harris cut loose, digging in after-hours style.] ~Michael G. Nastos

Gettin' Around

Friday, March 24, 2023

Hank Mobley, Donald Byrd - The Birth Of Hard Bop Disc 1, Disc 2

Album: The Birth Of Hard Bop Disc 1

Styles: Trumpet And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 63:18
Size: 146,6 MB
Art: Front

(7:30) 1. Budo
(6:58) 2. I Married An Angel
(8:02) 3. The Jazz Message
(5:49) 4. There Will Never Be Another You
(3:06) 5. Cattin' - Alternate Take
(4:37) 6. Cattin'
(4:41) 7. Madeline
(3:45) 8. When I Fall In Love
(4:20) 9. Space Flight - Previously Unissued
(4:12) 10. Space Flight
(5:18) 11. Blues Number Two - Previously Unissued
(4:56) 12. Blues Number Two

Album: The Birth Of Hard Bop Disc 2

Time: 64:36

Size: 149,2 MB

(6:30) 1. B. For B.B. - Previously Unissued

(6:28) 2. B. For B.B.

(7:01) 3. Hank's Shout

(7:53) 4. Bet

(8:53) 5. Nostalagia

(9:49) 6. Thad's Blues

(5:31) 7. A-1

(5:48) 8. A-1 - Alternate Take

(6:37) 9. Doug's Minor Bouk

This 2-CD set, introducing the Savoy Jazz Rare Sessions series, contains the reissue of four 1956 Savoy albums: The Jazz Message Of Hank Mobley, Hard Bop, The Jazz Message Of Hank Mobley, Volume 2 and A-1: The Savoy Sessions. It includes alternate takes and previously unissued tracks that serve an important purpose. Here, "Cattin’," for example, is played at different tempos: Bird-like on the alternate take with different featured soloists. The version originally issued is looser and more representative of hard bop. "Space Flight," on the other hand, is virtually the same on both takes. Minor flaws in the recorded sound were most likely caused when performers turned away from the microphone. The unissued track of "Blues Number Two" contains serious sound problems as well as artist miscues. But there’s more. The alternate track was performed at a faster bebop tempo without as much soulful expression as that evident in the issued take.

By including the alternate track, Savoy is giving the listener an opportunity to hear what was considered desirable in the recording studio: better sound and a genuine, gospel-influenced, blues-based expression.While the previously unissued take of "B. for B.B." is obviously inferior, both in its poor sound balance and in the faster, uninspired mood; "A-1" appears as two different arrangements, both of great value but independent of each other. Each session leader is well represented. Sweet ballads and driving jams feature the Byrd/Mobley quintet as well as the Morgan/Mobley quintet. Lee Morgan and Hank Mobley appear on the last 7 tracks. Over two hours in length, Savoy’s reissue offers early glimpses of several pioneers, four very different pianists, and an introduction to what folks began calling hard bop. ~ Jim Santella https://www.allaboutjazz.com/the-birth-of-hard-bop-lee-morgan-savoy-jazz-review-by-jim-santella.php

Personnel: Donald Byrd, Lee Morgan- trumpet; Hank Mobley- tenor saxophone; John LaPorta- alto saxophone; Horace Silver, Ronnie Ball, Barry Harris, Hank Jones- piano; Wendell Marshall, Doug Watkins- bass; Kenny Clarke, Arthur Taylor- drums.

The Birth Of Hard Bop Disc 1, Disc 2

Sunday, February 19, 2023

Barry Harris, Muhal Richard Abrams - Interpretations of Monk

Album: Interpretations of Monk Disc 1
Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 50:22
Size: 115,6 MB
Art: Front

( 0:41) 1. Announcement by Verna Gillis
( 6:39) 2. Introduction by Nat Hentoff
( 3:39) 3. Crepuscule with Nellie
( 8:25) 4. I Mean You
( 8:02) 5. Ask Me Now
( 3:41) 6. Gallop's Gallop
( 7:32) 7. Blue Monk
(10:16) 8. Four in One
( 1:23) 9. Poetry by Amiri Baraka

Three and a half months before Thelonious Monk died, two memorable tribute concerts took place at Columbia University. The lineup of musicians was perfect: soprano saxophonist Steve Lacy (long an expert on Monk's music), Thelonious' longtime tenor saxophonist Charlie Rouse, trombonist Roswell Rudd, trumpeter Don Cherry, bassist Richard Davis, either Ben Riley or Ed Blackwell on drums, and four different pianists. This legendary event was fortunately recorded, and the afternoon concert has been released in full on this 1997 double-CD set. Pianist Muhal Richard Abrams is on the first CD, while Barry Harris takes his place on the second half. Both of the pianists have a brief solo piece as a feature; Lacy takes "Gallop's Gallop" unaccompanied, and the full group jams on 11 of Monk's more difficult pieces. The unique opportunity to hear this combination of musicians and the many inspired moments make the double CD a highly recommended acquisition for anyone interested in the music of Thelonious Monk.~Scott Yanow https://www.allmusic.com/album/interpretations-of-monk-vol-1-mw0000035894

Personnel: Piano – Barry Harris , Muhal Richard Abrams; Bass – Richard Davis ; Drums – Ben Riley, Ed Blackwell ; Soprano Saxophone – Steve Lacy; Tenor Saxophone – ; Trombone – Roswell Rudd; Trumpet – Don Cherry

Interpretations of Monk Disc.1

Album: Interpretations of Monk Disc 2

(0:17) 1. Announcement by Verna Gillis
(4:15) 2. Ruby, My Dear
(7:25) 3. Light Blue
(9:14) 4. Eronel
(8:14) 5. Bye-Ya
(5:35) 6. Pannonica
(6:46) 7. Off Minor
(10:34) 8. Epistrophy

Interpretations of Monk Disc 2

Wednesday, January 18, 2023

Sonny Stitt - How High The Moon

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 66:04
Size: 151,7 MB
Art: Front

(3:58) 1. Koko
(4:00) 2. Easy Living
(4:43) 3. It's Hipper Than That
(4:47) 4. How High The Moon
(3:49) 5. Lover Man
(5:28) 6. Fools Rush In
(7:13) 7. Lonesome Road
(4:23) 8. I Want To Go Home
(6:38) 9. Katea
(4:30) 10. Flame And Frost
(5:14) 11. The Night Has A Thousand Eyes
(5:17) 12. Our Day Will Come
(5:57) 13. My Main Man

This is a 1998 CD reissue guaranteed to frustrate completists. Rather than bring back a complete session or two, the CD has "highlights" from three vintage Sonny Stitt dates owned by Chess and originally put out by Argo and Cadet. Five of the ten numbers cut at a superb 1958 quartet date with pianist Barry Harris (Burnin'), four of the six selections from a rare meeting with tenor saxophonist Zoot Sims (Inter-action) and four of the seven performances from a more routine encounter with trombonist Bennie Green and organist Bobby Buster (My Main Man) are included. The music is generally quite good (particularly "Koko," "How High the Moon," "Lonesome Road" and "The Night Has a Thousand Eyes"), and Stitt plays eight songs on tenor and five on alto, showing off his solid sense of swing and his command of the bebop vocabulary. One just wishes the music had been reissued more coherently. ~ Scott Yanow http://www.allmusic.com/album/how-high-the-moon-mw0000036216

Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Joe Diorio (guitar); Zoot Sims (tenor saxophone); Bennie Green (trombone); John Young , Barry Harris , Barry Harris Trio (piano); Bobby Buster (organ); Frank Gant, Dorel Anderson, Phil Thomas (drums).

How High The Moon

Monday, November 14, 2022

Barry Harris Trio - Magnificent!

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 39:23
Size: 91,1 MB
Art: Front

(6:42) 1. Bean And The Boys
(4:04) 2. You Sweet And Fancy Lady
(4:17) 3. Rouge
(4:01) 4. Ah-Leu-Cha
(6:05) 5. Just Open Your Heart
(4:22) 6. Sun Dance
(5:20) 7. These Foolish Things (Remind Me Of You)
(4:28) 8. Dexterity

By the time pianist Barry Harris recorded his first session as a leader in 1958, Breakin' It Up for the Argo label, Charlie Parker had already been dead for three years and the be-bop movement that he had helped usher in was already giving way to the more visceral advance of hard bop and the beginning strains of Ornette Coleman's "new thing" approach. For Harris, who was a died-in-the-wool be-bopper, this meant coming on the scene a bit too late to be part of the music that had inspired his own jazz quest. Subsequently, while Harris' love of the be-bop language in no way makes him a one-trick pony, his style has somewhat limited his range of expression over the years. Coming off a string of Riverside releases that tended to possess a nagging feeling of sameness, Harris was to fare much better with his series of Prestige recordings. He added horns for his first two efforts, Luminescence and Bull's Eye, a move that seemed to broaden his musical palette. Then in 1969 at the end of his tenure with the label, Harris would return to the trio format, but with a more mature outlook.

While the hyperbole involved in the album's title may border a bit on overstatement, the newly-reissued Magnificent easily ranks among Harris's better and most realized trio dates.There's much that is attractive about this set because even among the expected bop tunes like "Dexterity" and "Ah-Leu-Cha," we get such notable Harris originals as "You Sweet and Fancy Lady" (one of his best-known pieces), "Just Open Your Heart," and the Latin-tinged "Sun Dance." Ron Carter and drummer Leroy Williams form a well-oiled team with ample support and choice solo spots of their own. Although Harris continues to be a strong and committed performer, his Prestige period still holds special treasures of which Magnificent happily belongs. ~ C.Andrew Hovan https://www.allaboutjazz.com/magnificent-barry-harris-prestige-records-review-by-c-andrew-hovan.php

Personnel: Barry Harris- piano; Ron Carter- double bass; Leroy Williams- drums.

Magnificent!

Sunday, November 13, 2022

Barry Harris - For The Moment

Bitrate: 320K/s
Time: 77:34
Size: 177.6 MB
Styles: Bop, Piano jazz
Year: 1984/2000
Art: Front

[5:56] 1. I Love Lucy
[6:00] 2. My Heart Stood Still
[4:43] 3. Bean And The Boys
[5:50] 4. To Monk With Love
[2:55] 5. For The Moment
[7:09] 6. Chico The Man
[8:31] 7. Reflections Light Blue Well You Needn't Rhythm-A-Ning
[7:35] 8. Shaw Nuff
[5:02] 9. 7-9-3-4-0
[6:15] 10. Save Some For Later
[6:21] 11. Looking Glass
[5:03] 12. To Monk Wih Love
[6:09] 13. One More Blues

Throughout his career, pianist Barry Harris has kept the spirit of bebop and the music of Bud Powell and Thelonious Monk alive in his joyous and creative playing. For this live concert, Harris is heard in a trio with bassist Rufus Reid and drummer Leroy Williams. There is a four-song Thelonious Monk medley, five originals (including "To Monk With Love" and "For the Moment," which Harris played at Thelonious' funeral), "My Heart Stood Still," and a boppish version of the "I Love Lucy Theme." A delightful and enthusiastic set. ~Scott Yanow

For The Moment

Saturday, March 19, 2022

Carmell Jones - Jay Hawk Talk

Bitrate: MP3@320K/s
Time: 38:11
Size: 87.4 MB
Styles: Bop, Trumpet jazz
Year: 1965/2000
Art: Front

[5:50] 1. Jay Hawk Talk
[4:56] 2. Willow Weep For Me
[8:56] 3. What Is This Thing Called Love
[5:32] 4. Just In Time
[6:17] 5. Beepdurple
[6:37] 6. Dance Of The Night Child

Bass – George Tucker; Drums – Roger Humphries; Piano – Barry Harris; Tenor Saxophone – Jimmy Heath; Trumpet – Carmell Jones. Recorded May 8, 1965.

Hard bopper Carmell Jones is in fine form on this 1965 outing, Jay Hawk Talk. Together with tenor Jimmy Heath, pianist Barry Harris, bassist George Tucker, and drummer Roger Humphries, Jones confidently tackles a half-dozen tunes. From the piano/bass riff at the beginning of "Jay Hawk Talk" to the Parker-esque kickoff of "Beepdurple," the band holds a steady, driving groove. Both of those instrumentals, plus "Dance of the Night Child," were written by Jones and stand comfortably beside the other selections on this album. Tucker kicks off a particularly affecting version of "Willow Weep for Me," with a simple descending bass run. Jones enters with a full and rich tone for a beautiful, extended solo, and is followed by Harris, who emphasizes the bluesy, late-night feel of the piece. The band turns in a nine-minute version of Porter's "What Is This Thing Called Love?" that pulls out all the stops, and gives Heath plenty of room to show that he can fly as high and play as fast as Charlie Parker himself. Throughout the album, Tucker's bass work adds greatly to the overall texture; Tucker and Humphries together provide a steady pulse with lots of charged rhythm to keep the whole project stimulating. Jay Hawk Talk will remind everyone of Jones' distinctive voice. Like Johnny Griffin, Jones moved to Europe in the '60s, greatly lowering his profile in the United States. This re-release of an old classic should help to familiarize everyone once again with a great trumpeter. ~Ronnie D. Lankford Jr.

Jay Hawk Talk

Wednesday, November 20, 2019

Lee Konitz Feat. Barry Harris - Lullaby Of Birdland

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 63:05
Size: 145,7 MB
Art: Front

(9:05) 1. Lullaby Of Birdland
(7:44) 2. This Is Always
(7:53) 3. Anthropology
(9:54) 4. Ask Me Now
(6:23) 5. East Of The Sun
(7:28) 6. Cherokee
(8:38) 7. 'Round Midnight
(5:56) 8. The Song Is You

Lullaby of Birdland is a live album by saxophonist Lee Konitz featuring pianist Barry Harris which was recorded at Birdland in 1991 and released on the Candid label. The Allmusic review stated "Konitz and Harris have not crossed paths all that often through the years but they joined forces for an engagement at Birdland in 1991. ...

The two stylists mix together just fine. Konitz's sweet/sour tone and melancholy moods are joyfully uplifted by Harris' mastery of bebop" https://en.wikipedia.org/wiki/Lullaby_of_Birdland_(album)

Personnel: Lee Konitz – alto saxophone; Barry Harris – piano; Calvin Hill – bass; Leroy Williams – drums

Lullaby Of Birdland

Monday, November 11, 2019

Regina Carter - Motor City Moments

Styles: Violin Jazz
Year: 2000
File: MP3@320K/s
Time: 50:48
Size: 116,9 MB
Art: Front

(5:17) 1. Don't Git Sassy
(6:17) 2. Don't Mess With Mr. T
(5:53) 3. For Someone I Love
(3:48) 4. Forever February
(6:56) 5. Higher Ground
(6:24) 6. Love Theme From Spartacus
(3:47) 7. Prey Loot
(4:56) 8. Fukai Aijo
(3:50) 9. Chattanooga Choo Choo
(3:36) 10. Up South

Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene. ~ Paula Edelstein https://www.allmusic.com/album/motor-city-moments-mw0000672434

Personnel: Regina Carter - violin; Marcus Belgrave -trumpet; James Carter - tenor saxophone, bass clarinet; Werner "Vana" Gierig - piano; Darryl Hall - bass; Alvester Garnett - drums; Barry Harris - piano; Russell Malone - guitar; Lewis Nash - drums.

Motor City Moments

Thursday, March 14, 2019

Barry Harris - Barry Harris Trio With Al Cohn

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 78:35
Size: 182,4 MB
Art: Front

(5:03) 1. America The Beautiful
(8:33) 2. Night And Day
(8:33) 3. My Shining Hour
(5:11) 4. Bright
(6:17) 5. Skylark
(5:53) 6. Woody'n You
(6:09) 7. Comin' Home
(6:09) 8. You're My Everything
(9:47) 9. Lover
(5:03) 10. Play It Now
(6:17) 11. Georgia On My Mind
(5:40) 12. It's Sand, Man!

Originally issued in the Xanadu label, these studio quartet sessions showcase the collaborations between two of the most exciting figures of their instruments: tenor sax giant Al Cohn & piano master Barry Harris, who are joined here by two incarnations of the pianist's regular trio. https://www.freshsoundrecords.com/al-cohn-albums/5221-barry-harris-trio-with-al-cohn-2-lp-on-1-cd.html

Personnel: Al Cohn (ts), Barry Harris (p), Sam Jones, Larry Ridley (b), Leroy Williams, Alan Dawson (d)

Barry Harris Trio With Al Cohn

Monday, January 28, 2019

Johnny Griffin - The Kerry Dancers and Other Swinging Folk (Remastered)

Styles: Saxophone Jazz
Year: 1962 /2018
File: MP3@320K/s
Time: 39:02
Size: 90,9 MB
Art: Front

(4:45) 1. The Kerry Dancers
(6:15) 2. Black Is the Color of My True Love's Hair
(4:38) 3. Green Grow the Rushes
(4:56) 4. The Londonderry Air
(4:42) 5. 25 1/2 Daze
(5:11) 6. Oh, Now I See
(4:55) 7. Hush-A-Bye
(3:34) 8. Ballad for Monsieur

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" all of which work perfectly well in an acoustic jazz setting. Not everything on this album (which was recorded in late 1961 and early 1962) is a folk song from the British Isles; the other half of the album ranges from Griffin's moody "Oh, Now I See" to the John Coltrane-influenced "25 1/2 Daze." On Riverside's original LP version of this album, Griffin's bop interpretations of folk songs were confined to side one while the other material was placed on side two. But when Fantasy reissued this album on CD in 2001 on its Original Jazz Classics imprint, there was no interruption between the folk and non-folk material you no longer had to get up and turn the record over. And that's just as well, because Griffin brings a jazz mentality to everything on the album; he is as hard-swinging and improvisatory on "The Londonderry Air" as he is on "25 1/2 Daze" and "Oh, Now I See." The Kerry Dancers and Other Swinging Folk is among the many Griffin releases that the Chicagoan can be proud of. ~ Alex Henderson https://www.allmusic.com/album/the-kerry-dancers-and-other-swinging-folk-mw0000016413

Personnel: Johnny Griffin — tenor saxophone; Barry Harris - piano; Ron Carter - bass; Ben Riley - drums

The Kerry Dancers and Other Swinging Folk (Remastered)

Monday, May 28, 2018

James Moody, Al Cohn - Too Heavy For Words

Bitrate: MP3@320K/s
Time: 44:55
Size: 102.9 MB
Styles: Saxophone jazz
Year: 1973/2017
Art: Front

[ 6:25] 1. East Of The Sun
[ 8:55] 2. Vezzioso
[ 7:00] 3. Good Bait
[10:30] 4. Wee Dot
[ 4:53] 5. The Underdog
[ 7:09] 6. Mr. George

Drums – Roy Brooks; Piano – Barry Harris; Tenor Saxophone – Al Cohn, James Moody. Recorded: August 12th, 1971.

Tenor sax battles have been an indelible part of jazz, as witnessed by the legendary Coleman Hawkins/Lester Young battles, the classic Dexter Gordon/Wardell Gray albums, and the Rollins/Coltrane "Tenor Madness". Add this 1971 skirmish between James Moody and Al Cohn to the list. A mainstay in Gillespie's big band and quintet, Moody worked with many of the music's greats. His solo on I'm in the Mood for Love is a jazz classic. Cohn is recognized for his part in Woody Herman's famous Four Brothers tenor sax section, as well as his quintet with fellow tenor great Zoot Sims.

Too Heavy For Words mc
Too Heavy For Words zippy

Tuesday, April 10, 2018

Kenny Dorham & Barry Harris Quartet - New York 1964

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 50:59
Size: 117,1 MB
Art: Front

(3:18) 1. Introduction
(6:55) 2. Confirmation
(6:02) 3. Ma, He's Making Eyes at Me
(7:40) 4. 'Round Midnight
(4:18) 5. The Theme
(4:07) 6. Tin Tin Deo
(8:53) 7. Scandia Skies
(9:44) 8. Manhã de Carnaval

Kenny Dorham spent his career being famous for not being famous, a perennially underrated trumpeter who was overshadowed by Dizzy Gillespie, Fats Navarro, Clifford Brown, Miles Davis and Lee Morgan. Always an excellent bop and hard bop player, Dorham is heard on New York 1964 in solid form. The first five selections were recorded in a trio with pianist Barry Harris in 1964. The music was previously out on an obscure Raretone LP. The last two numbers are from 1963, they match Dorham with pianist Tete Montoliu and were formerly released on a pair of Steeplechase albums, the lone quartet performances from two quintet sessions. The recording quality in all cases is decent and listenable, but far from impeccable. Dorham sounds fine during what would be the last part of a fairly brief career, although nothing all that essential occurs during these boppish performances. ~ Scott Yanow https://www.allmusic.com/album/new-york-1964-mw0001047346

Personnel: Kenny Dorham (tp), Barry Harris (p), Julian Ewell (b) Albert 'Tootie' Heath (d) / Kenny Dorham (tp), Tete Montoliu (p), NH Ørsted Pedersen (b) Alex Riel (d)

New York 1964

Thursday, April 5, 2018

Sonny Red - Breezing/A Story Tale/The Mode/Images (2-Disc Set)

Sonny Red (as), Blue Mitchell (tp), Yusef Lateef, Clifford Jordan (ts), Barry Harris, Tommy Flanagan, Ronnie Matthews, Cedar Walton (p), Grant Green (g), Bob Cranshaw, Art Davis, George Tucker (b), Albert 'Tootie' Heath, Elvin Jones, Jimmy Cobb (d).

Inspired by Charlie Parker and then Jackie McLean, the widely experienced, Detroit-born altoist Sonny Red, nee Sylvester Kyner (1932-1980) was an archetypal Motor City bopper, who, like many of his confreres there, also absorbed the blues-drenched lines of pianist Bud Powell. Forthright, direct, unpretentious, a skilled soloist with a strong feeling for the blues, he played and recorded with some of the finest jazzmen around.

The presence here of such luminous talents as, most notably, pianist Barry Harris, along with fellow pianist Tommy Flanagan, trumpeter Blue Mitchell, saxophonists Clifford Jordan and Yusef Lateef, and guitarist Grant Green left no doubt about his stature among them. Despite this and the fact that he also worked with such marquee names as Art Blakey, Kenny Dorham, Donald Byrd, Curtis Fuller and Paul Quinichette, he never quite made the breakthrough his skills suggested he would and his recordings have been difficult to find.This collection of quartet, quintet and sextet settings brings together four albums he made for the Jazzland label during one of the most productive spells of his career and shows why he was held in such esteem by his contemporaries.

Album: Breezing/A Story Tale/The Mode/Images (Disc 1)
Bitrate: MP3@320K/s
Time: 78:53
Size: 180.6 MB
Styles: Saxophone jazz
Year: 2012

[5:02] 1. Brother B
[4:03] 2. All I Do Is Dream Of You
[5:33] 3. The New Blues
[4:36] 4. Ditty
[6:27] 5. 'teef
[6:06] 6. Breezin'
[4:43] 7. A Handful Of Stars
[2:52] 8. If There Is Someone Lovelier Than You
[3:52] 9. Cumberland Court
[4:50] 10. A Story Tale
[5:39] 11. You're Driving Me Crazy
[3:27] 12. Defiance
[6:02] 13. Prints
[5:02] 14. Hip Pockets
[5:16] 15. They Say It's Wonderful
[5:16] 16. If I Didn't Care

Album: Breezing/A Story Tale/The Mode/Images (Disc 2)
Bitrate: MP3@320K/s
Time: 77:05
Size: 176.5 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[4:21] 1. I Like The Likes Of You
[4:36] 2. Bye, Bye Blues
[6:34] 3. Never, Never Land
[4:19] 4. Ko-Kee
[6:34] 5. Images
[4:51] 6. Blues For Donna
[5:22] 7. Dodge City
[6:16] 8. Moon River
[5:38] 9. Super-20
[8:53] 10. The Mode
[8:33] 11. Blue Sonny
[5:15] 12. The Rythm Thing
[5:46] 13. Bewitched, Bothered And Bewildered

Breezing-A Story TaleThe ModeImages(Disc 1)(Disc 2)

Wednesday, April 4, 2018

Barry Harris - The Bird of Red and Gold

Styles: Vocal And Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 56:52
Size: 130,6 MB
Art: Front

(3:53) 1. Nascimento
(5:42) 2. Body and Soul
(4:39) 3. Sweet and Lovely
(6:13) 4. Tommy's Ballad
(3:55) 5. Nobody's
(4:37) 6. Cats in My Belfry
(6:00) 7. This is No Laughing Matter
(5:16) 8. Tea for Two
(4:17) 9. My Ideal
(3:07) 10. Just One of Those Things
(6:39) 11. Pannonica
(2:29) 12. The Bird of Red and Gold

Although this LP claims to have the recording date of Sep. 18, 1989 and is listed so in some discographies, the album itself came out in 1982, making one assume that it is really from 1979. Unlike most of his other Xanadu LPs (which were generally dedicated to the work of one composer), this solo recital by pianist Barry Harris is a more diverse set. Harris contributed five originals (including his haunting "Nascimento" and the title cut, which he also sings) and also plays some standards and Thelonious Monk's "Pannonica." Superior bop-based music. ~ Scott Yanow https://www.allmusic.com/album/the-bird-of-red-and-gold-mw0000172181

Personnel: Barry Harris (vocals, piano).

The Bird of Red and Gold

Tuesday, March 6, 2018

Coleman Hawkins - Supreme

Bitrate: MP3@320K/s
Time: 65:05
Size: 149.0 MB
Styles: Bop, Saxophone jazz
Year: 1995
Art: Front

[17:08] 1. Lover Come Back To Me
[10:09] 2. Body And Soul
[16:42] 3. In Walked Bud
[ 9:05] 4. Quintessence
[10:30] 5. Fine And Dandy
[ 1:27] 6. Ow!

Bass – Gene Taylor; Drums – Roy Brooks; Piano – Barry Harris; Tenor Saxophone – Coleman Hawkins. Recorded live on September 25, 1966 at Left Bank Jazz Society, Baltimore, MD.

Recorded live at the Left Bank Jazz Society in Baltimore, Maryland on September 25, 1966, this CD by tenor saxophonist and jazz icon Coleman Hawkins is a testament to both his skills at improvisation and his ability to convey deep emotions from music of several jazz genres. The Hawk is very ably supported by Barry Harris, a gifted pianist, Gene Taylor on bass, and Roy Brooks on drums (Brooks also served as the producer).The 6 tracks on this CD present a wide range of jazz styles, from the more traditional ballads popular in the 1930s and 1940s to a brief but delightful bit of bebop. ~Karlojazz

Supreme mc
Supreme zippy

Friday, March 2, 2018

Warne Marsh - Back Home

Bitrate: MP3@320K/s
Time: 65:23
Size: 149.7 MB
Styles: Saxophone jazz
Year: 1986/2000
Art: Front

[5:11] 1. Leave Me
[5:37] 2. See Me Now, If You Could
[5:04] 3. Two Not One
[4:53] 4. Big Leaps For Lester
[7:59] 5. Back Home
[5:27] 6. Heads Up
[8:07] 7. Good Bait
[4:27] 8. Rhythmically Speaking
[7:22] 9. Joy Spring
[4:42] 10. Big Leaps For Lester (Alt. Take)
[6:30] 11. Good Bait (Alt. Take)

Warne Marsh, Jimmy Halperin – tenor saxophone; Barry Harris – piano; David Williams – bass; Albert Heath – drums.

Recorded and originally released on vinyl in 1986 (a year and a half prior to Marsh's death), Back Home was reissued on CD by Criss Cross in 2001, with three alternate takes and a previously unheard version of Clifford Brown's "Joy Spring." Together with pianist Barry Harris, bassist David Williams, and drummer Albert "Tootie" Heath, the tenor master and Tristano disciple works through a set of tunes that, in true Tristano fashion, are built entirely upon the harmonic foundations of popular standards. The sole exceptions are "Joy Spring" and Tadd Dameron's "Good Bait." Mark Gardner's liner notes wrongly identify "I Got Rhythm" as the source for "Rhythmically Speaking"; the latter is actually derived, oddly enough, from "Little Willie Leaps." On four tracks Marsh is joined by fellow tenorist and Tristano student Jimmy Halperin, age 27 at the time of the recording -- over 30 years Marsh's junior. The two-tenor pairing recalls Marsh's '50s collaborations with Ted Brown. Marsh's peculiar linear logic and behind-the-beat phrasing are the aural equivalent of well-aged scotch, and his rapport with Barry Harris represents a felicitous union of straight bebop and one of its most enigmatic tributaries, the Tristano school. ~David R. Adler

Back Home mc
Back Home zippy