Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

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Charles McPherson - Horizons

Styles: Saxophone Jazz
Year: 1968
Time: 38:40
File: MP3 @ 320K/s
Size: 88,5 MB
Art: Front

(5:52) 1. Horizons
(8:08) 2. Lush Life
(5:22) 3. Ain't That Somethin'
(5:17) 4. Night Eyes
(6:42) 5. I Should Care
(7:17) 6. She Loves Me

Charles McPherson's fifth Prestige album (which was reissued in 1998 in the Original Jazz Classics series) differs from the first four in that McPherson contributed four of the six originals. Assisted by pianist Cedar Walton, the up-and-coming guitarist Pat Martino, bassist Walter Booker, drummer Billy Higgins and (on three of the songs) the obscure but fluent vibraphonist Nasir Hafiz, the altoist is in typically swinging and boppish form.

Best among his originals are the catchy "Ain't That Something" and "She Loves Me," while "Lush Life" is taken as an alto guitar duet. By playing bop-oriented music in 1968, Charles McPherson could have been considered behind the times, but he was never a fad chaser and he has long had a timeless style. This music still sounds viable and creative decades later.By Scott Yanow
https://www.allmusic.com/album/horizons-mw0000602135#review

Personnel: Charles McPherson - alto saxophone; Nasir Rashid Hafiz - vibraphone; Cedar Walton - piano; Pat Martino - guitar; Walter Booker - bass; Billy Higgins - drums

Horizons

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Art Pepper - So in Love

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:48
Size: 109,5 MB
Art: Front

( 6:26)  1. Straight No Chaser
( 6:49)  2. Blues for Blanche
(11:42)  3. So in Love
(12:17)  4. Diane
(10:33)  5. Stardust

This deluxe release from the classy (but long defunct) Artists House label, as with all of Art Pepper's recordings of his comeback years, is easily recommended. Actually all of the music on So in Love has been reissued in greatly expanded form in Pepper's massive 16-CD Galaxy box set. The original LP has lengthy versions of "So in Love," "Stardust," "Straight No Chaser" and two Pepper originals ("Diane" and "Blues for Blanche"). 

Assisted by two equally talented rhythm sections (pianists Hank Jones and George Cables, bassists Ron Carter and Charlie Haden, and drummers Al Foster and Billy Higgins), Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations. 

~ Scott Yanow https://www.allmusic.com/album/so-in-love-mw0000622404

Personnel:  Art Pepper - alto saxophone;  George Cables (tracks 2, 3 & 5), Hank Jones (tracks 1 & 4) - piano;  Ron Carter (tracks 1 & 4), Charlie Haden (tracks 2, 3 & 5) - bass;  Al Foster (tracks 1 & 4), Billy Higgins (tracks 2, 3 & 5) - drums

So in Love

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The Cedar Walton Sextet - Bambino: Plays the Music of Art Blakey

Styles: Hard Bop
Year: 1993
File: MP3@320K/s
Time: 49:47
Size: 114,4 MB
Art: Front

(10:09) 1. Arabia
( 8:12) 2. Wee Dot
( 7:20) 3. If I Had You
(16:06) 4. Blues March
( 7:58) 5. Along Came Betty

Cedar Walton's sextet recorded this session before an appreciative audience at Sweet Basil in New York in 1993. Joining the pianist for this date were trumpeter Philip Harper, tenor saxophonist Javon Jackson, trombonist Steve Turre, bassist David Williams and drummer Billy Higgins. The recording was taped during two August nights at the club; alto saxophonist Lou Donaldson appears on "Wee Dot" and "If I Had You."

Four of the sextet are alumni of Art Blakey's Jazz Messengers; moreover, Lou Donaldson's work experience with Blakey predates the founding of his Jazz Messengers. Horace Silver was with the ensemble at that time (the early 1950s) and likes to refer to The Jazz Messengers as "the Art Blakey College of Musical Education." Blakey's working unit remained at the vanguard of hard bop for 36 years, and included well-known jazz artists such as Benny Golson, Jackie McLean, Curtis Fuller, Lee Morgan, Cedar Walton, Freddie Hubbard, Keith Jarrett, Wayne Shorter, Chick Corea, and Wynton Marsalis (Blakey, who passed away in October 1990, used to introduce himself to audiences as "Mrs. Blakey's bambino, Arturo").

Curtis Fuller's "Arabia" features Turre's expressive trombone. J.J. Johnson's "Wee Dot" includes Walton's exciting hard bop piano work and fours from the ever-tasteful Billy Higgins. "If I Had You" is a gentle ballad that features Donaldson. Benny Golson's "Blues March" and "Along Came Betty" provide the most excitement, as each soloist pushes the envelope. Harper and Jackson are particularly creative in their solo spots, weaving quiet mouse-like lines together and building them into uproarious shouts. Art Blakey taught them well.By Jim Santella
https://www.allaboutjazz.com/bambino-cedar-walton-evidence-music-review-by-jim-santella

Personnel: Piano – Cedar Walton; Alto Saxophone, Guest – Lou Donaldson (tracks: 2, 3); Bass – David Williams (2); Drums – Billy Higgins; Tenor Saxophone – Javon Jackson; Trombone – Steve Turre; Trumpet – Philip Harper

Bambino: Plays the Music of Art Blakey

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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

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Eastern Rebellion - Simple Pleasure

Styles: Bop, Post Bop
Year: 1993
File: MP3@320K/s
Time: 56:20
Size: 129,5 MB
Art: Front

(5:31) 1. In The Kitchen
(6:36) 3. Dear Ruth
(6:09) 4. Simple Pleasure
(5:24) 5. Sixth Avenue
(7:18) 6. My Ideal
(6:24) 7. All The Things You Are
(7:04) 8. My Man's Gone Now
(4:29) 9. Theme For Ernie

A wonderful title for this album of understated brilliance a strong early 90s offering from Walton's Eastern Rebellion group, done in a mode that's very similar to their initial Timeless recordings of the 70s! The quartet this time around features Walton's piano alongside the drums of co-founder Billy Higgins plus bass by David Williams, and tenor by Ralph Moore, fresh off of some excellent work as a leader for the Landmark label in the late 80s.

The tracks are all long and inventive soulbop at its best, with titles that include "Roni's Decision", "In The Kitchen", "Dear Ruth", "Simple Pleasure", and "Sixth Avenue". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/514346/Eastern-Rebellion:Simple-Pleasure

Personnel: Cedar Walton on piano, Billy Higgins on drums, David Williams on bass, and Ralph Moore on saxophones

Simple Pleasure

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Clifford Jordan - Drink Plenty Water

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 35:41
Size: 82,0 MB
Art: Front

(3:55) 1. The Highest Mountain
(3:08) 2. The Witch Doctor's Chant (Ee-Bah-Lickey-Doo)
(3:08) 3. Drink Plenty Water and Walk Slow
(3:13) 4. I've Got A Feeling For You
(3:09) 5. My Papa's Coming Home
(9:32) 6. Talking Blues
(9:33) 7. Talking Blues (Instrumental)

This long-lost 1974 recording from the late Chicago tenor sax master is finally available. Originally recorded for the Strata-East label, Drink Plenty Water is Clifford's only primarily vocal recording release, with inventive arrangements courtesy of bassist Bill Lee. Joining Jordan are Dick Griffin on trombone, Bill Hardman on trumpet, Charlie Rouse on bass clarinet, Strata East co-founder Stanley Cowell on piano, Billy Higgins on drums, Bernard Fennell on cello, and Lee and Sam Jones on bass.

Her late husband's passion project, Sandy Jordan spearheaded the effort to release Drink Plenty Water. Jordan’s daughter, Donna Jordan Harris sings lead vocals on several tracks, backed by remaining members of the ensemble. The vocal arrangements bring an unexpected new take to the compositions “Witch Doctor’s Chant (Ee-Bah-Lickey-Doo)” and “I’ve Got a Feeling for You” that first appeared on Clifford Jordan’s 1968 album Soul Fountain. The vocal arrangement for “The Highest Mountain” on Drink Plenty Water makes it the most unique treatment of one of his finest compositions.

Additional tracks include “My Papa’s Coming Home,” a rhythm changes vamp with what trombonist Griffin describes as a “stunning” solo from the leader, and “Drink Plenty Water and Walk Slow,” a short track featuring Fennell and Jordan under a spoken word story from actor David Smyrl. Other highlights of the 35-minute-long recording are the two tracks titled “Talking Blues” a spoken-word story from Smyrl about a hustler living the fast life, followed by the instrumental track that reveals great interplay between Jordan, Hardman, Fennell and Griffin.
https://shop.mapleshadestore.com/Clifford-Jordan-his-Friends-Drink-Plenty-Water-CD_p_1498.html

Personnel: Clifford Jordan (ts,composer), Bill Hardman (tp), Dick Griffin (tb), Charlie Rouse (b-cl), Stanley Cowell (p), Bernard Fennell (cello), Bill Lee (b,arr), Sam Jones (b), Billy Higgins (d), Donna Jordan Harris and David Smyrl (vcl) and Kathy O'Boyle, Denise Williams and Muriel Winston (backing-vcl).

Drink Plenty Water

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Buddy Montgomery - Ties Of Love

Styles: Piano Jazz

Year: 1986

File: MP3@320K/s

Time: 44:07

Size: 101,2 MB

Art: Front

(6:57)  1. Muchissimo

(7:01)  2. Expressions In Blue

(5:24)  3. Darrah

(3:35)  4. All The Things You Are (A)

(5:43)  5. Ties (A/B)

(4:55)  6. Stablemates (B)

(4:33)  7. Rose Marie

(5:55)  8. Soft Earth

By 1986, Buddy Montgomery had not recorded as a leader for many years, and because he is so well-respected, his first Landmark outing became quite an all-star affair. Heard mostly on piano but also switching to vibes for two songs, Montgomery is joined on various tracks by trumpeter Claudio Roditi, David "Fathead" Newman on tenor and flute, guitarist Ted Dunbar, bassists Ron Carter and John Heard, drummers Marvin "Smitty" Smith and Billy Higgins, and a couple of percussionists. In addition, tenor saxophonist Eddie Harris jams on "Stablemates" and "Ties," and Marlena Shaw takes vocals on "Ties" and "All the Things You Are." Despite all of the guests, the leader (who contributed five of the eight songs) does not get buried in the proceedings and holds his own with his friends. ~ Scott Yanow http://www.allmusic.com/album/ties-of-love-mw0000193414

Personnel:  Buddy Montgomery - piano, vibes,  Marlena Shaw - vocal,  Eddie Harris - tenor sax,  Ron Carter - bass,  Ted Dunbar - guitar,  John Heard - bass,  Billy Higgins - drums, Steve Kroon - congas,  David "Fathead" Newman - tenor sax, flute, Claudio Roditi - trumpet, Marvin "Smitty" Smith - drums, Warren Smith - percussion

Ties Of Love

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Lee Morgan - Sonic Boom

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 74:18
Size: 171,4 MB
Art: Front

(5:47)  1. Sneaky Pete
(7:11)  2. The Mercenary
(6:18)  3. Sonic Boom
(5:27)  4. Fathead
(7:16)  5. I'll Never Be The Same
(5:28)  6. Mumbo Jumbo
(4:50)  7. Free Flow
(5:42)  8. Stormy Weather
(6:09)  9. Mr. Johnson
(5:47) 10. The Stroker
(5:33) 11. Uncle Rough
(3:07) 12. Claw-Til-Da
(5:38) 13. Untitled Boogaloo

A quick inspection of the Lee Morgan discography unearths an obscure album sandwiched between 1966's The Rajah and 1967's The Procrastinator. The album, Sonic Boom, was recorded in 1967 yet remained silent in the Blue Note vaults for twelve years, resurfacing only twice, as an LP in 1979 and eleven years later as a CD. Both times, exposure to the public was brief, making Sonic Boom nearly irrelevant in the trumpeter's overall anthology. Yet the music here is nothing short of vintage Morgan, as evidenced on the latest reissue, a limited edition 24-bit remastered set. Serving his usual heady brew of jazz, blues and funk, the emphasis here is strictly hard-boppin' fun. Accompanying the leader are a stimulating crew that includes Cedar Walton on piano, David "Fathead" Newman on tenor, Ron Carter on bass, and Billy Higgins on drums. Tracks like "Sneaky Pete," "The Mercenary," and "Fathead" provide plenty of straight ahead muscle from the whole band, with Newman's gruff tenor work, in particular, pairing remarkably well with Morgan's horn. The true highlights, though, are in the searing title track and in the exceptionally sweet and sincere interpretation of the ballad "I'll Never Be The Same." While Morgan may best be celebrated for his charged, upbeat solos, his delicate touch on ballads merits equal praise, and, indeed, confirms that Morgan was something else.This latest reissue of Sonic Boom includes an additional seven tracks taken from a 1969 session, originally released on 1978's double LP version of The Procrastinator. 

Employing an entirely different set of musicians, the cast includes Julian Priester on trombone, George Coleman on tenor sax, Harold Mabern on piano, Walter Booker on bass, and Mickey Roker on drums. Though thematically similar, the bonus tracks are more progressive and funkier than the album's first half, with exceptional compositions by Coleman on "Free Flow," Priester on "The Stroker," and Mabern on the jive dance of "Uncle Rough." In comparing the two halves of the album, it is interesting to hear the changes upon the hard-bop idiom over the late 1960s. By 1969, funk and its inherent bass and drumbeats are more prevalent than before. Integrated into jazz, as heard here, the results are joyous. In the final analysis, Sonic Boom is an underrated gem. As such, fans of the trumpeter and of hard bop are advised to check out the album while it's still here. By Germein Linares https://www.allaboutjazz.com/sonic-boom-lee-morgan-blue-note-records-review-by-germein-linares.php

Personnel: Lee Morgan- trumpet; David "Fathead" Newman, George Coleman- tenor sax; Cedar Walton, Harold Mabern- piano; Ron Carter, Walter Booker- bass; Billy Higgins, Mickey Rokerdrums; Julian Priester- trombone

Sonic Boom

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George Coleman Quartet - I Could Write A Book: The Music Of Richard Rogers

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:35
Size: 140,6 MB
Art: Front

(5:14)  1. Falling In Love With Love
(6:20)  2. My Funny Valentine
(6:50)  3. Lover
(5:20)  4. Bewitched
(4:51)  5. I Didn't Know What Time It Was
(6:06)  6. My Favorite Things
(7:57)  7. Have You Met Miss Jones
(3:38)  8. People Will Say We're In Love
(7:11)  9. I Could Write A Book
(3:47) 10. Medley: There's A Small Hotel / Where Or When / The Sweetest Sounds
(2:15) 11. Thou Swell

Inspired by a guest spot in a Carnegie Hall Jazz Band tribute to Rodgers and Hart, Coleman organized an entire album around the theme with a touch of Hammerstein too. It's a mostly mainstream hard bop session, with Coleman's slightly dry, plain-spoken tone on all three of his instruments soprano, alto and tenor lending an appropriately lyrical bend to the collection of well-known Rodgers standards; well, its mostly hard bop, "My Favorite Things" is cast perhaps inevitably in the modal Coltrane mold, with Coleman on soprano for good measure, and once in a great while, Coleman lets fly outside the changes. 

A fine, flexible rhythm section of veterans two fellow Memphis colleagues (pianist Harold Mabern, bassist Jamil Nasser) and one Angeleno drummer (Billy Higgins) sends Coleman on his way in style. As if in tribute to his rhythm section, Coleman sits out "People Will Say We're in Love" entirely and dukes it out with Higgins on a brief "Thou Swell." This is almost an echo of fellow saxman Joe Henderson's successful tribute formula of the early 1990s, although Henderson's CDs were somewhat more emotionally involving than this.~ Richard S.Ginell https://www.allmusic.com/album/i-could-write-a-book-the-music-of-richard-rodgers-mw0000039620

Personnel: Saxophone – George Coleman; Piano – Harold Mabern;  Bass – Jamil Nasser; Drums – Billy Higgins

I Could Write A Book: The Music Of Richard Rogers

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Horace Parlan - Happy Frame of Mind

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 38:56
Size: 89,4 MB
Art: Front

(8:49)  1. Home Is Africa
(6:11)  2. A Tune for Richard
(5:58)  3. Back from the Gig
(5:59)  4. Dexi
(5:44)  5. Kucheza Blues
(6:13)  6. Happy Frame of Mind

Happy Frame of Mind finds Horace Parlan breaking away from the soul-inflected hard bop that had become his trademark, moving his music into more adventurous, post-bop territory. Aided by a first-rate quintet trumpeter Johnny Coles, tenor saxophonist Booker Ervin, guitarist Grant Green, bassist Butch Warren, drummer Billy Higgins Parlan produces a provocative set that is grounded in soul and blues but stretches out into challenging improvisations. None of the musicians completely embrace the avant-garde, but there are shifting tonal textures and unpredictable turns in the solos which have been previously unheard in Parlan's music. 

Perhaps that's the reason why Happy Frame of Mind sat unissued in Blue Note's vaults until 1976, when it was released as part of a double-record Booker Ervin set, but the fact of the matter is, it's one of Parlan's most successful efforts, finding the perfect middle ground between accessible, entertaining jazz and more adventurous music. ~Stephen Thomas Erlewine  http://www.allmusic.com/album/happy-frame-of-mind-mw0000207456

Personnel:  Horace Parlan – piano;  Johnny Coles – trumpet;  Booker Ervin - tenor saxophone;  Grant Green - guitar;  Butch Warren – bass;  Billy Higgins – drums.

Happy Frame of Mind

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Joe Henderson, Ron Carter, Chick Corea, Billy Higgins - Mirror, Mirror

Styles: Jazz, Post Bop
Year: 1980
File: MP3@320K/s
Time: 43:42
Size: 102,0 MB
Art: Front

(5:55) 1. Mirror, Mirror
(6:17) 2. Candlelight
(9:45) 3. Keystone
(9:44) 4. Joe's Bolero
(4:00) 5. What's New
(7:59) 6. Blues for Liebestraum

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New."~Scott Yanowhttps://www.allmusic.com/album/release/mirror-mirror-mr0004590662

Personnel: Tenor Saxophone – Joe Henderson; Bass – Ron Carter; Drums – Billy Higgins; Piano – Chick Corea

Mirror, Mirror

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Charlie Rouse - Bossa Nova Bacchanal

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 42:32
Size: 97,8 MB
Art: Front

(3:56)  1. Back to the Tropics
(2:58)  2. Aconteceu
(4:50)  3. Velhos Tempos
(6:18)  4. Samba de Orfeu
(5:56)  5. Un Dia
(5:58)  6. Meci Bon Dieu
(5:29)  7. In Martinique
(7:05)  8. One for Five

About eight or nine years ago, the major record labels finally realized that they could sell more copies of classic jazz CDs if they reissued them with the respect they deserved, including high-quality remastering and packaging. This has proved an unprecedented boon for the jazz fan; never have so many records by so many artists been readily available, even if the inventories are in cyberspace rather than in the attic of the corner shop. However, there is a cloud to this silver lining. There are simply so many old albums in the reissue queue that some artists, particularly those who were more prolific as sidemen than as leaders, are underrepresented. And not just in quantity sometimes whole stylistic forays are lost. A case in point is Charlie Rouse, the vastly underrated tenor man best known for his long tenure with Thelonious Monk in the late '50s and '60s. Thankfully, then, Blue Note has reissued Rouse’s 1962 Bossa Nova Bacchanal as part of its limited edition Connoisseur Series. I know, I know, “not another bossa nova cash-in album!” But keep an open mind; this is no crass marketing ploy. Bacchanal is actually a fine album, and apparently Rouse was very serious about making authentic bossa nova music, recruiting excellent Latin rhythm players alongside the dual guitar line of Kenny Burrell and Lord Westbrook (playing acoustic Spanish guitars). 

The selection of tunes is perfect, too, with really only one bossa warhorse (“Samba de Orfeu”), several refreshingly lesser-known gems (the breezy “Aconteceu,” the ominous “Meci Bon Dieu”), and a Rouse original for good measure. Rouse does nothing to soften his sharp-edged, sinusoidal tone but lacks nothing in melodic invention, and his acerbic lines provide a citric zing where this kind of music is often too sticky sweet. The dual-guitar team is a real treat, providing excellent solos (both Westbrook and Burrell have their chance to shine) and a constant stereophonic percolation in the background. A startling bonus track, however, threatens to steal the show, at least for Rouse fans "One For Five," a non-bossa original from a later, 1965 session with (get this) Freddie Hubbard, McCoy Tyner, Bob Cranshaw, and Billy Higgins. The tune is reminiscent of something that might have fit on Wayne Shorter’s contemporary Blue Notes, and it features a nice Rouse solo different from his Monk guise, as well as fleet work by Hubbard and Tyner. How the rest of this session could remain in the vaults is beyond imagining, and only goes to prove the point made above. So please, Blue Note, put out the rest, and soon but until then, thanks for the Brazilian appetizer. ~ Joshua Weiner https://www.allaboutjazz.com/bossa-nova-bacchanal-charlie-rouse-blue-note-records-review-by-joshua-weiner.php

Personnel: Charlie Rouse, tenor sax; Kenny Burrell and Chauncey "Lord" Westbrook, guitars; Larry Gales, bass; Willie Bobo, drums; Patato Valdes, conga; Garvin Masseaux, chekere. On "One For Five": Rouse; Freddie Hubbard, trumpet; McCoy Tyner, piano; Bob Cranshaw, bass; Billy Higgins, drums

Bossa Nova Bacchanal

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Harold Land - Promised Land

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 55:50
Size: 128,2 MB
Art: Front

( 8:33) 1. Inner Voice
( 7:16) 2. Ugly Beauty
( 9:17) 3. What's New?
(10:57) 4. Dark Mood
(12:30) 5. Like Someone In Love
( 7:14) 6. Mapenzi

Veteran tenor saxophonist Harold Land returns from a seven-year recording hiatus with Promised Land, featuring Mulgrew Miller on piano, Ray Drummond on bass, and Billy Higgins on drums. (Sadly, this would be one of Higgins's last sessions.) One would expect nothing other than beauty and grace from these four revered players, and that's what they deliver, aided by the Audiophoric label's "m-phoric" recording technology, designed to capture live acoustic performance with exceptional fidelity. (You'll need to increase your volume and give your ears a chance to adjust.) There's a bit of Coltrane and Joe Henderson in Land's playing and perhaps a bit of Charlie Rouse, too, as Monk's "Ugly Beauty" reveals. Miller is in excellent form, dueting with Land on a nine-minute-plus "What's New" and taking crisp, inventive solos throughout. The program is evenly split: three standards and three of Land's fairly straightforward, modal pieces.~David R.Adler https://www.allmusic.com/album/promised-land-mw0000003296

Personnel: Tenor Saxophone – Harold Land; Bass – Ray Drummond; Drums – Billy Higgins; Piano – Mulgrew Miller

Promised Land

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Roy Hargrove - Public Eye

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 67:32
Size: 155,5 MB
Art: Front

(6:52) 1. Public Eye
(6:21) 2. Spiritual Companion
(7:33) 3. September In The Rain
(4:47) 4. Lada
(5:38) 5. Once In A While
(5:08) 6. Hartbreaker
(8:01) 7. End Of A Love Affair
(6:14) 8. Night Watch
(6:24) 9. You Don't Know What Love Is
(5:16) 10. Little Bennie (Crazeology)
(5:15) 11. What's New

Roy Hargrove's second recording as a leader features the 21-year-old trumpeter in late 1990 essentially playing bebop. Joined by altoist Antonio Hart, pianist Stephen Scott, bassist Christian McBride, and drummer Billy Higgins, Hargrove shows why he was so highly rated from the start of his career. On such numbers as "September in the Rain," "End of a Love Affair," "Crazeology," and four of his straight-ahead originals, Hargrove plays in a style not that different from Lee Morgan but with his own soulful sound, revitalizing the jazz tradition with his enthusiastic ideas. A fun set.~Scott Yanow https://www.allmusic.com/album/public-eye-mw0000674417

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Hart; Double Bass – Christian McBride; Drums – Billy Higgins; Piano – Stephen Scott

Public Eye

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Booker Ervin - Tex Book Tenor (Remastered)

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 37:37
Size: 86,6 MB
Art: Front

( 7:27) 1. Gichi
( 7:38) 2. Den Tex
( 5:53) 3. In A Capricornian Way
( 6:16) 4. Lynn's Tune
(10:21) 5. 204

I always thought the ultimate performances of tenor saxophonist Booker Ervin were on (arguably) the greatest studio recordings of Charles Mingus, Mingus Ah Um and Blues and Roots. This magnificent and long-overdue reissue of a Booker Ervin Blue Note session from 1968 has caused me to alter my opinion. I think this was the tenor saxman's greatest session, and given the company he found himself in, particularly trumpeter Woody Shaw and pianist Kenny Barron, it is little wonder that a magic glows from every tune.

What made Ervin such an exquisite partner with Mingus was his big, brawny, keening, and sometimes downright snarling tone. Just like the famed Mingus sensibility, comfy like a giant ball of uncoiling steel wool, could coax those extra abrasive notes from Ervin's sax, a really cooking, perhaps even frantic, Woody Shaw seems to bring out the fire in Ervin. The stupidly titled "Den Tex" Blue Note had this annoying habit of titling whole albums and tunes based on trivial word play (in this instance Irvin's Texas heritage) is a dazzling example of Shaw and Ervin egging one another on, with some substantial pushing from pianist Barron, who dances around their changes. Drummer Billy Higgins plays at full throttle while bassist Jan Arnet is along for the galloping ride.

Most of the five tunes, none with memorable hooks per se, follow this formula, and it all works as a truly classic hard bop session of distinction. Ervin was a major voice in transmuting the Texas R&B sound into bop, and the sheer emotional forcefulness of his sax sound was never better captured than on this fiery session which, by the way, is released in a "limited edition" "connoisseur's" edition, so the clock is ticking before this recording becomes unjustly unavailable again.~ Norman Weinstein https://www.allaboutjazz.com/tex-book-tenor-booker-ervin-blue-note-records-review-by-norman-weinstein.php

Personnel: Booker Ervin: tenor saxophone; Woody Shaw: trumpet; Kenny Barron: piano; Jan Arnet: bass; Billy Higgins: drums.

Tex Book Tenor (Remastered)

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Dave Pike, Cedar Walton Trio - Pike's Groove

Styles: Vibraphone And Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 51:32
Size: 119,2 MB
Art: Front

(4:11)  1. Big Foot
(5:47)  2. Spring Can Really Hang You Up The Most
(3:41)  3. You Are My Everything
(6:31)  4. Ornithology
(6:47)  5. Con Alma
(8:26)  6. Reflections In Blue
(6:04)  7. Birk's Works
(5:29)  8. You Are My Everything
(4:32)  9. Big Foot (take 4)

Vibraphonist Dave Pike has recorded in a variety of settings through the years. His Criss Cross date is one of his finest straight-ahead outings, a quartet session with pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Pike's style is somewhere between Milt Jackson and Bobby Hutcherson, while sounding fairly distinctive, and he is heard in top form on such numbers as "Big Foot," "Ornithology," and his own "Reflections in Blue." Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/pikes-groove-mw0000094788

Personnel: Vibraphone – Dave Pike; Piano – Cedar Walton; Bass – David Williams ; Drums – Billy Higgins

Pike's Groove

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George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Donald Byrd - Blackjack

Styles: Trumpet Jazz
Year: 1967
File: MP3@320K/s
Time: 40:37
Size: 93,6 MB
Art: Front

(6:16)  1. Blackjack
(5:20)  2. West Of The Pecos
(5:55)  3. Loki
(8:02)  4. Eldorado
(5:27)  5. Beale Street
(5:00)  6. Pentatonic
(4:34)  7. All Members

One of three Donald Byrd albums from 1967 (the end of his hard bop period), this recording features the trumpeter/leader with altoist Sonny Red, tenor saxophonist Hank Mobley, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins. The six tunes (five of which are originals by Byrd or Red) are all quite obscure and to one extent or another quite explorative. One can sense that Byrd wanted to break through the boundaries and rules of hard bop but had not yet decided on his future directions. The music does swing and highlights include "West of the Pecos" and "Beale Street"; Byrd and Red in particular are in excellent form throughout the date. ~ Scott Yanow https://www.allmusic.com/album/blackjack-mw0000032341

Personnel: Trumpet – Donald Byrd;  Alto Saxophone – Sonny Red; Bass – Walter Booker; Drums – Billy Higgins; Piano – Cedar Walton; Tenor Saxophone – Hank Mobley

Blackjack

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Howard McGhee, Teddy Edwards - Wise In Time

Styles: Trumpet And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 73:57
Size: 170,6 MB
Art: Front

(6:04)  1. I Want To Talk About You
(6:05)  2. If You Could See Me Now
(7:04)  3. Crescent
(7:42)  4. Ruby My Dear
(5:06)  5. Time Waits
(7:46)  6. Relaxing At Camarillo
(6:53)  7. Reflections
(7:35)  8. Blues In The Closet
(4:38)  9. On A Misty Night
(4:08) 10. In Walked Bud
(4:14) 11. Yardbird Suite
(6:36) 12. Moose The Mooche

Originating from the same recording sessions (trumpeter Howard McGhee's last) that resulted in its superior companion Young at Heart, this set is a bit of a disappointment. McGhee, tenor saxophonist Teddy Edwards, pianist Art Hillery, bassist Leroy Vinnegar and drummer Billy Higgins all sounded fine on the other record but this album sticks exclusively to ballads and the results are dragging and a bit dreary. The renditions of such songs as "I Want to Talk About You," "I Remember Clifford" and John Coltrane's "Crescent" do not even come close to comparing with more definitive earlier versions and the musicians sound a bit tired. Skip this set and get Young at Heart (and some of Howard McGhee's earlier albums) instead. ~ Scott Yanow https://www.allmusic.com/album/wise-in-time-mw0000428357

Personnel: Howard McGhee – trumpet; Teddy Edwards – tenor saxophone; Art Hillery – piano; Leroy Vinnegar – bass; Billy Higgins – drums

Wise In Time

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